Ricky Palomino

Welcome to Ricky Palomino's website. Dedicated to all the Lovers and Creators of the world in Music, Dance, Fashion, Art, Photography, and Film. 

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The Stigma Against Ballet at Convention

There is a stigma towards Ballet in competition studios that I think we can alleviate. Kids don't want to do it because whats taught to them FEELS WRONG. We have to take more responsibility on how they are  training and where their skill level resides. Are we really training the kids to have solid training,  or are is our focus for the year in different places?

Ballet should feel freeing and expansive. To the point where you reach so far you feel as though you are stretching through a latex glove. Kids all across the country have shared with me that they love ballet, but it feels un natural. Also, that it feels restrictive and confining. So in respects to that subject so, here are some tips to help with your Ballet Teaching at your Studio.

Feel free to PM me and lmk any more things you would like any insight on. Thank you and please share.

PERSONA

SPIRITUAL
What we believe in and submit to

PHYSICAL
Our strength, agility, flexibility, and capacity

EMOTIONAL
The range of feelings our bodies encompass

MENTAL
How much information the body can retain and relay

TORSO

PELVIS
Pubic bone upright, moves over, under, and side axis

SOLAR PLEXUS
Begins under the ribs, pulls in, wraps around spine

STERNUM
Lifting but with freedom to contract and ascend

NECK
Soft muscles with strong focus

1. Ballet should feel like all of your joints and muscled YAWNED at the same time. One big giant one. From finger tips to toe tips. We should always breathe into these parts of our body beginning with the nose.

2. When standing in FIRST POSITION, stay on the balls of your feet with your heels slightly lifted. We should be able to slide a dime underneath it. Arms MUST be redistributed with weight to it, equivalent to that of the legs.

3. A) In PLIES, shoulders must be BACK, so by the time we arrive in Grande, shoulders are now ON TOP of the ribcage, as head is the only one able to ROUND over to lengthen the top of the spine. 

B) If, shoulders are involved in that ROUNDING, it then becomes a CONTRACTION, and that is for another time. Ballet is able lengthening and expanding the muscles over the bone, getting it to a higher frequency. Not to condense it.

ARMS

SHOULDERS
Roll back, away from neck and backs of ears

ELBOWS
Rotate forward away from pulled in plexus

WRISTS
Rotate opposite direction as  the elbows

FINGERS
Soft and elongated, sensitive to the air

4. When we get to standing on one leg as in TENDUS, the major key to making everyones world a bigger, better, and more understood place it SHIFTING.

B) Quick Journey: When standing in FIRST POSITION, one belly button over two feet, in between two heels, take on foot away, now we must SHIFT our weight over the ONE supporting Leg/Foot so our belly is in the middle of the ONE foot. Go to releve and now we must SHIFT our belly to be in the middle of the Big Toe/Index Toe area. 

LEGS

HIPS
Rotate back away from center evenly

KNEES
Patellas pulling up towards hips but not locked

HEELS
Rotate forward with pubic bone leading, off floor

TOES
Weight standing over your Big and index toes

5. In Developes or anytime we are pulling up to Coupes, think of massaging the supporting leg in the SHIFTING phase, transitioning to the supporting leg all the way up to the end of the develope. Tactile movement is key.

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Book SUMMER!!

Entering my 13th Season of Teaching and Choreographing during Summer into Fall. Always open to meet and dance with new friends. For Bookings, please visit the Contact Page Above.

 

RMP