Dress Alternatives?

So, did ya see this dress on dance.net?

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Saw tons of these in the pics from AIs…seeing them everywhere now. Guess they are the new thing, eh?

As usual folks are bitching about the cost…so I have found some alternative sources…ID has turned into a long array of beauty pageants, so…for about $200 and all you have to do is add sleeves…
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Hey this one already has sleeves!!
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Or, for a little more flavor, let’s go over to the square dance shop!
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And for the adult dancers…
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We also have the pageant dresses with a more ballet flair for those who want to retain an air of class…here’s the long skirt…
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My favorites are the short ones…why not? We look at their bloomers now anyway!
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Hey, how about just add a jacket top to this?
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One personal favorite…
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Or, they can just add sleeves and lop these off to the correct bum-baring length…
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But this is my ALL-TIME favorite! We can start a new width trend! Although, this is really expensive again, but we KNOW the world qualifiers are not satisfied until it costs more than a car!
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Griping & trying to Grin

So… I borrowed the following quotes from another blog because I have never read them:

When one door of happiness closes, another opens; but often we look so long at the closed door that we do not see the one which has been opened for us. –Helen Keller

To stand in your now, looking forward with deliberate intent and anticipation of what is to come, is infinitely more satisfying than to stand in your now, looking back, retracing your steps as to how you got where you are.–Abraham-Hicks

They were part of a nice blog post…that did not speak to me…but these little quotes spoke to me.  They rather rattled my cage and the thoughts stuck in it.  Let’s see if I can articulate…

I will be honest here and say that sticking to my resolution that I will no longer post on Celtic Flame at all and only rarely on the others is difficult for me.  My practical Buddhist brain asks me why I bother then if I am not going to add anything helpful to the discussions.  My cranky lizard brain demands that I stop reading at all since it can have no satisfaction by setting some of the stupidity to rights…or at least by calling it out for the stupidity it is!!!  But, I am starting to find I am becoming more removed from it since I am not using valuable energy to formulate hopefully helpful answers anymore.

When this blog went private, so many of you told me of your reasons for no longer posting on or even reading the boards anymore…I understand even better now.

Why do I keep reading?  Part habit, part wanting to stay informed about the happenings, the opinions…the occasional altercation…I know, I am a rubber-necker!  But who can resist the morons when they tap dance on a train wreck?!?!?!

But since I changed the blog, other doors have opened for my energy, even in my own head.  Other thoughts are formulating in different ways because we are a smaller more open group.  (I feel the need here to apologize to anyone who was gearing up for a very active group here…we have slowed down…mainly because I wanted it to.  Don’t get me wrong – the number of members that we have is incredibly gratifying…I feel more like a rock star than a loser now that there are so many “friends!”  But I did feel very overwhelmed there for a bit.  I am figuring this out, and we can be as active as we want.)

My current thoughts are spawned by the continuing questions about how the BNs do things, make and design dresses, etc., as if there are rules that must be followed…fsm forbid anyone should be creative on her own…

You may remember this from my response to the first CCD:  [A] thing I have stopped doing is letting the nebulous “rules” about how these dresses are “supposed” to look influence me.  The only thing that influences me anymore is what the client wants.  I suppose if I made OTRs I would pay more attention to the trends…or maybe not.  The fact that the dress styles actually have very little to do with the dancing offends my artistic sense of what is supposed to be important!  The costume should complement the dancing, not hinder it.  The heavy, stiff dresses that have developed over the past 20 years are actually quite astounding to me.  As a choreographer, dancer, artistic director and professor, I stood my ground many a time with a costume designer who tried to force an undanceable design onto a dance!  The dance and dancer are most important and the role of the costume is to enhance the message and look that the choreographer wants.  It is not the role of the costume designer to force change and accommodation…I fired or failed those designers who could not understand their complementary role! 

Don’t get me wrong…I love making these wild, amazing, “ridiculous” pieces of wearable art.  These fanciful confections have developed in a very specific environment and would not be worn by anyone else!  But I find that I am increasingly interested in the comfort of the dancer.

I would very interested in that particular moment in time when someone decided that the ID dress needed to be more prominent in the dancing picture, because from there ID costuming evolved with no real thought as to the dancer or the dancing.  I think this strange mindset is what informs the creation of these dresses still.  So many questions about dress construction make it clear that the triangular, wide, flat, stiff shape of the dresses is considered to be traditional!  Granted, there also seems to be a renewed interest in the history of ID costuming which may or may not shoot that thought down…

But what is interesting to me are the objections, subtle or not, to dresses moving towards the soft skirt again, and my fascination is partially because it is still in my head that the dresses still need to be wider than any normal person would wear…although some of the fashion links on the boards have shown the fashionistas to be wearing pretty poofy skirts!

There is also, and still, this irritating idea that somehow the BNs are the gods of ID costuming who must be emulated at all costs!  Why?  Not too long ago, someone who claimed to just be making a comeback to ID pointed out that all of the current dresses look the same, no matter who made them!!!  I have to agree!  We are ALL doing panel dresses right now.  There are more folks trying to solve the soft skirt problem in many creative ways…but how many times have you read the same question on the boards:  “How do ED/Gavin/SR, etc, etc, etc…make their skirts look like that?”

Susan said something to me about how the harder people try to be different, the more they conform…  Wouldn’t you say that most dancers want to set themselves apart from the other dancers?  So out come the wild colors, the sequins, the crystals, the feathers, the 3-d flowers, etc, etc, etc…and what happens?  They not only all get lost in the cacophany of dazzling color, they all look the same!!

I have no earth shattering solution…I love making these dresses.  Each one is my baby.  When one client says subtle and elegant, that’s what I do.  When another asks for more sparkle, I do that, too.

I love our new tunic dresses mainly because I think they are constructed with the MOVING dancer in mind.  But being panel dresses, am I a sheep, too?  I think Susan and I, like so many other dressmakers, were interested in a different shape for designs so we were drawn to the panel look at probably the same time as everyone else!  I am quite sure it was a lone dressmaker somewhere who came out with the first one, but the second that a BN produced one, they were given the credit and proclaimed GODS once again…gag.

What is my freaking point?  Well, maybe it is that we all as dressmakers ought to slam the door on what OUGHT to be and open a new one doing what we want to do.  Yeah, when a client comes in asking for a dress like ED, you have to deal (or not), but when I expressed that I wanted to explore these soft tunic dresses, we got 3 clients in a row!  And we just turned down someone who wanted us to make a new jacket to match her ED skirt…I understand what she wants, but I am the wrong dressmaker for her!  I am not interested and told her the reasons why.  I suppose I could simply have said that we are booked up for quite a while (as we are), but I actually felt a bit insulted that I would be asked to essentially recreate someone else’s work, so I explained why I was not interested in taking her on.

Maybe this is it…newbies or not, we are each valuable artisans in our own right.  Perhaps not every one of us calls ourselves an artist, but we are.  Maybe our first attempts are less than stellar and actually petrify brain cells when we look back, but they are still created by us is “artiste mode,” sublime or not!

When a young choreographer is beginning her journey, yes she looks to the masters for information, inspiration, and guidelines, but she is also taught and guided to find her own voice.  The point is to bring to life her OWN vision.  We as dressmakers need to change our mindsets to #1 realize that the BNs are NOT the masters (far from it), and #2 that our visions are just as valid as any one else’s!  Maybe they are not all ready for prime-time right out of the gate, but we have to start somewhere.

So, open a door…and I’ll get off my soapbox before the swelling music in my head deafens me…

Letter to Dressmakers…or…Cogitating on Popcorn Thoughts…whatever

Dear Dressmakers:

I have been thinking…or rather percolating which is an ongoing activity that I do not have to be consciously aware of. 

Sparking events:

*A family member asked again if people use the info on this blog and if I get paid for it. 

Yes.  No.  My choice.

*Last night, Susan pointed out to me that Rebecca W’s ID dressmaking website and blog had disappeared.  My email to her bounced right back.  Called out to her on the dressmaker’s board…and she emailed me.  Her email got me thinking and the percolations began to rise…do-do-do-do, do-do-do-do {twilight zone}…

*I have noticed recently how many times folks have tried to start positive thought trends on the ID message boards.  They are lauded for their efforts and folks chime in and add wonderful things to the discussion.  There were a few postings about our new tunic dresses, which I found gratifying, and some interesting comments.  But, so much of the boards are taken up by screaming, mind-numbing, destructive negativity…why?  Are more endorphins produced by causing trouble rather than inspiring laughter? 

*Today on the knitting site Ravelry (I am SOOO enamored of this incredibly creative site!), someone brought up the issue of others using her photos without permission.  She said all anyone had to do was ASK!!!  I was very flattered when I was asked by a designer to use one of my pics to illustrate a pattern…in my hermit universe, I felt like a rock star!!!  The discussion was wonderfully constructive and educational…someone wrote about the benign internet mentality that what we can so easily find in the ether must be free!!!!  Most folks really do not seem to mind while understanding that some others are really bothered by it.  And technically, the law is on the side of first documentation. 

*And prior to this,  Susan and I had a conversation about the “sharing” of ideas that happens in ID dressmaking.  Folks in the ID world “share” differently than the rest of the children on the block.  Knitters do not “share” ideas the ID way because everyone calls them on it!  Every message board calls out the offender as the idiot they are!  The offended designer will visit you in your dreams!!!  Consequently, very, very few share without asking, attributing and/or pointing out VERY specifically how they changed things.  It creates a very open culture of folks that share in the true sense of the word.

And then there is my other world…dance.  If you borrow from another choreographer and yet present it as your own, you are very quickly nothing more than mud.  Everyone knows… a critic will take you to task in print.  In dance, as in so many other art fields, a true artist talks openly and with pride about who and what influenced them.  Training and working and studying with different artists are encouraged.  There is dignity in discussing the lineage of your artistry, if that makes sense. 

Plagiarism in all fields, artistic or not, ruins your DNA for generations to come.  In the performing arts, literature & art worlds, artists publicly acknowledge their influences as badges of honor! 

But ID is different.  We are not allowed to videotape competitions for fear steps will be stolen (how many different ways can you do a batter/treble?!).  Dancers can only train at their ONE sanctioned school (although I do find the rise of ID summer camps to be wonderful).  Transferring schools is cause for much teeth gnashing, many bad feelings, and nasty bad mouthing!  The case for the over-use of the trinity knot is before the Supreme Court…knot not.

All of that, and public and private dressmaker angst (I use that word for its power, not as parody) brings me here: even ID dressmaking is very weird…still.  I do think that it is much more open now than it used to be because of the great influx of newbies over the past year or so.  Yeehaw, Newbies!!!!  When I finally discovered the boards (a year or so after I started) getting real help was difficult as the secrecy thing was still in full force.  There were a couple of websites to go to for info…I still see them in my head as I studied them with awe and absolutely zero comprehension. 

My first foray onto a board went something like this:

“Are there patterns for Irish dance dresses?”

“Yes”

…after a length of time… “Where can I find them?”

 “IT.”

…after another length of time…”What is ‘IT’?”

…doo-do-doo, twiddling thumbs…”Irish Threads.”

“Great!  Where can I buy it?”

…time…”Search on Google.” 

My frustration knew no bounds.

I will say that the first ID dressmaking person I ever talked to was Pat at Irish Threads.  She was extremely knowledgeable about all things ID, and very helpful & patient, especially considering I really knew nothing.  She was the first to warn me that getting info and help from others would prove difficult…to put it mildly.  She was also encouraging and I appreciated that.  So I plugged along in my frustration until I met Susan…and she blew my mind.  That experience here.

Even now, still, the old guard seem to continue to be very quiet folks.  Perhaps they pay us no heed at all, but I do think they are there, listening and even contributing to the boards and groups, anonymously for the most part, though I imagine the old culture of secrecy, of “guard your trademark secrets for they are your identity” is still at work.  And yet, as Susan pointed out to me, everyone used to use mainly the designs from Seven Gates!!!  The designs had the same source but no one would talk about it!!!

My blog was the first ID dressmaking blog, and I only started it in March 2006 {what a hoot this is now…notice my tiny font…did not want to seem presumptuous}.  I searched and searched and I was really surprised at the time that there were no ID dressmaking blogs (update: turns out there was one t I did not find!).  I started mine because I was encouraged by reading knitting blogs, and I was so tired of feeling alone in the ID virtual reality.  But, I did it with much trepidation because I was afraid I would be perceived as an interloper, a fraud too big for her britches even though I really only started it as a way to share things with my family who live way off in California and Louisiana!! 

So…what is my freaking point?  I dunno…do I have to have one?  [[[whine, whinge, snarf, snurf…]]]

I feel like there is an elephant in the room…only I can’t see it to point it out.  It is part of what drove my whinging about no one talking to me a while back…it is part of the mild surprise that we at Feisdress felt when we actually heard very little from our fellow dressmakers about our tunic dresses because we value those discussions, those insights.  We do thank those of you who responded with such enthusiasm!  Kisses!  We also want to hear from those of you who did not feel enthusiasm…there is nothing better than a good, thorough, Irish dissection and debate!  My favorite “criticism” of the tunics from the boards was that they resembled Renaissance armour, and then pics were provided.  It was specific, and I understood.  My laughter was appreciative as well as highly amused.

ID is a very strange and irrational world.  I really do not understand because my Irish heritage is filled with people who looked/look you in the eye and told/tell you when you were/are full of shit!  Quite frankly, if it weren’t for Susan I would not be doing this.  I truly appreciate her blunt, take-no-prisoners attitude as my tendency is to take most things to heart.  Even though I can be perceived as a hard ass, once you get past what is a facade wrought by stellar teenage shyness coupled with the rigid ballerina posture, I am basically a marshmallow (as my sister Katie puts it).  I do think Susan and I make a good great team, and that is why I continue.  My former dance life was about collaboration… this dressmaking life is also a collaboration.

That’s it…collaboration.  We dressmakers are in collaboration.  We share and borrow, spy and steal, evaluate and re-format.  The Celtic Flame dressmaker’s message board has become quite a wonderful thing…except when we feel there is a sacred cow/elephant in the room.  We have become pretty wonderful about sharing in the true sense of the word…except when we don’t.  We are so giving…except when we aren’t.  We are supportive and funny and forthright…except when we are silent.  And we do all of this in packs.

Am I making sense?

I, for one, vow to start thanking any dressmaker that shows me something new.  I vow to look at all pics. I vow to answer all specific questions if I have something even remotely valuable to add. I vow to give feedback if asked.  I vow to help/support/validate/educate any dressmaker in conflict with a TC or client.  I vow to get over myself and be the collaborator I know I can be.

That is what this blog has evolved into.

The ID world, the TCs and parents, can be hard on dressmakers.  (So far my experience has been nothing but good, great and amazing…I KNOW I am lucky.)  Human psychology is a bitch to begin with, but the psychology of an art form that finds its validation in competition is so freaking complicated!!!!  So much of their anxiety gets taken out on us…we are ONLY people who ONLY work with our hands and EVERYONE knows that takes no brain power, for goodness sake!  (I am stopping there as THAT crap is a sure-fire way to get my juices flowing in a non-constructive way…)

We as dressmakers have a rarefied, immensely stratified and separated support system.  When we are dismissive and uncommunicative, we hurt each other.  When we are good, we help people fly.  I was so struck by the support Rebecca W received in the IDD group…it was not only wonderful, it was ‘us’ at our best.

I vow to try to support everyone who asks for it.

Sincerely,

me

Reality Check!

Hoo-boy…see this dress?
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This dress was made by Rachel from Silverlode Needlecraft… gorgeous. I am a huge fan of her spectacular work. She is quite the artist. Look at the detail…and this is one of her simpler dresses. The River Silverlode is my all-time favorite. It is like an incredibly complicated quilt! Unbelievable!! If it was mine, it would be hanging in a shadow-box frame in my living room.

So what’s the reality check?

On Dance-Again are scores of used, old dresses for $1600 on up. There are hundreds of worn BN dresses, cookie-cutter designs, priced ridiculously high because their owners want to recoup some of the price they originally paid. There are new ones made by experienced folks priced reasonably that do not get even a nibble. And there are so many brand new dresses made by inexperienced people that are priced unrealistically at $1200 -2000.

Guess how much Rachel is asking for this dress, this gorgeous, one-of-a-kind dress made by a highly skilled, very experienced, accomplished dressmaking artist?

Only $850…it is on Dance-Again for ONLY $850!!!!!!

Reality check!!!!

……………reality is shifting………….

(SOMEONE needs to snap this dress up. Better yet, I hope there is a bidding war so that Rachel gets what this is really worth!!!)

We all know that the ID dress market is changing. Rapidly. Used dresses now typically languish on sale sites for a very long time. I hear that the numbers of dancers are falling which affects sales. Styles change so fast that the perfectly good and beautiful dresses that were stylish 1 year ago are considered out-of-date…which affects sales. Even the re-sale market for the BNs is stalling because there is a glut of them. This is of course not the BN’s concern because the dresses belong to others, but as the BNs are increasingly being called out on their unfair business practices and dresses that cannot be danced in, I do believe that their future sales will also be affected if they haven’t been already.

It is a rare dressmaker (any?) who makes a living from the sale of Off-the-Racks (OTRs) because there are so many dresses for sale. But there continues to be an influx of new dressmakers who seem to think there is high money to be had for their first few attempts. Do many of them actually get what they ask for? I have no way of knowing.

Let me say here that I have nothing against newbies…the more the merrier. It is great fun talking to all the new people on IDD and the boards. Yes, they ask questions that have been asked a thousand times before, but when we answer, we get to define and refine our thoughts about our respective techniques. I am always learning something new from a “newbie,” especially the ones who think and work outside the box. I learned something great from a seamstress who alters ID dresses but has not made one yet herself because she is not sure she can!!! (Slappin’ my forehead!!!)

So many of us encourage newbies all the time, because ID dressmaking should not be an elitist art form. But it takes time to become proficient, and the learning never ends. It is the weird pricing by the inexperienced that makes me twitch. Having made the journey myself from newbie to now, I know that my skills and therefore my dresses are INFINITELY better now…no way would I have asked $1800 for my 1st dress…or 2nd…or 3rd…you get it. On the ID dressmakers board, Celtic Flame, someone did take the time to ask about pricing and there was a great response: “If you are looking to build your name/reputation, then price on the low side of ‘reasonable’ to get your name out there. If you do this a few times with some great looking dresses, you’ll begin a ‘following’……” Great advice! I know I have done it.

Another pricing issue…I have not really commented on this before, but I have had a big problem with the fact that the BNs were/are still charging BIG bucks for dresses that now have very little embroidery and/or appliqué. Quite frankly, it would be a breeze for me if I got to make a dress that depended mainly on the fancy fabrics for its “identity.” It would NOT cost as much as a dress dependent on embroidery and appliqué for it’s look. I have a breakdown of what I charge for everything…if there is little to no embroidery or appliqué, the price is significantly lower. In fact, this next solo will cost less because the underskirt will be completely soft! The one after that will have no stiffening anywhere which brings my labor cost down again!!!!

But here, in Rachel’s dress, we have a skillfully designed, carefully constructed stiff dress with detailed embroidery and appliqué made by a well-known and respected dressmaker…and she is only asking $850. On her website, she states: “We were recently trying out a new skirt style** before beginning a dress for another dancer. It might have been overkill, but we designed a whole separate dress as our test dress with its own design and color scheme, and we are happy with the results and have decided to sell our finished ‘test dress’!” We should all be so lucky to make a “test” like Rachel’s! And, she is only asking $850!!!!!

Reality check!

Does Rachel really think her work is only worth $850? I hope not. Or, is her (too low) price a reflection of an honest, realistic look at the current dress market? Perhaps this is something we should all be doing.

Reality check.

Teacher Responsibility

On one Irish dance message board, there is a posting and discussion about toe stands…the usual one about the teacher simply putting toe stands into a child’s dance because she is 12 now…the usual one asking how they are done…on a message board……can you see where I am going with this?

Why hasn’t the teacher prepared the student for toes stands? Why hasn’t the TEACHER PROPERLY TRAINED THE STUDENT SO THAT THE PARENT DOES NOT HAVE TO GO ON A MESSAGE BOARD TO ASK FOR TECHNICAL INSTRUCTION???!!!!

Someone suggested reading On your toes and another answered: “Thank you SO MUCH for the “Taoknitter” site-my daughter is starting toe stands too-this info is invaluable for saving her feet! Amazing how many kids do it in an injury prone way…” Gratifying to read that…but there are 2 issues that this answer brings up.

1) Notice her statement about “how many kids do it in an injury prone way…” Where does the onus lay in that statement? On the kids. Where should the onus lay? On the teachers.

2) The mind set of this and the other posters is that it is ok that the dancer must figure out how to do toe stands on her own. It is ok that mom is on the boards asking for help…and other folks are being helpful. But no one has pointed out that the TC has failed the student. It seems to be ok that the students are left to their own devices. Why?

Makes me sick to my stomach.

Is this mind set unique to ID? No. Is this behavior unique to ID teachers? No, as illustrated by this interesting comment that came in on “Dear An Coimisiún le Rincí Gaelacha…”.

From Anonymous:

“It’s interesting that the post providing a link to your kinesiology posts has been removed AGAIN from the TCRG voy forum.

When I was in high school (several decades ago), I hated gym class. Actually, I always hated gym class and any form of body-movement activities. It was always presented to me as a form of punishment (“You are so awkward, so I’ve signed you up for tap dancing…”)

One particular gym class is still very memorable. The teacher (name and face long forgotten) had hauled out the “gymnastics” equipment. There was a set of uneven bars. We all stood there looking at it wearing our bright red, IRONED, cotton “gym suits”. She explained that in a few weeks we would be graded on a routine and some itsy-bitsy little girl went up to the bars to demonstrate. First thing she did was haul herself up around the lower bar feet-first. Now I could sort of do it the other way – straight arm up and then let gravity do it’s work and around you go. But this way? It was a mystery. “How do you do that?” I asked the girls who could. They didn’t know, they just did it. The rest of us (most of the class) just stood around and stared. We were told to do it.

We did not have the upper body strength to pull into the bar (not that we even knew that was what we had to do). Did the teacher ever have us do any conditioning exercises for this activity? No. When we couldn’t do it, she just told us TO do it and don’t be lazy. I didn’t get an “A” in gym and just hated it even more.

Here’s my point. Any of you TCRGs out there reading this: It is all well and good if you can recognize the steps and moves and know whether they are executed well, but if you can’t help a student get to the point where they CAN dance those steps, you aren’t worth any more than my long-forgotten gym teacher. Reminding a student to turn out or get up high on their toes is not the least bit helpful to the dancer who can’t. The good teacher needs to be able to sort the CAN’Ts from the WON’Ts. The can’t-do-it-yet dancers need background strengthening work and encouragement that they will someday be able to dance the way you want. The won’t-do-it-yet dancers are the ones that benefit from the “reminders” because they can do the move, but aren’t doing it consistently. Nagging a CAN’T only makes them feel worse.”

This way of teaching, this neglectful technique, is wrong, lazy, ineffective, counter-productive, ignorant and even dangerous. Why do people accept it?

Demand more. Demand and expect that your teachers know their craft, that they KNOW HOW TO TEACH!!! Change the mind set that teachers are gods that cannot be questioned. Question them all!!! The good ones will smile and and answer every question, even if it is to say, “I do not know the answer to that right now, but I will when next I see you.” The bad ones get mad…and then behave badly.

I like to think that there are more good teachers (of all kinds) out there than there are bad ones. We just hear more about the bad ones because the good ones do not send you off to the message boards to get answers.

Click for more kinesiology info: Dance Kinesiology

Ignorant Dance Teachers

(Someone has been irked by this post, so she ANONYMOUSLY accused me of making MANY assumptions in this post and insinuated that I did not understand the difference between ID and ballet training… obviously not a regular reader of this blog. As I state at the beginning of the post below, I was sent off on this rant by a post on dance.net, but day after day I receive emails from parents and dancers asking for help, recounting their stories and their injuries. Up until now my dance kinesiology posts have been about the body as a way to encourage dancers and parents to take responsibility for their own body knowledge. I have been thinking that I should also say clearly that it should be the professional responsibility of every dance teacher, no matter the discipline, to understand the human body and how it moves. So, I say it now.)

Ok, can’t take it anymore…got up this morning, perused the web a bit to wake up, and unhappily came upon this:

“im 19 and have been dancing since i was 4. I have beautifully turned out feet but recently i have been getting serious pains in my knees and ankles. i went to an orthopedic who was shocked at how bad my leg alignment had become, presumably from ID. I was always told to ‘push my ankles forward’ in order to turn out my feet. Nothing was ever mentioned about my hips. I have never heard anything about using my hips. This might be the underlying cause to my problems. can anyone please shed some light on what i’m supposed to be doing with my hips when turning out my feet and trebling etc??? Any advice is welcome.”

PUSH FORWARD IN THE ANKLES TO TURN OUT!!??!! NEVER HEARD ABOUT USING HER HIPS!!??!! This teaching stupidity is stunning. Poor thing!

Why is any ignorant moron allowed to mess with young developing bodies just because they call themselves a “dance teacher”???!!!

I have always had a problem with bad teaching, regardless of the subject matter. I have walked out of many lectures, workshops, studio classes and university courses…I make no bones about ill-prepared lecturers, lazy presenters, and ignorant “teachers” of all kinds, no matter the guru they profess themselves to be. As a university professor, I probably shocked many a student when I would take their former teachers’ ignorant and dangerous ideas and teaching methods to task. What inflamed me more than anything were the “chronic injuries” that dancers owned as if they were badges of honor…these injuries were a sign of bad teaching, of damage done to them by ignorant teachers… they were not good things!!

Dance teachers work with the human body, therefore they should know how it is put together, how it works. They should know the bones and their articulations. They should know how each and every joint is constructed and how it is meant to move. They should understand the role of bony formations and ligaments in supporting and restricting movement in the joints. They should know the difference between ligaments and tendons and muscles, and they should know what bursae are for. They should know how muscles work by acting as the forces that move the levers that we call bones. They should know how muscles create movement by working with or against gravity. They should know the physics of jumping, turning, kicking, leaping, etc, etc, etc. They should understand correct skeletal alignment and effective and safe dance posture inside and out!

They should know how turn-out is accomplished if they want their students to use it. They should know how to strengthen a dancer’s legs and feet, and that it takes a few years of concentrated, specific training before a dancer should be put en pointe. They should understand how much stronger an Irish dancer’s feet really should be to perform toe stands in shoes that are not supportive or designed for such a maneuver. Irish dance teachers should understand the particular demands that the very specific Irish dance technique places on the body…the fact that dancers’ heels are not to contact the floor and that their knees are always to appear straight is very stressful on the legs. The fact that they are required to jump with out the benefit of the full use of the foot lever OR the arms requires unbelievable strength. They should understand the stretching that should be a MATTER OF COURSE for any dancer. If Irish dance teachers are going to continue to borrow movements from other dance techniques (ballet, in particular), then they themselves should be taking classes so THEY are trained to perform these steps. What has ID taken from ballet? Changement, entrechat quatre & six, cabriole, pique, pas de bourree, gargouillade…don’t know what these are? Then why are you trying to teach them to your students!!!!??

It should be a GIVEN that dance teachers understand the human body completely! Period.

There are bad teachers in every dance form. The mind set that the art of dance and the science of dance are mutually exclusive was quaint 75 years ago when the dance star of the day was no better than the average intermediate-advanced student of today. But as the athleticism of dance advances, so should our understanding of movement, of motion. The dance training needs to be more specific, more careful, more focused as we try to defy gravity in more and more complex and innovative ways because the HUMAN BODY DOES NOT CHANGE AS THE DANCE FORMS EVOLVE!!! Our bodies are put together the same way they were 50, 100, 1000, 10,000 years ago. This is not new news…so why is knowledge of the human body not a given?

If your dance teacher will not take responsibility for your body, then you take it. And find a new teacher. Good ones do exist.

Click for more kinesiology info: Dance Kinesiology
To start educating yourself, try here.

Per use fees for patterns

On the Celtic Flame dressmakers board, the subject of a per use fee for patterns has come up again, and those taking it personally are misunderstanding…again!!

It is standard industry practice to pay a per use fee or a licensing fee to re-use commercial patterns. And this is how it should be! A pattern is the product of someone else’s design ideas and skills…they SHOULD be paid every time someone makes something using their pattern! (See “Why do patterns cost so much?” ) When you buy a pattern for personal use, it is yours to use for PERSONAL use. If you are making 10 first communion dresses for others, a pattern must be bought for every person…that is your license, your per use fee.

So, when we buy an ID dress pattern to make one dress, we have paid for that use. If I am going to make my daughter 6 dresses from the same pattern, I can do that. But if I want to make 6 dresses to sell, I must either buy 6 new patterns, or purchase a licensing agreement from the pattern maker. This is standard industry practice!

“Most pattern companies, including the small independent pattern companies, have strict policies that prohibit the use of their patterns for manufacturing. It is a direct violation of copyright laws to manufacture sewn products from a commercial pattern and claim it as your own design.

You can, however, sew custom garments for customers using a commercial pattern if you buy one pattern for each person. For instance, if you are making four of the same style of bridesmaid’s dresses for four different people, you need to purchase four separate patterns, one for each bridesmaid.” – Copyrights and the Sewing Industry: Part 1 By Susan Wigley

(More info here.)

All of this is so confusing that no home sewer really pays much attention to it and the pattern industry is not policing this issue, though it would have the right to do so. It does however police trade shows and craft fairs to catch folks using one pattern to create articles for sale.

Even though a per use fee is standard industry practice, Susan decided not to require this with her pattern. She understood that many of her customers would be using the pattern to make multiple dresses. Not wanting to deal with this, she decided to charge enough for the pattern that she is happy and comfortable with her customers using the pattern as much as they wish. She is not being taken advantage of. But that does not mean the pattern can be copied in any way and distributed to others. (We do, however, advise that if a dressmaker is making dresses for multiple schools, each school should buy a set of patterns so that they [the school] own them which makes it easier to have multiple dressmakers or to change dressmakers at a future date. This is not policy for us, but it highly recommended.)

Now, one of the other ID dress pattern makers takes exception to the fact that Susan openly and clearly states that there is no per use (commercial) charge. She thinks it sounds like Susan is accusing her of collecting these fees. So? If she is collecting fees, she should be and more power to her!!! If she’s not she is also going against industry practices which works to the benefit of the small ID dressmaker and more power to her again!!!!! So what’s the problem here?

And there is a larger issue here in this objection to Susan stating that she does not charge a per use fee : she is accused of under cutting someone else while in actuality her focus was not limited to ID dress patterns at all and her reasons for stating that she does not charge a per use fee is because of her experience in the pattern industry.

“When I developed this pattern my personal challenge was not to make the best ID dress pattern. I wanted to make the best garment pattern of any kind. I was looking at the entire home-sewing pattern industry, not a small niche segment. ” – Susan Gowin

Sincerely,

Ann & Susan

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