Adult Babies Down Under

Pictured above: Russell with two lovely partners, Claire and Christina.

I call my adult students my “ballet babies” because, like young children, they are so eager to learn, are “pure” in that they have no pre-conceived notions, and dance as if there is no tomorrow. Some of my babies are teachers and students who live in Australia. Some have attended my workshops; all use my videos and music; and most have my memoir Ballet for Life.  Russell Merriman lives in Bicton, Western Australia, and began studying with my streaming videos this year.

In his own words…

Streaming from Perth Western Australia is phenomenal. It is simple to log on and there are no delays in finding my videos. I am a ‘mature’ student. I turn 75 years of age on July 19. My ballet has improved dramatically since I started using your streaming videos. I have started pas de deux and my partner who was a professional ballet dancer thinks that I am a ‘natural.’ I purchased your Partnering Techniques DVD.

My first dance technique was contemporary dance. While a student at Flinders University of South Australia I attended a week-long workshop at Australian Dance Theatre in Adelaide. I was aged 30 years and very stiff and inflexible. I was excited when, at the end, we performed a dance to the song of Buffy Sainte-Marie: God is alive, Magic is afoot. How prescient for my life!

I then joined a small group of dancers at Flinders University and after we performed, I was ‘hooked.’ I moved to Perth in 1974 and commenced contemporary dance classes with Ruth Osborne, wo taught the Graham Technique. After I turned 40, I found an introduction to ballet of eight free classes. After discovering pirouettes I never stopped.

Around the same time, I joined the Keszkeno Hungarian Dance group. I was mesmerized by the athleticism of the male dancers and remained with the group until 2016. We performed at concerts in Sydney, Melbourne, Brisbane, and Hungary. I had to stop Hungarian dance as an old ankle injury couldn’t cope with the stamping.

I continued ballet classes, and my first brief ballet performance in October 2017 included a ‘mini’ pas de deux which introduced me to the delights of partnering.

I am indebted to Heather Callander who has been my teacher for over 30 years. She told me about the videos of Finis Jhung which allowed my enthusiasm for ballet to expand. She uses his concepts in her teaching. Justin McNamara has been instrumental in his beginner classes in teaching me the fundamentals of posture and balance. Justin says he ‘Really found it so helpful the way Finis explains the way to approach teaching the use of arms for beginners in classical ballet and the example for pirouettes of the kids toy where to make it spin you push down to make it turn.’

I have found that the secret of ballet is that it is anti-gravity as the movement is all UP. This lengthens the spine and frees up space in the joints. Obviously this counteracts the normal effect of aging where people ‘shrink’ and their body contracts. The change in one’s posture from ballet can be dramatic (mine has) and it results in new breathing patterns. So, like Finis, I will never give up.

PS: My favorite video right now is The Art of Teaching Jumps. I’ve had double hip-surgery, but will persist with patience and determination for my share of air-time.

—Russell Merriman

NOTE FROM FINIS JHUNG: And I just recommended Ballet Barre Foot Strength Exercises to help Russell strengthen his feet and ankles so he can jump higher.

Project #fjrecovery

In July, at age eighty, I make the BIG DECISION. I will have my severely arthritic right hip replaced. I’ve been putting if off for years, but have finally accepted the fact that the leg is too unstable and getting weaker by the day. What hurts most is not the muscular pain and limited movement, but that after forty-five years of teaching, I no longer have the strength in my right leg to demonstrate full-out. And remember, I’m the guy who has always said “To dance is to live.” Ouch.

Luckily, my personal physician is Dr. Alan Kadet, who only refers his patients to top-tier specialists. His wife, Cindy, had her hip replaced in 2016 by Dr. Roy Davidovitch, Director of the Hip Center at NYU Langone in New York City. Dr. Davidovitch was the first surgeon in New York City to perform the minimally invasive (MIS) Anterior Approach Total Hip Replacement and has since successfully performed hundreds of these procedures.

Unlike other approaches to the hip, the Anterior Hip Replacement is truly a minimally invasive approach that requires a specially designed surgical table. The goal of the anterior approach total hip replacement is to return patients to their normal functional level in an accelerated fashion.

Wednesday, September 6, my son Jason and I check-in at the hospital at 5:30 a.m. The nurses in surgery greet us with huge smiles. They are so friendly and relaxing! There are nine other patients who will have surgery today.

We are all dressed in a plastic gown that has a tube attached to a heater. It’s inflated with warm air which is comforting, since the room is very cold. We are served coffee!

My vitals are taken, the anesthesiologist goes over details, and Dr. Davidovitch, the surgeon, visits with a reassuring smile.

I am taken to the operating room and placed on that special table. The next thing I know, I wake up lying in bed in a private hospital room with Jason and more smiling nurses attending me. I have absolutely no discomfort or pain. In fact, I’m hungry. Lunch is baked salmon on spinach with fruit for desert, and coffee and water. It’s all surprisingly delicious for hospital food!

That night at 8 p.m. Jason brings me home. I am wearing inflatable sleeves over my calf muscles which increase the speed of blood flow and reduce the risk of clot formations. I will wear these sleeves that constantly compress and release at least eighteen hours each day for the next fourteen days. Whenever I walk about I will wear the ActiveCare control device that weighs 1.6 pounds. When I’m stationary, I take off the devices, and plug them into outlets for charging. When I rise from working on my memoir at the computer, I often forget I’m wired in and begin walking out of the room until I am abruptly jerked back by the calf device cables.

On the second day after surgery, there is hardly any swelling and I feel good enough to try some of the exercises recommended by NYU. As usual, I overdo it, and loosen the tape over the protective gauze, and blood trickles down my leg. I am momentarily alarmed, but that drainage is natural after surgery.

The next day, Jason takes me to the doctor’s office where his assistant adds another layer of gauze and, she attaches a PICO device. Besides the long cables for the calf pumps, now I also have a small wire coming out of the protective gauze which is connected to a miniature unit with a long cord that is battery-operated.

For the next five days, I will be wired up to two different devices day and night.

Four days later, I return to the office where Dr. Davidovitch himself removes the PICO device, both dressings, cleans the area, puts on a new dressing, which I am to remove tomorrow. As long is it’s not draining, I will keep the incision uncovered. For the first time, I see that they really did use little metal staples to close the incision. One of my video customers, Justine Coulon, writes that her dad invented those particular staples. Small world!

The staples will be removed on Friday, September 22—seventeen days after surgery.

After this visit with Dr. Davidovitch, swelling and discoloration begin to appear in different areas of the leg each day. Somedays the thigh and knee are so swollen and tight it’s hard to bend the knee to sit.

I’ve been following a carefully prescribed program of medications, but rarely use the pain-killers like Hydrocodone or the “break-through” pills Oxycodone. Only during this past week—when the swelling made my thigh muscle painfully tight—did I take minimum doses. They don’t relax the muscles which are understandably swollen since they are healing.

What works best is to sit back in my zero gravity recliner which elevates my lower legs so they are higher than my heart and ice the swollen thigh for fifteen minutes an hour.

I seem to be in a very intense period of healing, where swelling and discoloration move up and down my right leg. I never can sleep for more than two hours at a time, because my body is cleansing.

Sleeping is a challenge since I am a side sleeper and it’s very difficult to do this with the right leg very weak and swollen, plus I have cables stemming from both knees that are always connected to the device. Last night, nine days after surgery—Saturday September 15—I finally found a comfortable sleeping position leaning back on a bed reading pillow with legs atop two body pillows and a smaller head pillow.

Since this is my first hip surgery, and each person reacts differently, each day has new challenges.

Sunday, September 16, when I awoke, the swelling and muscle tightness had lessened considerably. I did the gentle home exercises (lie on your back and flex and point the foot; bend the knee and slide the heel toward the buttocks; squeeze the buttocks together; and tighten the top of the thighs by pressing the knees into the bed) and I also walked down to the floor below and up to mine twice—a total of sixty-eight steps—using the handrail and a cane. No pain!

Monday, September 18 is the best day yet. Although my right foot is black and blue—it’s a natural healing progression—I can sit and stand and walk with minimal cane use. Jason takes me to see my intern who wants to make sure I’m not urinating excessively because of an infection.

Wednesday, September 20 Dr. Kadet informs me I don’t have a urine infection; the frequent urinations is just part of the healing process. And, today is the day I no longer have to wear the calf pumps. Off they come and away they go! Yeah!

Before lunch I go through all the home exercises and walk the stairs (17 steps) down and up three times—total 102 steps. After lunch, as usual, the swelling increases. My right foot and ankle are especially stiff and swollen, so I lie back on the recliner with legs up and ice.

At the moment, I’m sitting upright at the computer feeling no pain or discomfort. I am so glad I had this surgery and am fascinated with the recovery process.

 

 

 

 

 

Burning Your Bridges As You Move To The Future

It’s that time of the year again – out with the old, in with the new. Now, I’m not suggesting everyone will want to do what I did, when I discovered that burning your bridges to the past can open doors you never knew existed.

In 1968, I was a principal dancer with The Harkness Ballet in Monte Carlo. My childhood dreams had been fulfilled—I only wore white tights and danced classical roles. I was also I a devout Buddhist (having converted 20 Company members), and, one day, had a realization: “I can’t be lying here at the swimming pool in Monte Carlo doing nothing”—while the world is in tumult following the assassinations of JFK, Martin Luther King and Robert Kennedy; Vietnam; hippies; LSD; women’s lib; racism; and college protests.

In January 1969, The Harkness Ballet performed in New York. Shortly after the season, I told Larry Rhodes, who was the director, that I had decided to stop dancing so that I could devote my life to achieving world peace through Buddhism. I had no idea what I was going to do for a living.

1969 – Final Bow with Harkness

After sitting in a hot tub and crying my heart out over what I then thought was the greatest mistake I had ever made, I pulled myself together and found a 9 to 5 job working in an office as secretary to a private investor. My evenings and weekends were now free to roam the streets looking for people to invite to our Buddhist conversion meetings.

For three years, every waking moment was happily devoted to Buddhist activities.  And then, the owner closed his office and I was out of a job. I asked my Buddhist leader what I should do, and he said “Why don’t you teach ballet?”

I contacted Wilson Morelli who said he would love to have me teach at his studio in downtown Manhattan. I went to look at his class and was shocked. I could not remember what the steps were called! I was seeing ballet through the eyes of a stranger. I was in a mild panic. How could I hope to teach professionals when I couldn’t make sense of what they were doing?

I was in trouble—after I quit ballet, I zealously burned all the ballet memorabilia: books on technique, beautiful photo books, and films I had taken of Erik Bruhn onstage—the man who was one of the greatest dancers of the 20th century and had mentored me. I purposely destroyed all the reminders of my ballet past so that I could prove I was completely happy being a “nobody” without any special identity.

And now, in order to make a living, I was about to re-enter the ballet world. In desperation, I ran to the book store and bought all the ballet books available. My first class was attended by four students. Clearly, I had made a dreadful mistake—how would I survive making such little money? And teaching every exercise in 3/4 since I was too insecure to try anything else.

As we now know, I did survive—and thrive—and am now in my 44th year of teaching.

Teaching Adult Babies at Ailey Extension

Because I had burned my ballet bridges, I was free to create my own ballet technique, based on teaching  the way I wish I had always been taught – with sensible exercises that warmed you up slowly and thoroughly, built strength and artistry, and even more, with explanations on HOW and WHY we ballet dancers do what we do.

Through the years, I’ve graduated to teaching adult beginners in classes at The Ailey Extension in New York, written a Technique book, and sold over 54,000 instructional videos. Another book and more videos are on the way. 2017, here we come!

THE GREATEST GIFT I EVER RECEIVED

 

A One-Way Ticket Sent Me from Hawaii To Utah and Forward on a Path of Lifetime Learning

Everyone knows that there is no place like home for the holidays. The season brings hopes to nice and naughty children everywhere. For their parents, the chance to bring joy or put a smile on a child’s face is priceless – even if there is a little sticker shock. It is a time when the difference between luxury and necessity is blurred. Many work and sacrifice all year just to make the occasion more special for loved ones. Their generosity inspires kindness that is almost self-sustaining. That kind of impact can be felt over the course of a lifetime.

The most amazing gift I ever received began a journey of self-discovery that continues to this day. A one-way ticket from Hawaii to Utah changed my life forever and I owe it all to the devotion of my mother. I was only eight years-old when my parents divorced. It was 1945, and the war was over. My father left the islands. He also left his debt-ridden tailor shop at Hickam Air Force Base to my mother as our family’s only means of support.

With the war over, however, most of the servicemen left the base, as well – to return to civilian life on the mainland. With the departure of the troops, the business was a struggle. Mom had to rent the tailor shop, pay two seamstresses and raise three boys. Searching for houses we could afford to rent, we moved six times in the span of five years.

Each night my mother would come home with bundles of uniforms that needed alterations. After making dinner, she’d start ripping apart the seams of the uniforms so that the next day her workers would sew them together. Her ceaseless efforts and love for us three boys taught us to always do our best. Even at her busiest, she found time to encourage us to pursue our dreams – no matter where they would lead.

By 1954, I was 17 years old, and I still had my dream of wanting to be a professional ballet dancer. I had no idea whether I had the talent, but I knew I had to leave Hawaii to find out. It was not easy to leave behind everyone and everything I knew.

The Head of the Ballet Department at The University of Utah in Salt Lake City was Willam F. Christensen, famous for founding the San Francisco Ballet. I was accepted with a partial scholarship as well as a $160-scholarship from the Exchange Club. All great in theory, but there was one problem. We had no money at all. In fact, we hadn’t been able to pay the $14 registration for my senior year in high school.

Miraculously, to me, Mom somehow found the money to pay for my plane ticket to Salt Lake City and living expenses to start off. It was the gift of a lifetime, but not in the way I thought in that moment. That one-way ticket has never stopped giving, and has allowed me to give more of myself than I ever dreamed possible.

As a performer, I have been proud to share the artistry of ballet with generations of appreciative audiences. Since then, as a teacher, I have been blessed to impart the knowledge I have gained through a lifetime of collaboration with some of the greatest performers and teachers of our time. Going to Utah opened the door to my career in ballet that has never ended. Today, as a teacher to my adult babies at The Ailey Extension in New York and via my instructional videos – I connect with dance enthusiasts  around the world every single day.

I am forever grateful to my mother – who was born on Christmas day—and to my two older brothers – for believing in my dream even before I believed in myself. Every Christmas since, I think about mom and the greatest gift I ever received.

“THE NUTCRACKER” BALLET – A LOOK BEHIND THE CURTAIN: Life Lessons Learned Performing the Timeless Holiday Classic

“THE NUTCRACKER” BALLET – A LOOK BEHIND THE CURTAIN:

Life Lessons Learned Performing the Timeless Holiday Classic

It’s clear – the holidays are here! Amid the hustle and bustle of the shopping season, most important are those annual traditions that bring us all together – as families and as a culture. For me, nothing signifies the start of the season like the return of “The Nutcracker.”

Appreciation for this holiday classic spans generations and borders. In fact, for the next few weeks, versions will fill stages across the country – and the world. Joyfully, the performances will feature dancers of all ages, backgrounds and experience levels. How many promising dance careers were launched in the warmth of a theater in December, as young sons and daughters were inspired by the artistry and athleticism on display?

Children are not alone in being captivated by the choreography in “The Nutcracker.” The music is familiar and irresistible —certainly a few parents would admit to trying to pull off a few steps when they thought nobody was looking. If you accidentally kicked over some furniture or tweaked a hamstring – don’t be discouraged. Every journey begins with a single step. However, it’s usually best not to start with the hardest one.

As a teacher of adult beginners, I encourage my new students to focus on the long-term benefits of dance, and not on “looking pretty.” Ballet will make you stronger, more graceful and improve your balance – in everything that you do. My own experiences in performing “The Nutcracker,” however, are proof that this success isn’t always overnight:

“It was Christmas in ’55 and all through the house, Finis was fuming, not even a mouse.” – I vividly recall sitting alone in the dark in the theater at The University of Utah, watching a dress rehearsal for the “Nutcracker” and feeling as lonely as could be. It was Christmas, and we just didn’t have the money to fly me to my Mom in Hawaii. Meanwhile, I wasn’t even ready to be a mouse in our production. And I felt just that small.

Still, I was determined to work harder to grow my ballet technique. Only three years later, I danced the “Snow Prince” plus the Spanish and Russian dances in our production. What great preparation for later in life, when I would be a father, teacher and student – all at once. My adult beginners, too, understand the complexities of balancing many roles with energy and passion. The versatility and perspective that adult beginners bring to dance can speed progress and understanding.

The biggest obstacle to achievement for the adult learner is sometimes vanity. I know this too, from experience. In 1960 I performed the Russian ribbon dance in “The Nutcracker” with Michael Smuin of the San Francisco Ballet. Trying to keep up with Michael, the best jumper and turner in the company— doing double air turns across the stage while holding beribboned batons with both hands high above my head—had me bouncing all over the vast opera house stage. Repetition and practice – my usual solution – failed to correct the issue and left my confidence shaken.

My mental block was cured only when I realized that I was focused on trying to look text-book perfect (forcing my turnout and pulling up so much I looked like I was dancing on egg shells), instead of using my body as it was built and the correct body mechanics I had learned from Bill Christensen at the U of Utah. I was working outside of my own body!

It took several years to overcome the mental block of falling all over the stage, but by 1965 I had regained my technique. While dancing with the Harkness Ballet of New York in Cannes, I successfully performed sixty-four double air turns over the course of a single weekend. Four performances, without a hitch – occasion enough for the director to give me a bottle of champagne to celebrate as he thought I had set a new record for double air turns.

I offer this advice – learned by performing in the Nutcracker – to both students and teachers this holiday season:

  1. Take the time to celebrate your own personal and professional accomplishments
  2. Fearlessly pursue new challenges, especially those that promise to bring strength and balance to your life
  3. See “The Nutcracker” ballet! The music is glorious and the story is timeless. I promise you will be truly inspired

You are a Star!

A star has 5 points. You have 5 points: Energy flows from the center of your body down through both legs and feet; up through your chest and out through both shoulders and arms; and up to your head and out of your eyes.

You are a star forever!

Positions are Functional

Positions are Functional

 

The classical ballet body positions are based on logic and are functional. When we use them as we dance across the floor, we are able to maintain our balance and move with control and grace. For instance, when making a tombé pas de bourrée forward from corner 6 to corner 2, we usually begin stepping out on the right foot. Most beginning students have trouble with this step. Instead of beginning with a pose in effacé devant (the head placed over the left shoulder and eyes focused in line with that shoulder) they tilt their head to the right, look straight ahead, and lean over the right foot. As a result, they have all their weight moving in the same direction at the same time which makes them stumble and get behind the music. If they would start out in a proper effacé devant pose—and look away from where they are going—they will then be able to balance the forward movements of their feet and legs and move with control and grace. NYCB Soloist Antonio Carmena demonstrates this beautifully in my instructional video “Basic Ballet Movement Skills Lesson 1.”

Basic Ballet Movement Skills: Lesson 1 (2013)

JUMP TIP #1

 

JUMP TIP #1

Bounce like a rubber ball: When teaching jumps, use a rubber ball (Spalding is best) to show your students how you want them to bounce off the floor. Raise the hand holding the ball as far from the floor as possible and then bounce the ball as quickly as possible. Point out that the ball does not sit on the floor—you don’t see the ball on the floor. You see it going up. In the same way, when your students plié to jump, their feet should not rest on the floor. They must not plié slowly. They should be stretched up strongly in Number 1, keep their hips up high, make the plie almost isometric, and jump with a fast minimal push from the knee. They should focus on the action of the foot going from flat on the floor to being pointed in the air. Concentrate on the pushing the floor as quickly as possible using the ankle, instep, and toes. Push and point— QUICKLY! For more detailed instructions like this, use “The Finis Jhung Ballet Technique: A Guide for Teachers & Students.”

Guidebook

Finis Jhung

Think Big

Skies are grey today. Temperature has dropped.  Hurricane is brewing. Rainy chilly days are coming. But above it all the sun continues to shine. Just because you can’t see it or feel it does not mean it’s not there. Don’t be fooled. Think big. Life goes in cycles. You will see the sun again. Your pirouettes will return.