Finis Jhung and Glenn Keenan of The New York City Ballet take you to Level 3 with barre exercises that expand your range of movement and balance as you work from one standing leg to the other. Certain exercises are timed to quicken the working leg and foot, while demanding stability on the supporting side of your body, as well as your standing leg and foot. Attention is paid to the use of head and arm movements which help maintain balance as well as the total look of classical ballet dancing.
Throughout each exercise, Finis stands by and coaches Glenn step-by-step, providing detailed instructions and the mental images that help develop the flow of movement that signals balletic artistry. This is a barre that will prove invaluable to both students and teachers. And, the extraordinary orchestrated music of Scott Killian makes it a unique
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- Battement tendu à la seconde, 1st position
- Battement tendu devant & derrière, flex & point, 1st position
- Quick battement tendu, 1st position
- Slow battement tendu with demi rond de jambe, head circles, balance, 5th position
- Medium battement tendu en croix, retiré, 5th position
- Quick battement tendu, dégagé, tendu plié, relevé & balance, 5th position
- Footwork, stretches, balance, 1st position
- Rond de jambe à terre, 5th position
- Développé, fondu, rond de jambe en l’air, 5th position
- Petit battement, frappé, 1st position
- Grand battement, passé, balance, 5th position
- Fondu relevé, attitude & arabesque
“Finis Jhung’s use of the arms and head in barrework is so flowing and natural that my students are really learning to dance at the barre. They say that they feel more solid, yet relaxed, and they are absolutely thrilled with their new-found balance!” – Barbara Owen, Teacher, Ballet 40/60, Maryland Hall for the Creative Arts, Annapolis, MD
“I’d like to give you my perspective on your DVDs, which I regard as the most powerful learning tools available to today’s ballet student.
Although I deeply appreciate the teacher’s corrections in my weekly adult ballet class, I feel that I’m able to learn more when I work solo with your DVDs. The problem is that when I’m in class and watch the demonstrations of the barrework and center work, my inability to remember the movements still throws me into a low-key panic. Because of my poor memory, I need movement models to follow, so I still have to find a place at the barre between two more competent dancers. Since I’m following rather than initiating the movements, I end up feeling like a failure as the class moves on to the next exercise and the demonstration once again throws me into a low-key panic.
On your DVDs, each exercise is thoroughly previewed before being demonstrated, which helps address my learning limitations. What I find even better, though, is the rewind/replay option the DVDs provide. If I’m not happy with the quality of my movement, I can take as much time as I need to practice it, and to refine it. On the other hand, since there’s no rewind/replay option in a live class, I rarely attain the satisfaction of a decent level of mastery. In short, your DVDs allow the luxury of self-pacing, which, for me at least, is the key to success.” – Ian Jackson, developer of the Acousticoaching™ CDs for the ballet-inspired BreathPlay System — the power behind Olympic medals, world records, and world championships. (www.BreathPlay.com)
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