The almost-isometric plié – Part Two

I think every plié should be done in such a way that it builds strength and balance. The only way that will happen is to make the muscles in the feet, legs, and body work.

In order to do this, you must eliminate the idea of assuming static positions and become more involved with the movement process.

How is it possible to move with maximum muscular involvement from a standing position with both knees straight to a plié position with both knees bent? How do you move with maximum muscular involvement from that plié to stand straight?

The answer is to use opposition. You will resist, or oppose, the movement. You will make your plié almost isometric. By definition, isometric means there is no movement. However, you are going to move into and out from a plié but in extremely slow motion, which is why I describe it as “almost-isometric.” You want to move so slowly and with such intensity that you don’t appear to be moving at all. But, you will certainly feel it happening with your muscles.

What makes the almost-isometric plié distinct is that there is no intentional or deliberate bending of the knees and lowering of the body into a static position. I tell my students, “Don’t make pictures when you dance. Don’t suddenly assume a position. Give me the movement. I want to see how you work into and out from the plié in slow motion. Give me the action. I want you to feel your muscles working.”

With an almost-isometric plié, you don’t want your body to go down; you don’t want your knees to bend. You don’t want to relax into a position.

(To be continued – Excerpted from my book – The Finis Jhung Ballet Technique: A Guide for Teachers & Students)

The almost-isometric plié: Part One

If you are going to pirouette, you usually begin from a plié in fourth or fifth position. If you are going to relevé to a pose, you begin with plié on one leg, or fondu. If you are going to jump, there’s a plié before and after. We can’t dance without the plié. The demi-plié initiates and completes almost every movement we make. Consequently, the plié is the most important and the most difficult movement to execute properly. The plié is ballet.

My first serious ballet teacher, Willam F. Christensen (affectionately called Mr. C.) often said, “You know, your legs bend, and they straighten. They bend, and they straighten. That’s it.”
How right he was. Adding on to Mr. C.’s straight talk, I teach pliés emphasizing how the legs bend and straighten. It is important for students to grasp the mechanics of the plié so that they will strengthen their feet, legs, and bodies as they work.

When you dance, you: 1. bend your knees so that you can /2. push the floor with your feet, which will / 3. cause you to either stand with a straight leg on a flat foot, on relevé, or leave the floor and spring up into the air as you / 4. execute a balance, turn, or jump.

We all want to have a plié that will power us strongly and safely as we begin and end our movements. With correctly executed pliés, we can dance with ease and avoid injuries to the feet, ankles, and knees. (To be continued) (Excerpted from The Finis Jhung Ballet Technique: A Guide for Teachers & Students)

The Almost-Isometric plié – Part One

If you are going to pirouette, you usually begin from a plié in fourth or fifth position. If you are going to relevé to a pose, you begin with plié on one leg, or fondu. If you are going to jump, there’s a plié before and after. We can’t dance without the plié.

The demi-plié initiates and completes almost every movement we make. Consequently, the plié is the most important and the most difficult movement to execute properly. The plié is ballet.

My first serious ballet teacher, Willam F. Christensen (affectionately called Mr. C.) often said, “You know, your legs bend, and they straighten. They bend, and they straighten. That’s it.”

How right he was. Adding on to Mr. C.’s straight talk, I teach pliés emphasizing how the legs bend and straighten. It is important for students to grasp the mechanics of the plié so that they will strengthen their feet, legs, and bodies as they work.

When you dance, you

  1. bend your knees so that you can
  2. push the floor with your feet, which will
  3. cause you to either stand with a straight leg on a flat foot, on relevé, or leave the floor and spring up into the air as you
  4. execute a balance, turn, or jump.

We all want to have a plié that will power us strongly and safely as we begin and end our movements. With correctly executed pliés, we can dance with ease and avoid injuries to the feet, ankles, and knees. – To be continued. Excerpt from “The Finis Jhung Ballet Technique: A Guide for Teachers & Students”

EARS BACK!

An upright posture indicates good health and strength. Keep your ears up and back above your shoulders. Stretch up the back of your neck. Keep your eyes and ears as far from the floor as possible. Keep your head centered above a high chest. Feel the light on your cheekbones and chest. Lead with your hips. Walk proudly. Look good for the rest of your life.

Changing Directions: Use Your Arms

15_UYAUse Your Arms

Whenever you change directions, use your arms. For instance, if you are facing corner 8 with your arms open in second position and must turn to face corner 2, swing your right arm back to corner 4 and reach your left arm to corner 8. Keep your head on your left shoulder. And, vice versa. http://finisjhung.com/shop/use-your-arms-and-dance/

PIROUETTE FORMULA

  1. Ears back
  2. Hips forward over the supporting foot
  3. Twist your spine in opposition
  4. Show the “end of the plie” with supporting knee past the supporting toes and arms stretched open
  5. Make a downward spiral driving all your weight down into the supporting toes
  6. Spot sharply
  7. Close your arms without pulling your weight off your supporting foot

Best White Knuckle Barre Exercise of 2015

Grand battement à la seconde.

Grip the barre until your knuckles are white! Pull on the barre! Lift your shoulder! Crunch your body! Kick that leg! Bend that supporting knee! Roll in that supporting foot! And, above all, do not point that free foot!

Teacher Reminder: Change Legs When You Teach

If you teach frequently and demonstrate full out, make sure you change your supporting leg. If you don’t, you will pay for it as you age. Repetitive muscle usage is the curse of the dance teacher. Try not to keep using the same muscles the same way. Find ways to alternate muscle usage and make sure you stretch out those overworked muscles daily so you keep your joints greased and usable and you can continue to do what you love and need to do.

KITCHEN SINK STRETCH

  1. Face the sink, standing about one foot away with your feet parallel. Firmly grasp the edge of the sink with both hands.
  2. Exhale and stick out your bottom, which will make you lean forward. Pull completely away from the sink until your arms and legs straighten.
  3. Inhale, pulling all of your weight away from the sink and looking down at the floor.
  4. Exhale, grip the floor with your feet, pull away from the sink, contract the abdominals, tuck under, and tilt the pelvis forward.
  5. While still gripping the floor and pulling on the sink, inhale and continue to bring your pelvis forward and up, which will bring your knees over the toes as you slowly push down and stand straight.
  6. Exhale and bend your elbows as you lean forward into the edge of the sink. Keep your legs, back, and neck absolutely straight.
  7. Inhale and remain in this position to stretch your calves. Hold your stomach in flat, and keep your neck straight.
  8. Exhale as you push on the sink so that your arms straighten and you arch your back. Look at the ceiling.
  9. Inhale and come back to the neutral standing position.

GuidebookRepeat this entire stretch as often as you wish.

Excerpted from “The Best Stretches” in my book “The Finis Jhung Ballet Technique: A Guide for Teachers & Students.” Demonstrated in my instructional video “Ballet Plus”

Ballet Plus

BATTEMENT TENDU/DÉGAGÉ

Taught my adult absolute beginners tonight at the Ailey Extension to work their feet correctly and strongly: Sliding your foot out: heel, ball, toes press down and push the floor away to the pointe. Sliding your foot in: toes, ball, heel press down and drag the floor to the supporting foot. Your feet like to think and feel the floor