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.
Use 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/
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
Your feet are never passive. They either stand, slide, roll to half-toe, or push off the floor. The supporting foot takes your weight and tells you when to move. The free foot leads the free leg to its position. Your feet have brains. Use them
In almost every class I teach, I find myself reminding my students “Don’t be in such a hurry to fall over,” or “Remember, you can’t turn faster than you can fall!”
What I mean is that they should slow down the closing of their arms and make sure that they go to “the end of the plié.” If students don’t know how to make an almost-isometric plié, their feet and legs are relaxed. Not having a muscular connection from the supporting toe to the supporting hip, students are forced to pull up out of the plié. They lift their bodies up by pulling their arms in. They depend on the inward closing movement of the supporting arm. When I see students do this, they look very tense and appear to be dancing “on top of the floor.” They look like they’re following their arms, because all of their energy and weight is in their arms instead of in their supporting legs and feet.
Excerpted from my book “The Finis Jhung Ballet Technique: A Guide for Teachers & Students”
Every movement you make should be powered by the action of your feet (or foot). In terms of preparing for the pirouette en dehors from the fourth position, keep the following in mind:
- Your supporting foot grips the floor in order to bring the body and legs into place for the preparatory pose and the plié.
- Your supporting foot grips the floor in opposition to the upward stretch of your head. This engages and connects all of the muscles in your supporting leg from the toes to the hip. How can you expect to line up your leg bones properly unless you engage the muscles that move them?
- Your supporting foot grips the floor in order to bring all of the weight of your body into it.
- Your supporting foot grips the floor and determines the placement of your back foot.
- Your supporting foot pushes down on the floor so that you relevé and turn on a straight leg.
- When your back toe leaves the floor that is when you turn your head and spot.
Excerpted from my book The Finis Jhung Ballet Technique: A Guide for Teachers & Students
Why do we demi-plié? In order to spring up on half-toe or jump, and then to lower ourselves to the starting position. When you make a deep demi-plié with feet and legs relaxed you must then pull up out of the plié which will tend to set you back on your heels, make you fall off your turns, and lessen your elevation. You don’t need—or want—a deep, relaxed demi-plié—but you do need strong feet and ankles. Every movement we make comes from the floor. It begins with our toes and ends with our toes. In order to strengthen your feet and ankles, try to initiate your movements with an almost-isometric plié. I say “almost” because if it were simply isometric you would not move at all. Almost-isometric means that you move quietly and steadily with steely strength and intense opposition. The upward energy through the back of your neck equals the downward energy in your toes, feet, and ankles. Here’s how to learn what the almost-isometric plié feels like: Flatten both hands. Place one atop the other, palms down, fingers in opposite directions. Curl your fingers over each other. Grip strongly and pull as hard as you can without uncurling the fingers. Can you feel the muscles working in your fingers, hands, arms and shoulders? Now do this with your feet and legs. Stand in first position, grip the floor with toes curled and arches domed—you will feel your ankles tense—and slowly pull your knees into a small demi-plié. Resist the downward movement by stretching the back of your neck, keeping your hips as far from the floor as possible. The plié is minimal. Don’t lift your heels. You should feel a line of muscular engagement from your toes all the way up to your hips. Don’t think position; think power. Now you are ready to relevé: quickly press the balls of your feet against the floor, flatten your toes, and spring up to the half-toe. Keep driving your weight down through the floor until your legs are straight. Keep pushing your insteps over your spread toes. You should balance easily as long as you are in “Number 1” (correct posture). Try this with battement fondu en croix. Try it with a pirouette en dehors from both fifth and fourth positions. Yes, I know it is not in the ballet books. But we haven’t always had TV, the internet, and hip and knee replacements. Times have changed. So should you. This is explained in detail in my instructional video “Ballet Barre for the Adult Absolute Beginner” which is available on my website and Amazon.
Many students have trouble finding their balance when they piqué in first arabesque. This is the third blog in a series of excerpts from my Guidebook on how to make this all-important step look better.
#3 Ears back!
This is an abbreviated command. Since you are moving forward, you must have opposition of weight and movement in order to balance your piqué in first arabesque. Therefore, keep your ears and shoulders back. Most importantly, find your balance by sending energy down through your standing leg and out through your back shoulder and arm. Remember that only your toes and hips move forward. The succession of movement is this: toes, hips, chest, shoulders, arms, and head. Your ears stay back until the last moment. (Excerpted from “The Finis Jhung Ballet Technique: A Guide for Teachers & Students. Page 274.)
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.”
The beauty of ballet dancing is revealed in HOW and WHEN you MOVE into and out from various positions.
Isabella Boylston, ABT Principal Dancer, photographed by Rosalie O’Connor