Tag: position

7 Keys to the Finis Jhung Ballet Technique

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  1. The demi-plié is almost isometric. In both the downward and upward movements, the feet—rather than the knees—should initiate the movements. The feet grip the floor and pull the legs into the plié and then relax and push down to return the legs to the standing position. This also applies to pliés on one foot.
  2. Most dance movements are on one leg. What must be developed at the barre is the ability to balance on and move from one foot. Try to work at portable barre placed parallel to the mirror. Stand behind the barre, on the diagonal. This will allow you to keep an eye on your supporting side and encourage you to work correctly. Test your balance by frequently taking your hand off the barre during exercises. In addition, check your readiness to move. You should always be able to rise off your heel whenever you press down on the floor.
  3. The supporting leg controls the free leg, and initiates each movement. The timing of every movement is made by the supporting leg. The free leg (the foot that brushes or slides) never pulls or moves the body. Only the supporting foot that pushes the floor should move the body.
  4. In the center floor, every step you take must be balanced by an arm, or both arms, reaching in the opposite direction. At the barre, develop this sense of the “back arm” by reaching for the barre and pressing down it. Never pull on the barre.
  5. When you pirouette from the fourth position, be sure that you go to “the end of theplié.”
  6. A jump is a relevé in the air. Push the floor, stand in the air.
  7. Overcross the glissade précipitée, which leads into battement fondu developpé relevé, and jumping steps where the free leg is brushed into the air.

PIROUETTE EN DEHORS: Working your feet

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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:

  1. Your supporting foot grips the floor in order to bring the body and legs into place for the preparatory pose and the plié.
  2. 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?
  3. Your supporting foot grips the floor in order to bring all of the weight of your body into it.
  4. Your supporting foot grips the floor and determines the placement of your back foot.
  5. Your supporting foot pushes down on the floor so that you relevé and turn on a straight leg.
  6. When your back toe leaves the floor that is when you turn your head and spot.

FJ_DVD_WALLETExcerpted from my book The Finis Jhung Ballet Technique: A Guide for Teachers & Students

Guidebook

Piqué en Arabesque #2

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Piqué en Arabesque #2

Many students have trouble finding their balance when they piqué in first arabesque. This is the second blog in a series of excerpts from my Guidebook on how to make this all-important step look better.

#2. Walking down the stairs

When you piqué, imagine that you are going down the stairs. On your way down, you don’t lean forward because you will fall. You keep your ears up and your shoulders back. You reach downward for each step with your foot forward and leg extended. After you have placed your foot on the step, you rest momentarily. Use the same principles when you piqué. You may look like you are stepping “up” on your leg when you piqué, but actually you are always stepping down. (Excerpted from “The Finis Jhung Ballet Technique: A Guide for Teachers & Students. Page 274.) http://finisjhung.com/shop/guidebook/

A PLIÉ IS NOT A PLIÉ

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A PLIÉ IS NOT A PLIÉ

Go beyond the position. What are you going to do with that demi-plié in fifth position? What is it for? If you are making the plié as a preparation for a pirouette, pose, or jump, make sure you place your weight over what will be your supporting toe. This will make it much easier for you to rise perfectly balanced on one foot. Form follows function. More details on this idea are in my instructional video “Use Your Head & Turn!”

Use Your Head & Turn! (2010)

Dance with Your Feet

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Try to dance more with your feet rather than your legs. Do less dancing with your thighs and knees and more with your feet. Your feet should never be passive. Your supporting foot should never wobble if you are working from it, and it should push the floor to move your body. Your free foot or gesture foot should point the free leg where you want it to be. When you make a battement tendu or dégagé, even a developpé, think of where that free foot goes and let it bring the free leg to the position. Try it.