The Barre Part IV

BATTEMENTS

Battements are as much a hip exercise as they are a foot exercise.  The body responds to the placement and transfer of weight during all battement formats.  Battement is one of those words (like pas and temps) that is frequently omitted and understood.  For example, frappé is short for battement frappé, etc. 







ROND DE JAMBE EN DE HORS (outward) AND EN DE DANS (inward)

Like pliés, rond de jambes should offer the dancer breath, stretch, and relaxation during the exercise.  While it is true that the rond de jambe is predominantly for the hip, the foot and ankle do gain great flexibility, power, and response to the floor during this practice.  Even the head, shoulders, and center gain knowledge of where and how to be placed during moves from front to side and back during the rond de jambe execution. 

Sometimes the speed should be very slow and alternately very fast, but the body should be uplifted and postured at all times, without tightly gripping the barre during movement.  There should be a relaxing stretch during rond de jambe par terre (on the floor).

The exercises listed in this and previous posts should be combined in as many formats as possible so the dancers can gain experience and learn the dynamics of position and velocity of execution.  As much port de bras as is valuable to the student should also be given.  A good practice, however, is centered on placement of shoulders and hips and weight change.  Port de bras and head freedom, with solarplexes well-carried at all times, give the dancer the composure to execute turns and jumps with ease and precision. 

These essential practices make it quite easy to advance through beginning to advanced practices.  Without the response to the floor for the foot, and the correct alignment of the body learned through these exercises, no amount of rehearsal will perfect the choreography.  The perfection lies in these simple exercises.

The Barre Part III

DÉGAGÉ BATTEMENT

The dégagé battement is usually of an upgraded speed.  Speed itself is not easily learned by the dancers and if the barre exercises are all metered slowly, the dancer will not form the correct attack for good dance execution during choreography. 

The dancer's speed of execution, particularly during petite allegro, is an exciting part of the dance art and should be learned from the beginning.  As a teaching technique, we want to press for speed as a method of isolating only the proper movements, as there is not time for extra motion.

Speed, accent, and plié, with the added dimentions of relevé and even pirouette, are good things to incorporate into the dégagé combination.  Dégagés are traditionally about 2 1/2 inches off the floor.  When executed with a petite developé on either the way in or the way out, the move is titled pas de cheval and makes excellent foot contour and a supple, yet strong foot.

FONDU

The fondu exercise can be intertwined with the dégagé and pas de cheval combinations.  A fondue is defined as any movement that lowers the body by bending one leg.  In a plié, both legs support the body; in a fondu, only one leg supports the body.  All battements can be touching (tendu), just off the floor (dégagé), at right angle, or fully extended (grand battement and/or grand fondu). 

The Barre Part II

TENDU

When there is time for a full class, the first tendu combination should be very slow and consider the half-point foot position when exiting and arriving in 5th position.  As the foot closes to 5th position from second, the toes should long to stay on the floor, fully stretched.  On the way out to the pointed tendu, the center of the foot should quickly arch into a fully extended point with the toes responding last, and pointing so long and fiercely that the brush is just a little bit under as the total arch of the foot is revealed in 2nd position.

There is a great need for the dancers to understand the accent of the tendu is either even or on the opening or closing.  Tendu with plié is a very different exercise from the straight closing.  While it is true that most of our center movement is connected with feet in 5th and demi plié, at the barre, a great deal is to be learned by isolating the foot and leg and keeping the relaxing plié out of the exercise.  The following barre exercises can and should incorporate plié during all or part of the exercise format. 

Also of importance during all the battement exercises is the exchange of weight during transfer from one foot to the other.  The body must learn to center itself over one supporting foot, then two, and then one again.  The idea that every closing is more uplifted and better pressed into position traveling into or out of 5th position should be at the forefront of the concentration during battement exercises.

The Barre Part I

PLIÉ

In plié exercises, there should be a mixture of elevé and relevé as well as grand plié.  We generally want to focus on the depth of the demi plié as we begin and initiate the motion with the tendon action at the hip.  Control and energize the deepening and returning action with the hip joints open and sustained by the gluteals and the small muscles down the back of the legs.

The correct position of the feet and knees is very important during plié exercises.  There should be little stress on the barre.  Correct position comes from inside the dancer, not from undue pressure on the barre or twisting of the feet and knees.

Upward energy should be the focus during the downward motion of the plié, and there should never be a complete stop at the bottom of the plié.  On the return, the energy should be focused on the stance and pressure down through the feet, but with the reservation that the back and line of head, neck, and shoulders is very squared-off and spatially lifting at all times.

Arms during the demi and grand plié should be varied in their pathways and truly classical in their movements through wide circles.  Special attention should be paid to finger and wrist action at this time as it is the beginning of class.  Stress and fingers out of harmony with the circular reference are indicators that the back and hips are not aligned correctly.

During plié practice, all the transitions between positions should be accomplished within the dance format and never should the body seem uncarried or unchoreographed in motion.  At the finish of the plié exercise, the body should be elongated and well-oxygenated.  Stress and force is not part of the activity.

PORT DE CORP

The port de corp combined with the plié exercise gives relaxation to the spine and encourages the ability to lift and separate each vertebra.  Front-to-back cambré as well as side-to-side also assist the arms to learn to pass through correct circles.  Cambré en ronde together with lifting and carrying the body onto and off off back cambré teaches the head and neck when and how to support the movement through the spine and build strength for correct execution. 

The stillness of the body below the hips on all cambré and port de corp movements allows the smaller muscles up the back of the leg and under the hips to learn to powerfully hold the stance as the upper body is curved in all directions.  It is very important to keep the knees drawn up securely in this portion of the exercise, and if there is to be a demi plié or fondu, that the hips, knees, ankles, feet, and toes are correctly aligned and not held in stress.

Floor Warm-Up Part IV

FOR THE FEET

Bring your legs together and position yourself on the highest half-toe your feet will give you while using your hands to maintain your balance.  Raise or lower the knees until you achieve your ideal position.  Then put your heels down and your hands behind you so your Achilles tendon is at its greatest length and let your tailbone hang straight down.  Shift your weight forward, then slowly uncurl and come to a standing position.  Feel the stretch through the entire spine and out the top of the head. 

FOR THE BALANCE

Half-Toe Roll-Throughs -- Stand in parallel position with the feet shoulder-width apart and hands loose at your sides.  Rise to half toe, bend your knees while remaining on half toe, lower the heels while remaining in plié, then straighten the legs.  Repeat as desired.  Remember, adjusting the feet to maintain balance is not poor quality of movement.  It is necessary for you to find your center and your body understands this.  Do not tighten in an attempt to make it look "perfect" or "hang on".  Next, raise your right foot to half toe, raise both feet to half toe, then lower the right heel while the left stays on half toe.  Alternate your feet and repeat as desired.  Then add a plié on the standing foot, pulling up at the hip of the standing leg each time.

Repeat the entire exercise in 1st position and 2nd position if desired.  If you don't want to do the entire sequence in 2nd, just do the last part with the plié.  Relax out of it by bending forward in reverse 1st position (toes together, knees bent, head down, hands on knees) and wiggle everything you can in this position (your tail, head, shoulders, back, etc.)  You'll probably feel stupid, but do it anyway.

Attitude à la Seconde -- Stand in 1st position with the arms in à la seconde.  Brush the right foot out and raise it to attitude à la seconde, then replace in 1st position.  Repeat on the left, then plié, bringing the arms down to 5th low.  Relevé and bring your arms to 5th high, thrusting the energy down into the floor and up out the top of the head at the same time.  Balance, then control the descent into a demi plié and return to the starting position.  Repeat as desired.  If you want, you can vary the position of the balance.  You can go from plié to one leg instead of two.  Then you can move the extended leg and maintain your balance.  Work with your body and do what you need. 

SOME PARTING WORDS

Allow yourself to be led as you learn these stretches.  It is the feeling, not the words we are after.  You can alter the rhythm of this warm-up as needed so your body gets the most out of it. 

Students need to be aware of the plateau signs.  Your hips will tell you when you have pressed them enough and will signal you to rest for a while and allow the connecting fibers to strengthen and acclimate to the new extremes of your rotation.

It is particularly important for you to monitor your spinal work as well as your rotational achievements.  This work should be considered evolutionary within your training and should be accomplished without pain or discomfort.  Pain and discomfort mean you are doing too much too soon and are out of control and are risking injury.  Be like the tortoise, not the Mad Hatter.  The exercises here will get you fully extended barre stretches very quickly if practiced daily and in a gentle manner. 

Your body will come to love and depend on this warm-up and it will be able to fortify itself against difficult professional work.  Dancing should not put our bodies at risk.  Honor your body and keep it safe, healthy, and strong. 

Professional Classes for Non-Professional Dancers

My readers who live in the Salt Lake City area can take advantage of an amazing opportunity.  Ballet West offers open classes for community members. 

Ballet West holds adult classes five times a week in the 3rd floor studios of the Capitol Theater, 50 West 200 South in downtown Salt Lake City.  Class times are Monday and Friday mornings: 9:00-10:30 am, Tuesday and Thursday evenings: 6:45-8:15 pm, and Saturday mornings: 10:30 am-12:00 noon. 

The classes are drop-in classes, which means you do not need to pre-register and can start at any time.  No audition required.  Just show up as often as you like.  Five times a week, every other week, once a month, or once a year…whatever works for you. 

Classes are given at a high intermediate/low advanced level, but we have all different levels of dancers attending, from a more beginner/elementary dancer to professional dancers during their time off!  We do have both men and women attending these classes.  The atmosphere is very welcoming… most of our attendees are dancers who have studied dance at some point earlier in life and are coming back because they miss having dance in their life.  Starting back can take time, so be gentle with your first classes back....  You can push yourself as hard or as easy as you like in these classes to make your time with us as enjoyable as you want!

Drop-in class prices are $12 for adults and $10 for students and seniors.  Pass cards are available for those who think they will be coming on a more regular basis.  5 classes for $57 ($47.50 for students and seniors); 10 classes $114 ($95 for students and seniors).  For more information, visit the Academy page at the Ballet West website.

Lights, Camera, Action!

Pointe shoes, tutus, sugar plum fairies, and princesses -- is it any wonder that little girls dream of being ballerinas?  Catering to that desire, movies about ballet have been around almost as long as film itself.  Despite the travesties that are the Barbie ballet movies, many ballet films provide a deeper study of the difficulties and sacrifices of the performers, rather than just a fluffy overview of the beauty of dance.  These four films in combination provide a fascinating introduction to the on-screen depiction of ballet.

The Red Shoes: The Classic Film about Classical Ballet

Roughly based on the Hans Christian Anderson fairy tale, The Red Shoes tells the story of Victoria Page (Moira Shearer), a young ballerina on the brink of stardom.  Intricately weaving backstage life with the thrill of performance, this film centers on Victoria's dilemma as she is torn between the composer who loves her and the impresario determined to fashion her into a great dancer. 

 
Center Stage: Ballet School 101
This 2000 movie features Amanda Schull as an aspiring ballerina and student at the competitive American Ballet Academy in New York (apparently based on the School of American Ballet).  Even though she's at the best school in the country, her life doesn't get any easier -- she and her friends face challenges with their weight, their teachers, and their dreams.  The film is, however, light as air and easy to watch.  Keep an eye out for Ethan Steifel (a real-life ballet star) as one of the company's hot-shot dancers.

The Turning Point: Dreams of Becoming a Ballerina

This movie is the story of two women (Shirley MacLaine and Anne Bancroft),  whose lives are dedicated to ballet.  Deedee left her promising dance career to become a wife and mother and now runs a ballet school in Oklahoma.  Emma stayed with the company and became a star, though her time is nearly past.  Both want what the other has and reflect back on missed chances as they are brought together again through Deedee's daughter, who joins the company. 

The Company: The Inner Workings of a Ballet Company

An inside look at the world of ballet.  With the complete cooperation of the Joffrey Ballet of Chicago, Robert Altman follows the stories of the dancers, whose professional and personal lives grow impossibly close, as they cope with the demands of a life in the ballet.  Neve Campbell plays a gifted but conflicted company member on the verge of becoming a principal dancer at a fictional Chicago troupe, with Malcolm McDowell playing the company's co-founder and artistic director.  An interesting look at the contemporary challenges facing dancers.