How to do a double turn in dance
Yes, you CAN Turn! 5 Hacks to Master your Ballet Turns — Ballet Online Happens Right Here.
Yes, you CAN Turn!
Pirouettes, for some, they are easy as pie. For others, they are the most difficult step of all. Some people are natural turners, they turn as easily as a pinwheel. Some people are natural jumpers, they could jump for hours on end. And, some delight in adagio combinations others may dread, their stability seems unshakeable.
But, today, we’re going to talk about Pirouettes. They are still (and probably always will be) one of the most asked about steps in all of ballet. And, the question we hear the most is, “Why can’t I seem to get this? Why can’t I turn?”
5 Hacks to Master your Ballet Turns (Pirouettes)
Don’t Panic.
Seriously, one of the first things we need to remember is it’s just a turn, don’t panic. If you know there is a turn coming up, and you’re already anxious about it, you’ll panic during your preparation, and your take off will send you shooting off to different direction.
Stay calm, breathe, and tell yourself, “It’s just a turn, it’s not life or death.” Trust yourself. If you doubt yourself halfway through, you’ll fall. Take a breath, be brave, and trust yourself.
Be Patient.
If you struggle with turns, you must be patient with your progress- no matter how slow it seems. Progress is progress. Start slow, pace yourself. Break it down. Start with quarter turns, then half, then one single turn. Little by little, your body will start to remember the feeling, and the panic will slowly subside. Be patient, take your time. Don’t put too much pressure on yourself, it’s just a turn- you will get it.
Be Consistent.
Consistency is key. Whether it’s working on getting your passé up quickly, practicing the action of the relevé, or working on spotting- do something every day. Be consistent. You’ll get the fundamental elements of a pirouette down faster if you are consistent in your efforts. Decide how many turns you are going to do, and work on starting and finishing cleanly.
Focus on a clean start and clean finish. Practicing this way will build good habits. Quality over quantity. A clean single turn is far more beautiful than a sloppy double or triple.
Don’t Be Afraid to Ask for Help.
If you’re having a difficult time mastering your pirouettes, there is nothing wrong with asking other instructors for some help. You may love your instructor to bits, but something about pirouettes just isn’t “clicking” for you. Don’t be shy about listening to other instructors’ advice. The same concepts can be explained in so many ways, maybe hearing it explained in different words is just what you need to hear.
Practice Correctly.
It doesn’t matter how advanced you are in other areas, if you’re having a hard time getting your pirouettes down, don’t throw yourself around with more force than you’re ready for. Don’t set yourself up for injury. Again, a clean start and finish is more important than how many turns you do. Decide how many turns you’re going to do, and finish clean.
Trust yourself, and listen when others offer advice. Be patient, and try not to get frustrated. Eventually, you will get it.I’m always listening, so if you have any questions or suggestions of your own, leave them in the comments- I read all of them! Best of luck, and lots of love!
If you find yourself feeling short of inspiration, remember you can download the Get Ballerina Fit workout. What helps you the most when fatigue sets in? Let me know in the comments below, so we can all learn from each other. Let’s keep dancing!
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Reader Question:
I have double turns down but I’m scared to do them in front of my dance teacher but whenever I’m alone I do like 4. My question is why can’t I do them, why am I scared, how do I get over this fear? This problem affected my tryouts. I made it, but everyone who is my age is on the team above the team I am on.
Sherise:
I love that you want to overcome this fear and recognize it needs to be fixed. The first thing I would do is find a time to go in and talk to your teacher one on one. Explain to her your fear; maybe she can talk you through some things she is seeing in the class that might give you more confidence and help you through this. Especially once she is aware of your fear she can help you overcome it.
Secondly, if you cannot go to her for whatever reason, start off small by doing your turns in front of friends. Once you have done that and are comfortable with that, ask some others – maybe parents of friends or teachers at school, etc. It will take time but eventually you will get there.
As far as your dance is concerned, you already had your tryouts and have been placed. I’m sure you were disappointed to not be on the same team as the others that are your age. On a positive note you recognize why which is wonderful. Use this year to grow and, since you are one of the oldest in that level, you can set an example and be a positive role model and provide encouragement to others. You can be a leader to them! I encourage you to also keep the communication open and going with your teacher. Don’t give up!!
Temperance:
This sounds like a confidence issue you’re having! Is your dance teacher really strict? Is she hard to approach? Could it be that your classmates make you feel nervous? When you practice on your own and you do MORE than two pirouettes, are you confident that you are executing the turns correctly? Or are you “spinning” or turning on your heel when you do that many? Make sure that you are doing CLEAN double turns correctly before throwing yourself into 4 turns.
Back to your question though- It sounds like you have a mind block here. Sometimes to get over that, you should actually be honest with your teacher about it. Tell her that you feel anxiety when you go to execute the turn! Maybe if she is aware that you feel that way, your own fear will lessen and it won’t feel like a “secret”. Or, simply keep practicing on your own! Once the clean turns become muscle memory and habit (and they will!), then you will be able to do them on the spot, no problems, any time of the day! You could also try to have another adult or authority figure watch you while doing your turns before you show your teacher again! That way you can have an “audience” and you will be more used to having people watch/critique you.
Do make sure that you are practicing the turns correctly! Ask yourself these questions:
1) Are you spotting nice and sharp? Are your eyes finding the exact same spot each time you complete a turn?
2) Are your arms in the correct first position for turning? Are your elbows lifted? Shoulders pressed down and back?
3) Is your passe up the knee and in a proper parallel position? (assuming this is a jazz pirouette)
4) Are you landing strong? Make sure you tighten your core even more when you finish the turn so you don’t wobble or fall over!
Good luck!
Lesley:
First and foremost, let’s take everyone out of the equation except you.
Your dance journey is not the same as the people around you and that is perfectly okay. Some people need a little more time to develop technically while others need more time to develop artistically and my suggestion is that you do not let this effect you on an emotional level. Own who you are as a dancer and don’t ever lose sight of that, no matter who’s watching. As teachers we are here to provide you with a safe positive environment that you can thrive in, grow from and find out who you are as a dance artist. The integrity of those things should never be compromised for any reason. Dance can be extremely judgmental when it comes to the competition aspect of the art. I can tell you that there are many facets of dance other than competing and if you find that the competition side is taking away from your passion then you may need to take a step back from competition and focus on the technical. This means you go to more conventions, take more privates, take more master classes, and let yourself absorb the art.
Most importantly, don’t be afraid to allow your inner artist to emerge and share your talents on a level that is your absolute best. At the end of the day your artistry is exactly that, yours, so make every minute count as if it were your last.
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Staging a choreographic number using the expressive means of circular dances of the Bulgarian people - Informio
Folk dance - a kind of classical portrait of the people, silent poetry, a visible song of their life. It reflects the creative power of folk fantasy, poetry and imagery of thought, depth and freshness of feelings, the originality of the people, imagery and brightness, depicting the history of events that reached us through characteristic movements, the manner of dance performance, choreography features, as well as through costume. Folk dance is a form of folk art that has developed on the basis of folk dance traditions, is characterized by its own choreographic language and plastic expressiveness of forms.
I.A. Moiseev believed that folk dance needs to be carefully studied: - “We should not collect dances and stick them like butterflies on a pin. This suggests that, relying on people's experience, we should try to expand the possibilities of dance, enriching it with directorial invention, dance technique, thanks to which it will be even brighter, express itself. The approach to folk dance should be as to the material for creativity, studying folk dance, dances of the peoples of the world, we will be able to comprehend the color and characteristics of any nationality: the breadth of the soul of Russian dance, the prowess of Ukrainian, the excitement of Moldovan dance and many other parts of the world" [2 ].
Since ancient times, dance has been a natural part of religious ceremonies and the main form of human communication with the higher powers and the deity, and also contributed to the unity of people. It was the circular dance that served as such a dance for the people, through which a holistic and global understanding of the surrounding reality was revealed to a person.
The circle was perceived as an organizing, ordering force, as an energy sign that unites the spiritual message of people. The circular dance existed in the culture of the Bulgarian people, reflecting their stable traditions, the life experience of the people, folklore.
There are many different groups, ensembles, in whose repertoire there are a lot of different dances of different peoples, but do the performers always reliably accurately convey a special manner of dancing, do they know the whole history of the origin of the dance of a particular nationality? Unfortunately, not always. Currently, you can see groups that have folk dances in their repertoire, which can be called "faceless", the problem of such groups is not knowing the customs, traditions, lifestyle, expressive means, features of choreographic vocabulary, manner of performance. Any folk dance has its own distinctive features, features that must be taken into account when staging a dance.
In her thesis, Chief Ballet Master of the Moscow State Academic Dance Theater Gzhel, Head of the Department of Ballet Pedagogy at the Institute of Dance of the State Academy of Slavic Culture, Honored Worker of Culture of the Russian Federation Slykhanova V.
I. due to the vastness of the territory, natural differences, multinational composition of the population. Dance today is most often shown one-sidedly, the variety of expressive means is lost. Dance culture turns into training exercises right before our eyes. An important, but not the only criterion for determining the folkloric nature of a work is traditionality” [5].
Sacred circular dances were a special language of communication with nature, gods, people and with one's own nature. They danced, performing the rites of life from birth to death; through dance, they tuned in to new rhythms and cycles, expressed their emotions and feelings. Thanks to these dances, they passed on their understanding to the next generation, the symbol of their unification and integrity was the circle, which always personified order, revealed the diversity of the culture of the people and reflected their strength and commonality [3]. Over time, sacred circular dances have lost their religious significance.
Each nation formed its own circular dance, which was performed according to its own laws, customs and traditions. The original culture has added its own unique charm to the music and dances of each region. But with all the variety of features, the peoples of different countries are united by the structure of the dance circle [4].
In circular rituals and ceremonies, which way to turn was of particular importance. In the view of the Uzbek and Kyrgyz Turks, the circular rotation serves to ward off evil spirits that bring illnesses to people. And according to the beliefs of the Kalmyk Turks, moving from right to left can bring misfortune. Moving to the left expresses an imaginary door - the old year being a movement against the sun and its burial. The movement of the sun through the second fire is a symbol of the transition from the old year to the new year. It is like a renewal of life, the revival of nature after a long winter, the birth of a new year and a new sun. Movement to the left in dances is undoubtedly associated with the movement of the sun from east to west [1].
It should be noted that the hour hand and counterclockwise circular rotation are celebrated not only in rituals, ceremonies and world religions, but also in modern circular dances. For example, in the dance culture of the Croatian, Gypsy, Breton, Catalan, Brazilian, Romanian, Swedish, Hungarian, Latvian, Greek, Ossetian, Argentinean, Circassian, Irish, English, Korean, Japanese, Russian peoples, you can see circular dances performed counterclockwise . Serbs, Italians, Norwegians, Hungarians, Jews move counterclockwise. In the choreography of modern ring dances, along with the circle, there are double, triple circle, spiral, semicircle, serpentine movement, figure eights and square figures. Formed from a whole circle, these figures are features of a high energy turnover in a circle, which are manifested in the modern art of circle dance [4].
Regulated the integrity of the circle - the rhythm. All processes in living nature are rhythmic. One of the most important factors that determine the existence of circular dances that arose before religions are the sounds of the screams of ancient people and the living rhythms that form the group organization of these sounds.
Early circular rites and ceremonies were accompanied by clicking, stomping, and clapping hands. From this we can conclude that the person was a "living percussion instrument" during the performance of rites and ceremonies. With the development of human speech, the sounds of shouting turned into syllables, gradually into words and singing, that is, into songs. And during the performance of modern circular dances, people create rhythm with their movements of arms and legs. Such dances are performed not only by clapping hands, stomping feet, but also by the accompaniment of various percussion instruments, and by a human voice [2].
At the present stage of development, we can see that many peoples of the world have circular dances. For example, among the Slavs, these are round dances that were performed on holidays, meetings of the seasons and weddings [1]. In Serbia and Croatia, a common circle dance is "kolo", which in translation means a circle. In Moldavia, Romania, Israel, Bulgaria, it is a “hora”, it was a very popular dance in the countryside, especially at weddings and other festivities [4].
Among the peoples of Buryatia, Baikal and Altai, not a single holiday is complete without the beloved, the most ancient in its origin, the circular dance “yokhor”. Today, this dance no longer has religious significance, but it is still danced at major holidays [2]. For example, to the glory of the king of beasts - the lion, the people of the Caucasus dance the circle dance "Aslanbiy". It causes admiration of people as a symbol of high qualities: courage, dexterity, strength, dignity. Since ancient times, the Greeks have danced the Sirtaki dance, which today is one of the most popular dances in Greece. And also no less popular is the Hasapiko dance, which was used for military ceremonies to develop a silent step for future warriors.
The art of dancing has developed its own expressive means of dance over the centuries. A drawing in which each nation reveals its character, way of life, customs and mores. Vocabulary that conveys the emotional state, personal qualities, attitude towards others, and even tells us about the activities and work of each nation.
Musical accompaniment, which is able to activate the imagination, "suggest" the use of certain expressive movements, influence the quality of performance. The plot, where we can trace the range of life phenomena, the sequence of developing events, as well as character traits, behavior, experiences of the characters. A costume that can enrich the expressiveness of the dancer's gestures and movements, help the performer reveal the image more vividly, and also enhance the emotional impact of the performance on the viewer.
The Bulgarian people are very proud of their dancing. Dance in Bulgaria is the most widespread type of folk art. Ritual, carnival, calendar-holiday and labor dances express the temperament, character, way of life and ingenuity of the Bulgarian people [1]. The development of the circle dance in Bulgaria began five hundred years ago, when the Bulgarian people were under the Turkish yoke. In the harsh era of Turkish domination, dance especially contributed to the rapprochement of people, which is probably why the mass form and circular construction prevail in Bulgarian folk choreography [2].
Consider the expressive means of circular dances of the Bulgarian people. The figurative origins of dance and its language are rooted in one of the expressive means of choreography - in the vocabulary of dance. It is worth noting that Bulgarian dances are not complex in terms of compositional and spatial pattern, but their foot movements are surprisingly beautiful, varied and technically complex. In Bulgarian dances there are wide steps, jumps, various types of steps, "scissors", variable moves, hitting the floor with the heel and foot, circular movements of the legs on the floor and in the air, jumps, high throws with the foot, putting the feet on the heel [2]. However, despite the basic movements that are found in every Bulgarian circle dance, each area has its own distinctive features. The dances of the Northern, Shopska, Thracian and Dobrudzha regions are especially famous for their variety. For example, if in the Dobrudzhan region people are engaged in agriculture and cattle breeding, then the characteristic movements for this area of movement are specific knockouts and triple oversteps, the dancers' legs are bent at the knees, and the dance itself will be performed on a slight squat and swaying the body in different directions.
In the Thracian region, the people are calm in nature, with a broad soul, and therefore the movements will correspond to this character of the people who live in this region - large steps, a high head and a taut body. Girls will dance with restraint, even in the most whirlwind dances they will maintain their dignity. In the mountainous Shop region, springboard movements are characteristic of circular dances (performers, as it were, break off the ground, then tap their entire foot on the floor). Almost all movements will be performed on the entire foot or on low toes. The movements of the body and shoulders correspond to the movements of the legs, that is, they jump in a vertical position. It is also worth noting that the performers in the dances hold hands, which are either lowered down or raised from the elbow up, only men hold on to their shoulders. You can meet the position of the hands when the performers hold hands crossed in front or behind, or by the waist, and, as a rule, the right hand is below [1].
Every region of Bulgaria, every village has its own original melodies, which are the soul of the dances. Until now, many Bulgarian dances are performed with two-voice or choral singing. In the southwest of the country, women's dances are sometimes accompanied by a vocal trio. Bulgarian dances are distinguished by the complexity and whimsical rhythmic pattern. Many of them are characterized by a mismatch of musical and dance phrases. Next to such musical sizes as 2/4 and 4/4, there are also so-called asymmetrical ones - 5/8, 7/8, 9/8, etc. Complex rhythms contributed to the enrichment of the plasticity of the Bulgarian dance. It is also worth noting that during the dance numbers, shouts and exclamations are possible. The tempo of Bulgarian circular dances is usually slow at first, then speeds up and gradually becomes livelier, suddenly turns to fast with rapid complex movements of the legs and again returns to slow [1].
National Bulgarian costume deserves special attention.
Colorful and bright, it immediately attracts attention, surprising and delighting the eye with its richness and originality. The main part of the women's national dress in Bulgaria is a sundress - sukman or saya, which is decorated with beautiful embroideries, and also decorated with exquisite braid. An important part of the women's national costume of Bulgaria is the headdress. The girls wore headscarves of plain or colorful material, folded in a triangle, while the wide part covered their hair, and the narrow parts were tied at the back of the head or on the crown of the head. Often, coins, beads and colorful paintings act as decor [3]. The men's attire includes a shirt, vest, lace-embellished trousers, and an embroidered belt. Clothing in light and bright colors was called "white-dish". The dark suit is called "chernodreshna". Peculiar sandals – “tsarvuli” are considered to be the national footwear in Bulgaria [2].
The ethno-cultural image of the peoples of the world is characterized by a huge variety of expressive means of choreography, due to the vastness of the territory, natural differences, and the multinational composition of the population.
Therefore, thanks to these expressive means in the production of the Bulgarian circle dance, we will be able to convey the history of Bulgaria, the character, the life of the people, the traditions that have developed over the years.
Starting to stage work, you need to get acquainted with the region of Bulgaria, on the basis of which the dance composition will be created, since each region has its own characteristics and characteristic dances. For example, the northern region of Bulgaria is characterized by "paidushko-horo". Shopska-horo, Graovsko-horo, Trynsko-horo, Samokovsko-horo prevail in the Shop region. In the Thracian region, there are such circular dances as: “Slivensko-horo”, “water-horo”. In the Dobrudzhan region, the circular dance "roar" is widespread.
When selecting musical material, it is worth considering that the sizes can be both 2/4 and 4/4, as well as the so-called asymmetrical ones - 5/8, 7/8, 9/8. The musical feature of circular dances is that the tempo is usually slow at first, then speeds up and then returns to slow again.
It also happens that the dance begins slowly, then gradually revives and suddenly turns into a fast one, with swift complex movements of the legs. Also, even in a choreographic production, such musical expressive means as singing, shouting can be used.
In the Bulgarian circle dance, the movements of the legs are varied and technically complex. When setting, the following can be used: all kinds of steps, jumps, oversteps, "scissors", variable moves, hitting the floor with the heel or foot, circular movements of the legs on the floor and in the air, jumps, high throws with the foot, putting the feet on the heel. So it is worth considering the distinctive movements and vocabulary of each region of Bulgaria. For example,
- Strong-willed and cheerful people live in the mountainous Shop region. These character traits are reflected in the dances. The dances of the Shop region are characterized by trampoline movements. The performers tap the whole foot on the floor. Movements are performed on the entire foot or on low toes.
The body and shoulders correspond to the movements of the legs, that is, they jump in a vertical position. - The Thracians are by nature a calm people with a broad soul. The performers move with a large step, raising their heads high and pulling their bodies. Adult men are slightly squatting. Girls dance with restraint.
- Dobruja is called the granary of Bulgaria, the population here is engaged in agriculture and cattle breeding, therefore, the character of the Dobrujans is clearly revealed in the plasticity of these dances. Characteristic movements are knockouts and triple steps. The dancers' legs are bent at the knees, dances are performed on a slight squat. The body of the performers is free, various swings are performed, the movements of the shoulders are light.
Bulgarian circle dances can use a soloist. In ancient times, it was the leader or "leader". At the beginning, the Bulgarian circular dance consisted of several circles, and was built according to the age principle: young men started leading, followed by adults and then old people.
Now leading and trailing in the Bulgarian circle dance are usually the best dancers. The leader of the choir calls out a sequence of movements, and the other performers, in turn, answer him in a harmonious chorus with a cry of “hop”. For example, the leader shouts out “khana-pred”, they answer him “hopa”, the leader shouts out “our knees”, everyone answers “hopa”.
When staging a choreographic number based on the material of the Bulgarian dance, it is important to take into account that one of the main expressive means of the Bulgarian choir is drawing. The drawing of a circle in dance carries a difficult meaning, a circle means the unification of people, its friendship and solidarity. Performers can move in a circle both clockwise and counterclockwise. But not only the circle is the main pattern. In productions, you can use drawings such as: a snake, a line, a semicircle, a column.
The Bulgarian people were under the Turkish yoke for a long time. The occupiers tried in every possible way to stop the spiritual development of the Bulgarian people, and also destroyed monuments of national culture.
In the harsh era of Turkish rule, dance especially contributed to the rapprochement of people, therefore, mass form, circular construction, as well as special hand positions prevail in Bulgarian folk choreography. Performers constantly hold hands: lowered down; raised from the elbow up; crossed in front or behind; for belts, and, as a rule, the right hand is from below; men can hold on to their shoulders.
In ancient times, Bulgarian circular dances were performed at holidays, and were elements of rituals and customs, therefore, when staging a Bulgarian circular dance, the plot can be: a rite, a legend, a ritual, traditions, a festival, games, traditions that were formed in the history of the Bulgarian people.
The staging will also be able to enrich the national costume. The basis of the women's costume is a sundress-sukman or saya. But it should be noted that an ordinary sundress is decorated with beautiful embroideries, exquisite braid, a painted apron, and various types of sleeves.
The girl's headdress is a scarf of a single-colored or variegated material. Coins, beads and colorful paintings serve as decor. This bright attribute allows you to bring new colors, add unusualness and originality. Men's outfit includes a shirt, vest, trousers. Also, clothes can be decorated with braid, and a belt with embroidery. All these bright elements complement the costume and make it very colorful.
Original publication (Read the work in full): Staging a choreographic number using the expressive means of circular dances of the Bulgarian people
Basics of classical dance
Classical dance is the basis of choreography. Classics allows you to learn all the subtleties of ballet art, to feel the harmony of movements and music. Many will think why do the “old” when there are many new modern trends. But you need to understand that everything new originates from the dances of past centuries. So the classics absorbed all the most elegant movements from folk and everyday dances of several centuries, gradually improving the positions of the arms and legs, the position of the head and body.
All dance movements in classical dance have names in French, so dancers from different countries can easily understand each other. Classical dance classes allow you to develop flexibility, coordination of movements, strengthen the musculoskeletal system, promote endurance, physical and intellectual development, and also teach control your body. Various combinations allow you to dance beautifully and elegantly, even if it is simple movements of the hand, foot or head.
Children involved in classical music are corrected and laid down the correct posture, some cases of spinal curvature are corrected. Often, even experienced dancers of various dance styles continue to practice the classics, because its foundations are universal. In classical dance classes, they teach the basic positions of the arms and legs, the correct position of the body, introduce professional terminology and the history of the development of ballet, educate musicality, develop stability and coordination, and also prepare small classical performances in the form of etudes, adagios or various variations.
All movements in classical dance are based on turnout - one of the most important qualities in the classics, which is simply necessary for any stage dance. Turnout and step development are necessary regardless of the height to which the leg is raised, turnout seems to hold the leg, leads it to the desired position, contributing to the purity of plastic movements and smoothing the angles formed by the heels when lifting the legs. Insufficiently flexible knee, ankle and instep hamper the free movements of the legs, making them cramped and unexpressive. Based on turnout, there are five foot positions in classical dance. Moreover, in all these positions, not only the feet are twisted, but the legs completely, starting from the hip joint. Regular long-term flexibility and endurance training allows you to take the necessary positions without much effort.
When starting to practice, you need to remember about the stance, because nothing will work if you do not stretch the body vertically, avoiding a bent or arched spine, and do not distribute the weight between the legs.
It takes a lot of patience and time to develop correct posture. You should never forget about your posture - neither during classical lessons, nor during independent training, nor on any other day. Classical dance, like many others, is not only a set of movements, it needs to be revived, emotions and feelings must be put into it. And as soon as strong feelings are revealed in the dance, the impression of it changes to a large extent, it fascinates with its plastic expressiveness, leaving complete aesthetic pleasure.
In the 17th century (1701), the Frenchman Raoul Feuillet created a system for recording the elements of classical dance. These terms are recognized by experts in the field of world choreography and at the present time. Knowledge of technical terms speeds up the learning process. This is the international language of dance, the ability to communicate with choreographers, understanding of special literature, the ability to briefly record training combinations, lessons, etudes, floor exercises, compositions.
Choreographic terminology - a system of special names designed to indicate exercises or concepts that are difficult to briefly explain or describe.
Exercise at the support or in the middle - This is a set of training exercises in ballet that contribute to the development of muscles, ligaments, and the development of coordination of movements in the dancer. Exercises are performed at the “machine” (attached to the wall with brackets) and in the middle of the training hall every day. Exercises consist of the same elements.
- demi plie - (demi plie) - incomplete "squat".
- grand plie - (grand plie) - deep, large "squat".
- relevé - (relevé) - "lifting", lifting to a rack on socks with lowering to the IP in any position of the legs.
- battement tendu - (batman tandyu) - "stretched" sliding movement of the foot into the position of the foot on the toe forward, to the side, back with a sliding movement returning to IP.
- battement tendu jeté - (batman tandyu jeté) "throw", swing to the downward position (25 °, 45 °) with a cross.
- demi rond - (demi rond) - incomplete circle, semicircle (toe on the floor, 45 ana 90 ° and above).
- rond dejamb parterre - (rond de jamb par ter) - circle with a toe on the floor circular movement of the toe on the floor.
- rond de jamb en l'air - (rond de jamb en leer) - circle with the foot in the air, stand on the left right to the side, circular movement of the lower leg out or in.
- en dehors - (andeor) - a circular movement away from oneself, a circular movement outward in the hip or knee joint, as well as turns. 10.en dedans - (andedan) - a circular movement towards oneself, a circular movement inward.
- sur le cou de pied - (sur le cou de pied) - the position of the leg on the ankle (at the narrowest point of the leg), the position of the bent leg on the ankle joint in front or behind.
- battement fondu - (batman fondue) - "soft", "melting", simultaneous flexion and extension of the legs in the hip and knee joints.
- battement frappe - (batman frappe) - “hit” - a short kick with the foot on the ankle joint of the supporting leg, and quick extension in the knee joint (25 °, 45 °) to the toe or downward position.
- petit battement - (petit batman) - "little blow" - alternately small, short foot strikes in the cou-de-pied position in front and behind the supporting leg.
- battu - (botyu) - "beat" continuously, small, short blows to the ankle joint just in front or behind the supporting leg.
- double - (double) - "double", • battement tendu - double heel pressure • battement fondu - double half-squat • battement frapper - double blow.
- passe - (passe) - "to pass", "to pass", the position of the bent leg, the toe at the knee: in front, to the side, behind.
- relevelent - (relevant) - "raise" slowly, smoothly slowly on the count of 1-4 1-8 raising the legs forward, sideways or back and higher.
- battement soutenu - (hundred batman) - “fused” - from a stoic on toes with a half squat on the left, right, sliding forward to the toe (back or to the side) and sliding back to the IP.
- développe - (develope) - “opening”, “deployed”, from the stoic to the left, right with a sliding movement to the bent position (toe at the knee) and its extension in any direction (forward, side, back) or higher.
- adajio - (adagio) - slowly, smoothly includes grand plie, develope, revelant, all types of balances, pirouettes, turns. A fused bundle for 32, 64 accounts.
- attitude - (attetyud) - posture with the position of the bent leg behind, stand on the left, right to the side - back, lower leg to the left.
- terboushon - (terboushon) - a pose with the position of the bent leg in front (attetyud in front) stoic on the left, right forward, lower leg down to the left.
- degaje - (degaje) - "transition" from the stance to the left right forward to the toe, step forward through the semi-squat in IV position, straightening up, stance to the right, left back, to the toe. From the rack on the left right to the side on the toe, step to the side through the semi-squat in II position, the rack on the right, left to the side on the toe.
- grand battement - (grand batman) - "big throw, swing" 90 ° and higher through the position of the foot on the toe.
- tombée - (tombe) - "fall" from a toe stand in the fifth position lunge forward (to the side, back) with a return to the IP in a sliding motion.
