How to do a reverse leap in dance
Leaps + Jumps - Dance Labs
Courses for Dancers and Dance Teachers of All Skill Levels
Our Jazz Leaps and Jumps courses are designed to help you turn up the volume on your existing dance or teaching skills. Whether you’re building on foundational jazz techniques and need instruction on the basics, or an experienced dancer looking to master more advanced skills, we have the expert instruction you need. Simply review the courses below to find the level that’s right for you.
LEVEL 1: FOUNDATIONAL JAZZ LEAPS + JUMPS
This is the place to start if you’re new to jazz leaps and jumps or need to go back to the basics. Each lesson includes detailed instruction and a proper breakdown for each leap or jump, helping you understand not only the “hows” but the “whys” of correct form. This beginning level focuses on strength, detail and exact technique. With practice and focus on proper placement, these lessons will serve as a foundation for more complex skills and help build a stronger physical base.
WHAT YOU'LL LEARN IN THE COURSE
- Saut de chat
- Grand jete
- Side leap
- Toe touch
- Tuck jump
- C jump
- Surprise leap
- And much more!
COURSE DETAILS
Instructor: Autumn Hewlett
Requirements: A basic understanding of the feet and arm positions, and basic knowledge of steps like chassé, chaîné, ball change, and pas de bourée.
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LEVEL 1: FOUNDATIONAL JAZZ LEAPS + JUMPS
This is the place to start if you’re new to jazz leaps and jumps or need to go back to the basics. Each level includes detailed instruction and a proper breakdown for each leap or jump, helping you understand not only the “hows” but the “whys” of correct form. This beginning level focuses on strength, detail and exact technique. With practice and focus on proper placement, these lessons will serve as a foundation for more complex skills and help build a stronger physical base.
WHAT YOU'LL LEARN IN THE COURSE
- Saut de chat
- Grand jete
- Side leap
- Toe touch
- Tuck jump
- C jump
- Surprise leap
COURSE DETAILS
Instructor: Autumn Hewlett
Requirements: A basic understanding of the positions of the feet and arms for dance.
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LEVEL 2: INTERMEDIATE JAZZ LEAPS + JUMPS
Are you ready to take the next step? The leaps and jumps taught in this course will help you refine and expand on your Level 1 skills. Each lesson found within this course includes a detailed breakdown of the leap or jump, and clear instruction on proper technique and body placement for each movement. In addition, many Level 2 lessons include more stylized combos that will help you practice these leaps and jumps within the context of other movements. Through consistent practice and attention to detail, you will be able to master and build upon each of the leaps and jumps listed below.
WHAT YOU'LL LEARN IN THE COURSE
- Cross leap
- Tilt jump
- Renverse
- Saute split jump
- Firebird
- Turning axel jump
- Single stag/calypso
- And much more!
COURSE DETAILS
Instructor: Morgan St. Pierre
Requirements: Have mastered the skills in Level 1.
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LEVEL 3: ADVANCED JAZZ LEAPS + JUMPS
It’s time to take it up a notch. This Level 3 Advanced course is sure to push you beyond your limits as a technician and help you develop a better understanding of the technique behind each jump. This course covers a lot of information and is packed with detail to ensure exactness and success when attempting these leaps and jumps. Practicing the lessons taught in this course will give you an enhanced understanding of your body, so you can get the results you want with any leap or jump that comes your way.
WHAT YOU'LL LEARN IN THE COURSE
- Backwards hook jump
- Butterfly jump
- Turning C jump
- Turning deer jump
- Back leap
- Firebird leap
- Switch front leap
- Switch arabesque leap
- And much more!
COURSE DETAILS
Instructor: Kayla Bagshaw
Requirements: Have mastered the skills in Level 1 and 2.
SEE WHAT'S INCLUDED
LEVEL 3: ADVANCED JAZZ LEAPS + JUMPS
It’s time to take it up a notch. This Level 3 Advanced course is sure to push you beyond your limits as a technician and help you develop a better understanding of the technique behind each jump. This course covers a lot of information and is packed with detail to ensure exactness and success when attempting these leaps and jumps. Practicing the lessons taught in this course will give you an enhanced understanding of your body, so you can get the results you want with any leap or jump that comes your way.
WHAT YOU'LL LEARN IN THE COURSE
- Backwards hook jump
- Butterfly jump
- Turning C jump
- Turning deer jump
- Back leap
- Firebird leap
- Switch front leap
- Switch arabesque leap
COURSE DETAILS
Instructor: Kayla Bagshaw
Requirements: Have mastered the skills in Level 1 and 2.
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LEVEL 4: ELITE JAZZ LEAPS + JUMPS
In this Elite Level 4 training, you’ll be pushed to enhanced levels of complexity and execution.
Each leap or jump found within this course will increase your strength, style and ability to transition from one technical element to another. Each exercise is specifically designed to help build proper muscle strength and improve body coordination for more exact execution when practicing that specific leap or jump. With a positive mindset and a drive to succeed, you will be able to master each one of the leaps and jumps listed below.
WHAT YOU'LL LEARN IN THE COURSE
- Hook jump
- Spinning disc
- Switch tilt
- Cross firebird leap
- Ninja split jump
- Axel saut de chat
- Turning saut de chat
- Double stag leap
- And much more!
COURSE DETAILS
Instructor: Kayla Bagshaw
Requirements: Have mastered the skills in Level 1, 2, and 3.
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BUNDLE:
JAZZ JUMPS + LEAPS COLLECTION (20% OFF)
Are you ready to go for the gold? If your goal is to refine your leaps and turns skills from the foundation up, the Bundle is the way to go.
This package includes Jazz Leaps and Jumps Courses 1, 2, 3, and 4 at a 20% discount.
You’ll have lifetime access to all four of these ground-breaking courses, so you won’t miss a beat as you level up! Master the fundamentals to build that solid foundation, then take it to the next level with intermediate skills, before breaking through those barriers to advanced movements, and build consistency and complexity with our elite course.
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BUNDLE:
JAZZ JUMPS + LEAPS COLLECTION (20% OFF)
Are you ready to go for the gold? If your goal is to refine your leaps and turns skills from the foundation up, the Bundle is the way to go. This package includes Jazz Leaps and Jumps Courses 1, 2, 3, and 4.
You’ll have lifetime access to all four of these ground-breaking courses, so you won’t miss a beat as you level up! Master the fundamentals to build that solid foundation, then take it to the next level with intermediate skills, before breaking through those barriers to advanced movements, and build consistency and complexity with our elite course.
LEARN MORE
Types of Ballet Jumps - Zarely
Intrigued about the different types of ballet jumps that vary across the discipline? Of course, you are. There are so many that it’s enough to intrigue even the non-dancers among us, after all, how exactly are they doing these amazing ballet jumps? Well, we’re here to give you a little tell-all and ultimately bring you theoretically and literally leaps and bounds ahead of your class about the different types of jumps and the ballet jumps terms that you might just need to know!
As we know, ballet is built of movement groups. Once the basic forms of jumps have been learnt, it’s time to move on, progress and bound your way forward into exploring all of the different ways in which we jump.
There are five types of ballet jumps which we will explore now. They are the following:
- Sauté – A sauté is a jump from two feet which lands on two feet. Sometimes, it can be jumping from one foot back on to the same foot.
- Temps Levé – A temps levé is a hop from one foot to the same foot.
- Jeté – A jeté is any jump or leap taking off from one foot and landing on the other.
- Assemblé – An assemblé is a jump from one foot landing simultaneously on two feet.
- Sissonne – A sissonne is a jump from two feet and landing on one foot.
Small Ballet Jumps
Before getting on to the big jumps in ballet and those amazing jumps that soar way into the sky, we wanted to touch base on the small ballet jumps. Those little jumps that piece together to make a beautiful routine. Small ballet jumps, known as petit allegro, are used both in training to assist in the building of musicality, coordination and fancy, quick footwork. On stage, they are used to create variation and character dances. Without further ado, let’s explore some of those petit allégros:
Soubresaut
A jump straight up from fifth position with both legs and arches extended.
Starting from demi-plié to gain the momentum, the dancer springs upwards into the air. It’s essential to avoid brushing the legs together.
Temps de Poisson
The movement of the fish, sounds delicate right? Or maybe a little fishy…? Well, a temps de poisson is where a dancer bends their back at the height of a jump, with the feet placed together and the pointes cross to form a style of fish tail. Think of those fish you get out of a Christmas cracker – sort of like that! You then land on one leg in a demi-plié with the opposite leg stretched back towards the air.
Changement
The much-loved by many changement. The jump where the feet so quickly changes positions. It can give the impression of such fancy footwork without too much effort, per say! Starting in fifth position, you jump directly up and down, getting the push from the plié. In the air, you quickly change feet to land back in fifth, with the opposite foot in front.
Temps de L’Ange
This movement is exactly the same as a temps de poisson, however, if you have your legs in attitude in the air, it is known as a temps de l’ange.
All of the same rules apply.
Échappé sauté
The jumping to escape movement. Starting in fifth position, the dancer jumps to finish in a demi-plié in either second position or fifth position. Both feet travel in equal distance from the original centre starting point.
Pas de Chat
Another well-loved fairly easy ballet jump is the pas de chat, or the step of the cat. Delicate, springy and bouncy it is where the dancer must, in essence, embrace the cat. Don’t just think like the cat, be the cat! Starting in fifth position the front leg passes through retire whilst the other leg pushes off the floor and is also raised and passes through retire. The first leg is the one that lands primarily with the second leg following to close into fifth position.
Difficult Ballet Jumps
Well, we’ve explored some of ballets small jumps. The ones that can be categorised perhaps as easy. Or easy for a dancer! However, now it’s time to bound forward into the difficult ballet jumps.
Those tricky moves that cause problems for even the best trained amongst us. The ballet jumps that cause problems and can be difficult to execute no matter how skilled and fit you are. Sometimes, they just pose difficulties. But, that’s okay – it shows we’re human. It’s important not to beat yourself up about it and for every fall, there are 100 more beautiful jumps waiting for you. So get back up, dust yourself off and if you need a little reassurance or a little guidance on how to execute some of the difficult moves, Zarely is here to help:
Grand Jeté
The Grand Jeté is notoriously one of the most difficult ballet jumps. It’s an extremely demanding jump that requires a dancer to continuously stretch to maintain their flexibility. The problem with a grand jeté is that it only takes a couple of weeks out of practise to find yourself literally leaps and bounds away from being how you were before. A grand jeté is so problematic and stressful for some dancers due to the fact it’s acquired by gracefully propelling yourself into the air whilst appearing to do the splits whilst hovering above the ground for a moment.
It’s not enough to almost reach the splits, we have to see it in the air for it to be the spectacular jump that we know it as.
Tour Jeté
A tour jeté is a jeté but manipulated by added a twist. It changes a grand jeté into a slightly smaller leap that reserves the dancers’ orientation. Involving a turn, a brish-through of the leg and then another turn which meets a fouetté. The dancer has to land with the trailing leg in arabesque. Sound confusing? It’s supposed to! There’s a reason it’s so difficult to execute, but if you nail it, it can be the difference between a clap and a standing ovation. They look absolutely spectacular when executed right.
Cabriole
A cabriole can be achieved as a jump, although typically it involves travelling so can also qualify as a leap.
However, after a plié, the extended leg is thrust up and out, followed by the supported leg. They beat together, to send the working leg even higher and the dancers’ body follows. The landing happens on the supporting leg. A lot of dancers have concerns about the cabriole, especially asking “does it hurt when you beat your feet together in a cabriole?”. Well, in a cabriole, you do not beat your feet together – you beat your thighs. We recommend starting to learn a cabriole at the barre – preferably a sturdy one where you can push down on if necessary. To achieve a cabriole you must keep lifting and extending through your spine and abdominal muscles. It’s essential to keep your shoulder blades pulled down, just like in an arabesque.
These examples of advanced jumps are the types you see in classical ballet.
How to Improve your Jumps
We use improve your jumps as opposed to perfecting, because after all, we can strive for perfection but there’s always improvement.
Strive for improvement. Strive for consistency. Try not to get caught up on practise makes perfect. Practise makes improvement. So, here’s how you can make your jumps better and some simple exercises to help you, day by day!
- Don’t use your arms and shoulders to get into the air. You need to be able to place your arms, head and hands in whatever position the choreography needs. Keeping your arms and shoulders out of the equation of the very beginning enables you to build the core muscles and leg muscles to achieve the most beautiful of jumps.
- Ensure you prepare yourself properly. We cannot stress the important of a good warm up and cool down enough. If you haven’t warmed up you won’t achieve anywhere close to what you can potentially achieve, plus you put yourself at risk of injury.
- Stretch properly. If you can’t get a split on the ground, there’s pretty much zero chance that you can do it in the air. Stretch, without overdoing it. Little by little every day to get to the final goal is the way forward.
Having flexibility and core strength will give you masses of improvements with your leaps and jumps. - Look up whilst you leap. Look in the direction you want to go. If you’re looking up, your body will naturally follow. Fixate on a high spot in the distance and envisage yourself heading there, you’ll be surprised to find what you can actually do when you focus.
- Deep breaths! Take a deep breath at the peak of your arch and it will give your body the impression of soaring. By taking a deep breath you are allowing your body to loosen and remove any tension. It should allow you to travel more smoothly.
- Controlled landings are absolutely essential, it’s no worth having a gorgeous jump just to land like a bag of potatoes. A deep plié will be so helpful to achieving this. Never come out of a leap with straight knees as this is a sure-fire way to cause injury. Mentally prepare yourself for the landing and aim for a silent and soft landing.
- Dress right, get yourself some Zarely kit for both rehearsals and performances.
Your clothes really do make a difference. Be the best with Zarely.
| p. 1 of 3 next ⇒ Literature Analysis 1.1 Vids of Jumps 1.1.1 Manked jumps 1.1.2 Average jumps 1.1.3 Large jumps 2. The role of eczersis in the machine and in the middle in the middle in the middle preparation for allegro movements. Working on allegro 2.1 Working on plie and battements fondus 2.2 Exercises that develop the strength and elasticity of the foot 2.3 The role of exercise at the barre in overcoming coordination difficulties when studying various jumps 2.4 The quality of the jump: balloon and elevation 2.5 Problems of coordination of arms, body and head 2.6 Features of the construction of jumps The use of classical dance jumps in the modern direction contemporary 3. 3.1.1 Mindfulness as the basis of personal transformation in contemporary dance 3.1.2 Breathing rhythm control
3.2 Jumping as the most important expressive means of Contemporary dance. The use and interpretation of classical dance jumps Conclusion List of sources and literature used
Introduction Relevance of the topic. At the present time choreographic art has stepped far ahead. Since the end of the 20th century, choreographers have been trying to get out of the framework of classical dance. There are more and more new styles. But still, for more than four centuries, classical dance has remained the basis. The theme of the course connects classical dance with the modern contemporary direction, since this style is most clearly demonstrated as a modern dance built on the feelings, experiences of the hero, combined with exquisite and graceful poses and jumps of classical dance. Jumping technique is the most difficult part of the dance art, and at the same time, this is the section that makes it more expressive. The variety of allegro movements is very large. The jumps studied in a classical dance lesson are so diverse in amplitude and character that they can be combined with each other in such different ways that allow you to “fit” a dance passage into any musical time signature that, probably, there is no music left that cannot be danced to, which could not be expressed by means of classical dance. 9A.Ya. Vaganova ballet historian, author of the book of memoirs of the fundamental research “Classical Dance” Russian Soviet ballet dancer, choreographer, teacher and author of the book “Classical Dance Lessons” Purpose and objectives of the study: 1. Describe allegro as parts of classic exercise 2. Get acquainted with all types of classical jumps 3. Learn how to develop the quality of a jump 4. Object of study Subject of study as a component of contemporary dance
Pas glissade [glissade] (sliding) - A small jump from the 5th position, advancing following the extended toe of the foot sliding on the floor, followed by sliding the toe of the other foot into the 5th position. Pas jete [jete] (throw) - jump from foot to foot. The group of jumps jete is diverse in form and is widely used in stage dance. The following exercise serves as an initial study of pas jete. Stand in V position, right foot in front; at the same time demi-plie, the left leg is retracted towards the II position with a sliding movement, while the knee and fingers are extended, and the toe touches the II position on the floor. Then push off with the right foot from the floor with a jump, stretching out the fingers and knee, return the left leg to the place of the right one and lower it onto the demi-plie. The right leg goes sur le cou-de-pied behind. This is the way forward. When moving backwards, the leg standing in front goes to the side. The position sur le cou-de-pied is also ahead. Further jete can be done in all directions; gradually developing the manner of dancing, do it with the hands in different small poses (head turns are the same as in assemble), and then move on to learning jete with leg abduction at 45 ° and grand jete at 90 ° ending in large poses . Pas de basque [pas de basque] (Basque step; Basques are the people of northern Spain and southwestern France) - A jump from foot to foot, performed as follows: the foot makes a demi-rond toe on the floor, small on it (parterre ) the center of gravity is transferred with a jump, the other leg is moved forward through the I position and the legs are connected to the V position with slipping forward. Pas de basque backwards are also performed. Pas assemble [assembly] (collect) - A jump from one leg to two, performed with the legs moving in a given direction, and collecting the legs during the jump together. Stand in the 5th position, right foot in front, demi-plie and at the same time the left leg is retracted with a sliding movement towards the 2nd position and, extended, touches the toe of the floor in the 2nd position; with the right foot remaining in the plie, push off the floor, extending the fingers and knee; the left leg simultaneously with the right returns to the V position forward on the demi-plie. From this plie, the movement is repeated on the other foot, and in this way a slight forward movement is achieved in this pas. Pas emboitte [ambuate] (from emboîter le pas - to follow) - alternately throwing the legs bent at the knees forward or backward by 45 ° (petit E.) or 90 ° (grand E.) with the advance behind the toe of the raised leg E. en tournant with a jump according to the scheme repeats E. on half-toes and fingers, but the transition from foot to foot is carried out after a jump with a half-circle turn. You can also do grand emboite, the leg is thrown higher and bent to the level of the knee. On stage, it's nice to apply emboite in a sequential row, starting with a very small one at the bottom, then throwing the leg higher and higher up to a grand emboite at 90 °. Emboite en tournant . Stand in 5th position, right foot in front. Demi-plie, jump towards the II position, and fly off with the whole body and legs together, moving the bent left leg forward in the air, lower the right leg on the demi-plie with your back, bending the left leg in front of you to a height of 45 °, turn in the air with a jump , flying off in the same direction, moving the bent right leg forward, stop on the left on the pile face - and so on. Hands should help. First, the right hand is in I position, the left is open in II, it is necessary to push off the floor, when jumping, throw the right hand to the side and, when stopping with your back, bring your left hand forward with your left foot; at the next turn and jump, throw the left hand to the side, and move the right hand forward along with the right foot, etc. Medium jumps Sissonne simple [Sisson sample] (from simple-simple, not complicated) - V position, demi-plie, a jump is made during which the legs are connected together, knees and fingers are extended. After the jump, drop down on one foot in plié, the other sur le cou-de-pied, and finish by making assemble. Sissonne ouverte [Sison uvert] (from ouvertement - open) - This pas is a development of SISSONE SIMPLE, i.e. after jumping from the position sur le cou-de-pied, the leg opens 45 ° - to the side, forward or backward, (remaining in plié). Sissonne ferme [Sison ferme] (from fermeture - closed) - A small jump. Sissonne tombe [Sison tombe] (From tombée - fall) - V position, demi-plie, jump from two legs, passing movement right sur le cou-de-pied (or at the knee, depending on grand or pettit pas). Falling onto the plié on the left leg, while simultaneously taking the right leg out on the croise or efface, then, as if belatedly, on the plié (pas de bourre can be completed after a big jump) Revoltade [revoltad] (from Italian rivoltare - turn over) - A jump with the transfer of the leg over the leg and turning in the air. Meets preim. in male dance. It is performed with the turn of the body en dehors and the simultaneous throw of the leg forward by 90, through which the jogging leg is transferred along the first position. The jump ends with a landing on the leg that performed the jump, the other leg rises back 90. Big jumps Grand jete [grand jet] (grand-big, jete-throw) - Performing a grand jet with "springboard" order preparation is a necessary transition step before any big jump. You need to send the body forward, you need to push off from something. Techniques are different: you can use once glissade, coupe, which gives you the desired run. Croise back, right leg behind. Passing the body strongly to the right leg, push it forward to the IV position efface with a strong push on the floor and sit on it, bending the whole body to this leg, push off the floor, throw the left leg on 90° forward on the croise and jump on it, trying to stay in the air with an attitude or arabesque position already expressed in the jump. There is, although rarely used, grand jete back, which is performed as follows: left foot in front of croise, transferring the body strongly to the left foot back on the efface, on plie and pushing off, throw the right foot back croise on 90° and jump onto it in a developpee forward pose. The movement of the hands is the same as when performing grand jete forward. Jete en tournant [jete en tournant], Begins with preparation. Stand in 5th position, right foot in front. Make a small sissonne tombee forward with the right foot in IV position on the croisee, on the demi-plie on the right leg, then substitute the left leg behind and transfer the body to it on the demi-plie. In order to take force well with sissonne tombee, you need to tilt the body strongly forward; passing to the left leg, tilt it to the left, turning the efface and tilting the head there, and from here describe the arc .. Pas soubresat [pa subreso], (French, from soubresaut - a sharp jump), a jump from two legs to two with a large departure from the V position to V. The legs in the air remain in the same position, the body strongly bends back. Jete renverse [jete renverse] Execution: from demi-plie, throwing out the grand battement leg to the 2nd position at 90°, spreading the arms to the 2nd position with the hands down, jump on this leg, bringing the other to attitude croisee, stopping on it on riyo and making renverse en dehors, finish it in V position The same movement can be done in the opposite direction, i. Saut de bascue [sau de basque] A jump from one foot to the other, moving to the side and turning in the air. It is performed with a turn of the body en dedans for half a circle and a simultaneous throw of the leg to the side by 90, the push leg is brought to the knee with the toe. A full turn of the landing on the leg that performed the throw is completed. saut de basque is done on a high jump, it is also performed with two turns in the air. An approach, an auxiliary movement to it is a step - coupe pas chassee. Foute [fuet] (from fouetter - to whip) - The term refers to a series of dance pas, reminiscent of the movements of a whip, spinning or sharply straightening in the air. Fouette on 45 - virtuoso rotation on the fingers: during the turn, the working leg, swinging at the supporting calf, bends at the knee, its toe is moved forward from behind, then the leg sharply straightens to the side simultaneously with lowering the supporting leg to the demi-plie. Cabriole [cabriole] (jump) - One of the difficult jumps in classical dance, when one leg hits the other from the bottom up one or more times. Performed in all poses at 45° and 90°. 2. The role of exercise at the barre and in the middle in preparation for allegro movements. Work on allegro In every professional group, whether it is a folk dance ensemble or a modern one, at least 3 hours a week are given to classical dance lessons. The lesson of classical dance develops professionalism of movements, turnout, flexibility, step, jump, develops an ear for music and a sense of rhythm. Today, on the basis of the classical exercise, the choreographers of the modern contemporary trend have developed their own, interpreted exercise, in which all the exercises of the classical dance lesson are preserved, but with some changes. For example, movements can be performed in parallel positions of the legs, the position of the hands changes. Exercise at the stick and in the middle in contemporary, as well as in the classics, prepares the student for the last, most difficult part of the lesson - allegro. In this section, I'll look at how the movements at the barre and in the middle prepare for jumps. 2.1 Work on plié and battements fondus Mastering the jumping part of the classic lesson depends on the correct position of the body, well-developed plié and competent work of the feet. This is the foundation that is laid literally from the first days of training. When setting the body, special attention should be paid to the vertical position of the pelvic bones in order to avoid the so-called "deflection", due to which the jumps become loose, and the landing is heavy and non-reversible. The softness and elasticity of the landing largely depends on the development of the Achilles tendon, which is achieved with the help of plié. As the program becomes more difficult, students move closer to learning to land on one foot. And even when mastering the simplest ones - pas jet or sissonne simple, problems often arise - the difficulty of maintaining balance when landing on one leg and even more difficult to fix a beautiful pose with the most "pressed" surlecou-de-pied. It will be much easier to deal with these problems if during the exercise you pay maximum attention to such an important movement as battements fondus, and battements fondus in the middle of the hall must be mastered before, and not after, learning jumps with a landing on one leg. When studying fondus, we, just as when developing plié, follow the correct work of the Achilles tendon, and in order for it to work to the maximum, we should ensure that the knees of the supporting and working legs bend at the same time, so that the leg is brought to the surlecou-de-pied in the final the moment of squatting, and the thigh remained motionless during the execution of battements fondus to the side. 2.2 Exercises that develop the strength and elasticity of the foot Breath control Breathing plays an important role in movement and control. Therefore, the attention paid to the regulation of breathing is also an important aspect of the formation of awareness. Exercises associated with intense physical work (pumping up different muscle groups), stretching exercises. As a rule, the performance of such exercises is accompanied by a disruption in the rhythm of breathing (breathing is delayed, becomes shallow, ceases to be realized). Fast, rhythmic or vice versa slow movements, movements associated with hanging (during jumps, with supports on the hands) also need proper breathing and contribute to the formation of breathing rhythm control skills. Attention paid to breathing leads to the fact that in the process of training comes the realization of the importance of its regulation. The understanding comes that holding the breath and tension are inextricably linked, so by releasing the breath, deepening it, we help our body become softer, freer, more relaxed. In the psychological aspect, awareness, identification and regulation of one's respiratory patterns contributes to the corresponding awareness, identification and regulation of emotional states, which contributes to effective life and the maintenance of physical and mental health. Based on the foregoing, we can conclude that contemporary dance classes teach to be more conscious, to keep the center of attention in the body, to be more sensitive to oneself, self-regulation. Based on the assumption that bodily sensations are an indicator of emotional states, we can conclude that contemporary dance classes contribute to the acquisition of skills of both bodily and emotional self-regulation. But here it is necessary to make the following reservation: the classes themselves only contribute to the acquisition of self-regulation skills, but are not sufficient for this, because. the latter requires purposeful both bodily and psychological practice. In other words, this direction of modern choreography, among other things, can be useful in a psychological sense, as a practice of bodily, emotional awareness and as a practice that helps to acquire the skills of mental self-regulation. CONCLUSION The jump is the most important part in the art of dance. Before you start learning jumps, you need to have the correct position of the body, a well-developed plié and competent work of the feet. It is for this that perd allegro exercises are always performed at the barre and in the middle. The Jump is also characterized by elevation and ballooning. Elevation is the actual takeoff. Ballon - the ability to "hover" in the air, fix a beautiful pose, without this ability the jump will lose clarity, virtuosity and grace. Contamporary is not just a new and trendy trend. He is very dynamic and continues to borrow and combine the new, the unusual, transform the standard, breaks the stereotypes that have developed and are generally accepted in choreography. But no matter how progressively modern dance develops, the classics will always remain the basis. REFERENCES Gorshkova. Expressive movements Dance of the soul./E. Gorshkova - Expressive movements. Dance of the soul / E. Gorshkova. - Moscow, 2001 // Free Body: A Reader on Body-Oriented Psychotherapy and Psychotechnics / Ed. V.Yu. Baskakov. - Moscow: Institute for General Humanitarian Research, 2001. - P. 153-186. Literature review 1.1 Types of jumps 1.1.1 Small jumps 1.1.2 Medium jumps 1.1.3 Big jumps 2. The role of exercise at the barre and in the middle in preparation for allegro movements. Work on allegro 2.1 Working on plie and battements fondus 2.2 Exercises to develop strength and elasticity of the foot 2. 2.4 Jump Quality: Balloon and Elevation 2.5 Hand, body and head coordination problems 2.6 Features of building jump combinations The use of classical dance jumps in a contemporary direction contemporary 3.1 Contemporary 3.1.1 Mindfulness as the basis of personal transformation in contemporary dance 3.1.2 Breathing rhythm control 3.2 Jumping as the most important expressive means of contemporary dance. Use and interpretation of classical dance jumps CONCLUSION 123next ⇒ See also: Classical dance, classical barre, ballet (training) 1. This exercise develops the correct position of the foot, which is important for jumping. Develops the hip, knee, ankle joints. Tightens the muscles of the back, which must maintain a straight, taut position. Demi-plie is learned from the first, second, fifth, fourth positions. Execution rules: in demi-plie in 1 and 2 positions: 2. Battement tendu (battman tendu). The name battements literally means “beating”, “beating”, but here it means the uniform movement of the working leg. 3. Battement tendu jete – leg throw. 4. 5 . Port De Bras. I, II, III Port de bras of classical dance (1,2,3 port de bras). 6. Battement frappe. Double battement frappe (batman frappe, double batman frappe). 7. Battement fondu (batman fondue) - translated from French as “melting” batmans. This is a complex movement that develops strength, eversion, elasticity of the legs, giving smoothness and softness to movements. 8. Battement releve lent - Slow leg raise to 45 and 90 degrees. Performed forward, sideways and backwards. From the first, fifth position. Movement develops leg strength, step, lightness. 9. Battement developpe (batman devluppe) - from fr. "take out, develop, deploy." It is performed forward, to the side, backward in the fifth position, in poses, arabesques. 10. Grand battement jete - movement with a large throw. 11. Grand plie (grand plie) - big squat. 12. Temps leve sauté, pas echappe 13. Changement de pieds, pas assemble (shazhman de pied, pas assembly).  .
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1 Contemporary - a type of modern choreography 
Determine the value of allegro in the contemporary direction contemporary 
Ya. Vaganova divides the jumps into two groups. “Classical dance jumps are extremely diverse in appearance. When we analyze them, we will see that they are divided into two main groups. In the first group - air jumps: for such a jump, the dancer must impart great strength to the movement, must freeze in the air. In the second group there are movements that cannot be done without leaving the ground, without jumping: but they are not directed upwards, but, like creeping plants, spread along the ground.0006 
Then combinations of small jumps with skids are performed. 
1.1 Small jumps 
It is performed together, without taking off the socks from the floor (with or without a change of legs). 
V position, demi-plie, the jump is performed in the direction (forward, backward or to the side), the working leg opens to the II position (45 °). When the pushing leg lands, the working leg closes into the 5th position (almost simultaneously). 
The body of the performer during takeoff assumes an almost horizontal position. Revoltade is played with en dedans. The approach to revoltade is sissonne tombee, pas failli, pas chasse, followed by a short pas coupe. Revoltade has several types. 
The hands will go the following way: when the body leans strongly to the right, they rise to the second position; when all the weight is transferred to the right leg - the hands are connected in a preparatory position below, they need to take, as it were, force to jump, they come to the required position through the first position. 
The right leg with one stroke is thrown forward 90° and circles in the air as the body turns to the right. When making a turn, jump on the right foot and fall on the attitude croisee, not letting yourself be carried away by inertia and, at the final attitude, do not lean too much to the right side. "
e. after throwing one leg to the II position, after the jump, move the other forward to 90° on croise with left arm raised and renverse en dedans. 
The concept of “contraction, relies” (compression, decompression of the body) appears. 
It is not a rare mistake of beginners to confuse plié with body tilt, they forget about the work of Achilles, and this common mistake should be prevented from the very first lessons at the barre and in the middle - follow an absolutely “flat” and vertical body with a maximum squat in demi-plie Further development of the Achilles tendon occurs in the study of grand-plie - here it is necessary to ensure that the heels come off the floor as late as possible when squatting, and that they do not rise to high half-toes. When growing out of a grand-plie, ensure that the heels are placed as early as possible. In children with good natural lower eversion, there is also such a mistake - when the heels are separated from the floor in grand-plié, they begin to push them forward, which leads to a blockage on the thumbs, and also prevents the work of the Achilles tendon. In addition, it is dangerous for the meniscus. Demi-plié at the barre should be done in different tempos - 2/4 each and 4/4 each, or 2 and 4 bars each if the music is in three-quarter time.
A hard “quick” plie is more often needed when pushing off the floor, and a soft, “melting” one after a jump. 
Also, attention should be paid to the preservation of the "rod". 
The foot should slide along the floor, gradually stretching out - sequentially through the low toes to the high and toes, with the reverse movement - the same sequence, but in the reverse order - fingers, high toes, low toes and the whole foot with the heel tightly pressed to the floor. All this painstaking work will pay off later when learning such a difficult jump as pas assemble. With a properly developed foot, being able to stretch the toes and lift strongly, it is easier to push off the floor and land without making noise. 
In the process of performing such exercises, it is necessary to give an opportunity to really feel how establishing a calm rhythm of breathing, in which its rhythmic phases are preserved, contributes to effective work and how, with the help of deep breathing, you can consciously relax tense parts of the body. This practice helps to keep awareness and focus in the body, helping to effectively perform these exercises. 
It is allegro that gives the dance the necessary grace, virtuosity, lightness, which is a characteristic feature for contemporary. The correct and competent performance of jumps is practiced in a classical dance lesson. 
Jumps, invented and introduced into ballet more than 4 centuries ago, do not cease to be of interest in modern dance. On the contrary, contemporary choreographers are increasingly turning to classical dance, researching and interpreting it. 
3 The role of exercise at the barre in overcoming coordination difficulties in the study of various jumps 
Demi-plie (demi-plie). Means bending, folding; Demi-plie half squat. 
As a rule, the word battement does not have another word that defines the nature of the exercise. Battement tendu - abduction and adduction of a stretched leg along the floor forward. This movement is developed to the side, back. These are tight movements. Stretching the entire leg at the knee, instep and toes, developing leg strength. The movement is performed in the first and fifth positions of the legs. It is performed in the direction forward, sideways, back. Performing battement tendu with one hand behind the barre forward, the head is turned to the center of the hall, slightly deviated back, to the side - looks straight, the head is turned back to the center of the hall and the gaze is directed to the hand. 
The working leg is extremely everted in the hip, knee and ankle joints. The knees do not relax or bend during the entire 
Rond de jambe par terre (Rond de jambe parterre) - “circle of the foot on the floor”. 
Shoulders and hips do not turn to the working leg. Bring the toe to a point in front against the first position. When the working leg passes through the first position, the weight of the body should not be transferred to it. The knees of both legs are extremely stretched. The body should not react to leg movements. 
Do not push your hips forward. Follow the hands in the third position (you need to see them without raising your head). If performed in fifth position, watch out for the forward foot. 
The nature of the movement: clear, sharp. 
When moving backwards, the first blow on the cou-de-pied is forward, and the second is back. When performing several movements in a row in the direction, strikes alternate in front and behind. 
It is performed in the first and fifth positions. 
At the same time, the supporting leg starts demi-plié. Watch the body and hand on the stick. 
The supporting leg tends to turn out. The working leg is extremely stretched to the tips of the fingers. 
When developing a jump, it is necessary to pay special attention to the correct demi-plie, that is, not to tear off the heels from the floor. 
It is performed in the first, second and fifth positions. The movement begins "zatakt". While jumping in the 5th position, the legs keep a good “tight” 5th position. Develop strength, elasticity and eversion of the legs. It is necessary to develop the springboard of the jump, the correct push with the heels from the floor, follow the outstretched knees, rise, fingers. 
