How to do a tour in dance
How do you do tours in dance? - Dictionary
Likewise How do I turn like a dancer?
What are dance turns called? In some dance genres and dance notation systems (e.g., Labanotation), a turn in which the performer rotates without traveling is known as a pivot. Pivots may be performed on one or on both feet; the latter is sometimes called a twist turn.
What are Chaine turns?
: a series of short usually fast turns by which a ballet dancer moves across the stage.
What is titans of dance? We invite you to join us for a day of education, motivation, and technical and personal growth…a day where you will train and be inspired by some of America’s favorite dancers and most well known choreographers…a day that will create everlasting memories and allow you to find the “Titan” in you!
What does saut de basque mean?
Definition of saut de basque
: a jump in ballet in which the dancer turns in the air with the foot of one leg drawn up to the knee of the other.
What does a la seconde mean in ballet?
A la seconde. One of eight directions of the body, in which the foot is placed in second position and. the arms are outstretched to second position. (
What are spins called in ballet? Pirouette (peer o wet) – a rotation or spin – a complete turn of the body on one foot, on point or demi-pointe (half- pointe).
Does ballet ruin your feet?
Ballet can cause foot pain, injury, and in some cases, even foot damage for dancers. … Ballet dancers not on pointe can also experience foot, shin, and ankle pain. If untreated, this can lead to an injury and even long-term foot damage.
Learn more.
What is a ballet spin called? Pirouette (peer o wet) – a rotation or spin – a complete turn of the body on one foot, on point or demi-pointe (half- pointe).
What is the hardest turn in dance?
A fouette is a “whipped throw” and is one of the most difficult turns in ballet dance. The dancer must pass their working leg in front or behind their body while spinning. This dance move is hard to master and takes a tremendous amount of determination to learn.
What does port de bras mean in ballet?
port de bras, (French: “carriage of the arms”), in classical ballet, both the general arm movements of a dancer and a designated set of exercises designed to improve the quality of these movements.
The port de bras of classical ballet is meant to be a graceful and harmonious accent to the movements of the legs.
What does pique mean in ballet? Pique´ Pricked, pricking. Executed by stepping directly on the pointe of the working foot in. any desired direction with the other foot raised in the air. (
What are the 7 movements of ballet?
These are known as the seven movements in dancing. These are plier (to bend), etendre (to stretch), relever (to rise), sauter (to jump), tourner (to turn), glisser (to glide), and elancer (to dart).
What is a cabriole in ballet? cabriole, ballet jump, formerly performed only by men, in which the dancer beats the calves of the legs together in the air, with a scissors-like movement.
What are jumps in ballet called?
jeté, (French jeté: “thrown”), ballet leap in which the weight of the dancer is transferred from one foot to the other. The dancer “throws” one leg to the front, side, or back and holds the other leg in any desired position upon landing.
How do you do the AXE kick?
Tips for Dancers on Tour
In her book “The Cranes Dance,” Meg Howrey writes, “When you step from the wings onto the the stage you go from total blackness to a blinding hot glare. After a moment you adjust, but there is that moment. Like being inside lightning.”
I spent my touring days reveling in that electric moment and chasing the excitement. I thrive on (a little bit of) chaos. I love the energy it lends.
But that feeling isn’t for everyone.
To be a successful performer, it’s the moments before and after standing inside the lightning that matter. It’s the day in and day out that fuel your performances.
Traveling to perform as a dancer means that few of your days are ever the same, including what you’re eating, where you’re staying and what the stage feels like. It takes a special level of effort to work the unpredictability of tour-life into a functional schedule.
Develop Routines and Rituals
When your days get wonky, routines are absolutely your best friend.
On tour, I have little routines for a lot of things — my hair and makeup playlist are set in stone, I always do the same thing before bed and I have little rituals with some of my castmates before every show. This makes transitions easier, no matter how hectic the day has been.
Bedtime and morning routines are especially important to your well-being on the road and can help combat jet lag from time zone changes. If you’re not getting a full night’s rest, especially in a physically taxing environment, your mental and physical health may suffer.
Manage Your Free Time
Along with a flexible routine comes free time; figure out how to use your time wisely to get the most out of it.
Remember that on tour you likely won’t have the discipline of daily workouts or technique classes to keep you in line. Your workout routine and technique practice are all up to you.
- Do a barre every morning.
- If you get studio time, take it.
- Find and save some easy, hotel-friendly workouts.
- Check to see if your gym offers its members location-wide access.
- Toss on running shoes and explore your new locale while getting your cardio on.
Just make sure you’re moving and practicing. Dancing every night might be a workout, but doing the same show ad nauseam can create a sense of security and complacency in your movements, not to mention, create muscular imbalances that can be improved with a bit of cross-training.
Take Care of Your Body
Caring for your body means more than hitting the gym.
You need to make sure you eat well and stay hydrated. This seems obvious but it is easy to over- or under-eat while traveling.
I always keep a squirrel stash of power bars in my dance bag for emergency situations when I’m traveling. Figure out which snacks work for you and stock up. The healthier your approach and the more regular your eating routine, the better you’ll adapt to new environments and schedule disruptions.
Take Care of Your Mental Health
Caring for your spirit is equally important while on the road. You cannot be a successful performer and give energy to your audience and your fellow dancers if you do not give energy to yourself.
It can be impossible to find a quiet moment on tour. You’re constantly coexisting with the other members of your company. Take it from me: headphones are a godsend. Blocking out the world without actually having to disappear makes putting on your makeup a private ritual and sitting in the company van, a little retreat.
Add moments into your routine where you take stock of yourself and what you need and then prioritize making time to fulfill that need. My favorite opportunity for introspection while on tour is hot showers — no one bothers you when you’re showering post-show. I have also used apps to track my mood and to remind me to be grateful. Remembering to smile can help in all the chaos.
Center yourself by keeping in contact with friends and family back home. The world of tour can become all-consuming, and sometimes you may forget there’s life outside the stage. Call home to get an emotional reset and an outside perspective.
Make the Most of Life on the Road
Take whatever free time you have while on tour to get out and explore. You may feel like you’re in the middle of nowhere but that tiny rural community might be hiding your favorite boutique of all time. The best tactic I’ve found for exploring a new location is to find a local coffee shop (i.e. not Starbucks) and ask the baristas what to see, taste and experience to best get to know their town in 12 hours.
Regardless of how long you’re in town, asking what to cover in that 12-hour time range elicits the truest responses.
Of course, after going to the trouble to ask, go do it! Eat, walk, see, smell and experience where you are. Make some memories and take SO MANY PICTURES. Live it up. You can always nap on the plane.
Newsflash: You won’t be successful with all of the above advice all of the time. Take each day as it comes and don’t expect perfection. Enjoy where you are, listen to your body and strive to be the best you can be, both on and off the stage. Shape the chaos of touring in a way that works for you and, while they last, chase those moments that make you feel like you’re inside lightning.
Alyssa Robinson is a lover of words and movement who happily resides in the Pacific Northwest. She started dancing at 19 when the ballroom (and latin) bug bit her, and she hasn’t stopped since. If she’s not writing about food, fitness, and dance, she’s in the studio training for her next ballroom competition.
Kindly follow, like or share:
Guest Contributors
Dance Advantage welcomes guest posts from other dance teachers, students, parents, professionals, or those knowledgeable in related fields. If you are interested in having your article published at Dance Advantage, please see the following info on submitting a guest post. Read posts from guest contributors.
Rotations and turns in dancing (practice)
- Posture
Rotations are performed with a taut and even body, "coccyx retract", "long neck", chin looks up. This will help you balance and tighten the axle needed for long term spins.
- Dot
All dancers know to "hold the dot" to spin, but I wonder if you can change dot fast enough? In order to rotate long and hard, you need to train a sharp and lightning-fast change of point. The point should be kept at the level of your eyes and a little higher.
Don't look at the floor or you'll end up there. nine0009
- Alignment (cross)
Concentrate on aligning the line of the shoulders with the line of the pelvis, they should be parallel. If you do not align the lines of the shoulders and pelvis during the beginning of the rotations, you will not be able to catch the balance and your rotation will not be long, a maximum of 3 pirouettes. To do this, you should train in front of a mirror, stand in a relevé and make sure that the lines of the shoulders and pelvis (hips) are parallel. Also, in front of the mirror, you should control the position of the body, become sideways and make sure that you are not leaning forward or leaning too back. nine0009
- Balance
When pirouettes, you balance on a half-finger (relev), practice balance without rotation. If you can’t stand on a half-finger without spinning, then you won’t be able to stand in a turn either.
Practice balance on half toes without rotation, train both the left and right foot, you should stand eight counts at a very slow pace, this will strengthen your axis. What type of spin do you train, classic turnout or jazz closed? Practice every type of balance until you can, it will come in handy in your career as a dancer, modern show groups use all kinds of techniques. nine0009
- Your thumb
Where does your thumb point when you rotate it? If your finger is not pointing in the same direction as your knee, this rotation is not considered correct and you will not be able to achieve a multi-spin. Stand on your half-finger and make sure you don't "clubfoot" that your thumb is pointing in the same direction as your knee. There is nothing worse than a clubfoot dancer! If the foot is placed correctly, the weight is also distributed correctly and you will be able to build the best axis for rotation. Make sure that during the rotation you do not jump on the half-toe, do not "play" up and down and your instep is stretched as much as possible.
Throughout the rotation, you should stand on the maximum possible half-finger. nine0009
- Use the dance floor (parquet)
Push off the deep plié floor with all your strength to set the maximum possible rotational energy. Imagine a Devil in a Box spring toy, you push it down into the box and when you open it, it kind of shoots up with maximum force, while you direct this energy into rotation with your hands. Push off from the plié with enough force to get on your half toe and extend your knee, and of course not more than necessary, otherwise you can not resist. Also, there is a technique in which, during the performance of the plie, the dancer exhales and then briefly inhales during the first turn, which allows you to increase the moment of rotation using an additional force. nine0009
- Matching shoes
Depending on the choreography, wear specialized dance shoes.
It is not recommended to do rotation without shoes, you can comb the skin on the balls of the feet.
- Arms
Have you noticed that when doing a series of pirouettes, the arms are closer to the body in subsequent turns than in the first turn? Quite right! During a series of pirouettes, it is very important not to lose the energy of rotation, for this the dancer must skillfully collect his hands to the body, distribute energy for each turn, so that in each subsequent turn the hands are a little closer than in the previous ones. Try it in practice, if you do not bring your hands together, then the rotation will not be fast and not long, but if you sharply take your hands to the body, then you will sharply spin at a higher speed. Now that you know what to do, you should train the most important condition - while bringing your hands together, hold the "cross" (the line of the shoulders and the line of the pelvis should be parallel).
nine0009
- Pulling
Imagine that while you are spinning, someone is pulling you up by the top of your head. This will allow you to keep a straight axis and rise as high as possible on the half-finger with the involvement of the main muscles of the body.
- Practice
Pirouette, like a circus trick, performing a series of pirouettes requires long hours of regular practice.
"When I was preparing to break the world record, I worked out at least three days a week for several hours. And it took about a year for me to start rotating from 19up to 55 turns without stopping" - says Lucia Sofia. tours and pirouette group movements.
ROTARY EXERCISES ON THE FLOOR.
Classic rotation technique dance requires the performer to be able to freely and accurately navigate in space, correctly place the center of gravity of the body on the supporting leg, steadfastly keep straight vertical axis of the body, correctly reproduce the form of the executed movement, feel good its rhythm and dynamics.
nine0009
The basis on which the correct and stable rotation, - it is professionally delivered
In the art of classical dance of rotation should always be slender in form, stable in technique, impetuous in rhythm and inspirational the nature. nine0009
Male spin dance are divided into parterre and air, used in women's dance only parterres. They, in turn, subdivided into small, large (grand pirouette - big pirouette - only in male performance) and tours in great poses. Generally term pirouette (pirouette) is now used only in relation to the male dance; in women's dance, all rotations are indicated by the word tour (tour, or French - turnover, turn).
This 360° body rotation on one leg. To the little ones tours include tours from II, V and IV positions. For successful completion of rotations is necessary observe the following rules. nine0009
The housing must be absolutely straight and taut, just that makes it possible to maintain
Force (French force - force) - initial impulse directed energy to do something movement, such as rotation. Overwhelmingly most rotations by the driving force is lifting on half toes and turning around its axis. Great importance hands play: at the start of the rotation, they actively give force, then, strong and elastic, keep their position until the end of the rotation.
An important aspect of rotation is head work. At the beginning of each tour head quickly turns in profile over the shoulder in the opposite direction rotation, while the gaze is fixed certain point ahead. In the moment rotation head straightens quickly en face and at the end of the rotation, overtaking rotation of the body, rotates to the original point. When performing several tours in a row head and eyes repeat this movement repeatedly. The point to which the gaze should be at the height of the eyes. You can not lower your eyes down, raise up or point to the side, from this you can lose stability. Also at turning the head, do not tilt it towards shoulder the head is held strictly straight. nine0009
Not only purely visual focus, usually defined the expression "keep the point", but also the ultimate internal collection.
tours.
In the approach to learning tours in its original form - on the toes - A. Ya Vaganova recommends the same gradualness and attentiveness, as later in approach to tours on the fingers. Can't be neglected elementary, leading to the goal exercises, teaching the legs to the correct position at all stages of the tour. Without this gradual study of all movements of the legs included in the performance of tours, the student can easily learn a casual, approximate manner execution. Just as rigorously prepared and the correct participation of hands in tours. Subsequently correction of incorrect reception when the performance of the tours will require incomparably more stress and time than the original painstaking work. Therefore I recommend the next way to explore tours is first on the toes, then on the fingers. nine0009
The most elementary preparatory the stage is teaching children to body turns still in junior classes.
In their exercise at the stick a turn on two legs is applied.
In the next classes - turn from leg change (it changes quickly when turning and driving continues with the other leg) and turn on the supporting leg with a return.
Last trick being studied in senior classes and
But all this only teaches body to general agility. nearest how we approach the study of tours in the sequence below.
Start with turns on two legs, then study turns on one leg in such sequences: 1) tour with preparation d6gagee, 1 2) from IV position, 3) from V position, after which they make tours on attitude, on arabesque, to the 2nd position, etc. pass them on the fingers, observing that same sequence of preparatory exercises. Tours on attitude, on arabesque and on II position pass on the fingers in conclusion choreographic education. nine0009
PREPARING TO STUDY
In the approach to learning tours in its original form - on the toes - I recommend the same gradual and attentiveness, as later in approach to tours on the fingers.
Can't be neglected elementary, leading to the goal exercises, teaching the legs to the correct position at all stages of the tour. Without this gradual study of all movements of the legs included in the performance of tours, the student can easily learn a casual, approximate manner execution. Just as rigorously prepared and the correct participation of hands in tours. Subsequently correction of incorrect reception when the performance of the tours will require incomparably more stress and time than the original painstaking work. Therefore I recommend the next way to explore tours is first on the toes, then on the fingers. nine0009
The most elementary preparatory the stage is teaching children to body turns still in junior classes.
In their exercise at the stick a turn on two legs is applied. In the next classes - turn from leg change (it changes quickly when turning and driving continues with the other leg) and turn on the supporting leg with a return.
Last trick being studied in senior classes and 
All these movements are accompanied by changing hands on a stick. nine0093
But all this only teaches body to general agility. nearest how we approach the study of tours in the sequence below.
Start with turns on two legs, then study turns on one leg in such sequences: 1) tour with preparation d6gagee, 2 2) from IV position, 3) from V position, after which they make tours on attitude, on arabesque, to the 2nd position, etc. pass them on the fingers, observing that same sequence of preparatory exercises. Tours on attitude, on arabesque and on II position pass on the fingers in conclusion choreographic education. nine0009
Let's start with the simplest turns in the middle of the hall - from turns on two legs: this is a battement soutenu type movement.
En dehors. From V position, right foot in front, do a demi-plie and pull back at the same time right foot to II position with outstretched toes to the floor; rise on half toes, at the same time pulling the right leg to the V position back, turn right, turning around en dehors; ending the movement, return the right leg forward to 5th position.
In this movement play a role and hands that come to the rescue legs. Starting the movement, open your arms to the II position, half-height, then elastic movement to connect hands below in preparatory position. nine0009
4 3 2 1
Fig.1. Transition from one foot to another with a turn half circle
En dedans. From the same position after demi-plie take the left leg to the II position, hold her forward to the 5th position, simultaneously rising on half toes. Then turn right (en dedans) and return the right foot forward while the same hand movement. You need to watch to leg during these turns did not describe unnecessary arcs on the floor, but returned from II to V position in a straight line. nine0009
The next exercise is a transition from one legs on the other, with a turn on the toes half a circle.
From V position, right foot in front, do demi-plie, degage with the right leg extended fingers on the floor to the second position, stand on it on half-fingers and pull the left in V position back with a turn in half a circle en dedans, stop with your back, demi-plié, degage left foot to II position, rise to left foot on half toes, pulling up the right in the 5th position forward with a turn en dehors (Fig.
1). nine0009
Arms open to II position when degage and with rotation are connected in the preparatory position with the same elastic movement as and in the previous exercise.
Similar movement - jete on half toes half a circle: with each transition to another leg to move to the side, turning body in half a circle: back - face - back - face, etc. The leg is moved to the side, raised each time by 45° (Fig. 2). When degage to II position with the right foot - right hand on the I position, left - on the II; with degage left foot - left hand in I position, right - on II. nine0009
4 3 2 1
two once two times
fig. 2. Half-circle Jete
yourself, especially at the second turn, when the body passes with its back to the viewer.
Watch out eversion of the knee of that leg, on which plié is made. nine0009
Having studied the performance of the above half-finger turns, student will easily proceed to the execution of them and on fingers.
After these preparations exercises you can start doing tours from the lightest form.
TOUR A LA SECONDE 90" (from 2nd position)
For tour a la seconde 90° from 2nd position I prefer the Italian reception to the French, as clearer and more dynamic. We study tour from the next preparatory exercise.
En dehors. Get into 5th position, right leg in front, demi-plié, rise on half-toes in the V position; hands - in front of you in the 1st position; then they open up to the second position and, at the same time, the right leg is thrown out grand battement to II position by 90°, then both legs descend to 2nd position on plié, right the hand bends down to the 1st position, and fast, with a short throw, the right leg rises to the II position, and putting on half-fingers, hands relegated to the 2nd position. linger left foot on half toes, leaving the right a la seconde on 90° (Fig. 3).
Fig. 3. Tour a la, seconde by 90° from II position
From plie in II position tour is studied a la seconde, and it is necessary to follow closely, so that the heel of the foot at the time of the start of the tour is not rolled up and stayed as long as possible reversible, which is decisive for getting a good tour a la seconde.
Force on tour taken by knockback right hand to II position after preparation in the P position, and the shoulders should remain straight, the right one cannot be turned forward, wanting to help the movement. nine0009
Endedans. Preparing for tour en dedans is the same to plie in II position, after which it rises left foot, and you have to turn around en dedans.
During preparation right the hand is in the 1st position, the left hand is in the 2nd position; force is taken with the right hand, but even here, I repeat, by no means a shoulder.
French reception different by the fact that right from the 5th position leg does a short developpe a la seconde, after which plie to position II, etc.
There is also tour sur le cou-de-pied from position II, it resembles the above with the difference that the leg is thrown out not at 90°, but only at 45° and bends down in tour to the left leg sur le cou-de-pied. During execution tour from this preparation the hands join in the preparatory position (Fig.
4).
4. Preparation for tour sur le cou-de-pied from position II
TOURS CHAINES
Tours chaines, deboules - in French terminology. I give these two names, because in total they are very figurative and characterize the movement from different angles. Suddenly rushing chain of small circles - this is the definition that follows from the name and giving an accurate picture of pas. Chaines are being made at a very fast pace, every turn by 1/8 or 1/16. Moving forward diagonally (from point 6 to point 2 of the plan of our class (Fig. 5). This pas often end the variation, but it with great effect is used in the composition the variation itself or another dance. Performed chains as follows. nine0009
When driving to the right - turn on the right leg extended diagonally; when finishing the turn, put your left foot forward to the place of the right (by no means not behind), give impetus to start by throwing right hand forward; then put your hands together in front of.
