How to do dance jumps and leaps
Leaps + Jumps - Dance Labs
NEW 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 are 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
Master Proper Technique for Leaps and Jumps from the Start… and in Record Time!
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.
SEE WHAT'S INCLUDED
LEVEL 1: FOUNDATIONAL JAZZ LEAPS + JUMPS
Master Proper Technique for Leaps and Jumps from the Start… and in Record Time!
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
COURSE DETAILS
Instructor: Autumn Hewlett
Requirements: A basic understanding of the positions of the feet and arms for dance.
SEE WHAT'S INCLUDED
LEVEL 2: INTERMEDIATE JAZZ LEAPS + JUMPS
Build Complexity into Your Skills with Intermediate Jazz Leaps and Jumps!
In this Level 2 training, our detailed lessons will guide you in achieving full-body connections and proper mechanics for successful leaps and jumps. Practicing these techniques will enhance your understanding of your body and how to get results.
By the end of this course, you will have the understanding of what is needed to master these skills and will some practice you will be able to execute them properly. This is the best place to start if you have foundational leaps and jumps under your belt, and if you are looking to expand and refine your skills with more advanced leaps and jumps.
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.
SEE WHAT'S INCLUDED
LEVEL 3: ADVANCED JAZZ LEAPS + JUMPS
Ready to Push Your Limits in the Best Way Possible? Hit the Floor With Advanced Leaps and Jumps!
In this Level 3 training, our detailed lessons will guide you in achieving full-body connections and proper mechanics for successful leaps and jumps.
Practicing these techniques will enhance your understanding of your body and how to get results.
By the end of this course, you will have the understanding of what is needed to master these skills and will some practice you will be able to execute them properly. This is the best place to start if you have foundational and intermediate leaps and jumps under your belt, and if you are looking to expand and refine your skills with more advanced leaps and jumps.
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
Ready to Push Your Limits in the Best Way Possible? Hit the Floor With Advanced Leaps and Jumps!
In this Level 3 training, our detailed lessons will guide you in achieving full-body connections and proper mechanics for successful leaps and jumps.
Practicing these techniques will enhance your understanding of your body and how to get results.
By the end of this course, you will have the understanding of what is needed to master these skills and will some practice you will be able to execute them properly. This is the best place to start if you have foundational and intermediate leaps and jumps under your belt, and if you are looking to expand and refine your skills with more advanced leaps and jumps.
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.
SEE WHAT'S INCLUDED
LEVEL 4: ELITE JAZZ LEAPS + JUMPS
Electrify Your Dance Performance with Elite Leaps and Jumps!
In this Level 4 training, our detailed lessons will guide you in achieving full-body connections and proper mechanics for successful leaps and jumps.
Practicing these techniques will enhance your understanding of your body and how to get results.
By the end of this course, you will have the understanding of what is needed to master these skills and will some practice you will be able to execute them properly. This is the best place to start if you have foundational, intermediate, and advanced leaps and jumps under your belt, and if you are looking to expand and refine your skills with elite leaps and jumps.
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.
SEE WHAT'S INCLUDED
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.
LEARN MORE
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
6 Tips for Improving Your Dance Jumps
While jumping is essential for many athletes, dancers are among the select few that make it look graceful.Adding gracefulness and increasing the heights of your jumps isn’t something that just comes naturally. These things are earned during late-night practices, early morning lessons, and countless hours of warm-ups. Dancers are constantly striving to achieve the look of effortlessness in their jumps; however, it can only be taught and maintained through countless hours of practice.
Luckily jumps are one of those things that we can always work to improve. Keep reading for six tips for improving your dance jumps.
Stretch properly.
Like any rigorous physical activity, start with warm-ups and stretches. Stretch every day to make sure your leg muscles are ready for the intensive work to follow. The second stage of your stretching action is stretching for a split. What you would do mid-air one day, try and work on it while you are on the ground.
Flexibility is crucial, but there is more to it. You need strength and lots of control, too. Good core strength and alignment are critical.
In addition to stretching and warming up the muscles, it is important that you do not overstretch before jumping and leaping. You want to stretch just enough to get the blood circulating through the muscles. We like to add strengthening exercises to our warm-up to help wake the body up and then re-stretch at the end of a class. Deep stretching is most productive when done at the end of a rigorous dance class.
Visualize.
While stretching, envision how you want your leaps to look. Having a mental picture of your jump will allow you to calibrate the energy you need to execute it.
Believe it or not, positive imagery and positive self-talk do wonders for performance. Find a relaxing place and close your eyes. Envision yourself leaping through the air—concentrate on your take-off, arm and leg position, and of course, the landing.
Videotape yourself.
Use today’s modern technology to your advantage! Dancers can benefit significantly from things such as slow-motion videos. Before you start working on increasing the height of your jumps, take time to videotape yourself.
When going over the video, focus on your take-off and the position of your torso. Once reviewing the video, determine the part of the leap you would like to focus your energy on.
Involve your whole body.
It is essential to recognize that leaps and jumps require more than just leg strength. While leaping, focus on where your eye focus is. Instead of looking straight-forward, slightly angle your head and focus upward. In addition, you must utilize your core. Also, be conscious of your arm position.
Ask yourself these questions:
- Are your arms straight?
- Are your shoulders relaxed and pulled down?
- Is your torso upright?
- Are your toes pointed?
The more you focus on these things during warm-ups and practices, the more they will become second nature for you during your actual performances.
Focus on a deep plié.
A deep plié is critical for achieving the height you need to execute a leap properly. A plié is simply a deep knee bend and is the last step you take before leaving the ground. The deeper the plié, the more power you will have in your legs to push off.
No matter how many steps you take to prepare for the leap, make sure to bend your knees to obtain as much power as you need to get high into the air and try not to lean forward.
Stick your landing.
A beautiful leap is not complete until it is landed safely. Your goal for the landing will be to hit the floor as softly and quietly as possible. Never come out of a leap with straight knees, as doing so will almost always cause an injury.
You should begin thinking about your landing as soon as your feet leave the ground. Mentally preparing your legs to absorb your weight will really make a tremendous difference.
Whether a dancer wants to deepen a plié, perfect a front walkover, or bring their jumps to new heights, we have all the tools to ensure you reach your goals!
We consistently work with our dancers through conditioning and technique classes to encourage optimal dance success! Contact the dance experts at Evolution Dance Complex today to find out more!
Photo Feature: Mia Snyder (Dancer/Model)
Jumping Exercises
Style: Hip-hop / Hip-Hop Hip-hop for children / Children's Hip-Hop Ballet
Jumping is an invariable attribute of any dance style and trend.
Jumping movements give the dance entertainment and dynamism. The audience has a feeling of ease of performance and airiness of the dance. Many professional dancers and dancers were "jumpers from birth", that is, they easily jumped. But still, the majority, in order to learn easy and high jumps, spend titanic efforts and years of training. However, both of them need to constantly improve their technique for performing jump elements by regularly training.
Getting Started
Jump elements can vary greatly in different dance styles. For example, in modern styles (hip hop, break dance, etc.), the jumping technique differs significantly from classical styles (ballet, tango, etc.). However, there are basic exercises and techniques that will allow you to develop the height and ease of the jump. It is this technique that will be discussed further.
The main thing to focus on in the beginning is the power of the push. It is she who will allow you to make a high jump, as well as perform the necessary figure in flight.
To improve it, we can give several recommendations:
- Lifting your weight. In their training, the most famous professional athletes use all kinds of exercises to lift their weight. These are rises on toes, with outstretched knees, lunges and squats on one or both legs, etc. By doing these exercises regularly, you will soon develop the necessary pushing power and be able to literally soar in the air.
- Stretching. For lightness and high sharpness of the jump, strong and elastic ligaments and tendons are needed. For this, an excellent stretch is a prerequisite. Constantly improve your stretch performance.
- Correct landing. Dancers get the most injuries when they land. And any injury can permanently unsettle the dancer. That is why when performing jumps, you should land only on tense legs, softening the landing with a springy plie. The deep plie is a fundamental exercise that all professional dancers perform. It promotes the development of tendon and ligament tissues in the ankle joints, strengthens the muscles of the foot, lower leg and thigh.
- Reach up. Watch ballet. All dancers, when jumping and landing, do not stoop, do not raise their shoulders, do not pinch. On the contrary - the back is extended, the head is held high. This will greatly lighten your weight.
In addition to the above recommendations, you should also pay attention to your diet. Vitamins and trace elements must be present in your food.
Believe in yourself
However, really spectacular jumps require more than just great strength and speed. One of the main requirements is faith in one's own strength. Believe in your high jump and then you will be able to fly.
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Classical dance, classical barre, ballet (training)
1.
Demi-plie (demi-plie). Means bending, folding; Demi-plie half squat.
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:
the position of the foot on the floor is even, the emphasis of the foot on the thumb is not allowed: the heels should fit snugly on the floor, as this contributes to the development of the ankle joint.
The body is straight and taut, the shoulders and hips are even. The center of gravity of the body is evenly distributed on both legs.
Before the start of the movement, the free hand performs a propulsion. The squat is done smoothly and evenly.
2. Battement tendu (batman tendu).
The name battements literally means “beating”, “beating”, but here it means the uniform movement of the working leg.
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.
Rules of execution: The body is tightened. Hands lie freely on the machine, elbows are pubescent.
Battement tendu to the side. Rules of Execution: In battement tendu, the working leg moves exactly in a straight line, fixing the position of the heel against the starting position in each of the directions.
The working leg is extremely everted in the hip, knee and ankle joints. The knees do not relax or bend during the entire
movement.
Battement tendu forward. Rules of execution: sliding of the working leg begins with the heel, and return to the position with the toe. Do not take your toe off the floor. Watch the thigh of the working leg and
tightened body. Do not put emphasis on the toe. The body is taut and calm. Keeps shoulders and hips even.
Battement tendu back. Rules of execution: back battement tendu begins with the abduction of the toe, returning to the position from the heel. Make sure that the shoulders do not turn towards the
working leg. The gluteal muscles are strongly stretched.
3. Battement tendu jete (battement tendu jete) – leg throw.
Movement develops the mobility of the hip and ankle joints, develops strength, ease of movement of the leg.
Performed in 1, 5 positions of the legs, in the direction forward, sideways, back.
Rules of execution: the movement is performed according to the rules of battement tendu, but with a throw into the air. The working leg performs a throw to a height of 25-45 degrees and actively returns to the position. The sock in all directions emphasizes the return of the foot to the position. The movement is performed evenly, the point is fixed by a sharp throw of the leg into the air. The movement brings up the mobility of the hip and ankle joints, the strength of the legs. It is unacceptable to swing the leg in the air (show the point).
Battement tendu jete to the side:
Performed according to the rules of battement tendu, only the throw is for air.
Battement tendu jete forward:
Performed according to the rules of battement tendu, only the throw is for air.
Battement tendu jete back:
The throw of the leg and its return is performed calmly, without the help of the body, the shoulders are even.
4.
Rond de jambe par terre (rond de jambe parterre) - “circle of the foot on the floor”.
The concept of en dehors (an deor) and en dedans (an dedan) .
In en dehors , the working leg, stretching forward, draws a semicircle with its toe along the floor, that is, sliding its toe “outward” in the direction from the supporting leg.
In en dedans the working leg, stretching back, draws a semicircle with its toe along the floor, that is, sliding its toe “inward” towards the supporting leg.
Rond de jambe par terre is one of the main exercises that develop eversion, elasticity and mobility of the hip joint.
Passé parterre - sliding movement of the working leg on the floor.
Demi-ronde de jambe (demi-ronde de jamb parterre) - a semicircle of the foot on the floor.
Rond de jambe par terre are circular foot movements on the floor in the direction en dehors.
Sung in slow tempo from the first position. Be sure to prepare for movement.
Rules of execution: in the passé par terre, the working leg is stretched to the limit and everted. During the passé through the first position, the foot of the working foot is evenly placed on the floor, avoiding resting on the big toe. Without separating the heels, without bending the toes, without going beyond the heel of the supporting leg. When stretching the leg forward or backward, the heel is against the heel. The body is taut and calm, the shoulders and hips are even. When en dehors, make sure that the heel is directed forward, the toe does not rest on the floor. Especially keep eversion on the move from the second position to the fourth back. Shoulders and hips should not turn towards the working leg. The supporting leg tends to turn out, the gluteal muscles are tightened. With en dedans, lead the working leg in a circle with the heel forward. Do not settle on the hips. Particularly maintain eversion when driving from behind to the second position.
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.
5 . Port De Bras. I, II, III Port de bras of classical dance (1,2,3 port de bras).
Port de bras - the correct passage of the hands through the main positions in combination with the turns and tilts of the head and the movements of the body. Learning different types of port de bras is good for developing dance coordination.
There are six types of port de bras. Below are the most common ones.
I Port de bras:
From the preparatory position, the arms rise to the first, then to the third, open to the second and return to the initial preparatory position.
Rules of execution: follow the correct position of the hands in positions.
The movement is executed as one, without stopping in positions.
II Port de bras:
It is obligatory to execute the preparation for the movement (hands from the preparatory position are raised to the first, then one hand is raised to the third, the other is opened to the second position).
Rules of execution: follow the correct position of the hands in positions.
The movement is executed as one, without stopping in positions.
III Port de bras:
It is obligatory to perform the preparation for the movement (hands from the preparatory rise to the first and open to the second position).
Execution rules: Keep the body tight. When leaning forward, do not round your back, the slope goes as if into the distance. When leaning forward, do not take your legs back, your knees should be stretched. Shoulders do not rise. When tilting back, the shoulders begin to tilt, then the lower back, the shoulders do not rise, the stomach is pulled in.
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.
6. Battement frappe. Double battement frappe (batman frappe, double batman frappe).
Battement frappe – striking movements (leg kick).
The movement develops the ability to control the lower part of the leg - from the knee to the toes; clearly, vigorously bend and unbend the leg with a fixed top, develops leg strength, agility and mobility of the knee.
Battement frappe performed to the side, forward and backward, toe to the floor (at the beginning of the movement) and at 25, 45 degrees.
When performing battement frappe to the side - the head is straight, when moving forward, the head is turned to the center of the hall, back - to the hand. It is performed in the first and fifth positions.
The nature of the movement: clear, sharp.
Rules of performance: straighten and bend the leg in this exercise evenly, strictly adhering to the direction of the second position. The position of the cou-de-pied should be fixed tightly, especially in front, but without pressing on the supporting leg. The leg works from the knee. The hip part of the body is pulled up all the time. The body is straight and assembled. Shoulders open and slumped. The center of gravity of the body is exactly on the supporting leg.
Double battement frappe is a double transfer battement. Two movements petit battement and battement frappe are combined. The rules are saved.
This movement is a complicated form of battement frappe: it has a double transfer of the working leg on the cou-de-pied forward and backward or back and forth; after a double transfer, the leg is extended in a given direction. To perform double battement frappe forward, the first blow must be made on the cou-de-pied from behind, and the second, respectively, on the cou-de-pied in front.
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.
Movement develops the ability to control the lower part of the leg - from the knee to the toes; clearly, vigorously bend and unbend the leg with a fixed top, develops leg strength, agility and mobility of the knee.
When performing double battement frappe, the rules of battement frappe and petit battement are observed (small battement, the movement consists of a clear transfer of the working leg from the position on the cou-de-pied in front to the position on the cou-de-pied behind and back).
This movement is performed to the side, forward and backward, with the toe on the floor (at the beginning of the study of the movement) and at 25, 45 degrees.
When performing a battement frappe to the side - the head is straight, when performing a forward movement, the head is turned to the center of the hall, back - to the brush.
It is performed in the first and fifth positions.
The nature of the movement: clear, sharp.
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.
The movement is performed to the floor, 45 and 90 degrees in all directions (forward, side, back). The correct execution of this movement will help in jumping, where the arrival must be soft and elastic.
Rules of execution: when performing to the side, observe the simultaneity of movement. Show exactly conditional cou-de-pied in front. Move through muscular resistance.
When moving from behind on a cou-de-pied, the knee remains everted, as if behind. Keep the hips and shoulders even, do not bend the lower back.
Bringing the working leg forward, it is necessary to push the heel forward. The thigh and knee are retracted first, the bottom of the leg lags behind.
At the same time, the supporting leg starts demi-plié. Watch the body and hand on the stick.
Later, the work of the hands is included in the movement. With the beginning of the battement fondu, the hand gradually descends, coming into a preparatory movement at the moment of demi-plie of the supporting leg. When returning, it rises to the 1st position and opens to the 2nd position. The head is involved in the work, the gaze accompanies the movement of the hand.
When performing the movement forward and backward, the head remains turned to the hand, open to the II position, while performing the battement fondu to the side - the head en face.
8. Battement releve lent - slow raising the leg to 45 and 90 degrees. Performed forward, sideways and backwards. From the first, fifth position. Movement develops leg strength, step, lightness.
Execution rules: is performed at a slow pace. It is a preparatory movement. The body is tucked up, the shoulders are lowered.
The supporting leg tends to turn out. The working leg is extremely stretched to the tips of the fingers.
When moving to the side, the shoulders, thigh, skating leg and working leg are in the same plane. Do not pull away from the stick.
When lifting your leg back, you need to make sure that your shoulders and hips are even.
When lifting the foot forward, it is necessary to watch the heel, keeping it in front. You can not "settle" on the supporting leg, holding on to the stick with one hand. The leg should rise and fall evenly.
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.
The correct execution of this movement develops and develops beautiful lines and steps; develops the strength of the legs, hips, step, prepares the legs and body for adagio at the barre and in the middle of the hall. When performing this movement, the leg is raised by 90 degrees and above.
Rules of performance: the working leg is extremely everted, the supporting leg is stretched and everted. The body is tightened, the hand lying on the stick maintains the correct position. If the working leg is in the dimple at the knee of the supporting leg, then the instep cannot be beveled, the knee is always deployed. When we take out the leg forward, to the side, back, it is necessary to monitor the height of the leg, do not lower the leg below the knee. Center of gravity on the supporting leg.
Later, the execution of the developpe battement is accompanied by a hand. During the movement of the leg to the knee, the arm rises to the 1st position. Head tilted, look at the hand. The leg is lifted in any direction, the arm opens to the second position, the head follows the arm. At the end of the movement, the arm simultaneously with the leg lowers to its original position.
10. Grand battement jete (grand battement jete) - movement with a large throw.
Performed to the side, forward, backward in the first, fifth positions. The leg throws 90 degrees or more.
The movement develops the strength and lightness of the legs, a large free step, the skill of throwing, which is used in jumping.
Rules of execution: the foot is actively involved in all movements. The foot is thrown with a sliding foot on the floor. Falls slowly. The legs are extremely extended. When throwing forward and backward, do not bend your knees. When throwing back, the leg is extremely stretched at the knee, instep, and fingers. The body simultaneously leans forward a little, but remains taut, shoulders and hips are even. The hand in II position does not go back. When throwing the working leg, the body remains motionless.
With grand battement jete forward and backward, the head is turned towards the hand, opened in II position, with grand battement jete to the side, it is held straight.
11. Grand plie (grand plie) - big squat.
Movement develops the strength of the legs, develops elasticity, flexibility, eversion of the legs. It is performed in the first, second, fifth and fourth positions.
Execution rules: is initially studied facing the machine. Having completed the demi-plie, it is necessary to continue the squat, separating the heels from the floor (when they cannot be kept on the floor). Feet move to low toes. On the reverse, place your heels on the floor and then extend out of the demi-plie. The muscles of the back and pelvis are strongly tightened. The hips are everted. The knees open at the toe. According to this technique, grand plie is performed in the second position. In the second position, the heels do not separate from the floor. The whole figure is flat and the feet form a right angle. In all positions, the weight of the body is distributed evenly on both legs. The movement is performed evenly, without delay at the lowest point (thus, muscle strength is developed).
In II position, the heels do not come off the floor during the squat. In II and IV, V positions the center of gravity of the body is distributed evenly on both legs.
12. Temps leve sauté, pas echappe
Jumps (allegro) of classical dance are extremely diverse. They are divided into two main groups. In the first group - air jumps: for such a jump, the dancer must give great strength to the movement, must freeze in the air. In the second group - movements that cannot be done without leaving the ground, without a jump: they are not directed upwards, they spread along the ground like “creeping plants”.
Air jumps are divided into four types:
¾ Jumps from two feet to two.
¾ Jumping from two legs to one.
¾ Jumping from one foot to the other.
¾ Combined jumps, in their structure consisting of several elements.
When performing a jump, the following must be observed:
1. A demi-plie must be done before any jump.
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.
2. At the time of the jump, keep the legs tensely extended at the knee, instep and toes, if the jump is done with two legs. If it is performed on one leg, the other takes the position required by the posture, and it is necessary to strictly observe the eversion of the upper leg and the harmony of the back, that is, do not stick out the buttocks.
3. After the jump, the feet should touch the floor first with the toe, then smoothly move to the heel and lower to the demi-plie, then extend the knees.
Execution rules: jumps begin to study facing the barre. As soon as the elementary accuracy of execution is mastered, the study is transferred to the middle of the hall. During the jumps, the hands are initially held at the waist, then they are transferred to the preparatory position.
Temps leve sauté - jump from both feet to two.
It is performed in the first, second and fifth position. 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.
Pas echappe It is performed from the fifth position. It consists of two jumps: from both legs to both from the V position to the II position and from the II position to the V position. Legs open in 2nd position and close in 5th position at the last moment. Positions in the legs are fixed in the air.
Execution rules: demi-plie in positions V and II must be elastic and continuous. The heels are firmly pressed to the floor with the full eversion of the legs. This eliminates the possibility of a double demi-plie before the jump and preserves leg strength for the jump. Later, the movement of the head and hands is added.
13. Changement de pieds, pas assemble (shazhman de pied, pas assembly).
Changement de pieds – jump from both legs to both from V position to V. The change of legs occurs during their return to V position on demi-plie.
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.
Pas assemble - (French for "to assemble") a jump from both legs to both from the V position to the V position. Its feature is the connection of the legs in the air in the V position.
Performed to the side, with an accent forward and backward, as well as forward and backward.
Rules of execution: initially the jump is studied at the barre, at a slow pace, separately and only to the side. The jump is performed on strong eversion legs. The thrown leg does not rise above 45 degrees, it goes exactly to the side.
