How to do the heal toe dance

Toe to Heal (2010) - IMDb

  • 20102010
  • 1h 28m


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What is most important? Is it the journey? Or is it the destination? "I started dancing at a time in my life when everything was upside down," said Stephanie Durham. "It was like I went to a... Read allWhat is most important? Is it the journey? Or is it the destination? "I started dancing at a time in my life when everything was upside down," said Stephanie Durham. "It was like I went to a place where I was therapeutically healing physically, emotionally, spiritually, and the m... Read allWhat is most important? Is it the journey? Or is it the destination? "I started dancing at a time in my life when everything was upside down," said Stephanie Durham. "It was like I went to a place where I was therapeutically healing physically, emotionally, spiritually, and the more people I spoke with, the more people shared how they ended up in some fashion healing ... Read all


    • Geno Salvatori
    • Enae Boone
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    • Enae Boone
    • Stephanie Durham
    • Alexandra Martin
    • Geno Salvatori
    • Enae Boone
  • Stars
    • Enae Boone
    • Stephanie Durham
    • Alexandra Martin
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    Enae Boone

    Stephanie Durham

    Alexandra Martin

    Joanna Mummert

    David Northrop

    Dale Strnad

    Tara Wilkins

      • Geno Salvatori
      • Enae Boone
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    Injury Risks, Treatment, and Permanent Damage

    Ballet can cause foot pain, injury, and in some cases, even foot damage for dancers. This mostly occurs in dancers practicing the pointe technique and dancing in pointe shoes.

    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.

    Read on to learn about how ballet dancing affects your feet, the most common foot injuries, and what types of feet are more prone to injury.

    The pointe technique is where a ballet dancer’s feet are completely extended and supporting all of their body weight as they move.

    This is a classical ballet technique that may be the most compromising form of dance for the feet. This is due to the difficulty of the skill and the impact it has on the feet and body.

    Pointe shoes

    Classical ballet dancers wear pointe shoes. The tips of these shoes are made from layers of fabric that are densely packed, along with cardboard or hardened paper. This makes the shoes sturdy enough to support a dancer’s body weight.

    The other parts of the shoe are made from satin, leather, and cotton. Each pair of pointe shoes is custom fit to a dancer’s feet. Dancers may place lamb’s wool or another soft material in the shoe, and tape around their feet, too. This may help make the shoes feel more comfortable as they dance.

    Dancing on pointe

    Dancers typically dance for a number of years before advancing to pointe shoes. By that time, they’ve strengthened and developed their legs, feet, and ankles, as well as their balance and body alignment.

    For most girls, the transition to pointe shoes usually happens between ages 11 and 13. Foot bones begin to harden between the ages of 8 and 14, so pointe work isn’t usually begun until feet have “ossified” or hardened.

    Male ballet dancers typically don’t dance on pointe. They do more lifting and jumping. This can also lead to foot issues such as Achilles tendonitis, shin splints, and sprained ankles.

    Common dancing injuries to the feet include:

    • Blisters and calluses. These are common when dancing in pointe shoes that haven’t been broken in yet or aren’t properly fitted, or from movement and friction between toes.
    • Ingrown toenails. Another common dancing injury, this occurs when the corner or edge of the nail grows into surrounding skin.
    • Black or broken nails. This is usually the result of repeated impact, blisters, or overuse.
    • Sprained ankles. Ankle sprains are common in dancers from overworking the lateral side of the ankle for multiple hours per day.
    • Bunions. These form as a result of toes being squished together and tension on the big toe joint.
    • Stress fractures. These tiny cracks in bones are due to overuse, and may feel worse when jumping or turning.
    • Dancer’s heel. Also known as posterior impingement syndrome, this injury is sometimes called “dancer’s ankle” because it affects the rear of the ankle.
    • Morton’s neuroma. This pinched nerve causes pain between the toes and the ball of the foot.
    • Plantar fasciitis. This is an inflammation of the tissue that extends from the heels to the toes.
    • Metatarsalgia. This painful inflammation in the ball of the foot is due to overuse.
    • Hallux rigidus. This injury affects the joint at the base of the big toe, eventually making it hard to move the toe.
    • Achilles tendonitis. Caused by overuse of the Achilles tendon, this injury can usually can be treated at home, but in serious cases the Achilles can tear and require surgery.

    Dancing on pointe can cause a number of injuries to the shins, ankles, and feet. If left untreated, certain injuries could eventually lead to permanent damage. These risks are usually only a problem for professional dancers who need to stay on pointe for extended periods of time.

    Some examples of injuries that may lead to damage if left untreated include:

    • sesamoiditis, which is chronic inflammation and overuse of the bones of the ball of the foot beneath the big toe joint (surgery may be required if untreated)
    • corns that become ulcers
    • nails that thicken and grow hard skin underneath
    • hammer toes
    • heel spurs

    Due to the competitive nature of ballet and the fact that roles in ballet performances are hard-won, dancers may feel they can’t take time off due to an injury. However, dancing on an already injured foot can lead to permanent damage that may require surgery to correct.

    If you suspect you have a foot injury, see a doctor. They may be able to treat your foot or make you more comfortable as you continue to dance.

    The treatment for different foot injuries and pain depends on the cause and severity of your injury.

    It’s important to work with a doctor or a podiatrist who specializes in working with dancers. They can help you create a treatment plan and recommend medication, physical therapy, or even surgery if necessary.

    While there’s no “ideal” foot structure for ballet, some are better suited to dancing on pointe. Certain foot structures may be less prone to injuries, while other may be more prone to injury.

    Foot structures less prone to injuryFoot structures more prone to injury
    having toes of nearly equal length provide a squared-off platform to stand on pointehaving a long big toe that needs to support all body weight on pointe
    high instephaving a longer second toe that needs to support all body weight on pointe
    flexible ankles allow a dancer to form a direct line between the knee and toe on pointeinflexible ankles
    high arch low instep

    The competitive nature of ballet can make it difficult to take time off to heal or recover from an injury. Unfortunately, continuing to dance on an injured foot can lead to more pain and in some cases, even permanent damage.

    It’s important to see a doctor or a podiatrist if you have a foot injury. Look for someone who specializes in working with dancers. They can create a treatment plan so you can stay healthy and strong throughout your dance career.


    One of the urgent problems of the present time is the problem of violations of foot deformity in children.

    Dance and choreography are presented as effective means of combating postural disorders and preventing the development of chronic diseases of the musculoskeletal system.

    Flatfoot is a deformity of the foot characterized by flattening of its arches. There are two types of foot deformity: transverse and longitudinal. With transverse flat feet, there is a flattening of the transverse arch of the foot.

    With longitudinal flat feet, there is a flattening of the longitudinal arch, and the foot is in contact with the floor with almost the entire area of ​​the sole. In rare cases, a combination of both forms of flat feet is possible. The consequences of flat feet often manifest themselves in a negative way for the rest of your life. The whole body suffers from an improperly formed foot.

    In matters of prevention of flat feet, an integrated approach is important, which includes: foot hygiene, proper footwear, prevention of chronic, long-term diseases. But the most important thing is a well-organized motor mode. There are many ways to prevent the disease: therapeutic exercises, walking barefoot, the use of home-made or specialized mats with a relief surface, massages.
    Experts refer to regular dance classes as the most effective methods. Dancing classes are an effective means of preventing violations of the physical development of schoolchildren. The health benefits of dancing are immense. Dance classes have a number of advantages in comparison with other types of motor activity. Let's consider some of them.

    1. Dance is a synthesis of music and movement. Music, as a means of physiological influence, is used in many sports and activities, but a truly organic fusion of music and movement can only be achieved in dance.

    2. The dance involves literally all muscle groups; from the muscles of the foot to the mimic muscles of the face.

    3. Dance is a complex of all kinds of physical exercises. Dance is both slow walking, and fast running, and a swift jump; it is a quick explosive movement and a static posture; this is an energetic lightning-fast rotation of the whole body and a barely perceptible movement of the finger of the hand; dance is the ultimate tension and complete relaxation of one or another muscle group.

    4. Dance is natural and inherent in a person, just like breathing itself. Dance is available to everyone, dance accompanies a person from his birth to old age.

    5. Dance is always delight and joyful emotions.

    As a rule, in dance, a fairly large load is placed on the legs, and especially on the feet. With the help of special exercises from dance training, you can correct such a disease as flat feet, and generally strengthen your feet. It must be remembered that this may require a rather long period. Therefore, in remedial classes, the principle of consistency is dominant, requiring regular classes, not allowing unjustified breaks. Since corrective effects can occur under the condition of an unchanged order of exercises, their repeated repetition. Only systematically planned, purposeful work will effectively solve the problems of correction and rehabilitation of children.

    Prevention of flat feet
    - walking barefoot on uneven surfaces - pebbles, sand, grass, earth or on a special massage mat at home,
    - foot massage, for example, with a rubber ball with spikes.
    - gymnastics for the feet, including such simple exercises as walking on toes and on the heels, on the inside and on the outside of the foot, lifting the heels off the floor (while the toes remain on the floor), "creeping" movements of the foot forward and backward with using the toes,
    - try to pick up various objects from the floor with bare feet,
    - "Swedish" wall - climbing on it, the child strengthens the muscles of the feet, improves their blood supply and coordination of movements. - pouring cool water on the feet, you not only stimulate blood circulation in the legs, but also harden the entire child's body.

    Starting position (hereinafter I.P.) lying on your back.
    1. Plantar and dorsiflexion of the feet, holding in each position for 4-6 seconds.
    2. Bicycle leg circles with emphasis on foot movements.
    3. Simultaneous clenching of the fingers and toes into fists, followed by spreading the fingers.

    4. Circular movements of the feet in and out slowly with maximum amplitude.
    5. Capturing a large object (ball, sandbag) with the feet, shifting it behind the head and then returning to the I.P.
    6. Alternate and simultaneous stretching of the heels for 4-6 seconds.
    7. I.P. Lying on your back, legs bent at the knee (KS), hip (TBS) joints, the soles are on the floor. Breeding and bringing together the heels.
    8. I.P. as in 5. Alternate and simultaneous lifting of the heels from the floor with retention for 4-6 seconds.
    9. I.P. as in 5. Breeding the legs with the setting on the toes, mixing with the setting on the heels.

    I.P. sitting on the floor. Hands on the back. Legs are straight.
    1. Alternate straight leg raises with simultaneous dorsiflexion
    2. stop and hold for 4-6 seconds.
    3. Straight leg raise, foot dorsiflexion. Flexion of the leg in the CS simultaneously with plantar flexion of the foot. Extension in the CS, plantar flexion of the foot, acceptance of I.P.
    4. I.P. sitting on the floor. Hands on the back. The legs are bent in the COP, TBS, the feet are on the floor. Breeding and bringing together the heels.
    5. I.P. as in 3. Capturing small objects in front of you, shifting on both sides of yourself, and then returning to the place.
    6. I.P. as in 3. Capturing a large object with the feet, straightening the legs in the CS, returning to I.P.
    7. I.P. as in 3. Corrugation with the feet of the rug.
    8. I.P. as in 3. Rolling a small ball with each foot.
    9. I.P. as in 3 Skating with the feet of a stick.
    10.I.P. as in 3. Breeding the legs with the placement on the heels, mixing with the placement on the toes.

    I.P. standing

    1. Rise on toes.
    2. Heel raise
    3. Half squat on toes.
    4. Rise on the outer arches of the feet.
    5. I.P. standing, socks together, heels apart. Half squats.
    6. I.P. standing on a gymnastic stick. Squats.
    7. Walking in place without taking your toes off the floor.
    8. Turns of the torso to the sides without taking the feet off the floor
    9. Breeding the heels, I.P. Breeding socks, I.P.

    Walking exercises
    1. Walking on toes.
    2. Walking on heels.
    3. Walking on the outer edge of the foot
    4. Walking on toes in a semi-squat.
    5. Walking on a gymnastic stick, wall bars with side steps.
    6. Walking with high hips, plantar flexion of the foot.
    7. Ribbed board walking.
    8. Walking on an inclined plane
    9. Walking on a track.

    Center for Contemporary Choreography in Yekaterinburg

    A system of exercises to improve the technique of performing something (dance, music).

    Exercise at the support or in the middle - This is a set of training exercises in ballet that contribute to the development of muscles, ligaments, and the development of coordination of movements in the dancer. Exercises are performed at the "machine" (attached with brackets to the wall) and in the middle of the training hall daily Exercises consist of the same elements.

    The system of expressive means of choreographic art, based on the careful development of various groups of movements and positions of the legs, arms, body and head.

    Choreographic terminology - a system of special names designed to indicate exercises or concepts that are difficult to briefly explain or describe.

    Exercise at the support or in the middle - This is a set of training exercises in ballet that contribute to the development of muscles, ligaments, and the development of coordination of movements in the dancer. Exercises are performed at the "machine" (attached with brackets to the wall) and in the middle of the training hall daily Exercises consist of the same elements.
    1.demi plie - (demi plie) - incomplete "squat".
    2.grand plie - (grand plie) - deep, big "squat".
    3.relevé- (relevé) - “lifting”, lifting into a rack on toes with lowering into the IP in any position of the legs.
    4.battement tendu - (batman tandyu) - "stretched" sliding movement of the foot to the position of the foot on the toe forward, to the side, back with the return of the sliding movement to the IP.
    5.battement tendu jeté- (batman tandyu jeté) “throw”, swing to the downward position (25 °, 45 °) with a cross.
    6.demi rond - (demi rond) - incomplete circle, semicircle (toe on the floor, on 45ana 90° and above).
    7.rond dejamb parterre-(rond de jamb par ter)-toe circle on the floor circular movement of the toe on the floor.
    8.rond de jamb en l'air - (rond de jamb en leer) - circle with the foot in the air, standing on the left right to the side, circular movement of the lower leg out or in.
    9.en dehors - (andeor) - a circular movement away from oneself, a circular movement outward in the hip or knee joint, as well as turns. 10.en dedans - (andedan) - a circular movement towards oneself, a circular movement inward.
    11.sur le cou de pied - (sur le cou de pied) - the position of the foot on the ankle (at the narrowest point of the leg), the position of the bent leg on the ankle joint in front or behind.
    12.battement fondu- (batman fondue) - "soft", "melting", simultaneous flexion and extension of the legs in the hip and knee joints.
    13. battement frappe - (batman frappe) - “hit” - a short blow with the foot on the ankle joint of the supporting leg, and quick extension in the knee joint (25 °, 45 °) to the position on the toe or downward.
    14.petit battement - (petit battman) - "small blow" - alternately small, short kicks with the foot in the cou de pied position in front and behind the supporting leg.
    15.battu- (botyu) - “beat” continuously, small, short blows to the ankle joint only in front or behind the supporting leg.
    16.double- (double) - “double”, • battement tendu - double heel pressure • battement fondu - double half-squat • battement frapper - double blow.
    17.passe- (passe) - “to pass”, “to pass”, the position of the bent leg, the toe at the knee: in front, to the side, behind.
    18.relevelent- (relevant) - “raise” slowly, smoothly slowly on the count of 1-4 1-8 raising the leg forward, sideways or back and higher.
    19. battement soutenu - (batman for a hundred) - “fused” - from a stoic on toes with a semi-squat on the left, right by sliding forward to the toe (back or to the side) and sliding back to the SP.
    20.développe- (develope) - “opening”, “deployed”, from the stoic to the left, right with a sliding movement to the bent position (toe at the knee) and its extension in any direction (forward, sideways, back) or higher.
    21.adajio-(adagio)-slowly, smoothly includes grand plie, developope, revelant, all kinds of balances, pirouettes, turns. A fused bundle for 32, 64 accounts.
    22.attitude- (attetyud) - posture with the position of the bent leg behind, standing on the left, right to the side - back, lower leg to the left.
    23.terboushon- (terboushon) — posture with the position of the bent leg in front (attetyud front) stoic on the left, right forward, shin down to the left.
    24.degaje- (degaje) - “transition” from the left stance to the right forward to the toe, step forward through the semi-squat in IV position, straightening up, stance to the right, left back, to the toe. From the stand on the left, right to the side on the toe, step to the side through the semi-squat in II position, stand on the right, left to the side on the toe.
    25.grand battement- (grand batman) - "big throw, swing" by 90° and above through the position of the foot on the toe.
    26.tombée-(tombé) — “to fall” from a stance on toes in the fifth position lunge forward (to the side, back) with a return to the SP in a sliding motion.
    27.picce-(pikke) — “stabbing”, standing on the left right forward to the bottom, quick repeated touching of the floor with the toe.
    28.pounte- (pointe) — “on the toe”, “touching with the toe” from the stoic on the left, right forward, to the side or back on the toe swing in any direction with a return to the IP.
    29.balance- (balance) - “swaying”, pendulum movement of the legs forward up - back down, forward - back, forward - back up.
    30.allongée- (allange) - "stretching", the final movement of the arm, leg, torso.
    31.pordebras - (por de bras) - “excesses of the body”, tilt forward, backward, to the side. The same goes for stretching.
    32.temps lie-(tan lie)-small adagio, 1-half squat on the left, 2 - right forward on the toe, 3 - shift the center of gravity to the right, left back on the toe, 4-IP 5. the same to the side and back.
    33.failli- (fai) - "flying", IP - 5th position right in front. Push 2 jump up, dropping into a cross lunge left to the side, left hand up, right back - push left and swing right back down jump up 2 hands down. 34.allegro- (allegro) - “cheerful”, “joyful”, part of the lesson, consisting of jumps, performed at a fast pace.

    Addition: A LA SECONDE [a la segond] - a position in which the performer is located en face, and the "working" leg is open to the side by 90 °.
    ALLONGE, ARRONDIE [alonge, arondi] - the position of a rounded or elongated arm.
    ARABESQUE [arabesque] - a classical dance pose in which the leg is retracted “toe to the floor” at 45 °, 60 ° or 90 °, the position of the torso, arms and head depends on the shape of the arabesque.
    ARCH [atch] - arch, back deflection of the torso.
    ASSEMBLE [aseamble] - a jump from one leg to two is performed with the legs moving in a given direction and collecting the legs during the jump together.
    ATTITUDE [attitude] - the position of the leg, off the floor and slightly bent at the knee.
    BATTEMENT AVELOPPE [batman avloppe] - the opposite battement developpe movement, the "working" leg from the open position through the passe is lowered to the specified position.
    BATTEMENT DE VELOPPE [batman devloppe] - taking out the legs forward, backward or to the side by sliding the “working” leg along the supporting one.
    BATTEMENT FONDU [batman fondue] - a movement consisting of simultaneous bending of the knees, at the end of which the "working" leg comes to the position sur le cou-de-pied in front or behind the supporting leg, and then follows the simultaneous extension of the knees and the "working" leg opens forward, sideways or backwards. In modern jazz dance, the fondu form from the folk stage dance lesson is also used.
    BATTEMENT FRAPPE [batman frappe] - a movement consisting of a quick, vigorous flexion and extension of the leg, the foot is brought to the position sur le cou-de-pied at the moment of flexion and opens with the toe to the floor or to a height of 45 ° at the moment of extension forward, in side or back.
    BATTEMENT RELEVE LENT [batman relevé lan] - smooth leg lift through sliding on the floor 90 ° forward, sideways or backwards.
    1 When learning the vocabulary, it is necessary to remember that the movements of classical dance, borrowed by modern jazz dance, are very often modified. This is especially true of the eversion and parallel position. In this regard, the terminology of classical ballet is given in the dictionary without changes (see All about ballet//S left by E.Ya. Surits. M., 1966, Encyclopedia "Ballet". M., 1981, etc.), and the change in the provisions depends on the context of the lesson. There is often terminological overlap between English and French terminology, for example, temps leve is the same as hop, battement tendu is like brack, kick is like grand battement developpe, etc. In this case, it is necessary to use the movement depending on the specific exercise.
    BATTEMENTRETIRE [batman retire] - transfer through the sliding of the "working" leg, through the passe from the V position in front to the V position behind.
    BATTEMENT TENDU [batman tandyu] - the movement of the leg, which with a sliding motion is retracted to the toe forward, backward or to the side. In modern jazz dance, it is also performed in parallel positions.
    BATTEMENT TENDU JETE [batman tandyu jete] - differs from battement tendu by actively throwing the leg into the air to a height.
    BODY ROLL [body roll] - a group of torso tilts associated with the alternate movement of the center of the body in the lateral or frontal plane (synonymous with "wave").
    BOUNCE [bounce] - springboard swaying up and down, mainly occurs either due to flexion and extension of the knees, or pulsating tilts of the torso.
    BRUCH [brush] - sliding or smearing the whole foot on the floor before opening the leg into the air or when closing into position.
    CONTRACTION [kontrakpsh] - compression, reduction of the volume of the body and rounding of the spine, begins in the center of the pelvis, gradually capturing the entire spine, is performed on exhalation.
    CORKSCREW TURN [corkscrew] turns, in which the performer increases or decreases the level of rotation.
    COUPE [coupe] - a quick substitution of one leg for another, serving as an impetus for a jump or other movement.
    CURVE [curf] - bending the upper part of the spine (to the "solar plexus") forward or to the side.
    DEEP BODY BEND [deep body band] - tilt the torso forward below 90 °, while maintaining a straight line of the torso and arms.
    DEEP CONTRACTION [deep contraction] - a strong compression in the center of the body, in which all joints participate, i.e. this movement includes arms, legs and head.
    DE GAGE ​​[degazhe] - transferring the weight of the body from one leg to another in the second position (right, left) and in the fourth position of the legs (forward, backward), can be performed both with demi-plie and with extended legs.
    DEMI-RYE [demi-plié] - semi-squatting, in which the heels do not come off the floor.
    DEMIROND [demi rond] - a semicircle with the toe of the foot on the floor forward and to the side, or back and to the side.
    DROP [drop] - falling of a relaxed torso forward or to the side.
    ECARTE [ekarte] - a pose of classical dance (a la seconde), turned diagonally forward or backward, the body is slightly deviated from the raised leg.
    EMBO1TE [ambuate] - successive transitions from foot to foot on half-toes, fingers and with a jump. Emboite jumps - alternately throwing the legs bent at the knees forward or 45 °.
    EN DEDANS [an dedan] - the direction of movement or turn towards oneself, inward.
    EN DEHORS [an deor] - the direction of movement or turn away from you or out.
    EPAULMENT [epolman] - the position of the dancer, turned in 3/4 in bar 8 or bar 2; differs epaulement croise (closed) and epaulement efface (erased, open),
    FLAT BACK [flat back] - torso tilt forward, to the side (90 °), back with a straight back, without bending the torso.
    FLAT STEP [flat step] - a step in which the entire foot is simultaneously placed on the floor.
    FLEX [flex] - reduced foot, hand or knees.
    FLIK [flick] - a foot stroke on the floor to the supporting leg.
    FOUETTE [fuette] - a turn technique in which the performer's body turns to a leg fixed in a certain position (on the floor or in the air).
    FROG-POSITION [frog-position] - a sitting position in which the legs bent at the knees touch each other with the feet, the knees should be maximally opened to the sides, or back and forth.
    GRAND BATTEMENT [grand batman] - throw a leg 90 ° and higher forward, backward or to the side.
    GRAND JETE [grand jet] - jump from one foot to the other moving forward, backward or sideways. The legs open as much as possible and take the “split” position in the air.
    GRAND PLIE [gran plie] - full squat.
    HIGH RELEASE [high release] - high expansion, a movement consisting of lifting the chest with a slight bend back.
    HINGE [hinch] - the position of the dancer, in which the straight, without bends, the torso deviates back to the maximum distance, the knees are bent, the feet are on half-toes,
    HIP LIFT [hip lift] - lifting the hip up.
    NOR [hop] - step-jump, the "working" leg is usually in the "knee" position.
    JACK KNIFE [jack knife] - the position of the body, in which the torso leans forward, the back is straight, resting on the hands, the knees are extended, the legs are in the second parallel position, the heels do not come off the floor.
    JAZZ HAND [jazz hand] - the position of the hand, in which the fingers are tense and spread apart.
    JELLY ROLL [jelly roll] - pelvis movement, consisting of a small muscle contraction with a simultaneous slight turn of the pelvis to the right and left (synonymous with the pelvis shake.)
    JERK-POSITION [jerk-position] - the position of the hands, in which the elbows are bent and slightly retracted back, behind the chest, the forearms are parallel to the floor.
    JUMP [jump] - jump on two legs.
    KICK [kick] - throw the leg forward or to the side by 45 ° or 90 ° through the developpe take-out,
    LAY OUT [lay out] - a position in which the leg, open 90 ° to the side or back, and the torso form one straight line.
    LEAP [liip] - jump from one foot to the other moving forward or to the side.
    WCOMOTOR [locomotor] - a circular movement of arms bent at the elbows along the torso.
    LOW BACK [low back] - rounding of the spine in the lumbar-thoracic region.
    PAS BALANCE [on the balance sheet] - a pa, consisting of a combination of tombe and times de roiger. It is performed with the advancement from side to side, less often - back and forth.
    PAS CHASSE [pa chasse] - an auxiliary jump with advancement in all directions, during which one leg “catches up” with the other at the highest point of the jump.
    PAS DE BOURREE [pas de bourree] is an auxiliary dance step, consisting of alternating steps from one foot to the other, ending in demi-plle. Synonym for step pas de bourree. In modern jazz dance, the position of sur le cou-de-pied is not fixed during pas de bourree.
    PAS DE CHAT [pa de sha] - a jump, a cat's limiting jump. Legs bent at the knees are thrown back.
    PAS FAILLJ [pa fai] - a connecting step, consisting of passing the free leg through the passing demlplie in position I forward or backward, then the weight of the body is transferred to the leg with some deviation from the vertical axis.
    PASSE [passe] - a passing movement, which is a link when moving the leg from one position to another, can be performed in the first position on the floor (passepar terre), either at 45 ° or 90°.
    PIQUE [peak] - a light injection with the fingertips of the “working” leg on the floor and lifting the leg to a given height.
    PIROUTTE [pirouette] - rotation of the performer on one leg en dehors or en dedans, the second leg in the position sur le cou-de-pied.
    PLIE RELEVE [plie releve] - the position of the legs on half-toes with bent knees.
    POINT [point] - the extended position of the foot.
    PRANCE [price] - movement for the development of foot mobility, consisting of a quick change of position "on the half-lalse" and point.
    PREPARATION [preparation] - a preparatory movement performed before the start of the exercise.
    PRESS-POSITION [press position] - the position of the hands, in which the arms bent at the elbows with the palms touch the hips in front or side.
    RELEASE [release] - expansion of the volume of the body that occurs on inspiration.
    RELEVE [relevé] - lifting on half-fingers.
    RENVERSE [ranverse] - a sharp bending of the body, mainly from the pose of atitude croise, accompanied by pas de bouree en tournant.
    ROLL DOWN [roll down] - a downward-forward spiral tilt, starting from the head.
    ROLL UP [roll an] - a reverse movement associated with a gradual unwinding and straightening of the torso to its original position.
    ROND DE JAM BE PAR TERRE [ron de jamb par terre] - a circle with an outstretched leg, touching the floor with fingers.
    ROVD DE JAM BE EN L ‘AIR [ron de jamb anler] - a circular movement of the lower leg (ankle) with a fixed hip, set aside to a height of 45 ° or 90 °.
    SAUTE [saute] - classical dance jump from two legs to two legs in I, II, IV and V positions.
    SHIMMI [shimmy] - spiral, twisting movement of the pelvis to the right and left,
    SIDE STRETCH [side stretch] - lateral torso stretch, torso tilt to the right or left.
    SISSON OUVERTE [sisson overt] - a jump with flying forward, backward or to the side, when landing, one leg remains open in the air at a given height or in a given position.
    SOUTENU EN TQURNANT [sutenu an turnan] - turn on two legs, starting with retracting the “working * leg” into the fifth position.
    SQUARE [skvea] - four steps in a square: forward-side-back-side.
    STEP BALL CHANGE [step ball change] - a connecting step, consisting of a step to the side or forward and two steps on half fingers (synonymous with step pa de hour ee,
    SUNDARI [zundari] - head movement, which consists in the displacement of the cervical vertebrae to the right and left and back and forth.
    SURLE COU-DE-PIED [sur le cou-de-pied] - the position of the extended foot of the “working” leg on the ankle of the supporting leg in front or behind.
    Swing - swinging any part of the body (arm, leg, head, torso) in a special jazz rhythm.
    THRUST [frast] - a sharp jerk of the chest or pelvis forward, to the side or back.
    TILT [tilt] - angle, posture in which the torso deviates to the side or forward from the vertical position, the “working” leg can be open in the opposite direction by 9NES [tour shenet] - performed on two legs diagonally or in a circle on high half-toes, half-turns following one after another, in modern jazz dance can be performed on a full foot and in demi-plie.

    Classical dance posture. The classical dance technique involves 4 types of arabesque:

    I arabesque
    Legs in the effacée position, the arm corresponding to the supporting leg is extended forward, the head is directed towards it, the other arm is laid aside, the hands are turned palms down. The body is slightly inclined, but the back is concave.

    II arabesque
    Legs in the effacée position, the arm corresponding to the raised leg is directed forward, the other is laid aside and is sometimes visible from behind. The head is turned towards the audience. The body is slightly inclined, but the back is concave.

    III arabesque
    Legs in the croisé position (French: crossed), the arm corresponding to the raised leg rushes forward, the gaze is directed towards it, the other arm is laid aside. The body is slightly inclined, but the back is concave.

    IV arabesque
    Legs in croisé position, opposite arm in front of the raised leg. The body is turned back to the viewer. The line of the arm goes into the line of the shoulders and is extended with the other hand. The body is slightly inclined, but the back is concave.

    Contemporary - (eng. contemporary dance) - modern stage dance, which includes a variety of directions and techniques. It combines dance techniques from Western (classical dance, modern jazz) and Eastern (qigong, tai chi quan, yoga) arts of movement.

    The variety of contemporary expressive elements makes it possible to successfully express and perform for people who are plastically gifted, but who have begun to dance as adults.

    Contemporary direction neglects many typical features of classical dance, the main thing here is not the form. As part of the lesson, there is an alternation of tense muscles with a sharp reset, relaxation, sudden stops, falls and rises, work with breathing. A lot of movements take place in the stalls, the dancers perform barefoot, which allows them to open up and convey their feelings and experiences to the viewer in full range.

    “As in abstract painting, any element (movement, sound, change of light) is supposed to be expressive in itself; what he reports is largely determined by the observer himself.

    Merce Cunningham

    Power loads performed in a static mode lead to a significant increase in strength and their effectiveness is much higher than when performing exercises in a dynamic mode.

    Parterre exercises - Parterre (fr. parterre - on the ground) work on the floor.

    Release (English release) - release, release. Releasing the muscle from tension, that is, relaxing the muscle with special techniques.

    Pattern (from the English. Pattern - model, sample) - Systematically repeating, stable element (fragment) or sequence of elements (fragments) of behavior.

    Balance (French balance, from balancer - to swing) - balance

    The release technique allows you to increase the sensitivity and freedom of movement of the body, expand your understanding of your physical capabilities, as well as the possibilities of yourself as a creator, creator of contact dance.

    The release allows you to combine the pleasure of dancing, communication with the team, humor and spontaneity of behavior, lively human dialogue with bodily

    practice. All this allows you to be free and spontaneous, conscious and bold both in dance and in life.

    Any movement or lack thereof in a release is a creative act. This is your song, your work of art. This dance technique is aimed at developing balance, strength and plasticity, which can be used in sports, psychotherapy and other therapeutic purposes. It is a process of discovery and self-knowledge.

    That is why this direction is suitable for those who are ready to find shortcomings and work on them. After all, this is not about learning and imitating any particular style, but rather about correcting wrong patterns, understanding and practicing the principles of natural movement based on movement without tension in the body and conscious work with the center and periphery.

    Modern technique implies the study of the basics of choreography, plasticity and musicality. The lesson includes professional exercises in the stalls,

    "isolation" technique, when body parts move independently of each other, a complex but very effective technique for knowing your body, various types of cross-country.

    As a result, the basics of modern dance will be mastered, the positioning of arms, legs,
    body, work with balance and weight, coordination of movements will be developed, you will begin to feel your body. And of course, in the end we will master all varieties of modern: classical, Broadway jazz and afrojazz.

    Art Nouveau - style "modern" (French moderne - the latest, modern), style in European and American art of the late XIX - early XX centuries. The term "modern dance" originated in the United States to refer to stage choreography that rejects traditional ballet forms.

    Parterre exercises - Parterre (fr. parterre - on the ground) work on the floor.

    The “isolation” technique is a work on the development of the body, the essence of which is to work out the movement of one specific joint or one part of the body, provided that the rest of the body is immobile

    Stretching gives us strength, increases the elasticity of tendons and ligaments, which further helps to avoid injuries, and increases the motor activity of the joints. This complex is available and necessary for everyone, regardless of age, physical fitness and daily stress.

    In addition, stretching is very useful in the fight against excess weight and salt deposition. And finally, nothing will help relieve muscle fatigue and pain after training with active dance training as quickly as stretching: it relaxes strained muscles and releases metabolic products accumulated there. Therefore, stretching classes always stand after dancing classes.

    Mobility doctor quote

    The stability of complex natures is due to their flexibility.

    © Talleyrand

    If you don't believe you can do the cross split, you will never be able to do it. And vice versa. The confidence and calmness of a yogi will allow you to achieve an exceptional stretch.

    Pavel Tsatsulin

    The knowledge gained in the lessons at our Center will help the child not only during the period of choreography, but also later in life, regardless of whether he continues to study further at a professional level or not. There are no contraindications for such activities for a child.

    There are several groups of children's choreography in our center. The training program includes training children from scratch, from 2.5 years old to 16 years old.

    We conduct classes for children in ground gymnastics, classical and modern dance, improvisation, musical literacy, acting skills. Modern dance center prepares children for choreographic admission to schools and universities of the country!

    Classical dance has a long-established system of intensive training - the effective development of physical abilities and dance skills.

    The stereotype that classical dance exists for the elite and should be practiced from childhood is long gone; teaching the classics is accessible and useful to everyone. In our classes, under the guidance of professionals, ballerinas of all ages and levels of training are engaged.

    Dance exercises at the barre ("exercise") form discipline, strength throughout the body, excellent posture, grace.

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