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How to do the stanky leg dance


how to do the stanky leg

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TylerTheVirgin

How to PROPERLY do the stanky leg #stankyleg #howto

101 Likes, 7 Comments. TikTok video from TylerTheVirgin (@fannypackin): "How to PROPERLY do the stanky leg #stankyleg #howto". original sound.

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twopeasinthehub

ee

how to do stanky leg

TikTok video from ee (@twopeasinthehub): "how to do stanky leg". 少女A.

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少女A - siinamota

ibuzmedia

ibuzmedia

#dothestankyleg #dance #comedу #crazydancemoves

TikTok video from ibuzmedia (@ibuzmedia): "#dothestankyleg #dance #comedу #crazydancemoves". How to do the stanky leg. original sound.

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sophietrophywife

sophie 😌

highly requested stanky leg tutorial #brothers #tutorial

188 Likes, 5 Comments. TikTok video from sophie 😌 (@sophietrophywife): "highly requested stanky leg tutorial #brothers #tutorial". original sound.

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camisurro

cami

OOTD for a night out in charlotte ❤️‍🔥 feat us almost yuke after a fireball shot & a tutorial on how to properly execute the sTANKY leg 😮‍💨😮‍💨

1.9K Likes, 23 Comments. TikTok video from cami (@camisurro): "OOTD for a night out in charlotte ❤️‍🔥 feat us almost yuke after a fireball shot & a tutorial on how to properly execute the sTANKY leg 😮‍💨😮‍💨". ootd | thank u nic for the hype up | isnt she so sexy | .... original sound.

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unctie_dreeeee

Dreee

A little tutorial for the ones that don’t know how to do the stanky leg 😂👏🏾👏🏾 #vape #texas #stankyleg

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Stanky Legg (Main Edit) - GS Boyz

eazy_lsx

Eazy lsx

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Watch Me (Whip / Nae Nae) - Silentó

thetylilshow__

thetylilshow

Y’all Tik Tokers don’t know nun bout DAT 🤣🤣🤣🤣🤣🤣🤣 #thetylilshow #fyp #fypシ #funny

8.4K Likes, 43 Comments. TikTok video from thetylilshow (@thetylilshow__): "Y’all Tik Tokers don’t know nun bout DAT 🤣🤣🤣🤣🤣🤣🤣 #thetylilshow #fyp #fypシ #funny". Me at 53 explaining to my Kids how to do the Stanky Leg 🤢🦵🏽. Follow me.

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Follow me - Aromafiers

fallinangel30

fallinangel

fallinangel (@fallinangel30) on TikTok

TikTok video from fallinangel (@fallinangel30). explaining how to do the stanky leg to a 10 yr old . Stanky Leg (as made famous by GS Boyz).

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Stanky Leg (as made famous by GS Boyz) - Radio Killers

stanky leg dance | TikTok Search

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stanky leg #fyp #xyzbca #foryoupage #gvsulakers #gvsu #foryou #danceteam #besties

394 Likes, 17 Comments. TikTok video from mckenna (@mckennaj77): "stanky leg #fyp #xyzbca #foryoupage #gvsulakers #gvsu #foryou #danceteam #besties". original sound.

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talenbattles

Talen Battles

Replying to @brennaboo ATE YET AGAINNN. At this point im trynna dance battle. (Follow my ig: @talenbattles) #teachingtalentodance #stankyleg #twostep

5.6K Likes, 307 Comments. TikTok video from Talen Battles (@talenbattles): "Replying to @brennaboo ATE YET AGAINNN. At this point im trynna dance battle. (Follow my ig: @talenbattles) #teachingtalentodance #stankyleg #twostep". 7. STANKY LEG | I had got a lil carried away and wanted to add a lil spice to it because I just knew I was eating it up😂 | 8. HEEL TOE | .... original sound.

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andrewlongron

Andrew Longron

Reply to @downsouth90 Too easy! #dance #country #stankyleg

23.8K Likes, 388 Comments. TikTok video from Andrew Longron (@andrewlongron): "Reply to @downsouth90 Too easy! #dance #country #stankyleg". Stanky Legg (Main Edit).

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Stanky Legg (Main Edit) - GS Boyz

ryanallensharp

SEXYREXY

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5.1K Likes, 255 Comments. TikTok video from SEXYREXY (@ryanallensharp): "I was asked to post more dancing videos #stankyleg #dance #enjoylife #fyp #share". Stanky Leg (as made famous by GS Boyz).

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Stanky Leg (as made famous by GS Boyz) - Radio Killers

annaserrano_1

gingy

#schooltok

3K Likes, 84 Comments. TikTok video from gingy (@annaserrano_1): "#schooltok". do the stanky leg. Watch Me (Whip / Nae Nae).

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Watch Me (Whip / Nae Nae) - Silentó

keem_versace_

😈Chill😜Funny😂Vids🧿

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442 Likes, 8 Comments. TikTok video from 😈Chill😜Funny😂Vids🧿 (@keem_versace_): "When your wife tells you, You play too much hahah😂 imma try this😂#funny#jokes#wife#crab#walk#husband#mall#stankyleg #dance#reddit#cool#FYP#fye#foryoupage #foryourpage #trending". original sound.

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celestialime

iseewhoyouare

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140.9K Likes, 2.7K Comments. TikTok video from iseewhoyouare (@celestialime): "don’t wanna see smurfs doing the stanky leg ☹️ #justdance #dancing #dance #wii #smurfs #wtf #fyp #fy #fup #nintendo #lol #foryou #foryoupage". THERE’S A JUST DANCE SMURFS VERSION??? 💀💀. Coconut Mall (From "Mario Kart Wii").

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Coconut Mall (From "Mario Kart Wii") - Arcade Player

bigdickktracy

D7:BB🖤🥰

Reply to @ky.bx Sorry for the wait..💖 #dance #YerAWizard #FritoLayRickRoll #StepandFlex #fyp #stankyleg #throwback #xyzbca

79 Likes, 5 Comments. TikTok video from D7:BB🖤🥰 (@bigdickktracy): "Reply to @ky.bx Sorry for the wait..💖 #dance #YerAWizard #FritoLayRickRoll #StepandFlex #fyp #stankyleg #throwback #xyzbca". original sound.

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manifoldseditor

bella :]

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2. 1K Likes, 27 Comments. TikTok video from bella :] (@manifoldseditor): "get it king #fy #fyp #viral #trending #billzo #mcyt #dsmp #dancing #stankyleg #getbillzoned". my favorite billzo clip of all time. . original sound.

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original sound - bella :]

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, shoulders and hips are even. The center of gravity of the body is evenly distributed on both legs.
Before starting the movement, the free arm performs a propulsion. The squat is done smoothly and evenly.

2. Battement tendu (battman 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 on 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) - semi-circle with 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 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.
Only 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 perform 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).
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 execution: 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 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 a 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 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.

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 leg raise 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 the leg back, you need to make sure that the 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.
Proper execution of this movement develops and develops beautiful lines and step; 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 execution: 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 varied. 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 feet 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 - clear jump. 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. The heel of the supporting leg does not rise before the jump, makes a strong push. Demi-plie before the jump and after the jump is elastic.
The movement is repeated from the other leg. There is a natural progression.
Pas assemble is executed in the opposite direction: the leg standing in front is thrown to the side, ending the movement in the V position back.

(developed by members of the classical dance committee in 2019, material compiled by O. Polisadova)

Basics of classical dance

Classical dance is the basis of choreography. Classics allows you to learn all the subtleties of ballet art, to feel the harmony of movements and music. Many will think why do the “old” when there are many new modern trends. But you need to understand that everything new originates from the dances of past centuries. So the classics absorbed all the most elegant movements from folk and everyday dances of several centuries, gradually improving the positions of the arms and legs, the position of the head and body. All dance movements in classical dance have names in French, so dancers from different countries can easily understand each other. Classical dance classes allow you to develop flexibility, coordination of movements, strengthen the musculoskeletal system, promote endurance, physical and intellectual development, and also teach control your body. Various combinations allow you to dance beautifully and elegantly, even if it is simple movements of the hand, foot or head.

Children involved in classical music are corrected and laid down in the correct posture, some cases of spinal curvature are corrected. Often, even experienced dancers of various dance styles continue to practice the classics, because its foundations are universal. In classical dance classes, they teach the basic positions of the arms and legs, the correct position of the body, introduce professional terminology and the history of the development of ballet, educate musicality, develop stability and coordination, and also prepare small classical performances in the form of etudes, adagios or various variations. All movements in classical dance are based on turnout - one of the most important qualities in the classics, which is simply necessary for any stage dance. Turnout and step development are necessary regardless of the height to which the leg is raised, turnout seems to hold the leg, leads it to the desired position, contributing to the purity of plastic movements and smoothing the angles formed by the heels when lifting the legs. Insufficiently flexible knee, ankle and instep hamper the free movements of the legs, making them cramped and unexpressive. Based on turnout, there are five foot positions in classical dance. Moreover, in all these positions, not only the feet are twisted, but the legs completely, starting from the hip joint. Regular long-term flexibility and endurance training allows you to take the necessary positions without much effort.

When starting to practice, you need to remember about the stance, because nothing will work if you do not stretch the body vertically, avoiding a bent or arched spine, and do not distribute the weight between the legs. It takes a lot of patience and time to develop correct posture. You should never forget about your posture - neither during classical lessons, nor during independent training, nor on any other day. Classical dance, like many others, is not only a set of movements, it needs to be revived, emotions and feelings must be put into it. And as soon as strong feelings are revealed in the dance, the impression of it changes to a large extent, it fascinates with its plastic expressiveness, leaving complete aesthetic pleasure.
In the 17th century (1701), the Frenchman Raoul Feuillet created a system for recording the elements of classical dance. These terms are recognized by experts in the field of world choreography and at the present time. Knowledge of technical terms speeds up the learning process. This is the international language of dance, the ability to communicate with choreographers, understanding of special literature, the ability to briefly record training combinations, lessons, etudes, floor exercises, compositions.

Choreographic terminology - a system of special names designed to indicate exercises or concepts that are difficult to briefly explain or describe.
Exercise at the support or in the middle - This is a set of training exercises in ballet that contribute to the development of muscles, ligaments, and the development of coordination in the dancer. Exercises are performed at the “machine” (attached to the wall with brackets) and in the middle of the training hall every day. Exercises consist of the same elements.

  1. demi plie - (demi plie) - incomplete "squat".
  2. grand plie - (grand plie) - deep, big "squat".
  3. relevé - (relevé) - "lifting", lifting to a rack on socks with lowering to the IP in any position of the legs.
  4. battement tendu - (batman tandyu) - "stretched" sliding movement of the foot into the position of the foot on the toe forward, to the side, back with a return 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, 45 ana 90 ° and above).
  7. rond dejamb parterre - (rond de jamb par terre) - a circle with a toe on the floor a 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, stand 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.
  10. sur le cou de pied - (sur le cou de pied) - the position of the leg on the ankle (at the narrowest point of the leg), the position of the bent leg on the ankle joint in front or behind.
  11. battement fondu - (batman fondue) - "soft", "melting", simultaneous flexion and extension of the legs in the hip and knee joints.
  12. battement frappe - (batman frappe) - "hit" - a short kick with the foot on the ankle joint of the supporting leg, and quick extension in the knee joint (25 °, 45 °) to the toe or downward position.
  13. petit battement - (petit battman) - "little blow" - alternately small, short foot strikes in the cou-de-pied position in front and behind the supporting leg.
  14. battu - (botyu) - "beat" continuously, small, short blows to the ankle joint just in front or behind the supporting leg.
  15. double - (double) - "double", • battement tendu - double heel pressure • battement fondu - double half-squat • battement frapper - double blow.
  16. passe - (passe) - "to pass", "to pass", the position of the bent leg, the toe at the knee: in front, to the side, behind.
  17. relevelent - (relevant) - "raise" slowly, smoothly slowly on the count of 1-4 1-8 raising the legs forward, sideways or back and higher.
  18. battement soutenu - (hundred batman) - “fused” - from a stoic on toes with a half squat on the left, right, sliding forward to the toe (back or to the side) and sliding back to the IP.
  19. développe - (develope) - “opening”, “deployed”, from the stoic to the left, right with a sliding movement to the bent position (toe at the knee) and its extension in any direction (forward, side, back) or higher.
  20. adajio - (adagio) - slowly, smoothly includes grand plie, develope, revelant, all types of balances, pirouettes, turns. A fused bundle for 32, 64 accounts.
  21. attitude - (attetyud) - posture with the position of the bent leg behind, stand on the left, right to the side - back, lower leg to the left.
  22. terboushon - (terboushon) - a pose with the position of the bent leg in front (front attitude) stoic on the left, right forward, lower leg down to the left.
  23. degaje - (degaje) - "transition" from the rack to the left right forward to the toe, stepping forward through the semi-squat in IV position, straightening up, standing on the right, left back, on the toe. From the rack on the left right to the side on the toe, step to the side through the semi-squat in II position, the rack on the right, left to the side on the toe.
  24. grand battement - (grand batman) - "big throw, swing" 90 ° and higher through the position of the foot on the toe.
  25. tombée - (tombé) - "fall" from a toe stand in the fifth position lunge forward (to the side, back) with a return to the IP in a sliding motion.
  26. picce - (pikke) - "piercing", stand on the left right forward to the bottom, quick multiple touches of the toe on the floor.
  27. pounte - (pointe) - "on the toe", "toe touch" 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.
  28. balance - (balance) - "swaying", the pendulum movement of the legs forward up - back down, forward - back, forward - back up.
  29. allongée - (allange) - "stretching", the final movement of the arm, leg, torso.
  30. pordebras - (por de bra) - "excesses of the body", tilt forward, backward, to the side. The same in stretching.
  31. 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 to the toe, 4-IP 5.

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