When you have a wider vocabulary to work from, your ability to comprehend and take ownership over your learning be is dance or otherwise enhances.
All techniques serve each other. What skills can you develop either dance related skills or other skills in new classes that you might not get in a ballet class? We think a lot about knowledge transfer in both our Youth and Education Programs here at Hubbard Street. As an art form, dance and choreography take literal ideas, events, and experiences, and abstracts them, creating a new perspective and understanding of those ideas as a way to respond and think critically about the world around us.
In the dance studio or classroom, our students are learning about collaboration, developing their own creative voice, and building their critical thinking and decision making skills. Additionally, life skills such as commitment, punctuality, and preparedness are also embedded within any dance class, be it ballet or any other dance style. When I started taking release technique over 10 years ago, I came away with a new movement vocabulary in addition to a new understanding of how to access and approach my turnout in a healthier and more effective way.
A technically well-trained dancer who has learned how to express their movement with attention to detail adds beauty and power to any style of dancing. More often than not dancers are more focused on learning steps versus strengthening their vocabulary which will allow them to convey a much richer and attention-grabbing story or feeling when they dance.
For example, when you are practicing a petite allegro, small quick movements will strengthen smaller muscle groups giving you access to more power, versatility, control, and endurance. With intentional practice and training that focuses on mastering the fundamentals through your regular training regimen and also intensives , you have an opportunity to really dig into your technical vocabulary and core movements that are not only physically challenging, but that will elevate everything else that you are doing when you move.
Thus the body is the main instrument of the dancer and it needs to be malleable and adaptable to the requirements of the discipline studied.
It is an unceasingly type of work, because even though perfection is the ultimate goal as an artist, it is never reached. Indeed, in order to acquire technique, the dance has to be in total control of every movement.
This inevitably requires repetition and hard work by enhancing muscle memory , which is compulsory to perform on stage. All at one time lift to releve on the left leg with the right leg pulling into a high passe turning the body one or more rotations to the right. Arms pull into first as in a chaine or pique. To finish the turn, end in plie parallel first. The two biggest technical mistakes that beginning dancers make in a pirouette turn is they try and whip their arms to give them momentum.
This will just pull the dancer off balance. All the arms need to do is pull together and with proper position and spotting and a lot of practice the single turns will turn into doubles and triples etc. The second mistake is when the left heel begins the turn before the right leg even leaves to come into passe. This makes the pirouette choppy and off balance.
All movement needs to happen simultaneously to make the turn work. Let your arms come from the back and spot as you would in the other turns. Practice hitting spots on specific counts and this will clean up the pirouette technique even more. Once you master a passe pirouette, try it again with the working leg in coupe or cou de pied neck of the foot or even attitude. These are all pirouettes just in different positions. Begin in fourth position plie, body front, and arms in third.
As you spot to return to the front, plie then releve up again make sure to keep the right leg level and steady. You may do singles or more before you take the plie again. You need to have a good spot and level shoulder and head. Arms can vary, but the most simple is to open second and pull into first. Try and finish turn segment with a passe pirouette and land.
Begin in fourth position plie, body front, and arms third. Pull up into releve as right foot beats passe behind then front and then extends croise devant across the body.
The beats are very quick you barely see them, but they are there. Open to second and pull back into beat back front passe and extent croise devant again. When you extend croise you should be in plie then releve as moving to second to help you get around.
Arms will open to second as you releve and close into first on the rotation. Using a pencil or a very light one pound weight you can switch hands as you open and close from second to first. This will help the strength and look of the arms. Double pirouettes passe can be done in between the plies and a nice finish would also be a double pirouette.
Begin wide fourth position croise devant arms in third right leg plie. Lift the left leg into attitude and pirouette on the right leg high releve with the arms to fifth position. Take a single or a double and when finished slide through to fourth on the other side and turn side two.
The same turn as above except the left leg moves into arabesque and the arms press down to fourth arabesque. Proper technique and execution of a leap is crucial for the dancer both physically and aesthetically.
Knowing the correct measures when springing off the ground is the first step to improving your height, body alignment, and consistency. Height is achieved by a plie, or bends in the knees, which allows the dancer to take a down action before the leap.
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