Medium Petit Allegro

2/4  Time Signature

Medium Petit Allegro
L foot front 5th en face

1-2     Glissade to R, close L foot front, petit jeté R over L
3-4     Coupé on L jeté battu w/R
5-6     Sauté ballonné R 90ᵒ side to cou de pied R back
7-8     2 Assemblé traveling en avant, R and L
1         Entrechat trois
&a2    Pas de bourrée LRL
3-4     2 brisés traveling R
5         Faillé over L
6         Pas de chat L
&a7    Pas de bourrée LRL to 5 position L front
8         Changement
1-16    Repeat all other side

Tendu at the Barre Time Signature 4/4 or 3/4 or 6/8

5th position, preparation 1 st port de bras

1-2          Tendu front, plié in 4th, arm en avant
3             Carry working foot to 2nd, arm 2nd
4             Straighten knee, plié in 2nd pos., arm 5th en avant
5-6         Carry working foot to point tendu front, close 5th front, arm 5th en haut
&7&8     Tendu front 2X closing 5th front both times, straight legs, arm 5th en haut
1-2          Tendu side plié in 2nd, arm 5th en avant
3-4         Carry working foot to back, straighten knee, plié in 4th pos, arm 5th en avant
5-6         Carry working foot to side, close 5th back, arm 2nd
&7&8     Tendu side 2X closing 5th front, 5th back
1-16        Repeat phrases 1 and 2 from back, arm in arabesque instead of 5th en haut

Rond de Jambe à terre

3/4 1st position

1-2          Tendu side, close 1st position
&3           Pick up foot and place 5th front
&4           Pas de cheval to point tendu side in fondu
5              Close 5th position back straight knees
6              Tendu back
7              Close 5th position
8              Hold
1-8           Repeat from back
1-4           2 Rond de Jambe en dehors slow
5-8           3 Rond de Jambe en dehors quick, close 5th back
1-4           2 Rond de jambe en dedans slow
5-8           3 Rond de Jambe en dedans quick, close 5th front
1-16         Circular port de bras both directions
forward-to barre-back-recover,
then, back-to barre-forward-recover)
Balance at retiré

Pirouette in 3/4

Begin 5th position R foot front en face

1-2          Tombé R, pas de bourrée to 4th position en face preparation plié
3-4          Pirouette en dehors to cou de pied devant in fondu
5              Relevé and extend R leg 45° side (arms 2nd)
&             Fondu supp leg and cou de pied R leg back
6&a        Pas de bourrée entournant to 4th pos. lunge prep for pirouette dedans
7-8          Pirouette en dedans on R to finish L foot front 5th en face
1              Balancé to R
2              Balancé to L
3-4          Soutenu turn to R finish 5th pos. croisé R foot front
5              Tendu R croisé devant
6              Lower to 4th lunge prep for pirouette
7-8          Pirouette en dedans to finish L foot front, en face
1-16         Repeat all to L

A conversation with Ken Ludden Artistic Director of the Margot Fonteyn Academy of Ballet

Can you imagine what it would be like to be the only person given permission by the Dame herself to use the name Margot Fonteyn on a ballet school? Ken Ludden knows: he is the Artistic Director of the Margot Fonteyn Academy of Ballet.

I met Ken through my LinkedIn group Teachers of Classical Ballet where I first learned about his new book My Margot. Prior to our phone conversation last weekend, I read his book and found it fascinating. (If you’re interested, you can read my review of My Margot.) Ken was one of Fonteyn’s closest friends, yet their relationship had to be guarded during her lifetime to keep the press at bay. In his book, Ken tells us the story of that friendship, beginning at 15, when he first met one of the world’s most beloved ballerinas. Now, on to the interview!

How and why did you go about writing this book?

I originally started writing it for my children so it could get passed down in the family. I began by writing down phrases to help jog my memory and kept adding to the list as I remembered things for the next several years. By the time I had around 175 phrases it was 2003, and for health reasons began to feel pressure to start the book. Along with my own diaries and letters I’d received from Margot and BQ (her mother), I pulled together friends and had them read one of my 175 phrases aloud while I proceeded to relate the story that went with it. These sessions were recorded.

Ken Ludden with "The Wind's Bride"
Ken Ludden with “The Wind’s Bride” at Bassler Kuntsmuseum, Switzerland 2007

Continue reading “A conversation with Ken Ludden Artistic Director of the Margot Fonteyn Academy of Ballet

My Margot Ballet Book Review

My Margot book cover

From the LinkedIn group “Teachers of Classical Ballet” I learned that Ken Ludden had published a personal memoir and biography of Margot Fonteyn. I emailed Ken to ask if he would consider allowing me to interview him about his book, and he kindly accepted! (The interview will be posted next week.) I bought the book and it took about three or four weeks for me to read it, but that’s only because I didn’t have the luxury of foregoing all my daily duties (but I would have liked that!). I didn’t realize what a close relationship Ken had with Margot as one of her most trusted friends. If you want to get a close up look at this remarkable woman, this is the book to read.

I’ve posted a review of this book on Amazon. His book is available on Amazon using this link: http://amazon.com/My-Margot-Ken-Ludden/dp/1312075228/. It is also available in paperback!

Ken Ludden’s beautifully written memoir and biography of Margot Fonteyn offers the reader a glimpse into the life of one who was under the sheltering wing of one of the world’s most renowned and loved ballerinas. A touching tribute. No closer look into her life and character can be found. This book is not only fascinating but superbly written. Ken’s recollection of events and conversations is uncanny, and he writes in such a way that I could visualize the scenes as his stories unfolded.

Not only does he offer a peek into Margot Fonteyn’s world; he also shares a lot about Rudolph Nureyev—his childhood, defection, and his demeanor (which I was sad to hear was often quite rude). Throughout the book he mentions his interactions with many other famous dancers and teachers and schools, and I found every bit of it very interesting. His own life’s work would be enough to fill a book, but he expertly weaves the story so it always relates back to Margot.

Ken’s intrinsic goodness and humility are endearing. He shares a conversation with Tito, (Margot’s husband) where he reflects, “My basic view of my life is that it should be of service to others, and the idea that it was to make an impact on the world was very foreign to me. I still believe that being of service to the needs of others is the highest esteem, but I also see that carrying forward the legacy of Fonteyn is a higher service than nearly anything else I could do, and it does impact the world.”

I highly recommend this book, and I know that Margot herself would be quite pleased with it!