Turnout

Ballet TurnoutTurnout: a word you will hear from your ballet teacher throughout class and throughout your dancing career. There are differing views on how to go about reaching your maximum turn out, and this can (or should) be a make or break it point when choosing a teacher. I would definitely steer clear of any teachers who demand perfect turnout. It is much safer to practice ballet with a teacher who has you work within your natural ability to turn your legs and feet outward, over time increasing your strength and flexibility to maximize your own degree of rotation in the hip.

Beware of forcing the feet into a perfect 180 degree angle in first or second position. If you must bend the knees to put your feet into a turned out position you are in for future knee, ankle, and/or hip injuries. The turnout should always be initiated at the hip. Stand with your feet together and parallel, pulling up out of the knees, and then slowly open the toes outward as far as you comfortably can without making any adjustments in the knees. This is your natural turnout. This is where you should work, and gradually your turnout will improve over time and with more training. Attaining good turnout is another reason most ballet dancers need to start when they are young and before the bones are ossified or hardened.

It’s important to learn how to work within your natural turnout. I try to teach younger students to imagine arrows shooting out of their toes when they are standing in first position, and to move their foot along this trajectory in tendu à la seconde rather than directly side. This will keep their hips in line and they can work on feeling the outward rotation of the inner thigh as they brush the floor with their foot on opening and closing. The same holds true when the leg is lifted en l’air as well. We should try not to sacrifice the “squaring off” of our hips and shoulders (both hips and both shoulders square to the front) in order to get the leg more directly side. It takes some time for dancers to learn exactly where “their” turnout is—where they as individuals should aim in order to keep the proper alignment.

The same is true when working front or back as well: work on your turnout but not at the expense of proper placement in the hips, shoulders, or ankles. A good teacher will know how to guide you into working on your turnout without hurting yourself or overdoing anything. Stretching exercises that utilize the power of gravity are most beneficial and least harmful. If you feel pain, you should lessen your turnout or stop. Ballet is not a natural thing for the human body, and I still think there’s something to be said for countries who screen their young for natural ability before allowing them to study ballet. In America, where many young girls take ballet at some point or another, it’s especially important to find a qualified instructor who will not cause any damage.

Therabands are very useful devices for aiding in stretching and strengthening your whole body. Many physical therapists employ them in rehabilitation after injury or surgery. Click here for information on how to use a theraband.

Any other teachers or dancers out there with comments about acquiring good turnout? Please leave a comment!

Using a Mazurka in Ballet Class Grand Battement at barre

Having a pianist accompany your ballet class adds an element of liveliness that you just can’t get from a recording. I plan on interviewing some folks who accompany ballet classes for a living, but for now I wanted to share some things I learned today.

The definition of Mazurka (in Polish, mazurek) is a Polish folk dance in triple meter, usually at a lively tempo, and with accent on the second or third beat. (wikipedia.org)

There’s a blog post here by Jonathon Still about about using the mazurka in place of a waltz for some ballet combinations. He even points accompanists to a website with American Memory Sheet music where you can search for and find sheet music.

And here is a combination that would go well with a mazurka!

1-3    Grand battement devant, lower to tenu close 5th (arm 5th en haut)
4-6    Repeat to the side (arm 2nd)
1-6    Repeat back and side to complete en croix (arm arabesque, side)
1-2    Grand battement devant, close 5th (arm 5th en haut)
3-4    Grand battement side, close 5th back (arm 2nd)
5-6    Grand battement back, close 5th (arm to arabesque)
1-5    Cloche battement with INSIDE leg fbfbf (arm 5th en haut)
6       Close 5th position front
1-24  Repeat all from the back.

Degagé with Plié Barre exercise in 2/4 or 6/8

5th position at the barre
1-2        Brush to 45° devant, plié in 4th – arm 5th en avant
3           Straighten knees and carry working foot to 2nd at 45° á la seconde, arm to 2nd position
4           Plié in 2nd
5-6       Carry working foot to 45° devant, close 5th position front – arm 5th en haut
&7&8   Degagé devant 2x closing 5th front both times
1-2       Degagé side, plié in 2nd position – arm 5th en avant
3           Carry working foot to back 45° and straighten knee – arm 2nd
4           Demi plié in 4th position – arm en avant
5-6       Carry working foot to 45° side, close 5th back – arm 2nd
&7&8   Degagé side 2x closing 5th front, 5th back
1-16      Repeat all from back with arm in arabesque instead of 5th en haut

Tendu A ballet barre combination

Begin 1st position
1        Tendu devant, or front
2        Flex foot at ankle
3        Point foot
4        Turn in 4
5        Turn out
6       Close 5th position plié
7-8    Chassé devant, point tendu inside foot back, close 5th
1-2    Tendu devant, close 5th position
3-4    Petit passé (ankle height) to close back in 5th
4-6    Tendu side close 5th front
7-8    Petit passé to close in 5th back.

1-16   Repeat all from back

1        Tendu a la seconde, or side
2-3    Flex and point tendu side
4-5    Turn in, turn out
6       Close 5th position front in plié
7-8    Chassé away from the barre to the side, close 5th front
1-8    Repeat last 8 counts with inside leg, finishing with chassé toward barre

1-8    Demi plié relevé to cou de pied (foot at front of ankle, not wrapped), balance arms 5th en avant

Rond de Jambe en L’air

5th    position R foot front
1      Brush leg to 45° à la seconde
2      Single rond de jambe en l’air en dehors
3      Double rond de jambe en l’air en dehors
4      Close 5th position back
5-8   Reverse en dedans
1-4   Cloche in attitude f,b,f,b at 45°
5-7   Continue cloche in attitude but lift leg higher f,b,f
8      Close 5th position front
1-16 Repeat all 90° en dehors and en dedans
*May repeat combination using cloche with straight leg

Frappé

5th  position R foot front
1-2   Ballonné to the front 2X accent in (degagé height)
3-4   2 frappé to the front accent out
5&6 3 frappé to the front
7&   2 ballonné front accent in
8      Close into 5th position R foot front
1-8   Repeat to the side (first ballonné closing front)
1-8   Repeat to the back
1-2   Ballonné to the side coming in to cou de pied front, then back
3      Turn 1/4 into the barre and fondu on supporting leg
4      Relevé and lift working leg to attitude derrière with arm fifth en haut
5-8   Balance in attitude
1-8   Fondu on supporting leg and allongée to 1st arabesque