Classical-Ballet 1 Manual | Mega & Super Stars

makes the lesson most pleasant and glad you made it to class. We’re doing productive for everyone. some of your favorite steps today.” I added a few more comments to him, One example: Some years back, I had and then some positive things to the a 14 year old boy in ballet class who class. always came in late, and then would do something to get everyone’s attention. I was surprised, and pleased that the class seemed to understand, and joined The rule was, if you are late, you come in and gave him some peer attention as in quietly, warm up, join the class, well. It worked. without drawing attention to yourself, or interrupting what the class is doing. He did not disrupt the class that day. Steve could not do this. He had to As time went on, Steve seemed to need make himself noticed in some way, less and less of our special attention at soon after arriving, and every so often the beginning of class. during the class. As you try different approaches, One day, I tried something different remember the motive behind the with him. As soon as he entered the behavior: to get attention. Sometimes room, I gave him a few seconds of my giving it before they act out will work. full attention, saying, “Steve! Hi! I’m Footnote: For some excellent ideas in managing behaviors. read the booklet. “Love and Limits” by Elizabeth Crary, Parenting Press, Inc. Go to Index 81 TheBalletSource.com

IV. Developmental Concerns Movement and Coordination 83 Physical Growth As It Relates To Ballet Lessons 88 Summary 92 Go to Index 82 TheBalletSource.com

Movement and Coordination The Dance Teacher’s Disclaimer: Don’t do anything that causes pain. The muscles might sometimes feel the When the dancer is not responding contraction of strength, or the stretch to the activities in the way that you of flexibility, but never to the point of would normally expect them to, they pain. may need a medical expert to check for possible structural or neurological Hopefully you have a general difficulties. When the dance exercises understanding of skeletal alignment don’t produce the expected results, and (posture) for ballet. Ballet placement there seems to be a problem, suggest should be an enhancement of natural they get an evaluation from someone alignment, not a distortion of it. with physiological expertise. Keep the exercises short, and fun. Tired Can we improve coordination in kids minds, tired muscles, do not do things who aren’t? well. To be effective, the exercises must be done well, with interest, and with It is generally believed that energy. coordination cannot be taught. It must develop. Nature has built this Everything must be within the child’s development pattern into each one of ability; not beyond. Things beyond us. If we work with it, not against it ability are not a challenge, but a or in spite of it, the results are much frustration. A child can be forced to better. learn a skill beyond their readiness, but it may unbalance or limit their Exercises given to help coordination development of coordination. are not “remedial” or “therapeutic” because dance teachers do not have Some will need to work at the very that qualification. They are creative beginning of coordination, even before movement, natural movements, a symmetry. They will need to gain a normal part of dance instruction. more secure kinesthetic concept of self, gravity, and space, so that natural General Guidelines for Helping symmetry can emerge. Coordination: Notes From Research on Movement Give purpose to the movements—a and Coordination - How It All story line, or a reason to do it. Reach Happens: their understanding—give them a reason or a short story that has some I. First Movement Stage: Random meaning to them. Movement Go to Index 83 TheBalletSource.com

Age: Before birth to about first Note: Pantomime involves props, mime birthday: does not. Both are used in dance class to develop artistry and expression. Mostly random movement, not thought out, with purposeful movement For purposeful movement to occur, the beginnfng shortly after birth. muscles must learn to obey the brain, and the brain must learn to direct the Random movement is not thought out, muscles. not directed by the child’s thinking, and mental skills. III. Third Movement Stage: Fundamental Movement II. S econd Movement Stage: Rudimentary or Purposeful Age: From 2-7 years. Movement Fundamental Movement involves some Age: From infancy to about age two. very basic movement skills, such as standing and walking. This is where Rudimentary or Purposeful movement coordination begins. Without some gradually replaces the random coordination between muscle groups, movements of the infant. skills of any kind are impossible. General movement patterns are not This movement stage includes three refined, but they are purposeful. The types of observable eoordination that child uses movement to accomplish should happen naturally, and in most something. Random movement should cases they do. There will be difficulties be diminishing now, and purposeful with these coordinations if purposeful movement taking its place. movement has not sufficiently replaced the infant stage of random movement. Sometimes this replacement is incomplete. It would seem that dance Symmetry is the first or basic activities that force the child to think observable level of coordination. about a movement, and then do it, might help to fill in this development. Symmetry is built on the base of That should open the way for better purposeful movement, which should coordination to happen. be mostly in place by about age three. Until the child has purpose in his or Mimes and pantomimes that are specific her movements, that is, until their and thought out, planned, before they movements are consciously directed by are done, should help. Avoid the “free thought and purpose, coordination will choice” type of creative activities. For be very insecure. coordination and expression to grow, children need to think through a At this first level of coordination, movement, what it will accomplish or movements are symmetrical, and show, and then do it. repeatedly practiced in the normal Go to Index 84 TheBalletSource.com

activities of this age group. Crawling, move at the same time. The eyes will walking, running, are examples. look at an object as the child reaches for it. All advanced coordinations and skills rest upon a foundation of purposeful This type of coordination appears in movement, symmetry, and muscle marching when the same arm moves balance. forward as leg, or when the arms swing strongly from side to side instead of Symmetrical coordination has two forward and back. This should not be categories: corrected. Let it happen. It builds a base for the next level. 1. Both sides of the body move equally and simultaneously. The contralateral, or cross lateral coordination pattern represents what 2. Both sides of the body are used most people see as “being coordinated.” equally, but in a pattern of immediate reversal—such as in Contralateral movement is what is walking or marching. commonly called coordination: arms swinging naturally in opposition to legs Crawling helps coordination, but when walking, running, marching. it needs to be a game, or part of a story. Marching helps. Walking helps. This represents the finishing off of the Running helps. Galloping helps, but coordination base, readying the person use both sides equally. to learn specific, refined skills. It may begin to appear anytime, but is usually Marching is a standard exercise in not settled in until about age seven to the Russian ballet schools for the first eight. year, at about age nine or ten. Done naturally, without stylization, it is a Being mentally gifted does not very effective coordination builder. necessarily decrease the time needed for physical development. Gifted For teens and adults, skipping, natural children still need time to physically marching, and learning the forward grow through all of the levels of polka are good for coordination. movement and coordination. Unilateral, or one sidedness is the Until this coordination level is secure, second coordination pattern. It is a handedness will not be secure. The transitional stage, connecting symmetry teaching of right and left responses is to contralateral coordination. best left alone until about age seven. Let the child’s handedness settle in as This may begin to appear anytime it will, on its own. Allow the use of during the first year to about age five. either hand or either leg until the child shows a pronounced preference. Examples: the same arm and leg will Go to Index 85 TheBalletSource.com

Dance classes should not insist on the unilateral level. If the arms swing young children all starting with the naturally in opposition, then the same foot before the basic contralateral contralateral level is in place. coordination is firmly in place. Be careful to not jump to immediate As adults, we normally move with conclusions. When kids know purpose, not randomly. We possess they are being “tested” they can do all of the movement and coordination strange things! You want to see the levels, even that of random movement, natural response of their muscles to and we automatically use each one or a movement, so watch them in all of the combination of them as is appropriate dance activities before deciding. for the situation. Do they still confuse right and left? All of the movement stages defined by Demonstrate which foot to use, but research are in there, and can be used let those who are still confused use as needed. whichever leg is natural for them to use. They will follow you correctly In previous generations, skill training when their muscles and brains connect was not given before age eight. This to that point. Let it happen. was correct. Coordination has to be securely in place in order for specific Do they lack the balance and strength skill training to be effectrive. necessary to stay on musical beats? Keep their exercises short. Work From age eight to twelve is the age first with the feel of music—moving where they want to become good at through it. Then with musical learning things, especially physical phrasing—changing ideas or actions skills. with the phrases. Lastly, encourage them to hear the beats and follow them Coordination In The while marching. Dance Classroom The child will begin to follow the First, you need to assess where musical beats when their coordination the students are in movement and balance has become strong enough, development. or “old enough.” This usually happens at about age five or six. Marching will give you some clues. Tell them to let their arms swing Some neurological experts say that we naturally, however they want. The can upset the child’s development of arms will swing together if the student dominance or “handedness” by forcing needs movement experience at the children to practice movements that symmetrical level. The arms will swing are difficult for them, and by forcing with the legs, or across the body if them to stay on the musical beats the student needs more experience at before they are ready to do so. Go to Index 86 TheBalletSource.com

Some say that this forced musical that they have done that much work! learning, and/or forced learning of Chronic discomfort should always be right and left responses can hold back referred to a doctor or other medical or prevent an equal development of the practitioner. two sides of the brain. Stretching and limbering activities Uncoordinated children will learn which use a force other than the child’s to stand and balance much better if own muscles are not safe for children they are allowed to first learn their or pre-teens. This can cause damage to ballet exercises standing in the center, the ligaments and growth plates of the without a barre. joints that are still growing. When they are ready, all barre work Remember—wherever they seem to should be done facing the barre for the be in coordination—they can only get first year. This helps the muscles in the better! To encourage that, gradually back to strengthen more evenly, giving increase the difficulty of the classwork. better posture. You won’t replace the usual ballet Pain is a danger signal. It is not activities, just add a few things to desirable, and does not indicate “gain”. the class that seem needed. Do these Pain prevents improvement. If the as warmups, and as rest or creative classwork is about right for their ballet activities. Use what works. Adjust and and movement experience, the students change things where needed. Have fun will not feel much discomfort in the with it, and don’t force anything. work. It will flow quite naturally, and progress will happen almost without the teacher or the students realizing Go to Index 87 TheBalletSource.com

Physical Growth as it Relates to Ballet Lessons Bones Central Nervous System At birth, the skeleton is largely Children vary in their motor control cartilage, not true bone. All during the and neurological development, but growing years, until about age twenty, most come fairly close to what is the bones are still in the process of expected for their age. hardening, and some parts of them are soft, and can be pushed out of their Motor control is believed to be intended shapes. encouraged by a child’s attempts to master and perfect basic movements. The plate of cartilage, referred to as the Children in a well taught dance class growth plate, located between the shaft seem to acquire coordination earlier, and the epiphyses does not become with a more refined control over their bone until about age twenty. immature muscles. At about age seven or eight the pelvis Ligaments finally develops its true shape and functionality. At about the same time Ligaments protect the joint, hold the the lumbar vertebrae lengthen. The bones and other components in place, maturing of these two structures gives and offer little resistance to normal more room in the abdomen for the movement. Ligaments are not elastic viscera, and beginning posture training like muscles. When ligaments are can be given. stretched beyond their intended length, they do not return to their normal The shoulder girdle and rib cage form length. their adult relationship and the child is finally able to use the adult methods of For this reason, beginning students respiration and arm movement, which must not be “stretched,” especially are important to port de bras. by putting legs up on a barre, or by another person pushing on their legs, Pointe Work (Toe Shoes) or by trying to do splits. Considering the bones, ligaments, and Structures of the body are somewhat joints, pointe work is a risk at any age. soft during the growing years. When Experts recommend waiting at least the stretching of muscles is attempted, until age twelve. Some students whose it is not just the muscles that give. The skeletal growth is a bit slower should ligaments and the soft growth plates wait longer, to thirteen or fourteen. mentioned earlier can also stretch Go to Index 88 TheBalletSource.com

along with the muscles. Stretching too 3. Abdominal muscles are beginning soon, or too forcefully can distort the to work. Exercises such as the “Kitty growth plates within the joints, and Kat Stretch” and “Turtles” can help overstretch the ligaments which hold these muscles to start firming up for the joints together. ballet. It is heipful when dance teachers are 4. Shoulder joints are more mature. aware of the expected growth patterns, The smaller auxiliary joints used in and plan classwork that fits the classical port de bras are functional students capabilities and maturity. This and can begin to learn the technique gives comfort, enjoyment, benefit, and needed for ballet. success to the ballet class. 5. A balanced strengthening of the Turnout muscles without turnout is needed for correctjoint formation. In the Correct ballet turnout happens in the beginning classes and all classes hip joint. No outward rotation for before teens, occasional work ballet should take place at the knee without turnout gives stability to the or ankle joints. The muscular control joints and makes the ballet technique required for correct turnout is usually better. A few minutes of this type of acquired at about age eight, but is not dance should be in every class. under the child’s full control until ten or twelve. Guidelines for Ballet 1 When students continually overturn 1. Do no splits, and only gentle their feet, ligaments are gradually limbering. stretched. This weakens the feet, ankles, and knees. 2. Make sure the turnout is happening in the hip joints, not in the knees or Most children can use a 90° turnout ankles. comfortably by seven. After eight, and a year of good ballet, the turnout can 3. Limit the turnout to 90° for the first be increased gradually as the muscles year. strengthen. 4. Lift legs only to about 45° the first Even After Eight year. 1. The pelvis is now fully shaped, but 5. Knees should be straightened, but not as strong as it will be later. not pushed back. Any needed space between heels should be left in first 2. The knee joints are stronger, but position, so knees can be brought still soft, and growth plates can together without overlapping. still be damaged, and the protective ligaments overstretched. 6. Do movements of the ankles in Go to Index 89 TheBalletSource.com

both directions, both flexing and if this happens. During a port de extending. This strengthens feet and bras exercise you can observe which ankles for ballet. students are able to move their arms without involving the shoulders, by Pain is a Danger Signal watching them from the back. Pain is the body’s way of signaling In early teens, students seem to lose that damage, or potential damage is control of the shoulders during port de occurring. bras. Their shoulder blades stick out, and the back arches. The muscle action If the classwork is suited to the age, in pushups will help to flatten those experience, and physical condition shoulder blades. again. Let them do of the students, they will not feel the pushups from the knees, or while discomfort. The ballet will flow quite standing and leaning forward, using naturally, and progress will happen the barre as if it were the floor. The without stress and strain. muscle action in the upper back and shoulders is the same. Chronic or extreme discomfort should be referred to a doctor or other person Port de Bras Au Corps Cambre with medical expertise. Arm Movements Modern research has changed how some things are done for ballet. In classical ballet, the arm moves Traditionally this movement has been freely from the shoulder joint with done with a flattened back. Not any a great range of motion. In an adult, more. movements in the main shoulder joint also involve movements of other joints Research says there should be no in the shoulder girdle. flattened backs at any time. It destroys the natural shock-absorbing curves Raising the arm to shoulder level uses in the spine, and puts great stress on the shoulder joint alone, but as the arm lumbar and sacroiliac joints, leading to moves above shoulder height, the joints injuries of the lower back. of the scapula, clavicle, and humerus are also used. Correct bending of the body forward: The entire body is lifted, with a feeling Children with immature shoulder of being up off the hip joints, then the joints arch the back when lifting their body is relaxed forward with a natural, arms above shoulder height! This rounded feeling. makes a correct fifth position of the arms impossible! With the arm in 2nd, the hand “gathers,” the head goes first, then Keep the use of the fifth and fourth shoulders and upper back, middle positions of the arms to a minimum, back, the waist bends forward, and Go to Index 90 TheBalletSource.com

finally, the hips bend as a hinge. The hand reaches its lowest position at the same time the body does. The arm lifts smoothly arriving in fifth as the head finishes the movement. Return in the reverse order, straightening the spine smoothly, working up from the bottom, shoulders and head coming up last. Share the curve all through the back. This exercise is not recommended for beginners and pre-teens. Use the Rag Doll Stretch and the Floor Stretch. These emphasize relaxation, and rest the lower back. Go to Index 91 TheBalletSource.com

Summary Coordination: aware of the expected or usual patterns of child growth and development: I. Coordination development: The Physical, Mental, Emotional, Social. stages of coordination development Planning classwork that fits the overlap. Lower stages remain in the development of the students increases neuro-muscular system, and support the comfort, enjoyment and success of and make possible the higher of the dance class. coordination. Growth: Weakness in coordination indicates a weakness at one of the lower In a child, it is not just the muscles levels, upon which the higher levels that are lengthened by forceful depend. Giving natural and purposeful stretching. It can also distort the movement experiences should growth plates within the joints, or strengthen and improve the total overstretch the ligaments which coordination. hold the joints together. Just because the child does not complain of pain II. Dominance, or handedness does is no assurance that damage is not not develop until the higher level of happening. coordination is in place. Dominance and coordination are somehow related. About Arabesque Arms: Forcing “correct” responses of right and left, and forcing adherence to In a beginner’s arabesque the arms exact musical counts before the child are held in an extended (RAD) Third is ready may interfere with the full Position, or in an extended (Cecchetti) development of (1) dominance, (2) Fourth En Avant Position. the two sides of the brain, and (3) coordination. The shoulders are square to the front. The arms do not go behind III. Stretching young growing students the shoulders. This puts the arms may stretch the ligaments and distort at a right angle. Top view of the growth plates in the joints, and will beginning arabesque arms: not likely be stretching the muscles as is intended. This is why pointe work must wait until at least age twelve, to avoid permanent damage to growth plates, and distortion of joints. IV. It is helpful when dance teachers are Go to Index 92 TheBalletSource.com

As the dancer matures, and gains strength in the shoulders and upper back, the line is gradually extended towards the advanced alignment shown here: The arms follow the classical rule of not going behind the shoulders. Instead, the shoulders turn, and the arms open towards an extended second position. The final arabesque arm alignment requires considerable strength, control, and flexibility in the shoulders and upper back. Students need to start with the very square beginner’s arabesque arms, and work gradually towards the more advanced arabesque. Note in the diagram of the advanced arms how the shoulders are turned, allowing the arms to go forward and back. Go to Index 93 TheBalletSource.com

V. Appendix 95 96 Positions of the Feet 97 Retiré Positions for Ballet 1 98 Alignment of the Feet for Battement Tendus 99 Positions of the Arms 100 Positions of the Arms 101 The Geometry of the Dancer’s Circle 102 Stage Directions 104 Numbering the Directions of the Room 105 Terms for Ballet 1 109 Sample Handouts for Home Practice 110 Positions Test For Ballet 1 Ballet 1 Performance Test Go to Index 94 TheBalletSource.com

Positions of the Feet Parallel First Second Third Fourth Open Fifth Positions of the Feet, Showing Turnout at about 90⁰ Parallel First Second Third Fourth Open Fifth

Retiré Positions for Ballet 1 Petit Retiré Petit Retiré Devant Petit Retiré Derriere Demi Retiré Demi Retiré Devant Demi Retiré Derriere

Alignment of the Feet for Battement Tendus Second Position, or L R R R A La Seconde R L R RR The toes are in line with the toes of the supporting foot. Turnout LLR R must remain exactly the same in both legs for correct muscle L R development. This may not look L fully “correct”, but it is correct for beginners. R L Devant, or to the Front L The leg goes straight forward fromL First Position. Working heel is still in line with the supporting heel; L toes touch the floor in line with the working leg, and supporting L heel. Turnout remains exactly L the same in both legs for correct muscle use. Derriere, or to the Back The leg goes straight back; working heel is still in line with the supporting heel; toes touch the floor in line with the working leg. Turnout must remain exactly the same in both legs for correct muscle use. Derriere is the most difficult R position. If you teach battement tendu derriere to your beginners, they need to keep the entire body well lifted, and the hips in place, hip bones facing squarely front, not turning as the leg moves back. There’s a sense of the toes being underneath the leg.

Positions of the Arms As Named by the Royal Academy of Dance Bras Bas First Position Second Position Demi Seconde Position Third Position Fourth Position Fifth Position or Fourth Crossed Position Open Fifth Position (when coming First Arabesque Third Arabesque from second) or, Diagonally Up Open Fifth Position Hands on Waist Fourth Position (when coming from Fifth) or Attitude

Positions of the Arms As Named by the Cecchetti Method Hands on Waist First Second Third Demi Second Fourth En Avant Fourth En Haut Fifth En Bas Fifth En Avant Fifth En Haut First Arabesque Third Arabesque

The Geometry of the Dancer’s Circle Why Is It So Hard to Keep Figure #1 Figure #2 the Circle the Same Size? Figure #3 Figure #4 Figure #5 When we dance around a circle, we like to follow the dancer just ahead of us. This works very well if we are going in a straight line. But if we do this on the circle, the circle will continually get smaller and smaller as the dancers move around it. Look at Figure #1. It shows six dancers (the x’s) ready to gallop around the circle. Figure #2 shows them each following the dancer in front of them. Note that they have all cut little slices off the circle. The circle has become smaller. Look at Figure #3 to see where the circle is now! If they continue to do this, the circle gets smaller still, as in Figure #4. Dancers have to be smart enough to keep this from happening. They learn to go a little to the outside, or to the right side, of the dancer just ahead of them on the circle. Look at Figure #5 to see how this works. Try it! It really does make the circle stay nice and big when you travel a little to the right of the person in front of you.

Stage Directions The areas of the stage are named from the performer’s point of view when facing the audience. C = Center stage R = Stage Right, to the performers’ right L = Stage Left, to the performers’ left U = Upstage, the back of the stage, the side furthest from the audience D = Downstage, the front of the stage, the part nearest the audience UR = Upstage right, the back right corner UL = Upstage left, the back left corner DR = Downstage right, the front right corner DL = Downstage left, the front left corner UR UC UL Students RCL DR DC DL Audience or Teacher

Numbering the Directions of the Room 51 6 251 81 2 front front front 42 68 73 837 37 4 654 The Royal Academy of Dance The Cecchetti Sytem of The Vaganova or Russian has adopted a numbering numbering starts with the method starts with #1 system. The walls are downstage right corner at Downstage Center, numbered first, clockwise, as #1, downstage left is 2. and numbers the eight starting with the audience The audience is #5, and points clockwise in as #1. Corners are next, the other walls 6, 7, and 8. consecutive order, starting with Downstage ending with DL as #8. Left as #5. From the Barre to A teacher B teacher the Center A B A B AAAA Dancers should come to the A B BBBB center of the room from the barre in an orderly way, making rows that fit comfortably in the room. 4 (DL) teacher (DR) 2 Dancing on the Diagonals 1. Begin at the UL comer, traveling to the DR corner. 2. Turn right, walk to the UR. 3. From there dance to the DL, 4. Turn left and return to the UL. 1 (UL) (UR) 3

Rows Trading Places teacher teacher AAAA BBBB When a front row BBBB AAAA moves to the back the row should divide in teacher teacher the middle, and dancers AAAA BBBB move to the side of the BBBB CCCC room before turning and CCCC AAAA moving to the back to reassemble the row. Another way: Students in the first row turn L to face the back, then pass through the other rows as they move forward. Making a Circle From Rows Circle work is usually done counter­- -clockwise. To make a circle from rows: The front row faces left; the back row faces right. Middle rows, if any, go to the nearest side of the room to fill in the circle. teacher teacher teacher AAAA BBBB CB B B BC CCCC CCCC BBBB AAAA CA A A AC

Terms for Ballet 1 A. Positions D. Center Steps Parallel Position Port de Bras First Position Transfer of Weight Second Position Turtle Third Position Spotting Fourth Position Swaying Open Fourth Position Arabesque Fifth Position Step Close Step Point Bras Bas Walking Turn Demi Second Position Demi Pointe Walk Hands on Waist Demi Pointe or Tip Toe Turn Arms Down Spring Point Devant Sauté Derriere Echappé Sauté Petit Jeté B. Traveling Steps Soubresaut Changement Flamingo Walk Rag Doll Ballet Walk Ballet Run Curtsey Gallop Bow Side Gallop Reverence Pony Trot Enchainement Picked Up Gallop March Suggest: Learn the names as the Skip movements are learned. Learn the Polka terms in small doses—2 or 3 at a time. C. Barre Exercises Not all of these terms need to be remembered the first year. Give short Demi Plié quizzes on the most important ones. Battement Tendu Grand Battement Petit Retiré Demi Retiré Fondu Attitude Devant Rise (Elevé)

Name Date Sample Handouts for Home Practice #1—Royal Academy of Dance Positions LR LR Parallel First Position LR Second Position L R R L Left Third Position Right Third Position Home Practice Assignment

Name Date Sample Handouts for Home Practice #1—Cecchetti Positions LR LR Parallel First Position LR Second Position L R R L Left Third Position Right Third Position Home Practice Assignment

Name Date Sample Handouts for Home Practice #2—Royal Academy of Dance Positions LR R L Left Fourth Position Right Fourth Position L R L R Right Fifth Position Left Fifth Position Home Practice Assignment

Name Date Sample Handouts for Home Practice #2—Cecchetti Positions LR R L Left Fourth Position Right Fourth Position L R L R Right Fifth Position Left Fifth Position Home Practice Assignment

Name Date Positions Test For Ballet 1 Positions of the Arms Bras Bas First Position Second Position Third Position Fourth Position Fifth Position Demi Second Position Positions of the Feet First Position Second Position Third Position Open Fourth Position Fifth Position

Name Date Ballet 1 Performance Test Positions of the Arms Bras Bas First Position Second Position Third Position Fourth Position Fifth Position Demi Seconde Positions of the Head Raised Lowered Turned Inclined Positions of the Feet First Position Secpnd Position Third Position Fourth Position Fifth Position Exercises at the Barre Demi Plié Battement Tendu a la Seconde Grand Battement Devant Center Steps Port de Bras Ballet Walks Arabesque Swaying Sauté Echappé Sauté Soubresaut Gallops Spring Points Petit Jeté Side Gallops Reverence

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