| Your positions a la seconde and a la arriere in | | | | maximum turnout of both legs form the hips, no |
| battement tendu are the basis for building strength and | | | | wiggling, no hip change, unless that is impossible. |
| good dance technique. The accuracy of these | | | | A la arriere, behind, press down into the foot, changing |
| positions will carry over to your pre-pointe strengths, | | | | the weight to the supporting leg. Lead out with the |
| your adagio, to......everything you do in a ballet class! | | | | toes first, lengthening down the back of the leg, |
| Learning correct body placement and fine foot work in | | | | pressure in the sole of the foot as the arch stretches |
| these exercises will also help prevent injury. | | | | and then the toes lengthen. |
| For a la seconde, the foot leaves fifth or first, the sole | | | | At some point, your working hip will open from a |
| pressing into the floor, the metatarsals pressing as you | | | | square position, but the turnout of the supporting leg |
| extend the arch, and lastly, you lengthen the toes. | | | | should not change, and your body from the waist up |
| Hopefully nothing else has happened in the body or to | | | | should be square to the front. Also, you have to keep |
| the standing leg. You aim the tendu to the spot | | | | feeling length down through the leg. The leg must be |
| furthest to the side, where you can still hold your | | | | extended all the way out, before the foot fully points, |
| turnout in both legs. For most dancers, this is not | | | | or you will force your torso to scrunch at the waist |
| straight to the side. It doesn't matter. Holding the turnout | | | | instead of staying long. It's like a tug of war to lengthen |
| of the supporting leg and the placement of the body | | | | the leg, and keep the body pulled up tall. Also that |
| facing square to the front matters. You need this | | | | feeling prevents you from shifting the weight back off |
| stable position for developpe, turns in a la seconde, and | | | | the supporting foot. You should be able to lift your |
| jumps in or going through a la seconde postion (fouette | | | | hand from the barre any time, and be tall on your |
| saute, grand jete en tournant). | | | | standing leg. |
| Closing the tendu, press the toes down, then relax the | | | | Closing from the back is a gradual change from the |
| metatarsal joints. Press the ball of foot and sole of | | | | heel leading back in, pressure on the sole of the foot, |
| foot into the floor, creating resistance. Make sure the | | | | and bringing the toes forward again to where you can |
| whole foot is on the floor, so you can smoothly | | | | stand on your whole foot. Also the working hip comes |
| resume weight onto it. All the way into first or fifth | | | | square again, smoothly, as the toes drop, the arch |
| behind, aiming for the foot placement that allows | | | | presses down, and the weight goes on to the foot. |