Defining and Dissecting a Piqué Turn

What is a Piqué Turn?

Generally when a dancer is asked to perform a piqué turn in class, he/she understands that it is likely they are being asked to perform a traveling turn that begins with a step onto a straight leg, as demonstrated at the start of this combination (note: this video is an ad for an online teacher’s resource, however, I’m using the following video because the step is clearly performed, not for any advertising purposes):

What may not be clear to some students, however, is that the piqué turn has several variations. The young lady in the video begins her combination with two piqué tour en dedans (inside/toward the supporting leg). In fact piqué tour* (turn) can be executed en dehors (outside/away from the supporting leg), attitude,  arabesque, or sur le cou-de-pied. It is also important to mention that piqué can be performed without any turn at all. When the term piqué is combined with a pose such as arabeque or even an action like développé, the implication is that one should execute this pose or action by first stepping onto a demi or full pointe with a straight leg. Piqué en arabesque is demonstrated by Susan Jaffe at the ABT Online Dictionary – click here to see the video.

*Also termed pirouette piquée. (Link is to video at ABT’s dictionary. I like that you can manipulate the slider at will, allowing you to see these videos in somewhat slow motion – try it!)

A Note on Terminology

Piquer is a french verb meaning “to sting, bite; to give a shot.” Piqué literally means “pricked.” Obviously this implies a quick and precise action and, although this element of a piqué is sometimes neglected, the step onto a straight leg should in fact be just that – quick and precise.

Piqué is also a term applied in ballet to an action of the leg usually found in exercises at the barre. It refers to a quick and precise rebounding of the toe from the floor, typically following a battement dégagé/tendu jeté, or a grand battement. In the following video dancers from Columbus City Ballet School execute such a combination.

Performing Piqué tour en dedans

As the en dedans version of piqué turns is the most common, I’d like to dissect the parts of this movement as well as offer some things to keep in mind during its execution.

Preparation

• There are several methods of preparing for a piqué turn. Some begin with a demi-rond de jambe, others with a dégagé to side or to the front. Your teacher will probably let you know which version he/she prefers, if not ask!
• No matter what you are required to do with the working leg in preparation for the turn, the shift of weight to a straight leg is powered by a plié in the supporting leg. This plié should be well placed with the knee over the second/third toe and all five toes should have contact with the floor, providing a strong base from which to push off. It helps me to think of the elastic connection between my sits bone and heel during the plié, imagine it being pulled taut or spring-loaded like a sling shot ready to be released.
• There is a subtle swivel of the pelvis on the hip that occurs during a piqué turn. As the working leg’s toes meet the ground, the facing of the hips is toward the direction of travel. Most students naturally make this adjustment without thinking about it, but for those that don’t discussion of this detail may be helpful. Note: instructors are not wrong to have students practice piqué (without a turn) to the side (it is useful to practice piqué in all directions), however the piqué in a piqué turn en dedans actually steps forward, not side.
• The reach of the working leg’s toe is also important in piqué. You must find the balance between reaching too far and not enough. This may be different for everyone. Too far and you will not make it to vertical before the turn must occur (in pointe shoes this can be dangerous), to near and the working leg will bend or the hip will lift. Keep the hips level!

The Turn

Photo by Maryam

• Arrive on the demi/full pointe in “one piece.” Engage the abdominals (as always) and be sure that the shoulders and the hips stay in alignment throughout the shift to the working leg. It is a common mistake for students to “leave behind” either the pelvis or the shoulders. Imagine a blanket stretched behind you, providing a push that supports your whole body as you lift to a shape perfectly balanced and stacked over the toes of your leg.
• A related mistake I often see students make in all traveling turns, is the leaving behind of one shoulder (usually the one opposite the working leg) as they rise to demi/full pointe. This creates a spiral in the body which slows down the turn and often knocks the student off balance.  To combat this direct your mind’s eye to the diagonal connection between the hip and shoulder and think of maintaining this relationship as you turn.
• Turnout of the lifted leg and the axis leg is essential during a piqué turn. Imagine the stripes of a candy cane wrapping upward around your axis leg which is long and straight. As you turn, don’t allow the knee to pull inward, leading the turn around. Instead, imagine the front of the hip has a beam of light that leads the way as the knee trails behind.
• The hips should be level during the turn as well. Often the cause of a lifted hip in retiré is strength related, although sometimes flexibility is a factor. Practice slowly lifting the leg in retiré while facing the barre. Stop lifting when you feel the pelvis shift (your toe may not be all the way to the knee). Talk with your teacher about ways you can increase the height of your retiré without hiking the hip. I’ve found that students sometimes inhibit their retiré by gripping too much. Try allowing someone else to take the weight of your leg by holding it under the thigh just above the knee – feel how the hip can easily drop into place as though there is a weight on a string attached to your sits bone. Try to apply this same feeling of release as you then retiré on your own.
• Be aware that a piqué turn does not include a full 360º rotation. In fact, it is more accurately somewhere between a 1/2 and 3/4 turn from the point that the working leg makes contact with the floor and then is replaced by the other leg during the coupé. This keeps the turn traveling along its intended path. A full turn will send you off course.

The Upper Body

• The arms should never be behind the body during any part of this turn. I have witnessed students opening the initiating arm too much and also forgetting to take the closing arm with them as they shift weight to the working leg. These mistakes create that spiraling action mentioned earlier and is a very inefficient way of turning that will likely knock you off balance. In piqué turn the “follow” arm is very important and should close vigorously, not lag behind.
• Spotting is essential directing the turn along its path. Spotting is probably a post all on its own but think of the neck as being long, soft, and supple as you spot. Something to remember when traveling piqué turns along a circular or curved path is that you will direct your attention to a new spot with each weight shift.
• Your shoulders should stay relaxed and the back should feel wide. Students have a tendency to lift their bodies into piqué with the shoulders instead of creating force from the plié and utilizing the core. Imagine hanging like a tree ornament from a point at the top of your head, beneath this point your neck is long and your shoulders hang low and wide.  I often see shoulder blades pinching together as dancers rotate in their turn. Rather than thinking of creating a hoop that hangs from the front of your body, imagine a full circle created by your arms and back.

The Descent

• As you shift weight back to the supporting leg from retiré, remember that the leg should stay lightly attached to the working leg. Think of drawing a line down the leg with the soon-to-be supporting foot. (Note that the toe should have been attached during the turn as well!)
• Coupé means “cut.” This action of switching back to the supporting leg is another sharp and precise movement that shoots the working leg back to its preperatory position so that it is free to move on to the next turn or other subsequent movement. It replaces the working leg’s foot in space. A common mistake is to make contact with floor somewhere behind the working leg, which is likely to take the rest of the body backward. An aesthetically pleasing piqué turn is “tight,” without a lot of space between the contact points or placement of the feet as they travel across the floor.

Teachers, is there anything else that should be mentioned in regard to the performance of piqué turns en dedans?

Students, any questions or concerns? Post them in the comments!

A Jeté That’s Truly Grand

A Grand Jeté is…

a type of of leap. The term comes from classical ballet. However, many dance forms utilize or have adapted this movement. The grand jeté is just one of an entire family of movements in which the working leg is “thrown.” In grand jeté the initiating leg is thrown to 90º and is immediately followed by a similar throwing of the supporting leg, creating the image of an arabesque or attitude suspended in mid-air. Many dancers strive to acheive a full split in mid-air, however, I believe this is a modification of the classical ballet movement. The grand jeté is always preceded by a preperatory movement like glissade or couru (running) the dancer is propelled upward and typically forward, although grand jeté can also be executed backward.

A Grand Jeté is Not…

A leap in which the leg unfolds in a développé, is perhaps most commonly called a saut de chat. However, there is variation in the naming of this movement. According to the Technical Manual and Dictionary of Classical Ballet, grand jeté pas de chat, is the term applied by the Russian School.

Okay, now that we’ve cleared that up and know what a grand jeté is,

How to Improve your Grand Jeté

Prepare for Leaping:

• Increase your flexibility. A greater range of motion will allow for more split in the legs. Stretch when you are warm and be sure to work on the hip flexors (the muscles in front of the hip that lengthen when your leg is extended behind) as well as the inner thigh, and hamstrings.
• Increase the strength in your hamstrings and gluts. Many leapers have trouble getting the back leg to lift in a grand jeté. The muscles down the back of the leg (hip extensors) have to fire strongly and quickly for an explosive leap. Practicing tendu jeté (dégagé) and grand battement to the back with a sharp accent may help with this firing action.
• Work on core strength and alignment. This allows the body to move through the air in one piece so that energy can be directed to powering the leap and not holding things together.
• Work on executing good plié, particularly in landing other jumps. This also includes paying attention to the foot and ankle and making sure you are not pronating, or rolling in.

What To Do:

• Engage the muscles in your core. I may sound like a broken record, but this is essential for freeing the limbs for movement and safely executing jumps and leaps.
• Conserve your energy on the preparatory movement before the jeté, using it only to build a bit of momentum.
• The initiating movement in a grand jeté is a grand battement, which begins with a strong brush of the foot. Don’t neglect this opportunity to gain power from the floor.
• The back leg must follow immediately with a battement, disengaging powerfully from the floor. This is what directs the movement forward in space. Until now, the jump has been primarily upward.
• The upper body should be strong but without tension. Having strong core muscles and supporting the arms with the back (and not the shoulders) will facilitate this.
• Maintain a sense of lift on the landing of the jeté, rolling through the foot (toe-ball-heel) and descending into a supported plié.

What To Think:

There are many images designed to enhance the execution of a grand jeté. Different images work for different people. Here are a few of my favorites:

• “Imagine the leading foot sucking in the air, which shoots through the legs to be forcefully expelled through the back foot.” – Dance Imagery for Technique and Performance by Eric Franklin
• Imagine the body or “pelvis being carried along by a supporting force such as the flying carpet.” – Conditioning for Dance
• “Imagine every part of the body suspended from strings, like a marionette.” – Dance Imagery for Technique and Performance by Eric Franklin
• For explosive leaps, imagine being coiled like a spring or a snake with energy stored for a powerful release.
• After the first battement, imagine this front leg being pulled by the toe with the back leg streams behind like ribbon on a rhythmic gymnast’s baton.

Other Tips:

• Be aware of your breath during a grand jeté. Many people find that inhaling as the leap is initiated is beneficial for feeling suspension in the air, however, find what works for you!
• Visualize yourself performing the movement. I’ve found “playing” the movement in slow motion in the mind’s eye reinforces many of the concepts found above.

What are some other images which you use to enhance your grand jeté?

What other tips or reminders would you suggest?

With which aspect of a grand jeté do you struggle most?

Talking Technique

There are several posts here at Dance Advantage that offer understanding and tips on certain technical elements of dance. So far, I’ve offered a smattering of the basics. More recent posts have received quite a few hits but some older posts have gotten buried along the way. Because I think all of these posts could be useful to readers, I’d like to present a little collection for you to check out.

Plié

Photo by Oude School

…Even young dancers can tell you that plié means ‘to bend’ and that one must begin and end a jump with this action. However, it seems the longer one studies dance, the more he/she comes to realize that plié is one of the most sophisticated and nuanced movements in dance. It’s applications are endless…

Battement

…dancers and teachers often drop the word battement from the name of other common terms. As a result of this practice, some dance students may not realize that battement is actually a family of movements that includes battement tendus, dégagés (sometimes called, battement tendu jeté), frappés, and fondus développé…

Vertically Challenged: Improving Your Jumps

…the secret to jumping is not so secret, it is the same hard work that goes into most everything in dance: proper alignment, solid technique, and practice, practice, practice! Not what you wanted to hear? Sorry, but never fear, I can give you some pointers that will help you as you practice those jumps. I’m going to focus mainly on vertical jumping (sauté) in this post, although many of these principles can also be applied to traveling jumps or leaps…

The Core or “Center”

…So, now that we better understand the core, or center and how we’re expected to use it when we dance, there’s one remaining question that someone may still be asking…. WHY? What’s the big deal about this magical part of the body? Why is it so important to my dancing?…

Sickling and Rolling-In

…The terms sickling and rolling in are often used in dance classes to define issues with ankle alignment. However, I have found that many students do not have a clear understanding of the actions of the ankle and foot and, therefore, do not know how to correct these issues when asked…

For more posts on technique, including those on turnout and improving pirouettes, click here.

Is there a technical issue or a particular movement you’d like to see covered on Dance Advantage? Place your ideas or questions in the comments!

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Vertically Challenged: Improving Your Jumps

Jumping is a large part of a dancer’s training and students are constantly searching for the secret recipe that will improve their skills in this area. However, for the most part the secret to jumping is not so secret, it is the same hard work that goes into most everything in dance: proper alignment, solid technique, and practice, practice, practice! Not what you wanted to hear? Sorry, but never fear, I can give you some pointers that will help you as you practice those jumps. I’m going to Read more

Sickling and Rolling In

The terms sickling and rolling in are often used in dance classes to define issues with ankle alignment. However, I have found that many students do not have a clear understanding of the actions of the ankle and foot and, therefore, do not know how to correct these issues when asked. I hope this post will help clear up any confusion and assist students in working to correct poor ankle alignment.

“Sickling,” also called supination, is an action of the tarsus (a group of bones in the foot that allow a person to “roll” their ankle in circles). Without getting technical, when one is sickling, they are standing on the outsides of their feet, their pointed foot is “flagging,” or in relevé their outer ankle bone is pulled into misalignment away from the mid-line of the body. “Rolling in” refers to an action called pronation which is essentially the opposite of supination. When standing, someone that is pronating is allowing their arch to drop toward the floor. When the foot is pointed and pronating, the inner heel is pushed forward (sometimes referred to as “winging” the foot). In relevé the anles tilt toward the mid-line of the body. Although these actions are often stated to occur at the ankle, the ankle joint only points and flexes. It is the tarsus that creates any additional motion.

Mostly, dance teachers see pronation (or rolling in) of the tarsus when students are standing. Because the bones on the inside of the foot are larger/heavier than those on the outside, gravity has a tendency to pull the foot into pronation if the muscles used to lift the arch are not trained to do so. Supination is more common when dancers are pointing their feet or standing in relevé (en pointe or demi-pointe) because there is more flexibility in the muscles and tendons on the outside of the foot. When attempting to rise to demi-pointe, some dancers who have a limited range of motion will push beyond their limit, causing the foot to sickle (see picture at right). Supination or sickling when the leg is lifted is very common in young or beginning dancers because they do not possess the strength or muscle memory to maintain proper alignment.

Correcting Alignment Issues

Dancers slowly correct ankle alignment when it is addressed in class. As early as age 7 or 8, you may see improvement in this area if the students are, 1) taught how to feel the difference between a sickled/pronated foot and the correct, neutral alignment and, 2) consistently reminded.  Older students need this same encouragement and reminding until maintaining neutral alignment becomes habit. This takes time, diligence, and mindful dancing. Some dancers point their foot so hard that it forces their foot into a sickled position. The teacher can have the student relax the leg muscles and gently reposition their foot in the proper placement. Keep in mind that dancers going through puberty can sometimes seem to backslide in their strength or flexibility because of growth spurts and rapid changes in their bodies), exercise bands may help strengthen the muscles involved in pronation and supination. If a student is showing weakness in rélevé, a good cure is more rélevé! Perform them in a slow and steady manner, with focus on rising straight up with weight over the second and third toe.

For young dancers that need a reminder not to pronate while standing, I will offer an image frequently used in my dance classes growing up: Imagine a little mouse family all snug in their beds under your arch. Allow the foot to roll in and the little mice will be awfully squished and have to wriggle out! At any age or level, the practice of using and maintaining proper alignment in class will be enough to build the strength and muscle memory needed to correct most problems with pronation and supination. Occasionally a student may have a muscular or skeletal issue that is affecting the tarsus area, the best thing to do is have a doctor or physical therapist check it out if you think this may be the case.

Excessive Turnout and Ankle Alignment

It is important to point out that sickling and rolling in have nothing to do with turnout. Although, some dancers and teachers seem to focus on the angle which the feet make in turnout, please note that turnout occurs from the hips only. Occasionally when dancers “force” their turnout they are straining the tendons in their knees for a little extra rotation at a joint that is only supposed to bend and straighten, which in turn usually results in pronation (rolling in) as well. This only gives the appearance of a wider “V,” but a trained eye knows that this is not turnout. Forcing turnout can lead to injury and possibly surgery down the road.

Maintaining proper alignment in the foot while dancing is very important. Problems in the lower body have a way of working their way up, causing issues and even injury in the knees, hips, back, etc. Dancers must move with awareness of what their body is doing, and a big part of that is understanding the function and terminology of certain bones and muscles. Hopefully I’ve helped you to understand supination and pronation a bit better. Here are some great resources for gaining understanding of how the body works as it relates to dance.

The Body Series
Dance Kinesiology
Dynamic Alignment Through Imagery

Has sickling or rolling in been a problem for you? Have you ever heard the terms supination or pronation used in a dance class before?

Improving Pirouettes

I was recently asked about some tips on how to improve at multiple pirouettes. I know that lots of students are wanting to know the same thing, so here is my answer:

1. Engaging your abdominal/core muscles is necessary for maintaining good alignment during the turn.
2. Every turn is a balance, so work on balancing in the position in which you want to turn (retiré, a la seconde, etc.)
3. Spot and keep your eyes off the floor (or that’s where you’ll end up).
4. Use only enough push to get around – sometimes a dance student’s biggest downfall in pirouettes is pushing so hard that they throw the turn off.
5. Connect your arms to your back – you should feel width between the shoulder blades and the arms should maintain their position (don’t “wind-up” for a turn)
6. Take off from a properly placed and wide plié for power in the turn.
7. Strengthen your ankles supporting the relevé – if you are wobbly, sickled, or pronated, this will ruin your turn.
8. Make a choice to come down from the turn, don’t let gravity make the choice for you.
9. Visualize yourself doing a beautiful, clean pirouette – it really does help!

Pirouettes are not an easy movement. Anyone can whip themselves around but it takes years of practice (plus a good deal of strength) to perform a proper pirouette. Work hard at the barre and in centre on the fundamentals (plié, relevé, etc.) And, work on getting a good, clean single pirouette first (with a strong grasp on the elements above), then progress to multiples. Don’t give up! If you are working hard, applying your teacher’s corrections, and not letting self-doubt psych you out, you will be able to do multiple pirouettes.

What we hope ever to do with ease, we must first learn to do with diligence.

What are some other tips that you can offer or have been given to you? What do you find most difficult about pirouettes?

Plié

I’ve heard somewhere that the beginning is a very good place to start. Therefore, since I’m just beginning our exploration of dance vocabulary, I figured it was best to start with the alpha and omega of all dance movements – the plié. Here is the definition according to the ABT (American Ballet Theatre) ballet dictionary. Even young dancers can tell you that plié means ‘to bend’ and that one must begin and end a jump with this action. However, it seems the longer one studies dance, the more he/she comes to realize that plié is one of the most sophisticated and nuanced movements in dance. It’s applications are endless, not only appearing before and after jumps, but in glides, hops, turns, running, walking, leaps, and more. All while moving forward, backward, upward, sideways, or downward. No plié is exactly alike, but without it we appear awkward, stiff, uncontrolled, or shaky. Like dance itself, plié is a never-ending story. There is always more to learn and developping a strong understanding of plié will help dancers build a strong foundation for other movements.

I read an article in this month’s Dance Magazine that I wish I could link you to. Pick up a copy if you can. In it, Risa Steinberg, a Limon teacher at Julliard, states that **”a good plié is an action, not a position. A plié is a ‘Whaaaaaah.’ It is not an ‘Eh.’ ” I love this description. Try vocalizing ‘Whaaaaaah’ while you plié and see what happens! This simple action serves as a reminder that plié is a smooth, continuous, and widening motion. It also implies that control is needed to create and direct the action, in contrast to an “Eh,” which suggests little effort or control. Fluidity, width, and control in plié is required whether executing an explosive jump or a shift of weight.

Some things to remember when executing plié:

1. Weight should be equally distributed between both feet. Try not to lean toward one foot more than the other or rest in the heels.
2. Lift the arches of the foot – avoiding pronation, or rolling in.
3. Maintain turnout (rotation at the hip joint), keeping the knees over the second and third toes.
4. Maintain alignment in the torso, partiularly the pelvis – tailbone points downward. NOT
5. Use opposition in the movement – resist as the body lowers and as it goes goes upward.

Consider the study of plié a lifelong pursuit! Plié are only boring if you stop discovering new things about them.

**The cited article is by Rachel Straus a freelance writer based in NYC and appears in the April 2008 issue of Dance Magazine.