9 Tips for Improving Pirouettes

This post first appeared in April 2008. I have added additional thoughts and links.

1. Engage your core muscles to maintain good alignment during the turn.
2. Every turn is a balance, so practice balancing 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 and imagine width across the back and shoulder blades and the arms should maintain their position (don’t “wind-up” for a turn)
6. Take off from a properly placed and expansive 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. Mentally, 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 practice, strength, and good alignment to perform a quality pirouette. The foundation of a successful pirouette is barre and center fundamentals like plié, relevé, etc. 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! Apply your teacher’s corrections and be patient, allowing your confidence to grow as you see improvement. Soon, you will be able to do multiple pirouettes.

Food For Thought:

Years ago, during a master class with Kenneth Laws on the physics of dance I learned that, when asked how they hold their arms during a pirouette, most dancers will show you a nice, round, proper 1st position. However, after studying footage of excellent turners, he found that they all brought their arms closer to their body than is proper for a 1st position port de bras. When you think of how an ice skater spins, you will probably understand why. It was an example that illustrated that a dancer’s intuitive response to what physics requires is sometimes contradictory to what we are taught or think to be true.

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You may also be interested in…

Defining and Dissecting a Piqué Turn

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What are some other tips that you can offer or have been given to you?

What do you find most difficult about pirouettes?

En Dehors, Out the Door

Frequently misspelled and endlessly confused, let’s go over these important dance directions!

There are typically two situations for which en dehors and en dedans are used in ballet and throughout most theatrical dance training.

1. When indicating the direction of rotation in a pirouette, or turn.
2. When describing the circular pathway of the leg in movements such as rond de jambe à terre or en l’air.

A bird’s eye view helps to illustrate the sometimes puzzling concepts:

En dehors

In dance, this term means outward. When turning, as the figure on the right above is showing, this outward rotation is relative to the supporting (sometimes called standing) leg. The dancer is thought of as moving “outward” toward whichever leg is lifted in the turn or, in other words, “away” from the supporting leg. Either way, the concept can be confusing for a new dancer. Sometimes thinking too hard about the explanation can confuse things further.

Wrapping one’s head around the idea of pathway is somehow easier. In rond de jambe à terre (on the ground), for instance, you would consider the pathway of the toe as it creates a semi-circle on the floor which, in en dehors, would trace from the front of the body to the back. When “working” or gesturing with the right leg, the action moves clockwise. With the left, counterclockwise.

Going back to pirouettes, it helps to apply this concept of pathway to the lifted knee. For pirouette en dehors, when “working” or gesturing with the right leg, the knee traces a clockwise pattern. When the left leg is lifted, the rotation is counterclockwise.

En dedans

As in right versus left, if it isn’t en dehors then it must be en dedans. Simply reversing the concept above will explain en dedans, which means inward in ballet. The toe in rond de jambe would begin to the back (or behind the body) and travel in a circular pathway toward the front. This time, when the right leg is working the toe orbits counterclockwise. The left moves clockwise from 6 o’clock to 12. Similarly, pirouettes with the right leg lifted rotate counterclockwise and visa versa when the left leg is up.

A few things to keep in mind:

It may help you to think of the knee drawing a circle around the axis of your body in your pirouette en dedans. However, be careful! In a classical turn, do not think of the knee as leading the body around. The leg must remain fully turned-out regardless of the direction you are turning.

Yes, this same terminology applies to fouetté turns, piqué turns (the most common of which are en dedans – read more on piqué turns here), turns à la seconde, grand rond de jambe, and rond de jambe en l’air. I won’t go into their explanations this time. If the concepts of en dehors and en dedans are not yet cemented in your mind, it is likely you aren’t ready to try all of these more advanced movements anyway!

The title of the post is an oft-used memory device reminding the dancer that en dehors means outward. Have you or your teachers used other tactics to remember the difference between en dehors and en dedans? Share them in the comments below the post!

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Teaching Piqué Turns

A question was posed during a recent DanceStudioOwner teleseminar – When and how should piqué turns be taught? Given my recent Piqué Turn How-To, I thought I would expand into my process for teaching this turn. I am offering my own thoughts and method which are based on my experiences as a student and teacher and not on a particular ballet syllabus. In fact, much of this approach could be applied to jazz or other dance forms as well.

When and How

As this was the nature of the question, I believe, I am going to stick to explaining my methods for teaching piqué tour en dedans (or pirouette piquée).

My timeline for introducing and teaching both the elements of this movement and the movement itself:

Preschool-8yrs: Students add a passé in their ballet walk practice across the floor. With young ones, I sometimes refer to these as “flamingo walks.” At the preschool level, students practice these in parallel (stretching the knee and pointing the toe on each step). At age 6 students can practice these turned out and later I have them practice pas marché across the floor (with a small piqué onto demi-pointe but without plié on the descent). At this stage I encourage stepping onto a straight leg for pas marché, however I’ve found that not all students do this consistently and need lots of reminding as this requires a lot of control to do well.

6-8yrs old: Students enrolled in a Pre-Ballet class/Ballet class practice retiré facing the barre, then with one hand on the barre (on flat and later demi-pointe), then during centre practice (usually flat only). They also be practice pas marché (as mentioned above).

8-9yrs old: At around age 8 (maybe 7 for experienced dancers) I begin teaching piqué retiré facing the barre. I have students move sideways one at a time down the length of the barre so that they have the support of the barre while trying to find the right reach of the toe that will allow them to step onto a straight leg without lifting the working hip. Later, partially because piqué turns include a swivel of the hip which squares the hips toward the direction of travel (see my explanation of this in a former post), I have the students move their piqué retiré forward with one hand along the barre. In this exercise the hand that is on the barre is the same as the supporting leg, opposite the gesture leg. This allows students to practice the closing of the arm to 1st position (5th en avant – Cecchetti). Be sure that students are keeping the barre arm in front of their body as they move forward.

9-10yrs old: When most students in the class show understanding, control, and good placement while executing their piqué at the barre, I then move this practice to the centre. I encourage the students to try and find their balance on the leg each time, occasionally “surprising” them with a FREEZE! and challenging them to maintain this balance until I say GO! It is important during this stage to remind them to draw the foot down the leg as they descend and to utilize the same working-leg preparation as they would in the turn. (Note: Around this time, I also begin teaching piqué arabesque along the barre and across the floor.)

10 and up: When most students demonstrate good control, placement, and balance in piqué retiré without turning, I then add the turn. If the students have been solid in their practice and progression up to this point, generally this transition is relatively smooth. However, adding a turn is a big change and can “throw off” or “psych out” some students. In this case, be encouraging and remind them that all of the same principles apply, going back to the more simplified version if and whenever necessary.

When piqué tour en dedans has been mastered, I will begin to teach other versions of this turn including piqué tour en attitude, en dehors, and en arabesque (usually in that order).

Progression for older beginners

When working with students brand new to piqué turns (or those who perhaps need some re-training in this area), no matter their age, I begin their study just as I would my pre-ballet students: facing the barre, working on a proper retiré. Older students my be able to progress more quickly, but I follow the same progression, always looking for understanding and application of concepts from the majority of the class before moving on.

Perhaps in contradiction to myself, I want to add that there is something to be said for just giving something a whirl. What do I mean by that? It is OK to occasionally break from this seemingly strict progression and let students (at whatever age or skill level) try things once in a while, particularly in turning. This is because sometimes students’ instinct in turning can take over and actually be a useful tool in teaching or correcting the version without the turn! Also, taking too rigid a stance with your structure may bore students. It is important to find a balance and allow students to see how care and diligence in “the basics” improves and informs their execution of more advanced steps.

A Note on Using Imagery

I’ve found imagery to be an extremely useful tool for aiding understanding and performance of the technical aspects of dance. Some of the images I present to students regarding piqué turns can be found in my last post, but there are certainly others.

I hope you found this helpful. I welcome your thoughts on this progression of study and any other ideas you have on teaching piqué turn. Posting in the comments here opens discussion and allows others to see varying methods of instruction. My way, is certainly not the only way!

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 arabesque 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

• 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!