FINIS JHUNG BALLET SERIES

The Finis Jhung Ballet Technique Level 3 Centerwork Exercise 2: Pas de bourrée dessus, dessous, tendu, fondu arabesque, pas de bourrée en avant Finis shows the exercise step by step and then it is demonstrated and coached with these Teaching Points: The French terms are defined in English. When you pas de bourrée push the floor so you are fully balanced on one foot and are able to reach and place the free foot as far as possible. This enlarges your movement. Reach the supporting arm in opposition to the movement of the free foot. Move forward leading with the toe and hips. Move both arms through a fully rounded 1st position and then rotate both arms outward as you plié in arabesque. Glenn Keenan of The New York City Ballet demonstrates, Finis corrects and coaches and Glenn repeats the exercise with noticeable difference.

The Finis Jhung Ballet Technique Level 3 Centerwork Exercise 1: Tendu plié, pas de bourrée dessous, passé en arrière, port de bras Finis shows the exercise step by step and then it is demonstrated and coached with these Teaching Points: The French terms are defined in English. Finis breaks down the exercise one step at a time. Keep your supporting shoulder placed outside the supporting toe. Press the supporting arm down as you did while working at the barre. Push down in order to come up from the plié. Each step of the pas de bourrée is a piqué balance on one foot—as at the barre, you're always on one leg. Work into the demi-plié slowly so you control the placement of the hips. Roll up through your spine so you stretch your back muscles.

The Finis Jhung Ballet Technique Level 3 Centerwork Exercise 1: Tendu plié, pas de bourrée dessous, passé en arrière, port de bras Finis shows the exercise step by step and then it is demonstrated and coached with these Teaching Points: The French terms are defined in English. Finis breaks down the exercise one step at a time. Keep your supporting shoulder placed outside the supporting toe. Press the supporting arm down as you did while working at the barre. Push down in order to come up from the plié. Each step of the pas de bourrée is a piqué balance on one foot—as at the barre, you're always on one leg. Work into the demi-plié slowly so you control the placement of the hips. Roll up through your spine so you stretch your back muscles.

The Finis Jhung Ballet Technique Level 3 Barrework Exercise 9: Footwork, stretches, balance, 1st position Finis shows the exercise and then it is demonstrated and coached with these Teaching Points: This exercise gets you on your leg and then stretches your entire body you so you'll be ready for rond de jambes, developpés, and grands battements. At the barre in front of the mirror, Finis shows you how to stay on your leg as you make the free foot stronger and more flexible with pushes, pas de chevals, and quick dégagés. Next, you get off your leg and slide down to the floor with the free leg in second so you stretch the hips and hamstrings (preparing for rond de jambe en l'air and developpé); from there, you then turn into a lunge with the free knee on the floor which stretches the psoas muscle (for the arabesque). After you've worked both sides, you then relax and stretch the body with a circular port de bras in both directions. You complete the exercise balancing on half-toe while spotting the head. Glenn Keenan of The New York City Ballet demonstrates.

The Finis Jhung Ballet Technique Level 3 Barrework Exercise 9: Footwork, stretches, balance, 1st position Finis shows the exercise and then it is demonstrated and coached with these Teaching Points: This exercise gets you on your leg and then stretches your entire body you so you'll be ready for rond de jambes, developpés, and grands battements. At the barre in front of the mirror, Finis shows you how to stay on your leg as you make the free foot stronger and more flexible with pushes, pas de chevals, and quick dégagés. Next, you get off your leg and slide down to the floor with the free leg in second so you stretch the hips and hamstrings (preparing for rond de jambe en l'air and developpé); from there, you then turn into a lunge with the free knee on the floor which stretches the psoas muscle (for the arabesque). After you've worked both sides, you then relax and stretch the body with a circular port de bras in both directions. You complete the exercise balancing on half-toe while spotting the head. Glenn Keenan of The New York City Ballet demonstrates.

The Finis Jhung Ballet Technique Level 3 Barrework Exercise 6: Slow battement tendu, demi rond de jambe, head circles, balance Finis show the exercise and then it is demonstrated and coached with these Teaching Points: At a barre in front of the mirror, Finis shows you how to execute a demi-plié coming up with pointe tendu into a quarter-circle (demi rond de jambe) accompanied by a port de bras. After doing this en croix (front, side, back, side) you face the barre in a relaxed demi-plié, and circle your head so you stretch the neck. You complete the exercise balancing on one foot on half-toe. When you're on half-toe, if you're not perfectly turned out, Finis encourages you to adjust the rotation of the standing leg until you find a secure balance. Finis also reminds you to reach back and press down on the barre so you are always correctly placed on the supporting leg. When you repeat the exercise, you will look away from the mirror and follow the port de bras. Glenn Keenan of The New York City Ballet demonstrates as Finis stands by and coaches.

The Finis Jhung Ballet Technique Level 3 Barrework Exercise 6: Slow battement tendu, demi rond de jambe, head circles, balance Finis show the exercise and then it is demonstrated and coached with these Teaching Points: At a barre in front of the mirror, Finis shows you how to execute a demi-plié coming up with pointe tendu into a quarter-circle (demi rond de jambe) accompanied by a port de bras. After doing this en croix (front, side, back, side) you face the barre in a relaxed demi-plié, and circle your head so you stretch the neck. You complete the exercise balancing on one foot on half-toe. When you're on half-toe, if you're not perfectly turned out, Finis encourages you to adjust the rotation of the standing leg until you find a secure balance. Finis also reminds you to reach back and press down on the barre so you are always correctly placed on the supporting leg. When you repeat the exercise, you will look away from the mirror and follow the port de bras. Glenn Keenan of The New York City Ballet demonstrates as Finis stands by and coaches.

The Finis Jhung Ballet Technique Level 2 Centerwork for Advanced Beginners Exercise 2: Battement dégagé à la seconde, fondu, tombé arabesque, sous-sus Finis breaks down the execise step by step and then it is demonstrated and coached with these Teaching Points: This exercise is very important as you will be asked to tombé into an arabesque repeatedly throughout your ballet dancing. You begin with a demi-plié coming up to a battement dégagé à la seconde into a fondu. You will need to stay on the same leg with the supporting shoulder properly aligned so you can make another fondu with a developpé to fourth front. Remember to keep your ears up and back over your shoulders so you don't fall as you tombé forward into an arabesque fondu. Work with correct alignment—learn where you need to place your tombé foot so you can step out on it with surety. Use the muscles in and around your pelvis as you push down and relevé to 5th on half-toe. Kelley Waddell of The American Ballet Theatre demonstrates.

The Finis Jhung Ballet Technique Level 2 Centerwork for Advanced Beginners Exercise 2: Battement dégagé à la seconde, fondu, tombé arabesque, sous-sus Finis breaks down the execise step by step and then it is demonstrated and coached with these Teaching Points: This exercise is very important as you will be asked to tombé into an arabesque repeatedly throughout your ballet dancing. You begin with a demi-plié coming up to a battement dégagé à la seconde into a fondu. You will need to stay on the same leg with the supporting shoulder properly aligned so you can make another fondu with a developpé to fourth front. Remember to keep your ears up and back over your shoulders so you don't fall as you tombé forward into an arabesque fondu. Work with correct alignment—learn where you need to place your tombé foot so you can step out on it with surety. Use the muscles in and around your pelvis as you push down and relevé to 5th on half-toe. Kelley Waddell of The American Ballet Theatre demonstrates.

The Finis Jhung Ballet Technique Level 2 Centerwork for Advanced Beginners Exercise 1: Battement dégagé à la seconde, fondu, pas de bourrée dessous Finis shows the exercise and then it is demonstrated and coached with these Teaching Points: There is a proper sequence of movement through your body – learn the priority of movement. Before you can slide your foot to the dégagé side, first you must make sure you are standing completely balanced on the other foot. Learn to use your supporting shoulder and arm to help you stay on your leg. As you travel sideways with the pas de bourrée, know that each step is a piqué—you stand on one foot at a time with perfect balance. Learn to move your arms with resistance so your movements are meaningful. Kelley Waddell of The American Ballet Theatre demonstrates.

The Finis Jhung Ballet Technique Level 2 Centerwork for Advanced Beginners Exercise 1: Battement dégagé à la seconde, fondu, pas de bourrée dessous Finis shows the exercise and then it is demonstrated and coached with these Teaching Points: There is a proper sequence of movement through your body – learn the priority of movement. Before you can slide your foot to the dégagé side, first you must make sure you are standing completely balanced on the other foot. Learn to use your supporting shoulder and arm to help you stay on your leg. As you travel sideways with the pas de bourrée, know that each step is a piqué—you stand on one foot at a time with perfect balance. Learn to move your arms with resistance so your movements are meaningful. Kelley Waddell of The American Ballet Theatre demonstrates.

The Finis Jhung Ballet Technique Level 2 Barrework for Advanced Beginners Exercise 4: Battement tendu devant & derrière, 1st position Finis shows the exercise and then it is demonstrated and coached with these Teaching Points: Work at the barre in front of the mirror so you can see that you correctly align and maintain your supporting side from the shoulder to the toe by reaching back and pressing down on the barre. After you work the tendus, stretch your entire body bending backwards in a lunge and forward in a révérence. When you repeat the exercise, do it without the barre. Send energy in all directions equally so you balance. Make sure you don't sit back on your heel so you are always ready to move. Watch that you don't let the movement of the free leg pull you off your standing leg. Constantly check the shape of your arms. Kelley Waddell of The American Ballet Theatre demonstrates beautifully while Finis coaches.

The Finis Jhung Ballet Technique Level 2 Barrework for Advanced Beginners Exercise 4: Battement tendu devant & derrière, 1st position Finis shows the exercise and then it is demonstrated and coached with these Teaching Points: Work at the barre in front of the mirror so you can see that you correctly align and maintain your supporting side from the shoulder to the toe by reaching back and pressing down on the barre. After you work the tendus, stretch your entire body bending backwards in a lunge and forward in a révérence. When you repeat the exercise, do it without the barre. Send energy in all directions equally so you balance. Make sure you don't sit back on your heel so you are always ready to move. Watch that you don't let the movement of the free leg pull you off your standing leg. Constantly check the shape of your arms. Kelley Waddell of The American Ballet Theatre demonstrates beautifully while Finis coaches.

The Finis Jhung Ballet Technique Level 2 Barrework for Advanced Beginners Exercise 3: Battement tendu à la seconde Finis shows the exercise and then it is demonstrated and coached with these Teaching Points: Always practice on a barre in front of the mirror. Learn to see what you feel and feel what you see so you work for maximum effectiveness. Before you move the free foot to battement tendu, shift your weight to the supporting foot. Keep your body squared to the barre: shoulders and hips parallel with the barre. Keep both arms stretched out in 2nd position, and press down firmly on the barre with both hands. Align the tendu correctly: slide your foot where your toes point from 1st position. Work the tendu: push the floor away and pull it you as you close. To strengthen your turn-out and balance, practice off the barre. Remember that dancing is movement, not static positioning. HOW do you get to the position? Use the port de bras to balance. Kelley Waddell of The American Ballet Theatre demonstrates while Finis stands by and coaches.

The Finis Jhung Ballet Technique Level 2 Barrework for Advanced Beginners Exercise 3: Battement tendu à la seconde Finis shows the exercise and then it is demonstrated and coached with these Teaching Points: Always practice on a barre in front of the mirror. Learn to see what you feel and feel what you see so you work for maximum effectiveness. Before you move the free foot to battement tendu, shift your weight to the supporting foot. Keep your body squared to the barre: shoulders and hips parallel with the barre. Keep both arms stretched out in 2nd position, and press down firmly on the barre with both hands. Align the tendu correctly: slide your foot where your toes point from 1st position. Work the tendu: push the floor away and pull it you as you close. To strengthen your turn-out and balance, practice off the barre. Remember that dancing is movement, not static positioning. HOW do you get to the position? Use the port de bras to balance. Kelley Waddell of The American Ballet Theatre demonstrates while Finis stands by and coaches.