Ballet Vocabulary Chandler High School Mrs

Ballet Vocabulary Chandler High School Mrs. Buren and Mrs. South

FEET POSITIONS

1. Feet parallel first: Description: The feet are under the hip sockets and the toes are “pointing” straight ahead. The entire foot is in contact with the floor but the majority of the body weight is the balls of the feet.

Cautions: There are several movements that can occur while in the first parallel position. Always think about where the weight in the foot is, even when rolling over or doing a demi plie upside down.

2. Feet turned out first: Description: The feet are under the hip sockets and the toes are “pointing” out to the “corners”. The entire foot is in contact with the floor but the majority of the body weight is in the balls of the feet.

Cautions: Maintain turnout by activating the bottom and rotating the hip sockets outward. The goal of every dancer is to increase the amount of turnout. This should be achieved gradually as the dancer increases strength and flexibility. Work within your limits and do not try to turnout more than your body can do correctly. A common mistake is to turn the hip sockets 180 degrees while the knees are not aligned which results in pain and injury.

3. Feet second turned out: Description: This is the only position of the feet where the feet are not directly under the hip sockets. The feet are fairly far apart (slightly wider than hip width) and the toes are “pointing” to the “corners.” The entire foot is in the contact with the floor but the majority of the body weight is in the balls of the feet.

Cautions: Maintain turnout by activating the bottom and rotating the hip sockets outward. In the second position many dancers tend to stand too narrow or too wide. The feet are fairly far apart but you should still feel control over your center. When the position is too narrow it looks like first position turned out with the feet about three inches apart.

4. Feet third turned out: Description: The feet are under the hip sockets. The heel of the front foot is half way between the toes and the heel of the back foot. Wrap the thighs around each other but do not lock the knees.

Cautions: When closing into the third turned out position of the feet, remember to maintain turn out, slightly shift weight over both feet, and close into the correct placement of the feet each time.

1 5. 4th turned out

! 4th Position !4th Position !4th Position lining up the feet lining up the feet lining up the feet like 5th position like 3rd position like 1st position

(crossed 4th) (crossed 4th) (open 4th)

Description: 4th position is similar to that in 3rd position: The heel of the front foot is lined up with the arch of the back foot. The feet are separated about one foot length. This type of 4th is called quatrième position croisée (crossed fourth position) and is more commonly performed today lined up like a 5th position instead of 3rd. There is also quatrième position ouverte (open fourth position) where the feet are lined up like first position. Weight should be evenly distributed between both legs.

6. 5th turned out Description: The feet are under the sockets. The heel of the front foot is lined up with the big toe of the back foot, and vice versa. This position is very similar to 3rd except the legs are crossed further.

ARM POSITIONS

FOR ALL ARM POSITIONS: The arms should curve gently from shoulder to fingertip, eliminating the pointed look of the elbows. The hands should be held simply, the wrists neither stiff nor floppy, the fingers curved and only slightly separated, with the thumb and middle finger brought towards each other. In the positions to the front or side, the arms should have a gradual slope downward from the shoulders to the elbows, then to the wrists, and finally to the fingers. The arms should move freely from the shoulder sockets (not from the elbows), but the shoulders must remain in place. (Push shoulders down by pulling the scapula down and to the center of the back.) To keep the sense of curve when raising the arms, lead with the upper arm, not the hands; when lowering the arms, let the fingers lead, not the fingers lead, not the wrists or elbows. When a hand is over the head, it should be just within the line of vision of the performer when he looks straight forward.

7. Arms en bas (on bah) OR bras bas (brah bah): Description: The arms form a circle (while the scapula and shoulders pull downward) and the hands curve slightly and are in front of the thighs. This is the dancer’s “attention.”

Cautions: When in the en bas position, remember to keep the arms slightly curved with the elbows reaching away from the body.

8. En Haut (on oh): To the high position OR Fifth position arms Description: The arms form a circle above and slightly in front of the top of the head, with the hands only a few inches apart and the palms face each other.

Cautions: When in the en haut position, remember to pull the shoulders down through the back, keep arms curved, and slightly in front of the ears.

2 9. En Avant (on uh vahnt): To the front OR First position arms Description: The arms form a circle across from a sternum, with hands only a few inches apart and the palms face each other.

Cautions: When in the en avant position, remember to pull the shoulders down through the back, keep arms curved with hands slightly lower than the shoulders.

10. Arms in second Description: In second position of the arms, the elbows are lower than the shoulders, the wrists are lower than the elbows, and the hands are lower than the wrists. The arm is curved slightly to that it is forward of the body to maintain proper alignment.

Cautions: Remember to pull down through the scapula and shoulders so there is tension, which allows the arms to move with more strength. Keep the arms curved and slightly in front of the body, not straight out to the sides with arm level.

AT THE BARRE

11. Demi Plie (deh-mee-plee-AY): Half bend (Movement of the knees) Purpose: Almost every step in ballet-certainly every jumping movement involves a demi plie. It’s correct execution gives a springy quality to jumps and lightness to all dance movements. The demi plie increases the circulation of the blood in the legs and they have great warm up value. The demi plie requires even distribution of the weight of the body on both feet, thus making it easier to center the body and to master the turnout (outward rotation of the hip sockets) of the legs. Knowing how and when to demi plie is the cornerstone of ballet technique.

Description: Demi plies are done in all positions of the feet. During the demi plie the heels never leave the floor. The movements begin in the high, inner side of the thighs; the knees open in a direct line over the toes until the depth of the demi plie is reached (determined by the length of the achilles tendon connecting the calf muscle and the heel). Then the legs return to their original straight position.

!This picture shows a correct demi plie in first position turned out.

Cautions: Do not allow the feet to roll either inward or outward but rather maintain most of the body weight over the balls of the feet or the center of the foot. During a demi plie the knees are the only body part that moves (arms may move through positions). Alignment should remain vertical and the back remains straight and the torso remains over the pelvis.

12. Grand Plie (grahn plee-AY): Full bend Description: Your knees should bend until your thighs are horizontal. Keep pressing your knees back and out so you feel the stretch in your hips. Watch carefully that your toes remain on the floor even when your heels lift. As you lower your body, keep your body upright and push your heels into the floor even as they are forced off (unless in second position where your heels do NOT ever leave the floor). Your movement should be gradual and free from jerks. You should rise at the same speed you descended, again, pushing the heels into the floor.

3 Cautions: Do not let your seat stick out, sit into the hips or drop the ribs. Don’t try to improve your turn-out by pushing your heels further as you bend; keep your feet in exactly the same position you had when you started.

* Knees rolling forward * Body lowered * Feet rolling inward * Bottom/back not too far down * Knees forward in alignment * Knees forward * Bottom out of * Back bent alignment

! Grand plies in 1st position. The heels come off the floor similarly in 3rd, 4th and 5th position.

! Grand plies in 2nd position. This is the only position where the heels never leave the floor.

13. Eleve (el-eh-VAY): To rise without demi plie Purpose: Strength, suppleness, and control of the feet are developed by doing eleves. Then the thighs pull up in the eleve, the knee and the muscles of the legs are strengthened also. The eleve builds a strong, secure demi-point position, which is so important for balance, turns, and many steps of ballet.

Description: Eleves are done in all positions of the feet. The heels are lifted (the weight of the body going to the first and second toes) and then lowered back to their original position without a bend of the knees. Remember to push the shoulders down while the heels are pushing upward-to maintain balance.

4 Cautions: In all eleves on two feet, the body must be centered over both feet. The turnout of the legs must be maintained throughout the raising and lowering of the heels. The knees must be completely straight throughout the entire eleve.

14. Releve (reh-leh-vay): To rise with demi plie (See “eleve” above)

15. Tendue: (tahn-DOO) (This can also be spelled “tendu”) Stretched Purpose: The tendue strengthens the foot by alternating tension and relaxation as it is moved along the floor. It is basic to other steps in ballet and is the first exercise done at the barre with one leg. It helps with centering the body on the supporting leg.

Description: In a tendue the thigh initiates the movement of the leg while the foot pushes and slides against the floor (the toes never lose contact with the floor) until the heel has to be raised in order not to shift the weight off the supporting leg. As the foot begins to arch, first through the instep and then through the ball of the foot, the maximum stretch of the tendue is reached. To return to the starting position, first the ball of the foot relaxes and the instep until all tension is released and the heel is placed firmly on the floor. Then the thighs pull towards each other and the foot pushes and slides along the floor. Both legs remain straight during tendues.

Remember: a. In a tendue to the front, the heel In tendues to the front, lead with the leads out and the toes lead in. heel out to the point and do NOT sickle

b. In a tendue to !In tendues to the side, care must the side your be taken that the body does NOT twist toes point to and the working foot must go to your your “corner.” “corner” or the direction of the toes.

c. In a tendue to the back the toes lead out and the heels lead in.

5 In tendues to the back do not shorten the lower back or drop the head forward. The foot should point to the tip of the side of the big toe and the supporting leg should be pulling upward through the front of the pelvis.

Cautions: In all tendues, correct body alignment must be maintained at all times. The supporting leg must not roll inward or outward. The weight must not shift to the extended foot, thus putting pressure on the toes of the pointing foot. The legs must remain turned out from the hip sockets while the buttock is activated (keeping the pelvis [bellybutton light] centered). The extended foot must be directly opposite its starting position.

16. Degage: (day-gah-ZHAY) Disengaged (from the floor) Purpose: A degage develops speed in pointing the feet. It helps arches and ankles to become supple and prepares them for the quick movements in jumps. The rapid opening and closing of the leg is the foundation for allegro steps with beats. Description: The movements begins in the same was as a tendue, but the action continues so that the working foot leaves the floor a few inches (two or three) and well pointed, before sliding and pushing against the floor through the tendue position. The action can be described as a brush of the foot.

17. En Croix: In the shape of a cross (front, side, back, side) Description: Movement of the working leg performed consecutively to the front, side, back and side.

Tendues, degages, grand battements, and piques can be done en croix.

18. Grand battement (grahn baht-MAH): Large kick.

FRONT SIDE BACK

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Purpose: The forceful “throw” of the leg into the air limbers and stretches the legs (especially the back of the thighs). It helps to loosen the hip joint, while at the same time strengthening the control of the hip muscles. Properly done, the grand battement creates lightness in the legs necessary for steps of high elevations such as a leap. It also increases the height of the extension of the legs, which is valuable for developpes.

Description: The movement begins in the same way as the tendue but is continued upward through degage to hip height (higher or lower, depending upon the stretch and control of the body). Then the leg is lowered with control until the toes touch the floor and the foot closes as in tendue. Grand battements can be done to the front, side, or to the back.

Cautions: Follow all the basic rules of the tendue, being especially careful not to raise the hip of the working leg or allow the thighs to turn in. The movement is done by the working leg only. To achieve the desired lightness of the leg, its lift should be initiated by the brush of the foot along the floor, not by “pickup” of the thigh. The torso remains stationary except during the grand battement to the back. In that direction the weight is allowed to shift slightly forward, permitting the leg to lift more freely to the back and relieving possible tensions in the spine and shoulders. The shift must be very slight; the body must not rock back and forth or twist toward the lifted leg. After the left of the leg to the back, the body must return to its upright position as the foot closes.

THESE ARE INCORRECT

* Hip raised * Knees bent * Weight too forward * Working leg is * Supporting heel raised * Torso is too forward not turned out * Torso bent * Back leg bent

SUGGESTIONS: Practice grand battements at 45 degrees until proper placement and turnout can be maintained.

TENDUE leads to " DEGAGE leads to" GRAND BATTEMENT

19. Port de bras: Carriage of the arms

Description: A movement of series of movements made by passing the arm or arms through various positions.

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20. Retire (reh-ter-ay): Withdrawn Description: A position of the leg (so far in class we have done retire turned out) where the knee of the bent keg points to the same “corner” used in tendue, degage, and grand battement to the side (or second position). In retire both legs are well and equally turned out. Remember the activation of the buttocks. Only the toes, not the heel, of the bent leg makes contact with the supporting leg.

INCORRECT Cautions: In the retire position, remember to push shoulders down and pull upward through the front of the pelvis while maintaining proper alignment. Keep the weight of the body over the ball of the foot, not the heel. Rotate hip sockets outward and do not allow the hip of the bent leg to lift or the supporting leg to lose the turn out. Activate the buttocks equally to maintain balance and pull the knee of the bent leg to the corner.

Retire is a position used in developpes, pirouette turns, and pique turns.

21. Grand rond de jambe a terre: (grahn rohn day zhahmb ah TAIR) Circular movement of the leg with contact to the floor.

Purpose: In the rond de jambe a terre the muscles and ligaments of the hip socket are loosened to allow the leg to move freely in a circular motion without disturbing the immobility of the torso.

Descriptions: For rond de jambe a terre en dehors, slide the working foot forward from the given foot position (for example, first turned out) in the same way as a tendue to the front. Carry the toe in an arc along the ground through tendue second and continue the arc to the tendue back position. Then push the foot against the floor and bring it to first position in the same way as the closing of a tendue. (The direction of the entire exercise is reversed for a rond de jambe en de dedans.)

Cautions: The toes of the working foot must remain in contact with the floor during the entire exercise. The working foot must remain fully arched as it traces the arc of the semicircle, taking care not to shorten the arc near the tendue position. As the working foot passes through first position, it should relax but not roll. Both legs must remain turned out and the buttocks must stay activated while the pelvis remains centered and pulled up. Remember rond de jambe a terre is used to improve turn out. 8 22. En dehors (on-day-or): Outward Circular movement where a leg that starts at the front or the side moves towards the back. In a rond de jambe en dehors, starting from first position, the foot (either left or right) would first extend tendue front, move to tendue to the side, and then tendue back, and back in again to first position. In a pirouette en dehors, the body turns in the direction of the working leg (the leg raised in retire).

23. En dedans (on-day-dawn): Inward Circular movement where a leg that starts at the back or the side moves towards the front. In a rond de jambe en dedans, starting from first position, the foot first extends to tendue back, then moves to tendue to the side, and then tendue front, and back in again to first position. In a pirouette en dedans, the body turns in the opposite direction of the working leg (the leg raised in retire).

24. Coupe: (koo-PAY) To cut Description: The supporting leg is turned out and the working leg is also turned out, but bent at the knee. In coupe to the front, the pinkie toe of the bent leg touches the shin of the supporting leg.

Cautions: Both legs must be equally turned out and the pinkie toe of the bent leg must touch the shin of the supporting leg---a mistake is that the toes go too high.

25. Soussus: (soo-SEW) Under over Description: A position of the legs where the thighs wrap around each other in turned out eleve, third position of the feet. The weight of the body should be over the balls and the second toes of the feet. The heels should be pushed as high as possible with the shoulders and scapula pulling downward to create opposition and help with the balance. The buttocks should also be activated and the belly button “facing front”.

Cautions: Remember to keep the feet as close together as possible. Activate and stretch all of the body parts mentioned in the description above. If you do not have equal tension in all of those areas, balance is impossible to achieve.

26. Soutenu turn: (soo-teh-NEW) Stationary turn (one leg crosses over) Description: Cross the front leg over the back, (from third or fifth position) eleve, and turn toward the direction of the foot that crossed.

Cautions: Remember to eleve as high as possible and cross the thighs

27. Cambre (cam-bray): “arched.” Description: The body is bent from the waist and stretching backward or sideways with the head following the movement of the upper body and arms. Cambres can be done forward, backwards, or in a circle. It is executed starting with the arms but involves the entire upper body.

• Cambres to the back: o Don’t bend back from waist, letting the seat stick out in back o Don’t release your hips, causing them to push forward, o Turn your head toward the elbow so that your neck isn’t strained. • Cambres to the front o Don’t push back into the heels as you bend forward. o Don’t drop the arm; it stays over the head the entire time. • Cambres to the side: o Movement should come from the hips. o Don’t let the heels come off the floor. o Look the direction you’re stretching towards; don’t tilt the head in that direction. 9 28. Frappe (frah-pay): struck Description: To do a frappé, the dancer usually starts with the outside leg in a flexed, turned out position lifted off the floor with the heel placed slightly above the anklebone of the standing leg. The dancer then extends her leg and points her foot, towards the floor and out, causing the “strike” on the floor, and then bends the leg/flexes the foot while bringing the foot back to the standing leg’s anklebone. Note, the foot only “strikes” on the way out.

Purpose: Frappes help dancers use the floor in many quick steps like a petit jete.

29. Derriere: to the back Description: the position or direction for another step or term. For example, a tendue derrière would describe a tendue “to the back”

30. Devant: to the front Description: Devant is used along with a step, movement or placing of a limb in front of the body. When used with another step such as tendue devant, it is meant that the working foot is closed in front.

31. Roll up: from hanging over to standing Description: Stack one vertebrae at a time on top of the lower one. The head is the last piece to come up. Coming Center

32. Sautes: (soh-TAY) To jump Description: This description is given for a sauté in first position. Demi plie in first position, push directly upward into the air and land in demi plie as in the starting position.

Cautions: Look back at the descriptions and cautions for demi plies and apply them to the saute. Also remember to push as hard in the point of the feet to maintain height. Land (toe, ball, heel), and keep the arms in the position asked for. Each sauté is the prep for the following one. Momentum is your friend!

33. Changements: (shahnzh-mah) To change (the feet) Description: A changement is a jump from third (or fifth) position to third (or fifth) position with a change of feet in the air (to have the opposite foot in front). Use demi plie, push into the air, opening the legs slightly to first position, and land in the opposite third (or fifth) position.

10 Cautions: Look back at the description and cautions for sautes and demi plies and use them while performing changements.

34. Pas de bourree: (Pah-day-boo-ray) “beating steps” Description: Pas de bourree can be executed many ways. Most commonly it is 3 steps (back, side, front). It is a very common preparatory step for pirouettes and jumps with a tombé added before it, making it tombé pas de bourrée. In ballet class, pas de bourrée is most commonly done in center for pirouette, petite allegro and grande allegro combinations.

35. Failli (fi-YEE): To give way Description: From demi plie in fifth position, push both feet off the floor (as a sauté) then land on the front foot while turning your body ¼ in the direction of that leg. The back leg goes to the arabesque position. To land, bring the back leg through to the front and step on it. It is often done in conjunction with assemble.

Cautions: Keep both legs turned out (especially the leg that holds the weight when the back leg goes to the arabesque position).

36. Arabesque (air-uh-BESK) “in Arabic fashion”: A body balanced over one foot with the other leg fully extended behind. Description: As the leg is raised to the back the torso is allowed to lean slightly forward but the back must remain well arched, the muscles of the waist activated, and the weight of the body shifted well forward over the ball of the supporting foot. The lifted leg must be well turned out from the hip socket, which causes a slight rotation in the lower spine. There are different positions the arms can make in the arabesque position, but remember, the arms are to be extended, not curved, with the fingers extended and the palms facing the floor. At all times, the height of the arms must balance the height of the leg, enabling an unbroken line to be drawn from the fingers of the front hand to the toes of the extended foot.

Cautions: Remember where your pelvis or center is when performing the arabesque position and that the turn out comes from both hip sockets. The supporting leg should be long and pulled upward through the front of the pelvis with the weight of the foot over the ball of the foot. Keep he back leg turned out and reaching with a strong pointed foot. Be aware of the arm position with shoulders and scapula pulling downward and head lifted slightly.

37. Pique: (pee-KAY) To prick Description: Both legs are turned out and the working leg (toes) quickly touches the ground. This is executed by stepping directly on the point or demi-pointe of the working foot in any desired direction or position with the other foot raised in the air.

Cautions: Keep both hip sockets equally turned out. If the pique is done with the weight transferring to an opposite foot, make sure the supporting leg remains turned out and the back leg goes to the arabesque position.

38. Pique Turn (pee-KAY tern) Description: A tour piqué or piqué turn is a traveling turn executed by the leg stepping out onto an en pointe or demi-pointe foot. It becomes the supporting leg while the working leg moves from plié to retiré derrière. In fast piqué turns, petit retiré may be executed instead (i.e. working foot at cou- de-pied). Most commonly done en dedans, piqué turns en dehors are also referred to as lame ducks. 11

39. Glissade (glee-sod): To glide Description: It is a traveling, usually small, jump that is usually used to link other steps together. It can be considered an in-between step.

A dancer performs a glissade by plieing in fifth position, sliding (or gliding) one foot out into a degage side. The working leg reaches about 20 degree off the floor, the dancer pushes off the supporting foot and extends it to the side. For a moment, the dancer is in the air with both legs and feet fully stretched and pointed as if in a sauté in second position. The working leg then lands on the floor as the supporting leg (in the air already) quickly closes into fifth position.

Glissade is usually done with the back foot starting outwards first and not changing position as you land into fifth. Meaning, if the right leg started in the back and slid out to start, it will also end in the back. However, some schools teach that glissades change feet positions as they’ve landed. Both are considered correct.

Glissades can also be done to the front or back or on the diagonal. They are most commonly done on the diagonal in grand allegro to provide more power and rhythm for jumps. A glissade is very often performed just before a sauté chat, a cabriole and many other big jumps. In petit allegro, glissades are often in- between steps for assemblés and jetes.

40. Balance (bah-len-say): rocking step Description: a step where a dancer moves while alternating balance between their feet. The rhythm is usually in three counts (like a waltz) and has the motion of going “down, up, down” with their legs. Typically a dancer starts in a fifth or “b-plus” position (the front foot straight and back leg bent and crossed behind) and extends the back leg to a degagé to the side on the first “and” count, fondues and transfers weight onto that foot while crossing the other behind the ankle in coupé position, then piques on the back foot while slightly lifting the first, then fondues once again on the first foot.

41. Assemble (ah-sawm-blay): joined together (from one foot to two feet) Description: In a basic form, an assemblé is when one foot slides along the floor before brushing into the air. As the foot goes into the air, the dancer then jumps by pushing into and off the floor with the supporting leg and foot. The supporting leg now meets with the other leg in the air and “assembles” into a fifth position. The dancer then lands on the floor with a plié in fifth position. (PICTURE ON NEXT PAGE)

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42. Pas de chat (pah day shaw): catlike step Description: A dancer does a pas de chat by starting in fifth position with the right foot in back. The dancer pliés then jumps with the right leg going into a passé (also known as retiré) quickly followed by the left leg moving into passé. For a moment, the dancer is in the air with both legs in high passés (looking like a grande plié in fifth position but with pointed feet). The dancer then places their right foot on the floor first followed by the left back in front to fifth position. Pas de chat has variations including starting and ending from a fourth position.

43. Echappe (Ay-shu-pay): escaping movement (level opening of both feet from a closed to an open position) Description: A dancer does an échappé with their legs and feet. Starting in a closed position, usually fifth position with the feet, the dancer slides both feet out equally into either second or fourth position, then slides them back to the opposite fifth position.

44. Tombe: to fall (image 148 to the right) Description: a step in which a dancer falls from one leg to the other, landing with all the weight on the foot that has just moved, while flexing the knee.

45. Tour jete: turning leap Description: a movement in which the dancer leaps from one foot, makes a half turn in the air, and lands on the other foot.

46. Penche: (pon-CHAY) “tilted” Description: to lean or incline in an arabesque position so that the head is lower than the leg.

47. Promenade (Prah-meh-nod): “in a walk”…stationary turn Description: a dancer turns around on one leg with the standing leg's heel on the floor, while the other leg is in a position such as an arabesque or attitude derriere.

48. Pirouette (peer-oh-wet): stationary turn

13 Description: To do a pirouette, you must make a complete turn around yourself, while balancing on one leg. A pirouette may be performed en dehors (turning away from the supporting leg) or en dedans (turning toward the supporting leg). Pirouettes usually begin in fourth, fifth or second position.

49. Chasse (shaw-say): to chase Description: All variations are triple-step patterns of gliding character in a "step-together-step" pattern. A chasse can be performed in any direction.

50. Lunge: position- one leg straight

51. Chaine turn (shuh-nay tern): linked turn Description: a series of short, usually rapid, turns performed in a straight line

Purpose: Chaine turns is a basis for other turns and moves.

52. Sissonne (see-SAWN): a jump in which the dancer lands on one foot, with the other extended to the back, front, or side. Description: a jump from both feet onto one foot (with the exception of sissonne fermée, sissonne tombée and sissonne fondue, which finish on two feet). Sissonne may be performed petite or grande. The petites sissonnes are sissonne simple, sissonne fermée, sissonne ouverte at 45 degrees and sissonne tombée at 45 degrees. The grandes sissonnes are sissonne ouverte at 90 degrees, sissonne renversée and sissonne soubresaut.

53. Sur le cou-de-pied (ser-luh-coo-duh-pee-ay) “on the neck of the foot”

Description: The arched working foot is placed wrapped at the part of the leg between the base of the calf and the beginning of the ankle. On the accent devant Derriere Devant (front), the heel of the working foot is placed in front of the leg, while the toes point to the back, allowing the instep (cou-de-pied in French) of the working foot to hug the lower leg. On the accent derrière (back), the heel of the working leg is placed behind the leg with the toes pointing to the back. The action of alternating between devant and derrière is seen in a petit battement.

54. Transition: Links two movements together (Example: in the warm up, the movement between the standing and sitting movements was the transition).

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