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Rond De Jambe Rond a L I G N M E N T L’AIR EN Introduction: Owning Your Power TOUR TOUR “As dancers, we’re constantly pushing ourselves to be perfect. It’s great to be able to push yourself and aim for something, but also know that you will never achieve perfection.” isty Copeland made headlines in 2015, when she was promoted to principal Mdancer at American Ballet Theatre, the first African American woman to be named to that position at what is arguably the country’s most prestigious ballet company. She had struggled for years—both personally and professionally—to be recognized as someone who has a voice. And, now, she had finally arrived. Since that moment, Misty has been in the spotlight more than ever. Not only has she performed lead roles in classical ballets around the world, but she has danced in a Disney feature film, launched a signature apparel line with Under Armour, appeared as the face of an Estée Lauder fragrance campaign, posed for this year’s Pirelli calendar, and been the subject of countless newspaper and magazine articles. But she has never lost sight of her true passion—ballet—and how much she enjoys telling stories through movement. Misty grew up in an unstable, broken family in San Pedro, California, and started taking ballet lessons when she was 13—far later than most girls, who often begin training as young as two. Her ballet teacher at the time immediately recognized Misty’s talent. Within just a few years, Misty had won the distinguished performing arts Spotlight Award from the Music Center in Los Angeles, danced in Debbie Allen’s Chocolate Nutcracker at UCLA’s Royce Hall, MEET YOUR FELLOW COPELAND MISTY DANCE ENTHUSIASTS and was accepted into the Summer Intensive program for American Head to community.masterclass. Ballet Theatre. com to meet Misty’s other students, share your own Misty’s life may sound like the fanciful storybook ballets she’s performed, training tips, and ask questions but she does not think of it that way. Now 37, she continues to work hard about all things ballet. to improve her ballet technique, to grow artistically, to speak publicly about racial diversity in her field, and to mentor other African American dancers and give back to her community. 2 She has turned the negative comments she’s received during her career into “fuel” to propel her forward, with greater determination, to succeed in the world of classical ballet. A dancer’s body is always changing, she says. “We’re constantly starting over again. Every time you dance, that’s just another chance to be reborn. And so, I think, just own your power and your voice.” Welcome to Misty Copeland’s MasterClass. MISTY’S ABT MILESTONES 1 9 9 9 – 2 0 0 0 Participated in the Summer Intensive Program SEPTEMBER 2 0 0 0 Joined ABT Studio Company MISTY COPELAND MISTY APRIL 2 0 0 1 AUGUST 2 0 0 7 Joined the corps de ballet Promoted to soloist AUGUST 2 0 1 5 Promoted to principal dancer 3 BALLET TERMINOLOGY For pronunciations of the French ballet terms, see American Ballet Theatre’s online dictionary. À LA SECONDE ÉCARTÉ PIQUÉ EN ARABESQUE “To the second.” The placement of the foot A position in which the dancer faces one A movement in which the right foot is in in second position or moving one’s body of the two front corners of the room. The front in fifth position, then the dancer demi- to second position in the air, as in plié à leg nearer the audience is pointed in the pliés and dégagés the right leg to step onto la seconde or grand battement à la second position or raised to the second the point of the right foot, extending the left seconde. position in the air. The arm on the same leg in arabesque. side as the extended leg is raised, with the ARABESQUE head turned up toward it and looking into PIQUÉ TURN A pose in which the dancer is supported on the palm of the hand, while the other arm is A pirouette where the dancer steps onto one leg, either straight or demi-plié, while in demi-seconde position. pointe or demi-pointe and raises the other the other leg is extended straight behind leg in any position. Also known as piqué and at a right angle. The shoulders are EN SECONDE tour. square and the arms are held in various “In second.” A movement in the second positions to create a long line from position PIROUETTE fingertips to toes. A complete turn of the body on one foot, FOUETTÉ either turning inward or outward, with the ATTITUDE A whipping movement. It can refer to one body centered over the supporting leg, the A pose in which the dancer stands straight foot whipping in front of or behind the other arms propelling the turn but remaining on one leg, with the other leg lifted in back foot, or when the body whips around from stationary during the turn, and the eyes or front and bent at 90 degrees. The arm one direction to another. “spotting” a fixed point while the head on the side of the raised leg is curved over quickly turns. the head, and the other arm is held to the GRAND BATTEMENT side. Lifting one leg in the air from the hip, with PLIÉ the knee straight and the standing leg Bending the knees in either a grand plié BATTU straight, and bringing the working leg down (full bending of the knees) or a demi-plié A step in which one foot is beaten against again without bending the knee. (half bending of the knees), with the legs the other foot or leg. turned out from the hips and the knees GRAND JETÉ open and over the toes. CABRIOLE DEVANT A high jump in which the legs are extended A movement in which the dancer’s legs to 90 degrees. It is preceded by a prelimi- PORT DE BRAS beat in front of the body in the air, then the nary movement, like a glissade (a gliding The passage of the arms from one position legs change and beat again, and again, step). to another. before the dancer lands on the leg he or she jumped from, leaving the other one PAS DE DEUX RELEVÉ extended in the air. Also known as pistolet A dance for two in classical ballet. A movement in which the dancer rises up to pointe or demi-pointe, on one foot or both DÉGAGÉ PASSÉ feet. Each ballet method/school of thought Pointing the foot in any direction with a fully A passing movement, in which one foot uses a different technique to bring the arched instep while the dancer’s weight passes in back or in front of the knee of the dancer to this raised position. remains on the straight supporting leg. supporting leg or one leg passes the other in the air. RENVERSÉ DÉVELOPPÉ The bending of the body during a turn, Moving one leg up to the knee of the PENCHÉ / PENCHÉE such as a pirouette, which shifts the standing leg and slowly extending it in the Leaning or inclining, as in arabesque dancer’s normal balance but not his or her air, holding the position as the hips are penchée, in which the dancer’s body leans equilibrium. The body bends from the waist, kept square according to the direction the far forward, with the forward arm and head sideways and backward, with the head dancer is facing. low and the foot of the raised leg behind following the movement of the body. high in the air. MISTY COPELAND 4 ROND DE JAMBE TEMPS LIÉ TENDU A circular movement of the leg, either “Connected movement.” A combination “Stretched,” as in battement tendu. One clockwise or counterclockwise and with the of steps and arm placement based on foot slides across the floor with the toes not working leg either in the air or with a foot the fourth, fifth, and second positions. It lifting from the floor, both legs are straight, touching the floor. prepares the dancer to maintain balance and then the extended leg returns to the and control while shifting his or her weight position from which it was extended. SISSONE from one position to another. Jumping from both feet onto one foot, VARIATION except for sissone fermée, sissone tombée, A solo in classical ballet. and sissone fondue, which land on both feet. POSITIONS BALLET ’ S RANKS 1 . FIRST 1 . PRINCIPAL DANCERS The heels are kept together, and the feet are turned outward in a Those who perform the leading roles, including pas de deuxs. straight line. These are the stars of the company. 2 . SECOND The feet are separated by a distance of one foot, and they are turned 2 . SOLOISTS outward in a straight line. Dancers who are promoted from the corps de ballet and given more complicated roles, performing solos on stage and venturing into 3 . THIRD partnering work. The feet are turned outward, and the heels are placed together, one in front of the other. 3 . CORPS DE BALLET Members of the company who perform on stage together as a 4 . FOURTH group. This is the level at which dancers enter the company as The feet are separated by a distance of one foot, and they are turned professionals. outward with one foot in front of the other, parallel to each other, so that if you drew a line from the heel of one foot to the toe of the other, 4 . APPRENTICES they would form the sides of a square.
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