Pirouettes - delving into the mechanics and mystery

[Sheila Beelam]

Wonderful Anjuli, thank you!

I'm still struggling with my fouettes and find I am missing the extension to 2nd as I releve. Eg my right leg goes front (on pliéing with left) then it wavers about mid air at about 1 o'clock, as I releve with left and bring right in to passé and turn. Needless to say everything collapses and as I return to front the right leg fails even more dramatically to get to 2nd. Help!!

 

My turnout is fairly strong and I can hold it at 90 in second in developpe/grand ronde jambe etc in centre, so not sure where to start??

[Anjuli_Bai]

Wonderful Anjuli, thank you!

I'm still struggling with my fouettes and find I am missing the extension to 2nd as I releve. Eg my right leg goes front (on pliéing with left) then it wavers about mid air at about 1 o'clock, as I releve with left and bring right in to passé and turn. Needless to say everything collapses and as I return to front the right leg fails even more dramatically to get to 2nd. Help!!

 

My turnout is fairly strong and I can hold it at 90 in second in developpe/grand ronde jambe etc in centre, so not sure where to start??

 

 

I would say start with a lower leg both as it extends to the front and as it moves to the side.

 

When your right leg is extended to the front, your right arm is also to the front.  Your left arm is in second.

 

 As the right leg moves to second so does the right arm.  The arm and leg must move together. Then as the right leg comes into retiré, both arms come into fifth devant..  I repeat - the right arm and right leg move togetther.  Arm and leg, arm and leg.  This will insure that your leading shoulder is open and when the left arm comes into meet the right arm in fiftth devant it insures that the left shoulder is not being left behind.

 

The rise to demi-pointe takes place at the same time as the right leg moves into second position.  Remember to spot.  Everything must happen together - if it doesn't you will loose the impetus for the turn.

 

As usual, when problems arise go back to the very beginning of your preparation.  You are on your left leg, in fondu, right leg extended in front of you, left arm in second, right arm in front - but....wait.....

 

What is your back doing?  Has it sagged?  Are you sitting in that left hip?  If at any time the back muscles are allowed to relax - the turn is dead.

[Anjuli_Bai]

Pirouettes and Hormones, and other physical changes....

 

Pirouettes are a precisely balanced phenomenon and can be skewed if the body's delicate chemical balance experiences a change.  This change can be the result of illness (either present or oncoming), tiredness, as well as monthly hormonal changes experienced by female dancers.

 

One of the first things I would do upon taking up my position at the barre for daily class as a part of my pre-class warm-up, was to try to ascertain where my body was "on balance" that particular day and the most succinct and accurate "test" was to do a pirouette - just a single pirouette - first thing.  If I experienced a definite problem with the balance in a single slow pirouette, it was an excellent indicator that something had changed in my body.  Sometimes it heralded the onset of a cold that had as yet caused no other symptom.  Over the years, I learned to trust this pirouette test.

 

However, a check of the calendar was in order, too.  I naturally prefer to turn to the left (though I am right handed).  Therefore, if I found that my pirouette to the left was not smooth, or totally "off," and suddenly turning to the right felt comfortable, this was a sign that the calendar date was of significance rather than the onset of a cold.  This information is very individual, I know, but if you observe this pirouette "test" consistently, it might become an accurate indicator for you, too.

 

I found that the calendar profoundly affected my balance in other areas of dance, too.  A day or two "before" I would be so "on balance" that it seemed I could stay up on pointe in arabesque forever and literally had to pull myself off to get on with the rest of the dance.  Then there would be that sudden switch from being more comfortable to the right than my usual comfort going left - that would last for a day or two.  Then everything would settle down - back to my usual balance of preference for the left in turns.  And, my overall balance would settle to its usual ability (I was fortunate to have good balance generally).  All of this could be plotted on the calendar.

 

The advantage to having this knowledge is that it gives you a clue as to what is happening to your body.  It keeps you from wondering: "Why are my pirouettes all messed up?"   It takes care of "panic" over pirouettes - needless frustration and the self flagellation that dancers all too often inflict upon themselves.

 

If the "problem" is the calendar, there is not much you can do to alleviate that, but it does help to know that it is an explainable situation that will in a couple of days straighten out.  If it's a cold coming on, well, that too gives you the opportunity to calibrate your expenditure of energy and care.  Forewarned is forearmed.  Cuts down on mental anxiety  - which is a good thing!

[mimi66]

I think stress changes one's balance as well. 

 

My pirouettes are awful when I am stressed at work/home...which actually stresses me even more!

[Sheila Beelam]

That's strange, when I'm stessed in my life outside of ballet, I seem to do my best turns - maybe because im more focussed in class as I need ballet more to switch off from "life"?

Edited January 29, 2014 by Sheila Beelam

[mimi66]

I find that when I am stressed, my body tenses up a lot. without realising... thus my balance gets messed up.

 

Normally piruettes (and any turns, travelling or otherwise) are my favourite part of the class.  I always loved turning since very young.

[Dancer Sugar Plum]

I find that when I am stressed or anxious, then the first thing to 'go' are priouettes. I could be anxious about the pirouette itself and that would make me 'off'. Or if I 'brought' work with me into class and part of my head is still at work - that's not good for my pirouettes (or general class) either.

 

However, I'm interested in the 'calander' affecting pirouettes. I find it affects me in that I 'put on' weight for that duration (water retention) so that it affects my pirouettes, balances and pointe work. It's only about 2 pounds at the most but it makes such a difference. It makes me wonder how other female dancers - including the professionals - deal with this normal problem?

Edited January 30, 2014 by Dancer Sugar Plum

[Anjuli_Bai]

I would think that each professional dancer deals with it in her own way.  Perhaps a planned triple pirouette becomes a double.  Perhpas, when possible, other changes to choreography.  A dancer who is able to control her schedule might be able to take this into consideration and lighten her work plans.

 

As I recall reading some years ago, the Russian ballet companies gave the dancer a break in scheduling work - I don't know if this is still true.  We have reached the point where we are taught to ignore this and carry on with a full work load.  But, the body is under stress - even pain - and I think it should be given consideration.

 

In any case, it is instructive to know what is happening and the "fault" is not that we suddenly have difficulty in executing a pirouette - but that a normal physical change has occurred and we need to accomodate to that change.

 

And, then, there is the mental/emotive reaction resulting from the hormonal shift.  It causes us to view things differently.  Though we don't like to think (and often deny) that we are in thrall to our hormones - we are - to whatever extent.  This, by the way, is not limited to females.  Men are affected by hormones, too.  

Edited January 30, 2014 by Anjuli_Bai

[Ellie]

When I was at ballet school in the '80's rumour had it that the Vaganova girls were given the option to just do the barre in class when they were at that time of the month. I have no idea if it was true (I'd be surprised if it were) but as students we'd all have a good moan (to eachother) that if it was good enough for the Vaganova girls, we should be allowed to as well !!!

[Anjuli_Bai]

Pirouettes - it's psychological

 

For some reason pirouettes often present difficulties that are just as much mental outlook as physical control.  Many of us start at minus zero when it comes to learning this very beautiful and useful ballet movement.  If the teacher says: "Today we are going to work on pirouettes" all too often our initial, almost automatic, internal response is "Oh no!"

 

If that's the case you aren't starting from a level playing field.  You've just placed yourself below the zero.  You now have to psychologically climb up to zero - and hope to end up on the plus side.  A positive attitude will start you off on the positive side of zero.

 

If your mental response is: "Okay - it's time to work on pirouettes" - then you are at least giving yourself the benefit of starting from a level playing field.  That in itself is a good part of the battle.  Don't lose the battle before the trumpet blows.

 

To test this theory out with  new classes of adults and new classes of children, I decided that when I introduced pirouettes I would tell the class: "Today we are going to start learning about pirouettes - they are one of the most fun ballet steps to do. Everybody loves pirouettes."  

 

These beginners had no prejudice against pirouettes, no prior knowledge that pirouettes were difficult or scary or any such negative feelings.  They accepted my word. 

 

Both these classes ended up being quite terrific at pirouettes.  It was a graphic illustration that the mind and its perceptions do indeed govern the body. 

 

Another instance....I had a teenage student who really feared doing turns going to the left.  However, in one recital she was part of a group going down the diagonal doing very fast turns to the left.  As she was about to take her place and begin she was standing next to me in the wings and she was almost in tears about the upcoming left handed turns.  I said to her:  "Suzy (that actually is her name) this is a breeze for you because it's your "good" side."  In the heat of the moment and the general nervous excitement of performance, she took me at my word, assumed I was correct, and did the best left handed turns she had ever done. 

 

We had a good laugh about it afterwards.  It also taught all of us a lesson how the mind can hurt our performance - but also how it can help.

 

 Likewise, one time I had a performance and was coming down with a flu/virus/cold. By the time I got to the stage that night I was running a temperature of several degrees and my mind was shutting down. But, the body still carried on and without the interference of all those pesky mental doubts, I did a triple attitude turn on pointe - something I never quite was able to do again. (And, no, I would never allow my students to dance while ill). That incident showed me how great a part our mental view - psychology - plays in how we set ourselves up for success or failure.

 

 

Turning is a very natural process.  Observe small children in a play yard - they often turn in circles.  As we get older we simply accumulate more "baggage" as to what we like and what we don't like, while at the same time increasing our expectations of what we want to accomplish.

 

Think of pirouettes as a process of baking a cake.  You learn the recipe.  You learn to line up the ingredients.  You learn how to put the ingredients together.  If nothing has changed in the body (cake) like illness, hormones, etc., the recipe will almost (nothing  works all the time) always cook up.

 

The recipe:

 

One correctly placed preparation.

 

One smooth push-off.

 

The correct amount of energy.

 

One strong supporting leg.

 

One strong spot.

 

Two arms where they are supposed to be.

 

One body correctly aligned.  

 

One supporting heel coming down to stop the turn.

 

You end up with:

 

One smile at a well done pirouette.

 

Remember, when you are practicing pirouettes the first few are usually good, the next few are probably your best, but then it begins to go downhill.  If possible stop the practice while the pirouettes are good so both your body and mind remember the positive feeling.  More practice is not necessarily better practice.

[Belljul]

Loving your articles Anjuli. I sat and read out bits to my two youngest children at the weekend (13 and 10) both who struggle a bit with their pirouettes and they practiced in the kitchen. They really made good progress and today my 10 year old came out of ballet class and said she tried what we had talked about and her turns were much better! Many thanks for teaching children far far away in Scotland! xx

[Anjuli_Bai]

Loving your articles Anjuli. I sat and read out bits to my two youngest children at the weekend (13 and 10) both who struggle a bit with their pirouettes and they practiced in the kitchen. They really made good progress and today my 10 year old came out of ballet class and said she tried what we had talked about and her turns were much better! Many thanks for teaching children far far away in Scotland! xx

 

Thank you very much for telling me - it makes me smile.

[Dancer Sugar Plum]

I too have found your articles and advice very helpful, Anjuli. We are very lucky to have your help on this forum.

 

I can see (and feel) how psychology can affect pirouettes. It seems to be magnified for pirouettes en pointe for me, and I wonder whether this is a psychological ‘issue’. When I feel okay about the idea of pirouetting en pointe, the odds are good that I can work on my turns that day.

 

However, for whatever reason, if I feel nervous/anxious about doing pirouettes en pointe, then that ruins any meaningful work I can do that day. The fear seems to stop me doing the pirouette. I find this can hold me back and can stop me doing even just a half turn sometimes. Apart from trying to work through the fear – if/when it comes – I don’t suppose there is anything else I could do?

 

I just don’t like the thought of ‘wasting’ time in class because of fear! So any further advice you might have would be much appreciated.

Edited February 4, 2014 by Dancer Sugar Plum

[Anjuli_Bai]

I too have found your articles and advice very helpful, Anjuli. We are very lucky to have your help on this forum.

 

I can see (and feel) how psychology can affect pirouettes. It seems to be magnified for pirouettes en pointe for me, and I wonder whether this is a psychological ‘issue’. When I feel okay about the idea of pirouetting en pointe, the odds are good that I can work on my turns that day.

 

However, for whatever reason, if I feel nervous/anxious about doing pirouettes en pointe, then that ruins any meaningful work I can do that day. The fear seems to stop me doing the pirouette. I find this can hold me back and can stop me doing even just a half turn sometimes. Apart from trying to work through the fear – if/when it comes – I don’t suppose there is anything else I could do?

 

I just don’t like the thought of ‘wasting’ time in class because of fear! So any further advice you might have would be much appreciated.

 

You can approach this problem logically.  Ask yourself "how much higher off the ground am I on pointe as opposed to demi-pointe?"   The answer, of course, is about 1-2 inches.  That's a trifle.  The next question:  how many times have you or people you've observed truly fall down while doing a pirouette?  Probably - almost never.

 

So - the reality is in your favor.

 

You can also approach this problem pragmaticaly.  Do your tendu preparation for pirouette, rise to retiré -don't turn - stay in balance on pointe for a moment, control the descent  through your supporting foot and close to 5th or 4th.  Now do quarter turns.  

 

When in trouble always go back to the basics and build your confidence.

[Terpsichore]

Pirouettes - it's psychological

 

For some reason pirouettes often present difficulties that are just as much mental outlook as physical control.  Many of us start at minus zero when it comes to learning this very beautiful and useful ballet movement.  If the teacher says: "Today we are going to work on pirouettes" all too often our initial, almost automatic, internal response is "Oh no!"

 

Oh that was certainly true of me. I have a class in just over an hour when pirouettes will be on the agenda and I was dreading it.  In fact as I was not feeling my usual jolly self owing to burning candles at both ends I was thinking of bunking off.

 

But armed with your wisdom I am turning up for my £5 worth. I will let you know how I get on. At least I should make 0.

[drdance]

I did a great couple of turns in class last week - I noticed recently I'm rounding my shoulders more and more day-to-day and thought I should pay attention to them in class. Despite always reminding my students to use their backs I seem to have forgotten it myself! Simply by pulling my shoulders back I got clean doubles!

 

I'm glad you mentioned the psychological aspect of pirouettes - I heard one teacher say that about 80% of a pirouette is psychological. Whether that number is true or not, I know that the mind does play a large part. As someone who falls clearly into the "I can't do pirouettes" type of dancer, when I started teaching I made sure that I learnt as much as I can about pirouettes and always celebrate them when we get to that section of class - I'm always so enthusiastic about them so not to pass my fear onto my students.

[Terpsichore]

Pirouettes - it's psychological

 

..................................

 

If your mental response is: "Okay - it's time to work on pirouettes" - then you are at least giving yourself the benefit of starting from a level playing field.  That in itself is a good part of the battle.  Don't lose the battle before the trumpet blows.

 

.................................

 

Think of pirouettes as a process of baking a cake.  You learn the recipe.  You learn to line up the ingredients.  You learn how to put the ingredients together.  If nothing has changed in the body (cake) like illness, hormones, etc., the recipe will almost (nothing  works all the time) always cook up.

 

The recipe:

 

One correctly placed preparation.

 

One smooth push-off.

 

The correct amount of energy.

 

One strong supporting leg.

 

One strong spot.

 

Two arms where they are supposed to be.

 

One body correctly aligned.  

 

One supporting heel coming down to stop the turn.

 

You end up with:

 

One smile at a well done pirouette.

 

................................

 

IT WORKED :-)

 

I can't say that I have got it right yet but my dear long suffering teacher noticed a substantial improvement and I can build on what I learned this evening. 

 

She learned her ballet in Brisbane and some of the antipodean can-do attitude may be rubbing off.

 

The others in the class who are all 40 years younger are coming on by leaps and bounds.

[Anjuli_Bai]

IT WORKED :-)

 

I can't say that I have got it right yet but my dear long suffering teacher noticed a substantial improvement and I can build on what I learned this evening. 

 

She learned her ballet in Brisbane and some of the antipodean can-do attitude may be rubbing off.

 

The others in the class who are all 40 years younger are coming on by leaps and bounds.

 

Wonderful!  I am so glad!   

[Dancer Sugar Plum]

You can approach this problem logically.  Ask yourself "how much higher off the ground am I on pointe as opposed to demi-pointe?"   The answer, of course, is about 1-2 inches.  That's a trifle.  The next question:  how many times have you or people you've observed truly fall down while doing a pirouette?  Probably - almost never.

 

So - the reality is in your favor.

 

You can also approach this problem pragmaticaly.  Do your tendu preparation for pirouette, rise to retiré -don't turn - stay in balance on pointe for a moment, control the descent  through your supporting foot and close to 5th or 4th.  Now do quarter turns.  

 

When in trouble always go back to the basics and build your confidence.

 

Thank you Anjuli, I will go armed with these thoughts in my head for pirouettes on pointe. It's a very good point about the difference in height between a pirouette on demi-pointe and one en pointe. For some reason I have never thought about this before. The height difference is not much at all and I feel a lot better about it already!  Thank you for your advice.

[Anjuli_Bai]

PIROUETTES AND BREATHING

 

One of the best teachers I ever had, one who truly changed my dancing though  I only took from him for a short time - was the late Robert Rodham, Principal Dancer, New York City Ballet.  He stressed the breath in dance and it added both life and breadth (expanse) to dance for me.

 

Your breath literally becomes part of the counts – the pulse of the music. For instance in a preparation for pirouette and then the pirouette itself, it would be something like this: Start in 5^th position right foot in front, en face to the mirror.  As you tendu to seconde – inhale; close to 4^th position derriére – exhale; pirouette – inhale; finish pirouette – exhale. 

 

Notice that the inhalation occurs during the pirouette which helps to sustain you.  Obeying all the other rules –like turnout, spotting, etc. – you will find that this synchronization of breath adds life to the pirouette.

 

Nijinsky said that he inhaled at the height of his grand jetés.  This matching of breath to the pulse of the music is also very helpful in adage.  It becomes infused with life and also suffuses the dance that you are presenting.  Try it first in the simple pirouette combination I illustrated above.  Takes some practice – and then it just becomes a part of you.

 

It just feels “right” - it gives your dance life.

 

It also helps in petit allegro - keeps one from running out of breath. While the feet are moving quickly, the breath maintains its rhythem, adding lightness to the allegro, sustaining the beats, and a smile to the face rather than gasping for air at the end.  Breathe all along - evenly - sustainingly.

 

As an aside concerning this beautiful dancer, Robert Rodham......

 

He was teaching the daily company class at the original San Diego Ballet (1970's)- a company of many wonderful dancers, including the likes of Keith Martin, RB soloist, Jillana, Principal Dancer, NYCB, etc. One day as Rodham set the adagio for the centre - we became enthralled in watching him - such grace, such ease, such beauty -- that when he finished, and expected us to now do the adage he had set, we realized that he had mesmerized us to such an extent, that we had all failed to memorize what he had done and instead been swept away by the sheer loveliness of it.  

 

What to do?  The pianist started playing, we all looked at one another - everyone realizing none of us had memorized the complex enchainement - and at that level - Company class - enchainement were only demonstrated once.

 

Finally, Keith Martin bravely raised his hand, and sheepishly explained that we had been swept away by Rodham's danced demonstration and could he please show it again?   Rodham smiled, he understood, and realized that this was truly a supreme compliment - and he showed it again.

 

I never forgot that - and his wonderful idea of breathing through the dance.

[Anjuli_Bai]

Pirouettes: Right and Left

 

Every ballet student knows that pirouettes are more comfortable when done to one side than the other.  This is true of just about everything we do.  Most of us favor one hand over another for particular tasks.  We tend to chew more on one side than the other.  We use one eye more than the other; consistently step up on a curb with one foot before the other; put on clothes using the same foot before the other and even smile and perhaps talk more to one side of the mouth than the other. 

 

Each of these things can be tested:  curl your lip and snarl.  It will feel much more comfortable on one side of the mouth than the other side.  Look through a telescope and you will probably automatically use the eye that your brain prefers.  Favoring the right in one area does not mean that you will favor it in all the other areas.  Being right handed doesn't mean you will favor the right side in other things.

 

This is also true of movement in general.  As you pull your car out of a perpendicular parking space and you can go either to the right or left - which way do you prefer to turn the car? 

 

So, it comes as no surprise that pirouettes, in fact all turns, are much more comfortable to one side than the other.  Of course dancers need to train both sides.  When dancing in the corps de ballet, or with other dancers, one must be able to do as the choreography instructs.  But when dancing as a soloist, or choreographing for oneself, it is helpful to know which side is favored. 

 

Most dancers tend to be right-sided turners and from my personal observation those dancers who do favor the left tend to be male.  There are some very famous male dancers who prefer to turn to the left.  It is much less common for females to prefer the left - I am one of them.  This gave me problems when dancing with a group of women since, of course, I had to accommodate to them and turn to the right. 

 

When turning to one's less favored side technique becomes even more important.  When turning to the left, I found I could just "do it."  But, when turning to the right, it took more energy, more thought and a great deal of concentration and adherence to the rules.

 

It might be helpful to remember that this right/left business doesn't just apply to pirouettes, but to all movement that circles to either side and even linear movement such as tour jetés.

 

I also found that my preference for turning to the left changed based on the hormonal levels according to the calendar.  Suddenly, for a day or two, right-sided turns were more comfortable.   Strange!  But knowledge is power and instead of wondering how this could be,  I learned to look at the date. 

 

The more a dancer knows about her/his body the more success (and the less frustration)  the dancer will enjoy.

 

 

...........

This is the last of the series of articles.  However, if anyone has a suggestion for another -  I would love to hear it.

[Dancer Sugar Plum]

Anjuli, I've really enjoyed your pirouette articles, they have been very helpful.

 

I have a question about the part the back plays in a pirouette. I know I have a habit of 'leaving' my back behind when I intiate the turn and I have been trying hard to break this habit. It's really affecting my turns to the point I can feel it stopping the energy of the turn. If I was doing an en dehor turn to the right from 5th, I try to think about bringing my left shoulder with me as I turn, but somehow my back still gets 'left' behind more often than not. Should the back be 'doing' something as I releve? Or would you suggest this was to do with my centre, or something else?

 

Any advice you could give would be much appreciated.

Edited February 19, 2014 by Dancer Sugar Plum

[Anjuli_Bai]

Anjuli, I've really enjoyed your pirouette articles, they have been very helpful.

 

I have a question about the part the back plays in a pirouette. I know I have a habit of 'leaving' my back behind when I intiate the turn and I have been trying hard to break this habit. It's really affecting my turns to the point I can feel it stopping the energy of the turn. If I was doing an en dehor turn to the right from 5th, I try to think about bringing my left shoulder with me as I turn, but somehow my back still gets 'left' behind more often than not. Should the back be 'doing' something as I releve? Or would you suggest this was to do with my centre, or something else?

 

Any advice you could give would be much appreciated.

 

 

Just as a child's spinning toy, in order to successfully spin, must have all the parts going in the same direction - so, too, the dancer.

 

What the back is doing is often revealed in the arms.  Do an en dehors pirouette to the right with your arms in 5th front.  Just a single pirouette.  After you've finished - don't move - but look in the mirror and see where your arms ended up.  Are they still squarely in front of you or are they off to the left side?  If they are off to the left side, then you didn't take them with you which means you didn't open up that right (leading) shoulder.  So, you must not only bring the left (following) shoulder with you, but you have to open up the right (leading) shoulder.  I don't mean fling it back - just make sure it is not being squeezed - closed in -  you are not turning into it - that  it is turning with you.

 

Another way to think about it.....is to say to yourself that the leading shoulder must be over the retiré knee.  

 

To practice this - go back to basics: just the balance for pirouette, then quarter turns, then half turns.

 

You also should practice doing pirouettes without using your arms.  Fifth position of the arms does have a tendency to close that leading shoulder.  So,, practice with your arms over your head in 5th, or crossed on your chest, or crossed behind you.  

 

I was always taught, and so taught my students, that the arms are an "adornment" - they are not the motor for rotating a pirouette.  

 

From 5th position of the feet - right foot front, arms crossed behind you or crossed on your chest, demi-plié, and then retiré into relevé, spot the head, come down through the foot of your supporting leg, then lower the retiré leg into 5th position in back.  You should be able to complete one smooth pirouette like this - with practice.  After learning to do it this way - turning  in other positions (like 4th) will be much easier.  As for the arms - you don't need them to turn - and they often get us in trouble.

 

As for your back - it must be held - engaged - at all times.  Any sag - especially likely to happen is during the plié preparation.  As for your comment that your back gets left behind - well, I think if you make sure the shoulder is open so will the back be.

 

I hope I've sid something here that helps.

 

And, I'm glad you've enjoyed the articles.

[mimi66]

Anjuli, just wanted to say that I enjoyed this articles a lot as well... though I did not get round to comment (sorry!).

 

Judging from the numbers of veiwing, I suspect that there are a lot of people out there thinking the same out there...

[Dancer Sugar Plum]

Just as a child's spinning toy, in order to successfully spin, must have all the parts going in the same direction - so, too, the dancer.

 

What the back is doing is often revealed in the arms.  Do an en dehors pirouette to the right with your arms in 5th front.  Just a single pirouette.  After you've finished - don't move - but look in the mirror and see where your arms ended up.  Are they still squarely in front of you or are they off to the left side?  If they are off to the left side, then you didn't take them with you which means you didn't open up that right (leading) shoulder.  So, you must not only bring the left (following) shoulder with you, but you have to open up the right (leading) shoulder.  I don't mean fling it back - just make sure it is not being squeezed - closed in -  you are not turning into it - that  it is turning with you.

 

Another way to think about it.....is to say to yourself that the leading shoulder must be over the retiré knee.  

 

To practice this - go back to basics: just the balance for pirouette, then quarter turns, then half turns.

 

You also should practice doing pirouettes without using your arms.  Fifth position of the arms does have a tendency to close that leading shoulder.  So,, practice with your arms over your head in 5th, or crossed on your chest, or crossed behind you.  

 

I was always taught, and so taught my students, that the arms are an "adornment" - they are not the motor for rotating a pirouette.  

 

From 5th position of the feet - right foot front, arms crossed behind you or crossed on your chest, demi-plié, and then retiré into relevé, spot the head, come down through the foot of your supporting leg, then lower the retiré leg into 5th position in back.  You should be able to complete one smooth pirouette like this - with practice.  After learning to do it this way - turning  in other positions (like 4th) will be much easier.  As for the arms - you don't need them to turn - and they often get us in trouble.

 

As for your back - it must be held - engaged - at all times.  Any sag - especially likely to happen is during the plié preparation.  As for your comment that your back gets left behind - well, I think if you make sure the shoulder is open so will the back be.

 

I hope I've sid something here that helps.

 

And, I'm glad you've enjoyed the articles.

 

Thank you Anjuli, this makes a lot of sense. I'll be trying the quarter, half and single turns and paying particular attention where my arms finish after each turn. I like the idea of keeping the leading shoulder over the retire knee. I have a feeling you are right about me closing the leading shoulder. I had noticed that when I finish a turn in class the following arm and shoulder aren't square to my other shoulder and hips. So if I had done an en dehor turn from 5th to the right, my left arm and shoulder would finish slightly pulled to the left.

 

Also, after finishing a turn I have noticed my elbows have dropped. It's not a huge amount so it's not that the elbows are facing the floor. But just slightly dropped is enough to affect the turn badly. The times when my elbows have stayed supported on landing a pirouette I have felt the turn was more secure and I have been in more control. I assume elbows dropping is about the back not being engaged during the turn?

 

I am keen to fix these faults/habits on the flat because I have noticed they carry over onto pirouettes en pointe. And then with pirouettes en pointe, the fault/habits are magnified. Apart from the fact it feels even less secure en pointe from my point of view, I can guess that it doesn't look very nice either!

 

I find it amazing that you are able to help my pirouettes so much (and other people's) simply by me describing my turns on an online forum. I've said it before but we are very lucky to have you on this forum.

[Anjuli_Bai]

Thank you Anjuli, this makes a lot of sense. I'll be trying the quarter, half and single turns and paying particular attention where my arms finish after each turn. I like the idea of keeping the leading shoulder over the retire knee. I have a feeling you are right about me closing the leading shoulder. I had noticed that when I finish a turn in class the following arm and shoulder aren't square to my other shoulder and hips. So if I had done an en dehor turn from 5th to the right, my left arm and shoulder would finish slightly pulled to the left.

 

Also, after finishing a turn I have noticed my elbows have dropped. It's not a huge amount so it's not that the elbows are facing the floor. But just slightly dropped is enough to affect the turn badly. The times when my elbows have stayed supported on landing a pirouette I have felt the turn was more secure and I have been in more control. I assume elbows dropping is about the back not being engaged during the turn?

 

I am keen to fix these faults/habits on the flat because I have noticed they carry over onto pirouettes en pointe. And then with pirouettes en pointe, the fault/habits are magnified. Apart from the fact it feels even less secure en pointe from my point of view, I can guess that it doesn't look very nice either!

 

I find it amazing that you are able to help my pirouettes so much (and other people's) simply by me describing my turns on an online forum. I've said it before but we are very lucky to have you on this forum.

 

 

If when you have finished the pirouette which turned to the right and your arms are not squarely in front of you but off to the left - then you indeed are closing that lead (right) shoulder.  So, you are robbing the turn of its power.  You are going around with the brakes on.

 

You are correct - if your elbows have dropped even a little bit - then you've lost the engagement of your back.  Another brake.  And, yes, it does spoil the look of it.  

 

You are correct again - any faults on demi-pointe tend to be magnified on pointe.  That's why we should always go back to the basics and fix it there. 

 

It gives me a great deal of pleasure to try to help - so our enjoyment is mutual.