Teaching Pirouettes
☙ Remain firm about your goals, but flexible about your methods ❧
~ William A. Donohue
After seeing my adult dancers demonstrate an understanding of weight placement, alignment in demi-plie and strength of relève, it was time to introduce pirouettes.
I prepared for this. The centre practice exercise, a classic amongst the exercises for single pirouettes en dehors, was straightforward:
From 5th
Tendu devant
Tendu 2nd close back
Tendu devant close front en plie
Releve passe derriere (to eventually become the turn)
The arm coordination was uncomplicated:
To 1st with tendu
To 2nd with tendu 2nd closing back
2nd with tendu to 3rd on closing devant
To 1st in releve passe
I’ve never been a great turner. In fact, I fell in my kitchen just two days ago attempting a double. Of course, I’m great at falling, so no biggie, but the struggle is real.
Anyway, in class, I felt surprisingly confident.
I started by saying, “OK! We are about to get into something that will eventually turn into pirouettes. Are you ready?”
Hesitant nods. I’m thinking, “They must just be nervous because pirouettes are difficult!” So I say, “I know they are tricky, maybe a little scary, but the best way to get over that is to practice.”
Still, squinting eyes and unsure faces. Until one student says, “What’s a pirouette?”
“Oh!” I laugh. “A pirouette is a turn on one leg.”
Again, silence.
My student: “Can you show us?”
Now, I demonstrate everything as best I can. One of the things I love most about teaching is its gift of moving with others. So, naturally, I was going to do a pirouette - eventually. But at that moment, because I was all caught up in the methodical “this-is-how-you-prepare-for-a-pirouette,” I wasn’t ready for an actual revolution.
I’ve been teaching for over 20 years, dancing more than 30, and the sheer terror of doing a pirouette on the spot (hehe) washed over me, regardless of my earlier confidence. I tried to disguise this feeling by laughing, saying, “Oh, just like this.” And then I did a pretty good single pirouette if I do say so myself.
That kind of shocked me. There was a simplicity in the ‘do it now’ approach, humour, and ease that surprised me and contradicted my earlier statement of “pirouettes are tricky.”
I could have used that sensation to continue the lesson in a relaxed tone, but I’m one of those people who try to stick with what I said once I say it. Even if it’s not necessarily helpful, and I continued insisting my initial “pirouettes are hard” proclamation was the truth.
And, I guess it is. But I have realized that maybe my fear/seriousness/warning about this difficult movement was more about how I feel about my own experience with it and the perceived responsibility of teaching it to others, so they don’t feel the same.
How do you break down a pirouette for someone else while imbuing confidence when you’re not sure, even after years of training, if you can even do one yourself?
I think tackling this question is part of my Death of a Dance Ego journey.
I want to share my revelations and ideas on how I will approach teaching pirouettes the next time around (hehe, again).
Pirouettes are just like any other complex skill in dance; they involve an understanding of several elements to execute properly.
A significant element in the success of a pirouette is the mindset in the approach and the finish.
Backing way up, the act of turning affects each of us in different ways. Some are elated by the sensation, and others are nauseated. So that’s going to make a big difference in the preparation and approach.
The Spot & Spin
Before the mention of pirouettes, next time I might ask the students to stand, find a spot on the wall in front of them, keep their eyes locked on that spot, and turn their bodies while keeping their eyes fixed until they have to whip their heads around to catch the spot with their eyes again.
Ask - how does that feel?
Have them repeat the motion several times in a row. (Many will probably turn on two feet, taking little steps).
Again - How does that feel?
What does it feel like going in the other direction?
I would allow the students to get dizzy and then give them a few tools to quell that, such as focusing on a point close to their eyes or crossing their arms over their chest and holding onto opposite earlobes.
There’s something about knowing how to get out of a bad situation that makes a bad situation not so bad.
Then, I would challenge them to push off one foot to ‘spin’ on the other foot, maintaining eye contact with their spot. This action picks up the pace more reflective of a pirouette.
I think permission and time to experience this somewhat unique sensation will be helpful.
Transfer of weight 2 to 1
Because this is a concept I didn’t really grasp or even realize was important until I was a much older dancer, I like to talk about it in most of my classes right from the get-go. There is a subtle, yet fundamental, shift of the pelvis from side to side when transitioning from two feet to one foot, especially in external rotation.
Feeling solid in this movement and the final product, a strong balance on one leg, is integral to so many dance moments and is especially highlighted in the pirouette.
I would experiment with a transfer from two feet to one either with the aid of the barre or without, on flat or en rise for several minutes.
What does the body want to do? Tip to the side? Fall forward or backward? What are the sensations in the feet? The toes? The big toe, specifically?
Is there any collapsing through the centre of the body? Tension in the shoulders, neck or jaw? Are the dancers creating fists? Extraneous tension needs to migrate to the core of the body, the muscles in the legs, and the ankles and feet, for solid stability.
Retiré position
I would next move onto the shape of the legs in a pirouette. In a classical ballet pirouette, the leg is often in a turned out retiré position, or one foot bent and lifted, bringing the toe to the other knee.
Action of the Arms
I would try not to forget about the arms. They are active, not passive, and move from one position to another during the preparation and execution of a pirouette. So I would practice that action.
Relève Passe
The action of the relève is something that requires loads of practice, and I plan to do this on two feet at the barre every class. Therefore, introducing a relève retiré, and a relève passe at the barre before attempting a relève on one foot in the centre is not a bad idea.
Manageable Challange-able Homework
Before adding the turn that changes a relève into a pirouette, I’m giving my dancers some manageable yet challenging homework to find their balance on one foot whenever they think of it.
Washing dishes? Stand on one foot.
Brushing teeth? Stand on one foot.
Waiting in line at the store? Stand on one foot.
Add the difficulty of standing on one foot on demi-pointe.
Need more? Close your eyes.
Review
Elements needed for pirouettes:
Spotting
A transfer of weight
Retire position
Arm actions
Relève
Something to practice alone (In this case, confidence in balancing on one foot)
By managing and practicing these elements, I think an excitement will build, as well as a sense of “I know what I’m doing.” I don’t think that mastery of the individual parts is required to attempt the pirouette; I believe they just might be a helpful way to break it down.
I’m never shy to admit my shortcomings or what I find particularly challenging, relèves and pirouettes being in those categories. But maybe it’s not helpful to announce my struggles as the teacher before the students have the chance to try whatever I want them to do. It’s not fair to say, “this is hard” or “this is easy.” It’s going to be different for everyone.
This is an example of a habit I’m determined to break.
Anyway, encouragement and not putting a deadline on achieving the skills needed for turning is key. The excitement of the preparation, the joy of the turn, and the satisfaction of the finish are feelings I will promote in my lessons.
Hopefully, encouraging the mindset that pirouettes are OK to try, practice, and enjoy will increase the chances of a successful pirouette.
What are your thoughts regarding teaching pirouettes? I would love to discuss this.
With deep respect and gratitude,
Miss Jen
