6 EASY WAYS TO PERFECT YOUR PARALLEL PIROUETTES

Performing flawless multiple pirouettes can help you land the job of your dreams, but unfortunately, many dancers' turns are more wobbly than wonderful. You can make every day a "good turn day" by following these five steps from experienced jazz instructors.

PREP WITH A POWERFUL PLIÉ.

Setting up for your turns with a deep, active plié will help provide the power necessary for multiple pirouettes, says Denise Leitner, an instructor at EDGEPerformingArtsCenter in LA. Keep in mind that your plié should only be as deep as your anatomy allows, with proper alignment — if your pelvis starts to stick out or your heels pop up off the floor, you've gone too far. Conversely, if your Achilles tendons are super flexible, you may find that using your full range of motion in plié gives you less power to start your turns, in which case you should make your plié preparation slightly more shallow.

STAND TALL ON SUPPORTING LEG.

Leitner tells her jazz students to "push down to China" with the supporting leg while turning — a weak or relaxed knee will lead to unstable turns. Push down into the floor when you relevé and engage your core muscles from the start of the turn to hold placement.

KEEP IN LINE WITH A PLACED PASSÉ.

Maintain proper hip alignment in parallel passé. To help students with this task, Christine Baltes, an instructor at JimmieDeForeDanceCenter in Orange County, CA, gives students a visual image: "Imagine you have a ruler running straight across your hip bones. If it slants up toward your passé leg, then you're lifting your hip to bring your foot up in passé. If the ruler slants up toward your supporting leg, then you're sinking into your standing hip," she says. To keep track of your alignment, try wearing a belt or elastic across your hips during class.

CONTROL YOUR ARMS.

Leitner advises dancers to work on closing the second arm quickly and efficiently, straight from second to first position. "This will give you strength and momentum in your turn," she explains. Also, make sure that your first arm doesn't open too far toward second — and definitely not behind your torso — before the second arm closes into first position. If your arms are behind you, or if they're flailing around instead of moving cleanly from position to position, you could throw off your alignment during the turn.

PICK A SPOT.

A slow spot can sabotage your turns, warns Leitner, so maintain the speed of your head through each rotation in a multiple-turn pirouette. Pick one spot and slick with it, says Baltes, who instructs her students to "keep your eyes on one spot and don't let them take in space." With a sharp spot. your turns will he more consistent, and you won't get as dizzy!

PRACTICE MAKES PERFECT

Jazz dancers need to be able to turn from a parallel secondposition preparation as well as from fourth. Try this exercise, from jazz teacher Christine Baltes, to master pirouettes from this more difficult preparation.

  • Begin in parallel first position with your arms in first
  • Tendu the right leg to the side, then plié in second position parallel, opening your arms to second with the tendu and closing the right arm with the plié. Your hips, knees and ankles should be aligned underneath your shoulders, and your weight should be evenly distributed between both legs.
  • Bring the right leg to passé and close both arms to first position. Make sure the weight shifts back over the standing leg. Finish by closing the right leg to first position parallel. Repeat with the left leg.
  • Try this four times on flat, then with a relevé passé. Once you can balance in passé, try the exercise with a half turn, then a full turn. Need help balancing? Do the exercise holding onto the barre for more support

"In passé, imagine you have a ruler running straight across your hip bones.

The Turning Point. By: Edens, Kathleen, Dance Spirit, 10940588, Sep2006, Vol. 10, Issue 7