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Arabesque position with working leg à la hauteur, forming a 90° angle with supporting leg Arabesque penchée. Arabesque (French:; literally, "in Arabic fashion") in dance, particularly ballet, is a body position in which a dancer stands on one leg–the supporting leg–with the other leg–the working leg–turned out and extended behind the body, with both legs held straight.
In dance (particularly ballet), arabesque (French: [aʁabɛsk]; literally, "in Arabic fashion") is a body position in which a dancer stands on one leg (the supporting leg) with the other leg (the working leg) extended, straight, behind the body.
Arabesque: a position of the body in which a dancer stands on one leg with the other leg raised behind the body, extended backward in a straight line. [7] Attitude: a position of the body which is a variation of the arabesque. In this position, a dancer's extended leg is raised behind the body, bent at the knee at a 90-degree angle. [7]
Arabesque: The flyer extends and points their leg out behind them and attempt to turn their hip socket out so when the leg is out straight, the side of the leg is facing the audience. [ 38 ] No-Hands, Chin Chin, or Cry Baby : The flyer takes their foot, bends it under their chin, then lets it sit there without any hands.
distinctive arabesque line with the hip open to the audience and the side arm pressed back; athletic dance quality. fluidity and lightness, best demonstrated by ballerinas with long, thin figures *Suki Schorer has described the Balanchine arabesque as "longer, stronger and bigger". Balanchine would instruct students to "reach for diamonds" in ...
Pages in category "Dance moves" The following 31 pages are in this category, out of 31 total. ... Arabesque (ballet position) Ayesha pole move; B. Butterfly dance; C.
Turnout refers to completing movements with legs rotated outward; this promotes clean footwork, graceful port de bras (movement of the arms), and correct body positions, lines and angles. Other aspects of ballet technique include posture, toe pointing, keeping shoulders down, and pulling up, which combines proper posture and lifting of the ...
In 1725, dancing master Pierre Rameau credited the codification of these five positions to choreographer Pierre Beauchamp. [1] Two additional positions, known as the sixth and seventh positions, were codified by Serge Lifar in the 1930s while serving as Ballet Master at the Paris Opéra Ballet, though their use is limited to Lifar's choreographies.