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Chassé in ballet. The chassé (French:, French for 'chased'; sometimes anglicized to chasse / ʃ æ ˈ s eɪ, ʃ æ s /) is a dance step used in many dances in many variations. All variations are triple-step patterns of gliding character in a "step-together-step" pattern. The word came from ballet terminology.
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. The arm positions can vary and are generally allongé.
The long reaching step can be danced on either the 1 or the 2 of each bar of music, depending on what feels best with the tune that is playing. Cellarius (1849) [ 5 ] describes a three-part redowa consisting of a pursuit part ( "la poursuite" ), followed by the style of waltz commonly described as the redowa, and ending with a particular type ...
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Chassé (French, "to chase") is a dance step with a triple step pattern used in many forms of dance. [1] It is a gliding, flowing [citation needed] step with the feet essentially following a step–together–step pattern. Timing and length of steps vary from dance to dance.
Some of them were of freestyle type, i.e., there were no particular step patterns and they were distinguished by the style of the dance movement (Twist, Shake, Swim, Pony, Hitch hike). Only some have remained to the modern day-era, sometimes only as the name of a step (Suzie Q, Shimmy) or of a style (Mashed Potato) in a recognized dance. Fad ...
Glide step seeks to restrict all motion above the upper-body to a smooth, unchanging motion in the direction of travel, and to restrict all motion below the waist to that which is completely necessary. Before the glide step can be learned, the general posture of the body must be normalized. This is called "attention". The important aspects of ...
It was based on a step used by Anna Pavlova in a gavotte that she frequently performed. Alicia Markova recalled in 1994 that Ashton had first used the step in a short ballet that concluded Nigel Playfair's 1930 production of Marriage à la Mode. It is not seen in Ashton's 1931 Façade, but after that, it became a feature of his choreography.