Arm movements should be sensed throughout and coordinated with the movements of the entire body.Arms do not cross the center line of the body, unless expression dictates otherwise.Arms are rounded for the basic positions.A continuous flow of arm movements brings life and artistry to port de bras.Movements pass through the center of the leg and the longitudinal center of the foot.Heels make contact with the floor as movements start, and as they end.Head moves independently, and leads movements of the body.The weight is evenly distributed throughout the body, using the least amount of energy for the balancing as is possible.Opposition: the leg in front is balanced by the opposite arm coming forward.Opposition - the opposite shoulder moves slightly forward.Natural - the leg in front is matched by a slight forward movement of the same shoulder.Eyes and head lead the movements arms and shoulders, body, legs and feet follow.Each body part needs to be in the natural relationship to all others, and to the dancer’s center of balance.Ankle joints must flex and extend in line with the knee joints - no inversion or eversion.Knee remains in natural alignment with leg and foot, whether bent or straight.Legs rotate from hip socket, feet follow.Weight balanced on the Triangle of the Foot ( what is this?).Shoulders and hips face same direction. You will find a link at the bottom of this page for a free download of this article in PDF format for use in your ballet class. Their learning, at this point, has progressed to a point where they can now start to grasp the big-picture concepts that are essential to their understanding of classical ballet. These principles are essential for the dancer to learn around the age of 9 or 10. Each generation has had its great teachers of ballet who have added insights and details to these rules and principles. The Rules of Classical Dance were first set down definitively by John Weaver in 1723.
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