3 Tips for Mastering the Perfect Pirouette

Photo by Bridget Lujan, courtesy of Juneau Dance Theatre
  • Start with a good preparation. Plié in fourth, keeping the hips square and the back knee straight. Arms are in fourth. Texas Ballet Theater School associate director Kathryn Warakomsky encourages students to keep their heels down and use the whole foot on the floor, rather than rolling forward on the arches or letting the front foot slide into the turn first: "You want to go down into the floor and push from the back foot to go up."

  • Don't forget about your arms. "Even though you don't use your arms to turn, they have to be quite strong, not too high and in front of the body," says Steps on Broadway teacher Nancy Bielski. To help dancers feel their arms in a pirouette, Laura Alonso of Centro Pro Danza in Cuba suggests holding a full water bottle in the following (or second) hand and switching it to the other hand mid-turn.
  • Spot! Spotting keeps a dancer from becoming dizzy during pirouettes, and it also gives turns a certain aesthetic sharpness. Dancers use spotting as a way to balance themselves and keep track of where the body is in space. Jorge Esquivel, former principal dancer with the Ballet Nacional de Cuba, tells dancers to choose a focal point that keeps the eyes high, so that the neck is lengthened and straight.
Higher Ed
The author, Robyn Watson. Photo courtesy Watson

Recently, I posted a thread of tweets elucidating the lack of respect for tap dance in college dance programs, and arguing that it should be a requirement for dance majors.

According to onstageblog.com, out of the 30 top-ranked college dance programs in the U.S., tap dance is offered at 19 of them, but only one school requires majors to take more than a beginner course—Oklahoma City University. Many prestigious dance programs, like the ones at NYU Tisch School of the Arts and SUNY Purchase, don't offer a single course in tap dance.

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Teaching Tips
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After months of lockdowns and virtual learning, many studios across the country are opening their doors and returning to in-person classes. Teachers and students alike have likely been chomping at the bit in anticipation of the return of dance-class normalcy that doesn't require a reliable internet connection or converting your living room into a dance space.

But along with the back-to-school excitement, dancers might be feeling rusty from being away from the studio for so long. A loss of flexibility, strength and stamina is to be expected, not to mention emotional fatigue from all of the uncertainty and reacclimating to social activities.

So as much as everyone wants to get back to normal—teachers and studio owners included—erring on the side of caution with your dancers' training will be the most beneficial approach in the long run.

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Teachers Trending
Photo courtesy TUPAC

When legendary Black ballet dancer Kabby Mitchell III died unexpectedly in 2017, two months before opening his Tacoma Urban Performing Arts Center, his friend and business partner Klair Ethridge wasn't sure she had what it took to carry his legacy. Ethridge had been working with Mitchell to co-found TUPAC and planned to serve as its executive director, but she had never envisioned being the face of the school.

Now, Ethridge is heading into her fourth year of leading TUPAC, which she has grown from a fledgling program in an unheated building to a serious ballet school in its own sprung-floor studios, reaching hundreds of students across the Tacoma, Washington, area. The nonprofit has become a case study for what it looks like to carry out the vision of a founder who never had the chance to see his school open—and to take an unapologetically mission-driven approach.

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