Dance Terminology

Arabesque – One of the basic poses of ballet. A position of the body, Fouetté rond de jambe en tournant – The fouetté most commonly
supported on one leg, which can be straight or demi-plié, with the other referred to as just ‘fouetté ‘. Literally, whipped circle of the leg turning.
leg extended behind. The forms of arabesque are varied to infinity. A popular turn in which the dancer executes a series of turns on the sup-
porting leg while being propelled by a whipping movement of the work-
Attitude – A pose in dance derived by Carlo Blasis from the statue of ing leg. The working leg should pass through the fourth position before
Mercury by Giovanni da Bologna. A position on one leg with the other being raised to hip level in the second position and then into the passé
lifted in back (or in front or side), the knee bent at a 90 degree angle position to complete the turn. The closure at passé may be beaten or left
and well tuned out so that the knee is higher than or level with the foot. to a simple close.

Axel – A jumping movement pushing from and landing on the same leg. Fouetté, a la seconde – Like the other popular fouetté, this turn is usu-
The free (working) leg performs a rond de jambe while the supporting leg ally executed in a series. The leg in supported in second position at hip
pulls up to a tuck as the dancer makes a full rotation in the air. level for the completion of the turn instead of being pulled in to passé.

Ball change – A transitional weight change that pushes to ball of the Fouetté, sauté – The same basic motion as the fouetté a terre, but exe-
working foot and returns to the supporting leg. Can also be performed cuted out of a chassé (or another traveling step). The working leg begins
in a stepping-through motion. with a grand battement as the working leg pushes off the floor to fully
extend under the body. The whipping motion rotates leaving the work-
Battement sauté – Brushing and stretching the working leg (as in grand ing leg in the air and then landing again on the same supporting leg as
battement) while pushing to a sauté with the supporting leg. Done as a leaving the floor.
preparatory exercise for several other leaps and jumps.
Grand battement – The working foot brushes the floor pointing at sepa-
Cabriole – A step in which the extended legs are beaten in the air. The ration and continuing in altitude with a straightened and tightened knee
working leg is pushed into the air and the supporting leg follows. The and foot. The body should remain calm with the leg being thrown only
landing is then made on the same supporting leg. to the maximum height allowed without disturbing the body placement.
The leg is closed back into the position in which it originated.
Chainés – Literally, chains or links. Series of turns performed in releve
usually moving across the floor. The term is actually an abbreviation for Grand jeté – In this step the legs are thrown to a split in the air. The
“tours chainés deboules”. front leg should leave the floor as in grand jeté.

Chassé – Meaning “chased”. A step in which one foot literally chases Grapevine - A series of steps moving side to side. Executed by stepping
the other out of its position. Can be done in a series or used singly as a to the side (2nd), crossing back (or front) and then continuing in the same
transition step. Chassé should glide along the floor making sure that the direction stepping out to the side again. Can be finished with a variety
feet“kiss” in the air. of steps including a dig or a touch out to the side that would then take
you into a reverse performance of the movement.
Clip turn - A half turn executed by crossing the working foot behind the
supporting leg and simply untwisting the legs leaving the body facing the Jeté - Throwing step. A jump from one foot to the other in which the
opposite direction. working leg is brushed into the air and appears to have been thrown.

Degagé – Disengaged. The pointing of the foot by brushing along the Pas de bourrée – Though there are many variations, the most common-
floor until the foot leaves the ground and extends fully. May also be ly used versions are a combination of steps which move the feet in the
referred to as battement glisse, gliding off the floor. pattern of “back, side, front”. In the jazz variation, the pattern is
amended to move “cross back, open second, lunge out”. The pattern
Dig – A position where the working foot is placed directly beside the can be performed in either direction and is usually applied as a transi-
supporting foot at the arch. tional step.

Drag turn - A pirouette movement performed with an inside turn. Pas de Chat – literally, ‘step of the cat.’ A ballet jump in which the feet
Usually in plié/releve on the supporting leg while the working leg trails are lifted, one after the other, to the level of the opposite knee in a
while physically dragging the floor either to the side, behind or diagonal- turned out position.
ly back. A very stylized turn.
Pas de Chat, Russian – A leap which moves with the leading leg extend-
Fouetté a terre – The term “fouetté” means literally “whipped”. In this ed to second position at hip level and the supporting leg pulled under-
case the supporting leg is placed in tendu to the front or back while the neath in a turned out position. Landed on the leading leg.
supporting leg raises the heel as the body rotates over that leg by turn-
ing through the hip socket. The body ends up facing the opposite direc-
tion while the foot/leg in tendu has remained in the same place.

© Marching Auxiliaries 2007

Passé – Passed. Literally, the step would have the foot leave fifth posi- Saut de basque – A traveling step in which the dancer turns in the air
tion in front (although other positions may be used) and pass the knee with one foot drawn up to passé or coupé. Completed by gliding out to
joint to finish in the fifth position in back. Also performed in reverse. perform the step in a series or to transition. A chassé tour (turning) is
This term is most commonly referred to as the position where the toes an appropriate beginning movement to acquaint the dancer with the
connect to the leg just below the knee to perform pirouette. basic movement. The turn is then executed in fifth position with a chas-
sé into and out of the turn.
Penché – Leaning or inclining as in penché arabesque. Keeping the body
in the same angular proportions while tipping either forward or back. Sauté – Jumped or jumping. When this term is added to the name of a
step, the movement is performed while jumping.
Pencil turn – A turn performed in either direction on one toe while keep-
ing the other leg very closely paralleled. Soutenu – A turn performed by stepping onto a straightened leading leg,
crossing the trailing leg in front at the knee and then releasing the lead-
Piqué – Pricked or pricking. Stepping directly onto the pointed leg (at ing leg as the turn untwists. The leading leg is then free to reach again
the demi-point) while lifting the other leg to a variety of positions. Can from fourth position to repeat the turn in a series. Can also be used
be used with arabesque, passé, etc. singly as an accent or transition.

Spread eagle jump – Also referred to as a star jump, X jump and sever-
Piqué turn – A piqué performed in the passé position while turning to
al other terms by region. Begins in parallel first position, jumps to legs
the inside. Usually done in a series.
in a wide second in the air with arms in a high V. Returns to the paral-
lel first to finish.
Pirouette – Whirl or spin. A complete turn of the body performed on
one foot. May be performed in many positions of the working leg to
Switch leap – Begins as a grand jeté. Throws the leading leg to the back
include passé, arabesque, attitude, a la seconde (second position sup-
while the supporting leg throws to the front to complete a full split in the
ported waist level) and fourth position.
air. The switch leap should complete a split on both legs before landing.
Pivot – A step that changes the direction of motion. Place right foot Tendu – Stretched. Movement is initiated in the heel by pushing forward
forward and transfer weight. Flip the shoulders to face back by turning until the foot is forced into the fully stretched and pointed position. Can
over the left shoulder. Can be reversed. be performed front, side and back.

Plié – Bent or bending. A bending of the knee or knees. Three step turn – Performed by stepping to second position right, turn-
ing over the right shoulder to step left, and then turning again over the
Port de bras – Carriage of the arms. In general, the use or movement of right shoulder to return to the right foot. Can be reversed. The move-
the arms through either specified classical positions or as they are placed ment should turn the dancer in the same direction for all three steps.
in choreography.
Toe touch – A very popular jump that may also be called a straddle
Rond de jambe a terre – Round of the leg on the ground. The circular jump. The jump begins in a parallel first position, springs to a very wide
movement of the leg, originating in the hip. Both legs must be kept second position in the air with the arms traditionally extended over the
straight while the toe of the working leg traces a circular pattern on the toes. The jump may return to parallel first or a variety of other positions.
floor. Can be performed with the movement beginning as a tendu in
front or directly behind the body. Tour jeté – Shortened from grand jeté dessus en tournant. Literally,
large jeté over and turning. Begins as a grand jeté with the leading leg
Rond de jambe, grande – The same movement described “a terre” but throwing to grand battement. As the supporting leg pushes to the air,
executed at 90 degrees. the shoulders flip and the supporting leg is thrown as in grand battement
to the back. The jump is landed on the leading leg, thus changing the
Russian – A popular leap that travels through the air in the same man- support.
ner as grand jeté and saut de chat, but with the body open to the audi-
ence and the legs extended in second position on both sides.

Russian, switch – Executed in the same manner as the basic switch leap,
but with the body opening into the open second position in the air.

© Marching Auxiliaries 2007

Guard Terminology
Flag Rifle and Sabre
27 points in space: space around the body that can be Wrist rotations: a motion designed to loosen the wrists
identified with numbers and geared towards a cleaning tool and control timing

Wrist rotations: a motion designed to loosen the wrists and Spins: this is a tool that initiates a “push motion”, then is
control timing used to work timing and isolation

Slams: identifying solid stops and starts to 45 degree Tracks: this is designed to work timing and to make the
angles and gaining control of bent verse extended arm wrists stronger and more flexible

Drop spins: this is a tool that initiates a “pull motion”, Short stops: designed to isolate the strengthening of starts
then is used to work timing and isolation and stops

Double time: this is a quickened version of drop spins with 2 plane singles: designed to isolate starts and stops
slightly different grabs positions through single rotations using both plie and first positions

Butterflies: is a version of two handed wrist rotations tat 2 plane back hand exercise: designed to strengthen and
deals with a a lower space make the wrists more flexible while staying in the 0-0 and
spin dot space, utilizing
Carves: deals with upper and lower space moving through the first and plie positions
45 degree angles

Throw a ways: starting in a slam position, this is designed Tosses

to work timing and to make the wrists stronger and more Spin toss exercise: evolves the spin exercise to a prep in a
flexible continuous toss exercise

5-7 setup: a preperation tool that utilizes the principal;

Tosses time, space and energy
Toss: defined as a piece of equipment leaving the immedi-
ate contact of the body and traveling through space freely Double: a vertical toss rotating 2 times from the starting
position
Parallel: a toss dealing with the horizontal space
Triple: a vertical toss rotating 3 times from the starting
Single: a toss in the vertical space that rotates 1 time from position
the start position
Quad: a vertical toss rotating 4 times from the starting
Single and a half: a toss in the vertical space that rotates 1 position
1/2 times from the starting position
Five: a vertical toss rotating 5 times from the starting
Double: a toss in the vertical space that rotates 2 times position
from the starting position
Six: a vertical toss rotating 5 times from the starting
Forty-five: a toss that leaves any starting position and trav- position
els through the 45 degree plane

© Marching Auxiliaries 2007

Twirling Terminology
Parts of the Baton Thumb Roll (thumb flip): A toss where baton rolls off the
Ball: Larger end of the baton thumb

Tip: Smaller end of the baton Little Joe Flips: Thumb roll flips on one side to other hand
and reverse figure eight to other side to flip again
Shaft: Metal middle of the baton
Box toss: Horizontal box to toss with open hand
Positions of the baton and body Headscratcher: Straight arm loop behind head
Craddle: Lay baton from hand up to elbow
Airplane: Dead stick craddle turn up in front, down in back
Free Hand: The hand without the baton and back over in front as turn
Salute: Left hand on hip, baton perpendicular to floorwith Backscratcher: Bent arm loop behind back
right hand at shoulder and baton extended to hip
Waist Wrap: Horizontal swing around waist and catch on
At ease: Feet in second position with baton resting at leg or opposite side in other hand
behind back
Backhand Toss: Open hand toss where hand flips down to
Attention: Feet in parallel first with baton in cradle position under and up
and free hand on hip
Backhand Catch: Any catch with hand flipped over and palm
up
Basic Twirls
Horizontals: Flat spins in one hand, with ball moving over Spins: A turn done while baton is in the air
arm and tip underneath
Illusions: Step and swing leg in fan motion over as body bows
Verticals: Wrist twirls and ball stays on one side of arm, tip down (1/2 of a cartwheel)
on the other
Fujimi Toss: To catch or toss from under leg
Figure Eights: Ball dips on one side of arm and then the
other to form a figure eight Blind Catch: Any catch completed at the back of the head or
“blind”
Reverse Figure Eights: Ball dips on ooutside of arm first then
inside to form a figure eight Twirls may be combined with any footwork or bodywork for
maximum visual effect
Front Spin: Thumb to ball, tip to ground, flip palm up, left on
top, push to right hand, and return with grabbing right on
top

Flash (flourish): Prep before a trick, pull up, head scratcher

and behind back
Reverse Flash: Reverse figure eight behind back

Box: Horizontal overhead and then under arm

Pinwheels (butterfly): Lunge, reverse figure eights, flash,

reverse figure eight to other side
Arm Roll: Baton rolls over forearm

Elbow Roll: Baton rolls over bent elbow

© Marching Auxiliaries 2007

Teaching Technique to your Guard
by Tim LeBlanc, Director, National Champion Klein High School Color Guard

The ‘swish’ of the silk and the ‘snap’ of a firmly caught weapon are the sounds that any director/instructor dreams and fan-
tasizes about. In order to have a strong and impressive group, technique is a must.

Teaching and using technique should start at the audition and continue throughout the entire school year. With most audi-
tions being in May, that give an instructor plenty of time before band camp to familiarize his/her students with the technique
being used for his/her specific group. This also gives the students a chance to become familiar with each other. Being that
the color guard and inter guard world is ever evolving to incorporate dance, it is not only important to have technique on
equipment but also in dance. Having a well-defined technique regiment can prove beneficial when it comes time for cleaning
and preparing for your contests. Having your students doing the same thing at the same time is one thing, but having them
approach a certain movement or phrase with the same technique and effort is another.

Going through the summer without seeing your students until band camp is usually not beneficial to you and your group.
Meeting a couple times during the summer and having a technique regiment will prove very beneficial in the long run. As
band camp approaches and it becomes time to teach your students their contest program, you will have a strong feel of the
difficulty level your students can handle in order to be successful.

Once you reach the school year and the regular rehearsal season, continuing your specific technique regiment is very impor-
tant to the success of your group. As the instructor you should use your time wisely in rehearsal to go over technique and
the current show choreography. Without technique your choreography will not be on the level you might wish it to be. After
all, your choreography should consist of parts of your technique exercises, but not limited to them, for there are many ways
to interpret the music with choreography.

There are many places and resources that can be found and used if you are unsure of a specific technique you wish to use.
There are a wide variety of interpretations of technique when it comes to handling equipment in the color guard world. Just
be sure that you are clear when you decide on what you will teach.
The importance of technique throughout the year is not only key for a successful show, but also for strength and discipline.
Preparing the right technique regiment for your group may take time and effort, but in the long run will prove to be benefi-
cial for your group.

Examples of everyday technique exercises:

Flag Rifle and Sabre Dance
100 drop spins (both sides) 100 spins (both hands) Stretches
figure 8 / carve exercise (both sides) start and stop exercise Tendu exercise
push – hit exercise (both sides) double time Releve and plie exercise
blue devils and red devils (both sides) backhands Degage exercise
slams flourish exercise Across the floor combination
tosses tosses

Sources for Technique Videos:

www.ugi.org
www.mccormicksnet.com
www.bandshoppe.com

© Marching Auxiliaries 2007

Movement for Color Guard
by Scott Chandler

‘Learn the basics, expand them, learn new lessons, use the music, and most of all, let the hard work be fun!’
With a rich history based in military procession and precision pageantry, the evolution of color guard has included the influence of
every art form imaginable. With the diversity of motion and manipulation of flags as well as changes in the size and shape of
weapons and props, one consistent player has remained…the body. It has been a natural progression for movement to evolve in
color guard especially when one considers the motion of equipment or props manipulating themselves at random in the performance
arena. Obviously, this would be impossible. As designers and instructors have continued to search for new ways to communicate
the intent of the music and the messages in their performances, it seemed inevitable that advancements in movement would
parallel that of equipment and show design. Each aspect plays an important role in the development of the performer’s communication
with the audience. Thus, at the foundation of all skills, is the performer’s ability to control and express through the body.

It is imperative that the performers understand the philosophy behind movement training, its potential and the commitment
involved. Quite often, young performers are over eager to develop their equipment work skills rather than concentrate on body
movement. It is important that these performers understand the role that movement plays in color guard. You need to reassure
them that once they start to become more comfortable with their own sense of motion, the possibilities for dynamic choreography
will increase exponentially. Your approach in dealing with the attitudes of your performers will vary with each personality although
most of them will experience the same insecurities and growing pains that we have all felt at one time or another. Try to tailor the
movement program to meet the specific needs of your performers’ mental and physical abilities to create a ‘comfort zone’ for them.
Also, ensure that you provide a ‘safe haven’ practice area so that your students can develop their confidence. You want to avoid
areas where other groups are practicing or ones that other students use to congregate. Once your performers are comfortable with
their equipment, bodywork, and movement, they will not mind and might even relish the opportunity to practice in front of peers
not involved with color guard.

It is important to establish a consistent rehearsal procedure that should always include preparing the body for the work ahead in
the choreography. The most effective warm-up time should concentrate on flexibility and technique. Use exercises such as plies to
warm the body and work on a sense of alignment at the same time. Incorporating ‘across the floor’ exercises will create a practical
application for perfo rmers who are on the move for the majority of your program. It makes sense to utilize wa rm-up time to deve lop
the skills needed in the traveling process.

Developing a vocabulary for the program should be based on the information that needs to be communicated to the performers.
The music and the intent or theme of the show provides this information and gives a basis for the character of the performer; this
in turn helps the show designer discover how that character should move. Personally, I want my students to know how to jump,
run and kick. If they have that knowledge, they have a good springboard through which to interpret. I also work with ‘effort
changes’ that involve release work ‘hard to soft’, ‘bound to light’, ‘sustained to motion’, etc. The dynamics of the music and the
character give the message depth and any style of program, from the humorous to the dramatic, can be successful within this fra m ework.

The body is the vehicle through with the art of color guard comes to life. Mastering the performance through movement will
enhance every aspect of the color guard performer’s experience.

Scott Chandler
15-time consecutive WGI gold medal winner
Director, Blue Devils of California
Director, WGI Champion Logan HS Winter Guard
Guest Choreographer, TDEA State Convention
Guest Instructor, performance groups in Japan
25 year MA Veteran Instructor and Adjudicator

© Marching Auxiliaries 2007

 Top Ten Technique Tips
by Jennifer Johnson, Director, National Champions Taylorsville High School

Every dance team uses technique. It is always there—in practice, 8. Video Tape: Video practices and performances. Have your
in performance, and especially in competition. Each dance team watch the tape and pick out trouble spots.
move requires technique: turns, leaps, kicks, extension, etc.
Good technique is essential for a competitive team. It is nice to 9. Technique Scoreboard: Make it fun! Choose 5-10 technical
have a team with basic technical skills, but if that is not the case, skills and let your team members pass them off. Keep track, dis-
use the following tips to improve your team’s technique. play the results, and reward your team members for their hard
work.
1. Focus on the Basics: Pointed feet, straight legs, arm
placement, head placement, etc. Remember beginning ballet? 10. Make Corrections Immediately: If a team member makes
a mistake, correct him/her right then. Do not let him/her practice
2. Practice Every Day: Choose specific technique on which to technique incorrectly.
focus each practice. Monday, Wednesday, Friday work on
turns. Tuesday and Thursday work on leaps and extension.
Choose your team’s focus and set up a specific schedule. Technique is something every team needs. Do not become
overwhelmed by the big picture. Work on the basics everyday.
3. Use Technique in Warm-ups: Start practice with a jam. A Use what you know and make it work for your team!
quick, heart rate increasing, 32 count warm-up. Focus on
placement and strength. Brainstorm some other technique building activities:
1.
4. Set a Technique Goal: Want flexibility? Each practice, have
your team sit in the splits for one minute on each side. Then 2.
use flexibility stretches as a team. Choose your goal and work
on it each day. 3.

5. Partner Up!: As a coach or captain you cannot see 4.

e ve r y t h i ng! Have team members pa rtner up to work on
technique or watch one another perform routines. 5.

6. Require Technique in Try-outs: You can get a basic idea of

technique in a try-out. Choose what you want to see: kicks, leaps,
fouette turns, splits, etc. Then choose your team accordingly.

7. Practice in Front of a Mirror: If you have access to a large

studio mirror, use it! If you do not use a mirror everyday, there
is an advantage to using it every once in a while. Students can
see what they are doing right and wrong.

© Marching Auxiliaries 2007

Pilates Conditioning
by Helen Wild-Norris, Certified Pilates Instructor and Test Administrator

Joseph H. Pilates believed that physical fitness is the first requisite of happiness. His interpretation of
physical fitness as “the attainment and maintenance of a uniformly developed body with a sound mind fully
capable of performing varied tasks with spontaneous zest and pleasure” is now a widely popular philosophy
that has largely changed our approach to conditioning. Dancers and various other athletes are drawn to the
regimen of specific sequencing that incorporates six essential elements that serve to not only condition their
body with incredible results, but discipline their mind for improved neuromuscular command. The focus on
stretching, strengthening, and balancing the body has proven the Pilates Method is not only an invaluable
fitness endeavor, but an important aspect of professional sports conditioning and physical rehabilitation.

It is essential to schedule a private session with a certified

reputable professional that will properly introduce the
Pilates Method to your body. Compensated movement,
irregular breathing patterns, and poor posture are just SIX BASIC PILATES PRINCIPLES
a sample of the areas your instructor will correct for
you to achieve maximum benefit. Once you understand  Centering: The main focus of Pilates.
the basic concepts, more affordable group classes are The center is the “powerhouse” of
available so that you may continue a regimen of two to the body.
three times a week.  Concentration: Exercises are
executed with focus to center the
The three main categories of exercises are the Basic, mind with the body in action.
Intermediate, and Advanced Lines. All new students,  Control: Work form the center to
regardless of prior fitness ability, begin with the basic control movement. Habits must not
line and systematically build upon this foundation. take over.
This ensures a safe and effective transformation of your  Precision: Each exercise has a precise
body. It is important to remember that patience is key! goal to reach the full benefit of every
Strengthening intrinsic muscles of the body (including exercise.
deep core muscles) and adapting to new and healthy  Breath: All exercises are done with
habits of posture takes time and effort to be lasting and the rhythm of the breath with the an
effective. Pilates allows you to not only reap the benefits emphasis on exhalation.
of exercise, but enjoy the process of transformation!  Flow: There is a minimum of move
ment for a maximum flow.
Here’s how to get the most out of your Pilates experience.

If taking a group mat class for the first time:

 Arrive on time for class. If you are new to the facility, arrive a few minutes early to complete the
medical waiver and to pay for class.
 Tell the instructor you are new to the class.
 Inform the instructor if you have any injuries or restrictions.
 Wear comfortable clothing and no shoes.
 Be sure to drink plenty of water after class.
 Expect the instructor to verbally cue you rather then demonstrate exercises.
 Expect feedback and corrections on your exercise form. This is what you’re paying for!

© Marching Auxiliaries 2007

 Many Pilates studios offer group equipment classes that use the Reformer, Cadillac, Tower, and Wunda Chair
as an affordable alternative to one-on-one instruction. You should use caution when enrolling in these classes
and only do so after at least three private sessions. It is essential to be familiar with the apparatus before
exercising in one of these group sessions.

Questions to ask when choosing a Pilates instructor:

1. Where were you certified? You want to select an instructor that has been through a
rigorous training process that required at least 600 hours of apprentice work.
2. Why did you choose that certification program? If you are not familiar with the many
certifications available today, just having someone explain why they chose the program
can alert you to the type of instructor they are. DO NOT select an individual that based
their decision on how easy or fast the program was to complete.
3. How long have you been teaching Pilates? It is best to choose an instructor that has been
teaching for at least two years.
4. What is your background? Instructors that have experience and education in physical
therapy, dance and other fields related to kinesiology, tend to be acutely aware of
alignment and are able to explain the changes in execution that need to be made.

If taking a Pilates group equipment class for the first time:

 Arrive on time for class. If you are new to the facility, arrive a few minutes early to complete the medical
waiver and to pay for class.
 Tell the instructor you are new to the class.
 Be familiar with the specific equipment you will be using. Arrive a few minutes early to class if this is a
new studio.
 Inform the instructor if you have any injuries or restrictions.
 Wear comfortable clothing and no shoes. Socks are recommended for equipment work.
 Expect the instructor to verbally cue you rather then demonstrate exercises.
 Expect the instructor to manually cue or spot you to assist you in your execution of exercises.

© Marching Auxiliaries 2007

An introduction to Pilates mat:
The Hundred (Basic):
1. Lie on your back and pull your knees into your chest. Inhale deeply and sink your chest and abdomen
into the mat beneath you.
2. Reach your arms long at your side, reaching for the wall in front of you as you bring your chin up to
your chest and focus on your belly.
3. Stretch your legs up to the ceiling and squeeze your buttocks and inner thighs as you lower your legs
to an angle.
4. Pump your arms up and down from the shoulder while constantly pulling your navel to spine.
5. Deeply inhale for five counts and ex h ale for five counts. Repeat for one hundred counts.
The Roll Up (Basic):
1. Lie flat on your back with your arms extended overhead and pull your navel to spine. Squeeze your
buttocks and upper inner thighs together and flex your feet.
2. Reach your arms up to the ceiling and pull your head through your arms (as though your framing
your face with your straight arms). Continue to pull your navel to spine as you roll up and forward
staying round. Do not flatten your back as you reach for your toes.
3. Initiating from your belly, pull your navel into the lower back as you pinch the bottom and roll down
one ve rt eb rae at a time. The arms stay shoulder height as you roll back and then reach up for the
ceiling and finally back over your head.
4. Inhale to come up, ex h ale to reach for your toes. Inhale to roll back, ex h ale from the waistline to the mat.
Single Leg Circles (Basic):
1. Lie flat on your back with the arms extended down by your sides, navel to spine, with one leg straight
` up to the ceiling.
2. The leg then makes a small circle crossing over the body first (counterclockwise). Ke ep both hips and
shoulders anchored to the mat at all times.
3. After five circles in one direction, reverse and then bend the leg in and stretch it long.
4. Rep e at on the other leg.
5. Breathe naturally.
Rolling Like A Ball (Basic):
1. Sitting up, bring your bottom down to your heels bending your knees and grabbing your ankles.
2. The head is rested on the chest in between the knees. Feet are slightly off the mat and slightly pointed.
3. Use your navel to initiate the rolling back and rolling forward staying in a ball position.
4. Ke ep your heels glued to your body the entire time with your shoulders depressed and chest relaxed.
5. Inhale as you go back and ex h ale as you go forward.
Single Leg Stretch (Basic):
1. Lie flat on your back with the right leg bent into the chest. Put your right hand on your ankle and
your left hand on your knee. (This will ke ep your leg in proper alignment with your hip).
2. Lift you chin up to your chest, focusing on your belly. Extend you left leg out at an angle reaching
as far to the floor as you can while still maintaining navel to spine.
3. Inhale as you pull the right knee to your right shoulder twice and ex h ale as you switch and pull your
left knee in to your left shoulder. (Hand pla c ement on left leg should be left hand on ankle and
rights hand on knee).
4. Rep e at five to ten times and pull both knees to chest.

© Marching Auxiliaries 2007

 Double Leg Stretch (Basic):
1. Lie flat on your back with both knees bent to chest, grabbing your ankles with both hands.
2. The chin is lifted to chest and remains there as you inhale and reach the arms and legs long and
strong in opposite directions and hold the position.
3. The arms scoop around to the sides and back down to grab your ankles hugging them into the chest
as you ex h ale. Rem ember to keep the navel to spine and lift your legs up at the angle as high as
need be to protect the back.
4. Rep e at five to ten times and pull both knees to chest.
Single Straight Leg Stretch (Intermediate):
1. Lie flat on your back, navel to spine and chin to chest.
2. Stretch your right leg straight up in air as you grab your right ankle with both hands. The opposite
leg is stretched out at an angle, hovering slightly above the mat.
3. Keeping the elbows out, pull the right leg toward with a pulse then switch the legs keeping them
straight the entire time. Inhale one leg and ex h ale the other.
4. Rep e at five to ten times.
Double Straight Leg Stretch (Intermediate):
1. Put your hands behind your head, lift your chin to your chest, and bring your legs together at a
ninety-degree angle in slight first position (Pilates stance).
2. Squeezing your bottom and inner thighs, lower both legs to the floor as much as possible while still
maintaining a flat back and inhale.
3. Drawing your navel deeper to the spine, ex h ale as you bring the legs back up to the start position.
4. Rep e at five to ten times and pull; both knees to your chest.
Criss Cross (Intermediate):
1. Lie flat on your back with both hands behind your head, drawing your chin up to your chest.
2. Put your left elbow to your right knee as you extend the left leg out at an angle just above the floor.
Look behind you as you pull your right elbow to the back wall.
3. Switch and pull your right elbow to your left knee as the right leg extends out.
4. Inhale one set and ex h ale one set. Repeat for five to ten sets.
Spine Stretch Forward (Basic):
1. Sit up with your legs extended straight in front shoulder width apart with flexed feet. Extend both
a rms out in front of your shoulders.
2. Starting from the top of your head and drawing the navel to spine, roll down and forward one
vert eb rae at a time as your arms continue to reach forward. Exhale as you roll into a “C”, never
flattening the lower back to the floor.
3. Squeeze your buttocks as you inhale and roll up, stacking one ve rt eb ra at a time and initiating from
the navel.
4. Rep e at 5 times.

***Remember that Basic does not mean easy but rather the first exercises
introduced that are essential for the process of transformation.

For additional information: www.pilates-studio.com www.pilatesmethodallisnce.com

© Marching Auxiliaries 2007

3

The Discipline of Technique

by Kelli Woodruff
A dancer who has a strong dance technique back ground w i l l
Clean lines, injury prevention, effortless movements, body make even a grand jeté look more effo rt less and beautiful than a
awareness, strength of movement, and ability to execute dancer who has not been trained on the fundamentals of dance
a dvanced dance skills are all reasons to focus time and energy on technique. A dancer with strong dance technique will dance with
dance technique. The desire to perfect these strengths motivates more control because she will understand how her body works
dancers to focus both time and energy on basic key elements and how to proper align and execute a movement. Also an
of mature technique. In my opinion there is nothing more beautiful understanding of dance technique will allow a student to be
than a dancer who performs movements with clean lines and able to move on to more advanced chorographical elements that
looks as though his/her body is being elongated beyond the might require the dancer to move off her center of gravity.
finger tips and toes. Hyper-extended arms, flexed feet, hunched Once a dancer can execute basic dance technique movements
shoulders, released abdominals, bent knees, and lifeless hands properly, he/she can then move on to more difficult movements
are all body alignment issues in dance that ruin the beautiful and are able to perfo rm them with correct body alignment.
clean lines a dancer is working to achieve. Also, when the body
parts mentioned above are not properly aligned the execution Plié
of dance skills seem laborious where as the goal is to make [plee-AY]
dance seem effortless. Bent, bending. A bending of the knee or knees. This is an
Because ballet is said to be the foundation of all dance, it is exercise to render the joints and muscles soft and pliable
imperative to incorporate at least the fundamentals of ballet and the tendons flexible and elastic, and to develop a
into dance training. It is very difficult for a dancer to perform sense of balance.
an advanced dance movement if he/she does not have an Tendu
understanding of correct alignment and placement in basic [tahn-DEW]
dance movements. If a dancer can grasp the basic concepts of Stretched. A tendu is an exercise to force the insteps well
movements such as a plié or tendu, and learn how to execute
outward. The working foot slides from the first or fifth
them properly, then the dancer can move on to more difficult
movements and execute them accurately. position to the second or fourth position without lifting
the toe from the ground. Both knees must be kept straight.
Two dance basics that are beneficial in working on dance technique When the foot reaches the position pointe tendue, it then
are plié and tendu. A plié is so important to be able to perform returns to the first or fifth position.
well because it is the beginning and end of many movments….
pirouette prep, prep for a grand jeté or other leaps. A plié also
allows for ease of recovery or landing from many movements Dance technique, however, should never be sacrificed for height
and a soft recovery will protect joints from being jarred and in leaps or kicks. It is also better to execute fewer turns properly
stressed, thus ex t e n ding the dancers’ career and protecting the than to constantly work for multiple turns performed incorrectly.
dancer from knee and ankle injuries. The more the body is trained to align properly the stronger the
dancer will become as the muscles rem ember the correct alignment
A tendu is important for the dancer to learn in order for the position. When crunch time for contest season comes a round,
foot and leg to be shaped properly when leaving the floor.
continue to incorporate dance technique into the cle a ning process
The leg should stretch from the hip all the way to the end of
the toes. Toes should not rest on the floor as a tendu is being of dances. If pirouettes are not being executed properly, then
executed. As the leg is moved from a closed position to the have students practice the turn as a balance. Repeat the turn
stretched (tendu) the leg remains straight. Performing tendus section without the turn several times just working on placement.
repetitively trains the leg not to bend as it begins to leave the Then repeat the turn section several times with the music in
floor. So, when more advanced movements such as grand battements order to execute this section with precision. Critique each student
or high kicks are taught, the leg is automatically used to not on the mechanics, and have the students critique each other. It
bending as it leaves the floor. Performing tendus in derriere is is difficult to see what each student needs to work on, which is
effective in training the back leg to extend in a grand jeté why it is helpful to have dancers watch each other. They learn
instead of being bent. Students frequently fail to straighten a great deal from watching especially if a weaker dancer is
their back legs in leaps, but going back to the basic tendu in paired up with a stronger dancer. Try not to let a movement in
warm-up helps to remind dancers of how it feels for the back a dance go by without working on the proper technical exe c ution.
leg to be straight and foot pointed before their leg ever leaves
the floor. It is a slow process having to go back to the basics, but it is definitely
important, especially if a dancer has not received prior proper
As a dancer becomes more aware of the mechanics of a small training. With the advancement of dance skills being performed
movement as a plié or tendu then the body becomes more with dance teams today it is worth the time and energy to go
aware of how it should move while executing more difficult back to the basics and train the body to align properly. Many
movements. Thus injuries are less likely to occur as the body is injuries will be prevented and your dancers will be less frustrated
now aligned and able to execute a movement more efficiently. once they know how their body works.

© Marching Auxiliaries 2007

 Dance Fundamentals
– Basic to Advanced Skills
by Kelli Woodruff
I am a strong advocate that dance technique begins in the center during warm-up, not through progressions across the
floor. If a dancer does not know the basics of how the foot should leave the floor or how the body should align, a p i ro u-
ette, kick, leap or other movements will not be executed with proper dance technique and more advanced movements will
not be achieved. I also feel it is imperative that dance directors should incorporate dance technique into as many
rehearsals as possible. Scheduling time each day for dance technique is essential for dancers to develop strength and
skill to perfo rm advanced movements. If a detailed schedule is used during each practice you can find time to incorporate
dance technique into practice. Utilize time during spring training and summer practice to teach basic technique combinations
that you expect your dancers to execute. Ke ep the combinations simple, focusing on dance technique instead of choreography.
I have developed a center barre warm-up that has helped my team increase their dance technique and allowed them to
be able to learn more difficult dance movements and execute them with efficiency. I start in the center because I want
my dancers to focus on alignment of their body and have their muscles rem ember how to align properly before executing
more difficult skills.
During summer practice I teach the center barre warm-up and do it almost every day for 2-weeks of summer pra ctice. It
is a set center barre so that once the dancers know it, they do not have to think about memorizing combinations -only
focusing on their body alignment. Once school starts it is often difficult to incorporate a long technical wa rm-up into practice,
but I schedule it in at least once a week. I also h ave my officers incorporate sections of it on their warm -up days. Besides
describing center barre, I have broken down several basic dance skills for you, such as pirouettes and j e t é s. Again, I go
back to the basics during summer training to make sure everyone knows the mechanics of each movement instead of
jumping right into the movement. Also, once the combinations are taught for center barre, the officers can lead the
movements and demonstrate, leaving the teacher free to walk among the dancers to correct alignment.
Dance technique can be taught many ways, but this is what works for me and I have seen very positive results. I am
constantly revising my warm-up and learning new ways to train my dancers and strengthen their dance technique.
Some of the combinations change, but the structure of the warm-up stays pretty much the same. (Pre-wa rm up to wake
up the body and get the blood pumping, isolations, standing stretches, center barre, and floor stretches.) You will find
that dancers get a much deeper more efficient stretch after doing the center barre because their bodies are VERY warm!
Then I move the students across the floor for progressions. I alternate turn days with kick/leap days. I do continue to
throw more advanced skills at the team even if I know they will not be executed properly because students NEED to
have a challenge.
Working on dance technique might seem impossible each day with the need to clean choreography, but if you schedule
it in to each practice you CAN make it happen, and you WILL see an enormous improvement in your dancers. The ben-
efits ARE worth it!
PRE-BARRE WARM-UP: Initial Warm-up to increase heart rate and wake up the body
HEAD CIRCLES & ROLL DOWN
8 Head circles R 2 X (2nd time add the upper body)
8 Roll down 1-2, Plié 3-4, Stretch 5-6, Roll-up 7-8
REPEAT LRL
SIDE STRETCH – keep it moving
8 Lateral stretch 1-2, Flat back 3-4, Combré back 5-6, Flat 7-8
8 Bend L leg 1-2, Straighten 3-4 Drop Swing all the way down to the floor and up center 5-8
REPEAT LRL
PULSES IN SECOND – inner thigh strength & shape of foot in forced arch, prevent sickling
8 Plié 2nd with arms 1st 1-2, plié 2nd arms to 2nd 3-4, plié pulse 2nd 5-8
REPEAT MANY TIMES
8 Stay low and pulse progressively getting lower
8 Hold plié 2nd – lift R heel off 1 and down 2 continue LRL (MAKE SURE STUDENTS DO NOT SICKLE
FOOT AS THE HEEL LIFTS)
8 In plié 2nd – lift both heels off and replace every 2 counts
8 Hold heels off Straighten knees to demi pointe

© Marching Auxiliaries 2007

ISOLATIONS: Learn to move one body part independently of others
Head, Shoulders, Ribs, Hips
CENTER STRETCH: Runner’s Lunge Combination (hold the stretch for longer if desired)
8 Runner’s Stretch – R leg back, R elbow down L arm reach to ceiling
8 Switch for L hand on floor & R arm reach to ceiling
8 Center & Stretch back sending back heel to the floor and knees straight
8 Flex front 4cts, Back heel 4cts
8 Flex front turn out and lunge with elbows down
8 Return center and push back to yoga Down Dog – Feet together
8 Tread RLRL
8 Ponché R & pulse the leg up
REPEAT TO THE OTHER SIDE
8 Walk feet together parallel stretch
8 Bend R – 4 cts, L - 4cts,
8 Bend in 2 cts RL, then alternate RLRL
8 Tuck – stretch over the feet for the arches
8 Stretch and roll-up
(Sometimes I add in abdominal exercises at this point in the warm-up in order for the dancers to feel where their center
is located and are able to hold it correctly while performing center barre)
CENTER BARRE
BREAK STEP
(Use as a breather step, to stretch the back, and work on turn-out)
8 In turned out 1st, Circle arms back and arch 1-2, Stretch over legs nose to knees 3-4, hold 5-8
8 Plié 1-2, Stretch 3-4 Roll up 5-8

FOOT ARTICULATIONS – Parallel & turned out 1st

(Strengthen the foot and learn how the foot should leave and return to the floor)
8 R foot - Ball 1, point and take the toes off the floor 2, ball 3, heel down 4, Repeat L 5-8
8 REPEAT R&L
8 Push the foot off the floor to a point 4 X R & 4 X L
8 REPEAT R & L
TURN OUT AND REPEAT ALL IN 1ST

PLIÉS – 1st, 2nd, 5th R & 5th L

(Works turn-out, alignment of leg in turn-out, strengthen legs to maintain stability in demi pointe)
8 2 demi pliés 1-4, grand plié 5-8
8 Elevé with arms to 5th 1-4, Lower heels and change positions 5-8

ELEVÉ – 1st position

(Strengthen the legs to maintain balance for turns, alignment of torso, begin balance transfer to 1 leg)
8 Curl toes 1, Flatten 2, elevé up 3, lower 4, REPEAT
REPEAT 2X
8 Balance in 1st
8 Elevé up and down 8 Xs
8 Balance on demi point
8 Transfer weight to R & take L foot back to coupé
REPEAT TO L
TENDUS – 1st position
(Works to knee straight as the leg leaves the floor, point the foot, not put weight on extended toe, balance on one leg)
8 Tendu, plié en croix R
8 REPEAT L
8 Tendu, flex, tendu, close en croix R
8 Continue R
8 REPEAT L
8 Continue L

© Marching Auxiliaries 2007

 DEGAGÉS 1st position
(Work to keep knee straight as the leg leaves the floor, use the brush of the foot along the floor, shape of the foot, &
balance on one leg)
8 4 each postion en croix R
8 Continue R
8 REPEAT L
8 Continue L
Break Step
ROND DE JAMBE – Legs in 1st, Hand on supporting hip and other arm in 2nd
(Stabilization of pelvis, rotation of leg in hip socket (prepare for fouettes), elongation of leg, shape of the foot, & bal-
ance)
8 2 slow rond de jambs on the R 1-4 & 5-8
8 1-4 R off the floor rond de jambe, 5 brush leg front to 90 degrees, 6 retiré, 7 lower 1st , 8 change hands
8 REPEAT ON L en dehors
8 Continue L
8 REPEAT R en dedans
8 Continue R
8 REPEAT L en dedans
8 Continue L
PASSÉ WORK – parallel and turned out 1st
(alignment of body for pirouette parallel and turned out)
8 Coupé R parallel 1-2, bring to passé 3-4, pulse the knee up to the shoulder 4X 5-8
8 Passé with arms 1st 1-2, Elevé and hold 3-7, lower 8
REPEAT LRL parallel, REPEAT RLRL turned out
Break Step
FONDU, ATTITUDE, DEVELOPPÉ- from turned out 1st
(Strength in supporting leg, alignment of torso, strength in center, extension of legs, shape of foot)
8 Fondu en croix with R leg
8 Passé 1, attitude 2 en croix
8 Passé 1, flex foot developpé 2, elevé and point 3, lower to 1st 4 CONTINUE EN CROIX
8 CONTINUE
REPEAT ALL ON LEFT
FLOOR STRETCHES: Any of the usual floor stretches but it is also a good time to partner stretch because the
dancers are VERY warm. Pretzel, Second, Parallel, Butterfly, etc….
 PIROUETTES – Break down each element of a pirouette before performing the turn and definitely go back to
the basics when more advanced turns are looking sloppy.
 Balance in passé – effective to use partners, 1 person balances in passé with the arms in 1st while the
other holds under the fore arm and corrects alignment of the person balancing
 Spotting Exercise – Beginning dancers often do not understand the concept of turning the head and fo c u sing
on a spot.
 Have the dancers stand in first parallel focusing on a spot on the wall.
 Combo: 1-4 Take 4 small steps to the R positioning the feet to the back while holding the focus, 5
whip the head around “spot”, 6-8 catch the feet up to the head before repeating.
 Beginning the rotation of the turn – (balance, _, _, whole)
 Combo: 1&2 Kick ball change into pirouette prep, 3-4 Balance hold in passé, REPEAT 4 X
 Add four 1/4 -turn to the balance 4Xs
 Add 1/2 turn to the balance 4Xs
 Add full pirouette single with balance 4Xs
 Pirouettes across the floor-- cross ball change 2X, prep, pirouette (oldie but goodie)
 Add to the simple combo more advanced elements
 Change the pirouette to a coupé turn, pencil turn, leg grab turn, etc…
 Perform only 1 cross ball change to the prep, perform a pirouette then plié releve into another
type of turn: attitude 2nd, turned out passé with different arms, 2nd turn, fouetté, etc….
 Group work for pirouettes: Group work is wonderful to be able to concentrate on balance, strengthening,
and turning all at the same time with no one waiting for their turn. Very efficient use of time!

© Marching Auxiliaries 2007

  1 group is performing elevés at the barre to strengthen the support i ng leg (could be in any
position - also can focus on fouette preps)
 1 group is practicing balancing with a partner (any position)
 1 group is in the center working on a turn combination
 JETÉS – Break each element down into the following: strength of bottom foot to push off the floor, Front leg
straight, back leg straight, height of jump
 Chassé - I like to start with simple chassés for beginners in order to work on toe-ball-heel
action as well as momentum and height
 Chassé Battement Sauté Combo: Works the bottom foot to push off the floor, front leg extension, and
coordination of arms to keep shoulders down
8 1& Chassé R, 2 Brush the L leg (it was in back at the end of the chasse) through 1st to 90 degrees
and sauté so the bottom foot is pointed. (Arms 2nd 1&, circle down and up to 5th 2).
Continue repeating as it alternates legs
 Piqué Arabesque Combo: Extension of back leg, maintaining stability and alignment in torso, rolling
through the foot to plié at end of a jeté
8 4 Walks RLRL 1-4, Piqué arabesque and roll through the foot into plié 5-8
REPEAT as it alternates legs
 Combine the elements together into a jeté combo:
COMBO IDEAS:
 Chassé, step, jeté – alternating legs
 Only do 1 Chassé step jeté then continue to step jeté repetitively across the floor on the same leg –
this helps with stamina for multiple leap sequences and getting the hips up
 Step, hop in passé, 2 Runs, Jeté 2X or more
 ADVANCED SKILLS
 Fouettes – have students repeat many times at the barre or holding on to a partner the following prep:
8 (Begin on relevé with R leg in passé) Plié and extend R leg to 90 to front - 1, stay in plié and open
R leg 2nd - &, bring the R leg into passé turned out 2
CONTINUE TO REPEAT (Same prep can work on 2nds just leave the leg out instead of bringing into passé)
* Let students just go for the fouette in the center of the room doing as many as possible for a particular amount of music.
I have found that the repetitiveness helps them to continue trying to correct the alignment issues that I am mentioning.
 AXLE
 2 Steps pick up to passé and lower
 Chainé passé step prep (Kick bottom leg up the next time)
 Chassé, plié rond de jambe to passé
 CHAINÉ, PIQUÉ, SOUTENU, LAME DUCK
 Teach each of the above traveling turns individually without having the students perform the
rotations. Then perform each turn individually with the rotations going across the floor.
Third, work toward adding all four of the turns together. Practice without the revolutions in
order to work on placement and alignment then add the revolutions.
 LEG GRAB & LEG TURNS (traveling across the floor)
8 Step L 1, Kick R front 2, step R 3, kick L front 4, step L and turn to the front 5, kick R to second
facing front 6, step R 7, half turn and dig the L foot 8
8 Walk LR 1-2, Lunge on the L leg to prep for a R leg grab or leg turn 3-4, Brush R leg up for leg
grab & hold 5-7, step 8
REPEAT 2X with just a leg grab / REPEAT 2 times with a leg turn
 RUSSIAN – tombé pas de bourre Russian, step back and turn out of it
 REVERSE JETÉ - 2 runs & reverse

© Marching Auxiliaries 2007

 Modern Dance Improvisations
by Roxanne Gage

Improvisation and Partnering:

Start with an introduction in small groups of 6 or 8
Name and Gesture
Gesture pass game
Babble for 30 seconds w/ partner
I could tell a story about…

Fun Games
Mirroring—in 2’s changing leaders
Follow the leader—In 4’s changing leaders
Conversations—Tell story w/movement, stop and other responds
Flash Dances—Call out random words for dancers to express

Moving Through Space:

Far Apart, Close Together
Follow and Leave
Forming Duets and Trios
Guiding Someone & Changing Directions
Lowering to the floor, Assisting up
Levels and Shapes
Shape Tag
Trust Walks straight across floor--eyes closed
Guiding partners around the floor –eyes closed
Walking in trios connected
Pushing/Resisting Across the floor

Taking and Giving Weight, Balance and Counterbalance

Sitting Back to Back
On all fours
Standing lean away
Creative lifts
Hand to hand partnering (never release)

© Marching Auxiliaries 2007