Professional dancers make their movements seem effortless, as though they are gliding on air, but ballet is a workout. Ballet barres are support tools used to work through a series of warm-up exercises in a ballet studio before engaging in free movements, or center work. Portable ballet barres available for the home make ballet barre workouts accessible to almost anyone. Ballet posture and movements require muscle strength to maintain. Starting with basic exercises and proper posture make for the beginning of a beneficial ballet workout.
Step 1
Stretch your body beforehand. Stretching before a ballet barre workout limbers your body and prepares it for the exercise to come. Take stock of any injuries or impairments you may have---stretching and assessing your condition beforehand allows you to modify your exercises according to injuries or soreness.
Step 2
Familiarize yourself with proper posture. Imagine a string running from the top of your head to the bottom of your toes. When standing, that string is pulled tight. Stand with your head tall and back straight. Your ear, shoulder, hip and ankle should align when standing properly.
Step 3
Learn the foot positions common to ballet. First position is executed with your heels together and feet pointed outward in a V. Second position is similar, but with space between your feet---about a foot wide. Fifth position is executed by crossing the feet, the heel of one foot resting against the toe of the left. Fourth position is the same as fifth, with the space of a foot between your front and back foot.
Step 4
Begin with plié. There are two basic types, demi-plié and grand plié. Plié simply means to bend at the knee. Demi-plié involves a shallow bend, while grand plié is similar to deep knee bends. Execute five demi-pliés and one grand plié in first, second, fourth and fifth positions. These strengthen the thigh muscles and abdomen---the abdomen is worked by maintaining proper posture.
Step 5
Continue your ballet barre workout with tendu. The tendu is an exercise where the foot is moved from the beginning position, pushing against the floor for resistance, ending in a pointed foot. Tendus work the buttocks and abdomen and help develop balance. Work 10 repetitions to the front, side and back of your person on each leg.
Step 6
Execute relevés. Relevés, also known as going demi-pointe, involve lifting the heels and standing with the ball of the foot flat on the floor. Turn toward the bar and use it as needed for support and to find balance. Execute 10 relevés, ending in a demi-plié to loosen the knee joints.
Step 7
Work on battement dégagé. Dégagé is much like tendu, except the movement is carried further by lifting the foot a short distance from the floor in a quick burst of energy. Do 10 dégagés to the front, side and back.
Step 8
Round out your workout with rond de jambe---tendu worked in a semicircle. This movement can be executed on the floor or in the air. Only the leg that is executing the movement should move. Your body, hips and supporting leg remains solitary. Work your leg in a rond de jambe semicircle through first, fourth front, second and arabesque, or back positions to start again. Repeat 10 times on each leg.
Tips and Warnings
- To find your natural turnout, stand with your feet parallel. Keep your heels rooted on the ground and lift your toes outward, moving them away from your body. Where they naturally land is your turnout---don't force a wider turnout, because this can result in injury. Time and exercise will improve your turnout.
- Improper technique and posture can cause countless injuries and, in some cases, permanent damage. Speak to a professional ballet instructor or take a class, even once, to learn where movements and turnout originate from, as well as proper posture. A second set of eyes on your technique can prevent costly and painful problems in the future.
References
- "The Joffery Ballet School's Ballet Fit"; Dena Simone Moss, Allison Kyle Leopold; 1998
- "The New York City Ballet Workout"; Peter Martins, Howard Kaplan; 1997
- "Teaching Beginning Ballet Technique"; Gayle Kassing, Danielle Mary Jay; 1998
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