The Ballet Barre
This article will focus on the qualities of the barre such as:
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distinguishing levels - what is beginner, intermediate and advanced
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basic progression of exercises through the barre
- pre-barre exercises and post-barre exercises
Distinguishing Levels of Technique
Typically the levels of beginner, intermediate, and advanced are used to describe the student's skill level and the complexity of the training material. These common three levels can hold many shades - beginner-intermediate, intermediate-beginner, intermediate-advanced, etc.
You can describe technique levels any way you please. I tend to use six, rather than three levels, and I refer to them numerically as levels 1 through 6. I'm encouraging you to use whatever is most effective - the primary purpose in establishing these levels is to establish a reference point and a structure to help you develop your dancers.
The first step in distinguishing levels of technique is to consider accomplished dancers and the balletic movements they can make. Work backwards from each of these movements and decompose them into increasingly simpler exercises. The final, polished movement that you start with might well fit into my level 6. Decompose it once and you might wind up with a few level 5 skills. This continues until the most basic elements are isolated as exercises for the most basic levels.
Example: to master a ballonné a dancer must be able to perform many component steps naturally and without much concentration. Working backwards as mentioned above, you would look to see what basic movement makes up a ballonné. The obvious choice is battement fondu. Then you would look to see if there are other basic components that assist the dancer in mastering the ballonné. The next obvious choice would be battement frappé. These two steps, when combined with more basic movements like plié and sauté, create the movement ballonné.
To develop this idea further you would look at what component steps allow the dancer to master battement fondu and battement frappé: battement frappé’s basic training step is the battement jeté and battement fondu’s basic building step is the battement soutenu.
Look backwards from finished dancer to their first steps and you'll better understand the logical progression the training must take. This exercise should also reinforce the importance of having your students perform even the simplest of steps effortlessly and with artistry. The students really are establishing their dance foundation with these simple steps!
The second step in distinguishing levels is to consider how the exercises are composed. This includes the tempo, length, and complication of the exercise. In the intermediate levels certain exercises are combined to form one long exercise and in the more advanced levels combined exercises can become quite intricate.
Example: in the more basic levels ronds de jambes à terre and en l’air, petits battements sur le cou de pieds, and tours (I use the term tours in place of what most call pirouettes) are executed separately. At the intermediate level you would begin to combine ronds de jambes à terre and en l’air. Also, petits battements and tours are combined. Advancing further, tours and petits battements are combined with ronds de jambes en l’air.
As the student gains mastery over each of these levels the exercises become more complicated and tempos are increased. Further advancement of the dancer’s technique comes when the duration of each exercise is lengthened and both sides of the barre exercise is done without pause. As these advancements are added the barre takes half the time to accomplish than a beginning level barre. This allows more time in the centre, where the advanced dancer must excel.
The Progression of Barre Exercises
The barre is a very special type of organizational training tool. It should be a well designed step-by-step process which brings out the best in the dancer’s muscular and mental receptivity, and supports the dancer in all aspects of the post-barre class. You will notice that each type of exercise, such as tendus, ronds de jambes, fondu, etc., are set in a progressive manner. This coincides with which areas of the body are worked first. Typically speaking, you should begin working the feet then moving up the body to the legs, hips, upper back and torso. As the barre advances and each type of exercise encountered, a new part of the body is asked either to become engaged or to extend its engagement with greater endurance, control and artistry.
Don't consider the barre as just a warm-up for centre work. It is the only place the dancer can really work hard one leg at a time. In the beginning to intermediate years, the student should expend at least half their full energy working the barre. In the more advanced years the student should learn to work the barre efficiently, though not with reduced power or concentration.
It is also not wise to insist that the barre be grasped in a light-touch manner. Insure that the correct placement is maintained at all times, but consider the firmness of the attached rail to be an isometric tool that can be used to strengthen your dancers. Used correctly, it will help your students realize the full benefit of the barre exercises - primarily strength and control.
In the following paragraphs the barre is dissected into its component movements, from pliés to grand battements jetés. For each component a brief overview is given, as well as discussion of how the component relates to the beginning, intermediate and advanced levels. You may read section in its entirety or click on the links below to go to the exercises that interest you the most.
Recommended musical measure - 4/4; supplemental musical measure - 3/4
This begins the process, warming up the legs, especially the achilles tendon, and sets the placement for the dancer to build on. Also, port de bras should be included to work the upper back and torso.
Beginning level - pliés should be conducted only in 1st, 2nd, 3rd and 5th positions. 4th position should not be attempted until the student has gained some mastery in 5th position. When legs are crossed and turned out, as in 4th and 5th positions, the hips have a tendency to tilt in favor of one side or the other. In 5th position this tendency is lessened due to the fact that the legs are close together. In 4 position the tendency of the hips to tilt becomes greater because the legs are separated from each other. When beginning to introduce 4th position it is preferable to allow the student to stand in an open, or wide, stance as opposed to the more correct heel-to-toe alignment. Port de bras should be kept simple. This is where the beginning student begins to master their hands, shoulders, forearms and biceps, and close attention should be paid to these areas.
Intermediate level - plies are done in 1st, 2nd, 4th and 5th positions. ( 3rd position is discarded by the first year in training. It is an archaic position largely unused). Musical tempos are varied, as well as port de bras. Balance is also an aspect of pliés, though not to strenuous but more for positioning of the body.
Advanced level - pliés are executed in the positions as in the intermediate level. However, grande pliés can be executed in half measures (2 beats of 4/4) instead of the even whole measures of 4/4 or 3/4. Port de bras become much larger and executed with greater speed and fluidity.
Recommended musical measure - 2/4;
This is the first instance where the dancer begins to move their lower limbs repetitively and generates a rise in inner body temperature. That is why it is placed second on the barre’s list. In the intermediate to advanced years the dancer should begin to break out in a sweat by the end of this part of the barre. This action begins to accelerate the body’s metabolism and allows the muscles to be more receptive to the next exercises.
Beginning level - tendus should be broken down in a four step process; 1 - from 1st position battement the leg until the ball of the foot is reached but before the foot is completely pointed (keeping the heel forward and the arch of the foot as extreme as possible), 2 - stretch the foot completely, 3 - return the foot to the ball (as in step #1), 4 - return the leg to original starting position. It cannot be stressed enough that this is where the quality of artistry and technique is determined - the first beginnings learning battement tendu. Repetitive exercises is a must - as much as the student can handle. Exercises are kept simple.
Intermediate level - tendus should be done almost exclusively in 5th position. As the dancer becomes more adept at advance work there will be only a small amount of allegro or adagio work done in 1st position. The exercise should begin to combine both the battement tendus with the battements tendus jetés. These movements are brother and sister and should be used in concert. The musical tempo (2/4) should be increased and the introduction of the épaulement positions (effacé, croisé, and écarté) should become an integral part of the combination. Using the épaulement position regularly and with great emphasis will develop the upper body strength the dancer will need when attempting advanced allegros and adagios. Tendus should also be execute on whole measures, half measures and, in very tightly controlled ways, quarter measures. (Quarter measures are usually reserved for advanced dancers where speed and accuracy becomes the hallmark).
Advanced level - all the instructions for the intermediate level should be followed. New materials are introduced, such as flic-flac en tournant (both en dehors and en dedans) and tours. Tendus and jetés should also be done with greater occurrence using half and quarter measure movements. Example: 2 tendus each on 1 beat (1 full measure of 2/4); 3 jetés each on a 1/2 beat, pause 1/2 beat (1 full measure of 2/4); 5 jetés each on 1/4 beat, pause 3 1/4 beats (1 full measure of 2/4); demi-plie on 1 measure. Exercises should grow in complication, switching from épaulement to en face position frequently.
Recommended musical measure - 2/4;
Battements tendus jetés in the intermediate to advanced years should be always combined with the tendus. This is the first instance where the leg leaves the floor in an extended manner and requires more of the upper leg and hip area. That is why this exercise is place third on the barre’s list.
Beginning level - jetés should be executed in the manner described in the tendu section above. The difference, though, is the breakdown. Where the tendu in the 2cd movement is stretched, the jeté is lifted sharply off the floor just a few inches from the ball of the foot and stretched fully like the tendu mentioned above.
Intermediate level - jetés should always be accompanied with the tendus as mention above in the intermediate tendu section.
Advanced level - same directions as the intermediate instructions.
Recommended musical measure - 4/4; supplemental musical measure - 3/4, 6/8
This is the first instance where the full rotation of the hip is used repeatedly. That is why it is placed 4th on the barre’s list. In the intermediate to advanced years this exercise can be combined with ronds de jambes en l’air.
Beginning level - the exercise should be broken down into quarter movements then gradually to half and whole movements. Example: from 1st position tendu the leg to the front, from pointe tendu devant demi ronds de jambe en dehors to the side (de coté), then hold 1 count, then close 1st position. This should be done from side to back, back to side, and side to front. This is another exercise where it is more important for the beginner to concentrate on the quality of the movement as opposed to complicated exercises or speed.
Intermediate level - the exercises should begin to increase in complexity and speed. Half beats (musical measure 4/4) should be introduced. Also, the student should begin to combine ronds de jambes à terre with ronds de jambes en l’air. In this period of training other movements are added such as, at the end of the exercise, a port de bras and small and large poses. Also, larger leg movements can be incorporated such as balançoire and balançoire en cloche (90° ), grands ronds de jambes jetés (90° ), and grand battement passé (90° ).
Advanced level - the exercises should begin to grow in complexity and speed - half beats and quarter beats are relied upon with greater emphasis. All the added movements listed in the intermediate section should be done between 90° and 120° .
5. Battement Fondu / Battement Soutenu
Recommended musical measure - 4/4; supplemental musical measure - 3/4, 6/8
This exercise is performed 5th in the barre hierarchy. It is the first instance where both legs are required to perform movement in concert with each other. It requires exact coordination between both legs. Battement soutenu should be the first beginning exercise taught for beginners instead of the more complicated battement fondu movement. Battement soutenu is executed thus: from 1st or 5th position battement the working leg in the given direction (either en avant, de coté or en arrièrre - also in the épaulement positions) as the supporting leg executes demi-plié, return to original position. This exercise can be done à terre, 45° , 90° or 120°. Battement soutenu is also done en tournant. This movement is simpler in regards to coordination than battement fondu and develops the coordination to perform fondu.
Battement fondu is executed thus: extend the working leg in the given direction, then the working leg bends at the knee while returning to the supporting leg sur le cou de pieds as the supporting executes demi-plié; fondu executed from sur le cou de pieds - supporting leg is in demi-plié; the working leg moves to a small attitude position as the supporting leg executes a deeper demi-plié, then both legs straighten at the same time.
Beginning level - battement soutenu should be done in both 1st and 5th positions on 1 full measure of 4/4. Later, as the coordination becomes more natural, battements fondu can be introduce.
Intermediate level - at this stage fondu and soutenu should be alternated from class to class. Both of these exercise should be done on whole foot and relevé and in combination with fouetté and battements frappés. At this level the teacher should begin to introduce double fondu and tours.
Advanced level - at this level both exercises should include all the techniques developed in the intermediate level with increased tempos and fouetté en tournant, as well as executing everything on relevé.
Recommended musical measure - 2/4; supplemental musical measure - 4/4
This exercise is performed 6th in the barre hierarchy. Using the coordination developed from fondu it is the first instance where the lower leg from the knee is used with sharpness and great repetition similarly to battements tendus jetés.
Beginning level - this exercise should be with great care as it is a movement that will determine how well many allegro steps are performed. Most of the combination should only be done on the whole measure or whole beat
Intermediate level - at this level frappés are done more frequently in combination with fondu and soutenu, and is done always on relevé. At this level half beats are introduced. The exercise works well with flic-flac and is frequently combined with tours from 5th position.
Advanced level - all material suggested in the intermediate level with more frequency of half beats movements and tours. Also, quarter beats should be introduced.
Recommended musical measure - 4/4; supplemental musical measure - 3/4, 6/8
This exercise is performed 6th in the barre hierarchy. It is the first instance where the leg is require to perform a specialized isolation of the hip while the leg is maintained off the floor for an extended period of time. This exercise begins the basic coordination technique of isolating the lower leg from the upper leg while maintaining tight control over the hips. This ability is integral when perform advanced adagios and allegros, especially when leaving the floor - both for jumps and for women when performing with a partner. As a rule, ronds de jambes en l’air should be performed at 45° rather than 90° . If you’ll look at the different steps that need this specialized movement, such as sissone ronds de jambes en l’air, you will see that when the leg is at 90° the angle of the hip defeats the ballon needed to perform this step well. (I will devote an article with greater detail to this special movement, ronds de jambes en l’air, as well as other very specialized movements).
Beginning level - this exercise, at the very beginning level, is omitted from the barre until the student has gained some mastery over the hips in ronds d e jambes à terre. When introducing this exercise it needs to be broken down thus: for the movement en dehors - at an angle between 45° and the floor, have the student slowly bring their lower leg in towards their supporting leg and pause; then, with careful observation, have them move their lower leg forward slightly without moving their hip; then have them take their lower leg towards the effacé position and then fully extend it to the side and pause. For en dedans it is exactly the reverse. From the fully extend leg to the side, have the student move their lower leg forward (in an exact reversal of en dehors); the bring the lower leg to the supporting leg and pause; from there extend the leg fully, in a straight line, to the side. At no time does the lower leg ever extend or rotate back behind the upper leg - always, in both en dedans and en dehors, the lower leg stays in front, or even with, the upper leg. The tendency of the student when executing the en dedans movement is to move the lower leg slightly backwards behind the upper leg. If you’ll notice when they do this you will see the hip must tip forward in order to accomplish this. At no time should the hips move forward, but must always remain square and open.
Intermediate level - this exercise should be done with great repetition. Also, in this level the student begins to learns how to execute the movement on half beats. Eventually the speed of this movement must become natural to perform the many steps needed in the advanced level. As a conclusion to this exercise a long and fully developed port de bras and balance should always be included. This exercise should be combined infrequently with ronds de jambes à terre. Remember, though, that more often than not these two exercises should be done separately in order to complete the development of each exercise specialized movement.
Advanced level - this exercise should become quite complicated at this level. It should be combined frequently with ronds de jambes à terre, large port de bras, tours and fouettés, flic-flac en tournant, and petits battements. Also, the exercise should include not only half beats but also quarter beats.
8. Petits Battements Sur le Cou de Pieds
Recommended musical measure - 2/4;
This exercise in placed 8th in the barre hierarchy. After the extended movement of ronds de jambes en l’air the body should have reached a point where it is completely warmed and the muscles fully engaged. Now it is the time for very fast, precise and controlled movements. Petits battements are the only exercise that is designed to impact beats such as entrechat movements (royale, quatres, six, etc.), cabriole, battus such as jeté, ballonné, and sissone. When done properly petits battements works the upper inside leg, (abductor longus), which is the muscle that contracts to make beats possible. The placement of the foot is at the ankle. I used a more intricate form for placing the foot than is traditionally used. Traditionally the foot is "wrapped" around the ankle (heel forward - toes back) and then beat back of the ankle (heel behind ankle). I use the three basic positions, devant (front), de coté (side), and derrière (back) to develop the inside of the upper leg more fully than the traditional method can achieve. Devant - foot is in front of the ankle; de coté - foot is "wrapped" around the ankle; derrière - foot is behind the ankle.
Petits battements devant - foot is placed de coté then the accent of the beat is done with the foot in front of the ankle. Derrière - foot is placed de coté then the accent of the beat is done with the foot in back of the ankle. This also the same when beating with the foot beginning in the front and is beat de coté, and from back to side as well.
Beginning level - this exercise is done, as is most of the barre exercises, with great care where the foot is placed. Each movement should be done on one beat with a one beat pause between. It cannot be stressed enough theta this movement in all its aspects must be mastered thoroughly. It will determine how well all battu movements will be executed.
Intermediate level - this exercise is done on whole beats and half beats. Also, more often than not, it is done on relevé. Additional movements combined with this exercise are tours and battements battus.
Advanced level - this exercise should be done at great length and with increased speed. At this level it is always done on relevé.
Recommended musical measure - 4/4 or 3/4; supplemental musical measure - 6/8, 9/8
This exercise in placed 9th in the barre hierarchy. This exercise will require greater control and strength than any other exercise than grands battements jetés. This is where the dancer develops and masters the upper body control needed for all allegro and centre work. It also entails using all the coordination developed in earlier barre exercises and should be matched in tone and dynamics that reflects the earlier barre exercises.
Beginning level - simple exercises should be used, the most basic being battement lent. Battement lent is the even and slow movement of the whole leg, from 1st or 5th positions, to the 45° , 90° or 120° off the floor extensions. Introducing the développé should be done when the student has gained mastery over the battement lent in every position, including the épaulement positions.
Intermediate level - at this level exercises should be distributed equally between whole foot and relevé. Fouettés, battement balançoire fouetté, ballotté, slow tours, penché, and tours lent (promenade) are also added.
Advanced level - the movements mentioned in the intermediate level are expanded on. The entire exercise should always be done between demi-plié and relevé, fore going the whole foot. Large movements should be done that travels away from the barre such as développé tombée.
Recommended musical measure - 2/4 or 4/4; supplemental musical measure - 3/4, 6/8
Grands battements jetés are placed 10th in the barre hierarchy. This is the largest and by far the most physically demanding of the barre exercises. It requires supreme control over the hips and upper torso while the legs are forcefully executing large kicks. This exercise develops all the technique needed for large jumps and sustained adagio movements.
Beginning level - this exercise should only be done to 90° either from 1st or 5th positions. Great care should be taken to incorporate the quality of the movement as mention in the tendus section, especially of the return to 5th position. Upper body should be slight arched just below the shoulder blades, keeping the lower torso erect. The lower buttocks should press together and upward to help stabilize the body against the forceful movement of the battement.
Intermediate level - this exercise should begin to incorporate whole beats as well as half beats. The student should be attempting to reach on a consistent basis the 120° profile. Also relevé should be introduced when doing the exercise as well as in all the épaulement positions. Grands battements développé, grands ronds de jambes jetés, and half turns soutenus should also be included.
Advanced level - all the material mentioned in the intermediate level should be expanded on. Also, grands battements from whole foot to relevé back to whole foot should be added.
Pre-Barre and Post-Barre Exercises
Pre-Barre Exercise
I use a tendu flex type of exercise before barre begins in order to warm up the achilles tendon and calf muscles. I have listed it below.
Musical measure 2/4. Face the barre in first position. The directions given below are done alternating the right leg and the left leg.
Battements tendu on 1 beat, flex the foot on 1 beat, pointe tendu on 1 beat, close 1st position on 1 beat. (Execute the same with the left foot). This is done, alternating right foot then left foot, en avant, de coté and en arrière.
Battements tendu on 2 beats, close 1st position on 1 beat. Execute this en avant, de coté and en arrière, remembering to do this alternating right then left foot.
Battement tendu jeté on 1 beat. Execute this en avant, de coté and en arrière, remembering to do this alternating right then left foot, then repeat once again.
8 battements tendus jetés de coté (alternating right then left leg) each on 1 beat, and 16 jetés de coté (alternating right then left leg) each on a half beat.
Post-Barre Exercises
This part of the barre is allocated for stretching and warming down. Stretching should not be done for just flexibility, let the student do their own between barre and centre barre, but also for upper body control. Exercises should reflect the movements needed to accomplish when doing sustained adagios. Also, at this time, you may add such things a sharp battu exercises in preparation for beats and a small jump exercises supported by the barre to prepare the dancer for the allegro.