Trending

Fouetté Turns: Secrets Of The Cuban Method

Students at The Ailey School practice balancing in retiré. Photo Courtesy The Ailey School.

"In Cuba, everybody turns," says Caridad Martinez, a ballet faculty member at The Ailey School and a former principal with the Ballet Nacional de Cuba. Here, she walks us through the exercises and techniques that comprise "the Cuban secret" of pirouettes in general, and fouettés in particular.

Pirouette Basics

Two legs in plié: The Cuban methodology teaches the fourth position preparation for turns with both legs in demi-plié. The benefits of this approach are speed and control, says Caridad Martinez. "That push of the back leg to passé, at the moment of relevé, makes it easier to generate more turns."

Finish up: For all turns, says Martinez, "we teach to finish on relevé, because that's when you really finish. Hold the position a little bit more—gluteus in and up, turn out the standing leg, open the knee and stay! Don't leave anything behind."

Spotting secrets: To find a more active torso, says Martinez, "have the sensation that you quickly bring your back to the audience." This "switch" of the torso propels you farther around, and with more energy. In addition to spotting with rhythm, try telling yourself "Back! Back!" You may find you effortlessly have the force for that extra rotation.

Round arms: "We keep the arms rounded," says Martinez of the Cuban method, though she notes that it's not incorrect to extend to allongé. She gives a simple exercise to help her students coordinate their port de bras in turns: Hold an object in your opposite hand (the left, if you are turning to the right) as you prepare. At the moment of the relevé, quickly pass the object to your right hand as you turn.

Fouettés, Cuban-Style

The progression: Following the Cuban training method, Martinez builds strength and coordination for fouettés systematically in class. "It's very important not to skip any steps," she says.

  • Begin with consecutive relevés in retiré, both at the barre and in the center.
  • "Then do that with a quarter turn, then a half. That is awful! But later you appreciate it."
  • Progress to three consecutive full pirouettes, holding the leg in retiré as you plié between turns.
  • Repeat the above, this time extending the working leg à la seconde with the plié between turns. Then add a beat, back-front, to the passé as you turn.
  • Pirouette, plié á la seconde, pirouette is one way to fouetté. "When you have the coordination and the technique to control that, the next step is to go to the front and then seconde," says Martinez.
  • Work up gradually, starting with three or four fouettés.

Options: As noted above, the working leg in fouetté may extend directly to the side with plié or rond de jambe from front to side. With rond de jambe, you have a further choice: You may relevé with the à la seconde and then turn, or open the leg in plié and relevé at the moment of the pirouette. "We use both," Martinez explains, depending on the choreography.

The twizzle: Rather than pushing off from fourth directly into a high passé, many students allow the back foot to linger on the floor as they begin to turn, causing the passé to over-cross and the standing leg to turn in. In fouetté, the consequence of this is that the working leg drops too low when it extends. "That leg does not come down," Martinez cautions. "Feel that you isolate from the hip to the knee, and keep that distance the same."

Extra Tips

1. "Practicing balance—that is the students' homework," says Martinez. She suggests trying promenade on relevé at the barre, going en dehors with the leg in retiré and en dedans with the outside leg in cou-de-pied.

2. During fondus or ronds de jambe at the barre, Martinez works on the transition from plié attitude en avant into écarté derrière: "Extend the standing leg and get to écarté at the same time—that coordination is important when we are thinking about fouetté." Practicing attitude, as opposed to extending fully to the front, helps prevent over-crossing.

Ballet Careers
Lenai Alexis Wilkerson. Christopher Duggan, Courtesy Michelle Tabnick Public Relations.

This is one of a series of stories on recent graduates' on-campus experiences—and the connections they made that jump-started their dance careers. Lenai Alexis Wilkerson graduated from University of Southern California with a BFA in dance (dance performance concentration) and a political science minor in 2019.

As Lenai Alexis Wilkerson looked at colleges, she wanted a school that would prepare her for two totally different professions: dancing and law. "I knew, pretty much when I was 16, that I wanted to go to law school," she says. "So I wanted the opportunity to have a dual college experience, where I could have a conservatory training style within a university and I could focus equally on my academics." When she auditioned for the inaugural class of University of Southern California's Glorya Kaufman School of Dance, she knew it was the right fit.

Keep reading... Show less
Sponsored by Ballet Arizona
Tzu Chia Huang, Courtesy Ballet Arizona

These days, ballet dancers are asked to do more than they ever have—whether that's tackling versatile rep, taking on intense cross-training regimens or managing everything from their Instagram pages to their summer layoff gigs.

Without proper training, these demands can take a toll on both the mind and the body. But students can start preparing for them early—with the right summer intensive program.

The School of Ballet Arizona's summer intensive takes a well-rounded approach to training—not just focusing on technique and facility but nurturing overall dancer growth. "You cannot make a dancer just by screaming at them like they used to," says master ballet teacher Roberto Muñoz, who guests at the program every summer. "You have to take care of the person as well."

Keep reading... Show less
News
Nicolas Pelletier in Carmina Burana. Francisco Estevez, Courtesy Colorado Ballet.

Last week, Colorado Ballet interrupted Nutcracker rehearsals for an exciting announcement: Four dancers were being promoted. Though all made the jump from the company's corps de ballet, Nicolas Pelletier ascended directly to the rank of soloist, while Sean Omandam, Emily Speed and Melissa Zoebisch were promoted to demi-soloist. This news comes hot on the heels of last August's promotion of Francisco Estevez to principal.

Keep reading... Show less
Courtesy School of Pennsylvania Ballet

While many of us are deep in Nutcracker duties, The School of Pennsylvania Ballet director James Payne has been looking further ahead, finalizing preparations for the school's summer intensive programs. In January, he and his staff will embark on a 24-city audition tour to scour the country for the best young dancers, deciding whether or not to offer them a spot—maybe even a scholarship—in the school's rigorous 5-week intensive focused on high-caliber ballet instruction. Though he'll be evaluating aspirants, he urges that as a student, you should be equally selective in choosing programs that could galvanize your training—and possibly even your career.

We got Payne's advice on strategizing your summer intensive plan before the audition cycle kicks in:

Keep reading... Show less