French For Dancers Newsletter: Arabesque
French For Dancers
Demystifying dance terminology and steps for dancers and dance-lovers!
Issue 16: Arabesque
Bonjour! Welcome to French For Dancers!
An introduction to the lovely arabesque!
Parlez-Vous Ballet?
(Do you speak Ballet?)
ARABESQUE
(aa-rab-esk)
The term Arabesque is derived from the 16th Century Italian word arabesco, describing the Moorish architecture and style, whose characteristics include curving, intersecting, and intertwining lines and swirls, often including plant or floral designs. The term was adopted into ballet usage in the early 1800s, presumably likening the curve of the lifted leg, arms, and back to the rounded patterns of the design.
Like retiré, arabesque is a highly recognizable ballet step.
There are multiple arabesque positions, determined by arm position and body placement (vis a vis, or in relation to, the front of the room). The most common ones are First, Second, and Third Arabesque (not to be confused with the numbered positions of the feet or of the arms!). This week, we focus on the placement of the legs and will dive deeper into the arm positions in later newsletters.
In arabesque, one leg lifts directly behind the body, straight, with pointed toes. The standing leg should remain turned out, and the back fairly straight (until the lifted leg is at least higher than one’s hips). The arms are extended, with one or both forward and the other to the side or back, creating a complementary line to the leg and body.
When viewed from the front at a 90-degree angle, the lifted leg should disappear behind the body. When viewed from the side, the lifted leg should be seen to be turned out and directly behind the body, with the knee of the lifted leg facing out to the side, not to the ground or the ceiling. The height of the leg can vary from low (between 20 and 45 degrees) to high (90 degrees and above), and arabesques can be performed on flat foot or relevé. Arabesque can be an adagio step, or part of an allegro combination.
Arabesque is a full-body position! It is more than the sum of its parts (lifted leg, turned out, back engaged, eyes up, etc.) as it must create an elegant and proportioned shape, from the crown of the head to the tips of the toes and fingers.
Savoir-Faire
(Know-How)
Student Tip:
To build strength and balance while working on correct positioning, stand in 1st, 3rd or 5th position, facing the barre (or other support, if you’re not in the studio). Tendu one leg behind and slowly lift it, keeping both legs straight. Stop every few inches and check that both legs are turned out and aligned, testing your balance along the way. Keep the hip of the lifted leg down, though it may open up slightly as the leg lifts higher.
Quick check-in:
· Do your hamstrings feel connected to your glutes?
· Is your core engaged?
· Do you feel the connection between your back, core, and legs?
· Is your body weight squarely over the standing foot?
Keep lifting the leg and checking your placement and balance, until you’ve reached a 90-degree angle (if you’re working at that height). Practice this on relevé, too. If you feel secure, practice this in the center of the room, slowly and carefully lifting the leg to arabesque, while checking in on placement, turnout, balance, and muscle engagement.
Teacher Tip:
What role does the arabesque play in choreography?
It can serve a variety of uses, such as a moment of pure stillness, a dynamic movement, a punctuation mark mid-sequence, an emotional point, or a dancer’s final step before exiting into the curtains.
Arabesque is never one-size-fits-all. The quality of the arabesque may change as needed (though the fundamentals stay the same), and students should be encouraged to understand the differences. Are the arms low or high? Is the leg at 45 or 90 degrees? Do the eyes look forward, over the shoulder, or towards the audience? Is the balance held or part of a combination of steps? Is it in motion, whether jumped (ton levé) or lifted by a partner?
As you choreograph for your students, be aware that they may not intuitively know the answers as they pertain to your style, the message of the piece, or the specific technique you’re drawing on. Giving verbal explanations as well as visual cues and physical adjustments can help clarify what your intention is for your dancers.
À La Carte
(From the Menu)
Recommendations, reflections, and/or useful links
Ornamental Arabesque and Ballet Arabesque – from the Alhambra in Spain (approx. 13th Century onwards) to a Degas sculpture, the arabesque designs show flowing lines, curves, and movement.
The ballet technique shown here might not be what we’d consider perfect today, but the sense of line and balance are there. I can’t help but wonder how long the model had to stand in this pose while Degas was creating this work?
Merci!
(Thank you!)
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- Peggy