Grand Battement Mazurka 6/8

1-3     Grand Battement front, lower to point tendu, close 5th (arm 5th en haut)
4-6     Repeat side
1-6     Repeat back and side
1-2     Grand Battement front, close 5th (arm 5th en haut)
3-4     Grand Battement side, close 5th back (arm 2nd)
5-6     Grand Battement back, close 5th (arm to arabesque)
1-5     Cloche Battement with inside leg fbfbf
6         Close 5th position front
1-24   Repeat all from back


Begin 1st position
1-2       Demi plié, arm to 5th en haut, open to 2nd
3-4      Elevé, arm 5th en haut, plié over half toe opening arm to 2nd
5-6      Straighten both knees on half toe, open arm to V
7812    Grand plié with inverted port de bras
3-6      Grand plié 1st port de bras
7-8      Tendu to 2nd position
1-16    Repeat in 2nd
1-32    Repeat in 4th and 5th

Medium Petit Allegro

2/4  Time Signature

Medium Petit Allegro
L foot front 5th en face

1-2     Glissade to R, close L foot front, petit jeté R over L
3-4     Coupé on L jeté battu w/R
5-6     Sauté ballonné R 90ᵒ side to cou de pied R back
7-8     2 Assemblé traveling en avant, R and L
1         Entrechat trois
&a2    Pas de bourrée LRL
3-4     2 brisés traveling R
5         Faillé over L
6         Pas de chat L
&a7    Pas de bourrée LRL to 5 position L front
8         Changement
1-16    Repeat all other side

Tendu at the Barre Time Signature 4/4 or 3/4 or 6/8

5th position, preparation 1 st port de bras

1-2          Tendu front, plié in 4th, arm en avant
3             Carry working foot to 2nd, arm 2nd
4             Straighten knee, plié in 2nd pos., arm 5th en avant
5-6         Carry working foot to point tendu front, close 5th front, arm 5th en haut
&7&8     Tendu front 2X closing 5th front both times, straight legs, arm 5th en haut
1-2          Tendu side plié in 2nd, arm 5th en avant
3-4         Carry working foot to back, straighten knee, plié in 4th pos, arm 5th en avant
5-6         Carry working foot to side, close 5th back, arm 2nd
&7&8     Tendu side 2X closing 5th front, 5th back
1-16        Repeat phrases 1 and 2 from back, arm in arabesque instead of 5th en haut

My Margot Ballet Book Review

My Margot book cover

From the LinkedIn group “Teachers of Classical Ballet” I learned that Ken Ludden had published a personal memoir and biography of Margot Fonteyn. I emailed Ken to ask if he would consider allowing me to interview him about his book, and he kindly accepted! (The interview will be posted next week.) I bought the book and it took about three or four weeks for me to read it, but that’s only because I didn’t have the luxury of foregoing all my daily duties (but I would have liked that!). I didn’t realize what a close relationship Ken had with Margot as one of her most trusted friends. If you want to get a close up look at this remarkable woman, this is the book to read.

I’ve posted a review of this book on Amazon. His book is available on Amazon using this link: It is also available in paperback!

Ken Ludden’s beautifully written memoir and biography of Margot Fonteyn offers the reader a glimpse into the life of one who was under the sheltering wing of one of the world’s most renowned and loved ballerinas. A touching tribute. No closer look into her life and character can be found. This book is not only fascinating but superbly written. Ken’s recollection of events and conversations is uncanny, and he writes in such a way that I could visualize the scenes as his stories unfolded.

Not only does he offer a peek into Margot Fonteyn’s world; he also shares a lot about Rudolph Nureyev—his childhood, defection, and his demeanor (which I was sad to hear was often quite rude). Throughout the book he mentions his interactions with many other famous dancers and teachers and schools, and I found every bit of it very interesting. His own life’s work would be enough to fill a book, but he expertly weaves the story so it always relates back to Margot.

Ken’s intrinsic goodness and humility are endearing. He shares a conversation with Tito, (Margot’s husband) where he reflects, “My basic view of my life is that it should be of service to others, and the idea that it was to make an impact on the world was very foreign to me. I still believe that being of service to the needs of others is the highest esteem, but I also see that carrying forward the legacy of Fonteyn is a higher service than nearly anything else I could do, and it does impact the world.”

I highly recommend this book, and I know that Margot herself would be quite pleased with it!

Grand Waltz 3/4

Grand Waltz from upstage L corner

1               Temps levé 1st arabesque on R leg
2               Faille L over
3               Glissade R closing L front
4               Assemblé R beating fbf to finish R front 5th
5               Tombé onto R facing upstage R corner
&6           Coupé L under, assemble R to close 5th back
7-8           2 entrechat six
&              Tombé onto L facing downstage L corner
1               Coupé R under and temps levé in 1st arabesque facing upstage R, arms 3rd
2               Chassé coupé chasse L to downstage
3-4           Assemblé en tournant arms 5th en haut finish R front 5th
5-6           Tombé onto R, pas de bourrée
7               Glissade to open 4th
8               Saute de chat with L arm 5th en haut, R arm 2nd

Teaching Creative Movement

Young dancer

Ballet class with children ages 3-5 is often called “creative movement” rather than ballet class. Then at age 6 it is sometimes referred to as “pre-ballet”, which is when they are usually ready to stand at the barre and learn the mechanics of alignment and ballet positions. Creative movement can be taught many different ways—none better or more effective than another—so I will just share some of the things I did with this age group (and felt were effective) when I was teaching them dance.

First of all, kids this age don’t have a very long attention span! Two minutes is about as long as you can stretch one activity before moving on to something else. I always felt that a 45 minute class was the absolute longest these kids could handle, unless you are combining it with some tap, too. I’d also say that if you have more than eight children in the class then you should probably have an assistant there to help you out.

Begin sitting in a circle — stretching and singing

I structured my creative movement classes more or less the same way each week. Kids do like repetition and it helps them feel more comfortable if they have a good idea what to expect. We would begin sitting on the floor in a circle, wide enough that when they put their arms out to the sides they wouldn’t touch their neighbor. At the beginning you can have them sit cross legged or with the soles of their feet together or their legs stretched out straight in front of them. Sitting cross legged is easiest for them, and when you want them to focus attention on sitting up straight and using good posture through their backs, necks long, and shoulders down, this is helpful.… Continue Reading …