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Balanchine the TeacherFundamentals That Shaped the First Generation of New York City Ballet Dancers$
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Barbara Walczak and Una Kai

Print publication date: 2008

Print ISBN-13: 9780813032528

Published to Florida Scholarship Online: September 2012

DOI: 10.5744/florida/9780813032528.001.0001

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PRINTED FROM FLORIDA SCHOLARSHIP ONLINE (www.florida.universitypressscholarship.com). (c) Copyright University Press of Florida, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in FLASO for personal use.date: 25 September 2021

Port de Bras

Port de Bras

Chapter:
(p.276) 2.9 Port de Bras
Source:
Balanchine the Teacher
Author(s):

Barbara Walczak

Una Kai

Publisher:
University Press of Florida
DOI:10.5744/florida/9780813032528.003.0023

All parts of the body should participate in arm movements, whether accompanying steps or while standing still. The wrists and elbows should relax with the movement of the arms, and the torso, head, and eyes should incline with or counter to the arms so as to complement each particular type of movement. Change of direction in port de bras should be deliberate and perceptible with the rhythm of the music. The whole should be phrased and fluid, never abrupt or so smooth as to be bland. This chapter describes basic positions, head and eyes, and hands and fingers.

Keywords:   ballet, dance, dancing, arm movements, basic positions

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