If you look at the love, background and technical emphasis on the benefits of ballet from various legends in the ballet world; David Howard and Finis Jhung, their passion for ensuring that “ballet is for everyone” underscores their legacy of teaching principles that cover all ages, levels, interest and abilities. Also, Kultur’s “The Video Dictionary of Classical Ballet” DVD has been a revered, classic visual reference of over 800 variations of ballet movements in French, Cecchetti, and Russian styles.
Here’s a brief description of the late and great David Howard’s ballet methodology from his last place of work, broadwaydancecenter.com
David’s unique methodology is founded in scientific approach to movement involving kinetics and anatomical principles. His teaching techniques are as revealing and applicable to the teaching of emerging young dancers and adult beginners as to established professionals. David Howard approaches the acquisition of ballet through dynamics of movement, musicality, and energy patterns. His kinesthetic approach eliminates much of the tension and resulting injury associated with technique as it is traditionally taught.“
Broadway Dance Center, New York City
David Howard
“Howard said of dance that ‘Out of the feeling comes the form…Ninety percent of the time students are taught the form first. And then they’re expected, through some act of God, to get the feeling.'”
Kultur Ballet Dictionary
This video series of all classical ballet movements performed by some of the top American dancers at the time, is considered the “must have” for serious ballet fans!
Here’s a brief biography of Finis Jhung, who is still actively teaching at age 82.
In a career spanning six decades, ballet legend Finis Jhung has left his mark on Broadway, in film, and on stages across the world. While still a dancer, he studied with the greats—Valentina Pereyaslavec, Vera Volkova, Stanley Williams, Erik Bruhn, Rosella Hightower, and David Howard—and danced in the San Francisco Ballet, The Joffrey Ballet, and the Harkness Ballet. He danced for presidents and dignitaries and eventually founded and choreographed for his own ballet company. Now in the second phase of his career as a renowned and beloved dance instructor, Finis has taught everyone from prima ballerinas and Broadway stars to adult beginners. His goal is to make ballet accessible to everyone, to create innovative ways of teaching, and to inspire present and future generations of dancers. Not content with life in the studio, he has created more than 50 instructional dance videos, produced 18 music CDs, and authored The Finis Jhung Ballet Technique: A Guide for Teachers & Students—all so that aspiring dancers of every level can learn his techniques, without ever leaving home. Still actively teaching at the age of 82, his greatest joy is helping students find their “inner dancer”
About Finis Jhung
Here is also a list of seven principles of balance from Finis Jhung;
- The demi-plié is almost isometric. In both the downward and upward movements, the feet—rather than the knees—should initiate the movements. The feet grip the floor and pull the legs into the plié and then relax and push down to return the legs to the standing position. This also applies to pliés on one foot.
- Most dance movements are on one leg. What must be developed at the barre is the ability to balance on and move from one foot. Try to work at portable barre placed parallel to the mirror. Stand behind the barre, on the diagonal. This will allow you to keep an eye on your supporting side and encourage you to work correctly. Test your balance by frequently taking your hand off the barre during exercises. In addition, check your readiness to move. You should always be able to rise off your heel whenever you press down on the floor.
- The supporting leg controls the free leg, and initiates each movement. The timing of every movement is made by the supporting leg. The free leg (the foot that brushes or slides) never pulls or moves the body. Only the supporting foot that pushes the floor should move the body.
- In the center floor, every step you take must be balanced by an arm, or both arms, reaching in the opposite direction. At the barre, develop this sense of the “back arm” by reaching for the barre and pressing down it. Never pull on the barre.
- When you pirouette from the fourth position, be sure that you go to “the end of the plié.”
- A jump is a relevé in the air. Push the floor, stand in the air.
- Overcross the glissade précipitée, which leads into battement fondu developpé relevé, and jumping steps where the free leg is brushed into the air.
Icemarx 