In an arabesque, there is a tendency to twist the upper body
and allow the working leg to drift from its proper position behind the working
hip. Dancers often call this position “seca –besque” because it is part àla
seconde and part arabesque. It also doesn't exist in classical technique.
In an arabesque, the rib cage faces squarely in the forward
direction, although the hips cannot remain square when the leg is above 45
degrees. The forward arm is extended so the dancer’s eye focus goes past the
fingers and outward.
To achieve the correct position of the shoulders and
forward-facing arm, I often take a notebook and place it flat in front of the
student with one edge resting across their upper chest and the other edge in
contact with their forward arm. This demonstrates the right angle shape that
needs to be created for the position to be correct.
From
the Big Blue Book of Ballet Secrets:
Ballet Secret #5g:
“ In an arabesque, the shoulders are square and form a right angle
with the arm in front.”
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of the Day:
“The
artist is a receptacle for emotions that come from all over the place: from the
sky, from the earth, from a scrap of paper, from a passing shape, from a
spider's web.”
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