Your browser is out-of-date!

Update your browser to view this website correctly.

×

Feeling a bit burnt out? Join Us this summer HERE!

Using Imagery to Improve Port De Bras Part II

Type:

Teacher article

Category:

None

In Part 1, I focused on various ways to strengthen the port de bras by using resistance bands. This month I want to focus on shapes. Really getting students to understand the importance of making shapes is not always an easy thing to do. So often dancers use their port de bras as an afterthought instead of making it an integral part of their movement to, in essence, complete it. Feel The Movement: Exercises That Help I like to start by defining the types of port de bras that are sharp and those that are soft.

I do a couple of exercises that help the dancers not only feel the difference between the two types of movement, but also understand what needs to be done to get those particular effects. Start with clenched fists down by your sides and then throw the arms up to an open fifth position, opening the fingers sharply. Repeat at least 4 times. Repeat the same movement, but throw the arms to 2nd position. Repeat at least 4 times.

Next move to arm extensions. Flex the hands and bend the elbows; slowly and with resistance, push the arms to the side until the elbows are straight. Repeat at least 4 times. Repeat the arm stretch, but take it forward instead of sideways. Repeat at least 4 times. These simple exercises help even very young dancers understand the difference between these two types of port de bras. Classical First: Everything Starts Here Most dancers have problems with feeling the roundness of many port de bras that are used. Of course, in order to have really good port de bras you need a solid classical foundation. Classical 1st is really the base of so many arm positions and it is not called the gateway for nothing. It is the most centered position of the arms and it is the position that so many other positions need to go through to find the correct lines. I like to use the imagery with young dancers of holding a large beach ball or a pumpkin and this helps them to feel that roundness.

With older dancers, I suggest putting their arms around a globe with the elbows resting on a pillow and that way they can get a wonderful feeling of resistance and suspension. Rotating the upper body very often helps with extending and lengthening the port de bras. Making the shape of a figure eight is a good way to work on the rotation. Getting the dancers to follow the back hand with their heads really helps. I tell the dancers to imagine they are making the shape of an eight on a flat table, which helps them to actually see the shape. So often dancers will take their arms down from a classical 5th position, making a very flowery descent and invariably dropping their elbows to finish the movement off. I tell them to imagine that they are holding a piece of chalk with their little fingers standing very close to a chalk board and after taking their arms up to 5th position to lower them by tracing the shape of a circle on the board with their little fingers. If they do it correctly, they are able to really feel their back muscles working and the line of the arms is simple and unaffected.

Sometimes I will ask my dancers to choreograph four to eight counts of eight using, for instance, six different and distinct shapes of port de bras. It is always interesting to see what ideas they come up with, but the true benefit is just to make them aware of looking for shapes in all of their work.

Lets Talk Back: Helping With Port De Bras Developing strength in the back is also going to be very instrumental in developing better use of the arms. A simple exercise that I frequently use is as follows: Lie face down on the floor, legs together and hands underneath the shoulders. Slowly take the head back and push up off the floor until the arms are stretched, the back is beautifully arched and the hips are on the floor. Hold the position for 4 counts. Slowly lower back down to the floor. Relax for 4 counts. Repeat 2 more times. Repeat first part of the exercise and, when the arms are straight, take them off the floor and lift to the sides like a bird. Hold for 4 counts. Slowly lower back down to the floor. After this exercise have the dancers sit back on their heels and stretch forward with their arms to relax their back muscles. Learning how to use the arms to assist with balance is vital for any dancer, but taking it that step further to make beautiful lines is essential. Try these ideas to help your dancers have gorgeous port de bras.

Author

Steve Sirico

Steve Sirico

Originally from Norwalk, Ct, Steve excelled in track and football. He attended the University of Tennessee at Martin on a sports scholarship. Deciding to switch and make his career in the world of dance, he studied initially with Mikki Williams and then in New York with Charles Kelley and Frank Hatchett. He appeared in a number of theatre productions such as Damn Yankees, Guys and Dolls and Mame in New York and around the country and in industrials and television shows. He was contracted to appear as the lead dancer in the Valerie Peters Special a television show filmed in Tampa, Florida. After meeting Angela DValda during the filming they formed the Adagio act of DValda & Sirico appearing in theatres, clubs and on television shows such as David Letterman, Star Search and the Jerry Lewis Telethon. In 1982 they were contracted to Europe and appeared in a variety of shows in Spain, Portugal, Sweden, Finland, Switzerland and Italy before going to London, England where they appeared as Guest Artists for Wayne Sleep (formerly of the Royal Ballet) in his show Dash at the Dominium Theatre. Steve and Angela have owned and directed their dance studio in Fairfield, CT for the past twenty two years and in 2005 added music and vocal classes to their curriculum. Author of his Jazz Dance syllabus and co-author of a Partner syllabus both of which are used for teacher training by Dance Educators of America, Steve continues to adjudicate and teach for major dance organizations. Recently taught at the Interdanz conference in San Jose, Costa Rica, He choreographs for theatres, television and conventions and DValda & Sirico are currently in production choreographing the opening to the National Speakers Association convention on Broadway at the Marriott Marquis for August of 2008. Steve is co-owner and director with his wife, Angela, of the website Dance Teacher Web designed as an online resource for teachers worldwide.

1580 Post Road Fairfield, CT © Copyright 2025 by DanceTeacherWeb.com