A graceful port de bras (“carriage of the arms”) that begins in the back and uses the core, brings strength and balance to each movement, and is vital in creating the beautiful lines that our INB classical ballet dancers strive for in every movement. Port de bras, correct or incorrect, affects all other movements – not only adagio, but tours, allegro, partnering, and precision in corps de ballet choreography. A well-executed port de bras can be helpful in creating the desired lines, but a poorly executed port de bras can hinder lines greatly. Port de bras creates the difference between a strong confident dancer and a lazy weak dancer, and can create emotion and character, as is evident when one observes Odette and Odile (the white and black swans in Swan Lake).
How the arm and fingers are held through choreography changes the effect that dancer has on the audience. Correct port de bras can display boldness, confidence and strength. Incorrect port de bras creates a lack of the aforementioned qualities. At all times, the arms should flow from one position to the next with a slight bend of the wrist, as if in water, rather than a barbie doll effect.
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The goal in port de bras is to create a long line from the center of the back through the tips of the fingers, so in most ballet positions, the line should flow, without sharp angles and distractions. The audience should not notice the arms, and certainly not the individual fingers, but they should notice the effect the dancer creates when done well. The energy for the arms should begin in the center of the back, and flow down from the neck and shoulders, creating a long and relaxed neck. Throughout port de bras, the neck and trapezius muscles will always remain down and relaxed.
It is crucial that port de bras be learned correctly from the very beginning levels, as once habits are learned, they are hard to change. At INB, we teach the following…
Elbow placement is vital to creating the desired lines - The elbows are always slightly curved, the degree of the curve depending upon the position. In first and second positions, elbows are ALWAYS above the wrist. In second and third position, the arm to the side always reaches with the palm facing forward, with the elbow in front of the body. If one were to stand with his/her back to the mirror and hold the arms a la seconde, the elbows should never touch the mirror.
Wrist and fingers should curve gently, extending the line of the arm, whether it be extended or rounded. The fingers should be strong but relaxed at all times, with the thumb hovering near the middle finger, the pointer finger slightly out, 3rd and 4th finger together, and the pinky finger ever so slightly separated from the other fingers. While the thumb may separate further from the middle finger in more energetic movements, for example, temps leve in arabesque, AT NO TIME does it stick up above the pointer other fingers. This is a common error among some dancers called “hamburger hands” and destroys the beautiful line.
Styles for different styles and schools of ballet may vary in height/width of certain positions. At INB we generally adhere to the French style of port de bras, in the following style:
Prepatory/bras bas/bras au repos/low 5th: Wrists at the width of the hipbones (for males, a bit wider than the shoulders), and slightly forward in the dancer’s peripheral vision (hands may graze the dancer’s skirt but never touch the thighs).
Bras on haut/High 5th: Fingertips as far apart from each other as the width of the eyes, and arms slightly forward in the dancer’s peripheral vision (again males will be a bit wider).
1st position: fingertips as far apart as the eyes, elbows just above the ribcage. Note that by focusing on where to place the elbows instead of the hands, the dancer focuses on supporting the elbows more readily. The palm should face in, as if the dancer is readying a book.
2nd position: elbows just above the ribcage. Note again how we refer to the elbows for support. The clavicle and scapula should be flat and wide, without bones protruding like chicken wings.
1st arabesque: Front arm at the height of the eyes, back arm ever so slightly above the back shoulder (and slightly to the side, often a downstage corner to downstage corner position) Note that for certain classical variations, this may change. For example, in a Vaganova arabesque the back arm is held lower, just below the shoulder, so in a classical Russian variation, the choreographer may ask for the Russian style.
Common errors: The two greatest errors that we observe in port de bras are hamburger hands and sagging elbows, neither of which create the artistic element we are striving for. These errors need correcting early, as the longer a dancer repeats them, the less likely they will ever apply the correction. As always, the absolute most effective way to progress your technique quickly is to apply the corrections your instructor gives you, and remain corrected from that point forward.
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