Tutorial #2911

Put It All together

45 min - Tutorial
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Description

In this tutorial, you will tie together all of the concepts from Kara Wily's series, Work Your Ballet Turnout. She starts with pliés to re-emphasize the ideas from the previous tutorials, then uses the Wunda Chair and Reformer to inform your body so you are supported and placed well. This will allow you to pull up in your center so you can use your turnout better.
What You'll Need: Reformer, Wunda Chair, Ladder Barrel, Pilates Pole, Magic Circle

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Jan 29, 2017
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I'm Kara Wiley and this is Kathleen Mangan and she's going to be demonstrating this work today so that we are now going to start to be pulling together, um, all these ideas of how to find your good placement, how to pull up strong in your center to best, uh, use your turnout. So, um, Kathleen's going to take a hold of the um, ladder barrel and use it as if it's her bar and we're just gonna do a couple little tondo combinations first to just sort of, uh, re-emphasize a few ideas. So, um, let's go ahead, just stand in parallel for a moment and then just open to your first position. Good. And then, so just starting here, um, we're just gonna hold a low arm. We're not going to worry about too much port abroad kind of idea, but right away as she just stands here, I'm just going to ask her to just play a and just take a moment to feel her feet and find that nice tripod of the foot. Big Toe, little toe, heel of both feet. Take a moment, actually go ahead and stay in the play and just flex your toes up in the air. Yeah, that's hard.

So I'm gonna ask Kathleen to go ahead and face the ladder barrel to give you guys a chance to see something that I'm seeing right now to good. So she's in, in her plea a and her toes are attempting to flex up in the air, which is tough. And what that'll tend to do is she's fixing it a little bit already, but um, it kinda kicks her bottom out, uh, underneath her. And the idea again is that we want to be really standing on these hips and she needs to use her feet, her knees, her thighs to talk to her hips. So if I were to be like the reformer here and she, um, once her back to be up against, yeah, the reformer, all of it, um, that, um, that, uh, even in this position with that nice flat line in her spine, she would have to draw her stomach muscles in and up. That's the magic.

And then go ahead and rise up to straight legs and keep it, keep it, keep it, keep it. It's just like what we feel on the pedal pole. So once again, just that much, she's gonna go ahead and bend the knees. Good. And keep it. And what I'm also asking her to do by keeping this nice and you know, long straight line of the spine up on top of her pelvis and her heels is I'm kicking some of the energy back into the outside of her foot and this fourth and fifth toe is really going to fire up the back of her legs and also speak to her turnout. And then once again, just rise up. Stand. Good, good. And then, yeah, one more time, Kathleen, let's go ahead and just good now for a moment. And this is what's so tricky then when you're like working, working, working is like find the release also. So if you let your toes now relax down into the floor. Yes ma'am. Good. It's like such a relief. It really helps. Right. Good. Uh, so without standing your legs straight, just put a little pressure down into your feet, Kathleen. Right?

And let that sort of speak to the abdomen pulling in and up. And this is what I think is, is so it's so indicative exactly of what we work on. When we work on reformer. You're kind of creating sort of a spring tension for yourself by pushing down into the floor, letting that energy speak to the body and connecting the legs back up into the trunk. Good. And then use that like, just think of your abdomen, just like we talk about on reformer is going to stretch your legs. So your abdomen, that's it. That's it. That's it. That's it. That's it. It's delicious, right? Oh my goodness. Good. So now one more time.

The toes can be it relaxed. We're going to go ahead and bend the knees. She's going to take a moment. She's going to think about that tripod of her foot. Big Toe, little toe heel. She's going to think about pressing down into those three points. She's gonna think about how everything is lined up on top of the ankle, the knee, the hip. She's going to feel that energy of her abdomen. Look, I'm not even touching her, she's fixing it all.

And then she's going to rise up using that abdomen could as her back just melts long down underneath her right now, Kathleen, let's use that and let's rise up into irrelevance. Here you're just gonna push down into the ball of the foot. So now we've got those two points of the tripod still connecting and right and like, my goodness isn't that hard sometimes to find that fourth and fifth toe. Good. And then once again, let that energy pushing down into the toes, inform the abdomen about where it needs to be in place. Awesome. Good.

And you could see it like everything just really got supportive for her here. So she's going to keep using that abdomen in and up and the knees are going to stay totally straight. As she lowers her heels, they're going to say totally straight, totally straight. Totally straight. Right? And like, yeah, like two or three of those. And like your burnt toast. Right. Good. Two more times. So let's just rise up. Awesome. And then good. And then just for our purposes here, cause technically like I'm currently trying to teach you this from a [inaudible] perspective, let's not raise the heels quite so high so we're not, you know, good. Yeah. In ballet class, but we're just sort of like trying to inform the body. Good.

And then draw the abdomen in and, right. Good. And she can feel it. She likes to roll out on the back of this ankle a little bit. So again, we're gonna just find that alignment. Good. It stack it up nice and tall is just like we're getting the foot work on reformer and then lower down with those long, long legs. I think very much of tendon stretch, right? Lower, lower, lower lift. Lift, lift. Yes. It's just like doing that on the reformer in the um, uh, the high chair also. We get a chance to do it last time.

Let's rise up and maybe not so high, but feeling that opposition pressing down. Good. Another image I use for myself almost like when we were kids and we would stack blocks like you knew that when those blocks were kind of askew, it wasn't as strong as when they were perfectly stacked up on top of one another. So similarly the block of the foot, the block of the ankle, the block of the knee, the block of the thigh, the block of the pelvis, the block of the abdomen, the block of the spine, the block of the shoulder, the block of the head, totally stacked. You take a moment to appreciate the align and then lower down long, long legged. Good. So strength, it's so much strength. Like all we did so far as plea a and Relevate a and already like the body is, is really engaged. Yes.

So now I do want you to take the magic circle. So let's just take it for a moment. We'll keep facing the chair or the bar, the ladder barrel, but let's put it between your ankles. Good. So starting again, let's just start with a relevant. So once again, how I like to use this ring is not necessarily come up too high. Once again, good, but really feel yourself engaged. The ring, right?

So now we've got those inner thighs active and now all the space that we created prior to this lifting the abdomen in and up. And I really try to think of almost like, you know the ball and socket of the leg bone. Like I want to lift my pelvis a tiny bit higher. Yeah. And then keep that space as the heels lower. Awesome. Awesome. Awesome, awesome. Great.

Last two. So we're going to feel the big toe, little toe. We're going to feel those nice strong street knees. It doesn't have to go too high. This is yes. I like this. Kathleen. Good. So she's got a better connection down into that fourth, fifth toe. Now her whole leg is fired up. There's not one port working more than the other.

She's going to find that space for her pelvis by lifting her abdomen in and up and she's going to keep to lower the heels and lengthen the legs. Good. And sometimes the easiest way to work less is by working harder. So you just go for it last time, rise up and just whatever you got, whatever your body has, you just use it right and you just be brilliant and your perfect, wonderful self and keep it as you lower down. Awesome. Good. It's like, it's so nice, right? It's like you feel those building blocks, they just like took the click, click, click, they get in line.

Can you transition to face the mirror with the right leg turned out in good. Good, good. Yeah. Good. Yeah, and always the I a thing about working with the magic circle, like know the fabric of your pants. You know, sometimes things slip down. Sometimes you have to use it actually on the skin of your leg rather than the pant leg. But good. This series of exercises on the magic circle are the series of exercises that are my favorite that I hate to do. Okay, so it's a love hate relationship, but it builds good awareness of where your turnout should be. So let's just start with a nice flat foot. The left foot is going to feel good.

Stay a standing. We're going to just raise the right leg a little bit. Good. So you're in your tiny little Tanu front. Fifth position. Yeah. Good. So let's look at the structure. Once again, she's got her big toe, little toe heel of her left foot standing. She's got all that nice height that we just created, right?

Strong and long out of that left hip. Good. And then that right leg is just going to start to press on the ring. Good. And she's got these beautiful feet. She's really pointing hard by almost would like her to put a little more energy out through her heel. Nice. Right? So that she can also feel that wonderful length.

We're going to use that in a bit on the chair as well. And then release. Good. And then once again, good and really good. Now I'm going to ask Kathleen to go ahead and try to give me a bit more rotation. Right standing, letting that left leg sort of dictate how much your right leg can rotate. Awesome. And release. Great. So it's, it talks to your inner thigh a lot. Yeah. Good. We'll rotate the right leg out to the side and we'll do it out to the side.

Good. And if you need to replace the circle at all, you may. But if it's good, it's good. Good. Yeah. Great. Good. So same thing, let's just go ahead and down on the ring and release. Good. And what I want Kathleen to be talking to herself about is how is that standing foot relating to this standing leg drawing her stomach muscles in and up. And then right. And then even as she depresses the ring down that she feels those abdominal muscles, right. Drawing in and up and that heel lengthening and release.

Right? So now we're putting everything together, the length of the body, the strength of the center, the beautiful turnout. And then one more time pressing down. Good. So it's like she's standing long through this right side or left side and her right side is reaching out long through the body. Gorgeous and release. Awesome. Good. If you can just slightly rotate your body to face the ladder barrel.

Good. And we'll take the right leg to the back. Good. Yeah. So all the adjustments. Good, good. So once again, she's got her big toe, little toe heel, she's drawing her stomach muscles in and up and right and finding that nice long low attitude position or uh, Arabesque position. And then she's going to go ahead and press on the ring as she's still drawing your stomach muscles in and up and feeling that length out long through the leg and release. And then once again, good and almost good release. Good. Her first thought is going to be drawing the stomach muscles in and up.

That's it. So we get that engagement bright to press down. Oh my gosh. You see how it just lets everything go a little bit and release other leg. So Kathleen now has turned to the other side and we started on the other leg. So once again, let's go back to that idea.

We want that first thought to be the pooling in and up. And then as she uses that energy of the pool in and up, she can find more energy depress down through the tod, do leg and release. Awesome. Right. Good. And it's like you can almost start to talk to yourself and find like those little fibers, right? It's like, you know, you can find like, oh like I got that fiber that time and now the next time I can get that next fiber that was right next to it that I didn't quite feel, but I knew it was there. Awesome. And then to the side. Good ma'am. Good. Right? So any adjustment you need.

So let's go back to that standing leg. It's nice doing these when you're not in class because it's, it gives you the time to think about your body and not just have to think about the combination. Good. Good. So you guys can see the beautiful, nice, strong line of her spine, the beautiful perpendicular line of her hips. There's no angle or anything. Right? And she is working like the dickens from these bones down, which is brilliant. She's got the support and the strength here.

So all the work is coming from those wonderful, wonderful, good turnout, muscles, leg muscles of her body. Beautiful. When you get to three, let's turn and face the ladder. Barrel. Good. Good. Yeah. And yeah, any adjustment that needs to be made. Good. And last set of three. So find that standing leg. Find the lift in and up.

Good. And let's draw the stomach muscles in and up. Good. With the connection of the ring. Can you turn that left hip a little more forward for me, Kathleen, Ya and then rotate. That's the way. Find the length. Find that he'll find that reach super and release.

Awesome. Good. So all those can be done on Relevate as well. We won't do that today. We're gonna move on, but uh, good. So just simple front side, back. Tom, do more or less with the magic circle. Amazing little exercise can be done on relevant as well. We're going to do just one more little, uh, um, exercise.

Let's go ahead and put the ring, um, between the ankles. We'll start in the sort of fifth position or, or fourth position. Sort of. Good, good, good. So for this one, let's go ahead and just open the arm mountain to a nice big wides. Ella sack on.

Good. And so once again, Kathleen, I want you to feel big toe, little toe, heel good. So she's got those nice strong tripods of her feet standing. She's got a little bit of engagement with that magic circle, drawing her into sort of her inner thighs. And then I want you to sort of picture your pelvis being placed somewhere between the two feet. So yeah, like embody that space. Yes ma'am.

So that you're going to good have even energy in both legs. Nice. And then from there, let's simply go ahead and try to keep a hold of the ring to rise up in a relevant pause. A moment. Good. So again, maybe not quite so high on the Relevate and just find all the toes. All five toes, big toe, second toe, third toe, fourth toe, fifth toe on each foot. Right? Trickier sometimes. Maybe on that back leg. Yes, yes, yes, yes, yes. Good.

Those legs, once again, this is where that turnout is working like crazy. And then we'll lower the heels down and then just take it around to the second position. Same thing. Good. Good. Yeah. Readjust as needed. Good. So again, standing on both feet in second position. Good. Staying on all five toes. Let's start to raise the heels and go ahead and squeeze that ring on the way up.

Right? And you remembered, yes, that your abdomen is what pulls you in and up. Good, Kathleen. And now you're going to continue to push my hand away as you lower the heels and lift and lift and lift. Last variations, take the leg around to the back. You can maybe turn and face the uh, barrel a little bit. Good, good, good. And then last variation. Let's just again, stay on all 10 toes as you rise up.

Good. And what feeling that fourth and fifth toe make her do is actually have to really rotate. Good. And turn those inner thighs forward. Good. Did you ever have a ballet teacher that told you to serve something on a plate, on your foot when you presented it forward? Right. So I always think about that, that like I got to hold that plate. Good. Awesome. Good. Just for balance, let's do the second side. Going through all four variations. Yeah.

Are three good. I always think on call. Okay, good. So once again, good. Just a nice wide position and she's going to draw the stomach muscles in and up. Good. Kind of feel an energy down to rise up, right. Pause a moment. Good Kathleen.

And let's see if we can just lengthen a little bit taller on top of this hip. Good. So kind of you good in a way by pushing down into that foot allows you to feel the in and up in opposition and try to maintain that as you lower the heels. Lift, sting, lifting, lifting to the side. [inaudible] good, good. So again, establishing that nice strong tripod of the foot and then starting to squeeze in as she draws the stomach muscles in up. And now, once again, in that squeeze, if you can, once again sort of present your inner thighs forward, Aha and draw those stomach muscles. Brilliant. Kathleen, now where are those long straight knees? For me, I know.

And then maintain it as the heels go down. Nice. Good, good. Yes, yes, yes. Last variation you can turn to face the barrel once again. Good. So again, like yeah, it's like torture, but it's a different kind of torture than what the ballet's teachers give you. So you take your time to find it for yourself so that when they're giving their torture, you can be concentrating on these things that really hold you stable and won't wreck your body.

And finally feeling all five toes. Let's start to press into the ring. And once again, try to present those thighs forward. Good ma'am. And even here perhaps, right? We can again embody that space between those two feet. Nice. And can again, we draw those stomach muscles in and up. Awesome.

And with those nice long, straight knees, we're going to lower the heels. Try to turn that left heel forward for me. Good. Good, good. Yummy, delicious. Awesome. Good. So now we're gonna move on to the chair and we're going to take all those little elements and take it one step further. So we're going to do a going up front and side on the one the chair.

And because I actually want Kathleen to feel sort of that same sense of lift, um, that she was able to feel using the magic circle. I want to give her support. So for the going upfront, we're working with one high spring in one low spring and um, this is a garage chair. So make the adjustments as necessary. Um, one little part that I like to really work on myself and when I'm working with people is the transition between lifting your foot off of the pedal and being connected to the pedal and that the pelvis in the placement doesn't change that much. And the reason I mentioned it before she even gets on is because, um, that's one thing about how the different manufacturers make chairs that that distance between the lip and the height of the chair is different for each manufacturer. So just know that it's a good goal to have for the body. But in effect, sometimes when you're working on certain equipment, it's such a big jump, especially your fear shorter. I mean, Kathleen has these nice long legs, but um, you know, it might be harder for you. So we're gonna do going up front. So I'm going to have you stand, Kathleen. Let's go ahead and just open the arms out. Good. We'll just hold a nice long like modern second position. Not So balletic. Okay.

We're going to take one foot and push the pedal down. Good. And she's going to keep the pedal down and she's going to stand her left foot on a tiny little turnout. Not a huge turnout. Good. Just to kind of like, you know, be able to reinforce that placement we were talking about. And already, Kathleen, I want you to kind of use the chair like your magic circle. So I want you to feel that big toe, little toe heel, the front foot.

I want you to put energy down into that. I want it to feed. Yep. Energy into the hip, into the abdomen. Similarly with your back leg, I want you to push down into the leg. I want you to feel that nice, strong, sturdy kneecap into the abdomen. Brava. So almost once again, using that energy of pressing down and kind of thinking how you use the magic circle. Also by pulling it together, let's use that to rise up and you're going to keep your right leg on the pedal. Good. And I kind of always just stay here around my clients as I'm working with them.

Good. And then kind of find, again, equal weight in both of those legs and we're gonna take it down. Good. And I talked to Kathleen about finding that pelvis somewhere between the two feet when she was standing too. So once again, I want her to be directing energy down through both legs and finding where her placement is between that. Good. Good ma'am. And then use that to come down. And on the third one we're going to go into a transition.

When she comes to the top, she's going to try to just come to a low arabesque position and balance. Good. Without too many adjustments. Bravo. You're going to take that right leg up into a nice, strong arabesque behind you. Good. And just pause for a moment. Good. That's it, right? So you tried a good, get rid of those little wiggle wiggles.

Find the tripod of the foot. She's going to start to run to Zhang, the right leg around to second position, trying, attempting to lifting the leg higher and he are good. She's going to drop that hip and stand on the left leg. Good. Using that stretch she found and rotate to the front again. Where's my plate of food? Good. Good. I'm going to grab you. She's going to rotate and serve a plate upon her leg to me and that's going to allow her to start to open the left thigh. Uh, open the right thigh. I'm sorry.

Open the right thigh to start to bend this knee. Opening it, opening it. Good. Where is the stomach? Finding the posse. That's the way. And then use that same opening to present the leg to the back. Good. Good. Raise that leg. That's the way you can now Fondu the left leg and try to take the right leg higher so it goes between the shoulder blades. Awesome.

Kathleen Brava. You're going too low or the right leg to find the pedal. Good. And then you're going to find that energy between the two legs to lower down and keep growing taller and taller. Good. Take the left foot to the floor and carefully bring the pedal up with control and stand on both legs for a moment. Take a breath. Nice. We have a second side. Good.

Good, good. Adding on. Good. So she's got her sturdy foot and she's going to stand. Good. Tiny little turnout. Right? You could work in parallel on this front foot as well.

We're choosing to keep the turnout today. So three times she's gonna find that placement. Use her energy down to go up and connect into the abdomen, nomad or what? Ah, right. And use it. Use It, use it. Repeat. Good. So all the things that we talk about when working the turnout against the Pedal Pole, you can apply those kinds of ideas here too.

So you're working still on your opposition as you go up and down. And the third time we find a nice transition. Good, good, good. So using the stomach again, I want you to start to rotate that thigh as soon as you can to me. To the side. Good.

Can you rotate that thigh back even a little more nice to the front. You're gonna raise the leg even higher. And again, I want my plate of food. I want it. I want it. I want it. Good. I got you. I'm going to help you. Good. Good sir. The plate. Good. Now s find that standing leg also. Good.

So you guys see how I'm supporting her. I'm giving her the support. She needs to have an experience. Right? Good. Now she's going to try to raise that leg off and open the thigh. Open the thigh. Good. That's it. Open the thigh. Awesome. Kathleen. Good work. And then she's going to keep using that height, right?

Because that lift allows you to find where's the stomach good. And then you can fondue that leg and try to raise the left leg a little. Awesome. Beautiful work. Finding the pedal. Good. Finding the pelvis, finding your center. Finding managing in both sides.

Once the pedal is on the floor, she'll step to the floor and raise the pedal with control. Good. Yeah. And at this level you're asking them to step off the chair by themselves and you know, keep, keep it together, you know, crashing land once both feet are on the ground. Good. We'll go to the side, uh, going up now. And so I'm going to add some spring on because once again, I'm, I'm want her to work on her placement and challenge herself in other ways and not so much with the springs.

So I'm going to go ahead and give her a one high, one medium. Okay. So once again, good. You were standing on your left leg just a moment ago. The right leg just a moment ago. Okay. So we want your left leg to be standing first.

So what you're going to do is, uh, let's step on the pedal with the right foot. Good. We'll push the pedal down. And what I'm going to have you do is just go ahead and step on the pedal for a moment. Good. Just both feet yet even good. And then what she's gonna do, she's going to turn and face camera and that right foot good is just on the black part of the pedal. And then what Ramana would literally have us do was just turn out and once again just find that placement, whatever your turnout was with that standing foot and then you would echo that placement as you put it up on the pedal or up on the top of the chair. Good.

Good. So once again, sh little challenging, right? She doesn't have any assistance with any handles or anything, but she's, she's solid, she's strong. But we're going to go back to the, all these ideas that we've been working on, finding that tripod of the foot. Good, nice and strong. Finding how as she puts energy down and into that foot, it feeds the information back up into her thigh and into her center. Good. Once again, she is thinking about the alignment of her back and this time we're going to go ahead and just hold that right arm out to a nice, a solid position. That's it. Good. And I like to use it. So push down on me. That's a Kathleen.

Right? Good. So you're going to push down on that left foot. Push down on that arm. Yes ma'am. You got it. And rise to the top. Good. I typically will get someone up here for the first time and asked them to go ahead and move back. So your shoulder and your ribs actually stacked up on top of this left leg.

Good. And maybe I'm sorry, this right leg and the right arm has to come forward. That's it. So finding, yes ma'am. That good. Keep that left side strong and we're going to go ahead and lower down as you rise up again, finding that opposition. And again, we're going to do three of these and she's using that energy down to go up. So she feels the energy down through her left foot, working down through her right foot, pressing on the pedal up through the abdomen. Third time is the transition. When she comes to the top, she's going to have to rotate a little on that standing side.

The right leg is going to reach out into an Ella second hold. Good, good. So again, can you present your thigh forward more for me and she's gonna run [inaudible] the foot and really stir and present the heel and present the inner thigh one and the two and three. And I'm going to grab her for a moment. She's gonna put her leg on my shoulder. Good. And you're going to rotate this thigh even more back. [inaudible] right. Go ahead and push down on my shoulder for a moment, Kathleen. That's it. And give me some turnout in this thigh. Ah, right now.

Stand on that left foot. Feel that big toe, little toe heel. And can you stand? Oh my gosh. Right. That's forte, right? Good. Keeping the standing leg. This right leg is gonna lower. You're gonna find the pedal [inaudible] and then find the energy up to go down. Face the chair. Awesome. And step off with control. Yeah.

Ha. Take a break. Good, good, good questions, comments, concerns? Good. It's so hard is her only comment? Good, good, good. But again, just trying to present that thigh as much as possible. So all that energy we talked about in the beginning, right? Just trying to find fine. Fine, fine. Find it, you know, always just finding that other inch. And I don't know if it feels that way to you, but to me it's like, like I can almost feel just those little sinewy changes in my body, you know?

And that's what I often am trying to just find just like just one more little sinewy change, you know? So I broke open some new pathways, some new energy. Good. Second side. Enough of a break. Yeah. Good. So stepping on the same way. Good. And then we would just step on it. Good face the side, use whatever turnout we had in our body to place. Now the right foot on top of the chair. Good. And I like to give myself a moment to set up here so I find my energy down through my feet, up, back up into my pelvis and then kind of increase that energy down to help me.

Hold on a second. I'm going to fix you a moment. I want you to go ahead and right. Even here present. Yep. Even more Da. Ah, it's kind of like working with that magic circle. Once again. Brilliant. Using that again. We're going to rise up. She's going to maintain it all the way to the top. Good and yes. Good. All the way at the top. Get to the top, get to the top, get to the top.

Good and then keep it only as far as you can go down. So this side's different and that's okay. What I'm going to do is I'm going to be a more supportive teacher on this side and we're going to talk to this side. We're going to say it's okay side. You get to learn this lesson too. Good. [inaudible] when she writes, she might have to use that energy in her arm also to kind of help talk to this side. Open up the energy in it. Good. She can also talk to this right hip.

Tell it to come forward more as that left side is attempt during to open up. Good to transition. She's going to come to standing and the left leg floats up to the side. Good, good, good. And we are talking a lot about turnout, but my own mind don't. Those arms help too, right? So you can push down on my hands a little Kathleen. Right.

Find that energy in your back. Nice. Rhonda on the leg around in circle. President one prison too. Awesome. Present three. I think we reversed the other side and around and circle one.

Still prison. The, he'll stand on that right leg. Grow Tall. Good. We're going to transition to find the pedal again. Yes ma'am. Good work. Finding the pedal and then I'm going to give her one arm back and she's going to float down as she lifts up, up, up, up, up. Turn to face the chair [inaudible] and step to the floor and bringing the pedal up with control.

Good. Final section. We'll move to the reformer on the reformer. We have many split series. One that is not frequently used is what I was taught was called the Gondola series and there certainly are a few different variations and ways I'm going to take Kathleen basically through kind of in my mind were sort of two variations today. Um, again, just to speak about like equipment maintenance ideas for a moment. You might use the sticky pads for your feet if you want them for additional traction for whatever reason. So know that I'm on this grabs equipment.

We're going to take this outside foot and split the difference toes and heel on the um, the kerogen, the foot bar. Uh, some people do have those like foot, um, pedal kinds of things that you can insert and certainly feel free to use that. Um, you can use it to your great advantage, you know, thinking again at the tripod of the foot and so forth to, to have good pressure. We'll feel our tripod. Um, just splitting the difference between the foot bar and the pedal or the carriage. So to stand on, we are going to, uh, step onto the carriage. And uh, just one more mention today, I'm working on two springs with Kathleen. She could, after having practiced this work on one spring to challenge her, her turnout, her strength more. Um, so that would be the way we would progress this. You know, this series. Eventually once she's standing, uh, carefully on the carriage, she's going to first step on from ground terraferma turning out good heel and toe placed. Then she's gonna Walk Heel Toe, heel toe to place her left foot turned out, uh, on the headpiece. And so before she goes anywhere, she's once again just going to feel what it takes to just close the spring.

Good. And all of that work we did, squeezing in on the magic circle and drawing the stomach muscles in and up. Comes to home. Yes, keeping the spring closed for me, Kathleen, I simply want you to bend the knees and go into a deep ple a and hold good. And it can't go very deep because you know the feeter and a pretty wide stance. But once again, she's feeling heel-toe a little toe. She's trying to keep her back upright again, all that stuff we spoke about and then simply rise back up, extending the legs. And again, you feel all kinds of sinewy stuff happening in the hips and so forth.

Good. Second time, maybe not quite such a deep bend. Let's once again bend and hold right there for me. Kathleen and again exaggerate yas that has little toes for me and open those knees. Aha. Keeping the back tall. Good. Now can you get out of this part of your back a little bit? Right. And push down in those feet to rise back up. Nice.

Nice. Nice. Nice. Right. So I want your hips to be in charge. We're going to do that just one more time. Last one bend. And she's almost a lighting as she goes and that's probably far enough Kathleen right there because it starts your back wants to do it when it's yes. That's the way. And then you rising up. Good, good, good. So when she went to Dee per back wanted to tighten and grip up so we didn't want to go there so we could keep it just pure about what her turnout's doing.

Next variations. She's going to keep the spring closed and she's going to bend the right knee in that same turnout. She's then going to open the spring as she Benz both knees into a turnout. She's going to keep the spring open and extend the legs to stretch the knees and she's going to pool the spring under her to close it and draw the belly in and grow taller three times. Been the right knee. Open the spring as you open your knees, stretch your legs.

Keep the spring and close the spring as you lift taller last time. Good, and she can talk to her own body as she goes through all these variations and close the spring retrograde. Open the spring. Keep it open. Bend the knees open. Good. Bending that right knee. We bring the spring and close it all the way home.

No Way. Straight in the legs. That's a tricky one. Repeat opening the spring. Then the knees. Keep it open as you close the spring, open the knee and now I'm using my foot to help guide her and she's using her in our size and her turnout and straight in the legs. You got one left in you last time? Oh, open the spring. She's not going to use her back. She's going to grow and use her stomach.

Bending the knees. Good. Closing the spring. Let's open that right thigh and keep it open as you rise up. Up, up. Good. Walk the left foot in. Kathleen. Dukkha. Dukkha, Dukkha, Takata. Step onto the carriage. Take a breath and we'll turn around face the other direction. Good, good, good. So yes. So this pole, this long pole, right?

If you don't have them in your studio, uh, you can go to a lumber store and cut them that, I think it's about four feet in length is a good amount. You could have it taller, it'd be perfectly fine. These rubber stoppers are nice for your floors. I'm good. And then let's take the left foot and start by turning it out and then walking the right foot. Heel toe, heel toe. Good. So the name, the Gondola series, you're thinking about rowing your boat right down the, the Venice canals.

Yes. Drawing your stomach in. Good. Better than thinking about what you're doing to yourself right now. Good. So let's just start simple, which is the three Polina is good and it doesn't have to be too wide, right? It's still wake things up and then extend. Good. And she's gonna attempt to keep the spring closed for the [inaudible] part of the truck. So lifting up in your belly, relax your spine. Yes. Ah, we want all those muscles under the spine doing all the effort. Brava. Last one.

Open. Oh my gosh. That just looked so much more of a nation. Good. And we started with the variation. You're going to bend the left knee. Keep the spring closed. Good. Open the spring. Open both knees. Awesome.

Straight and the legs with your open spring. And use your belly. Use your inner thighs to close the spring. Right. And I want to see the lift. Good. Open the left knee. Open both knees, open your spring, good straight and the legs and lengthen up and close the spring and grow tall are dollar dollar. Last one. Good. Good. So sometimes I get quiet when I really want them to focus and nicely done. Reverse. Good. Kathleen. So once again, I'm going to just keep my foot here just to make sure she knows she's okay so she can keep working on her. Hard work. Good.

That's the way. Good. Yep. Nope, that's okay. Good. And once again, so it was little bit tricky here. We open the spring, we open the knees as we go to close the spring, we're going to open the left knee still and stretch the right thigh, right? And that's, you can work on both good legs. And then extending the knees to keep it close. We got one more to go open the spring and bending minis and good, and then open the left thigh and straight in the right leg to close the spring and feel the turnout to stand. Awesome. Walk your right leg in, one, two, three, step on the carriage and step down. Good.

And if your legs aren't Jello, like after that, it means you're ready for one spring. That is the end of this third section. And, um, I hope that I was able to simplify some ideas about how to get a little deeper into your turnout and, uh, and, and so that works better for you.

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Comments

Brilliant, glad it was not me being taught though.
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Steven, lol, in that case we must meet :)
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Fabulous video! Thank you so much Kara Wily
Caitlin Thank you too! I just recorded a short little ditty that does with these turn out videos. Just some more "filling in the blank" type of information.
Can't help but wonder what might've been if I'd found Kara Wily as a pre-teen kid taking dance lessons, being told her "body was wrong" ...

Thanks so much for this - so helpful as insights to what we can be "looking to feel" as evidence we're engaging the muscles even as the regular "urban athletes" like the commercials on tv

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