Clarity in Ballet Technique--Rond de Jambe

Embrace the Ugly Place

In the early years of training, we spend a lot of time helping dancers develop a sense of their midline and perform their ronds de jambe with no over- or under-crossing. But those basics don't automatically create smooth ronds de jambe; there's often a "clunk" when the dancer shifts their leg from à la seconde to derrière.

What's happening? Your dancers are thinking in terms of strictly named positions instead of considering all the space they're dancing in. Once their leg leaves à la seconde, their brain automatically jumps to "derrière." The dancer's brain is essentially playing connect-the-dots instead of drawing a smooth circle. This creates several technical problems:

• Jerky transitions between positions

• Loss of turnout in the "in-between" spaces

• Tension from trying to force positions rather than flowing through space

What is the Ugly Place?

To help students travel more gracefully through space instead of thinking of dots to connect, I call the pathway between à la seconde and derrière the Ugly Place. Passing through it intentionally leads to beautiful dancing, but it feels very strange---perhaps even incorrect---when dancers first become aware of it.

How do we move through the Ugly Place? Stay in an à la seconde mindset for as long as possible—even when the leg travels to that diagonal-behind-you space. This extended à la seconde thinking creates the seamless transition into derrière that makes rond de jambe look effortless.

This rond de jambe technique works because the Ugly Place maintains the same muscle engagement and spatial intention as à la seconde, even when the leg moves beyond the traditional position. The working leg continues to spiral outward from the hip socket, and the dancer's awareness stays connected to the full range of their turnout. If dancers try to skip the Ugly Space, they'll release their turnout once they pass à la seconde and have to re-engage it again in derrière. That's what gives the clunky look.

Teaching the Concept

Start with Awareness

Have students stand in tendu à la seconde and notice the feeling of their turnout—not just in their feet, but through their entire leg. Ask them to place their hands on what muscles are working.

Practice the Pathway

Still in à la seconde, have dancers slowly move their leg backward while maintaining that same muscular engagement. They should feel like they're still in à la seconde, just... more so.

Name It Together

When they reach that awkward diagonal space behind them where it is really, really hard to maintain the muscular feelings of à la seconde, say "Welcome to the Ugly Place!" Students usually laugh, which releases tension and helps them remember the concept.

Apply to Movement

Now add the actual rond de jambe, reminding them to stay in "à la seconde thinking" through the Ugly Place. The goal isn't to pause there, but to pass through it with the same intention they had in the named position.

Beyond the Barre

This concept applies to any movement involving rond de jambe action:

• Grand rond de jambe en l'air develops the same flowing quality

• Sauté fouetté becomes more controlled and precise

• Even simple tendus benefit from understanding the space between positions

  
  

Students who master the ugly place often find that other circular movements—even pirouettes—also become smoother and more connected. Most importantly, they understand that ballet technique isn't about hitting positions—it's about how you travel through all the space between those positions.

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This systematic approach to rond de jambe transforms jerky position-to-position thinking into flowing spatial awareness. My comprehensive curricula provide the complete frameworks that address common technical challenges through creative concepts like the "Ugly Place" - creating smooth, connected movement throughout all of ballet technique.

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