#pirouette

[danskjavlarna]

Source details and larger version.

On point: vintage ballet imagery.

[erin-draws-things]

I have all my little sillies done for this weird hyperfixation I’ve had with this Cuphead Au for a good year or two now, and honestly making these designs were both good and bad, I might re-vamp Pip and Dots only because the colors are not doing it for me but if you have any suggestions let me know! The Devil and King Dice should be posted at some point tomorrow along with the height chart! Otherwise I guess welcome to the main idea of my blog page to be about, Fainted Memories!

[shepherdwitchhn]

Fighting Type Trainer Teto, Kommo-o & Meloetta (Pirouette Forme)

Read more for today’s Teto Trainer Trivia Territory below:

Give it up for week three of Project ROTOR! Starting the week off with fighting type, we are once again faced with a Pokemon I was hoping would make an appearance in VOLTAGE in the form of Kommo-o. The sounds it makes with its scales feel like the perfect match for the project, and in the case of ROTOR, the red colored scales on its head match Teto’s drills quite nicely. As for Meloetta, I thought it’d be nice to include its other form like I did with Toxtricity, hence the double feature.

As for Teto’s design and the illustration as a whole, there are a number of fighting game references in this one. Starting with Teto, Tekken fans may have noticed I essentially lifted the entire look from the series’ Lidia Sobieska. The design was originally much simpler and more akin to the Black Belt class, but it felt uninspired so I decided to say “screw it” and take a page from my favorite Tekken 7 character instead. That said, I also took the big ol’ eyebrows that go over the headband (and the style of the headband itself) from the one and only Ryu from Streets.

And that’s not all, the last thing of note here is the poses I chose for all three characters. Ryu’s influence reaches beyond Teto’s design, as I posed Kommo-o, Teto, and Meloetta after three consecutive frames of animation of Ryu’s Standing Medium Kick (as seen Street Fighter II) respectively, which you can see below. And that’s it today!

Tomorrow, check back for Ice Type Trainer Teto!

[chicinsilk]

Jacques Fath Haute Couture Collection Spring/Summer 1951. Jackie Stoloff wears “Pirouette”; wool and mohair jacket.

Jacques Fath Collection Haute Couture Printemps/Été 1951. Jackie Stoloff porte "Pirouette"; veste en laine et mohair.

Photo Willy Maywald

[blurrymango]

Sketches of my son, George. I love him. He is my pride and joy. I want to get better at drawing him. He's just a little guy.

Look at him. LOOK AT HIM.

You love George. Everyone loves George. If you DON'T love George, then you are not worthy of anything.

[sytycdinternational]

[firecurls-27]

Casino crew brainrot rn.

What the FUCK.

Why won’t they leave my head-

Not me tempted to make tcs designs for them-

[beezonia]

For @layton-npc-appreciation-week day 4 I drew Pirouette or Collette!

I gave her a bit of a childish look for her casual? Outfit I guess and a puffy skirt too cause why not!! Also I came up with a performance costume too for fun!!

Also changed her hair to make it slightly more free flowing ish to show her happy attitude!

I really like pirouette’s positive attitude it was really nice!!

[krowkeeper]

[hauntedbystorytelling]

Swimmers series (Cyanotypes)

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Rosalind Hobley :: From Swimmers series, 2019-2020. Cyanotype. | Rosalind Hobley official website

Rosalind Hobley :: Cherry in Freefall. From Swimmers series, 2019-2020. Cyanotype. | Rosalind Hobley official website

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[myjunkisyuzuruhanyu]

The Pirouette magazine 07/2022 includes an article about Yuzu's "SharePractice" and a summary of an interview with Ghislain Briand

Important notes of the interview with Ghislain Briand:

- Ghislain left Toronto and is now working part time in Champery with Stephane Lambiel and part time in the Kinoshita Academy in Japan (where Mie Hamada teaches)

- he really likes working with Stephane as it is a great team and he says the atmosphere and surroundings with the Swiss alps is beautiful

- he worked with Shoma Uno for the first time in spring - before he couldn't work with Shoma because of his work with Yuzu - and helped Shoma stabilize his 4Loop and also his 4T3T that he doesn't open up (his shoulders too early) and doubles the 2nd jump; he is working on body alignment with all his students

- he says that world class athletes need only little help as they already have a great feeling of their body

- he still offers Yuzu his help whenever he will need it

- Yuzu and Ghislain reunited at Fantasy on Ice for the first time in 26 months and Yuzu almost didn't recognize him because Ghislain lost about 30 kilos

- about Yuzu's retirement he said to him: "As long as you are happy, I am happy too" He thinks Yuzu's retirement is sad for the sport

- Ghislain says Yuzu will revolitionize the ice shows like he did with the sport of figure skating and is sure that "Yuzu will succeed in everything he tackles"

As it's a paid magazine I will not share the full translation publicly as the writer of the article Judith Dombrowski rightfully remarked on her Twitter that we do not have a permission to publish full sites of the magazine or do full translations. However if you are interested in the full comment of Ghislain I can share it with you privately.

[perfectstevenau]

🧬

🧬Fuse two characters together I chose Perfect and Yin cause' uh, idk who you wanted XD

[artsyjesseblue]

Lotor-style pirouette.

(based off of studying his fight scenes with Zarkon and Sendak)

Now part of my Lotura fic Nothing Ever, Truly Goes Extinct

[kaos-mass]

[ballet-symphonie]

Pirouettes en dedans are the bane of my existence! I mean, not that en dehors are much better but at least I get them all the way around without killing myself.

No you have any tips that worked for you? Stuff I can try at home? The internet has so much information and it's overwhelming so I trust your pro opinion.

This is my 3rd year of ballet school, starting as an adult beginner. My barre game is killer! I can see so much improvement while at it. Feet, turn out, position, even port de bras looks better. My favorite of all barre exercises are rond de jambes, any sort. My center is a mess. Funny enough I much prefer watching adagios but I do much better in allegro. Despite my weight and body characteristics, I can jump (sure enough I'm nowhere near the 180 in the air but yesterday I almost sat my right leg split in floor barre!!!!! ) and have promising technique to improve. Now balancing in adagio and doing the damn pirouettes is not my thing and I want so much to improve.

My teacher says she might add me to pointe classes in the future but not before I can master a simple pirouette. I'm ready to work hard! So, help is needed!!!

Ok! So it's time for another Technique Talk with Ale!

Let's start with some general rules for pirouettes:

Bad preparation -> Bad turn. If it magically goes well, it's luck, not skill and you can't depend on that.

Pirouettes hate change, you need to establish the pose as soon as possible and try not to adjust anything mid-turn.

If you see the floor, you're wrong. End of discussion.

Now into specifics for pirouette en dedans, from 4th position:

Preparation

Size of the position: Sit in a 4th position that's comfortable for you. It shouldn't be so large that it's difficult for you to shift your weight to the front foot, but it also shouldn't be so small that you struggle to feel where your weight is placed. Also, watch your hips closely, push the hip of your working leg down and forwards, toward your front leg.

Weight distribution: Now there are a lot of different schools of thought here, I will simply share what I find the most helpful for myself. Some people think the weight should be 50/50 but for me, I like to keep the majority of weight over my front foot around 90/10 if you're a numbers person. At the time before the preparation, I can easily lift my back foot off the floor. It's a more drastic shift than what feels normal, but pre-setting yourself this way minimizes the weight transfer to get into the pirouette. A smaller, more controlled weight transfer is more stable.

Upper Body: Whenever I go to prep for a turn, I bring some attention to my abdominals. I mean your abs should always be working, but it's especially necessary when you go for a turn. Feel the connection between your backbone and your spine. There also needs to be energy exerted through your arms from your shoulder blades. They're your stabilizers for the turn, they can't dangle like uncooked pasta.

Initiating the turn:

'Spiraling' with the arms: You don't need to do that wacky crazy wind-up, it generates way more force than you'll know what to do with. However, there's a small, internal twist, more for your spine than your arms. You should feel the counter-rotation as you slightly twist away from the direction that you want to turn, creating space for yourself to start the turn.

Supporting leg, power from your heel: The supporting front heel is what's gonna get you around. Instantly try to push your heel forward on releve and focus on getting that little 'spring' moment to initiate the turn. This is the first thing that moves in your lower body and this is how you keep your supporting leg turned out. If you can't feel the rotation from the heel, try doing just a tour lent (promenade) instead of a pirouette. Feel the inside of your leg pushing around as you move your heel. Try one and eventually two rotations like this WITHOUT changing your back or your passe. It should take you at least 10 seconds to do this, it's a great exercise for checking and improving your balance and strength. Also, you'll really feel your supporting leg work and can get the sensation of what 'on your leg' feels like.

Working leg: There are two options, bringing the leg in through a la second with an enveloppé or just directly bringing the leg into the turning position. I find the latter easier to start with because it doesn't involve another pose, and coming in from second involves a ton of force that's harder to control. Also, it's less likely to throw your hips out of wack.

General coordination: The older I get, the more I realize that the preparation for turns doesn't have to be super duper fast. One of the ballet masters in the company specializes in fixing our turns. He's always telling us that you shouldn't rush to start the rotations and the prep can feel slower, even at a fast tempo. Fix the position first, feel yourself transfer your weight and arrive arrive in passé almost 'before' you start turning. Don't rush to get to the pirouette.

Rotation + Finish

The verticality of the spine: Keep your posture and a tall straight spine with your abs pressed in tight!! If you start to look down or up, you're doomed, not even God can save you.

Try not to hop: In my opinion, it doesn't do you any favors and only encourages bad habits once you get on pointe. Start with one clean turn and try to end up on releve on a super-engaged leg, drilling your toes into the floor. If you can't finish a single turn like that, you're not ready for doubles.

Spot: The same ballet master is always saying "chin to left shoulder" (for pirouettes on the right leg) and this specific direction is beneficial for me because it reminds me that spotting is an action, it takes effort and energy. Keep a loose neck, like a metronome, just 'tick, tick' for a double turn. He also stresses 'active' eyes and says that knowing what/where you're spotting is key. I personally am not always consciously looking at something, I rely more on the rhythm of my head moving. But I also have a really sucky spot so.... (this ballet master also says that my turns could be so good but I insist on spotting like a sleeping bear)

Arms: If you're turning with your arms above your head, I strongly recommend taking your arms from preparation, through second to fifth but through the diagonal towards the direction you're turning. I think taking your arms up through the center is really difficult as it generates a lot more force and it can throw you backward. I know we all think we have our arms in front of our bodies, but sometimes that's not the case. Especially when turning, keep your arms more forward than you think, having them behind you is most likely going to force your ribs to open, and then your posture is all out of wack. Something that helped me a ton: practicing moving your arms back and forth quickly from 1st to 2nd and 2nd to 5th, WITHOUT changing anything in your back. This is an exercise in isolation, just like jazz/hip hop dancers do. You should be able to hold your ribs closed and move your forearms freely.

Maintaining turnout + passe position: One of the most common mistakes is the passé turnout deteriorating. Try to keep your glutes, hip flexors, and hamstrings consistently engaged. That's what's going to hold your passe, the muscles under your thigh. Try to keep your thigh perfectly parallel to the ground, this is the most aesthetically pleasing line. Don't relax too soon!! You're not 'done' until you're back in the plie/5th position.

So there's A LOT here and I appreciate you all for reading. I can't promise this is magically going to fix your turns, but I hope some of my tips will help or at least give you some things to think about! It's super technical but the most important thing is to get into the studio and practice! Don't try to change everything at once, just work gradually and safely but try to be consistent. As always, feel free to ask more questions about anything here that doesn't make sense or that you want more details on!

[bellasaraeternal]

"You have unique gifts. Make the most of the chances they give you."