Welcome back to 20 moves in 20 days. Today we are going to introduce ton dude to you. Okay, so Tom dues are one of the quintessential steps that lead into everything else. It's a great building block for some of your other technique as we continue on down the road. So we're going to spend a little bit of time on that today. And I'm going to show you more about it.

Okay, so imagine that we're standing in first position, always a great place to start. But Tanya, I'm going to kind of show it to you first, and then I'll break it down. But what it is, is it's a pointed foot pointed toe everything away from you in one direction, front, or side, or back, and then always coming home to if it's first position or fifth position or anything like that. And then that will be something that you will want to always come home to whatever position you started in. Okay, so I'm breaking it down. In theory, it looks like you're just sort of brushing along the floor and coming back in, which is true, but we're going to break it down so you can see exactly what's going on.

The first thing that's happening is you're bringing your foot out away from you flat. Okay, so I'm, I'm starting it in the direction I want to head, but I'm bringing it flat and turned out away from me. The second thing that happens is you're going to rise up so your heels going to come up off the ground. So you're in a Demi point or a half point, yes. Then I'm going to fully extend my toes here. And that is going to be our full extension of our Tondo from there to come back in, go back to half, back to flat, and then back to first.

So I like to think about it as four components to Aton Do I go Flat half, first half, flat, close. Yeah, so I'm thinking 123. And then depending on how, how you're going to go closing, maybe it's easier to think about it in terms of 567. And then you can hold eight count. And But anyway, we're gonna go to the back as well. So again, I'm going to start by bringing my foot behind me, I'm going to do half and in full, and then half, and then flat.

And then first. Now, posture is going to be really important. You're going to hear me harp on that the whole time. So you might as well just take it and run with it now. posture is going to be so important in ballet no matter what. So I'm still thinking, my energy up in the front, my energy down in the back, really pulling up, everything lifts to the front and everything goes down.

Down to the back. Really nice straight line. Okay, so with my time Deuce, I have flat, half, full, half, flat first, okay to the side, flat, half, full, half, flat, first, same thing to the back, flat, half, full, half, flat first, same thing side again, flat, half, full, half flat first. Good. So in traditional classical ballet, you're going to do combinations on quads, and on quad means Front, side, back inside. So most of the time when you're doing a combination, or very often, you're going to do front side, back side no matter what, and that's called Anca.

Okay. So, let's say that you're feeling confident about that. Although I would certainly recommend you practice it slow down for a while, but let's say you're feeling confident and you want to do it in a more seamless fashion. Okay? So again, normally in autonomy, we're not going to break it down that much. So it's just going to look smooth and flowy.

So I'm going to extend, I'm still going through all those positions, but I'm going to extend my toe and close in one fluid motion, extend and closed, extend and closed, extend and closed. Good. Okay, we'll do a little combination in just a second. But before we do that, let's talk about the directions of the feet, the precision of where you need to be. So if I'm doing a tattoo in front of me here, I want to think about my toe being in line with my belly button. That helps me eliminate it being too far open, or super far over cross.

I'm thinking of exactly in front of my belly button is where I want to Up to the side, wherever your natural turnout is, you're going to extend to the side right from there, right? So I'm going to extend here, and then come straight back in. Yes. And then to the back, all the way to the back, right here. And I'm thinking behind my spine, so it's really nicely straight behind me as opposed to again, out or over crossed, I think right behind me, and then come back in and then again to the side, my side is going to be different than the next person side. So exactly out from where your feet already are.

Okay, so, front is in front of your belly button, size to your side, back is behind your spine. Good. Okay. Another thing we want to think about. I know there's there's tons to think about in ballet. Sorry, it's just it's the nature of it.

So you'll you'll just Getting used to me saying you have to think about this, you have to think about that. And you have to think about this because ballet, since it uses your full body does certainly mean that there are so many different components to every little thing you do. And that's okay. So, for our tattoos, the other thing to think about is the placement of our ankle. So something that kind of happens sometimes is if we're not really engaging our turnout and not thinking about lifting her heels, we start drooping and it goes sort of to a parallel position. So it's not engaging what I actually have as far as training goes.

So it kind of just rotates back and then sometimes my heel starts dropping, or to the side, what happens is, again, if I'm rotating in or I'm letting my heel sort of drop, that I'm not getting my fully extended pointed foot, and then same thing to the back. Usually the quickest fix for this is, I mean, because this is very parallel, right? So the quick fix for that is thinking about about engaging your full turnout. So, turnout happens through all of your legs or all of your leg right underneath your hip. Your knee has some turnout, your ankle has some turnout, everything he just went to engage, think about the the, the muscles right underneath your butt. That's what's going to be engaging to allow you to rotate open.

Okay, so here, I'm really thinking about lifting my heel. From here. I'm thinking about hiding it from the audience. I think that's a really good way to think about it is, in general, if the audience can see it, that probably means you're turned in so I want to think about hiding it, hiding it, hiding it and the audience being somebody on the side, right. Okay, so let's put it all together with a little bit of a combination. So we're gonna do a slow Tom do really broken down on cloth, one on cloth.

So that's Front, side, back side. And then we'll do to Tom dues. A little bit faster, he'll extend one, close to and you'll do that front side, back side on quad two times. Okay, so I'll just talk you through it we'll do it together. And then you can do the other side on your own. So we have flat, half, full, half, flat, first, hole to the side and flat, half, full, half flat, first, hole to the back, flat, half, full, half, flat, first hole to the side and flat, half, full, half, flat, first and hole now a little faster we go one and close side, two and close.

Back end, close, side and close. One more time front and close. side and close and back and close and side and close. Excellent job you did your time dues make sure you do that combination to the other side. And we will move on with another move tomorrow.