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The Power of Tendu
After the explanation of the power of plié, it would only be right to include the power of tendu and how this action can be refined for both beginners and professionals.
In dance, we are often extending the leg away from the body to point the feet. The action of tendu implies a stretch—stretching within the leg and the foot as a whole. Just like plié, tendu has several components that can be broken down into sections to give greater explanation to young dancers on how to execute it proficiently.
The tendu can be split into various sections, such as directional placement, pelvis alignment, knees, and articulation of the feet. Let’s take a deeper dive into how tendu can be more effective.
Directional Placement
When creating a tendu, there are three directions to adhere to: front, side, and back. However, the actual placement of this movement has more to do with three specific areas: the belly button, a dancer's first position, and the shoulder.
During the extension of the leg traveling to the front, or devant line, one should angle the line to point towards the same area as the belly button. Rather than just allowing the leg to extend forward, we bring forth the concept of pulling everything into the midline of the body. This concept can be useful later when turning with the leg in devant or even in attitude positions. Visually, this alignment is also helpful from an audience standpoint, allowing for the appearance of the line to be truly forward.
For the à la seconde line, the toes of a dancer’s natural first position should serve as the starting point for the extension. Often, the concept of “to the side” is misunderstood by young dancers, leading to compromised turnout. Instructing dancers to extend from the same line as their toes ensures the presentation of the inside of the leg is apparent. Emphasizing the need to showcase the inside of the leg through the foot keeps the leg from extending behind the hips, presenting the line as inward and well-placed.
The back direction is often where placement errors occur. The coined phrase “arabesque” by dancers and teachers alike implies that the leg should be in the correct line. However, during execution, it often appears more like a turned-in à la seconde line. To prevent this, visualize connecting the gluteus maximus to the same area as the shoulder. When properly placed, the leg will appear behind the dancer in the arabesque line, rather than sideways.
Pelvis Alignment
The pelvis is often the most overlooked aspect of technical placement. A lack of engagement in the core muscles, can hinder a dancer’s ability to achieve full turnout. Additionally, engaging the iliopsoas and adductors helps stabilize the pelvis and maintain proper alignment. Training the pelvis to maintain a neutral spine and lifted belly builds muscle memory, improving a dancer’s overall understanding of turnout.
Knees & Various Side Tidbits
Achieving a straight leg during extension is a key goal in tendu. There are several ways to achieve this. The quadriceps are a hidden gem in straightening the leg during tendu and extensions into the air. They can also assist in fully lengthening behind the knee during développé.
During relevé, it is essential to lift the pelvis to create space for the knees to straighten. The hamstrings play a crucial role in this movement, helping to stabilize the back of the leg. When the leg is extended toward the back, or arabesque line, focusing on pelvis alignment and allowing more rotation within the hip flexors ensures the hip placement remains stable and the knee straightens fully.
Articulation of the Feet
Pointing the feet seems simple, but proper articulation through the various parts of the foot is essential for long-term dance success and a precursor to beginning pointe work. I instruct students to think of their feet in three parts: flat, three-quarter, and full pointe. Activating all three parts is crucial.
It’s also important to extend through the top of the ankle. Encouraging students to press through the ankle and stretch through the calf helps them complete the line they’re trying to achieve. Additionally, educators should emphasize the use of the pinky and/ or outer edge of the foot. Dancers often overlook this area, leading to imbalance and weak foot usage.
Dancers with heavy pronation tend to neglect the entirety of the foot when pointing, instead pulling the foot into a deeper wing. Conversely, dancers who sickle their feet often struggle to achieve full relevé and articulate through the foot during tendu. Their movements can appear as if they are merely placing the foot in position rather than actively working through the muscles.
Lastly, dancers should visualize sending energy down into the floor, pressing the feet against it to create a stronger connection with the ground. This grounding technique enhances stability and improves the overall execution of tendu.
