Even something from the simplest plié can be difficult to master in ballet, but years of practice will certainly help. However, despite my many years of experience studying ballet, there are some steps that are still very difficult and require the utmost focus and struggle.
Turn Tire-Bouchon from Développé Écarté
Tire-bouchon refers to the leg momentarily being in passé, and passing through that position to extend the leg outwards. One variation of this “pencil-turn” is beginning from an écarte derrière position, with the same leg as arm in the air, similar to the one shown in the picture (except this one is on pointe instead of standing on flat with the full foot on the ground). In this picture, the working leg would be the leg to the viewer’s right, same as the arm to the viewer’s right. The left arm would be placed in second position and the standing leg is straight and turned out from the hip, using muscles in the glutes for external rotation. From this position, the standing leg bends in plié, and then the lifted leg quickly folds into passé. The body turns en dedans (that means en relevé- the ball of the foot), or toward the direction of the standing leg. 
After completing the turn, the leg off of the ground extends into the same position from the start of the turn, into développé écarté. Simultaneously, the arm in second position shifts upwards to fifth position while the arm originally up goes down to second position. While the leg folds into passé, this shifting of arms occurs, with the arm in second position gathering momentum to turn the whole body. The arms then go through first position during the turn, and extend out to the original arm position when the leg returns to its original position. What makes this step difficult is the coordination of the arms and the legs, as the arms have a longer distance to travel, but the whole body needs to turn at the same time and arrive in the final position at the same time. Plus, both the standing and working legs must be turned out, the foot in the air pointed, the arms held, shoulders down, core engaged- all of these fundamental rules applied. This step cannot be done correctly without being connected with one’s center and constantly thinking about how to push the floor away to elevate and lengthen the body.
Entrechat Cinq and Six
The image to the right shows the sequence of an entrechat quatre, which involves crossing the feet from the fifth position, out, and into a fifth position with the other foot in front. There are two categories of entrechat jumps: even numbered and odd numbered jumps. The jumps are counted using both legs. In this example, we start with the right leg in front. The even numbered jumps like in the image are counted (1) legs open, (2) right foot crosses back and left foot is front, (3) legs open again, and (4) the legs close back to fifth position in the air with the right foot infront again. Hence, the quatre, or four, count. Even numbered jumps are landed with both feet in fifth position plié. For odd numbered jumps, starting from the fifth position, the ending position would be on one leg. In entrechat cinq, the count is (1) Start from fifth
position in the air, right foot infront, (2) open legs, (3) Cross left foot in front of right foot in the fifth position, (4) open legs again, and (5) cross right leg infront again and land in coupe derrière, with the left foot in coupé. The same count can be done for the devant (front) position, with the left leg landing on the ground and the right leg in coupé. For entrechat six, since it is even, it lands on both feet. What makes this step more difficult than entrechat quatre is that there is an extra crossing of the feet, making three beats. Since one only gets one plié to prepare for all three beats, executing the third beat is quite difficult for me. Occasionally, I would use a back and forth motion instead of opening the legs outwards to the sides in order to do the third beat, which is improper form. This step requires very quick movement in the air which takes time and coordination to do properly. As for entrechat cinq, the execution is not as challenging, but I could get lost in the terminology difference between entrechat trois and entrechat cinq, both landing in coupé with odd numbered counts.
There are many complicated steps in ballet with one common denominator- the application of basic techniques such as straightening legs and a good use of plié that would allow one to succeed. In the next blog, I will share more humbling ballet steps that drive me to work harder each day.
Excellent post, Isabel! I admire ballerinas so much. When I was young I took ballet to enhance my gymnastics, and it is humbling to say the least. I would love to see you dance sometime!
Isabel, this is such an interesting post! I loved that you were able to describe each of the steps in a way that is really understandable and simple to understand. However, by the description alone I can tell that these steps are no easy feat. With the complex movements and complete control of the entire body, I cannot imagine how difficult it must be to learn these steps and perform them. As a dancer myself, I know that these steps take time to master, but once they are mastered, it is such an amazing feeling! Ballet in particular is one of my favorite forms of dance to watch. It is so graceful, yet also so precise at the same time, and the emotions that the form conveys are just beautiful to watch. I wish I had pursued learning it as a child for longer than I did (I stayed in the class for about 1 month but then it didn’t work out), but it seems like such a fun and fulfilling form of dance to learn! I can tell that you have a strong passion for the dance form, and I hope that you are able to continue it throughout your future. Thanks for sharing!