Book of

Jazz Dance
isabeth Frich

reword and Commenr | dV Matt Mattox

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in 2023 with funding from
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 BK 7933 F897M
MATT MATTOX BOOK OF JAZZ DANCE
/FRICH, ELI

WL EAOI NISL
3000 649609 30016

793.3 F897m nV
FRICH
THE MATT MATTOX BOOK OF JAZZ
DANCE
15.45

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Bea
caus
St.Louis Community
College

Library
5801 Wilson Avenue
St. Louis, Missouri 63110
KG.
Dedicated to Matt Mattox and Jorunn Kirkeneer for showing
me the way to a unique art form—_JAZZ ART.
 The
Matt Mattox
Book of
Jazz Dance
Elisabeth Frich
Foreword and Comments by Matt Mattox

(& STERLING PUBLISHING CO., INC. NEW YORK

— Distributed in the U.K. by Blandford Press
 Other Books of Interest
Dancers Audition Book
Dancing as a Career for Men
Jazz Dance

Dancers pictured in the book:

Matt Mattox
Annette Plottin
Kari Helgesen
Are Norum
Elisabeth Frich

Library of Congress Cataloging in Publication Data

Frich, Elisabeth.
The Matt Mattox book of jazz dance.

Includes index.
1. Jazz dance. I. Mattox, Matt. II. Title.
GV1753.F75 1983 793.3 83-4647
ISBN 0-8069-7048-0
ISBN 0-8069-7662-4 (pbk.)

Copyright © 1983 by Sterling Publishing Co., Inc.

Two Park Avenue, New York, N.Y. 10016
Distributed in Australia by Oak Tree Press Co., Ltd.
PO. Box K514 Haymarket, Sydney 2000, N.S.W.
Distributed in the United Kingdom by Blandford Press
Link House, West Street, Poole, Dorset BH15 ILL, England
Distributed in Canada by Oak Tree Press Ltd.
% Canadian Manda Group, RO. Box 920, Station U
Toronto, Ontario, Canada M8Z, 5P9
Manufactured in the United States of America
All rights reserved
 Contents

Foreword by Matt Mattox ................ 7 206 Layout tothe sides... eee 70

ee Tre a re 9 262. Layoutntonthic bac kne. cr ae ee 71
Positions of the Feet, on the Floor, 27. Back, Side, Forward, Kick + Jumps
PANT... | ete als adh can 1] ANC LUtnsae ees eee ee eee 2,
ARI Swc'ad [S16(2 eae, 54 en ce 13 Coordination Exercises and Stretches .... 75
Pe Plies mist 6 2nd Position: 4. as. 2. 14 26. lum @Out, Turn Out, Plié= lumen. 97/6
Zor hies 19 4th ositiont= ee 2-4 ace.ok 17 29. Four Counts Forward and Reverse ... 78
Shoat Pron # lek ewe ek at is 20 30. Point, FlexDown, Around ~ 32) see 79
4 Poimutiront #2) .268 meee ae 24 312" 0-Count Stretch: . 23-2 eae 80
Beeb teare SOlatiOns oe re we, ic avd 2 32. Fall Forward + Bounce and Stretch . 82
Se ead Rol) eee eee ee, 28 FloOm@ESErcises: et. 5 See ee 85
6. Head Forward and Back/Right and Left 33 ehighteles Over Lett)... ee 86
bila eee i Oe en 30 St ROL thc Hip iene, sees eee 88
7. Head Right and Left (Horizontally) ... 34 35> QOD CSTCES wen era her ne a a 90
8. Head Forward, Right, Back and 26 2ROI pe An
eee 9]
Sener Sopa eae Se Aes ac 36 37, Shoulder stand (The Plow) sa.5. ee OZ
Oo Head Piptrewniciitee. 0 0). ho os 3] 30) Sit Ups tae.cs tn. ae eee ee 93
merece Islas neeeee SS ag ee: 39 39. Stretch Forward in Ist Position ...... 94
10. Both Shoulders Up & Over ........ 40 Oe CpenetO-2 ich ROsitiOhe epee
ya eeeee 95
ieione Shoulda Wp aoOver G. Se... ane 4]. Stretch Forward in 2nd Position ..... 96
12. One Shoulder Against the Other + 42 Splits. ache scone aes eee 97
SG UTEE
LED) pene Se ity OR oe Cee ea a ae 44 43> WalkiBack <tr 98
lucas Ispliiens—- es ot. en. yet 45 44>.Cchest(Litt’..aees aa eee ee ae 99
13.-Ribeage Forward and Back: . Shas .<. ; 46 45. Hip-Roll, Long Stretch, Pop-Up..... 100
1a Babeape might anc Lett. quciss at. es: 47 Dance Combmations #4. .0 ea ee 103
15. Ribeage Right, Front, Left and Back . 49 46. Dance Combination A—
MEL EIVAS ISOMNOUS = o> «5. es oi oo s,5 ano < 5] Kart Leloesen. cen. oe eee 104
Ma AU KO NO. cs Scoweeacs aor s23 Sy 47. Dance Combination B—
ty pe Place in One Count) 2. «<2: 54 Karnllelgesem aranee
ara 3 toe 106
18. Hip Right, Front, Left and Back..... 56 48. Dance Combination C—
ieee Wpemeises: So Sei ho ae bo-4 ve DD Vat NISttOX er ae es aera ee 114
19. Point, Flex, Pointand Down ....... 60 Glossary =x) Sent he aes 122
20. Leg Exercise with Contraction ...... 62 Afterword by (viatt, Mattox. cent. 05a eS
21. Lift and Flex, Bend and Point....... 63 Biographies—Matt Mattox ............... 126
PE ROMURGE JALNIDO oe tae Ben 4 soe, 66 Elisabeth: Firichege. 2) eee 127
23. Point, Bend, Point and Close ....... 68 INGEs: 35h ee se eee 128
DC eeteAV OMG EtTOME ages Spc ees 3 69

Note: Matt Mattox’ comments appear on the exercise pages, followed by his initials.
a}
Foreword by Matt Mattox

The warm-ups and isolation exercises in this book embody my particular system of teaching
“modern jazz” dance. Elisabeth Frich, a student to be proud of and herselfaperformer and teacher,
has diligently compiled all of the information and photos for this book. Not only is she a beautiful
student and dancer, but she is an untiring worker and an enthusiast of my work. With her dedication
and perseverance in pulling this material together, she has fulfilled a task that I, myself, have never
found the time to do.
The volume that she has created is a reference book that can be used on many levels by an entire
spectrum of dancers and students, whether or not they have worked with the exercises before—
whether or not they have danced before. Of course, beginners, looking at this book, won’t be able to
achieve as much as they might if they were to come to class every day—or even two or three times a
week. But any student, studying the photos and captions and practicing the exercises daily, will
eventually become aware of the rhythm of the exercises and the benefits to be derived from them.
And even if students simply practice the exercises a few times a week, they will discover for
themselves the advantages they offer in helping to build a healthy, well-conditioned body. For
students who have never studied dance before, this toning and conditioning could be an important
reward.
Dancers will find even more benefits here. For the dancer who has studied only one technique,
the exercises will re-awaken their comprehension of the placement of the body, from a different
point of view.
Many professional dancers—after weeks of training in these and other exercises—have told me
that they have discovered new things about their own technique which they had never thought-of
before.
Concentrating on working individual parts of the body, for example—from the point of view of
isolation—creates a new kind ofliaison between body and brain, which may never have been sensed
before.
The exercises may create a new awareness of the sensations taking place in the body at any given
moment. Many dancers today do not seem to work from the point of view of sensations, and this
consciousness is valuable to every dancer.
But even more important, in my opinion, are the benefits these exercises provide from the
standpoint of coordination. Developing coordination as a dancer doesn’t just happen. It may take
years to work through, but when the metamorphosis is complete, the dancer has undergone a
remarkable transformation. These exercises, concentrating as they do on coordination, will hasten
that glorious change.
For the choreographer, too, these exercises will be enormously useful. Often, one’s mind gets
tired of creating. If it is essential that you continue to create, you can use the isolations shown here to
refresh those creative energies as they reveal how to use the body from a completely different point of
view. I’ve been using them—with changes, of course, additions and deletions—over a period of 24
years, and I have always found them to be a stimulant to my creativity.
Research is important to anyone who is creative, but research without a basic system to work from
is of no importance. All the isolations in this form of dance (these exercises are only a part of them)
can be of the greatest value to creative choreography.
Acknowledgments

I would like to thank Jan Fredrik Larsen for all his work with the instructional photos and for never
losing faith in this project. My warm thanks also to the other photographers for their contributions to
this book.
I am very grateful for the beautiful work and patience of Annette Plottin, Kari Helgesen, Arne
Norum and Matt Mattox who have given endless hours of their valuable time modelling for the
photographs.
This book could never have been brought about without the support and inspiration of my
students and colleagues and the encouragement of my teacher Jorunn Kirkeneer, the director of Den
Norske Balletthgyskole in Oslo. She introduced Matt Mattox in Norway and started me off on this
project. I thank her for giving me the opportunity to research and specialize in this unique jazz art
technique.
My deepest gratitude to Matt Mattox, for trusting in me to write this book, and for his guidance
along the way. I hope I have managed to convey some ofhis spirit in this book—the spirit of awarm
personality, an excellent teacher and a creative choreographer.
Introduction

This book is the result of many years of training, performing and teaching jazz dance, dating back to
the summer of 1970, when I finished my full-time study at “Den Norske Balletthgyskole.” Matt
Mattox was invited by my teacher Jorunn Kirkener to teach at a course in Oslo. For two weeks we
struggled like crazy just to be able to follow the intricate movements and the high speed of this
dynamic teacher. I thought I would never ever be able to dance it.
But my curiosity about this unique style had been awakened, and after two years of studying
Mattox’ jazz art technique thoroughly in London, I returned to Norway knowing I had been given a
gift which would be valuable to me for a lifetime of work in dance: a system for training and teaching
jazz and a great source of inspiration for choreography.
I began teaching at “Den Norske Balletthgyskole,” and soon felt the need for written material for
my students about jazz training. That's what got me started on this project, but I quickly realized that
I ought to share my knowledge with many more students, dancers and teachers. I hope this system
will inspire you—from the first plié to the last jump—the way it has inspired me and so many
others.
Now—just a few bits of information about how to use this book. We’ve tried to show every
important move in the photos. In a few cases, some ofthe dancers have been turned a bit in order to
make the movement clearer. But if you follow the space diagram on page 11, you'll be able to keep
the sequence going in the right direction.
Its up to you how many times you do each exercise—and it depends on what you (or your
students) need. A general rule is to start with pliés, tendus and some leg exercises before going to the
isolations: head, shoulders, ribcage and pelvis. Some stretches, especially for the back of the legs,
are always done before the kicks and jumps. After some good stretching and strengthening exercises
on the floor, you should be ready to put it all into—DANCE!
If you find some of the series long and complicated, pick out what you can do, leave out some of
the arm-work to begin with, and slowly build up to the whole exercise. When you know them well,
you can start “playing around” by combining the exercises in different ways: Take one part of a
shoulder isolation and add on part of another shoulder isolation, for instance. In this way, you have a
system you can stick to, but you won’t get bored, because your brain has to stay awake to new
variations. Also, you get warmed up very quickly if you combine several exercises into one long
series without stopping.
For accompaniment, use any type of jazz and modern music, as long as it has a steady beat,
mostly in 4/4 rhythm. Try to challenge your body to do the exercises in quick tempo at the end!
Good luck! And remember: “JAZZ IS JOY!”

Elisabeth Frich
Oslo, Norway
April, 1983
Note: A video cassette of Matt Mattox’ “Jazz Art Technique,” demonstrated by the master himself
together with Annette Plottin, includes 45 of his favorite warm-up exercises and a long dance
routine. The 45-minute cassette is supplementary to this book and is available on VHS, Betamax,
U-matic, VCR and VCR 1500 and 1700 systems. It may be ordered from:
Jazz Art Productions
Elisabeth Frich
PO. Box 5144
Majorstua,
Oslo 3, Norway
Phone: (02) 60.38.10

Photographs: on page 1, credit F. Levieux. On pages 6, 13, 48 and 75, credit Lesley Leslie-Spinks.
On pages 8, 27 and 51, credit Inge Fjelldalen. On pages 59 and 85, credit Olav Hasselknippe. On
page 103, credit J.P. Leliévre. On pages 106 to 113, credit Norman Henderson.
 Positions of Feet Positions on Floor

ABBREVIATIONS: FIRST POSITION

C—Center
L—Left
R—Right
p—position
pp—parallel position
pt—point (see space diagram, right,
below)

FIRST POSITION

1pp (with arms in 1p also)

SECOND POSITION

ip turned out— 1pp— 1p turned in

SECOND POSITION

2p turned out (arms in 2p)

Na
2p turned out—
FOURTH POSITION

2pp— 2p turned in

FOURTH POSITION

4p: Sit on both hips with back leg pulled in to the hip. Keep
legs very open, knees in a straight line.

Space Diagram

4 p turned out (open: a 4pp (distance between feet f

straight line from heel to equivalent to ipp)
heel)

RIGHT 3

4p turned in (front leg turned in, back leg parallel)

Third and fifth positions are seldom used in this style.

 Positions of Arms

ARMS DOWN THIRD POSITION

The arms are rounded and held slightly out from the thighs. LOW—1 arm in 2p (palm down)
1 arm down (palm in)
FIRST POSITION

Arms are bent in front of the chest with elbows lifted to the MIDDLE—1 arm in 2p (palm down)
side and palms in. Keep space between upper arms and 1 arm forward (palm down)
chest.

SECOND POSITION

Arms are stretched to the side (palms forward) slightly

below shoulder level and in front of the body. In some
isolation exercises, elbows may be bent more, and in HIGH—1 arm in 2p (palm down) S
combinations they may be stretched more (“reach to 1 arm up (palm forward and slightly out)
infinity”).
2 See page 122 for definitions of terms used in this book.
C3
 1. Pliés in Ist and 2nd Position with resistance

In the classical dance we work with 5 positions: Ist, 2nd, 3rd, 4th and 5th, but in this style of
dance we use only Ist, 2nd and 4th. The pliés which follow are important in several ways.
They begin the warm-up of your hip, knee and ankle joints. They help you place your body in
a correct standing position. They make you aware of the idea that your body can stretch in two
directions—up towards the ceiling as well as down towards the floor. They start you off
placing your arms and moving them in decided patterns. And as you follow the sequences,
you will also become more conscious of using the long stretched leg and pointed foot.
—MM.

PART 1 2 1-4 Grand plié with arms to 2p. anp Close legs to pp. 5-8 Stretch forward with a straight back.
START in 1p, _ Start arms with accent; then Bring arms to 1p. Stretch arms forward parallel to floor,
turned out with continue softly. palms down.
arms down.

4,
iy

1-2 Drop upper body and position. Fold R 5 Fold R arm and 6 Finish release with
arms. arm on the way and release down. Sway rounded back and arms
3-4 Roll up through Stretch it up, palm back and let upper head relaxed. Head comes
spine to standing forward. body fall. Lift head last. Throw it down with
back. force. -
 I. Pliés in Ist and 2nd Position (page 2)

7-8 Stretch forward with straight 1-2 Drop upper body

back at 90° angle. Stretch arms and arms.
forward parallel to floor, paims
down. 3-4 Fold arms and
stretch them up. 5-6 Release

2-4 Hold and

enlarge position.

5-6 Straighten
knees and lower
heels.

7 Lower arms.
&.:
8 Turn feet to pp,
‘ weight, weight
and down with both 7-8 Stretch forward with straight anD 1 Turn out and sit in grand plié forward.
arms. back at 90° angle. Stretch arms with upper body C. Arms go through
forward parallel to floor, palms 1p to 2p. ON TO PART 2
down.

PART 2 2-8 Stretch R arm to 2p while 1-2 Push weight to L leg 3-4 Fold R arm.
1 Place R leg bent in 2pp. softly deepening contraction with R leg stretched to side
Contract L side. Lift L hip on L side. Look out over R parallel. Stretch R arm up,
diagonally up. arm. palm forward. Fold L arm.
Accent.
 1. Pliés in Ist and 2nd Position (page 3)

5-8 Softly lower R heel with 1 Contract R side and turn hips and knee to R, weight 5-8 Stretch L leg, equal weight
equal weight on both legs shoulders to R by lifting up on both legs equally. R on both legs. Stretch L arm up
in 2pp. Stretch arms into diaphragm and hand to front of hip, elbow diagonally with L leg. Accent.
diagonally down, palms pushing it back. Bend L back, L arm down.
forward. knee, lift L heel and turn 2-4 Deepen contraction.
Fold L arm.

1 Turn body to front, standing in 2pp, 5 Push weight onto L leg and turn out 7 Close R leg in 1p turned-out. Lower
flat feet, with R knee bent and weight both legs. Stretch R leg to side, arms.
equal. Contract L side and lift L hip turned out. Arms to 2p. 8 Hold and enlarge position.
diagonally up. Take arms shortest 6 Hold and enlarge position
way to reverse S (high on L, low on R)
with accent.
2-4 Deepen contraction on L side,
keeping arms still.

Repeat from beginning to other side. Repeat plié in 2p tured out.

 2. Pliés in 4th Position with resistance

START in 1pp, 1-2 Tendu R leg 3-4 Turn feet to pt 7 (see space diagram, 5-6 Upper body stil! facing
arms down. forward parallel. page 11) to small 2pp. Demi-plié, front, turn out R foot on heel
placing R foot on floor after pulling it to open 4p. Demi-plié, arms
closer to you. Arms to 2p, palms down. to 1p.

== EN all

7-8 Straighten knees. Arms to 2p. 1-2 Grand plié in 4p, lifting head, 3-4 Demi-plié in 4p, keeping head,
chest and arms diagonally up. Palms chest and arms lifted.
slightly in.

5 Turn R foot to parallel on heel. 7 Push weight back to L leg. 8 Close R leg in 1pp. Lower arms.
Arms to 1p. Stretch R leg forward parallel on Repeat to front with L leg.
6 Turn on heels to parallel forward, floor. Arms to 2p.
7
both heels on floor. Keep arms in
ip.
 2. Pliés in 4th Position (page 2)

Do exercises with alternating legs en croix. To the side with nght leg:

1-2 Tendu R leg to side parallel. Lift 3-4 Place R foot on floor ina 5-6 Turn out R foot 1-2 Grand plié in
arms to 2p. small 2pp, after pulling it a bit on heel to open 4p, lifting chest,
closer to you. Twist upper 4p. Demi-plié to head and arms
body to R, keeping head front. pt.3. Arms to 1p. diagonally up.
Palms down. 7-8 Straighten Palms slightly in.
knees. Arms to
2p.

3-4 Demi-plié in 4p, 5-6 Turn R foot to 7 Facing front, push weight back to L 8 Close R leg in ipp.
keeping chest, head parallel on heel. Arms leg, with R leg stretched parallel to the Lower arms.
and arms lifted. to 1p. side, pointed foot on floor. Arms to 2p.

Do exercise to the side with left leg. Turn to pt 7 in grand plié.

 2. Pliés in 4th Position (page 3)

Do exercise to the back. With right leg:

1-2 Tendu R leg back 3-4 Turn feet to pt 3 in small 2pp 5-6 Turn out R foot on 7-8 Straighten knees. Arms
parallel. demi-plié. Twist upper body to heel to open 4p. Demi- to 2p.
R, arms lifted to 2p, palms plié facing pt 5. Arms
down. to ip.

¢ w

1-2 Grand plié in 4p, 3-4 Demi-plié in 4p, . 5-6 Turn R foot to 7 Facing front, push weight back
lifting chest, head and keeping chest, head and parallel on heel. Arms to L leg with R leg stretched
arms diagonally up. arms lifted. to 1p. parallel to back, pointed foot on
Palms slightly in. floor. Arms
to 2p.

(ar\
-

Do exercises to the back with left leg.

8 Close R leg in ipp and

lower arms.
 3. Point Front #1 with resistance

A good exercise for the pointed foot, this sequence also helps you create a long, curved line
with your body, as you lower your hip and raise your arm overhead. This line is used often in
this style of dance. The exercise also gives you a sense of the demi-plié in another position.
—MM.

START in Ipp, 1-2 Tendu R leg forward parallel. Stretch 3-4 Bend both knees and contract L side,
arms down. R arm forward and up with palm starting forcing hip out. Stretch through R side,
back and finishing forward. L arm to 1p. lifting R shoulder. Look at R hand.
Stretch L arm to 2p, twisting to L.

a %.
‘

5 Straighten both knees. R shoulder 6 Fold R arm 7-8 Place weight over R foot with L leg
to C with straight arm. Fold L arm. AND Turn from waist down to pt 7 in small relaxed to side. Lean to L and stretch R
2pp. Demi-plié. Bring arms to 1p. arm up, leading with R shoulder. Finish
with palm forward. Stretch through R
ace and lift R shoulder. L arm to L, palm
own. =

20
 part 1: with resistance
3. Point Front #1 (page 2) part 2: with accent

PART 1: 3 Fold R arm. 4 Close R leg in ipp and PaRT 2: With accent
1-2 Turn body to front as lower arms. 5 Push R leg forward parallel
you push weight over to with L leg in demi-plié. Arms
L leg with R leg to 2p.
stretched forward on
floor. Fold L arm.

6 Stretch L leg and pull R anp Stretch arms up, 7 Rise to half-toe on L leg. Arms to 8 Lower L heel as
leg in to passé parallel. palms forward. 2p, palms down. you place R leg in
Arms to Ip. small 2pp. Lower
arms.
 3. Point Front #1 (page 3)

To the nght with right leg:

1-2 Tendu R leg to side parallel. Stretch R arm forward and up with palm starting back and finishing forward. L arm to 1p.
3-6 Continue exercise as to the front.

F
i,

anD Place R leg in small 2pp demi-plié, and twist upper body to R. Arms to ip.
7-8 Continue the sequence
1-4 as to the front.

5 Push R leg stretched to the side, turned out, with L leg in demi-plié. Keep hip down, turning out from hip. Arms to 2p.
22 6-8 Continue the sequence as to the front.
 3. Point Front #1 (page 4)
To the back with right leg:

ae a di ie

1-2 Tendu R leg back parallel. Stretch R arm forward and up with palm starting back and anD Place R leg in a small 2pp
finishing forward. L arm to 1p. demi-plié to pt 3. Twist upper
3-6 Continue sequence as to the front. body to the back. Arms to ip.

Aé &se

au

7-8 Stretch to the back as 1-2 Turn to front as you 3 Fold R arm. 5 Push R leg stretched to the back
you did to the front. push weight to L leg. 4 Close R leg in 1pp. parallel with L leg in demi-plié.
Stretch R leg back Lower arms. Arms to 2p.
parallel on floor. Fold L
arm.
A

6-8 Continue the sequence as to the front, returning to 1pp, arms down.
 4. Point Front #2 clean, crisp movements

This coordination exercise was developed for the training of the mind. It also develops the
long leg line, the long body line while standing on one leg and—even more important—it
develops the pointed foot, with a nice elongated arch.—MM.

START in 1pp 1-2 TenduR 1 Push R leg stretched 2 Point R foot. L arm to 3 Flex R foot.
with arms leg parallel forward parallel, slightly 2p. R arm to 1p. Fold L arm.
down. and close. off floor with flexed foot. Stretch R up
3-8 Repeat 3 L arm to 1p. R arm to 2p. with palm
times. forward.

4 Point R foot. 5 Flex R foot. Fold L arm. 6 Point R foot. L arm to 2p, palm 7 Point R foot on floor in front
Stretch L arm Take R arm to 2p, palm down. parallel.
up, palm down. 8 Return to starr.
forward. Fold
R arm.

24
 4. Point Front #2 (page 2)

Do exercise with alternating legs en croix. To the side: working leg is parallel in tendu and
turned out in flex/point. With right leg:

ay

1-8 4 tendus and close to the side 1 Push R leg stretched to the side, 2-8 Continue the exercise—
parallel. turned out, slightly off floor, foot flexed.
L arm to 1p. R arm to 2p.

eee

in the same way you did before to the front. Finish in starting position
(first photo, page 24).
 4. Point Front #2 (page 3)

To the back, the working leg is parallel all the time. With the right leg:

1-8 4 tendus and close to 1 Push R leg, stretched to 2-8 Continue the exercise—
the back parallel. back parallel, slightly off
floor, flexed foot. L arm to 1p.
R arm to 2p.

in the same way that you did to the front.

VARIATION: Demu-plié on your standing leg on count 1. Straighten on count 2. Continue demi-
plié and straighten on alternate counts, including count 6. Count 7 and 8 remain as before.

On facing page: Elisabeth Frich

 5. Headroll clean, crisp movements

The quick headroll is an excellent exercise for developing balance and control over your
center. The stretch to the side is useful, too, with your arms going in counter-directions, one
stretching up and away from the body, the other reaching down to the floor. At the same time,
the exercise forces you to turn out while in a deep plié, which is fine for opening second
position. Remember: At the moment you stretch to the side, press your knees well back and
your pelvis well forward.—MM.

START in 1pp, arms 1-2 Fold R arm. 3. Stretch R arm up, palm 4 Hold and enlarge position.
down. forward, lifting R shoulder. Place 5-8 Contract softly on R side and
L hand on L hip, elbow back. lift R hip diagonally. Bring R arm
Twist to L slightly. Place straight down through 2p. Finish with
R leg to side, flat foot, and bend L. arms round, head down.

1-8 Roll head R, 1-8 Repeat

back, L and headroll 4 times
forward 2 times, consecutively,
using 4 counts using 2 counts
for each roll, for each roll,
accenting R accenting R
side. side.

AND Turn out and sit in grand plié 2p 1 Lift heels in d plie
turned out. Drop head forward. Arms forward, Facd conten ones
to 2p, hands relaxed. 2-4 Hold and enlarge position.
5 Lower heels and relaxhands.
6-8 Deepen plié.
28
 5. Headroll (page 2)

1 Stretch R arm down and L arm 2-8 Stretch upper body to the R in this
straight up, palms in. position, pushing on the L side and
keeping upper body aligned.

1-4 Upper body to C, arms to ip. 5 Turn legs parallel as you push 7-8 Close R leg in 1pp. Lower arms.
weight over to straight L leg, R leg
stretched to side. Arms to 2p with
force.
6 Hold and enlarge position.

Repeat from the beginning to the other side.

 6. Head Forward and Back/Right and Left (Tilt) clean, crisp movements

This exercise is designed to help coordinate head and arms. There are four distinct positions
in it that you can use when making up combinations:

ate
These major dance positions are particularly characteristic of jazz dance. This exercise 1s also
effective for improving your leg positions—parallel and turned out. It also helps you with
contractions, so important in this dance form.—MM.
“ ae
* (7s
‘e é 7 \

~~

PART 1:
START in Ipp.
arms down.
1 Drop head
forward and
fold arms.

cn
2 Head to C. Arms up, palms forward
(left).
3 Head back. Arms to 2p, palms
down (above).

t 4 Head to C. Lower
arms.
5-8 Repeat 1-4.

1 Tilt head to R, keeping face front, 3 Tilt head to L, face front.

shoulders down. Arms to 1p. pase sshcal ail a
30
 6. Head Forward and Back/Right and Left (Tilt) (page 2)

aes to C. Arms 5 Tilt head to R. 6 Head to C. Arms to 2p. 7 Tilt head to L.

ano Head to C. 8 Lower arms. PART 2: 2 Turn to pt 3 in 4p turned in. Arms to

Arms to 1p. 1 Place R leg relaxed to side. Fold 3p, middle. Accent.
arms. Lift elbows to 1p and start to
shift weight to R leg.

rieRepeat last 4 counts (1-4) to

1-2 Repeat counts 1 and 2

(above) to R.
3 Place weight on R leg. Lift
leg to parallel back attitude,
facing pt 3. Twist upper body
slightly to R. Stretch R arm up
and L down on a diagonal line
parallel to lower leg. Keep L
hip down. Turn palms to back
wall and look at L hand.

3 Face front, pushing 4 Close R leg in 4-8 Hold and enlarge position.
weight to L leg. ipp and lower
Stretch R leg parallel arms.
to side. Fold arms. 31
 6. Head Forward and Back/Right and Left (Tilt) (page 3)

1 Turn body to front on R leg and turn 1-4 Straighten both knees. 5 Pull in L leg to passé turned out.
out L leg to side in attitude. Arms to 2p. Arms to 1p.
2-8 Hold and enlarge position.

i os!
ae ad

6 Stretch L leg to side, turned out. AND Pull in L ieg to passé, turned out. 7 Turn L leg to passé parallel. Arms
Arms up with palms forward. Arms to 2p. to 1p.
8 Close L leg in 1pp and lower
arms, returning to starting
position.

Repeat from the beginning to the other side.

32
 6. Head Forward and Back/Right and Left (Tilt) (page 4)

Variation of PART 2.

1R leg to side relaxed. 2 Turn to pt 3 in 4p, turned in. 3 Contract forward with 5-6 Release and lower R
Fold arms, lift elbows to Arms to 3p, middle. Accent. accent. Lift both heels in 4p. heel. Fold arms.
“eSppek to shift weight 4 Hold and enlarge position.
oR leg.

. Contract—release—contract—using 2 counts for each movement.

7 Pull in R leg to passé

parallel and straighten L
leg. Fold arms.
8 Lower L heel and close
R leg in pp. Lower
arms.
5 Turn body to front as you place weight on 1 Lift L heel and turn head to R. R arm
bent parallel L leg. Keep R leg in parallel to 2p and L to 1p, with relaxed hands.
side attitude. Arms 3p middle, R in tront 2-6 Hold and enlarge position.
palms down.
6-8 Hold and enlarge position.
 7. Head Right and Left

Often in musical comedy the style of dance does not stay strictly in the realm of jazz—or
classical—dance, but incorporates other forms, such as Indian dance, Siamese dance or other
styles. These exercises will make you aware of what may be asked of you when you're called
upon to do East Indian dance. The arm and kneeling positions are characteristic. This
exercise also develops the control and flexibility of the neck muscles on the side, strengthens
the thigh muscles and warms up hip, knee and ankle joints. —-MM.

When you practice this exercise, do the The best way to achieve a side-to-side isolation of the head is to tilt your head to the
head isolation from side to side in 1pp, side (face front). Then push your chin sideways, parallel to the floor. When you push
arms overhead. R, contract and shorten the muscles on the L side—and vice versa.

:Hora head sideways to R with face 2 Push head to C.

ront.

sTarT in 1p turned out demi-plie, 3 Push head sideways to L. 4 Push head to C.

arms overhead, palms together. 5-8 Repeat sequence 1-4
 7. Head Right and Left (page 2)

START 5 Open R leg to 2p, turned out 1-2 Lift heels in grand plié, keeping at
1 Grand plié, completely relaxed. Arms grand plié. Arms overhead, palms the same level. Arms to 2p, relaxed
to 2p, relaxed hands. together. hands.
2-4 Hold and enlarge position. 6-8 Hold and enlarge position. 3-4 Lower heels.

5 Return R leg to 1p, turned out 1 Demi-plié with heels lifted, arms to 3 Grand plié, relaxed, palms forward.
grand plié, relaxed. Arms 2p, relaxed hands. 4 Hold and enlarge position.
overhead, palms together. 2 Hold and enlarge position. 5-8 Back to start.
6-8 Hold and enlarge position.

Repeat from start to the other side.

 8. Head Forward, Right, Back and Center clean, crisp movements

You have just

made a figure that
looks like this:

5-8 Repeat from

start to other
side. On count 5
start L in Ipp, arms overhead, 1-4 Push
. :head forward in and finally to C back. push headC and
through
framing face, palms together. eustaht line, then R, then forward.

1 Step R leg forward into 4p turned 1 Push weight back and pull R leg to anD Place R leg in wide 2pp with lifted
in. Arms to 2p, relaxed hands. Push 1pp with lifted heel (no weight). Keep L heel, equal weight on each leg.
head forward. leg bent, heel down. Arms to 1p. Release through back and pelvis.
2-8 Continue head isolation to R, Lower arms, passing slightly behind
then to L. back.

AnD Softly return back

and pelvis to C, arms to
ip.
5-8)Repeat release-
1-6|contraction 3 times
with arms, using 4
counts for the first 2 and
2 counts for the 1 last.
7 Close R leg in 1pp with
straight knees. Arms to
ip.
8 Arms to starting
position.
2 Contract forward and take arms to 2p. VARIATION OF RELEASE-CONTRACTION: Place
Accent. weight on bent R leg, with lifted heel. Lift L
3-4 Hold and enlarge position. leg to parallel side attitude and softly lower
R heel while you release and contract. Take
36 pee body further forward. Repeat to other
side.
 9. Head Figure 8 soft and clean in 3/4 rhythm

START in 1pp with arms in 2p, 1-3 Push head forward and continue AND Place L foot, turned out, on half toe
relaxed hands. semi-circle to R, then back, parallel to under R, slightly bent knees. Pull L
floor, keeping face forward. shoulder blade in, lift L hand up, palm
out.
4-6 Repeat semi-circle to L.

1 Step L leg to 2p, slightly turned out. 2 Place R leg, turned out, back in 4p with and let them fall behind back, head
Demi-plié. Bring L shoulder blade to C lifted heel. Kneel on R knee, slightly forward.
and L hand down. turned out, equal weight on each leg, ball 3 Turn out L leg to side flat on floor with
of R foot on floor. Take arms through 1p bent knees. Head to C, arms to 2p.

Repeat from the

beginning to the
other side.

4 Pull in L leg and close both legs 6 Close R leg in 1pp and lower
forward parallel. Relax hands. arms.
5 Stand straight up on L leg.
On facing page: Matt Mattox
 Shoulder
Isolations
 10. Both Shoulders Up and Over clean, crisp movements

The primary reason for any warm-up is to prepare the body to work hard. With the following
exercises, you'll learn not only to use your shoulders in any way you want at will, but you'll
also warm up the joint of the shoulder and build the muscle structure into the condition it
should have, in a well-exercised body.
Very often, the hands, arms and shoulders, muscularly, are used to make a rapid recovery
froma prone position on the floor, or to make a quick fall to the floor from a standing position.
These sequences will help you build up the strength in and around your shoulders so you can
make those moves, besides teaching you how to isolate shoulder movements. These muscles
are often forgotten when a warm-up Is done, because so much of our concentration goes to the
body, the legs and feet. Do these exercises daily—MM.

f
a>

START in 1pp with arms in 2p. 1 Lift both shoulders straight up. 2 Push shoulders forward and down.
3 Lift both shoulders up—
4 and then to C.
5-8 Repeat from start.

1-4 Repeat from start with forward 1 Lift both shoulders straight up. 2 Push shoulders forward and down
contraction. Lift R leg to parallel side with forward contraction. Step R |
attitude on count 2, taking upper body forward to 4p turned in: nea
further forward, L leg bent. 3-4 Lift both shoul
5-8 Repeat last 4 counts to other side. bringing ‘Keni ean po
40 5-8 Repeat last 4 counts to other side.
 10. Both Shoulders Up and Over (page 2)

1 Place R leg in 2 pp with straight 2 Arms to 1p. 3 Place R hand on R thigh. Stretch L
knees. Arms to 2p. AND Stretch upper body to R. arm up along L side of head. Stretch
through L side, looking in direction of
hand.
AND 4 Reverse, return to sTarT.

VARIATION: When you step forward

with contraction (see last photo on
page 40), lift the leg you step away
from to parallel back attitude. Take
your upper body further forward.
 11. One Shoulder Up and Over with resistance

PART 1: step R leg over t, L arm to Ip.

start in Ipp with arms in 2p. 3 Lift shoulder and stretch L arm up, ,
1 Lift R shoulder straight up. palm forward. 4 Return leg to 1pp with straight
2 Push it forward and down as you knees. L arm to 2p.
5-8 Repeat from start to other side.
Repeat from the beginning, but step under the leg.

VARIATION OF PART 1
pare
ee

Lift leg you step away from to back attitude, Step R leg under L.
as you push shoulders forward and down. Lift leg to turned out
Move forward and back to 1pp. forward attitude.
: 5 Same with L leg
Step R leg over L. Lift L leg to parallel back (under R).
attitude. Same with L leg (over R) to parallel
back attitude.

PART 2: . : : 2-6 While stretching L leg, do forward 7-8 Turn to front. Take R leg straight
1 Place R leg in 4p turned in facing pt contraction, stretch arms forward, through 1pp without putting weight on
8. Let arms fall. palms down. it and bring it forward with flexed
42 foot. Palms in.
 11. One Shoulder Up and Over (page 2)
‘

1 ae L heel and take arms up, 1 Sisich ans forward and up, 3 Stretch diagonally down at 45° angle.
palms in. palms in. Lift well up from waist. 4 Roll up, vertebra b t i
2-6 Hold and enlarge position. 2 Stretch body forward at 90° angle, nositiGns ie gon cach haem
7 Fold arms, lower L heel. straight back. 5-8 Repeat last 4 counts.
8 Close R leg in 1pp. Lower arms.

tl

PART 3: 1-2 Place R leg in 4p, turned in to pt 3-4 Contract softly forward, taking arms
1 Demi-plié, arms in 2p, palms 2, arms in 2p. to 1p. ; 2
forward. AND Release softly (above), keeping and 5-8 Change direction to pt 8 without
2 Lift heels, keeping pelvis still arms still. moving feet and repeat release/
(above). contract. Repeat last 4 counts to R/L.
3 Straighten knees, turn palms
down.
4 Lower heels and arms.
5-8 Repeat last 4 counts.

Repeat from Part | to the other side.

43
 12. One Shoulder Against the Other + Shimmy __ clean, crisp movements

Cn7
at
4 f
' =)
s
2 t

START in ipp with arms in 2p. 1 Lift both shoulders straight up. 2 Push R shoulder forward and down.
Move L shoulder back and down.
3 Lift shoulders up
4 and to C.
5-8 Repeat from start to other side.

é ian ¢2)
) ee ‘ a

canal =n, :

1 Lift both shoulders up (middle picture 3 Lift up shoulders and push weight 4 Close R leg in 1pp. Shoulders to C.
above). over to L leg. Point R foot to side 5-8 Repeat last 4 counts to other side.
2 Push R shoulder forward and down as parallel.
before, but step to R on bent leg
parallel, flat foot. Contract L side, lift L
hip diagonally, chest front. Accent.

3 Bend back, taking arms

to 2p, palms down.
4 Hold and enlarge
ee position.
1-6 Place R leg in 2pp ‘
demi-plié and shimmy with 5 Upper body to C.
arms in 2p.
7-8 Close R leg in 1pp and 6 Hold and enlarge
lower arms. position.

1 Stretch both arms forward 7 Lower heels and arms.

and up with palms in. Lift
heels. 8 Hold and enlarge
position.
2 Hold and enlarge Se
position. 1-8 Repeat last 8 counts.

Repeat from beginning to

other side.
yjy
 13. Ribcage Forward and Back clean, crisp movements

This exercise is designed to help you move your ribcage at will. A major coordination, it is also
an essential movement in the “ripple.” When you master this exercise, you'll have mastered
the basic “tipple” movement. Arm movements here are strictly for coordination—and the
training of the mind.—MM.

START in 1pp, 1-2 Push ribcage 3-4 Push ribcage 5-8 Repeat 1-4. 1 Push ribcage forward. Arms to 2p
hands on front forward (above) back (above) On 8 take arms with flip hands.
of hips. ng then back to ae then back to to 1pp (above).

2 Push ribcage 3 Push ribcage back. AnD Arms to 2p. 4 Push ribc t
to C. Arms to 1p. Stretch arms up, 3 5-8 Repeat lastSecu ae
palms forward.

Place hands on front of hips as you repeat from the beginning.

 14. Ribcage Right and Left clean, crisp movements

A coordination exercise, this sequence also helps you to isolate the ribcage, a common
movement in many forms of jazz dance. It also incorporates the forward/backward action of
the “ripple.’-—MM.

START in ipp, hands on front 1-2 Push ribcage to R 3-4 Push ribcage to L 1 Push ribcage R. Bring R
of hips. (above) and back to C. (above) and to back and C. arm to 2p. Bring L arm to
5-8 Repeat 1-4. ip.

i 3 3 Push ribcage L. Bring 4 Push ribcage to C. 1 Place L foot under R on

Seek Daup. are L arm to 2p, R arm to 1p. Stretch R arm up, palm half-toe, L leg bent, both
f d alon side of forward along side of legs slightly turned out.
head.” ic head. Turn body to pt 8. Arms to
ais 5-8 Repeat last 4 counts. 1p.

4]
 14. Ribcage Right and Left (page 2) clean, crisp movements

2 Hold and enlarge position. 5-8 Arms to 2p, palms forward. 1 Contract hip forward.
3 (above) Stretch both arms up, palms
forward.
4 Hold and enlarge position.

rm
Ass ™

2 Release hip back. 3-4 Contract your ribcage back as you 5-6 Release ribcage forward as you
contract hip forward. release hip back.
7 Close L leg in 1pp to pt 1.
8 Hold and enlarge position.

Note: In 3-6 you create 2 soft ripples while you deepen the demi-plié, keeping arms still.

Repeat from the beginning to the other side.

 15. Ribcage Right/Front/Left and Back clean, crisp movements
Back
4-8
This exercise is similar to the last, but it is especially effective for
the training of the mind—and the coordinating of bod ly and arm
movements.—MM.

START in ipp, hands 1-16 Push ribcage

on front of hips. -R- —front- -L- —back-
and then L, front, R and back 2 times in the pattern of a diamond (see above), using one count for
each movement.

d 5 Place L hand on front of 1-8 Repeat last 8 counts. Stretch R arm up, palm
ROC Aniosln L hip, R hand on head, 1 Fold R arm, stretch L arm forward. Fold L arm. Push
down. Push ribcage R. palm down. Push ribcage L. up shortest way, palm ribcage L.
2-4 Push ribcage 6-8 Push ribcage front, R forward. Push ribcage R. 5-8 Push ribcage front, R,
front, left and back. and back. 2-4 Pee cags forward, L back.
and back.

Repeat from the beginning to the other side.

On facing page: Elisabeth Frich
Pelvis Isolations
 Pelvis Isolations

The following exercises aid in creating coordination of head, body and arms, but more
important, they give a working knowledge necessary for many pelvic movements in Jazz
dance. The “bump and grind,” as it was called in burlesque in the early days, was used to
create a sensual reaction from the men who watched it done by the female artists of striptease.
This connotation still exists today when we do the pelvic roll: the right/front/left/back and
reverse movements of the pelvis, with head and arms working as well, and the quick push of
the pelvis into place, resting there for the second count.
I designed this exercise for jazz dancers, because women particularly are called upon often
to impersonate striptease artists, and there is no better place to learn how to do it than in a
dance class.
Again, all these isolations are meant to make dancers work their brains and coordinate their
bodies, so that their capacity for adaptability—to any style of dance—is possible. And, never
let it be forgotten that we are warming up the entire anatomy as well, preparing the body for
its ultimate task and that is to dance.—MM.

16. Hip Rotation long, smooth movements

In this exercise, the pelvis is pushed softly in a horizontal circle and a figure 8S—both halves of
which go to the side, not forward and back.—MM.

PART 1:: ae 1-2 Push hip to R and take

R arm to 1p. 3-4 P i
START in Ipp demi-plié with arms in 2p. AND Turn R Ppalm forward. : See
arm up along eerie a
R side of head.
=
 16. Hip Rotation (page 2)

5-6 Push hip L. Take R arm to 2p. 7 Push hip back 1-8 Repeat from start with R leg bent
AND Arms to 1p. parallel to the side on the ball of the
8 Arms to 2p, with flip hands. foot.
1-16 Repeat from start to L.

PART 2: 3-4 Close R leg in 1pp as you finish Repeat from start to other side.
anp Place R leg forward, relaxed. figure 8 diagonally R back. Make 1 VARIATION (above): Lift leg to parallel side
1-2 Start % horizontal figure 8: inward circle with L lower arm on attitude during second half of part 1.
pushing hip diagonally forward last 4 counts.
and R.

PART 1

Back 7-8

Right 1-2 Left 5-6 Right 1-4 Left 5-8

Front 3-4
 17. Hip in Place in One Count clean, crisp movements
Back
7
In this exercise the hip is contracted sharply in the pattern of a diamond:
R/F/L/Back. It is the same rotation as in Part 1 of Exercise 16, except that Right 1
you push your hip sharply in place on count I and hold count 2.

PART 1: 1 Contract hip to R. Take R arm to 1p. 3 Contract hip forward. Stretch R
start in ipp demi-plié with arms in 2p. 2 Hold. arm along R side of head.
AND Turn R palm forward. 4 Hold.

a
2

5 Contract hip L and take R arm to 2p. 7 Release hip back. 1-8 Repeat from start with R leg bent
6 Hold. AND Arms to ‘1p. parallel to side.
8 Arms to 2p with flip hands. and Close R leg in 1pp demi-plié.
1-16 Repeat from start to L.

On to part 2—
 17. Hip in Place in One Count (page 2)

PART 2: ; ae 1 anp Contract hip to L. Release 2 ano Repeat contract/release of hip.

anp Close L leg in 1pp, demi-plié, and place it back to starting position. Turn L palm forward. Stretch L arm up
R leg bent parallel to side with lifted heel. Rotate R lower arm in one along L side of head. Do one outward
Palms down. outward circle. L arm to 1p. circle with lower arm.

AND Ciose R leg in 1pp, demi-plié. Finish R arm in 2p as you release hip.

5-8 Repeat part 2 to other side.

1-8 Repeat from start of part 2.

Variations (below)
(Left): Lift leg to parallel side attitude.
(Center): Or keep it relaxed to side and add head movement in Part 2. As
you contract/release hip to L 4 times, drop head forward in 2 counts and take
it back to C in 2 counts.
3 ano 4 Repeat contract/release/contract,
repeating arm action twice with R arm (Right): As you contract/release hip to the R 4 times, drop head back in 2
and taking L arm to 2p, palm down. counts and take it back to C in 2 counts. Continue the circling of the arm.

sf
 18. Hip Right, Front, Left and Back clean, crisp movements

Back 4/8 Back 4/7

; oa: , Ae. a
In this exercise the hip is contracted sharply RAE here pom aa
the pattern of a diamond (Part 1) and a cross
(PART 2).
Front 2/6 Front 3/8

f
iwe

PART 1: 1 Contract hip to R. 2 Contract hip forward. 3 Contract hip to L.

START in 1pp, demi-plié, arms in 2p. Close arms in ‘1p.

ea

4 Release hip back and stretch arms PART 2: 2 Contract hip to L. Tilt head L
up, palms forward. 1 Contract hip to R and tilt head to R, without stopping in C..
5 Contract hip L, arms up. keeping shoulders down.
6 Contract hip forward.
7 Contract hip R.
8 Release hip back, arms 2p.
 18. Hip Right, Front, Left and Back (page 2)

3 Contract hip forward and let head 4 Release hip back and lift head back. R 5 Contract hip L. Tilt head L. L arm
drop forward. R arm 1p. arm 2p. L arm 1p. 2p.

6 Contract hip R. Tilt head R without 7 Release hip back; lift head back. L 8 Contract hip forward. Let head drop
stopping in C. arm to 1p. forward. R arm 1p. L arm 2p.

Move head to Center and move Left arm to Ip to start repeating sequence from the beginning
to the other side.
VARIATION: Do sequence in %4 rhythm I AND 2
3
4 AND 5
6
 Bae hf |

od

{|

Yi
Leg Exer C1Se€S
 19. Point Flex, Point and Down

When you force your heel forward in this exercise, and bring your toes back—with your leg in
a contraction—you will be forced to get your knee in the right position to create a long leg
line. Besides this, the exercise makes you aware of the difference between the pointed foot
and the flexed foot, and it helps you to balance on one leg. Moving your head at the moment
of balance calls for added concentration in order to keep your center of gravity —MM.

START in Ipp, arms down. 1 Lift R leg sharply to passé parallel. 5-8 Softly extend R leg forward, flexed
Arms 1p. foot. Arms 2p.
2-4 Hold and enlarge position.

1-4 Rise to half-toe L leg, lift head back. 5-6 Pull in R leg to passé parallel on 7-8 Lower arms and L heel as you
balance. Head C. Arms ‘p. place R leg in ipp.
Do exercise with alternating legs
en croix. .
 19. Point, Flex, Point and Down (page 2)

Do the exercise with alternating legs en croix:

To the side, the working leg passes from parallel to turned-out passé on the 3-4, and is extended to the side (turned out) on
5-8. Then balance.

¢-
x

oy,

To the back, the working leg is parallel, both in the passé and in the extension.

61
 20. Leg Exercise with Contraction with resistance

This is a good exercise with which to build strength in the legs and control when standing on
one leg. The contraction is an added complication which brings your entire body into play as
you work for balance and control. Actually, it also strengthens your total body and improves
your concentration. Always do it slowly. Remember, when doing the contraction and the
movement to the back, to keep your body—as much as possible—in a classical arabesque
position. —MM.

START in 1pp, arms 1-2 Lift R leg to passé 3-4 Extend R leg forward 5-8 Contract forward overR
down. parallel. Arms 1p. parallel with pointed foot and leg and take arms forward
L leg in demi-plié. Arms 2p. parallel to floor, palms in.

DO THE EXERCISE WITH ALTERNATING LEGS EN CROIX:

(Left, below): To the side, R leg passes from parallel to turned-out
passé and is extended to the side turned out on 3-4. Contract R
side, stretch arms to R (L slightly rounded), towards working leg.
Repeat with L leg.
(Center, below): To the back, the working leg is parallel. Contract
forward and stretch arms down, palms in.
(Right, below): To the side, again, you contract away from the
working leg.

1 Lift heel on bent L

leg.
2-4 Hold and enlarge
position. 7-8 Lower arms and
5-6 Stretch L leg. Pull heel as you place R
in R leg to passé leg down in 1pp.
parallel on balance. Repeat from start with
Arms 1p. L leg.

62
 21. Lift and Flex, Bend and Point

A good exercise for building strength in your legs, this sequence will also improve your ability
to go from point to flex and back to point. In order to develop strength in your legs, your leg
muscles must go to the most extreme contracted position. When you point your foot in the
air, on the floor, or at the side of your knee in the passé position, the calf muscle particularly
must be in contraction.
Note: When your arms are up—or in second position—they should always reach to
infinity.—MM.

START in ipp, arms down. 1 Push R leg sharply forward 5 Demi-plié softly on L leg 1 Stretch L leg sharply and
parallel with flexed foot. and bend R to parallel R leg forward, flexed foot.
Arms 2p. forward attitude with Arms up, palms forward.
2-4 Hold and enlarge pointed foot. Arms to 1p. 2-4 Hold and enlarge
position. 6-8 Hold and enlarge position.
position.

7 Pull in R leg to passé 8 Close R leg in ipp

ement, place 6 Lift R leg forward parallel
i parallel. Arms 1p. and lower arms. Do
rece alleLon floor in trout, with pointed foot. exercise with
pointed foot. Arms 2p. alternating legs en 63
croix.
21. Lift and Flex, Bend and Point (page 2)

Do exercise with alternating legs en croix:

To the side, the turned-out working leg goes through passé

turned-out to passé parallel and back to starting position.
21. Lift and Flex, Bend and Point (page 3)

To the back, working leg is parallel.

65
 22. Ronds de Jambe with resistance

Used in classical dance to develop the long leg line and well-pointed foot, this exercise is even
more helpful as a leg isolation. In the grand rond de jambe in the air, be sure to maintain the
center line and the position of the pelvis. Lift your torso as high away from the pelvis as
possible while you pass through second position, and be sure not to lean too far forward in the
arabesque (page 66, count 5-6). Many dancers lean too far forward in the next position too
(page 67, count 7-8). Actually, the reverse is needed. Lift your body up and back while, at the
same time, you lift and bend your back leg up as high as possible. When you twist your
shoulders, don’t move your arms from second position. Lock into second position and simply
turn both shoulders. The standing leg should be in demi-plié throughout.—MM.

START in 1pp, En dehors 1-3 Rond de Leg should be parallel when in forward 4 Pullin R leg
demi-plié, AND Lift R leg jambe a terre or back position. When out to the side, to passe
arms rounded to passé en dehors with it should be turned out. parallel.
and down. parallel. R leg. 5-8 Repeat
from
beginning.

1-2
Pee Stretch R leg forward
Atne 3-4
oe Take R leg g to side, turned - Take R leg to back parallel.
5-6
.
 22. Ronds de Jambe (page 2)

7-8 Bend leg to back parallel attitude. 1 Lift heel in demi-plié. 7 Close R leg in 1pp demi-plié.
Upper body slightly forward, twist it 2-4 Hold balance. Lower arms.
to L. This places R arm diagonally 5 Upper body to C. Stretch leg, lower 8 Enlarge position.
owns L arm up, parallel to R lower heel, and pull in R leg to passé Repeat to other side.
eg. parallel. Arms ip.
6 Hold and enlarge position.

Repeat with right and left leg en dedans.

In ronds de jambe a terre and en

l’air en dedans, the working leg is
bent to a forward parallel atti-
tude. Upper body is twisted to-
wards working leg. Arms are then
in 2p, one pointing directly for-
ward and the other directly back.

67
 23. Point, Bend, Point and Close clean, crisp movements

This exercise was developed for coordination, to improve the reflex action of the leg
movement from straight to bent and back to straight, and to improve the balance on half toe
(which builds up the arch of the foot). It is done rapidly, especially by accomplished dancers.
There are many versions of this exercise. Here the body is held in a steady position while leg
and arm movements are isolated. Note that the leg movement comes from the knee and the
arm action from the elbow on AND 2. This action is accented by leg, foot and arms.
—MM.

START in pp 1 Stretch R leg forward parallel on AND Pull in R leg to 2 Stretch R leg forward parallel
demi-plié, arms floor, arms to 2p. passé parallel, on floor. Arms to 2p.
down. arms to 1p.

a
Ae
+
oe
«::
~

pose R leg in 1pp and lower 2Bae heel, staying in plié. 7 Stretch L leg on half 8 Close R leg in
1S. old and enlarge position. t i 1 i-plié
4 Flick R leg forward parallel. Arms SC ELAILaL pal to Hae al oe
to 2p (above). 1p. Do exercise en
croix.
68
 24. Layout to the Front with resistance

Designed to build control and balance in an off-center position, this exercise will also develop
strength in the legs, if it is done regularly. Be sure to hold your body in a locked position—
back absolutely flat—after your leg goes into second position. —MM.

START in 1pp, arms 1 Lift R leg sharply to 2 Extend R leg forward 3-4 Take R leg to side turned out.
down. passé parallel. Arms to with flexed foot, arms Arms to 2p.
ip. forward parallel to floor,
palms in.

5-8 Lift up from waist. Expand as you Point R foot and bend the knee 90° 1 Lift L heel, in plié.
take upper body forward at 90° angle while lifting under R thigh (still to 2-4 Hold and enlarge position.
with straight back (above). Turn R leg side) and demi-plié on L leg. Lower 5 Upper body C. Straighten L leg,
to parallel. arms with palms facing each other. lower heel. Turn hip under. Stretch R leg
to side, flexed foot. Arms through 1p to 2p.

fae\
a
‘a
8G,

SH

AND Pull in R leg to passé turned out Arms to ip.

6 Point R foot.
(above). 8 Place R leg down in ipp. Lower
7 Close R leg in passé parallel. arms (above). Repeat to other side.
 25. Layout to the Side with resistance

Remember here that your body and arms go in one direction, while your leg goes the opposite
way. The front of your body must remain in a flat, open position—the way it would be ifyou
were simply standing facing front. Don’t allow your pelvis to push backwards so that you end
up in a sway-back position. Control and balance as you turn your leg in the arr, return it to a
turned-out position, and return the pelvis to center.—MM.
(ae)
a
ee

3-4 Take R
leg to side,
turned out.
Stretch
arms up,
palms in.
START in 1pp, 1 Lift leg sharply to 2 Extend R leg back parallel
arms down. ari parallel. Arms with flexed foot. Arms to 2p.
0 ip.

5-8 Lift from waist and expand as you Point R foot and bend the knee 1 Lift L heel, in plie.
take upper body to L. Turn R leg to 90° so that lower leg is invisible 2-4 Hold and enlarge position.
parallel. Feel pull of arms and legs in from front. Lift under R thigh 5 Upper body to C. Straighten L leg
opposite directions. (still to side) and demi-plie on L and lower the heel. Turn hip under and
leg. Stretch L arm straight down, turn out and stretch R leg to side,
palm in. flexed foot. Arms up, palms in
(above).

6 Point R foot. Arms to 2p. AND Pull R leg in to passé, turned out. 7 R leg to passé 8 Return to start.
parallel. Arms to 1p. Repeat to other
side.
 26. Layout to the Back with resistance

Another exercise that develops strength and control. When you do the layout to the back, pay
special attention to the backwards arch and hold your chest well up. The strain of bending
backward should not fall in the lumbar region, but instead in an arch high up under the
shoulder blades. After the bend, be sure to return to an upright, standing position. Many
students tend to leave the return unfinished, because of the bend. —MM.

ak»

START in ipp, arms 1 Lift R leg sharply to 2 Stretch R leg to side turned out, 3-4 Take R leg to front parallel.
down. ; passé parallel. Arms flexed foot. Arms to 2p.
to ip.

nd i
Bend R leg to forward attitude parallel 1Li ift L heel, ; in plié. *e
i i
Ae BF oscneceng with pointed foot and demi-plié on L 2-4 Hold and enlage Ponca ee
She g
ae” E leg. Hold your C and take arms to 1p. 5 Upper body to C, straighten
eh
fron: , lower the heel. Stretch R leg forward
parallel with flexed foot. Arms to 2p
(above).
6 Point R foot.
7 Pull in R leg to passé parallel. Arms
to 1p.
8 Close R leg in ipp and lower arms.

Repeat from star to other side.

 27. Back, Side, Forward, Kick—Jumps and Turns clean, crisp movements

Developed to improve the way you carry your body in a demi-plié, this exercise is also a good
stretch for the muscles at the back of the kicking leg. Thats the reason why the foot is flexed in
the air. When you cross one foot underneath the other in the back, be careful not to push with
that foot. The foot in the back is there only asa stabilizer; its not to be used except to hold the
Center.—MM.

PART 1: 1 Step R leg back in 2 Step L leg to wide 2 pp in 3 Step R leg straight
start in 1pp, demi-plié, arms in 2p. plié. Arms to ip. plié (above). forward in plié and let
AND Pull L leg to 1pp AND Pull in R leg to 1pp on arms fall behind back
on ball of foot ball of foot without weight. (above).
without weight.

7 Open to 2pp demi-

plie. Let arms fall
behind back.

8 Close both legs to

ipp demi-plié. Arms
to 2p.

4 Kick L leg forward 5 Place L foot on ball 6 Flick R leg to side, turned out,
parallel with flexed foot under R leg, both with L leg in demi-plié. Arms to 2p.
and R leg in demi-plié. slightly turned out. Accent (above).
Arms to 2p. Accent. Place weight on L AND Close R leg in 1pp demi-plié.
leg. Lower heel.
Arms to ip.
 27. Back, Side, Forward, Kick + Jumps and Turns (page 2)

1-3 3 jumps in ipp, arms down. AND 4 Split-jump to 2pp and land in ipp. AND1 Shift weight R/L: Step R leg bent
On 3: arms to 1p. Arms to 2pp, palms down in the jump. to R and step L across, both slightly
5-8 Repeat last 4 counts. turned out. R arm to Ip and L to 2p.
2 Hold and enlarge position.
3-4 Stretch R arm to L diagonally forward
Peake to floor. Twist upper body slightly
oL.

5-7 Turn en dehors to PART 2: 3 Step R leg straight 4 Kick L leg back parallel with flexed foot
R with R leg in passé 1 Step R leg straight forward in back in plié and and R leg in demi-plié. Arms to 2p. Accent.
parallel. To start the plie. Arms to 1p. stretch arms up,
turn, open R arm AND Pull in L leg to 1pp on ball of palms forward.
quickly to 2p, then foot without weight.
close both arms to 1p. 2 Step L leg to wide 2pp in plié
8 Close R leg in 1pp (above).
and lower arms. AND Pull in R leg to Ipp on ball of
Repeat ParT 1 to foot without weight.
other side.
Continue as in PART I with flick to side, jumps and turns.

Repeat from beginning of PART 2 to other side.

73
On facing page: Matt Mattox and Annette Plottin
Coordination
xercises and
Stretches
 28. ‘Turn Out, Turn Out, Plié, Turn In clean, crisp movements

An excellent exercise for coordination, this one is easy to do slowly, though its hard on arm
and shoulder muscles. Its extremely difficult to do it quickly, however: the problems are in
concentration. The turned-in and turned-out positions are equally important. To turn hands
in, put palms back. When hands are turned out, palms are forward.—MM.

START in ipp, arms in 2p. PART 1: AND Turn in L hand.

AND Turn in R hand. 2 Place L leg in 2p, turned out.
1 Place R leg in 2p, turned out.

3 Grand plié and let head fall 4 Close legs in 1p turned in. Head
forward. Arms to 1p. to C, arms to 2p, turned out.
5-8 Repeat from the beginning 3
times.

ON TO PART 2
 28. ‘Turn Out, Turn Out, Plié, Turn In (page

PART 2: / me : 3 Bend knees and lift heels while 4 Close legs in 1p, turned out with
Keep hands in position and continue: lifting head back. Arms to 1p. straight knees. Turn in both hands
1 Place R leg in 2p, turned in. (above).
2. Place L leg in a wide 2p, turned in. AND Turn out R hand.

5 Place R leg in 2p turned in. AND Turn out L hand. 6 Place L leg in 2p, turned in.

Keep position in
hands and repeat
from PART I to other
side.

7 Bend knees and lift heels while 8 Close legs in ‘1p, turned out, with
lifting head back. Arms to 1p. straight knees. Turn in both hands
(above).
Repeat anp 5-8, twice.
 29. Four Counts Forward and Reverse clean, crisp movements

Exactly as was the previous exercise, this one is easy slow, but not so easy fast. Excellent for
coordination.

(ps
toy)
SS

start in 2p, turned out, arms in 2p. 1 Lift up from waist. Take upper body 2 Grand plié and upper body to C.
forward at 90° angle with straight back. Stretch arms up, palms in.

3 Arms to 2p, palms down. 4 Straighten knees and turn palms 5 Grand plié. Arms to 2p, palms down.
forward.

6 Stretch arms up, palms in. 7 Take upper body forward at 90° angle 8 Upper body to C, arms in 2p.
with straight back and straighten knees. Repeat several times.
78 Arms to 2p, palms down.
 30. Point, Flex, Down, Around clean, crisp movements

Similar to the two previous exercises, this sequence will improve your coordination. The more
coordination exercises you do, the sooner you'll be able to think rapidly—essential when you
dance a routine. —MM.

START in 1pp, PART 1: 2 Turn out R leg to side; hip and AnD turn palms down.
arms down. 1 Lift R leg to passé knee should be at 90° angle, flexed 3 Place R leg down in 2p
parallel. Stretch arms foot. Arms to 2p, palms up. turned out with L leg in demi-
forward and up, palms in. plié (above). Turn head to R.

= ae

ighten PART 2: 2 Turn out R leg to side, 3 Place R leg down in 2p, turned out,
toes you 1 Lift R leg to passé parallel pointed foot. Stretch arms L leg in demi-plié. Turn head to L.
pull in R leg to with flexed foot. Arms to 2p. up, palms in. 4 Straighten knees as you pullin R
ipp. Lower leg to ipp. Arms to 2p, palms down,
arms. Head to head C.
5-8 Repeat last 4 counts to L, but turn
‘ head to L.
;at ’ bee 1-8 Repeat part 2 to R and L.
head to R.
 31. 10-Count Stretch with attack

This stretch exercise is good for the backs of your legs, good for the holding of the body in a
straight-back position, and good for using the body totally. Remember that, in all the
stretches to the front, the stretch happens because the back is held straight at the same time
that you bend forward from the hip socket—not from the top of the pelvis. Bending from the
top of the pelvis results in a round-back position, and with the back rounded, the stretch is
minimal. One more point: don’t let your elbow touch your knee while bending to the side.
—MM.

START in Ipp, arms 1 Stretch both arms 2 Lift up from waist and 3 Stretch upper body
down. forward and up, palms in. stretch upper body down at 45° angle with
forward at 90° angle with straight back.
straight back.

a
4 Stretch upper body and again to C : 5 Kick R le g to 2p, turned out, 7TN i
forward arms overhead. with force. keeoing ee eee 2
6 Place R leg down in 2pp,
leaving arms up.
80
 31. 10-Count Stretch (page 2)

8 Upper body to C, arms to 2p, palms 9 Contract R side and bend upper AND Place L leg in 2pp. Arms to 2p,
down. body to R. Fold R arm. Push elbow palms down (above).
to L in front of chest. Fold L leg
underneath you at an angle just
under 90° between thigh and lower
leg. Accent.

& -~
~~
s

Repeat from the beginning to the other side.

10 Close R leg in 1pp and lower

arms.

8]
 32. Fall Forward + Bounce and Stretch

This exercise loosens the backs of the legs and calls for a quick reaction as the body bends to
the side and returns to a full standing position. From both the forward bend and the one to
the side, be sure you return to the full standing position with buttocks contracted. Don’t cut
comers in standing up fully before you continue to the next part of the exercise.
The bounce and stretch is also good for the backs of the legs, and the walk forward—
keeping heels on the floor—extends the stretch. The contraction and release extends the
stretch even more. In the contraction, the hamstring muscle is relaxed a bit, but in the
released position, it is used totally. This exercise is also good for learning to use the back
fluently, starting with the sacroiliac and moving down or—if you prefer—up to the head,
vertebra by vertebra. —MM.

Repeat
this
exercise
several
times.
START in 1pp, 2 Upper body to 3 Let upper body fall 4 Upper body
arms down. 1 Let upper body C, bouncing back to R. R arm stretches to C.
fall forward, up with a straight toward floor. 5-8 Repeat
palms touching back. from start to
floor. other side.

Take hold around

outside of ankles
and pull upper
body to thighs.

Repeat from the

beginning of Part 2
several times.

PART 3:
1-4 Release back
and hips and walk
forward on hands—
R/L/R/L—as far as
you can with heels
on floor, lifting
head.
PART 2: 2 anD 3 Repeat 5-8 Contract, bend 1-4 Repeat 1-4.
Bend knees bounce 3 times head under. Place 5-8 Hold release and
completely, heels off (make 2 bounces weight forward into “walk” hands towards
floor. Relax upper slow and 2 fast). arms (above). legs. =
body forward; place 4 (above) Lower 1-8 Roll up through
palms on floor. heels and straighten 1-4 Release, lift head spine—vertebra by
Bounce once. knees with straight and place weight back vertebra—to standing
back. into legs (right above). position.
82 5-8 Repeat 5-8.
 32. Fall Forward + Bounce and Stretch (page 2)

VARIATION: After last release in part 3, lift heels, continue to “walk” hands forward to prone position and do push-ups.

Walk back on hands towards legs and roll up vertebra by vertebra to standing position.

83
On facing page: Matt Mattox and Elisabeth Frich
 33. Right Leg Over Left softly

This exercise is designed for stretching around the hip socket, while you sit on the floor.
Turning against your leg—at the same time that you pull on your knee—creates a stretch on
the exterior side of the hip. Your buttocks must be on the floor. After returning to a relaxed
position, carrying your leg to the back creates a different kind of strength in the working
muscles. When you place your leg on the floor parallel and straight—and take your body
backwards—the front of your hip should be opened and stretched as much as possible. At the
same time, keep the opposite buttock resting on the floor (right leg back/left buttock on
floor). This creates an exterior stretch on the sitting side, and also in front of the working hip.
When you return to your original position, take hold of the leg thats in the air (preferably on
the heel) and pull it towards you (keep it well turned out). This develops the back muscles
which help you sustain a sitting position when the leg is relaxed. Move your head back to help
you lift your chest and hold the position before continuing the exercise.
When you change from one side to the other, hold your back rigidly straight and use your
legs in isolation, arms stretched to infinity—MM.

sTarT by sitting on both PART 1: 5-8 Relax upper body forward and PART 2:
hips, R leg bent over L, 1-4 Stretch up from breathe out. 1-4 Stretch R jeg up,
and R foot as close to L lower back, turning to Repeat part 1 several times. turned out, and upper
hip as possible. Support R, holding C. Pull R body to R diagonal
with R arm behindR thigh into body with L front, sitting on both
hip. Point L foot. Wrap L arm. Breathe in. hips. Arms forward toR
arm around R knee. diagonal front parallel
Relax upper body to floor, palms in.
forward.

5-8 Take
apie R leg to 2p (above)
pth leaning
: slightly forward. : Finish by 1-8 Stretch R leg on filoor t ; i
bending it to parallel attitude and placing R leg on floor in 4p. Arms to 2p, well up from walet and cee benaiee
AP palms down. back in upper body. Support with
hands on floor.
 33. Right Leg Over Left (page 2)

1-4 Finish backbend. Lean upper body 5-8 Sit on both hips. Stretch R leg and carry it 1-8 Take R ankle
slightly forward again and pull in R leg, to side— forward, turned with both hands
carrying it to attitude side parallel. Arms out. and pull in leg to
to 2p. chest 4 times,
facing pt 2.

1-7 Let go of R leg arid lift Repeat part 2 several times. The last PART 3:
head back. ; time, place R leg behind in 4p (above) 1-2 Stretch R leg turned out to side in air.
8 Place R leg bent over L in on floor. Change to other side.
starting position.

Then add L leg. 3 Bend R leg on floor in front. 4 Bend L leg on floor behind in 4p.

Repeat change 2 times, finishing with L leg over R to start from PART | to the other side.

87
 34. Roll the Hip softly

This exercise is designed to loosen up the leg and hip socket. Start with both hips down.
When you move your hip up, stretch open as much as possible. When you replace your hip,
try to put it back down to the floor so that you're sitting on both buttocks. When you stretch
to the right or left, open the leg opposite to the stretch and use your foot to help you push your
body into its most stretched position. While stretching, keep your spine in a straight line.
Bend directly to the side, not to the front or back. Many students allow themselves to “lean”
forward or back, without realizing they're doing it.
In the last part of the stretch, you'll be continuing to work on loosening the hamstring. The
roll to the back while you're lying on the floor is designed to open the front of your hip as well
as stretch the long thigh muscles in the front of your leg. Many students find that the working
knee (the knee of the leg that is bent to the back) wants to come up in the air as you arrive on
your back. Push it back down as soon as you can.
It is vitally important to relax, blow the air out of your body, and get your back (totally on
the floor) in a direct line—a normal position, as if you’re standing or sitting. Don’t let your
spine make a curve while you’re on your back.—MM.

START by sitting on both PART 1: 5-8 Lower R hip and Keep lifting up from waist.
hips in 4p, R leg bent 1-4 Tighten buttocks on R return upper body to Repeat part1 several times.
behind and L leg bent in side and push hip forward C. Round R arm in
front. R arm 2p, L on floor and up. Turn upper body to front of body and
behind you. L. oreicp R arm forward take it to 2p.
and to L.

PART 2: 1-4 Lift up from waist, stretch up and to R. part 3: Clean, crisp movements
anv Place L leg to side, sole of Keep spine aligned. Look in direction of AnD Stretch leg foreara on floor to
foot turned out on floor. Arms to hands. pt 1, flexed foot. Arms to 1p.
side and up, palms in. 5-8 Upper body to C, arms 2p, palms up.
Repeat part 2 several times.
 34. Roll the Hip (page 2)

1 Arms to 2p. 2 Stretch arms up, palms in. 3 Stretch upper body forward with
straight back, arms forward.

{a)
as

gOS

4 Upper body to C. Arms 1p. Repeat long stretch (above) for at least 8 PART 4:
PART 3 several times. The last time, counts. Then take upper body to C, and Bend L leg on floor in front to 4p.
stop on count 3, take hold of L foot arms to 1p.
with both hands and stay down in

1-3 Swing upper body and arms to R. Place L hand on the floor behind L thigh to pt 5. Swing R arm in a big circle to L, then
overhead and to R, as you lie on the floor.
4 Hold and enlarge position with arms in 2p, palms to floor, contracting to flatten back to floor.
5-8 Reverse swing action to come up to sitting position, arms in 2p. Repeat part 4 several times.
The last time: 1-4 as before.
5-8 Hold and enlarge position on floor. Then change to other side:

1-2 Stretch R and then L leg to side, 3 Bend R leg in 4 Bend L leg in 5-8 Push off with action so you
turned out in air. front on floor. back to 4p on arms and come up sitting
: floor. reverse swing in 4p, arms in 2p.

Repeat from PART I several times, alternating sides. 89

 35. 90 Degrees

Designed for achieving precision in feet and leg positions, this is also another good coordina-
tion exercise. You can make it into a stretch for the hamstring by grasping the back of the thigh
of the leg that in the air. Hold the knee against your chest while you do point and flex; then
return to the starting position. Ifyou use this exercise as a stretch, you won't derive any benefit
from it for coordination, but ifyou use 4 slow counts, for point, point and flex, you'll find it
very good for your legs. —MM.

Bin
ep

start by lying on your back with 1 Bend R leg at 90° angle from hip to 2 Stretch R leg up parallel
straight legsin pp, feet flexed and knee—and knee to foot. Lower fae is pai
arms alongside, straight knees. Parallel to floor.

Repeat several times

with alternating legs.

AND Flex R foot. 3 Point R foot and bend R knee at 90°

angle.
4 Flex R foot and stretch R leg as you
lower it forward to starting position.
5-8 Repeat from sTarT.

This exercise is also good for warming up feet and ankles.

 36. Roll-Up with resistance

This exercise is good for the legs, the back and the stomach. By using the flex/point, you work
the feet, and then the long, stretched leg. The stomach muscles are worked by using a slow,
controlled roll up and down, contracting as you lift off the floor—one vertebra at a time—and
lying back down the same way. There also a stretch for the hamstring in this exercise—when
you take the body as far forward and over the legs as possible before sitting up. It important to
sit up quickly on the count of 8, and to contract quickly on the count of 1, for the return to
the floor—MM.

by lying on your back, with PART 1: spine. Arms forward, palms in.
antl fdasy & ind feet flexed and 1-6 Lift head and shoulders and Finish roll-up with upper body
arms alongside. press lower back onto floor as you rounded forward (above).
roll up vertebra by vertebra through

Repeat PART I several

times.

8 Straighten back as you take body to 1 Point feet and contract pelvis.
Pitliva: position. Arms forward, palms 2-7 Roll down to back, vertebra by
in. vertebra.
8 Flex feet (above).

Repeat PART 2 several

times.

PART 2: 1-8 Contract pelvis under and roll down

1-8 High arch, contracting back, lifting on back, vertebra by vertebra with arms
shoulders and head in air. Support in front of you.
yourself on elbows. Point feet.
 37. The Plow (Shoulder Stand) smoothly

This exercise is an excellent one for relaxing the neck and shoulder muscles, and it is also good
for stretching the back totally. The more you can place the pelvis over your head, the more
benefit you can get from this exercise. As you return to a prone position, replace your spine
vertebra by vertebra as much as possitble.—MM.

sTarT by lying on your back with 1-4 Lift legs parallel towards 5-8 Extend legs overhead while taking
Straight legs in pp, feet pointed and ceiling. Let hips lift as well. weight onto shoulders. Flex feet as you
arms alongside. Straight knees, place them on floor behind you.
pointed feet.

1-4 Point feet, bend knees and place 5-8 Straighten knees and flex feet. 1-4 “Walk away” (from head) to pt 5 R/
them next to your ears and relax. UR/L, keeping legs straight.

5-8 Lift legs up 1-8 Roll down to starting position, vertebra by vertebra.
to ceiling with
Rolled feet.
upport yourself Ao. oe :
with your hands, Repeat from the beginning several times.
if necessary.
 38. Sit Up clean, crisp movements

Good for the stomach muscles, this exercise also helps develop control, as you lift your body
into position with legs bent, keeping torso and legs working together. Be careful not to bring
up the body separate from the legs. And don’t change the back into a rounded position while
you Te putting your legs in a stretched position. When you return to the floor, your torso and
legs should arrive simultaneously. You can do this in another way: after arriving in the straight-
leg position, open your legs to second position (see last photo below), then return to the
closed position—maintaining the straight back—before returning to the prone position.
—MM.

start by lying on your back, legs in pp, 1 Bend knees and sit up with lower legs 2-4 Hold and enlarge position.
straight knees, flexed feet, arms parallel to floor and pointed feet. Keep 5-8 (above) Stretch legs up parallel.
alongside. back straight. Arms parallel forward,
palms in.

1 Bend knees. 5-8 Simultaneously straighten knees, flex VARIATION: — . ae

2-4 Hold and enlarge position. feet, contract pelvis under and lower your Re HE Ce
tarti osition. ’ L
pare Md SIRE set 2p (counts 6-7), then close them
(count 8) and return to start.

Repeat from the beginning several times.

 39. Stretch Forward in First Position with attack

Here again is a stretch for the back of the legs while in a sitting position. There should be
strong accent on the count of 3—at the moment of the forward stretch—as well as an
expulsion of air from the lungs at the same time, which gives you the chance for a longer
stretch. Keep your feet in a fixed position, so that you can stretch the hamstring as fully as
posstble.—MM.

start |by sitting in ipp with flexed feet, 1 Arms to 2p. 2 Lift up from waist and stretch arms
arms in 1p. up, palms in.

3 Stretch arms
i andJ upper body 4 Return to start B The last time: : Sto p on count 3. Take hold
forward with straight back. Repeat from beginning several of feet (around the outsides) and stay
times. down in long stretch (above). Then
return to START.
 40). Open to Second Position smoothly

Distinctly an exercise for the development of a very wide open second position. At the
moment you lift the buttocks into the air, it is very important to relax the stretch as much as
possible. Advanced students should try to work for the roll forward, finishing on the stomach.
Theres an advantage to doing several bend-and-stretch positions before rolling forward. Hold
the body well forward, with the back straight, as you do those repeated stretches, to open
second position as much as you can before continuing forward to the stomach.—MM.

START in 2p turned out with pointed PART 1: 3-4 Straighten knees and point feet.
feet, arms in 2p. 1-2 Bend knees and flex feet. Repeat part 1 several times.

ake dik

PART 2: or in back of you, and take weight into Repeat part 2 several times. The last
1-2 Place hands on floor in front— arms. time, pass body far enough forward so
3-4 Turn out and sit in wider 2p, as you that you
point feet.

Close your legs as you finish on your stomach.

roll forward completely, turning legs in.
95
4]. Stretch Forward in Second Position with attack

For same purpose as preceding exercise. —MM.

start by sitting in 2p turned out, with 1 Arms to 2p.

flexed feet and arms in 1p.

2 Lift up from waist and stretch arms up 3 Stretch upper body forward with
with palms in. straight back, keeping legs turned out.

The last time, stop on count 3 and

stay down in long stretch. Then go
back to starting position.

4 Return to starting position.

Repeat from beginning several times.
42. Splits smoothly

This exercise (.as well as the last two) is designed to loosen the hamstring, and the tendons and
muscles at the interior part of the leg. In second position, it helps develop a good extension—
above the level of the waist to the front and to the side. It also good for developingahigh kick
to the front and side. —MM.

start by sitting in 2p, turned out with pointed 1-4 Take weight onto R hand on floor behind you as
feet, arms in 2p. you lift pelvis and turn to R. Swing L arm in big
circle down and towards R arm overhead and finish
in high arch (above).
re Split forward, taking L arm through 2p and to
oor.

1-4 Lift up from waist and stretch forward over R

eg.
5-8 Bend back, holding your center and return to C.

Repeat from the beginning several

times, alternating sides.

1-4 Take weight onto R arm, swing L

overhead and lift pelvis.
5-8 Turn pelvis to front. Sit in wider 2p,
turned out, lifting R and lowering L arm
to 2p.
97
$$
 43. Walk Back smoothly

This exercise usually starts with 4 kicks, while you lie on your stomach—R/L/R/L—after
which you lift your body totally in the air. Ifyou started with a kick from your R leg, you hold
your right leg in the air and then simply walk backwards by using your hands, keeping the
supporting foot in place. When you’ve arrived at a standing position on one leg, its exactly the
same as being in a split. There is one difference: it is possible to make even a bigger split by
forcing the leg in the air further forward over the head. After the walk back, remember to hold
the leg thats in the air as far over your head as possible as you return to the position on the
floor, thus working the back actively for a good arabesque position. This exercise is very good
for stretching the standing leg, strengthening the arms and developing strength in the back for
the arabesque.—MM.

1-2 Kick R leg up and

put it down. Accent.

3-8 Repeat kick with

Sse L/R/L leg.

sTarRT by lying on your stomach with legs

in pp and hands on floor beside head.
1 Lift head and R leg with flexed foot.
Place ball of L foot on floor.
2-4 Push yourself up from floor and
walk back on hands to L leg.

iceStretch over L iB Walk forward on hands with R leg lifted all the 8 Return to start
; ime. j

Kepeat from the beginning several times, alternating sides.

44. Chest Lift

Another exercise which builds strength in the back, this one develops a good kick to the back,
improves the attitude and arabesque to the back. When you lift your arms from the floor, be
sure that your legs remain on the floor. Take your head as far as possible to aid in holding the
position.—MM.

START by lying on stomach with legs turned out, 1-8 Lift head and chest and push back
slightly apart, hands on floor next to head. with hands to high arch.

eo
Wi

1 Stretch arms back, parallel to floor 5-8 Lower chest and arms to starting position.
with palms out. Repeat from the beginning several times.
2-4 Hold and enlarge position.

99
 45. Hip-Roll, Long Stretch, Pop-Up

3-8 Repeat kick with

L/R/L leg.

Repeat PART |
several times.

START by lying on your stomach with legs in PART 1:

pp, hands under forehead. 1-2 Kick R leg up and put it down.
Accent.

The Hip-Roll was designed for one reason: to aid the student who has a tendency to be a bit
too heavy in the hips. It is good for the stomach as well. Ifyou do it consistently every day, you
can get very good results reducing the size of your hips and buttocks. It is also a usable
movement in dance, as well.—MM.

PART 2: Hip-Roll: 2-3 Swing legs forward 4 Return to starting position.

1 Lift chest and roll over to R hip, (above), R and back, while
supporting yourself with arms on floor on keeping body facing front.
R side of body. Lift legs parallel together Stretch arms forward.
and swing them to L.

Repeat Hip-Roll several times, alternating sides.

 45. Hip-Roll, Long Stretch, Pop-Up (page 2)

The Long Stretch is also a usable movement in dance, but it has many other benefits. It builds
strength in the arms and shoulders. It’ a good exercise for opening up the hips and for working
the back muscles from a straight-back position to the arched back (and back again). It is the
preliminary exercise to the Pop-Up. When you do the Long Stretch, never take your eyes
from the palm of the working hand. Try for the highest body arch that you can achieve—the
longest possible curved line.
Practice the Long Stretch slowly in the beginning and then quickly, after you master the
sequence. Do it with 8 counts up and down, then 4 counts up and down, and finally 2 counts
up and 2 counts down.—MM.

PART 3: Long Stretch foot. Keep back straight, fold R 3-4 Lift R heel, causing L foot to point, as you
1-2 Kick R leg up (above). Roll to arm, relax R hand and head. push up and stretch R arm overhead parallel to
R and sit up facing pt 5, legs Support with L hand on floor floor, palm down. Look into R palm. Accent.
parallel, R foot flat on floor in to behind L hip.
R hip. Sit on both hips and flex L

Repeat Long Stretch

several times,
alternating sides.

-6 Sit down on both hips, as in 7 Roll over to L hip. Stretch R leg

pati picture above. p parallel up behind. Point both feet.
Place R hand back on floor.
8 Return leg to starting position
(above).

In both the Long Stretch and the Pop-Up, keep your pelvis flat, parallel to the ceiling. In the
long stretch, arch your back and rest your weight equally on the supporting hand, the ball of
one foot, and the flat foot of the other leg. —MM.
101
 45. Hip-Roll, Long Stretch, Pop-Up (page 3)

In the Pop-Up, you need to make a quick return to standing position after going to the floor. If
you use it correctly, you'll develop a quick and total body response from sitting to standing
position. As with the Long Stretch, practice the Pop-Up slowly in the beginning, and then
quickly, after you master it. Start by using 4 counts for each part of the exercise: 4 counts to lift
the leg, 4 counts to make the Pop-Up, 4 counts to return to sitting position (leg in the air), and
4 counts to rest with the leg on the floor. After that, do it with 2 counts and finally with one
count for each position. When you get the sequence technically correct, use it to go from
sitting to standing position.
Remember to keep your body flat and rest your weight equally on the supporting hand and
the balls of the feet while you practice the movement and push your weight forward into your
thighs as you push yourself up to standing position.—MM.

PaRT 4: Pop-Up arm, relax hand and head. Support 3 Place L foot parallel to R in small 2p as
1-2 Sit, facing pt 5, legs parallel, R with L hand on floor behind L hip. you push pelvis up and stretch R arm to
foot flat on floor. Sit on both hips, flex anp Lift L leg with flexed foot (above). ceiling, palm in. Lift both heels.
L foot. Keep back straight. Fold R 4 Hold and enlarge position.

—
we
5-6 Sit down to same position as 7 Roll over L hip as you stretch R leg up parallel behind. Place R hand on
center picture above. floor for support.
8 Return to starting position.

Repeat Pop-Up several times, alternating sides. The last time, use the Pop-Up as a quick
recovery to standing position. Then turn to front and fall forward to stomach position (keep
leg in air while falling), ready to start from the beginning to the other side.—MM.
102
 46. Dance Combination A—Kari Helgesen

START in 1pp, arms anp1 Ball- 2-3 Close R leg 4 Step R leg 5 Place L leg slightly bent to
in 1p. change R leg in ipp demi-plié over L to pt 1. side on flat foot. Lift L hip up,
under, letting to pt 7, tilt head to L, take arms to 2p.
arms fall. contracting hard Accent.
forward. Arms to
1p. Accent.

6 and 7 Pas de bourré sideways to pt 3. L leg under 8 Lift R leg to parallel side attitude, arms to 3p middle, R in front.
R, R to side, L over R, letting arms hang naturally.

1 Step R leg over 2-3 Place L leg in small 2 pp demi-plié and make half figure 8 with L hip. 4 Lift L leg to
L, arms to 1p. Arms to 2p. Soft movement forward, L and back. passé parallel
facing pt 8. Arms
104 to ip.
 46. Dance Combination A—Kari Helgesen (page 2)

as

5 ano 6 Step L, R, L sideways to pt 6 (2p, 1p, 2p, letting hips move slightly R/L/R). Arms to 2p. AnD 7 Lift R leg straight
' forward, parallel to floor.
Let arms fall; then lift
them parallel to legs,
palms in.

ann R leg to 8 Lower R foot 1R leg to side, relaxed, 2-3 Quickly open AND Close R leg in
passé parallel, to ball in pp arms in 3p. arms to 2p and pull 1p, facing pt 1.
arms to ip. demi-plié, them into 1p as you
without weight. do en dehors turns
on L leg with R leg in
passé parallel.

4 Place L leg to side 5 Close L leg in ano 6 Jump and land in 1pp, taking arms 7 Step L leg over R with
relaxed. Arms to 3p ipp, fold arms. down, palms forward as you jump, and arms in 1p.
middle. folding them as you land.
105
 46. Dance Combination A—Kari Helgesen (page 3)

8-1 Grand plié on L leg with R 2 Step R leg over L, 3 Flick L leg, crossed to R anp L leg to passé parallel.
leg relaxed to side. Keep arms in 1p. diagonal forward, arms in
weight in L thigh, arms to 3p 2p.
middle. Straight back. Bounce
back up like a ball.

# ;
tail

4 Flick L leg open to side, leaving it out. 5 Step L leg to pt 7.

6 Bend L leg completely with R 7-1 Sit on R hip and swing straight legs up to ceiling, one at a time,
stretched under. Support yourself sitting on both hips.
with hands on floor in front of you.

106
 46. Dance Combination A—Kari Helgesen (page 4)

Support yourself with hands 2 Bend L leg on floor (outside of leg touching floor) and 3 Use hands to push
behind hips. place R leg bent over L with flat foot on floor. Arms yourself off floor and
support behind hips. step up on R leg.

Place L leg to side relaxed, R 4-5 Quickly open L arm and AND 6 Step out of turn 7 Step R leg over L. Fold
arm to 2p, palm down, L arm close it in 1p with R arm as by ball-change L/R to R arm and stretch L up
to 1p. Face pt 1. you turn en dehors on R leg 4p, turned in (L_ through 1p. Contract R
with L in passé parallel. forward), arms in 3p side (face pt 1).
middle. 8 Hold and enlarge
position.

107
 47. Dance Combination B—Kari Helgesen

START in 1pp, demi-plié, 1-3 Step R/L/R leg back, pushing pelvis L/R/L, taking arms down and to 2p. Finish with
with arms in 1p. palms down. All this in soft movements.

4-5 Step L leg to pt 7. Place R leg straight under on outside of foot. Go up on ball of L foot. Contract L side and make 1 outward
circle with R arm, finishing by stretching it to L, palm up. Accent.

6 Step R leg to pt 3, swinging R AND 7 Ball-change 8 ano Hip-fall to L with arms in 2p, palms down: Lift L leg to passé
arm down and to 2p. L anes R (let parallel. Lift L hip on bent R leg, lift R heel.
arms hang
naturally).
108 ay
 47. Dance Combination B—Kari Helgesen (page 2)

Step L to pt 7, leaving R leg 1 Close R leg in 1pp, 2 Slide out to 2pp with arms in 3 Release down, hitting
to side. Soft movement. demi-plié and arms 2p. yourself at break of hips
in 1p. with outsides of stiff
hands.

Breathe out. Finish with head down. Accent! 5 Fold arms.

& Stretch them
4 Breathe in as you come back up, lifting R Sa eo
leg to passé parallel. Stretch
arms up down ze
through 1p.

lace R le 6 Rond de jambe 4a terre en dedans with L leg, 8 L leg to side,

iouarats 4p, fumed letting arms hang naturally. Soft movement. relaxed, folding
out 7 Finish with L leg forward and pull it over R, arms, twisting upper
: both heels lifted, equal weight, twisting upper body to R. R foot flat.
body to L. Accent. Face pt 1. 109
 47. Dance Combination B—Kari Helgesen (page 3)

i
Th Be

anD Close L leg in 1 1 Place R leg to side, 2-3 Step R leg to pt 2 and turn on itendedans withLleg _
demi-plié. Stretch ae relaxed, ahd open arms to 2p stretched to side, down and turned out, just off floor. Arms in 2p,
up. (palms down), twisting palms down.
upper body to L.

iT

—(continuation of 2-3)—

anp:4 Step L/R/forward to pt 2 to 4p, turned in. Let L arm 5 Tap L foot on the ball in AnD Lift L leg to passé
fall slightly down and forward to meet R arm in 3p middle. 1ipp demi-plié, letting arms parallel with accent. Fold
fall, palms back. arms.
110
 47. Dance Combination B—Kari Helgesen (page 4)

6 Lower L leg in ipp, anD 7 Ball-change R, L to 4p, turned in, R foot back. 1 Shoulder-roll L/forward/
heel slightly off floor, 8 Shoulder-roll with R forward/up/back and change direction to up/back, changing
letting arms fall, pt 5, finishing in 4p, turned in, R leg in front. direction back
palms forward.

2)

to pt 1. 2 Ripple with arms in 2p. 3 R leg under L,

arms to 1p.

anp 4 Lift both legs underneath you and land on L leg, flicking R leg forward ano 5 Step R leg over L and place L to side, relaxed,
i
simultaneously. Arms to 2p. Face pt 8. Land on L leg ; Let arms fall and take
twisting upper body tochR. tecieame
seeeaeiniddleseini

Ill
 47. Dance Combination B—Kari Helgesen (page 5)

6-8 Sit in grand plié, keeping weight in both thighs. Change direction to pt 8, R knee just off floor. Swing arms down and
forward Be you ewaik ihrough” positions of legs, swinging L arm, then R forward, up, back (windmill arms) to help you come
off the floor.

1 Take weight back on L leg and place R leg back

to 4p, turned in (passing through i1pp). Let arms
swing down and to 3p middle, with R in front.

Po tens eT oe

2 Open the position of the feet to the R and turn on L leg and 3-4 Close R leg in ip demi-plié facing pt 2. Place L leg
en dehors with R leg in passé parallel. Arms to 1p. back to 4p, turned in, R arm low, L arm back.

2
 47. Dance Combination B—Kari Helgesen (page 6)

Swing a straight L arm from the shoulder forward/up/back 1% times, finishing up with accent as you lift L leg to passé
parallel with R leg on half-toe. R arm forward, palm down.

113
 48. Dance Combination C—Matt Mattox

le

START in pp, arms down. 2 Flick L leg to side, turned out. Arms to 2p. 3 Step L leg under R, both slightly out.
1 Step R leg under L, both
slightly out. Arms to ip.

5 Finish rond de 6 Step R over L,

jambe with R leg letting arms fall.
under L and arms in
ipp.

7 ano 8 Step L/R/L to pt 8 (R leg under L), lifting arms to 2p. Finish ano Stretch R arm 1R arm to 1p. L arm to 2p
by closing R arm in 1p with feet in 4p turned in, L foot in front. diagonally L forward at and release.
shoulder level. Contract
slightly forward. L arm
114 to 1p.
 48. Dance Combination C—Matt Mattox (page 2)

ee
wea NS

2 Stretch R arm AnD R arm to 1p. place L leg under R, arms 2p. 3-8 Unwind to L, leaving arms in 2p.
diagonally forward at 3 Facing front, 4 Hold and enlarge position.
shoulder level. Contract but twisting
slightly forward. L arm slightly to R,
to ip.

8 Contract forward and 2 Facing front, lift R leg to attitu 3 Step R leg 4 Flick L leg diagonally R forward.
parailel to side. Arms to 2p. over L. Arms to Take arms to 2p.
fold R arm.
1p.
1 Hold and enlarge
position.
 48. Dance Combination C—Matt Mattox (page 3)

5 Place L leg under R with and Open L arm

L arm in diagonally R
forward.

with L leg in passé parallel and arms in and 7 Place L leg inipp and R Contract—
ip. leg back to 4p turned in. Arms
in 2p (to pt 8).
AnD 8 Release—

ribcage and hips. 1 Step L leg under R. Arms to 2 Stretch out L leg to a deep position on ball
1p. of L foot. Arms 3p middle.
 48. Dance Combination C—Matt Mattox (page 4)

3-4 Turn out L leg, arms to 2p and sit on floor in 4p split, L leg 5 Pull in legs beneath 6 Straighten at hip while
straight in front. Support with arms on floor (to pt 4). you, facing front. Sit on placing bent L leg
heels. R arm in 2p. Larm forward on floor. Step
supports on floor in front. on it. Arms 1p.

esses tot

7 Step R leg under L. 8 Place L leg relaxed to 1 Put weight on L leg AnD Pull up R leg to passé turned out as
side. Arms to 3p middle. and step R leg over it. you jump and fold L leg, slightly turned
R arm halfway closing out in air. Arms in 2p,
to ip. L to 2p. (to pt 8).

changing direction to front. 2 Land on L leg with R under L.

 48. Dance Combination C—Matt Mattox (page 5)
ry,

aN

anp 3 Step L/R to 4p turned in (R in front), taking arms ano 4 Step L and R forward, taking arms through 1p and down
through ip to 3p middle, and facing pt 2. (pt 3).

and Pull up L leg to passé 5-6 Land on R leg (above) 7 and 8 Step R/UR, turning to your R to pt 7 with arms and
turned out as you fold R leg and step L to 2p. Arms in 3p feet—2p—1p—
(slightly turned out in air) middle, R in front.
and jump sideways (to your
left) facing back wall. R arm
to ip, L to 2p.

5 “ O° Siig WO“

1 Finish turning by placing AND 2 Take weight onto L leg and step R leg in place (ball-
L leg, relaxed, to side. change).
Twist upper body to R, 3 Step L leg over R and—
facing front. Arms’to 2p.
 48. Dance Combination C—Matt Mattox (page 6)

cee ER : CO : . ) .

4-5 Place R leg back to 4p

and roll R shoulder

Pewee?

Finish with R arm lifted 6 Take weight onto R leg and lift L le
forward at shoulder level. to parallel back attitude. Arms in 3p
middle.

Saw . 7 MOS

anp 7 Stretch L leg parallel to R diagonal bac ano Step L leg to pt 4. ano1 Start 4p jump by going well into plie.
Turn it out and change direction to pt 4, 8 Step R leg to pt 4, Swing arms down and up to help you to jump
finishing with arms in 3p high. slightly turned in. diagonally L and forward with L leg in front
Arms to 3p middle.

19
 ‘ncaa,
A. potas

R arm f 2 Land on L leg (to pt 8). 3 Step R leg over L, 4 Take weight back to L leg and flick R
diagonally forward taking R arm diagonally leg forward, with arms through 1p and
and up, L arm in 2p. forward and down. L 2p.
Twist upper body to L. arm down.
Look up at R hand.

AnD Step R leg back. AND Stretch R leg forward. 6 Roll up to shoulder 7 Break at hip and knees.
5 Bend R knee completely and sit Use arms to push yourself stand with parallel legs Turn knees to R as you
on floor with L leg straight in front. diagonally back. extended to ceiling. roll down to your back.
Support with arms behind you.

Ss 2 Saas

anD 8 Finish rolling down with 1 Place R leg to side, 2 Turn en dehors on L leg,
bent R leg on floor and step up relaxed, arms to 3p middle. lifting R to passé parallel.
on L leg. Arms in 3p low. Close L arm in 1p and swing
R arm from 2p and overhead—
 48. Dance Combination C—Matt Mattox (page 8)

and down towards L

arm.

3 Facing front, step R leg to

2pp and finish with R arm
bent in front of head/
forward/2p.

4 Finish combination with weight on R leg, L leg to side relaxed. Arms in 2p, twisting upper
body to R.
 Glossary

Accent—With attack. Contraction—

Attitude—A lift of the leg from the hip with a bent knee—
forward, side or back—parallel or turned out.

Matt’s definition:
“The gathering together of any
muscle or group of muscles, from
a relaxed position to a hard
conditioned muscle. Typical is
the bicep. Relaxed, the muscle is
Forward parallel: the Forward turned out: long and soft. Contracted it
knee points up. knee points to side. becomes bulgy, round and hard.”
This term is often applied to the
reduction in size between the
ribcage and pelvis. Ribcage is
pushed back, pelvis forward.

En croix—lIn a cross (forward/side/back/side).

En dedans—Inward (for some movements it means circling
in toward body).
En dehors—Outward (for some movements it means circling
away from the body).
Side attitude parallel: Side attitude turned out: Enlarge—To keep the energy flowing in a position, not just to
knee points forward. knee points up. hold it.
Flick—A kick where the leg is bent through passé on the way
out, and generally on the way in. The foot is usually
pointed (but may be flexed). The standing leg is always
bent in this style. A flick may be done in all directions and
at all levels.
Flip hand—A relaxed hand that strikes out, in, up or down. In
this style, it is used mostly as the arm opens from 1p to 2p.

Back attitude parallel: Back attitude turned

knee points down. out: knee points to side.

Ball-change—A change in balance from ball of one foot to

flat or ball of the other foot. Direction and pattern as
desired. Open lower arm halfway (palm relaxed inwards) and send
out hand with force as you stretch arm. Stop movement
Circle of the arm—A bend from the elbow with the lower arm just before elbow is stretched completely.
in a circle that starts and finishes in 2p. The upper arm is
kept skill. Folded arm—Arm bent in front of chest, elbow down, palm
in. Open lower arm slightly.
INWARD CIRCLE

aas
-
ee

Half-toe—To ball of foot.

Hip-Push—A contraction of waist and buttocks muscles ina

long and soft movement in any direction. To the back,
buttocks muscles are released.
Kick—A straight-knee kick, foot pointed or flexed, in any
Make half-circle down—and back to 2p.
direction and at any level. Standing leg is always bent in
this style.
The outward circle goes down first, and to ip; then it Lifted heel—A lift of the heel above the floor, adjusted to
circles up and back to 2p. your own balance.
22
 Glossary

Over and Under—When stepping over, one leg is crossed in Relaxed leg forward— Relaxed leg to the side—
front of the other. When placing one leg under, one leg is
crossed behind the other. In both cases, the front leg has
the weight and back heel is lifted. Both legs are naturally
turned out. Upper body is slightly twisted in opposition to
the lower body when used in combinations. Done rapidly,
the legs cross over more so that thighs touch each other.
See pictures under Pas de Bourré: picture at L shows R
leg under L leg; picture at R shows R leg over L leg.
Parallel Side Attitude—see Attitude.
Pas de Bourré—lIn this context, stepping sideways or
turning—under, side, over—keeping knees bent. In
pictures below, you see: Leg slightly turned in and Leg parallel, slightly bent.
bent, with outside of big Heel lifted, outside of big
toe on floor, without toe on floor, without
weight. weight. (When lifted in this
position, leg is in side
attitude parallel.)

Release—

R leg under L—L leg to side—R leg over.

Passe—A movement of the leg through a position where the

foot is pointed along the inside of the knee of the standing Matt’s definition:
leg. Standing leg can be bent or straight. “The opposite of the contraction. If the
muscles are brought into a contracted
condition, the release is the de-contract
that relaxes the muscles.” The term is
often applied to the disengagement
where the ribcage is pushed forward
and the pelvis back.
Resistance—Dancing as if you were in water. It means you
must put more muscle power into the slow, smooth
movement than when you're surrounded by air only.
Ripple—A continuous release/contract movement through
ribcage and pelvis: release vertebra by vertebra from the
we bottom of spine up to head, then contract in same way.
Rond de Jambe—A circular movement of the leg, it circles
When knee of working leg along inside of the knee, into or away from the body: par ferre: on the floor
points forward, it is passe and knee of working leg en lair: in the air
parallel (above). is to the side, it is passé
When big toe points turned out. Shimmy—A shoulder-shake, where one shoulder is pushed
forward and the other back simultaneously in very quick
tempo.
Plige—A knee-bend with resistance, keeping knees over toes Tendu—A slide of the working foot (parallel or turned out,
and equal weight in a parallel or turned-out position. forward, side or back) with
straight knee. The foot glides
along the floor through 2p or
4p to the utmost point
possible, with big toe on the
floor and heel lifted. In this
context, the foot starts in and
returns to 1p. Here you see it
oa with parallel feet.

Under—See Over and Under.

Unwind—Starting with L leg over R, for example: Turn to R
(leaving feet on floor with heels slightly lifted), staying in
plié. Come around to the other side, finishing with R leg
Demi-plié: half, with Grand plié: full, heels off
over L.
heels on floor (here in 1p, floor, passing through
turned out). demi-plié on the way
down and up (here in
ipp).

Positions—See pages 11 and 12 for photographs of arm and

leg positions as well as positions on the floor.
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 Afterword by Matt Mattox

In the beginning, I developed this system of dance in order to teach the professional dancer how to
use isolation—isolation of the different parts of the body. Then in time, as I worked more with
beginners, I realized that the key to this form of dance lies in a mental change. When the student
realizes that coordination of the body begins with the brain and then extends to the body, he or she
arrives at an understanding of what dance—of any kind—is all about.
For the beginner, work on the isolations—mental and physical—is relatively simple. But for the
student who wants to be a professional dancer, the mental and physical work becomes more difficult
and complicated, and it is vitally important. Through the isolations, the student trains the mind;
these mental processes result in physical sensations through which the individual becomes more
and more aware and interested in the workings of his or her own body.
It is the complicated isolation exercises that bring all of this into being. That's why arm work has
been added to the simple isolations provided here. The use of any one part of the body is not so
difficult, but when you add arm work to it—and head work to that—the technical aspects become
complex—demanding great amounts of concentration and practice. As they are mastered, the
reflexes become sharper and more in tune with the body.
As the student progresses in using isolations, it becomes increasingly important to translate the
exercises into dance form—to realize that dance comes out ofthe exercises and to learn how to bring
it out. The moment that this realization takes place, the dancer is born, and from this point on, the
progress to perfection in this technique is only a matter of time.
Anyone can learn to dance. How well you learn depends on you—your will, your dedication,
your love of dance.

- On facing page: Matt Mattox and Annette Plottin

 Biography—Matt Mattox
Born in 192] in Tulsa, Oklahoma, Matt Mattox began his career singing and dancing in an amateur
children’s program at the Fox Figueroa Theatre in California at age 11. Two months after that he was
studying tap with Terry Kerr and then later with Evelyn Burns, who also introduced him to
exhibition ballroom. By the time he was 16 he realized that all he wanted to do was dance, and he
began studying classical dance with Lester Lane and Ernest Belcher.
In 1942 at the start of World War II, he enlisted as a glider pilot, later joining the regular U.S. Air
Force as a fighter pilot for 22 months, flying P47 Thunderbolts.
In 1944 when he returned to California, Cyd Charisse got him an audition for MGM contract
dancer; he signed a contract the same day. His first film, choreographed by Eugene Loring, was
Yolanda and the Thief with Fred Astaire, and he also appeared in Easy to Wed with Lucille Ball and
Two Sisters from Boston with June Allyson and Kathryn Grayson, both choreographed by Jack
Donahue.
In 1946 he left MGM to work for Columbia Studios in New York with Jack Cole, who many say
was the father of American jazz dance. Mattox’ technique is strongly influenced by Cole’s style and
inspiration. While in New York, Mattox appeared in the musical comedy Are You With It? and in a
play with music called Park Avenue. During the next years he made such films as The Merry Widow
(with Cole) and Walking My Baby Back Home. He worked with Vera Zorina at the Civic Light
Opera Association and then toured, as premier danseur in Song of Norway, with Alexandra
Denisova (Patricia Denise).
In 1949 he went to Australia to play the dancing role of Curly in Oklahoma! for over two years.
Back in the U.S. in the early 50’s he began working with Jack Cole steadily, doing such films as
The I Don’t Care Girl starring Mitzi Gaynor, and There's No Business Like Show Business and
Gentlemen Prefer Blondes with Marilyn Monroe. He worked with Cole in the Broadway show
Carnival in Flanders, in which he danced the flamenco and created a critical stir which won him
the acting/singing/dancing part of eldest brother Caleb in Seven Brides for Seven Brothers
(choreographed by Michael Kidd). He also appeared in The Bandwagon, choreographed by
Michael Kidd and starring Fred Astaire and Cyd Charisse.
He sang and danced in the Broadway musical The Vamp with Carol Channing, appeared in the
Ziegfeld Follies of1956 (with Cole), and again attracted major critical attention with his performance
in the film Pepe, starring Cantinflas.
He began to do more choreography, creating the dances for the films Hot Blood with Jane Russell
and Glory Brigade, as well as for a revival of Annie Get Your Gun. He choreographed other shows as
well, including the Broadway production of Jules Styne’s Say Darling. And he regularly
choreographed all the dances on the prestigious television program The Bell Telephone Hout.
During the past years he had been teaching continuously: at the Eugene Loring School, at
Showcase Studios, at the June Taylor School of Dance, for Rebecca Harkness, and finally, in 1958
at his own school. .
In 1963 he taught in Europe for the first time at a summer course in Denmark. And shortly
afterward, in 1964 he decided to leave the commercial theatre completely. He closed his own school
and during the next years worked for New York University, the Neighborhood Playhouse, Morelli
and other institutions.
It wasn't until 1970 that he taught in Norway for the first time, changing his form of teaching
totally and developing the system that he uses today. He moved to London to teach at the Dance
Centre, as well as at The Place, home of the London Contemporary Dance Theatre. He took several
months offtotour Europe, teaching in Finland, Norway, Germany, Sweden and France as well as

126
the U.S. While in Salt Lake City, he created the ballet “Jazz Opus Back” for the Repertory Dance
Theatre.
In 1972 he created a workshop group which performed in Colombes, Paris,at the Edinburgh
Festival and at the Round House in London, and in 1974 he started doing choreography for French
television. In 1975 he moved to Paris to teach at the Maison des Jeunes et de la Culture (MJC) in
Colombes.
Mattox continues to visit many European countries regularly, choreographing for professional
dance companies as well as amateur groups, creating new ballets which have been receiving awards
throughout Europe. In 1979 he opened his own school in Paris and moved it, in 1982, to Perpignan
on the south coast of France. He teaches there and throughout Europe at seminars.

Biography—FElisabeth Frich
Born and educated in Oslo, Norway, Elisabeth Frich studied at Den Norske Balletthgyskole, a full-
time school of dance which offers university degrees to dancers, teachers and choreographers. ‘There
she studied classical, modern and jazz dance, character dance, tap, ethnic dance and mime, as well
as other related courses. She went on to train for two years in London with Matt Mattox at the Dance
Center, where she also studied tap with Gillian Gregory, Graham technique with Robert Cohan,
Jane Dudley, Irene Dilks and others; classical ballet with Anna Northcote and body conditioning
with Alan Herdman.
She has performed with the Hgvik Ballett, Jorunn Kirkenzr’s dance group, and with Matt Mattox’
company, on stage and on many television programs.
She taught at the Dance Center in London, as assistant to Matt Mattox, and on her return to Oslo
at Den Norske Balletthgyskole and the Norwegian Opera Ballet School. She has also taught special
courses in jazz at the Norwegian University of Sports, at summer courses for the Finnish Dance
Association, in Sweden at a seminar for the Nordic Theatre Committee, in Copenhagen at
seminars, and in the U.S. at Ballet Binghamton (Master Classes in Mattox’ technique).
She has choreographed fashion shows, numbers for television, and variety theatre shows in
Norway.
A co-director and member of the board of Den Norske Balletthgyskole, she is also the director of
her own Jazz Art Productions, dedicated to the promotion of Mattox’ “Jazz Art Technique” and jazz
dance in general. It is through that company that she produced the video cassette that shows all the
exercises in this book (see page 10). The videotape was shown at the International Dance Film and
Videotape Festival at Lincoln Center in New York in 1981.

127
 Abbreviations, 11 Folded arms, 122 Opening: hips, 10];
Accent, 122 Foot, pointed, 14, 20, 24 second position, 95, 96
Accompaniment, 9 Frich, Elisabeth, 7; biography, 127; pho- “Over and Under,” 123
Ankle warm-up, 14, 34, 98 tos of. 6. 13, 270 5159.85
Arabesque, 62, 98, 99 Pas de bourré, 123
Arch of foot, 24, 68 Glossary, 122-123 Passé, 123
Arm: and head coordinations, 30; Pelvis isolations, 51-58
circle of, 122; Half-toe, 122 Pliés, 13-26, 123:
folded, 122; Hamstring muscle: loosening, 88, 97; importance of, 14
muscles, 74; stretching, 90, 91, 94 Plottin, Annette, 4, 8, 10; full-page
positions, 12; Hands, flip, 122 photos of, 75
strengthening, 98, 101 Head: and arm coordinations, 30; Plow, 92
Attitude, 122 isolations, 27—37; Pointed/flexed foot, 60, 63
Awareness, 7 roll, 28 Pointed foot, 66
Heel, 122 Pop-Up, 101-102
Back; exercises, 91; Helgesen, Kari, +, 8, 104-113 Positions: of feet, on floor, 1];
fluent use of, 82; Hip: opening front of, 88; of arms, 12;
muscles, 101; warm-up, 14, 34 use of, 14
strengthening, 98, 99; Hip-push, 122 Practice, 9
stretching, 92 Hip-Roll, 100
Balance: exercise for, 28; Hipsocket, stretching around, 86, 88 Relaxed leg, 123
in off-center position, 69; Release, 123
on half-toe, 68; Indian dance, 34 Resistance, 123
on one leg, 60, 62 Isolation, 123; Ribcage isolations, 45—50
Ball-change, 122 exercises, 7 Ripple, 46, 47, 123
Beginners, 7, 124 Roll-Up, 91
Body: long, curved line with, 20, 101; “Jazz Art Technique,” cassette, 10 Ronds de Jambe, 66, 123
on one leg, 24;
strengthening total, 62 Kick, 122; Second position, 1];
“Bump and Grind,” 52 developing high, 97, 99; opening, 28, 95-96
Burlesque, 52 also see Flick Sensation, 7
Buttocks, reducing, 100 Shimmy, 44, 123
Kirkener, Jorunn, 2, 8, 9 Shoulder: isolations, 39-44
Center, control over, 28 Knee, warm-up, |4, 34 muscles, 40, 74, 92, 101;
Chest lift, 99 stand, 92
Choreography, 7, 9 Larsen, Jan Frederik, 8 Siamese dance, 34
Classical dance, 14, 34 Layouts, 69-71 Sit up, 93
Concentration, 124; improving, 62 lLeg: exercises, 30), 59-72, 91; Space diagram, 1]
Contraction, 62, 122; work on, 30 interior tendons and muscles, 97 Standing position, correct, 14
Coordination, 7, 74-77 long line, 14, 24, 60, 66, 91; Stomach: exercises, 91;
loosening, 88; muscles, 93;
Dance combinations, 103-12] muscles at back of, 72, 80, 82, 94 reducing, 100
Dancers, 7 positions, precision in, 90 Straight-back position, 80
Demi-plié, 122; carriage in, 72; strengthening, 62, 63, 69 Stretches, 79-83;
sense of, 20 stretching, 80, 82, 94, 98 for muscles at back of leg, 72
London, England, 9 Striptease, 52
East Indian dance, 34 Long Stretch, 101-102
En croix, 122 Tendus, 17-26, 123
En dedans, 122 Mattox, Matt, biography, 126; full-page Thigh muscles: strengthening, 34;
En dehors, 122 photos of, 1, 6, 13, 39, 45, 59, 75, stretching, 88
Enlarge, 122 85, 103 Total body exercises, 80
Extension, 97 Mind, training of, 24, 124 Turn-out exercises, 73-77
Music, 9
Feet: exercises, 9] Musical comedy, 34 “Under and over,” 123
positions, 11; precision in, 90; Unwinding, 123
warming up, 90 Neck muscles: developing control
Flexed/pointed foot, 60, 63 and flexibility, 34; Video cassette, 10
Flick, 122 relaxing, 92
Flip hands, 122 Norske Balletthgyskole, Den, 8, 9 Walk-Back, 98
102, fe
Floor: exercises, 85- a Norum, Arne, 4, 8 Warm-ups, 7
positions, 1] Norway, Oslo, 8, 9
128
 LIBRARY
ST. LOUIS COMMUN
ITY COLLEGE
AT FLORISSANT VALL
EY
 The
BK 7933 F897M —
MATT MATTOX BOOK OF JAZZ DANCE

4|LMNY H
C1983 15.45 FV —

Matt Mattox
_ 3000 649609 30016
mi Louis Community College
A

Book of | ~
Jazz Dance
Athletic—
Elegant—
Breathtaking to watch—
With attack and enormous vitality—

this is the essence of Matt Mattox’s dynamic jazz

dance system—the system that he developed after
he abandoned commercial theatre in the U.S. and
moved to Europe to teach and explore new forms in
what he calls “jazz art technique.” It is the system
he is using in choreography and workshops, on
stage and on TV all over Europe. His art puts
together his studies of tap dancing, ballet and
modern dance, flamenco training and the India-
inspired movements he absorbed working with Jack
Cole, often called “the father of jazz dance.” But
Matt’s system is new. Its style is evocative and
explosive. It demands a trained mind and body, and
through its isolations and coordinations, it develops
them both. .
The basics of this system—the exercises, the
warm-ups, the combinations—are all here in this
remarkably complete instruction book by dancer-
teacher-choreographer Elisabeth Frich, who studied
with Matt for years and became his assistant. She
has recorded each exercise in sequence photos that
show each position and move precisely, building
from the first plié to the last jump. Matt has added
his comments to Elisabeth’s step-by-step directions
and has even posed for many of the pictures.
The result? It’s irresistible: a thoroughly fresh,
complete dance course with one of today’s master
teacher-choreographers. It will help every dancer—
and dance student—take giant steps in strength,
INL
oh
|
flexibility, technique, and skill.

q
L?Los-waa
& Sterling Publishing Co., Inc. New York Wi
=) Distributed in the U.K. by Blandford Press ISBN 0-80659-7?bbe-4