Ballet moves are expressed as art. Different builds have natural strengths and limitations. The student with the body type of ectomorph is graced with long limbs, flexibility and thus able to excel in quick movements. When the body type is that of mesomorph, strength is a major ability. The jumps will soar, because of the beginning strength and stability of the demi-plié. The endomorph has qualities of both body types.
Even with these natural capabilities, body alignment and rotation must be perfected at the barre.
To perform the well known plié (bend), the center of gravity should never fall behind the heels. The knee joint and instep should be aligned.
In the battement tendu (beat stretch), the weight must be equally dispersed on both feet in the fifth position after the tendu.
The second position in the ronds de jambe (circle of leg) rotation should match the skill level as the tendu to second.
Further, in the battement frappés (beat strike), the rotation should be held by the supporting leg so the hips are aligned. The weight should be on the metatarsal arch as the exercise ends in fifth position.
The correct pursuit of the grand battement sees the center of gravity to fourth in front not retreating behind the instep. To fourth in back, the spine lifts. The pelvis realigns. The leg lowers to tendu.
For proper développés, the movement is lead with the heel in fourth to front. To second, the knee faces the correct retiré, and onto the fourth in back, the line of the knee extends from the retiré.
Échappé (escape) and relevés (lift) should be performed away from the barre. A nice line of spine and pelvis are observed in fifth position of a plié at the end of the movements.
Posture is paramount for the ballet dancer. As the student matures, the awareness of alignment will change. An imaginary line begins with the top of the head and passes the front of the ear. The line continues through shoulders and pelvis and nears the front of the knee. The line ends after passing the front of the ankle and through the instep. Weight should be evenly distributed on the big toe, the little toe and the heel. A little pressure exerted forward on the metatarsal arch is advantageous.
The beauty of movement in ballet is reflected in turnout. Training allows for the outward rotation of the thigh bone in the hip socket. Begin with natural rotation and do not force. Dedication and proper training from the first day will bring technique and lovely positions.