Notes on Second Position / Perfect Symmetry

Second Position is usually noted as the easiest position of the five as it has the least amount of pressure on the hips and knees, but lately I have been finding that second position might be even more difficult than first if done properly. Let’s break it down…

Second Position Rectanble

The idea of Second position takes Davinci’s Vitruvian man and then shortens the arms to elongate the legs. This is done by the curving of the port de bras. Then if you wanted to elongate the legs even more you would go on relevé, and even further go en pointe.

When standing in second position, not only are you making sure that your hips are equally between to feet, you are also lining up the hips to make sure they are not behind or in front of your feet. A common mistake in grand plié, is to allow your hips to shift back… but that is wrong, it also increases the amount of stress on the inside of your knee.

Second position allows you to really feel the turnout from the backs of your legs because your legs aren’t touching, so you have to really visualize the spiral coming from the back and opening your hips. If done properly, it will allow you to plié with exact alignment of the knees over the second toe and not putting pressure anywhere else.


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In second position it is easy to let your arches drop or let your feet pronate or supinate because there is not checks and balances. Where in first your heels and knees are touching, and fifth you are toe to heel, heel to toe. So, in second it is important to remember to keep your arches lifted, five toes spread on the floor, and the feeling of all five metatarsals evenly touching the floor. You should also feel your weight in the pads of your feet and support by the lower arch.

Remember, and this is pretty standard… don’t lift your heels in second position… which is truly the test of second position which makes it extremely difficult. Because the pelvis is free, it allows the Achilles to be free. Meaning, you can fully stretch your achilles out.

This is when people like to agree to disagree on how wide a second position should be.

second position

Classical Ballet really calls for a refined second position. Meaning 1 or 1 and a half times your foot length in the gap. This is included for pointe work. Where, updated technique allows for a wider or “healthier” second position.

Classical Second Position:
Pros: It is cleaner and forces the dancer to focus on turnout and alignment more, stretches the Achilles more.
Cons: It can create a shallower demi-plié, it is harder to achieve a nice grand plié and it is harder to master.

Updated Second Position:
Pros: easier on the body, allows for a bigger hamstring stretch
Cons: More can go wrong in grand plié and can put more pressure on the knees.

When doing an updated second position, I think the aesthetic is nicer when the arm is higher and less curved and more about length. Whichever one you choose, make sure it looks right on your body. For example, I have really long arms, so when I do the more classical second position, I have ot curve and place my arm a little more than I would usually to keep my body in a nice proportion.

Things to remember in Second Position:
Go long. Reach each scapula away from eachother to create the widest back.
Longest neck line
Really open those hips, thing of opening French doors to allow you to turn out more
Keep the weight even, don’t sit back or push forward, don’t favor one leg over the other.


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Notes on Second Position

notes on second 1

Following up on Notes on First Position… Second position is the logical next position to learn, in fact, a lot of students will learn second position prior to first. There is a lot less to mess up in second position. Well, that is a lie.

Second position is just as hard as first position. In second, the lack of rotation or the abundance of rotation is more apparent than first. A large mistake in second position is the width… How wide to make your second. Classical ballet calls for your heels to be under your shoulders, while more contemporary teachers ask for a larger second. The larger the second the more support is needed from the hips and sartorius, especially while trying to plié or maneuver in and out of the position. The width also is relevant to how strong the dancer is. To relevé in this position en pointe, the dancer can only be as wide as they are strong enough to get over the box.

A lot of the same principals apply to second position, but I feel like in second position you have to be higher in the hips because your weight has to be centered while your legs are separated out from the hips. To get higher in the hips you have to really focus on engaging your hip flexors and psoas and keep the hamstrings long and active. You don’t want to sit back in your legs in second, which is a common mistake students make. Keep the pelvis in neutral and the quads relaxed. Don’t ever grip.

energy focusSecond position is also one of the more severe positions because it shows the body in all proportions. Kind of like DaVinci’s Vitruvian Man, all limbs are spread. Energy has to be channeled from all four limbs and the head. You have to have quite a bit of stretch in the position.

At the same time you have to have quite a bit of control as you have to also have a lot of energy focusing inward. Second position is important as it sets up half of the steps in center. The stronger the position at barre, the stronger the center work will be. Like… glissade, sautebasque, and jete. Regardless, the position has to be strong.

STRENGTHENING SECOND
Pliés in second are an easy way to strengthen the inner thigh and core. Don’t over rotate, don’t let your hips tip, and make sure your knees are aligned with your second toe. Don’t grip your quads, and definitely make sure your weight is centered between your hips, feet, front and back.

Pilates. Focusing on nonweight bearing exercises that go from parallel to turn out in second are extremely helpful. It will also help isolate the proper muscles needed.

SECOND POSITION FOR THE OLDER DANCER
So, normally, second position would be super easy for me. Now that I am older, and my body doesn’t want to just relax into ballet positions, second position puts me in quite a predicament. So, normally, I would have a rather large second position, but as I plié I can feel the strain in my knees. But, when I decrease the width of the position my hips can’t take it. The compromise? Wide second with less turn out. I can stabilize my hips and knees a lot more and even if standing side profile I look stupid, and ridiculously turned in so be it. The last thing I want is to rip up my knees for the sake of losing weight.


Doodle Book 3 Cover

Over two hundred of my doodles. The third book.