Floor Barre Fitness

with Joanna Nicholas BSc

History
Traditionally a conditioning class performed as a part of a dancers schedule, floor barre increases flexibility, coordination, strength and control, improve technique (including turn out and hip stability) and alignment. Floor barre
exercises are performed on the floor and based around typical ballet type movements. Injured dancers can also
maintain technique and their amazing physique whilst injured with floor barre classes. There are several founders
of floor barre techniques including Boris Knieseff (1950s), Zena Rommett Floor Barre (1968), Maria Fay technique
(1960s) which continues to be taught internationally by Christina Beskou , Homer Bryant technique and NYC Ballet Workout.
Benefits
Benefits include improved flexibility, coordination, body awareness, activation of stabilizers and postural muscles
and long, lean but strong muscles.
Terminology/Key/Cues
L = Length the focus of each exercise should be on the journey of movement and alignment rather than just the
end positions, therefore cue to aim for length not height as posture will be compromised.
R = Rectangle cue shoulders and hips to be square and sides of the body long
B = Broomstick cue a long neutral spine imagine a broomstick running along your spine (back of the head, thorax and sacrum should be in contact with the broomstick and a space behind the cervical and lumbar spine) Core
engaged - cue belly button to spine
F = Frontal plane movement
S = Sagittal plane movement
T = Transverse plane movement
Feet

Pointe ankle plantar flexion with toes in

flexion (pointing), feet pointed in all floor
barre moves unless stated as flexed

Flexed - ankle dorsiflexion,

toes extended

Leg Positions

parallel

first position

second position

devant

la seconde

derrire

fourth

fifth

Arm Positions - Port de bas meaning carriage of the arms

bras bas

first

second
Were changing more than bodies, were changing lives.
Joanna, The Physique & Movement Artist

Starting positions
Supine

Supine A - legs together, knees bent, feet flat on

the floor, arms extended along the side of the
body, palms facing the ceiling (B R).
Arm options: bras bas, first, second, fouth,

Supine B - legs extended in parallel or first position, arms

extended along the side of the body, palms facing the ceiling
(B R).

Side

Laying on the side of the body with the bottom arm along the floor in line with the spine for the head to rest on, use
the top arm for support by placing the hand flat on the floor at navel level (relaxed fourth). Engage the core and
stack the hips on top of one another so your weight doesnt roll back. Have the legs in parallel or in first and feet
pointed or flexed (B R).
Arm options: fourth (relaxed) or fifth

Prone
Laying face down, begin with neck neutral, legs can be parallel or in first position with toes pointed (B R).

Prone A - head resting on hands

Prone B - hands under shoulders

Prone C - extended overhead (relaxing fifth palms

face floor)

Were changing more than bodies, were changing lives.

Joanna, The Physique & Movement Artist

Base Moves
Retir meaning withdrawn (B R)

Supine parallel A bottom leg bent (S)

Supine parallel B bottom leg straight (S)

Supine turned out A bottom leg bent (F)

Supine turned out B bottom leg straight (F)

Side parallel (S)

Side turned out (F)

Prone turned out (F)

Arm options: supine as the working foot reaches the knee the arms travel to first position, the contralateral arm
can continue to fifth (fourth position see transitioning). As the leg lowers arms can hold first, open to second or
lower to bras bas. When on the side or prone arms are used for support (prone - ipsilateral arm under the shoulder for support).
Retir de ct meaning withdrawn to the side, working leg lifts to second with a bent knee, the toes trace up the
inside of the extended leg (F)
* all retirs performed turned out will be de ct (toes tracing the inside seam)
Retir pass: pass meaning passed, foot of the working leg passes the knee of the supporting leg from one position to another

Were changing more than bodies, were changing lives.

Joanna, The Physique & Movement Artist

Dvelopp meaning developing movement or unfolding

Supine devant parallel B - extend the knee from a parallel retir

position to straighten the leg with a pointed foot (S B R L). Carry
the leg back down to the floor maintaining the extended position
or pass through retir to reverse the movement

Supine devant turned out B extend the knee from a turned out retir position to straighten the leg with a pointed foot (S B R L) Carry the
leg back down to the floor maintaining the extended position or pass through retir to reverse the movement

Supine la seconde A from a retire la seconde, keep the thigh to the side of the body and extend the top knee to straighten the leg (F B
R L) (A - dvelopp with bent base leg ) ( B - dvelopp with extended base leg)

Side la seconde (unfolding kick) from a retire la seconde, keep the thigh to the side of the body and extend the top knee to straighten
the leg (F B R L)

Arm options as the working foot reaches retir the arms travel to first position. As the leg unfolds or extends the arms open to second or
fifth. The arms can also be used to hold a hamstring stretch when supine. When on the side the arms remain in a relaxed fourth for support
or can hold the working leg for an added adductor stretch

Were changing more than bodies, were changing lives.

Joanna, The Physique & Movement Artist

Dgag meaning disengaged or disengaged step

From first position extend leg toes pointed to 30 turned out *

Supine devant (S B R L)

Side devant (S B R L)

Supine la seconde (F B R L)

Side la seconde (F B R L)

Side derrire (S B R L)

Side en croix (en croix meaning cross shape devant, la seconde, derrire) flexed feet then point to dgag

Prone la seconde (F B R L)

Prone derrire (S B R L)

* when performed standing the working leg slides along the floor until the foot is completely pointed when laying as there is
no floor to glide the foot along, we use an angle at the hip of approximately 30 (L)
Arm options: supine devant arms to first, supine la seconde arms to second, side relaxed fourth for support, prone
derrire contralateral arm to first (arabesque)

Tuck, tuck, up retir bounce to dvelopp

Supine devant parallel B (S B R L)
Step 1 Retir parallel starting position is a
parallel retir using the hip flexors to hold the
leg towards the chest
Step 2 Tuck tuck gently tuck the top leg
twice by actively taking it further into knee
flexion by activating the hamstrings
Step 3 Up extend the knee by activating the quadriceps to achieve a lengthened leg as it extends up to the front of the body. Toes remain pointed or can flex at the top of the up
Step 4 Lower leg after completing multiple tuck tuck ups carry the leg back down to the starting position maintaining the extended position.

Side la seconde (S B R L)

Step 1 Retir turned out starting position retir la seconde using the hip rotators to hold
the leg to the side of the body
Step 2 Tuck tuck gently tuck the top leg twice by actively taking it further into knee flexion by activating the hamstrings (arms assisting
thigh)
Step 3 Up extend the knee by activating the quadriceps to achieve a lengthened leg as it extends up to the side of the body. Toes remain
pointed or can flex at the top of the up. (arms assisting thigh)
Step 4 Lower leg after completing multiple tuck

Arm options: arms remain in support position or can assist the working leg.

Were changing more than bodies, were changing lives.

Joanna, The Physique & Movement Artist

Fouett meaning whipped,

the whipping movement of the body from one direction to another. In the below exercises the working leg remains still and the
body moves independently of the leg. This move can be used to transition from supine to side to prone and prone to side to
supine (T B R L).

Supine devant through la seconde to prone derrire (en dehors outwards)

Prone derrire through la seconde to supine devant (en dedans inwards)

Demi meaning half, these can also be broken down to quarter turns
Can be used from exercises such as dgag or dvelopp

Demi rond de jambe meaning half circle, tracing semi circles with the feet, legs extended (S & T)
terre meaning ground (if standing the toes would trace the floor)
En lair meaning in the air (if standing the leg would be lifted in the air)

En dehors meaning outward

En dedans meaning inward

dgag devant to dgag derrire, when the foot circles from

front to back this is en dehors ( terre)

dgag devant to dgag derrire, when the foot circles from

front to back this is en dehors ( terre)

Supine demi en dehor en lair

Prone en dehors a terre (outwards)

start position B

la seconde

derriere

start position B

la seconde

start position B

Prone en dedans a terre (inwards)

start position B

derriere

Arm options: supine when working leg devant or derrire the arms are in first, as the leg circles the arms open to second
then lower to bras bas, prone - arms are used for support

Were changing more than bodies, were changing lives.

Joanna, The Physique & Movement Artist

Opposite arm to leg extension

Step 1 Starting position begin prone with legs in first position, toes pointed, arms lengthened overhead resting on the floor with palms
down and neck neutral
Step 2 Opposite arm to leg lift working with opposite arm and leg (ie. R arm and L leg), lengthen through both limbs lifting them slightly off
the floor with the neck neutral, the leg movement is a degage derrire (S L R)

Arabesque meaning in Arabic fashion, architectural design term meaning spiral

Step 3 Arabesque from opposite arm to leg extension progress to a more extended, arabesque position by lifting through the torso and
engaging the spinal muscles as the head lifts to look at the fingers of the lifted arm (S L R)
Step 4 Opposite arm to leg lift lower both limbs hovering slightly off the floor with the neck neutral, the leg movement is a degage derrire
(S L R)
Step 5 Lower arm and leg lower with control before repeating on the opposite side (S).

Flowers side hamstring to supine adductor stretch

Step 1 Double knee drop to one side (R) (T) from starting position supine A take the knees towards the floor in a controlled manner
Step 2 Dvelopp devant parallel (L) (S)
Step 3 Roll or flower (R to L) guide the top leg (L) up to the side of the body (top shoulder) using the hand for support, rolling onto the
back as the legs open through second position (straddle) and the body rolls onto the other side (L). Aim to take the legs/feet over the shoulders above hip height with the pelvis remaining on the floor (T B R)
Step 4 Swing in (retir pass parallel) (R) after rolling to the second side (L) close the legs (S B R).
Step 5 Double knee lift once the knees are together lift them up into the starting position before repeating to the opposite side (L to R) (T
B R).
Arm options: use the arms to assist the legs in opening through second position (straddle)

Transitioning
Supine to side
Retir: fourth arms, side position

Fouett: supine developpe devant to side la seconde

To roll onto R side: supine position A legs in first position and arms
bras bas, L leg to retir as arms go to first position, R arm continues
to fifth position (arms now in fourth), holding retir roll onto R side
and position L arm to the floor (relaxed fourth). The next moves can
come from retir or the L leg can slide down to meet the R leg in first
position

Were changing more than bodies, were changing lives.

Joanna, The Physique & Movement Artist

Side to supine
Fouett: side la seconde to supine developpe devant

To roll from R side: Laying on R side legs in first and arms fourth (relaxed), L leg to degage la seconde or dvelopp la seconde, hold
the L leg in position engage the core as the body rolls onto the back, the L leg will now be devant (in front), lower the leg or perform a demi
rond de jambe with the L leg finishing in first position.

Prone to side
Retir: prone, side position

Fouett: prone developp derrire to side la seconde

To roll onto R side: prone position legs in first position and arms fifth
(relaxed), move L hand to under the shoulder, R arm stays fifth, L leg
to retir, holding retir roll onto R side and position L arm to the floor
(relaxed fourth). The next moves can come from retir or the L leg
can slide down to meet the R leg in first position.

Side to prone
Retir: side position, prone

Fouett: side la seconde to prone developp derrire

To roll from R side: Laying on R side legs in first and arms fourth
(relaxed), L leg to retir, roll onto front holding L leg in retir, move L
arm to fifth (relaxed) and lower the L leg to first position.

Sequencing and Choreography

-
Music <128bpm counting every second beat
-
Moves should fit nicely into phrases/blocks
-
Ensure sequence finishes back in the starting position ready to repeat same side or opposite
Class structure
Warm Up
Supine or seated
ROM/dynamic
Sagittal plane first
Body focus/awareness
Muscle activation (core)
Familiarize beat of music
Familiarize pattern/feel of class
Slowly increase ROM/lever length

Conditioning
Supine, side, prone or seated
Sagittal, frontal, transverse planes
Balance devant, derrire and la
seconde
Lower body first, add port de bra
Continue increasing ROM
Introduce static stretches
Core specific towards end
Consider order and flow

Cool Down
Supine, seated or prone
Continue static stretches
Mind body connection

Were changing more than bodies, were changing lives.

Joanna, The Physique & Movement Artist

Regression and progression

Beginner
Less moves per sequence
Simple sequences
Lower body with no or very simple port de bra
Single plane sequences (e.g. sagittal only)
Single body position/transitions (e.g. supine only)
Smaller ROM and shorter lever length

Advanced
More moves per sequence
More complex sequences
Lower body with complex port de bra
Multi-planar sequences (e.g. sagittal and frontal)
Multiple body positions (e.g. transition supine to side)
Larger ROM and longer lever length

SEQUENCE A
Supine lower body and core conditioning with port de bra (S & F)
Starting position: Supine B (feet first, arms bras bas)

Right leg leads all

1 x dgag devant
1 x dgag la seconde
1 x retir *
1 x dvelopp devant (retir pass)
1 x dvelopp la seconde (retir
pass)

Arms to first
Arms to second, lower bras bas
Arms to first, hold first
Arms to first, second, hold second, bras bas
Arms to first, second, hold second, bras bas

4 counts (2 out, 2 in)

4 counts (2 out, 2 in)
8 counts (4 up, 4 down)
8 counts (2 up, 2 extend, 2 in, 2
down)
8 counts (2 up, 2 extend, 2 in, 2
down)

SEQUENCE B
Supine and side lower body and core conditioning with port de bra (S & F)
Held stretches to improve flexibility
Starting position: Supine B (feet first, arms bras bas)
Right leg leads all
1 x retire*
1 x roll onto left side (hold retir)
2 x tuck, tuck, up
Hold dvelopp la seconde
Hold dvelopp la seconde
Roll supine holding leg up (demi fouett side la seconde to supine devant)
Hold dvelopp devant
Hold dvelopp devant
Demi grand rond de jambe en dehor

Arms to fourth (L arm fifth, R arm first)

Arms fourth (L arm fifth, R arm support)
Arms fourth (L arm fifth, R arm support)
Use R arm to assist rotate and abduct leg
Arms to fifth
Arms fifth

4 counts
4 counts
8 counts
8 counts
8 counts
8 counts

Arms to second, bras bas, hold leg assist stretch

Arms to fifth
Arms to second, bras bas

8 counts
8 counts
8 counts

Repeat left leg and continue alternating for muscle balance

Beginner option transition in a retir rather than a dvelopp
Instruct slowly first.
1 x retir *
1 x roll onto left side (hold retir)
4 x tuck, tuck, up
Hold dvelopp la seconde
Hold dvelopp la seconde
Roll supine holding hold up (demi fouett side la
seconde to supine devant)
Hold dvelopp devant
Hold dvelopp devant
Demi rond de jambe en dehor, en lair
Reset and side/shuffle across mat if need be

Arms to fourth (L arm fifth, R arm first)

Arms fourth (L arm fifth, R arm support)
Arms fourth (L arm fifth, R arm support)
Use R arm to assist rotate and abduct leg
Arms fifth
Arms fifth

Arms to second, bras bas, hold leg assist stretch
Arms to fifth
Arms to second, bras bas

Were changing more than bodies, were changing lives.

Joanna, The Physique & Movement Artist

8 counts
8 counts
16 counts
8 counts
8 counts
8 counts
8 counts
8 counts
8 counts
8 counts
16 counts

SEQUENCE C
Prone and side lower body and core conditioning with port de bra (S & F)
Starting position: Prone (arms in relaxed fifth)
Opposite arm to leg extension to arabesque
Opposite arm to leg extension to arabesque
Opposite arm to leg extension to arabesque
Opposite arm to leg extension to arabesque
Keep L arm fifth move R arm under shoulder
R leg retir *
Roll onto L side holding retir
Lower R leg to first
Dgag en criox on side (flexed feet, pointe as dgag)
Devant
la seconde
Derrire
la seconde
Dgag en criox on side (flexed feet, pointe as dgag)
Devant
la seconde
Derrire
la seconde
R leg retir *`
Hold retir lower to prone (pointe bottom foot)
Lower R leg to first
Hold legs in first

R arm arabesque, L leg lift

L arm arabesque, R leg lift
R arm arabesque, L leg lift
L arm arabesque, R leg lift
Arms fourth (L arm fifth, R arm support)
Arms fourth (L arm fifth, R arm support)
Arms fourth (L arm fifth, R arm support)
Arms fourth (L arm fifth, R arm support)
Arms fourth (L arm fifth, R arm support)
Arms fourth (L arm fifth, R arm support)
Arms fourth (L arm fifth, R arm support)
Arms fourth (L arm fifth, R arm support)
Arms fourth (L arm fifth, R arm support)
Arms fourth (L arm fifth, R arm support)
Arms fourth (L arm fifth, R arm support)
Arms fourth (L arm fifth, R arm support)
Arms fourth (L arm fifth, R arm support)
R arm to fifth (L already in fifth)

8 counts
8 counts
8 counts
8 counts
4 counts
4 couns
4 counts
4 counts
(2 out 2 in)
4 counts
4 counts
4 counts
4 counts
(2 out 2 in)
4 counts
4 counts
4 counts
4 counts
4 counts
4 counts
4 counts
4 counts

Repeat left leg and continue alternating for muscle balance

Encourage a low retir when transitioning to maintain correct turned out position (external hip rotation) (B R)
References
Blanshard, R & Metzger-Hirsch, R 2000, New York City Ballet Workout [DVD], Palms pictures, USA
Fay, M 2003, Maria Fays Floor Barre, Dance Books Ltd, Hampshire, UK.
Grant, G 2008. Technical Manual and Dictionary of Classical Ballet, BN Publishing, USA.
Martins, P 1997, New York City Ballet Workout: Fifty stretches anyone can do for a strong, graceful and sculpted body,
Harper Collins Publishers, New York.
Minden, E G 2005, The Ballet Companion: A dancers guide to the technique, traditions, and joys of ballet, Touchstone, New
York.
About Joanna
As a fitness professional, educator, presenter, model and writer, Joannas mission is
to change lives through inspiring and educating the world on leading a fit and healthy
lifestyle. Having studied Health and Exercise Science (BSc UWA), and worked in
the fitness industry for over 9 years as a group exercise instructor, personal trainer
and lecturer Joanna sees a need for further educating the broader community in the
importance of maintaining a healthy balanced lifestyle.
With over 16 years of dance experience, Joanna has training in classical ballet, contemporary, ballroom, Latin, Spanish, tap, hip hop and aerial (pole and silks). Joanna
is passionate about combining dance and fitness to assist clients in achieving their
goals.
Joannas website houses training articles, workout programs, health tips and gallery
to inspire and educate viewers, motivating the community to take that first step into
improving their lifestyle. Her fitness blog allows viewers to follow her training and up to
date info on health and exercise.
w www.joanna.net.au or www.joanna-nicholas.com
e joanna.net.au@me.com
f www.facebook.com.au/joanna.net.au
m 0403 732 905
Were changing more than bodies, were changing lives.
Joanna, The Physique & Movement Artist