As a teacher and choreographer, I focus on building a universal, habit-based technique. This approach allows dancers to layer style across genres with confidence.
In this post, I explore why consistent practice of functional principles—not rote learning of isolated steps—creates lasting versatility. I also explain why a carefully sequenced curriculum protects the developing dancer’s body.
Style & Versatility
An arabesque in ballet has the same anatomical and kinaesthetic needs as an arabesque in modern dance. Every arabesque requires turnout, a spiralling spinal column, a well-distributed arch in the spine, supported abdominals, and expressive freedom in the upper body.
It may be styled differently with such things as arm variations, head positions and height of the gesture leg, but at the core of the movement, the laws of nature and the anatomy of the dancer must be honoured. This is why dancers need a solid technical foundation. It is what permits versatility of style.
Style is not technique; it is style.
I believe versatile dancers actually have one universal way of moving. This core movement base allows them to layer style as needed. For me, the goal is not versatility alone. The goal is a holistic, universal technique, and that is what leads to versatility.
Habitual Technique & Building The Instrument
The fundamental positions, alignment and movement concepts of technique are learned in the early years of training. They must be drilled until they create a habitual way of moving. Students must move with technique unconsciously because it has become totally embedded in their bodies.
Their technique must be present and consistent in all movements. For example, turnout standing still in first position must also be evident and consistently used when moving through space in allegro. If turnout disappears at the top of a jump, then turnout has not been learned habitually.
Once the fundamental positions, alignment and movement concepts are learned, the later years of training become about combining them into ‘steps’ of increasing complexity. In reality, the fundaments of dance technique are not steps; they are anatomical and kinaesthetic principles.
Technical foundations first, steps second.
The Importance of Curriculum Sequencing
A well-thought-out curriculum, progressing logically from the simple to complex, is essential for the development and health of the student.
We must not forget that as a student is training, they are also building their instrument. Sound technique shapes the growing body into a resilient and expressive tool.
If we push the young body into advanced stages of the curriculum too early, we fail to respect their growth stages. This can compromise their health and long-term ability to dance. Honouring the body’s natural progression is the only way to build a strong, lasting instrument.
Join me on Sept. 24th for the third and final part of this topic, which delves into the idea of form and function and its application to dance technique.
Photos of Anastasia Wiebe by Cathy McKelvey. Right photo dancer in background: Emma van Zeumeren.
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About the Author
Leica Hardy is a nationally respected master dance teacher with over 45 years of experience, known for her inspiring instruction and dedication to excellence in classical ballet and contemporary dance. An Honorary Doctor of Fine Arts and co-author of the Society of Classical Ballet’s 14-level syllabus, she has mentored students who have gone on to study and perform with leading dance institutions and companies across North America. See Leica’s full bio here.
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