Pas de Bourrée

Connecting steps

step · transfer · connect · continue

precise weight transfer, foot coordination, and connection between larger movements

Interactive schematic movement analysis with its own movement logic

Make each change of supporting leg clear and continuous.

Place the feet precisely enough that the next step remains available.

Preserve a readable pathway through space rather than drifting between steps.

Legs, torso, head, and arms support the timing of the transition.

The step should prepare or continue the next movement rather than stop the phrase.

Organize weight, direction, feet, torso, and focus for the movement that follows.

Carry out this phase with a clear direction, coordinated weight organization, and controlled transition into the next phase.

Carry out this phase with a clear direction, coordinated weight organization, and controlled transition into the next phase.

Carry out this phase with a clear direction, coordinated weight organization, and controlled transition into the next phase.

Return or close with the same precision used to begin the movement and arrive in a clear final organization.

Which foot or leg is supporting you right now, and which part is moving?

Can you keep the direction and supporting organization clear while the movement changes?

Work only as large, fast, or high as you can control comfortably and without pain.

Alignment, footwork, supporting/working-leg organization, and controlled return.

Graded use of force appropriate to the movement task.

Usable range without visible compensation.

Timing, duration, movement flow, and intentional accent.

Direction, focus, beginning, and finish remain clearly readable.

The connecting step can disappear into flow or become deliberately visible.

Changes of direction can connect, avoid, pursue, or redirect a phrase.

Small or broad travel alters how much space the transition claims.

A step can synchronize with, follow, pass, or yield to another dancer.

Possible feelings: concentration, composure. Possible needs: orientation, stability. Possible intentions: prepare, organize, sustain a state.

Possible feelings: determination, tension. Possible needs: clarity, effectiveness. Possible intentions: set an impulse, mark a direction.

Possible feelings: connection, caution, resistance, or curiosity — depending on context. Possible needs: cooperation, autonomy, respect, or orientation. Possible intentions: respond, follow, avoid, support, or mark a boundary.

Tombé means “fallen.” In ballet it describes a deliberately organized transition in which weight is transferred onto a new, usually bent supporting leg.

Balancé combines one step in a direction with two smaller weight changes. A soft triple pulse with visible transfer of weight is typical.

Temps lié is a connecting movement sequence. A direction is prepared, weight is transferred, and the new position is organized without interruption.

Chassé means “chased.” The movement combines opening, drawing the other foot in, and continuing again into a clear traveling step.

Bourrée describes a sequence of very small, closely placed steps, often on pointe or demi-pointe, with continuous weight transfer.

Coupé describes a cutting weight or foot change in which one foot takes the place or function of the other; detailed usage depends on the school.

A very flowing, small-stepped bourrée form combines rapid weight changes with continuous travel through space.

A pas-de-bourrée variant with the opposite crossing organization to dessus; terminology and detailed sequence vary by school.