Part 2: Janet L Springer: Understanding the Art Behind the Movement: Sur le Cou-de-pied vs. Coupé
Janet Springer has long been known in the dance world for her meticulous, insightful, and deeply anatomical approach to ballet training. As a teacher, her methods bridge the gap between technical precision and expressive artistry, helping dancers not just perform steps, but understand them—from the inside out.
Her teaching goes beyond rote memorization of ballet vocabulary. Ms. Springer's emphasis is on awareness, placement, musicality, and function: Why does the body move this way? What is the purpose of this step? How do transitions support both the beauty and biomechanics of dance?
One great example of her thoughtful approach is how she distinguishes between two often-confused ballet terms on her website: sur le cou-de-pied and coupé. To many dancers, these might seem interchangeable. Ms. Springer clarifies that they are quite different in both intention and execution.
Sur le Cou-de-pied: A Position
Sur le cou-de-pied literally means "on the neck of the foot." It refers to a position—not a movement. In this position, the working foot wraps around or lightly rests against the ankle of the supporting leg. It can be done either devant (in front), derrière (in back), or wrapped.
This position is stable and can be sustained. It's used in preparation, adagio, petit allegro, and as a stylistic embellishment in many classical variations. When Ms. Springer teaches this, she emphasizes placement and clarity: the dancer must understand where the foot is, how it connects to turnout and balance, and what role it plays in the choreography.
Coupé: A Transition or Action
Coupé , on the other hand, is not a position but a movement—an action that means "to cut." Ms. Springer describes it as an auxiliary motion that helps transition from one step to another, often on the upbeat. One foot “cuts” the other away and replaces it, often setting up the momentum or flow for a subsequent jump, turn, or traveling step.
Coupé can be sharp and quick (as in preparation for a jeté), or smooth and controlled (as in adagio work). It may also be executed from the position sur le cou-de-pied, which is where the confusion often arises.
Ms. Springer's teaching highlights that the intent behind the movement is key: sur le cou-de-pied holds, coupé moves.
Why the Difference Matters
To some, this may feel like a technical nuance—but for dancers seeking mastery, this distinction can change everything. When dancers confuse a movement for a position (or vice versa), transitions become unclear, rhythms falter, and the quality of the dance suffers.
By identifying these details, Ms. Springer helps her students find not just technical accuracy but a deeper connection to their dancing. It’s this kind of precise, layered teaching that sets her apart and allows students to evolve from imitators into intelligent, expressive artists.
In Summary:
| Term | Type | Description |
|---|---|---|
| Sur le cou-de-pied | Position | The foot is placed on the "neck" of the supporting leg’s ankle; static and clear. |
| Coupé | Movement | A transitional step where one foot cuts the other away to initiate the next action. |
Janet Springer doesn’t just teach ballet—she teaches dancers and teachers how to think like artists and move like musicians. Her attention to nuance, combined with a deep respect for classical tradition and modern anatomy, makes her a powerful guide for dancers seeking excellence in both technique and artistry. Check out her Zoom teachers courses and ballet classes at classicaldancealliance.org
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