Part 3: Janet L. Springer and the Five Positions Sur le Cou-de-Pied
Part 3: Janet Springer and the Five Positions Sur le Cou-de-Pied
A Technical Foundation for Functional, Artistic Movement
In the world of ballet, nuance is everything. Precision, clarity, and intention must exist in every inch of a dancer’s body—and few teachers articulate this better than Janet L. Springer. Known for her analytical and anatomy-informed approach to ballet instruction, Janet empowers dancers to move with purpose by thoroughly understanding how and why each step and position is used.
One of the technical concepts she emphasizes is the proper use and understanding of sur le cou-de-pied, or “on the neck of the foot.” This seemingly small area becomes a powerful platform when used correctly—and according to Janet, there are five distinct positions of the working foot sur le cou-de-pied that every dancer should master.
What Is Sur le Cou-de-Pied?
In ballet, sur le cou-de-pied refers to the tapered area between the base of the calf and the mid-foot of the supporting leg. When the working foot is placed in this area, it must be fully stretched—not wrapped or relaxed.
This is not a casual placement. As Janet explains, the foot must be energized: the instep and toes fully extended, the Achilles tendon lifted, and the heel of the working foot rotated forward in turnout. Improper placement—such as sickling or letting the foot evert—undermines not just the line but also the functionality of the step to come.
The Five Positions Sur le Cou-de-Pied
Understanding these five distinct placements is critical because each one is designed to support specific ballet movements. Janet’s method helps dancers use the right position at the right time, which creates seamless transitions, technical accuracy, and expressive clarity.
1. Basic Position – Devant
The Basic Position is the neutral or foundational devant (front) placement. The heel of the working foot gently rests above the ankle bone of the supporting leg, and the toes point diagonally forward. This position is used in many transitional movements and moments of stillness, offering a stable yet active base.
2. Conditional Position – Devant
One of three "conditional" positions, this devant variation is used specifically to support jumps and quick transitions, such as jeté, assemblé, or sissonne. The foot is still in front of the ankle, but the toes point downward, and the heel is more prominently forward. It’s dynamic and ready to move.
3. Low Conditional Position – Devant
This placement lowers the working foot slightly below the ankle bone, often preparing for movements that involve a low brush or smooth transition, such as certain glissades or temps lié. The foot remains fully stretched but is positioned closer to the ground.
4. High Conditional Position – Devant
This elevated devant position places the working foot slightly higher than the standard basic or conditional devant. It’s commonly used for movements that require a lifted feeling or a more accentuated preparation, such as a sharp changement battu or entrechat.
5. Sur le Cou-de-Pied – Derrière
The only position placed behind the supporting leg. The heel of the working foot gently rests above the Achilles tendon, and the toes point downward behind the leg. Like the front positions, the foot is fully stretched and active. This position is often used in jumps like pas de chat or in pirouette preparations.
Why It Matters: Functional Clarity
In Janet Springer’s method, sur le cou-de-pied is never just a decoration. It’s a technical tool—a place where strength, coordination, and clarity converge. Each of these five positions has a functional purpose and exists to support a specific movement or quality.
Her insistence on full stretch, turnout, and lifted placement ensures that students build clean habits that support longevity, prevent injury, and develop a visually clean line.
Dancers who train with Janet learn to:
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Use the right foot placement for each movement
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Maintain turnout even in small or subtle transitions
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Keep energy flowing through both working and supporting legs
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Connect steps with intention rather than approximation
In Janet’s Words: It’s All Connected
Janet often reminds students that ballet is not a series of isolated poses—it’s a language. And in any language, clarity comes from understanding the structure behind each word or phrase. The five positions sur le cou-de-pied are part of that structure: subtle but essential grammar for fluent, expressive dancing.
Conclusion: A Foundation That Elevates
The beauty of Janet Springer's teaching lies in its depth. While others might gloss over details like sur le cou-de-pied, Janet delves in, giving her dancers the tools to become not just performers, but intelligent movers.
Understanding and applying the five positions sur le cou-de-pied may seem like a small detail—but in ballet, the smallest details often create the greatest impact.
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