Exploring anticipation and momentum in port de bras

Exploring anticipation and momentum in port de bras

A focus class exploring how anticipation and momentum can improve coordination and flow in port de bras.

£10.00

  • 1 Class
  • Adult

In this focus class, dancers will explore intricate port de bras pathways. Dancers will learn how anticipation can assist coordination of the arms and upper body, leading to enhanced movement fluidity.

What you will learn

  • Understand the importance of anticipation in coordinating the arms and upper body in classical ballet
  • Explore the use of momentum, created through subtle shifts in energy, to allow the arms, body and legs to move in unity
  • Master the correct pathways within classical port de bras to improve flow of movement.
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Your Tutors

Sarah Kundi

Ballet Teacher

Sarah was born in London, UK, into Indian heritage, where she undertook her professional training at Central School of Ballet. Upon graduation, Sarah pursued her first job at Northern Ballet, then went on to dance with Ballet Black, where she was nominated for a Critic’s Circle National Dance Award for Outstanding Female Performance in the Classical sector in 2010 for Will Tuckett’s Depouillement. Sarah finished her performing career as a First Artist with English National Ballet in the Summer of 2023, where she was awarded the Corps de Ballet Award on behalf of English National Ballet in 2017.

Her repertory with English National Ballet included Myrtha in Akram Khan’s Giselle, Doctor in Akram Khan’s Creature, Stepmother Hortensia in Christopher Wheeldon’s Cinderella, The Queen in Jerome Robbins The Cage, Pina Bausch’s Le Sacre du printemps, Mats Ek’s Rite of Spring, Kenneth Macmillan’s Song of the Earth, William Forsythe’s In the Middle, Somewhat Elevated, Approximate Sonata and Playlist (EP), Carabosse in The Sleeping Beauty and Madge in La Sylphide. She has also performed multiple roles in Swan Lake, The Nutcracker, Giselle, Le Corsaire, Coppélia, Raymonda, Romeo & Juliet, La Sylphide, Manon and Études.

While with English National Ballet, Sarah was an Advisor and Facilitator of English National Ballet’s Pipeline Project, Ballet Futures, an artistic training programme for children from underrepresented backgrounds. Sarah also coached young upcoming dancers in the company for the annual Emerging Dancer Competition over the last three years.

She has been invited to teach at various summer schools, including with The Royal Ballet School, English National Ballet School, Central School of Ballet and Yorkshire Ballet Seminars. In 2022, Sarah completed her Diploma of Dance Teaching with The Royal Ballet School and joined The Royal Ballet School in September 2023 as a ballet teacher.

Frequently Asked Questions

Who can participate?

This class is suitable for adults at all levels, however having a basic understanding of ballet terminology is helpful.

What do I need to participate?

These classes are designed so that they can be executed in a smaller space than a ballet studio. We ask that students ensure that:

  • Any apparatus used for a barre is stable and safe
  • The floor is not slippery, uneven or hazardous
  • The area used for dancing is cleared of any items which could hinder the student’s ability to fully extend their arms and legs. There should be enough space for reasonable movement. If a student cannot fully execute an exercise, they should either adapt appropriately or not participate
  • The student is able to clearly hear the teacher’s verbal instruction, see the teacher’s practical delivery and hear the music
  • The student is appropriately dressed to safely execute a dance class. Soft ballet shoes should be worn for ballet, not pointe shoes. Bare feet, socks or suitable shoes should be worn for contemporary and Pilates
  • The student’s hair is suitably tied back
  • The student is fit and well in order to take part.

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