Sur le cou-de-pied

Sur le cou-de-pied, and the shaping of ballet feet

Pronunciation: sewr luh koo-duh-PYAY

Translation: On the neck of the foot

It isn’t coupé, it isn’t cou-de-pied, but it is the wonderful “sur le” that gives ballet feet that wondrous shape. This position is so hard to achieve if you are born with natural facility, however if you aren’t born with natural facility, this position teaches you how to do the work to get your feet into the correct position for ballet.

When you are younger, you might cheat this position by applying pressure in the heel to the shin so you can press your knee back further, or if you are gifted with really good feet you might forget to point your toes to complete the full effect. Either way, this position really does give this incredible shape and placement of the body.

cou-de-pied

First we have to understand that cou-de-pied is not a position. It is a reference to the part of the foot between the ankle and the base of the calf, running the achilles tendon.

Secondly, we have to understand that there is a difference between the  pedagogies, while the placement is almost the same the difference is between how the toes work. In the Cecchetti method, the toes of the working leg are pressed against the floor working the demi pointe position, while in the Russian school, the toes are wrapped tightly back. In the Russian school there are three placements of the foot.

Sur le cou-de-pied (wrapped position)

This is the standard position in which the working foot’s heel is in front of the shin, while the toes wrap backwards towards the achilles. The sole of the foot hugs the supporting leg tightly, and this position is firm and not relaxed. This position is used for petits battements at battement frappés.

Sur le cou-de-pied derrière
Sur le cou-de-pied derrière now slips the foot back, where the achilles and calf join on the working leg. This position, just below the calf muscle’s insertion point has the working toes pulled away from the body and down towards the floor developing the position even more.

Sur le cou-de-pied conditionals

There are three conditional positions for sur le cou-de-pied. The conditions are usually attached to another technique.

Sur le cou-de-pied devant, conditional

I think this position is where many teachers start using the term “coupé front" for things. Sur le cou-de-pied devant conditional is a mouthful. However this position is how we this American slang evolve. Many teachers talk about the difference between wrapped and not wrapped, and this is where the “not wrapped” position comes into our knowledge. While you maintain the position of the foot in the wrapped position, the foot itself comes forward in front of the shin, so that the baby toes is in front and right above the ankle joint.

This transitional position builds fondu, sissone simple. The condition of the position is that it is always done with plié, or on demi pointe or pointe.

High conditional

Now, according to the ballet dictionary most teachers reference, there is a high conditional position that is halfway up the calf and it is designated for a turning position, but as time has evolved, the high conditional position is definitely moved through versus sustaining the placement. However, it is very useful when teaching young dancers how to move the foot up the leg.

Low conditional

In the low conditional position, this transitional or conditional position is what the American slang refers to as the crazy “coupé front” or “cou-de-pied” front. This position is a very hard position as you maintain that wrapped shape of the foot but the position is now the entire working foot in front of the shin, while only the edge of the fifth toe (baby toe), is touching  below the ankle joint.