- OK.
So let's start on the floor, and you're sitting facing me.
Point your feet, legs straight.
Legs together, heels off the floor.
OK and you're going to sit in your right hand,
and put your hand--
no, don't-- your elbow.
Just sit.
Put your hand behind you a little bit.
yeah.
OK.
So we're going to go one, two, on the first beat.
One, two.
We're going to sit pretty and turn around this way,
three, four, three, four.
We're going to roll that way to get up, five, six--
no, the other way.
Roll back the other way.
Five, six, and we're going to step
back and fondu, seven, eight.
Yeah.
Put-- I want one hand here.
Seven, eight.
And now present that foot, like a little rond de jambe.
[inaudible] one step, da, da, da, and up.
And now here it says "one heart."
Before you attitude, we need to do something else here.
You need to just look front and put your hand on your heart.
Heart, now bend it and grab it.
Good, and circle it, and relev , and hold, and tuck.
And now keep going.
And then it says "one breath," so it's one is here.
One, relev , one, breath, breath, takes me-- go ahead--
closer.
Keep going.
My voice, something in--
ha.
Let me hear what that says.
Right.
From here, instead of doing the weird thing, because it's
not really getting that weird--
Still-- still celebrating.
We're still celebrating your win.
Woohoo!
OK.
So it goes, boom.
That sign, that's a definite sign from God
that you're landing too heavy.
All right, go ahead, boom.
Throw it out there.
Now here, whoa.
Just pick it-- just turn outside.
Two, now go.
Straighten that knee.
One.
Take your body-- you try to like arch and keep your head up
from your illusion.
Take your body right down to--
Keep your head down.
--your illusion.
Down, over.
I'm not crazy about that, but the attitude turn was good.
First, turn, step, so just pitch to the ground on the step
instead.
Yes.
And stand up and we'll go from there.
Do your back bend.
Arch your back.
Can I hear those words just [inaudible]..
Back bend, arch back.
We can get to the spin.
We can get-- because she can pull this right over.
I keep on believing, click.
I keep on believing.
Click.
And then ding, ding, ding.
Ding, ding, ding.
Ding, ding, arch back.
- Freeze. - Drop.
End over here.
End-- no.
Sorry.
End here.
Come down.
Arch right here.
Pretty smile front.
There we go.
Down.
Now roll that way to step up.
And we're going to do a beautiful fan from there
with your hand here on the next lyric, starts it.
Drop your body, drop your head, drop your body, drop your head.
Come here.
This is where I want you to be.
Go ahead.
Have the picture [inaudible] Give me this hand.
[inaudible]
OK, keep your arm-- your other arm there.
Keep your other arm there.
That arm stays in line with your leg.
Look at it. Look at it.
Drop your head.
That's where [inaudible]
That's where it is.
That's where you should be.
Like, your hand should be reaching for the floor.
Or you can do it here, so that you're here, so
that you don't touch the floor.
You see what I'm saying?
You're just making it work, and I'm trying to--
let's backtrack again for that.
And let me tell you something.
On your inside attitude left gainer back handspring step
out, you need to do it on an angle
so that when you get in your handstand,
you're not completely profile.
That you're there and they can see that.
I'm going over this [inaudible] because I want it to be right,
but it's never going to be the straitjacket dance.
It's never going to be that.
It's a pretty little lyrical dance.
So technique-wise, you have to blow
everybody out of the water.
Technique, musicality, facial expression, because that's
what you did with the straitjacket.
But that's-- there's no gimmicks here.
There's no theme there.
It's just a pretty little dance.
Got it?
So the pressure's on.
The pressure is big time.
You're walking around wearing a 300 [inaudible]..
Billy, can we see it from the top?
Oh, bad feet.
[inaudible] twisted around there.
Heart.
Pench , and then look front.
You can't-- you can't open your shoulders.
It's just head and arm, and then keep going back.
It's not so like coup de pied, but when
you do that little rond de jambe,
it's not sassy and sharp and bratty.
It's pretty and elegant.
You're showing your foot off.
Yes.
Don't be afraid to step out to your foot, too.
You're kind of cutting underneath yourself.
Heels are off the floor.
When you roll front, that left knee [inaudible]
sickle your foot.
Higher relev .
Stop.
The spotlight after-- what did you just do?
Freeze.
There needs to be something about a spotlight here,
and then the petite all gro.
That'll work there.
But that whole spotlight, that whole phrase,
needs to still be movement, pretty,
before the petite all gro.
All the way around.
Come up pretty, and now start the ballet combination.
[inaudible]
When you do that leap, is supposed
to be up in there or level?
Level, so get it level.
Get-- push off your back foot.
We're close.