A split leap or split jump is a sequence of body movements in which a person assumes a split position after leaping or jumping from the floor, respectively, while still in the air. Split leaps and split jumps are both found in various genres of dance including acro dance, ballet and jazz dance, and in gymnastics. Split jumps may also serve as a form of exercise, and the term split jump is also commonly used to describe similar body movements in figure skating.
Split leaps and split jumps require significant flexibility and strength. Flexibility and strength are both needed to attain a split position without the aid of external leg support. Also, sufficient strength is needed to propel the body into the air with enough kinetic energy to compensate for the loss of momentum that results from raising the legs into a split position.
Some variations of split leaps and split jumps may be named according to the type of split that is performed, while others may use nomenclature associated with specific dance genres. For example, a straddle (sometimes called side) split leap incorporates a straddle split, with legs extended symmetrically to the sides, whereas a grand jeté, which involves a front split, derives its name from ballet terminology.
The aesthetic quality of a split leap or split jump depends in large part on the application of various dance techniques. In particular, emphasis is often placed on pointing the feet while airborne, especially during the split, so as to extend the leg lines. Also, proper technique typically calls for straight legs and a full split position at the apex of the leap (or jump). Ballon, which is the appearance of effortless and weightless movement, is another important aesthetic quality. There are, however, variations that run counter to conventional dance technique. For example, the feet may be intentionally oriented at right angles to the legs to produce a notable, unusual aesthetic.
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Famous quotes containing the words leap and/or split:
“Many a time I have seen my mother leap up from the dinner table to engage the swarming flies with an improvised punkah, and heard her rejoice and give humble thanks simultaneously that Baltimore was not the sinkhole that Washington was.”
—H.L. (Henry Lewis)
“An actor must communicate his author’s given message—comedy, tragedy, serio- comedy; then comes his unique moment, as he is confronted by the looked-for, yet at times unexpected, reaction of the audience. This split second is his; he is in command of his medium; the effect vanishes into thin air; but that moment has a power all its own and, like power in any form, is stimulating and alluring.”
—Eleanor Robson Belmont (1878–1979)