Intermediate lifts in pas de deux are the next step after basic waist lifts and assisted jumps. They take the ballerina higher, hold her longer and require precise timing from both dancers. Common intermediate lifts include the press lift to chest or shoulder height, the fish dive preparation, the shoulder sit, lifted arabesques and lifts that travel across the stage. Success depends on the ballerina’s jump and core control, the partner’s leg drive and posture, clear timing cues, and building each lift step by step under a qualified teacher with spotters and mats where needed.
This guide explains when dancers are ready for intermediate lifts, the main types, the roles of each partner, a safe progression, communication and timing, conditioning, and common mistakes.
When dancers are ready
Partners should be able to perform basic supported pirouettes, promenades, waist-height lifts and assisted jumps with consistent control before moving on. The ballerina needs strong core stability, a reliable plié and jump, and the ability to hold positions in the air. The partner needs good posture, strong legs and back, and the upper-body strength to lift and lower safely. Teachers usually decide when a partnership is ready based on technique, strength and trust.
Common intermediate lifts
| Lift | What it involves | Key challenge |
|---|---|---|
| Press lift to chest height | The partner lifts the ballerina from a plié, holding her at chest level | Using leg drive rather than arms alone |
| Shoulder sit | The ballerina is lifted to sit on the partner’s shoulder | Timing the jump and stable placement |
| Lifted arabesque | The ballerina is lifted and held in arabesque | Holding a clean line in the air |
| Travelling lifts | Lifts that move across the stage | Balance while moving |
| Fish dive preparation | The ballerina tips forward into a supported dive position close to the floor | Trust, grip and control |
Roles of each partner
The ballerina
The ballerina helps the lift by jumping at the right moment, keeping her body tight and light, and holding her position in the air. A strong plié and jump reduce the load on the partner. She must also keep her centre engaged so the partner can control her easily.
The partner
The partner lifts mainly with the legs, keeping the back straight and the ballerina close to the body. Hands must be placed precisely, usually at the waist or hips, and the partner must be ready to adjust or lower safely if something goes wrong.
A safe progression
- Floor practice: rehearse hand placement, timing and positions without lifting.
- Low lifts: practise at waist height with spotters.
- Partial lifts: lift part of the way and lower smoothly.
- Full lifts with spotters: add height with a teacher or spotter nearby.
- Add movement: practise travelling and transitions once lifts are secure.
- Perform in sequence: integrate lifts into choreography only when consistent.
Communication and timing
Partners agree on clear cues, such as counts in the music or a breath, for when to plié, jump and lift. During practice, they talk openly about grips, comfort and anything that feels unstable. If a lift feels wrong, both partners should know how to abort safely by lowering the ballerina with control.
Conditioning for lifts
- Partner: squats, deadlifts, overhead presses, core work and back strengthening.
- Ballerina: core stability, jumping power, back strength and holding positions.
- Both: flexibility, balance and body awareness.
Partnering lifts carry a real risk of injury to both dancers, especially the back, shoulders and wrists. Learn lifts only under a qualified teacher, use spotters and appropriate flooring, and stop if either partner feels pain. See a healthcare professional for any injury.
Common mistakes
- Lifting with the arms instead of the legs: strains the partner’s back and shoulders.
- Poor timing: the ballerina jumping late makes the lift heavy.
- Loose body in the air: makes the ballerina hard to control.
- Rushing progressions: increases the risk of falls.
- No abort plan: both dancers should know how to lower safely.
Common holds and grips
How the partner holds the ballerina affects both safety and the look of the lift. These are the holds most intermediate dancers work with.
| Hold | Where the hands go | Used for |
|---|---|---|
| Waist hold | Hands on either side of the waist, just above the hip bones | Small jumps, assisted sautés and low lifts |
| Hip and thigh hold | One hand at the hip, one under the thigh | Lifts carried at chest height or onto the shoulder |
| Hand-to-hand | Partners grip each other’s hands or wrists | Promenades, balances and some lifts from a supported position |
| Shoulder support | Ballerina sits or lies on the partner’s shoulder while he stabilises her legs or back | Shoulder sits and poses held on the shoulder |
Learning a shoulder sit step by step
- Practise the jump and preparation without the lift so both partners agree on timing.
- Have the ballerina jump from a demi-plié while the partner lifts from the waist with bent knees and a straight back.
- The partner turns slightly so the ballerina can sit on the shoulder, then shifts his hands to hold her securely.
- Hold the position briefly, then lower her with control, bending the knees as she comes down.
- Repeat with a teacher or spotter present until the lift is secure every time.
Studio safety checklist
- Check that the ceiling is high enough for any lift above shoulder height.
- Clear the space of bags, water bottles and other dancers.
- Make sure the floor is dry and not slippery, and avoid rosin build-up in one spot.
- Use an experienced spotter for new lifts and stop if either partner is tired.
Partnering places a heavy load on the back, shoulders and wrists. Warm up thoroughly, build strength gradually and speak to a doctor or physiotherapist if you feel pain during or after lifting.
Making lifts look effortless
Audiences should see the line and emotion of a lift, not the effort behind it. Once a lift is secure, work on the artistry. The ballerina keeps her lines long and her face relaxed, using her own core so she feels lighter to her partner. The partner keeps his upper body quiet, hides his grip where possible and looks toward his partner or the audience rather than at his hands. Practising in front of a mirror, then without one, helps both dancers check how the lift reads from the front.
Finding the right partner match
Teachers usually pair dancers by height, strength and experience. A partner who is much shorter or lighter than the ballerina may struggle with overhead lifts, while two dancers of similar experience can learn at the same pace. Staying with the same partner for a period helps build trust and timing, although working with different partners later makes both dancers more adaptable.
Frequently asked questions
What is an intermediate lift in pas de deux?
A lift beyond basic waist lifts, such as press lifts, shoulder sits or lifted arabesques, requiring more height, control and timing.
How does the ballerina help with lifts?
By jumping at the right moment, keeping her body tight and holding her position in the air.
Should intermediate lifts be practised with spotters?
Yes. Spotters and a qualified teacher should be present when learning new lifts.
