MASARYK UNIVERSITY Translation and Interpretation of Dancing

MASARYK UNIVERSITY

FACULTY OF EDUCATION

Department of English Language and Literature

Translation and Interpretation of Dancing Expressions

Diploma Thesis

Brno 2020

Supervisor: Author:

Mgr. Martin Němec, Ph.D. Bc. Nikola Ondráková

Declaration

I hereby declare that I wrote the master thesis independently and that I used only sources listed in the bibliography.

I agree with deposition of my thesis at Masaryk University to make it accessible for study purposes.

Prohlášení

Prohlašuji, že jsem tuto diplomovou práci vypracovala samostatně, pouze s pomocí uvedených zdrojů.

Souhlasím s uložením práce na Masarykově univerzitě a jejím zpřístupněním pro studijní účely.

In Brno, December 2020 ……………………………………

Nikola Ondráková

Acknowledgements

I would like to express my great appreciation to Mgr. Martin Němec, Ph.D. for his kind approach, professional advices and great patience that he provided to me during consultations as the supervisor.

I would like to express my gratitude to the community of Brno dancers, who motivated me to complement and finish my diploma thesis.

Bibliographic record

ONDRÁKOVÁ, Nikola. Translation and Interpretation of Dancing Expressions. Diploma thesis. Brno: Masaryk University, Faculty of Education, Department of English Language and Literature, 2020. 89 pp. Supervisor Mgr. Martin Němec, Ph.D.

Annotation

This diploma thesis deals with translation and interpretation of dancing descriptions and lessons. The main differences between translation and interpretation are described in the theoretical part, together with several linguistic features of English, German, Portuguese and Czech language. The practical part is focused on translation of dancing description, i.e., general dancing technique and a comparison of differences between particular languages in figure syllabus and an example of interpretation of a dancing lesson.

Anotace

Tato diplomová práce se zabývá překladem a tlumočením tanečních popisů a lekcí. V teoretické části jsou popsány hlavní rozdíly mezi překladem a tlumočením, společně s některými lingvistickými rozdíly mezi anglickým, německým, portugalským a českým jazykem. Praktická část se zabývá překladem tanečních popisů, tj. obecnou taneční technikou a porovnáním rozdílů mezi jednotlivými jazyky v seznamu figur a příkladem tlumočení taneční lekce.

Keywords translation, interpretation, dance, dancer, technique, figure, Czech language, English language, German language, Portuguese language, description, terminology, comparison, analysis

Klíčová slova překlad, tlumočení, tanec, tanečník, technika, figura, český jazyk, anglický jazyk, německý jazyk, portugalský jazyk, popis, terminologie, srovnání, analýza

TABLE OF CONTENTS

INTRODUCTION ...... 7 AIMS & HYPOTHESIS ...... 8 METHODS & METHODOLOGY ...... 9 THEORETICAL PART ...... 10 1. Introduction to problematics ...... 11 2. Translation ...... 11 2.1 Approaches to translation ...... 13 2.1.1 Eugene A. Nida’s approach ...... 13 2.1.2 Christiane Nord’s approach ...... 15 2.2 Technical translation ...... 17 2.2.1 Jody Byrne’s approach ...... 17 2.2.2 Josef Dubský’s approach ...... 19 3. Interpretation ...... 20 3.1 Approaches to interpretation ...... 22 3.1.1 James Nolan’s approach ...... 22 3.1.2 Stephen Neale’s approach ...... 24 4. Characteristic features of SL and TL ...... 25 4.1 English language ...... 26 4.1.1 Word order ...... 26 4.1.2 Word formation ...... 26 4.2 German language ...... 28 4.2.1 Word formation ...... 29 4.3 Portuguese language ...... 29 4.3.1 Position of adjectives ...... 30 4.4 Czech language ...... 31 4.4.1 Verbal aspect ...... 31 4.4.2 Declension ...... 32 4.5 Sample translation ...... 34

PRACTICAL PART ...... 35 5. Introduction to problematics ...... 36 6. Translation ...... 37 6.1 WDSF descriptions ...... 37 6.1.1 Basic principles ...... 38 6.1.1.1 General actions: spins and turns ...... 39 6.1.1.2 Foot Action ...... 41 6.1.1.3 Music in DanceSport ...... 44 6.1.1.4 Alignment ...... 48 6.1.1.5 Lead, hold ...... 50 6.1.2 Analysis of specific principle ...... 60 6.1.3 Abbreviations ...... 62 6.2 Syllabus of dancing figures ...... 63 6.2.1 English Waltz (EN) ...... 63 6.2.1.1 Analysis of syllabus ...... 65 6.2.2 Tango ...... 67 6.2.2.1 Argentine Tango (ES)...... 67 6.2.2.2 Ballroom Tango (EN) ...... 71 6.2.2.3 Analysis of name of figure ...... 73 6.2.3 Samba ...... 74 6.2.3.1 Samba de Gafieira/Samba no Pé (PT) ...... 74 6.2.3.2 Ballroom Samba (EN) ...... 76 6.2.3.3 Analysis of borrowings...... 78 6.2.4 Polka (CS) ...... 79 7. Interpretation ...... 81 7.1 Dancing lesson ...... 81 7.2 Analysis of dancing lesson ...... 84

CONCLUSION ...... 86 BIBLIOGRAPHY ...... 87 ATTACHMENTS ...... 89

INTRODUCTION

The content of this diploma thesis deals with translation and interpretation of dancing figures, technique, actions, movements and basic principles and their verbal transfer to another languages. It is based on officially published descriptions and, moreover, on my personal knowledge and experience gained during Czech and international dancing lessons through several years that I have spent on the dance floor.

My personal motivation to wrote and complemented this topic-based thesis is connected to my passion for dancing, and furthermore, to my interest in foreign languages that I study (English, German and Portuguese language) and my mother tongue (Czech language).

General abbreviations used in this thesis:

CS → Czech language

DE → German language

EN → English language

ES → Spanish language

PT → Portuguese language

SL → the source language

TL → the target language

AIMS & HYPOTHESIS

The aim of this diploma thesis is to provide a comprehensive document of the most frequent issues of translation and interpretation (in different source and target languages) of texts or speeches connected with dancing terminology. It demonstrates the most significant differences in translation and interpretation of basic dancing principles, syllabuses, names of figures and topics that are necessary for full understanding of the theory of dance.

The theoretical part defines the problematics of translation and interpretation and describes the main issues that the translator or the interpreter has to deal with during the process of production of the target text or speech.

The practical part of the thesis compares the most significant differences in discussed languages (English, German, Portuguese, Czech) and provides comprehensive translation and sample interpretation in English or Czech language.

I suppose that a significant number of terms (used in syllabuses of particular dances) borrow the names of the figures from the original language. I assume that especially the dances that are not officially described borrow the names into the target language using only the explanation of the meaning of the original name. I presuppose that there are numerous differences in the vocabulary due to culture contexts.

METHODOLODY & METHODS

The used methodology is based on three researches. Firstly, basic research is used to collect and enhance knowledge and determine simple facts (e.g., the process of translation, syllabuses of figures, explanations of basic principles…). Secondly, problem-oriented research is applied to understand the exact nature of the problem and to find out relevant solutions when analysing a situation (e.g., what influences translation and interpretation, how to deal with the source and the target language). Thirdly, qualitative research is used to create in-depth understanding of given issues in the natural settings, based on the experience and knowledge (e.g., the comparison of dancing terminology in different languages). Qualitative research uses open-ended questions to gather as much information as possible from the sample. The purpose of the thesis is descriptive and explanatory. The descriptive purpose is focused on expanding knowledge on the issue and the explanatory purpose deals with understanding of certain changes.

The methods used in basic and problem-oriented research are observation and an analysis. Observation is focused on the data and knowledge that were derived in real time from actual observations in natural settings (i.e., dancing lessons). The analysis is focused on the data collected and on the comparison of already existing data, potentially on ambiguities in interference. The methods used in qualitative research are based on one-to-one interviews, focus groups, ethnographic research, a text analysis and case study. One-to-one interviews are based on discussions on questions that are asked to acquire full knowledge. Focus groups, which comprised of around 10 participants who are educated in the subject matter, help to collect a sizable amount of information related to the research. Ethnographic research helps to provide comparisons to parts connected to languages and to observe the natural environment (e.g., the usage of borrowed names). The text analysis is used to decode several aspects of translation and interpretation. Last but not least, the case study is used to study the whole entity.

THEORETICAL PART

1. INTRODUCTION TO PROBLEMATICS

Thousands of dancing communities occur all over the world. Each community commonly uses one main language to communicate with dancers. Local communities typically use the native language of their nation. Larger events, for instance worldwide dancing congresses or marathons, are usually organised in English language.

Besides the dancing lessons and events, the transfer of names of dancing figures intersects with two communicative tools. Firstly, interpretation, which comes under the verbal/spoken form. Secondly, translation, which falls within nonverbal/written form. Both, interpretation and translation, are essential in the “dance world”. The main difference between them is in time. A person visiting a dancing lesson encounters mainly or only with interpretation. Translation, as a communicative tool, is used when the figures are further studied or when the dancing lesson is provided online. Thereafter, the subtitles of online lessons are necessary. Both ways of communication are influenced by the skills and knowledge of the interpreter or translator and by the target audience that is the main purpose for the transfer.

This thesis discusses the issues of the transfer into the target language (either translation or interpretation) and provides charts with examples of possible equivalents. The languages discussed are English, German and Czech, Portuguese and alternatively Spanish. Every dance is different, has its own origin, which is set in different place and which is developed in different time. The thesis features of some background information to fully understand some of the original names and their possible equivalents.

2. TRANSLATION

Translation may be described as an act or a process of the transfer of written information from one language (the source language) into another (the target language). Translation of figures and movements of Ballroom and Latin dances is highly-developed by World DanceSport Federation (WDSF), which has published a number of books focused on technical descriptions of these dances (Latin dances: Samba, Cha Cha Cha, Paso Doble, Rumba, Jive; Ballroom/Standard dances: English Waltz, Tango, Viennese Waltz, Slow Foxtrot, Quickstep). Dances such as Zouk, Lambazouk, Samba de Gafieira, Argentine Tango, West Coast Swing, Salsa, Bachata, Polka, Forró and many others are not abundant in official syllabuses of movements such as those which have been published by WDSF. One of the reasons

11 of publication of WDSF books is that WDSF is the international governing body of DanceSport and it is recognised by the International Olympic Committee (IOC) and the International Paralympic Committee (IPC). It means that WDSF is the organizer of competitive dance and so it is essential to describe the rules according which the DanceSport may be evaluated.

As mentioned above, translation of figures of unfamiliar dances is not common or sometimes does not exist in written form. When attending a lesson of such a dance, the figures either remain in the original language or are not translated, but explained in the target language for better understanding of the context (e.g., the form and shape of the dance figure). For instance, a figure in Samba de Gafieira Tesoura, translated as Scissors into English and nůžky into Czech looks like cutting with scissors.

In comparison with interpretation, translators need to be educated in written skills. They can use computer-added tools and there is longer gap in time between the source message is produced and the target message is translated. As well as interpretation, translators need to be specialist in particular field, educated in grammar of both languages and be as accurate as possible.

Process of translation of figure:

SL → Portuguese language

TL → English language

Equivalence

Equivalence may be explained as a link between the source and the target text. The synonyms used for the word equivalence might be sameness or similarity, possibly equality in terms. But neither of the translation can be never perfectly equivalent.

2.1 APPROACHES TO TRANSLATION 2.1.1 EUGENE A. NIDA’S APPROACH

Eugene A. Nida states in his article Theories of Translation that the theories concerned with translations are distinguished into several categories. They can be literary and non-literary texts, technical articles, prose and poetry and others. However, the target of the process of translation remains the same; to translate. Many theories to translation exist due to different authors’ intentions, different cultures or problems in communication. Translation can be viewed from many different perspectives.

Nida specifies the formal and dynamic equivalence that are used to achieve different levels of literalness between the source and the target language. Formal equivalence (word-for- word translation) is concerned with message in its content and form. The message should match in both languages. The “examined” elements are lexical, stylistic, syntactic, phonological and orthographical. The meanings of words are translated in literal way. It might happen that the original word does not exist in the target language. The way how to create the equivalent is to use either a neologism, a borrowing or the dynamic translation. Dynamic equivalence (sense- for-sense translation) is focused on meaning of the phrases or the sentences or simply of the whole unit. It is based on the notion that the target text should have the same effect as the source text in terms of the impact on the audience. It stands for the message gained by the target audience and stresses the importance of meaning and not stresses the importance of grammatical forms.

Nida lists four major perspectives, which are the philological, the linguistic, the communicative and the sociosemiotic perspective. The two of them are discussed below.

Communicative perspective

The communicative perspective emphasises the relationship between sociolinguists and translation, which is described as a very natural one as it is used by the society in communication. According to Nida, the communicative perspective is connected with paralinguistic and extralinguistic features of messages. They are present in oral, but as well

13 as in the written communication. The paralinguistic and extralinguistic features in written communication may be format, quality of paper, type of binding and similar.

NOTE: Paralinguistic and extralinguistic features are strongly linked to dancing lessons and fall mostly within the interpretation. The usage of gestures, body language, facial expressions, tone and pitch of the voice or its habitual aspects, loudness, peculiarities of enunciation, stance or eye contact make comprehensive impression and full understanding of what needs be transferred.

Nida delineates the importance of a number of basic elements in communication (source, message, receptor, feedback, noise, setting, medium), which treat the process of encoding and decoding of the message. The communicative approach to translation can be described as “translation of meaning, not language”. The language is viewed as a vehicle and even might be viewed as an obstacle in understanding.

Sociosemiotic perspective

The sociosemiotic perspective is connected with thought that in any act of communication is involved the multiplicity of codes. It goes hand in hand with paralinguistic and extralinguistic features mentioned above. He points out that the “final” impact of the message is influenced by the “background information”. Theories of Translation represents language as a set of habits developed within the society and transmitted by it. Nida mentions that people can create new expressions and they may give new significance to older forms (idiosyncratic and sociosyncratic language). He closes this idea with a fact that discourse is, more than any other act of communication, a matter of fashion.

NOTE: A dancing figure taken from Cha Cha Cha or Rumba Curl used to be translated into Czech language as Kadeř. The currently used translation is more likely Lokna.

2.1.2 CHRISTIANE NORD’S APPROACH

Christiane Nord is introducing a prospective approach to translation in her publication Translating as a Purposeful Activity: Functionalist Approaches Explained, which deals with the choice of translation’s strategies according to the purpose, which the final translated piece of text should have to fulfil the expectation of the target audience. If the target culture differs from the source culture, she divides the options for transformation of the text into two main groups. These are instrumental translation and documentary translation.

She explains that the traditional approach of the process of translation is the translator’s focus on the source text. The modern approaches point out that different readers gain quite different message and receive what they want or need. This is called an “offer of information”. If this is so, she highlights the difficulty of translator’s job to translate the source text and mentions that the translator does not even belong to the group of the target audience. Every single reader may find interesting or important what the others do not and contrarily. This influences the culture into which the reader belongs.

Translation is being, according to Nord, an activity leading to the communicative purpose or at least particular communicative aim in the target audience. She states an example of translation as a form of integration.

(Nord, 2006, 3)

To shortly summarize the example, she explains that the main message of the request mentioned above is to appeal on the visitors to not disturb the others during the night.

“Situations are not universal but are embedded in a cultural habitat, which in turn conditions the situation. Language is thus to be regarded as a part of culture. And each communication act is conditioned by the constraints of the situation-in-culture.” (Nord, 2006, 4)

In other words, the culture is inseparable part of the process of translation.

NOTE: Example of translation/interpretation taken from “dance world”, connection to culture knowledge Czech teachers and dancers of dances Zouk and Lambazouk (dances created from Brazilian Lambada) are used to start counting of the Basic Step in the music from number “one”. Thus, the pre-position and first steps are counted as follows… …five, six, seven, eight …one, two, three… preparation counting of the music Brazilian teachers and dancers of dance Lambazouk are used to start the counting in the same manner. The first two steps are danced on the spot and the third step is the moving step.

However, Brazilian teachers and dancers of dance Zouk are not used to count the Basic Step by the music, but by the number of steps. The initial step of dance Zouk, which is in Czech Republic the (moving) step “one” and danced on the strong beat is danced by Brazilians as the (moving) step “three” on the same beat. They keep the counting of their system taken from Lambada and the counting starts as following… …five, six, seven, eight …three, one, two, three… preparation counting of the steps and music Important is to say that both Basic Steps look the same way, only the counting and so the explanation of its usage in music for the target audience differs. If Czech dancers attend a dancing lesson taught by Brazilians, who use this way of counting, it is very likely that Czech people will be confused by Brazilian way of counting the music.

Christiane Nord concludes at the end of the article some of her ideas connected with the basic principles of functional translation. She summarizes that the purpose of translation is given by the choice of the method and describes it as a principle of functionality. The purpose of translation should describe the situation for which is the target translation made. The receiver is the one who decides whether and how the text functions for him or her in the particular situation.

Jana Rakšányová and Markéta Štefková follow up with the Nord’s ideas and propose an overview of appropriate competences and skills of the translator in the publication Antologie teorie odborného překladu. One of the abilities is the ability to take decisions. The translator must be aware of both cultures (the source culture and the target culture) to be able to choose the right equivalent. Another point to be mentioned is translator’s creativeness. And a translator

16 must be trained in the specific theory and methodology to be able to produce an adequate piece of a text.

2.2 TECHNICAL TRANSLATION

Technical writing is a piece of text that intends to educate the reader in particular skill or subject by using specific terminology. It is usually detailed description in order to inform the reader as much as possible. It falls under didactic literature, which is meant to be instructional. It differs a lot from another styles (e.g., creative writing). The text is very straightforward and explains the particular subject or the phenomenon step by step.

Indistinguishable from another translation, the translator of technical writing needs to know the audience. But it varies in several points. The translator of technical texts should be adequately educated in the specific terminology and should know how to research. The used style is impersonal. When giving the instructions, the 3rd person’s perspective is used alike a teacher educates a student. The writing is as straightforward as possible. It should factually describe the particular subject or given circumstance. It should be detailed but also economic in the sense of usage of the words not to overwhelm the reader.

2.2.1 JODY BYRNE’S APPROACH

Jody Byrne discusses technical translation in the publication Technical Translation: Usability Strategies for Translating Technical Documentation. He admits that technical translation is generally viewed as an exercise in terminology and subject knowledge. However, he describes the reality of technical translation and discusses several misconceptions about it. A technical text is usually focused on something which deals with technology. But Byrne states differences between specialized and technical translation. Specialized translation deals with texts that use very specific terminology, definite styles or documents, but they are not regarded as “technical”. On the other hand, technical translation deals with texts based on applied knowledge from the natural sciences.

“It has been estimated that technical translation accounts for some 90% of the world’s total translation output each year.” (Byrne, 2006, 2)

The author claims that one of the misconceptions in technical translation deals with terminology. Terminology is, nevertheless, inseparable and significant linguistic feature of such a text. But the main skill for translating the technical text, according to Byrne, is knowing how to write the text. He simply says that the style or writing matters far more. Another

17 misconception to be illustrated is that a translator of technical texts cannot be creative and simply transfers the original text into the source language. He admits that technical translation is much more restricted, but does not prohibit the translator from giving out the message in an effective way. The only difference is, according to Byrne, the fact that the translator must use restricted vocabulary.

Another misconception relates to the opinion that the translator must be an expert in the specialised field. Byrne admits that the translator should understand basic principles of the field, but the rest is coming “by itself”. It means that he should know enough to be able to produce adequate translation for the reader.

One of the greatest fallacies of technical translation is confusing the technical translation with scientific translation. He explains that both contain specific terms, but scientific translation is knowledge that is gained by observation and experiment and systematised under general principles. Technical translation is defined as the application of scientific knowledge for the practical purposes (see Byrne, 2006, 7). The last but not least point about technical translation deals with a fact that it may be characterised on the basis of the subject, the type of language and purpose.

Problematics of technical translation

The practical circumstances that surround the production of multilingual documentation are as follows: The initiator of the document, the text producer, the initiator of translation, the translator and the user. The process itself is as below:

TRANSLATION:

author translator reader

TECHNICAL TRANSLATION: document translation

initiator initiator user

text producer translator

The initiator of the document is the person responsible for the original source document that the user will help to use the product effectively and safe. The text producer writes the main documentation. The translator initiator starts the process of translation and sends it to the translator. The translator transfers the documentation into the target language and the user is the target of the whole process and is focused on interpreting of the source text, composing the translation, conducting research and checking the draft. One of the important rules of translation is that it should give the ideas of the original text and should reflect and possesses its style.

“The translation is a text in a particular target language and culture.” (Byrne, 2006, 24)

2.2.2 JOSEF DUBSKÝ’S APPROACH

The publication Antologie teorie odborného překladu contains many approaches to theory of technical translation. One of the articles contained in the book is Josef Dubský’s article, which focuses on multicomponent of the technical text in translation. He explains that one of the biggest differences between translation of an artistic text and translation of a technical text is that the technical text features clarity, accuracy, illustrative nature and similar features. The translator of an artistic text can form the text according to the target audience’s needs. On the other hand, the translator of a technical text may sometimes choose between two or three formulations. The differences between the meaning of the equivalents must be very small or none.

NOTE: SL “…shape the partner and continue with the figure…” English TL „…natvarujte partnerku a pokračujte figurou…“ Czech „…naformujte partnerku a pokračujte figurou…“

This can facilitate the work of the translator. If the translator is well educated in the specific field and as well in the source and the target language, he or she can easily cope with specific translation, alternatively with the usage of the lexical dictionary.

3. INTERPRETATION

Interpretation may be described as an act of transferring or describing of the oral message from the source language into the target language in the same time. As well as translation, interpretation cannot be learned from a book, but needs to be studied and practised. It is an oral skill, but contains an element of composition. Basically, interpretation deals with paraphrasing and transposing the source language within context. The main purpose is to transfer original meaning into another language, together with idiomatic expressions, specific grammatical features or colloquialisms of the target language for easier understandability.

It is perceptible that some of the dancing figures’ names remain in the original language. It occasionally occurs that they need to be further explained and so they are translated or described into the target language. Some of the names remain in the original language, but they are slightly adjusted to target language needs e.g., grammar or syntax.

NOTE: Considering Czech language grammar (e.g., cases), a Middle-English term Pivot is borrowed and adjusted into pivota or movement in English language one legged spin would be used as spina na jedné noze.

Forms of communication during interpretation vary. One of them is intrapersonal communication (e.g., thinking about the naming of figures or preparing the lesson by yourself as a dance teacher). The second is dyadic communication (which involves two people, e.g., individual lessons), the third is small group communication (e.g., regular dancing lessons), the fourth is public communication (e.g., dancing lessons during a congress or a festival) and the last mass communication (e.g., online video lessons).

Interpretation of name of a dancing figure, one target language:

If there is only one transfer, it is commonly translated or explained into target language. When more than one transfer is required, the probability of usage of the target languages is reduced. In these cases, the source language is the only communicative tool.

Interpretation of name of a dancing figure, more target languages:

We may talk not only about interpretation of the figures during dancing lessons, but also about interpretation of the whole class (e.g., about specific principles, movements). If the teacher speaks different language than the audience, the interpreter is required.

The interpretation can be either simultaneous (to convert what is said in real time) or consecutive (to reproduce the part of what was already said, the speaker and reproducer alternate one after another). When talking about the interpretation during dancing lessons, we talk about consecutive interpretation. The adequate skills of an interpreter are good experience with the source language, good memory and quick reflexes. The experience of an interpreter with interpreted topics can be sought as well.

3.1 APPROACHES TO INTERPRETATION 3.1.1 JAMES NOLAN’S APPROACH

According to James Nolan and his publication Interpretation: Techniques and Exercises, interpretation is an oral transfer of the spoken message from the source language into the target language. The same as the translator, the interpreter must have been very well educated in the target language. James Nolan points out that for most interpreters might be the target language his or her mother tongue.

He illustrates the difference between translation and interpretation. Nolan explains that the translator relies mainly on the research with background materials and dictionaries with the main target to produce the most readable and accurate written translation. The translator studies written materials in the source language and reproduces another written material in the target language. On the other hand, the interpreter relies on the ability to gain the gist of the message to the target audience and listens to the message and reacts orally in the target language. Both, the translator and the interpreter, must master the source and the target language with which they work.

“No translation is ever “perfect” because cultures and language differ…The translator’s activity is more like that of a writer, while the interpreter's performance is more like that of an actor.” (Nolan, 2005, 3)

According to Nolan and his chapter devoted to complex syntax and compression, the easier the sentences are, the easier the task of the interpreter is. If the speaker uses long, complex structures in high speed, the interpreter’s task is much more complicated. Nolan advices to simplify the syntax (e.g., to build shorter sentences or to delete ambivalent conjunctions) and to be focused on getting the meaning of the message. Neither words nor sentences are the meaningful structures to deal with and so the interpreter should be more focused on “units of meaning”. These are important to be identified as quickly as possible and

22 mostly occur in “noun + adjective clusters” or “verb + objective clusters”. He follows up with the chapter connected to word order, where he claims:

“It is important to avoid automatically following the word order and structure of the source language when translating and interpreting.” (Nolan, 2005, 45)

Another topic, which deals with interpretation is humour. Nolan confesses that it is not easy feature to deal with. Without any doubts is the humour difficult to interpret. He advices to be attentive to the purpose of the humour.

NOTE: Example of usage of humour during dancing lessons

The purpose of following humorous inserts is to release the atmosphere of the dancers attending the course or the lesson and possibly to strengthen social relationships among the people. Example 1: SL = English language “Let’s finish…or Danish or Swedish…the movement with the Open Position.” Example 2: SL = Czech language “Nyní se posuneme ze středu…nebo čtvrtka, či pátku…a postupně přenášíme váhu na pravou nohu.“ These examples are very difficult to be transferred. I dare to say that the usual technique to interpret similar sayings would be to explain or describe the speaker’s joke.

Last but not least chapter of the publication is connected to Latinisms. Nolan mentions that some of the speakers may use Latin expressions. His “general rule”, which is to simplify the interpreted message, leads to repeating the Latin expression in interpretation (especially when the interpreter does not know exactly what the expression means). The interpreter should be focused on right pronunciation and so it is probable that the audience will understand the message.

NOTE: Dancers are using during dancing their whole body. If the dancer wants to be well educated in the usage of the body, some of the Latin names are used to fully understand the usage of the muscles (taken from medical science). This theory helps to look after implementation of movements and to pretend the body from potential injury.

Example taken from the theoretical lecture focused on the right body posture:

Latissimus Dorsi

3.1.2 STEPHEN NEALE’S APPROACH

Stephen Neale’s publication Determinations of Meaning is focused on interpretation and meaning. He discusses pragmatic interpretation, theoretical notions of meaning or the philosophy of language and its limits.

He determines that the term interpretation may be applied on every object, event or process and as well on activities, procedures or methods. When specific interpretation is required, he uses terms explanation, analysis, rendition, production, construal, understanding, comprehension, translation and paraphrase. He points out that there is no particular method or procedure that constitutes interpretation. (see Neale, 2020, 2).

NOTE: In connection to “dance world” the terms below might be used: - explanation of behaviour or events - analysis of data and theories - understanding or paraphrase of speech and writing

According to Neale, to interpret means to give it sense or to understand it. Everything which tends to communicate is producing signals from a sender to a receiver. He states the difference between human languages and other (animal) languages in recursion, syntactic complexity and flexibility. It is important to say that sometimes we communicate with one another in ways that do not involve “language”, but a set of noises or gestures. These ways of communication are called non-linguistic communication.

NOTE: Non-linguistic communication is inseparable part of dancing lessons. It would be unreal to learn how to dance without using gestures, noises, body language, movements and similar ways of expression.

4. CHARACTERISTIC FEATURES OF SL AND TL

Each language uses its own rules. They may differ in many aspects of linguistics. The syllabus of figures that is mentioned in practical part is primarily focused on two Germanic languages (English and German), two Romance languages (Spanish and Portuguese) and one Slavic language (Czech). Simple characteristics of English, German, Portuguese and Czech are discussed below. Smaller chapters deal with topics that are useful in terms of translation and interpretation of dancing descriptions and dancing lessons.

Language Language family Original syllabus of figures English Germanic language English Waltz Ballroom Tango Ballroom Samba German Germanic language - Czech Slavic language Polka Portuguese Romance language Samba de Gafieira Samba no Pé Spanish Romance language Argentine Tango

4.1 ENGLISH LANGUAGE

Modern English is analytic (i.e., relatively uninflected) and only nouns, (woman, women, woman’s, women’s), pronouns (he, him, his), adjectives (good, better, the best), and verbs (take, takes, took, taken, taking…). are inflected. In other respects, English is characterized by minimum of changes into the shapes of words and adverbs, prepositions, conjunctions, and interjections are invariable. Affixation (prefixes, suffixes) is either native, Greek or Latin.

English adopts or adapts words from other languages or creates its own. A great number of loanwords are taken from French, Greek, Latin, Spanish and Italian and approximately quarter of the vocabulary comes from Germanic roots. When we talk about word formation, English uses usual ways of forming of a new word (compounding, affixation, conversion, clipping, blending, back-formation).

Last but not least, English language distinguishes by its fixed word order. The standard word order is subject + verb + object (SVO).

4.1.1 WORD ORDER

The standard word order in English is subject + verb + object (SVO sentence structure). Subject is typically a noun or pronoun, verb is the action or state of being and object is the word or a group of words, which is influenced by the verb. English uses fixed word order and it is essential to be aware of it otherwise it may change the meaning of a sentence.

Example:

1) “The dancer changed the dance.” → He decided to dance a dance of different style.

2) “The dance changed the dancer.” → The dance changed his behaviour/attitude/life.

4.1.2 WORD FORMATION

BLENDING

Blends belong to the class of complex words and they stand for a new word created by combination of two separate words with different meaning. There are many ways of creating blends. One way is to combine morphemes of two words. Another way might be joining of the beginning of one word and connecting to the end of another. The list below indicates that blends are often used in creating the name of an event to attract or engage possible visitors.

Examples:

Lambazouk → a dance, combination of Lambada and Zouk

Zouktime → a dance congress held in Brno, meaning “time to dance Zouk”

Budafest → another dance festival held in Budapest

Brasilesia → Zouk festival held in Katowice, combination of Brazil and Silesia (a historical region of Central Europe, mostly in Poland)

Brazouka → festival of Brazilian Zouk held in Porto Seguro, Brazil dancaholic → a person addicted to dance zoukable → e.g., music; if the music is zoukable it means that it is possible to dance Zouk to this kind of music, because of the rhythm zouktiful → combination of Zouk and beautiful, usually used in sentence “Be Zouktiful.”

BACK-FORMATION

Back-formation is a process of forming a neologism. The process removes the affix from the already existing word. The lexeme remains and the new created word is shortened. choreograph → taken form choreography funk → taken from funky

COMPOUNDING

Compounding is concerned with free forms. A compound is a lexeme which consists of more than one stem. Two or more words are linked together to produce a new word with a new meaning.

Examples of closed compounds: ballroom, outside, inside, Fallaway Throwaway, everybody, backspin, forearm, underarm

AFFIXATION

Affixation is a process of creating a new word by adding bound morphemes to the root of the word. dancer, dancing

CLIPPING

Clipping retains a part of a word. It drops one or more syllables form a word. The meaning of the word remains the same. a dance pro → a professional dancer

CONVERSION

Conversion is the word formation in which a word of one grammatical form becomes a word of different grammatical form with no change in the spelling. to shape the partner → from a noun to a verb a turn → from verb “to turn” to a noun

4.2 GERMAN LANGUAGE

High German (Hochdeutsch) is the standard literary language. It preserves rich morphology. Nouns are based on masculine, feminine and neuter gender, which can be predicted based on the endings, but in most cases has to be memorised, as it is arbitrary. German uses four cases (nominative, dative, genitive and accusative). It is synthetic language and its forms are inflected (features five forms; Mann, Mannes, Manne, Männer, Männern). Personal pronouns have full set of case distinctions. German distinguishes between an informal version of you → du and a formal version of you → Sie. The pronoun Sie stands as well for the meaning she and they.

German is abundant in strong and weak verbs. When strong verbs are conjugated, they undergo internal vowel changes a and weak verbs add endings to stems. Some of the German verbs separate the prefix from the main verb.

Word order is described according to the position of the verb. The verb usually keeps the first or second position in main clauses and the final position in subordinate clauses. The position of the other words is relatively free.

Some of German words are borrowed from English and French, some of the scientific words are rooted in Greek and Latin. New words are usually formed by compounding.

4.2.1 WORD FORMATION

COMPOUDING

German language commonly uses compounding (Komposita) for creating of a new word. It stands for a combination of at least two different words into the new one. In the case of two combined words, they of consist of two nouns, an adjective and a noun, a verb and a noun or an adverb and a noun.

Examples of equivalents: English, Czech, Portuguese der Grundschritt → basic step, základní krok, passo básico der Paartanz → couple dancing/partner dance, párový tanec, dança de casal die Tanzpartnerin → dance partner, taneční partnerka, parceiro de dança die Promenadenposition → promenade position, promenádní postavení, posição de passeio die Rechtsdrehung → natural turn, otočka doprava, vire à direita die Linksdrehung → reverse turn, otočka doleva, vire a esquerda

4.3 PORTUGUESE LANGUAGE

Portuguese language owes the second position in terms of numbers of speakers of the Romance language. It is pluricentric language (as well as English or German) and so the European Portuguese and Brazilian Portuguese differ. The difference is noticeable not only in terms of speaking about vocabulary, but as well as in verb conjugation, syntax, phonology and grammar. Grammar of Portuguese is based on Latin.

Portuguese pronouns with meaning you may be distinguished formally or informally. Personal pronoun tu, which is normally used in Portuguese language, is not commonly used in Brazil. Instead of tu is used a pronoun você. If a person wants to express his or her respect

29 to another person then o senhor/a senhora is used. Brazil uses one more pronoun a gente, which is combined with 3rd person singular verb form and means something similar as the people/we/us.

Portuguese nouns are either masculine or feminine and they sometimes differ in the ending. This language uses no marks of the case. The prepositions are able to connect with articles.

Portuguese regular verbs feature of three conjugation types that may be identified by the infinitive ending. Portuguese tenses are past, present and future.

The mostly common word order is subject + verb + object (SVO). Portuguese words are mostly derived from Latin with some borrowings from German and other languages.

4.3.1 POSTION OF ADJECTIVES

Portuguese adjectives commonly follow the noun which they modify. They are usually variable, describe either masculine or feminine, singular or plural. Contrary to English, they agree with the noun’s gender and number. Examples of some of the variable adjectives are bom/boa (good), mau/má (bad), bonito/bonita (beautiful), pequeno/pequena (small). Examples of some of the invariable adjectives are grande (big), feliz (happy), triste (sad).

Examples of usual position of Portuguese adjectives: passo básico – basic step curva aberta – open turn passo fechado – closed step giro simples – basic turn giro invertido – reverse turn

Gancho Redondo – Round Hook

Saída Lateral – Lateral Exit

4.4 CZECH LANGUAGE

Unlike English, Czech belongs to the synthetic languages and so different grammatical aspects are expressed in one word by changing its structure. The structure might be changed for instance by adding of affixation or modifying the core of the word. Czech language may use one word to express what might be in English language achieved by usage of multiple words. It uses rather complex system of declension and conjugation. Declension affects nouns, adjectives, pronouns and numerals and conjugation verbs.

Czech uses seven cases (nominative, genitive, dative, accusative, vocative, locative and instrumental). It uses three persons in the verb, three tenses (past, present, future). And it marks verbs for perfective aspect (completed action) and imperfective aspect (uncompleted action).

There are three grammatical categories (case, number and gender), which determine the composition of a Czech noun. Czech pronoun that expresses you differs in formal and informal usage (similarly as in German language). The informal way to express you is ty and combines together with singular verb form and formal way of the expression is Vy and combines with plural verb form.

Besides Portuguese and German language, Czech uses diminutives as well. Czech word order is relatively free. However, it belongs to the SVO type.

Czech language contains of a grapheme ř, which causes problems during its pronunciation for most of the foreigners. In terms of speaking about pronunciation of Czech words, sometimes it contains quite complicated consonant clusters.

4.4.1 VERBAL ASPECT

Verbal aspect is in Czech used to specify the action expressed by a verb. It may be either completed action or uncompleted action. Perfective verbs describe already finished action, e.g., dotančit, meaning to finish the dance. They are used to describe that the particular action is about to end in the future. Imperfective verbs describe an unfinished action, e.g., tančit/tancovat, meaning to dance. They are used to describe an action that will be done in unspecified time in the future. It is not much specified how to form the perfective or imperfective verbs in Czech language and so they have to be usually remembered by heart. However, the common way how to form the perfective verb form is by adding a prefix and the imperfective verb form by changing of the verb stem. Most Czech verbs come in aspectual pairs.

English language uses different ways to express what is in Czech language expressed by verbal aspect. It may be viewed by different temporal aspects. However, English verbs themselves are ambiguous, while the form of the verb in Czech makes the aspectual view clear.

Examples:

Perfective verb forms:

„Pár č.4 právě dotančil rumbu a nyní se chystá zatančit jive.“ → “The couple n.4 has finished Rumba and now they are going to dance Jive.”

„Všechny páry již své sestavy odtančily.“→ “All couples have already finished their routines.”

Imperfective verb forms:

„Chtěli bychom tancovat každý den.“ → “We would like to dance every day.”

Comparison:

PERFECTIVE: Zatančili jsme jive. → We danced Jive.

IMPERFECTIVE: Tančili jsme jive. → We were dancing Jive. / We danced Jive.

4.4.2 DECLENSION

Czech uses a complex system of grammatically determined modification of nouns, adjectives, pronouns and numerals. It differs in terms of gender (masculine, feminine and neuter) and as well as in terms of number (singular and plural). It essentially means that Czech word may have 14 possible forms together. When translating a text from or into Czech or German language, the translator must be aware of these changes of the words.

Czech: tanec (singular, masculine, inanimate, soft) German: der Tanz (singular, masculine) Portuguese: a dança (singular, feminine) English: a dance (singular, gender neutral) CZECH GERMAN PORTUGUESE ENGLISH Nominative tanec der Tanz Genitive tance des Tanzes Dative tanci dem Tanz Accusative tanec den Tanz a dança a dance Vocative tanci! Locative tanci Instrumental tancem

Expressions partner/dancer in English does not show whether it is a man or woman and sometimes need to be distinguish by usage of man or woman/lady or by context. They are distinguished in Czech, German and Portuguese language.

EN a partner (singular, masculine)/a partner (singular, feminine) CS partner (singular, masculine, animate, hard) partnerka (singular, feminine, animate, hard) DE der Partner (singular, masculine) die Partnerin (singular, feminine) PT o parceiro/o par (singular, masculine) a parceira/a par (singular, feminine)

4.5 SAMPLE TRANSLATION

A publication used for the sample sentences below is written by Zdeněk Landsfeld and Jiří Plamínek, 2nd edition. It consists of descriptions of Latin dances according to Walter Laird and International Dance Teachers Association (IDTA).

SL → Czech:

„Rumba je tanec těla. Akce kyčle vznikají kontrolovaným přenášením váhy z chodidla na chodidlo. Kukarača je definována jako „tlakový krok“ a je tančena hlavně pánem. Pohyb je tvořen třemi kroky tančenými obvykle bez točení s přísunem chodidel na třetí krok.“

(Landsfeld; Plamínek, 2008, 19)

TL:

→ English: “Rumba is a dance of the body. The hip actions are created by controlled transfer of the weight from one foot to another. Cucaracha is defined as a “pressure step” and is mainly danced by the man. The movement consists of three steps that are usually danced without turning and the feet are connected on the third step.”

→ German: „Rumba ist ein Tanz des Körpers. Die Hüftaktionen werden durch die kontrollierte Gewichtsübertragung vom Fuß auf den Fuß erzeugt.“ Cucaracha wird als einer „Druckschritt“ definiert und hauptsächlich von einem Mann getanzt. Die Bewegung besteht aus drei Schritten, die normalweise ohne Drehung und mit der Verbindung der Füße im dritten Schritt getanzt werden.“

→ Portuguese: “Rumba é uma dança corporal. As ações do quadril são criadas pela transferência controlada de peso do pé para o pé. A Cucaracha é definida como um “passo de pressão“ e é dançada principalmente pelo homem. O movimento consiste em três passos que geralmente são dançadas sem girar e os pés são conectatos no terceiro passo.”

BORROWING – original meaning of the Spanish word Cucaracha:

Cucaracha (ES) CS šváb EN a cockroach DE die Schabe PT a barata

PRACTICAL PART

5. INTRODUCTION TO PROBLEMATICS

The practical part deals with official descriptions of Latin or Standard dances published by WDSF, dancing syllabuses and sample interpretation of a dancing lesson. These descriptions consist of explanation of basic principles and general actions in dancing, e.g., steps and foot placement, spins and turns, music and timing, alignment, posture and couple position, lead and hold. This part deals with translation of English texts into Czech language. The syllabuses consist of the comparison between the officially published syllabuses by WDSF (for purpose of competitive dancing) and unofficial lists of figures (mainly for didactive purposes). The last part of the practical part deals with sample consecutive interpretation of dancing lesson.

Translation of movements is more than necessary. Dance teachers have to deal with explanation of the meaning. It commonly appears that they are educated in the target language. Exemplary translation and sample interpretation below demonstrate the quantity of borrowings and several specific features of source and target languages.

6. TRANSLATION 6.1 WDSF DESCRIPTIONS

World DanceSport Federation (formerly International Dance Sport) is international non- governmental organisation which unites single national dancing associations. It is the world governing body for DanceSport. DanceSport combines dance and sport and it is the all- encompassing brand for the activity that allows for the participants to improve their physical fitness and mental well-being and to obtain their results in competition at all levels. WDSF has published a technique book for each of the Standard and Latin dances.

“The ten books provide a practical introduction to the technique in Latin and Standard for dancers at all levels: from student to professionals – and on to teachers or trainers. The books explain all facets of the WDSF technique, transmit a wealth of knowledge and create the solid base for the continued development of DanceSport. Comprehensive and up-to-date, they go much beyond the fundamentals and expand on topic such as body techniques.” (WDSF website)

The books were published in 2013 and corrected and adjusted in 2018. They contain figure syllabuses and charts (e.g., with preceding and following figures), specific principles of the dance, music descriptions, alignments, posture and positions and many other details, which are necessary for complete understanding of the specific dance.

Czech translation of formerly published books has been provided by Zdeněk Landsfeld and Jiří Plamínek (e.g., Pocket-Sized Dancing Lessons, Evaluation of Dancing Performance, Questions and Answers to Ballroom and Latin, Technique of Ballroom and Latin Dances). New WDSF descriptions (of all 10 described dances) have not been officially translated, yet.

6.1.1 BASIC PRINCIPLES

INTRODUCTION

The evolution of the Latin American and Standard dances has produced a dramatic change in the dynamics, amount of movement and overall visual effect of each dance. The biggest developments have been made in the way modern dancers use the upper part of the body, rather than in the usage of feet and legs. Body Actions are crucial as they allow not only for bigger and stronger lines to be produced, but also increase the togetherness of the couple and create an effect of lightness in the movement.

ÚVOD

Vývoj latinskoamerických a standardních tanců přinesl dramatickou změnu v oblasti dynamiky, množství pohybu a celkové vizuální podoby každého tance. K největšímu rozvoji došlo ve způsobu, jakým současní tanečníci používají vrchní část těla, oproti používání chodidel a nohou. Tělesné akce jsou stěžejní nejen v produkci větších a silnějších linií, ale také pro jednotnost páru a vytvoření efektu lehkosti pohybu.

6.1.1.1 GENERAL ACTIONS – SPINS AND TURNS IN LATIN

There are two main actions used by advances dancers to spin and turn in Latin American dances:

• Three Step Turn • Continuous Spins

Three Step Turn

This is a group of three steps where one complete turn is made. The direction of the first step can be forward or side and the leg can be bent or straight depending on the interpretation of the turn. The Foot Placement of the second step is closed to the other foot (e.g., RF closed to LF). The Foot Action will be Ball Flat, Ball, Ball Flat.

Continuous Spins

This is a sequence of half turns where the body weight is transferred from foot to foot maintaining feet, legs and pelvis aligned vertically.

During the entire action the knees will remain straight but not locked backwards and the body weight held on the balls of the feet except the last step which is usually danced Ball Flat.

In the first step, the foot making the step will point in the same direction as the movement. The shoulders will rotate in the opposite direction to create a wind-up for the spins. The head will spot the direction that the spins will take.

The sequence of half turns will start from the second step onwards. The feet will be held in “Sixth Position” of Modern Ballet (parallel) and the head will maintain focus in the direction of the spins, turning faster that the body in each spin (spotting). The arms may be shaped in different ways depending on the effect the dancer chooses to produce.

The last step of the Continuous Spins will be made using the “Before Foot Position” principle to allow the dancer to stop in a controlled manner.

* Wind Up

Frequently in dancing all three body actions happen simultaneously in different measures. An example of such action is Wind Up, which is an action in the body that combines all tree body action and allows for momentum of the body to be produced. It is frequently used when starting a movement from a static position.

OBECNÉ AKCE – OTÁČKY

Pokročilí tanečníci latinskoamerických tanců používají k otáčení dva hlavní způsoby.

• Trojkroková otáčka • Postupové otáčky

Trojkroková otáčka

Trojkroková otáčka je skupina tří kroků spojených v jedno úplné otočení. Směr prvního kroku může být vpřed či stranou a noha může být buď pokrčená nebo propnutá, záleží na interpretaci otáčky. Během druhého kroku je chodidlo uzavřeno k druhé noze (např. pravá noha se uzavře k levé noze). Akce chodidla jsou: celá plocha bříška chodidla, bříško chodidla, celá plocha bříška chodidla.

Postupové otáčky

U postupových otáček se jedná o posloupnost půlotáček, přičemž váha je přenášena z chodila na chodidlo. Chodidla, nohy a pánev jsou drženy ve svislé poloze.

Kolena zůstanou během celé akce propnutá, ale ne zamknutá vzad. Váha je držena na bříšcích chodidel, s výjimkou posledního kroku, který je obvykle dotančen na plochu chodidla.

Chodilo směřuje při prvním kroku stejným směrem jako je směr pohybu. Ramena rotují do opačného směru tak, aby vytvořila „Wind Up“. Hlava spotuje do směru provádění otáček.

Posloupnost půlotáček začíná od druhého kroku dále. Chodidla jsou držena v „šesté pozici“ moderního baletu (tj. paralelně) a pohled je držen ve směru otáček, přičemž hlava se během otáčky točí rychleji než tělo (tj. spotting). Ruce mohou zaujmout různé tvary, v závislosti na efektu, kterého se tanečník snaží dosáhnout.

Poslední krok postupových otáček je vytvořen pomocí „Before Foot Position“, což umožňuje tanečníkovi kontrolovaně zastavit pohyb.

* Wind Up

Při tanci se často dějí všechny tři tělesné akce současně. Příklad takové akce je Wind Up, což je tělesná akce, která je kombinací všech tří akcí k vytvoření hybnosti celého těla. Často se používá k rozpohybování těla ze statické pozice.

6.1.1.2 FOOT ACTION

The foot action describes which part of the foot is in contact with the floor (with or without weight) during the execution of the step, and how it is placed.

In the chart only the starting contact and the ending contact points of the foot are indicated. The intermediate points of contact are implicit.

There are nine codified foot contact points. The figures below indicate these positions together with the most common example of where these are used.

1) Heel (e.g., The beginning or the end of normal Rolling action of the Foot.) 2) Toe (e.g., Used at the highest point of Rise.) 3) Extreme Toe (e.g., The highest contact without weight mainly used for aesthetic lines.) 4) Whole Foot (e.g., When the entire foot is placed directly onto the floor.) Flat Foot (e.g., When the entire foot is placed on the floor during a Rolling action.) 5) Ball (e.g., Any stage of a Rolling action between Flat and Toe.) Note: The Foot Action Ball covers all degrees of flexion of the foot from when the heel is just off the floor until one degree less than “Toe”. 6) Inside Edge of Toe (e.g., When the Toe is placed on the floor with an internal lateral flexion of an ankle.) 7) Inside Edge of Foot (e.g., When the Foot is placed on the floor with and internal lateral flexion of the ankle.) 8) Outside Edge of Toe (e.g., When the Toe is placed on the floor with an external lateral flexion of the ankle.)

AKCE CHODIDLA

Akce chodidla popisují, která část chodidla je během provádění kroku v kontaktu s podlahou (s váhou nebo bez váhy) a jakým způsobem je chodidlo umístěno.

V následující tabulce jsou popsány pouze počáteční a konečné body chodidla. Kontaktní body, které se dějí mezi počátečním a konečným, nejsou přímo vyjádřeny.

Rozdělujeme devět kontaktních bodů chodidla. Figury níže tyto pozice popisují, společně s nejčastějšími příklady jejich užití.

1) Pata (např.: Na počátku nebo na konci rolování chodidla.) 2) Špička (např.: Nejvyšší používaný bod zdvihu.) 3) Palec (např.: Nejvyšší možný kontakt bez váhy, převážně používaný kvůli estetickému vzhledu linie.) 4) Celé chodilo (např.: Když je celé chodilo umístěno přímo na parket.) Plocha chodidla (např.: Když je celé chodilo umístěno na parket během jeho rolování.) 5) Bříško chodidla (např.: V kterékoliv fázi rolování chodidla mezi stupněm plochého chodidla a špičky.) Poznámka: Akce bříška chodidla obsahuje všechny stupně ohybu chodidla, a to od kontaktu paty s parketem až po dobu, kdy se chodidlo téměř dotkne parketu špičkou. 6) Vnitřní palcová hrana (např.: Když je špička umístěna na parket a kotník směřuje dovnitř.) 7) Vnitřní strana chodidla (např. Když je chodidlo umístěno na parket a kotník směřuje dovnitř.) 8) Vnější palcová hrana (např. Když je špička umístěna na parket a kotník směřuje ven.)

1) 5)

2) 6)

3) 7)

4) 8)

Abbreviations commonly used for Foot Zkratky užívané pro akce chodidla: Action: pa – pata H – Heel š – špička T – Toe b – bříško chodidla B – Ball vth – vnitřní hrana I/E – Inside Edge vnh – vnější hrana O/E – Outside Edge ch – chodidlo F – Foot, p – palec ET – Extreme Toe

6.1.1.3 MUSIC IN DANCESPORT

DanceSport is a discipline based on Sound-Movement combination and is therefore directly connected to music. A DanceSport adjudicator needs a general knowledge of musical elements in order to permit a correct evaluation of a couples' coordinative skills in relation to this element.

The explanation below is limited to specific technical analysis for the purposes of DanceSport in order to understand the essentials of music and its structure, and is not to be considered a complete musical definition (a dancer, a teacher, or judge does not need to be a musician).

The two major components used to construct a musical composition are Melody and Rhythm.

Melody (Melodic Line) is the tune of the composition, constructed through a series of rhythmically organised single notes (pitches or tones) and expressed horizontally (when written on a stave) as a single entity (or Poetic Line). Just as written or spoken language is divided into sentences and paragraphs, a melody is often made up of one or more musical phrases, which are repeated throughout a song or piece. These are usually composed of 8 bars.

A chorus is a series of four musical phrases and is usually composed of 32 bars. The melodic cadences, which are configurations of notes used to signal the end of a phrase or chorus, often called “movement” and “rest” help a well-trained teacher ear to recognise the phrasing of a composition. For a dancer, the end of a chorus should coincide precisely with the end of an amalgamation of figures.

Rhythm is a regulated succession of strong and weak pulsations of beats of equal duration. DanceSport is based mainly on the interpretation of these rhythmical accents. The accent (strength) of each beat may be “strong”, “medium” or “weak”. The basic rhythm of each dance is organised into bars (or Measures) of 2, 3, or 4 beats, using different types of percussive accents (Simple Time).

On a stave, the Time Signature is described in the form of a fraction where the “numerator” indicates the number of beats contained in one bar, and the “denominator” indicated the theoretical musical value of each beat.

HUDBA V TANEČNÍM SPORTU

Taneční sport je disciplína přímo propojená s hudbou, jelikož je založená na kombinaci zvuku a pohybu. Rozhodčí tanečního sportu potřebuje mít obecnou znalost hudebních prvků, aby zvládl, v závislosti na tomto prvku, správně zhodnotit schopnosti koordinace v páru.

Níže uvedené vysvětlení se týká specifických technických analýz pro potřeby tanečního sportu, aby došlo k zásadnímu porozumění hudby a její struktury, a nelze jej považovat za její ucelenou definici (tanečník, lektor nebo porotce nemusí být hudebník).

Dva hlavní komponenty, které jsou užívány k vytvoření hudební kompozice jsou melodie a rytmus.

Melodie (melodická linka) je taková kompozice, která je vytvořena prostřednictvím řady jednotlivých, rytmicky organizovaných not (výšky tónů nebo tónů) a je vyjádřena horizontálně jako jedna entita, příp. poetická linie (pokud je zapsaná v notové osnově). Stejně tak, jako je psaný nebo mluvený jazyk rozdělen do vět a odstavců, je melodie často vytvořena z jedné nebo více hudebních frází, které se během písně nebo skladby opakují. Ty jsou obvykle složeny z 8 taktů.

Refrén je řada čtyř hudebních frází a obvykle je složen ze 32 taktů. Melodické kadence, což jsou noty uspořádané tak, aby ohlásily konec fráze či refrénu, často nazývány „Movement“ („pohyb“) a „Rest“ („pauza“) pomáhají dobře vytrénovanému uchu lektora rozpoznat fráze dané skladby. Pro tanečníka by se konec refrénu měl přesně shodovat s koncem návaznosti tanečních figur.

Rytmus je regulovaná posloupnost silných a slabých úderů stejné délky. Taneční sport je založen hlavně na výkladu těchto rytmických přízvuků. Přízvuk (síla) každého úderu může být buď „silný“, „střední“ nebo „slabý“. Základní rytmus každého tance je uspořádaný do taktů po 2, 3 nebo 4 úderech, za použití různých úderných přízvuků (Simple Time).

Taktové předznamenání je v notové osnově zaznačeno ve formě zlomku, kde „čitatel“ označuje počet úderů obsažených v jednom taktu a „jmenovatel“ označuje teoretickou hudební hodnotu každého úderu.

The Time Signature of all Latin and Standard dances and their percussive accents in simple time are as follows:

Tempo is the speed of music and in is measured in Bars per Minute in DanceSport. The Tempos of the Standard and Latin American dances are indicated below:

In DanceSport the basic rhythm is varied through syncopations used to increase the speed of the action. When this occurs the counts “a” and “&” are used: a indicates a ¼ beat; & or and indicates a ½ beat.

In Dance we use the word syncopation to indicate a Beat that is split into parts. The syncopation is always associated with the preceding Whole Beat (value = 1), from which the value of the syncopation is subtracted (e.g., “1 a 2” = ¾ ¼ 1; “1 & 2” = ½ ½ 1).

Musical structure

A music composition normally includes a 4-bar introduction followed a chorus structure made up of four phrases. The melodic phrase will usually be similar in the first two phrases (A’ and A’’), change completely in the third phrase (B) and return to the original (A’) in the concluding phrase.

Taktové předznamenání všech latinskoamerických a standardních tanců a jejich perkusivních úderů je následující:

Tempo je rychlost hudby a v tanečním sportu se měří v barech za minutu. Tempo standardních a latinskoamerických tanců jsou uvedena níže:

Základní rytmus se v tanečním sportu rozlišuje pomocí synkopy, která se používá ke zvýšení rychlosti dané akce. Pokud k tomu dojde, používají se počty „a“ a „&“: a značí ¼ úderu; & značí ½ úderu („and“).

Slovo synkopa používáme v tanci k označení úderu, který je rozdělen na části. Synkopa je vždy spojena s přechozím celým úderem (hodnota = 1), od kterého je hodnota synkopy odečtena (např. „1 a 2“ = ¾ ¼ 1; „1 & 2“ = ½ ½ 1).

Struktura hudby

Hudební kompozice se klasicky skládá ze 4 taktového začátku, poté následuje refrén složený ze čtyř frází. Hudební fráze je povětšinou podobná v prvních dvou frázích (A’ a A’’), úplně se mění ve třetí frázi (B) a závěrečná fráze se opět vrací k původní (A’).

6.1.1.4 ALIGNMENT

LATIN:

This is the description of how the dancer is oriented over the specific direction (alignment). This technical detail is mostly a choreographic suggestion.

In the following diagram we indicate the possible directions in relation to one of the four lines of dance found on a dance floor.

In the Cha Cha Cha, Rumba and Jive, the main alignment used is Facing Wall as static dances tend to be danced using fronting, where the Man is generally oriented towards the audience, whereas Samba and Paso Doble, being progressive dances tend to follow the Line of Dance around the floor.

STANDARD:

This is the description of where the couple moves on the floor (direction) and how each dancer is oriented over the specific Direction (Alignment). This technical detail may be considered as a choreographic suggestion rather than a strict rule. In the following diagram we indicate the possible directions in one of the four lines of dance found on a dance floor.

ALIGNMENT DIAGRAM

Lines of dance Directions

Alignment

POSTAVENÍ

LATINSKOAMERICKÉ TANCE:

Toto je konkrétní popis toho, jak má být tanečník směrován. Teno technický detail je převážně návrhem pro choreografie.

V následujícím diagramu ukazujeme možné směrování na tanečním parketu, v návaznosti na jednu ze čtyř linií tance.

V tancích cha-cha, rumba a jive se převážně používá postavení čelem ke zdi, jelikož tance na místě jsou tančeny tak, že je partner celkově natočený směrem k divákům. Oproti tomu v postupových tancích jako jsou samba a paso doble se dodržuje pohyb po parketu v klasickém směru tance.

STANDARDNÍ TANCE:

Toto je konkrétní popis toho, jak se pár pohybuje po tanečním parketu a jak je každý z tanců orientován vzhledem k jeho konkrétnímu směrování. Tento technický detail je, spíše než striktním pravidlem, návrhem pro choreografie. V následujícím diagramu ukazujeme možné směry vzhledem k tanečnímu parketu, v návaznosti na jednu ze čtyř linií tance.

DIAGRAM POSTAVENÍ

Směrování v tanci Jednotlivé směry

Postavení

6.1.1.5 LEAD, HOLD

Lead in dancing is the method of communication between partners used to indicate a specific movement or shape. In Latin there are two different types of lead:

1. Connection lead 2. Visual lead

Lead through connection

Lead through connection is based on the principles of pressure. In dancing, specifically in Latin American, pressure is an action without a specific timing and is independent from the speed of execution and from the speed of the music. Pressure in the Connection Lead may be activated either through “Body Weight” (e.g., the body moving towards partner normally in the phase of hip-settle) or though “Muscular Tension” (i.e., increased muscle tension in the arms to create the lead).

There are three types of pressure, which change in relation to the lead’s direction.

A. Pressure IN: B. Pressure NEUTRAL: C. Pressure OUT: Man and Lady are overbalanced Only the pressure of the hand Man and Lady are overbalanced towards each other (Body hold is used between Man and away from each other (Body Pressure). Muscular tension can Lady which is nearly equal to 0. Pressure). Muscular Tension be used to emulate the same can be used to emulate the same force. force. In cases “A” and “C”, priority is given to Body Pressure; but Muscular Pressure can be used if Body Pressure is not possible.

The pressure definitions described above indicate the static condition of pressure and not the actual lead. In this perception phase, the perception of the partner is created and a basic or standard pressure is used. The amount of pressure used in the perception is very light. On a hypothetical scale, the amount of pressure used in this phase could be assigned a maximum value of 10. Any amount of pressure within this range given below can be considered to be part of this perception phase:

*These values have been arbitrarily assigned

VEDENÍ, DRŽENÍ

Vedení je v tanci metoda komunikace mezi partnery, používaná k naznačení konkrétního pohybu nebo tvaru. V latinskoamerických tancích rozlišujeme dva různé typy vedení.

1. Vedení pomocí kontaktu 2. Optické vedení (bez kontaktu)

Vedení pomocí kontaktu

Vedení pomocí kontaktu je založeno na principech tlaku. V tanci, převážně v latinskoamerických tancích, je tlak definován jako akce bez konkrétního načasování a nezávislá na rychlosti provedení a na rychlosti hudby. Aktivovat tlak ve vedení lze buď pomocí „váhy těla“ (např. ve fázi usazení pánve, kdy se tělo přirozeně posune vpřed směrem k partnerce) nebo pomocí „svalové tenze“ (tj. zvýšení tenze ve svalech paže, sloužící k vytvoření vedení).

Rozlišujeme tři typy tlaků, které se mění v závislosti na směru vedení:

A. Tlak DOVNITŘ: B. NEUTRÁLNÍ tlak C. Tlak VEN: Partner a partnerka jsou Mezi partnery je použit pouze Partner i partnerka jsou vyvážení oproti sobě vpřed (tlak tlak v držení rukou a skoro se vyváženi směrem od sebe (tlak celého těla). Svalová tenze rovná 0. těla). Svalová tenze může být může být použita k dotažení použita k dotažení této síly. této síly. V případech „A“ a „C“ je priorita dána tlaku těla, ale tlak svalů může být použit, pokud není možné tlak těla použít.

Definice tlaku, které jsou popsány výše, popisují tlak na místě, nikoliv skutečné vedení. V této percepční fázi vzniká vnímání partnera a je použit základní nebo klasický tlak. Míra tlaku, která se používá při vnímání, je velmi nízká. Míře tlaku může být na hypotetické stupnici přidělena hodnota 10. Jakákoliv míra tlaku, uvedena ve škále níže, může být považována za součást percepční fáze:

*Tyto hodnoty jsou zaznačeny nahodile

The basic condition described above is used when standing still or when the speed movement remains constant. In order for the Man to activate a “real” lead through connection (changing the speed of movement of the Lady) the pressure in the hold has to increase until the hypothetical value is more than 10 (IN or OUT). The priority for using Body Pressure over Muscle Pressure remains.

Arms can move at a much faster speed than the entire body. To obtain a well-balanced lead, the hand hold must be moved at the same speed as the partner’s entire body (which means quite slowly).

To increase the speed of the Lady’s body, it is necessary for the Man to increase the pressure for the connection. The Lady will translate this pressure in the arms into body speed.

It is important to remember that leading through pressure (Body or Muscular) is useful only for a short time; after this the pressure lead will return to a neutral condition.

A change in direction or a stopping action should be lead by creating a pressure with the value of 10 (see chart above) in the opposite direction to the movement being made.

Okolnost popsaná výše se používá při klidném stání nebo když zůstává rychlost pohybu konstantní. Pokud chce partner aktivovat „opravdové“ vedení pomocí kontaktu (změnění rychlosti pohybu partnerky), pak tlak v držení vzroste, dokud hypotetická hodnota nedosáhne více než 10 (DOVNITŘ či VEN). Stále je prioritou použít spíše tlak těla než tlak svalový.

Paže se mohou pohybovat mnohem rychleji než celé tělo. To obnáší důkladně vybalancované vedení, držení musí být přesunuto do stejné rychlosti jako celé tělo partnera/ky (což znamená poněkud pomalu).

Ke zvýšení rychlosti partnerčina těla je nutné, aby partner zvýšil tlak v kontaktu. Partnerka převede tento tlak v pažích do celého svého těla.

Je důležité si zapamatovat, že vedení pomocí tlaku (těla či svalového) je užitečné pouze pro krátký časový úsek; poté se toto vedení vrátí do neutrálu.

Akce změny směru či zastavení by měly být vedeny pomocí vytvoření tlaku v hodnotě 10 (viz tabulka výše) a to v opačném směru, než je daný pohyb vytvářen.

Hold

The Hold considers the contact points of the hand(s) between the Man and the Lady.

Types of Hold

It should be noted, particularly in reference to the Promenade Hold and Counter Promenade Hold that these differ greatly from the Positions with the same name (Promenade Position and Counter Promenade Position). The Hold is in reference to the contact points only, whereas the Position refers to the rotation of the centres. It is possible to obtain a Promenade Hold in a Close Opposing Position and vice versa, and in a Close Fallaway Position, a Promenade Hold is used.

Left Hand to Right Hand Hold

The Right Hand of the Lady is held in the Left Hand of the Man. The hold may vary depending on the anthropometric construction of the couple and the figure being danced, but generally:

• the index finger of the Man is positioned at the centre of the Lady’s palm; • the four fingers of both Man and Lady remain closed; • the thumb of the Man is positioned at the centre of the back of the Lady’s hand, pointing towards the Lady’s elbow; • the Lady’s fingers are closed around those of the Man; • the wrists of both Man and Lady are straight creating a line from the Man’s elbow to the Lady’s.

Right Hand to Right Hand Hold

The Right Hand of the Lady is held in the Right Hand of the Man. The hold may vary depending on the anthropometric construction of the couple and the figure being danced.

Right Hand to Left Hand Hold

The exact opposite of the Left Hand to Right Hand Hold. This hold is very seldom used.

Left Hand to Left Hand Hold

The exact opposite of the Right Hand to Right Hand Hold. This hold is very seldom used.

Držení

Za držení jsou považovány kontaktní body ruky (rukou) mezi partnerem a partnerkou.

Druhy držení

Mělo by být známo, obzvláště při zmínce o promenádním a protipromenádním držení, že právě tato držení se značně liší oproti pozicím se stejným názvem (promenádní pozice, protipromenádní pozice). Držení se vztahuje pouze ke kontaktním bodů, zatímco pozice se vztahují k rotaci centra. Je možné dosáhnout promenádního držení v uzavřené protichůdné pozici a opačně. Promenádní držení se používá v uzavřené spádné pozici.

Držení – levá ruka k pravé

Pravá ruka partnerky je držena levou rukou partnera. Toto držení se může lišit v závislosti na antropometrické konstrukci páru a tanečné figuře, ale obecně:

• Ukazováček partnera směřuje do středu partnerčiny dlaně; • čtyři prsty partnera i partnerky zůstávají uzavřené; • palec partnera je umístěn do středu partnerčina hřbetu ruky a směřuje k partnerčinu loktu; • partnerčiny prsty jsou přivřeny k partnerovým; • zápěstí partnerky i partnera jsou v rovině a vytváření linii od partnerova loktu k loktu partnerky.

Pravá k pravé

Pravá ruka partnerky je držena pravou rukou partnera. Toto držení se může lišit v závislosti na antropometrické konstrukci páru a tančené figuře.

Pravá k levé

Přesný opak držení levé za pravou. Toto držení se používá velmi zřídka.

Levá k levé

Přesný opak držení pravé za pravou. Toto držení se používá velmi zřídka.

Both Hand Hold

This is a combination of the Left Hand to Right Hand Hold and the Right Hand to Left Hand Hold.

Normal Hold

There are three fundamental points of contact described in this hold:

• The Right Hand of the Lady is held in the Left Hand of the Man. The hold may vary depending on the anthropometric construction of the couple and the figure being danced, but generally: - The elbows of both Man and Lady should be held at or below the level of the shoulders; - The hands should meet at the centre between the two bodies at elbow width; - The palms of the two hands are together; - The Lady’s fingers are closed over the V between the Man’s left thumb and index finger; - The Man’s fingers are closed over the back of the Lady’s hand; - The Man’s and Lady’s thumbs are together; • The Right Hand of the Man is cupped around the lower part of the Lady’s left shoulder blade; • The Lady’s left arm is in contact with the right arm of the Man from the elbow to the shoulder, and the Lady’s Left Hand is placed around the back of the Man’s shoulder.

Promenade Hold

The Promenade Hold is similar to the Normal Hold with the following differences, again depending on the figure being danced and the anthropometry of the couple:

• The Left Hand of the Man and the Right Hand of the Lady are held at the same height as the shoulder and elbow; • The hands should be held slightly wider than elbow width withou extending the elbows completely; • The hands undergo a rotation and the final position is described as follows: - The Lady’s hand is held between the thumb and middle finger of the Man, with the middle finger being the uppermost point of the hold; - The Lady’s thumb is crossed over the outside of the Man’s thumb and it the lowermost point of the hold; - The palms face outwards and are not in contact;

Držení za obě ruce

Toto je kombinace držení levé ruky k pravé a pravé ruky k levé.

Klasické držení

V tomto držení jsou popsány tři základní kontaktní body:

• Pravá ruka partnerky je držena levou rukou partnera. Toto držení se může lišit v závislosti na antropometrické konstrukci páru a tanečné figuře, ale obecně: - Lokty parntera i partnerky by měly být drženy ve stejné nebo nižší úrovni než je úroveň ramen; - Ruce by se měly potkat ve středu mezi tělem partnerky a partnera a na šířku, která je mezi lokty; - Dlaně obou rukou jsou spojeny; - Partnerčiny prsty jsou přivřeny ve „véčku“ mezu partnerovým levým palcem a ukazováčkem; - Parnterovy prsty jsou přivřeny zezadu partnerčiny ruky; - Palece partnera i partnerky jsou spojeny; • Pravá ruka partnera je přivřena na spodní části parnterčiny levé lopatky; • Partnerčina levá paže je v kontaktu v pravou paží partnera a to od lokte k rameni a parkterčina levá ruka je umístěna zezadu partnerova ramena.

Promenádní držení

Promenádní držení je podobné klasickému držení s následujícími rozdíly a opět v závislosti na tančené figuře a antropometrii páru:

• Levá ruka partnerka a pravá ruka parnterky jsou drženy ve stejné výšce jako je rameno a loket; • Ruce by měly být drženy na mírně větší šířku než je šířka loktu, ale bez úplného protažení loktů; • V rukách probíhá rotace a finální pozice je popsána níže: - Partnerčina ruka je držena mezi partnerovým palcem a prostředníčkem, prostředníček je nejvyšší bod držení; - Parnterčin palec je překřížen přes partnerův a je nejnižším bodem držení; - Dlaně jsou vytočeny směrem ven a nejsou v kontaktu;

- The Right Hand of the Man can slip towards the centre of the Lady’s back and the Left Hand of the Lady can slip towards the centre of the Man’s back accordingly to the Position of the bodies.

NOTE – When changing from Normal Hold to Promenade Hold, the Man’s Left Hand should move first vertically and the horizontally in a shape of letter “L”. Vice versa, when moving back into Close Hold, the hand is moved first horizontally and the vertically.

Counter Promenade Hold

The Counter Promenade Hold is similar to the Normal Hold with the following differences, again depending on the figure being danced and the anthropometry of the couple:

• The Left Hand of the Man and the Right Hand of the Lady are raised vertically above the head level; • The Right Hand of the Man and the Left Hand of the Lady slip to the upper arm of the partner according to the Position of the bodies.

Shadow Hold

Shadow Hold has many variants. These variants consist in the use of the following contact points, which can be combined:

• Man’s Left Hand to Lady’s Left Wrist - The fingers of the Man are positioned on top of the wrist and the thumb underneath; - The Lady’s arm is held nearly straight at shoulder level; • Man’s Left Hand to Lady’s Right Hand • Man’s Right Hand in contact with: - Lady’s Right Shoulder; - Lady’s Right Hip; - Lady’s Right Side (waist level); - Lady’s Left Hand across body (in this case the Man’s arm passes behind the Lady)

- Pravá ruka partnera se může pohybovat směrem ke středu parnteřčiných zad a levá ruka partnerky se může pohybovat směrem ke středu partnerových zad podle pozice, kterou pár zaujímá.

POZNÁMKA – Pokud se mění klasické držení v promenádní, pak se parnterova levá ruka začne posouvat nejprve vertikálně a pak horizontálně ve tvaru písmena „L“. Naopak, pokud se pár vrací zpět do uzavřeného držení, ruka se začne posouvat nejdříve horizontálně a pak vertikálně.

Protipromenádní držení

Protipromenádní držení je podobné klasickému držení s následujícími rozdíly, opět v závislosti na tančené figuře a antropometrii páru:

• Levá ruka partnera a pravá ruka partnerky jsou zvednuty vertiálně nad úroveň hlavy; • Pravá ruka partnera a levá ruka partnerky sjíždí k nadlotkí partnera/ky podle pozice, kterou pár zaujímá.

Stínové postavení

Stínové postavení má mnoho variant. Tyto varianty se skládají z následujících kontaktních bodů, které se mohou kombinovat:

• Partnerova levá ruka k partnerčinému levému zápěstí - Partnerovy prsty jsou umístěny zvrchu partnerčina zápěstí a palec zespodu; - Parnterčina paže je propnutá v rovině ramena; • Partnerova levá ruka k partnerčině pravé ruce • Partnerova pravá ruka v kontaktu s: - Partnerčiným pravým ramenem; - Pravou stranou partnerčiny pánve; - Partnerčinou pravou stranou (v úrovni pasu) - Partnerčinou levou rukou přes tělo (v případě, že partnerova paže prochází za partnerkou)

6.1.2 ANALYSIS OF SPECIFIC PRINCIPLE

CHA CHA CHA CHASSE TO RIGHT (RLR) – Side 1 Step Foot Foot Placement General Action Quantity of Turn Timing Action Action RF to side 1 Side Walk B Flat 4 Recover Body LF closed to RF Walk on Place Depending on the (knee compressed) 2 figure being B & Weight on LF the L knee danced straightens RF to side 3 Side Walk B Flat 1 Recover Body

CHA CHA CHA CHASSE TO RIGHT (RLR) – Side 2 Lead Step Alignment Couple Hip Hip M. Hold Translation Squeeze Rotation Action Direction Position Design Actions Shaping Active Half 8 1 then R R to R Depending Depending Depending Settle Depending of the of the on the Active of the Half 8 Maintain 2 figure figure figure then figure to L R then L being being being Settle being danced danced danced Active danced Half 8 Maintain 3 the R to R L then R Settle

CHA CHA CHA CHASSE TO LEFT (LRL) In this case the chart is as above just starting with the LF.

Note: Recover Body – K bends and F is recovered under the body

CHA-CHA CHASSE VPRAVO (PLP) – strana 1 Umístění Akce Krok Obecná akce Množství otáček Načasování chodidla chodidla Pn stranou 1 chůze stranou pl bř 4 pod tělem Ln přivřena k chůze na místě Pn (koleno stlačeno) závisí na tančené 2 bř & L koleno figuře váha na Ln propnuto Pn stranou 3 chůze stranou pl bř 1 pod tělem

CHA-CHA CHASSE VPRAVO (PLP) – strana 2 Vedení Postavení Pozice Akce Krok Držení Kyčle Translace Stisk Rotace Směrování páru kyčlí Tvarování Aktivní, Půl 8 1 pak P P do P usazení Závisí na Závisí na Závisí na Aktivní, Závisí na Půl 8 Udržuje P, 2 tančené tančené tančené pak tančené do L pak L figuře figuře figuře usazení figuře Aktivní, Půl 8 Udržuje L, 3 pak P do P pak P usazení

CHA-CHA CHASSE VLEVO (LPL) V tomto případě je tabulka stejná jako výše, pouze začíná s levou nohou.

Pozn.: Recover Body – koleno se krčí a chodidlo je umístěno pod tělem

6.1.3 ABBREVIATIONS alignment footwork timing (normally there are 3 or 4 beats in a bar of music) postavení práce chodidla rytmizace (obvykle 3 nebo 4 údery v taktu) ENGLISH CZECH & “and”, denotes half beat of music & „&“ („and“), definuje polovinu (1/2) úderu (1/2) a denotes quarter beat of music (1/4) a „a“, definuje čtvrtinu úderu (1/4) Against against line of dance Proti SMT proti směru tance LOD B ball of foot bř bříško chodidla BDC backing diagonal centre ZDOS zády do středu BDW backing diagonal wall ZKEZ zády ke zdi BF ball flat pl bř plocha bříška BLOD backing line of dance Proti SMT proti směru tance CBM contrary body movement PRB protipohyb CBMP contrary body movement position PRBP protipohybové postavení CPP counter promenade position Proti PP protipromenádní postavení DC diagonal to centre ŠDS šikmo do středu DC diagonal to centre against line of ZŠKZ zády šikmo ke zdi Against dance LOD DW diagonal to wall ŠKZ šikmo ke zdi DW diagonal to wall against line of ZŠDS zády šikmo do středu Against dance LOD F flat pl plocha FC facing centre DOS do středu (ke středu) (F)DC facing diagonal centre ŠDS šikmo do středu (F)DW facing diagonal wall ŠKZ šikmo ke zdi (F)LOD facing line of dance SMT směr tance (F)W facing wall/to wall KEZ ke zdi, ke stěně H heel pa pata IE inside edge of foot vth ch vnitřní hrana chodidla LF left foot Ln levá noha LSP left side position L levý, vlevo NFR no foot rise BEZ bez zdvihu (chodidla) OE outside edge of foot vnh ch vnitřní hrana chodidla OP outside partner MP mimo partnera (dámu nebo pána) PP promenade position PP promenádní postavení PR pressure tl tlak Q quick (1 beat) Q quick (rychle) RF right foot Pn pravá noha RSP right side position P pravý, vpravo S slow (2 beats) S slow (volně) T toe šp špička WF whole foot ch chodidlo

6.2 SYLLABUS OF DANCING FIGURES

Syllabus of dancing figures is brief and well-arranged list of dancing figures. Competitive dancing provides official syllabuses of figures. Other dances (mentioned in this thesis) are described unofficially. Lists of figures of dances English Waltz, Argentine Tango, Ballroom Tango, Brazilian Samba, Ballroom Samba and Polka are listed below.

Note: Important is to say that some of the equivalents are used to provide an example of possible transfer from the source language to the target language, but they are not used during dancing lesson when necessary.

6.2.1 ENGLISH WALTZ (EN)

English Waltz was developed in the beginning of 20th century in England and belongs to Standard dances. The list of figures is provided by WDSF. The source language is English.

Examples of figures danced in English Waltz:

ENGLISH WALTZ – LANGSAMER WALZER – ANGLICKÝ WALTZ ENGLISH GERMAN CZECH Backward Lock Kreuzschritt rückwärts křížení vzad Back Whisk Rückwärtiger Wischer zášvih vzad Basic Weave Grundflechte základní tkáň Bounce Fallaway and Rückfall Bounce mit houpavá spádná otáčka a Weave Ending Flechtenende tkáňové zakončení Chasse from PP Chasse aus der přeměna z PP Promenadenposition Closed Change on LF Geschlossene uzavřená změna Ln Wechselschritte, linker Fuß Closed Change on RF Geschlossene uzavřená změna Pn Wechselschritte, rechter Fuß Cross Hesitation from PP Kreuzzögerschritt výdrž napříč z PP Curved Feather Gekurvte Federschritt zahnutý pérový krok Double Reverse Turn Linksachsenkreiseldrehung dvojspina vlevo Drag Hesitation Schleppzögerschritt výdrž tažením Fallaway Natural Turn Rückfall-Rechtsdrehung spádná otáčka vpravo

Fallaway Reverse and Slip Rückfall-Linksdrehung mit spádná otáčka vlevo a Pivot Slip Achse vkluzná pivota Hesitation Change Zögerwechsel změna výdrží Hover Corte Schwebecorte vznosný překrut/korta Impetus Impetus náběhová otáčka Impetus to PP Impetus zur PP náběhová otáčka do PP Natural Turn Rechtsdrehung otáčka vpravo Natural Spin Turn Rechtskreiseldrehung spinová otáčka vpravo Natural Turning Lock Gedrehter Kreuzschritt nach točené křížení do P R Open Natural Turn Offene Rechtsdrehung otevřená otáčka vpravo Outside Change Außenseitlicher Wechsel změna mimo Outside Spin Außenseitlicher Kreisel spina mimo Outside Swivel Außenseitliche Kehre výkrut mimo Overturned Running Spin Umgestürzt Gelaufene přetočená běžená spinová Turn Rechtskreiseldrehung otáčka Progressive Chasse to L Fortlaufendes/Progressives postupová přeměna do L Chasse nach links Progressive Chasse to P Fortlaufendes/Progressives postupová přeměna do P Chasse nach rechts Quick Open Reverse Gelaufene Linksdrehung rychlá otevřená otáčka vlevo Reverse Pivot Linksachse pivot vlevo Reverse Turn Linksdrehung otáčka vlevo Reverse Turning Lock Linksdrehung Gedrehter točené křížení do L Kreuzschritt Running Cross Chasse Gelaufene Kreuzchasse běžená přeměna napříč Running Finish Gelaufene Ende běžené zakončení Running Spin Turn Gelaufene běžená spinová otáčka Rechtskreiseldrehung Running Weave from PP Gelaufene Flechte aus PP běžená tkáň z PP Telemark Telemark telemark Telemark to PP Telemark zur PP telemark do PP Turning Lock Gedrehter Kreuzschritt točené křížení do P

Weave from PP Flechte aus tkáň z PP Promenadenposition Whisk Wischer zášvih Wing Flugschritt uzavřené převedení Wing from PP Flugschritt aus der uzavřené převedení z PP Promenadenposition

6.2.1.1 ANALYSIS OF SYLLABUS

WORD ORDER

Changed word order (+ changed parts of speech):

ENGLISH CZECH adverb – noun noun – adverb Back Whisk zášvih vzad Backward Lock křížení vzad Outside Change změna mimo Outside Spin spina mimo noun – noun Hesitation Change změna výdrží adjective – noun noun - adverb Natural Turn otáčka vpravo Reverse Pivot pivota vlevo The same word order:

adjective – noun Closed Change uzavřená změna Basic Weave základní tkáň Running Finish běžené zakončení Hover Corte vznosný překrut/korta adjective – adjective – noun Running Spin Turn běžená spinová otáčka adjective – adjective – adjective – noun Overturned Running Spin Turn přetočená běžená spinová otáčka

WORD FORMATION

Borrowings:

Figure: Original: Borrowed: Chasse EN, DE Promenade French EN, DE, CS Pivot EN, CS Corte Spanish EN, DE, CS Telemark Norwegian EN, DE, CS Impetus Latin EN, DE Spin English CS

Compounds:

EN Fallaway DE Kreuzschritt, Grundflechte, Promenadenposition, Kreuzzögerschritt, Rechtskreiseldrehung, Linksdrehung, Flugschritt, Schwebecorte, Zögerwechsel… CS dvojspina

SUMMARY:

English Waltz is originated in England. Due to this fact is the dancing syllabus is written in English language. The number of borrowed words is similar in English, German and Czech language. Six words are borrowed by English, German and Czech language. There is one equivalent Spin, which is borrowed by Czech language, but not by German (Kreisel).

Compounds are numerous in German language. They are usually composed out of two (Grundschritt → Grund + Schritt) or three words (Rechtskreiseldrehung → rechts + Kreisel + Drehung). Czech and English language are not rich in compounds.

6.2.2 TANGO

Tango is dance originated along the natural border of Argentine and Uruguay. It is said to contain elements from the African community in Buenos Aires. For the reason that Buenos Aires is a Spanish speaking country, the lists of figures below contain names in Spanish language. As well as other dances, Tango divides into several styles. We may talk about Tango argentine, Tango nuevo, Tango vals, Milonga, Ballroom Tango and many others.

6.2.2.1 ARGENTINE TANGO (ES)

The origins of Argentine Tango are set into suburbs of Buenos Aires and Montevideo. There is the most visible influence of Spanish language and these figures are usually not translated, but remain in Spanish language and therefore they are only explained, if necessary. The dance teacher can use possible translation, but the official name of the figure or movement remains in Spanish language. If it is hard to find the equivalent, the description of the meaning of the figure or particular movement is discussed. Official translations (TL→ English, German, Czech) are not published.

Maps of Origins of Tango.

Buenos Aires, Argentine

Montevideo, Uruguay

Examples of figures in Argentine Tango and their possible equivalents or descriptions:

TANGO ARGENTINO – ARGENTINE TANGO – ARGENTINISCHER TANGO – ARGENTINSKÉ TANGO SPANISH ENGLISH GERMAN CZECH Abrazo Embrace Umarmung objetí Arroje Push Drücken tlak Barrida Dragging Fußschieber/Feger zametání Bicicleta Pedal Fahrrad partneři se navzájem dotýkají jednou nohou a vykonávají nad podlahou společný kruhový pohyb, který připomíná šlapání na kole Calesita Carousel Karussell kruhový pohyb, při kterém leader otáčí followera okolo sebe Caminata Walking Gehen chůze Colgadas Colgada (“hanging”) Anhängen/weglehnen točení kolem společného aufgehängt středu, zatímco sklon tanečníků je směrem ven Corte Bow Schnitt přerušení Corrida Run Laufen krátká sekvence kroků Cruce Cross Kreuzung kříž Elevacion Lifts Aufzug výtah Empujadita Small Push Kleiner Druck přesun/lehké odhození nohy partnerky (stále po zemi) nohou leadera za pomoci zastaveného/přerušeného tlaku Entrada Entrance Eingang vstup Espejo Mirror Spiegel zrcadlo

Friccion Pulling Ziehen vlečení partnerky po špičkách nohou Gancho Hook Haken hák Giro Turn Drehung otáčka Lápiz Lapiz (“pencil”) Bleistift otočka, noha bez váhy špičkou opisuje po podlaze oblouk/kruh Lustrada Polishing (“shoe Schuhputzer zdobný prvek partnerky – shine”) “leštění” boty o nohu partnera, též poděkování Media Luna Half Moon (a half turn) Halbmondförmige poloviční giro Schrittfolge Molinete Mill Drehung mlýnek Ocho Ocho (“eight”) Acht Ocho (“osmička”) Palanca Lever Hebel páka Patada Kick Tritt kopnutí Parada Stop Haltestelle zastavení Pasada Passage/Passing Durchquerung přecházení Paso Basico Basic Step Grundschritt základní krok Piernazo High Leg Wrap Hoher Beinwickel vysoké ovinutí nohy Pivote Pivot Zapfen pivota Planeo Gliding Flaches Kreisen pivot na jedné noze, (Gleitflug) druhá noha je natažená dozadu Pulpeada Octopus Krake ovíjení a proplétání nohou Sacada Sacada (“pulling/taking Sacada vytažení out”) („herausziehen“) Salto Jump Sprung vytěsnění partnerčiny nezatížené nohy umístěním nohy partnera na místo této volné nohy

Sanguchito/ Sandwich Sandwich sendvič Mordida Soltadas Release Lösen přerušení objetí při figurách, které provádí jeden z partnerů samostatně (např. při otočce) Volcada Volcada Kippen pohyb mimo osu, při kterém se partnerka naklání směrem dopředu a svou volnou nohou udělá přední či zadní kříž či jiné ozdobné prvky. V uzavřeném objetí oporu partnerce vytváří trup partnera, v otevřeném i paže Voleo Boleo (“throwing”) diverse Bein-Haken; voleo/boleo Voleo/Boleo pohyb chodidla volné nohy po oblouku v okamžiku, kdy má tanečník kolena u sebe. Zarandeo Swing Schwingen otáčení boků, pivot na místě

6.2.2.2 BALLROOM TANGO (EN)

Ballroom Tango does not borrow any of the figures from Argentine Tango in the sense of naming. The dance is danced onto the same or similar rhythm, the music is similar by character, but the visual side of the dance is completely different.

Ballroom Tango is based on its Argentinian roots, but in comparison to Argentine Tango, Ballroom tango was and is mainly used for competitive purposes in Europe and America. As a result, the figures of Ballroom Tango are translated into the target language.

Examples of figures and variations of Ballroom Tango:

BALLROOM TANGO ENGLISH GERMAN CZECH Back Corte Rückwärtiges Corte korta vzad/překrut vzad Back Open Promenade Gegenpromenade promenáda otevřená vzad Backward Lock Step Kreuzschritt rückwärts křížení vzad Back Whisk Rückwärtiger Wischer zášvih vzad Basic Reverse Turn Linksdrehung základní otáčka vlevo Brush Tap Gebürsteter Tapp/ Bürstenschritt přítahový příklep Chase Jagd/Chase obchvat Closed Promenade Geschlossene Promenade uzavřená promenáda Fallaway Four Step Rückfall Viererschritt spádný čtyřkrok Fallaway Promenade Rückfallpromenade spádná promenáda Fallaway Reverse and Rückfall- Linksdrehung und spádná vlevo a vkluzná Slip Pivot Slipachse pivota Five Step Fünferschritt pětikrok Four Step Viererschritt čtyřkrok Four Step Change Viererschritt mit změna čtyřkrokem Gewichtswechsel Hesitation Change Zögerwechsel změna výdrží Hover Corte Schwebecorté vznosná korta/překrut Impetus Turn Geschlossener Impetus náběhová otáčka Left Foot Rock Wiegeschritt mit linkem Fuß kolébka (vzad) na Ln Natural Rock Turn Wiegeschrittdrehung kolébková otáčka vpravo

Natural Twist Turn Twistdrehung nach rechts twistová otáčka vpravo Open Natural Turn Offene Rechtsdrehung otevřená otáčka vpravo Open Promenade Offene Promenade otevřená promenáda Open Reverse Turn, Offene Linksdrehung, Dame in otevřená otáčka vlevo, dáma Lady in Line Linie vyrovnaně Open Reverse Turn, Offene Linksdrehung, Dame otevřená otáčka vlevo, dáma Lady Outside außenseitlich mimo Outside Swivel Außenseitliche Kehre výkrut mimo Progressive Link Progressiver postupová spojka Link/Fortschreitende Kette Progressive Side Step Progressiver/Fortschreitende postupový úkrok Seitschritt Progressive Side Step Progressiver/Fortschreitender otáčka vlevo postupovým Reverse Turn Seitschritt und Linksdrehung úkrokem Promenade Link Promenadenlink promenádní spojka Reverse Pivot Linksachse pivota vlevo Reverse Turn Linksdrehung otáčka vlevo Rock on Left Foot Wiegeschritt mit linkem Fuß kolébka na Pn Rock on Right Foot Wiegeschritt mit rechtem Fuß kolébka na Ln Swivel Ballendrehung výkrut Whisk Wischer zášvih

SUMMARY:

Dancing lessons of Argentine Tango consist of many borrowings from Spanish. Names of figures are usually described in the target language, but the name remains in Spanish. On the other hand, Ballroom Tango is officially described dance and therefore consists of officially published syllabus of figures. Ballroom Tango consist of similar number of borrowings as English Waltz.

6.2.2.3 ANALYSIS OF NAME OF FIGURE

The figure taken from Ballroom Tango in comparison to English, German and Czech language:

PoS = part of speech

SL → ENGLISH Fallaway Reverse and Slip Pivot Word Fallaway Reverse and Slip Pivot PoS adjective adjective conjunction adjective noun Note compound - - - - Meaning - “moving to left” - “slide” “turn” TL1 → GERMAN Rückfall- Linksdrehung und Slipachse Word Rückfall- Linksdrehung und Slipachse PoS adjective noun conjunction noun Note compound compound - compound Meaning “relapse”, “to the left + turn” - “slip + axis” “fall + back” TL2→ CZECH spádná vlevo a vkluzná pivota Word spádná vlevo A vkluzná pivota PoS adjective adverb conjunction adjective noun Note - - - - - Meaning “descending” “to the left” - “slide + in” “turn”

Summary of differences:

CATEGORY EN DE CS Words: 5 4 5 Compounds: 1 3 0 Parts of speech: Adj,Adj,Adj, N Adj, N, C, N Adj,Adv,C,Adj,N

6.2.3 SAMBA

The origin of Samba is set in Bahia, Brazil. As another dances, Samba is distinguished by many styles, e.g., Samba de Gafieria, Samba no pé, Samba Pagode, Samba Axé, Samba Carnaval, Samba Funkeado and many others. Besides Brazilian Samba, Ballroom Samba exists and differs from the other styles significantly.

Maps of Origins of Samba.

Bahia, Brazil

6.2.3.1 SAMBA DE GAFIEIRA/SAMBA NO PÉ (PT) Note: Czech equivalents are suggested equivalents in case that the explanation of the name is necessary. All the figures are mainly borrowed from Portuguese into Czech language.

Examples of figures danced in Brazilian Samba:

SAMBA DE GAFIEIRA/SAMBA NO PÉ PORTUGUESE ENGLISH GERMAN CZECH Assalto Attack Angriff přepadení Balanço Swing Swing pohup Balão Apagado Falling Balloon Fallender Ballon padající balón Bicicleta Bicycle Fahrrad bicykl Caminhada Promenade (Walk) Promenade promenáda/procházka Cruzado Crossed Kreuzung křížení Enceradeira Floor Polisher Polierer leštička

Escovinha Brush Bürste kartáč Esse letter "S" Buchstabe „S“ „esko“ Facão Jackknife Klappmesser mačeta Gancho Hook Haken hák Gancho Round Hook Runder Haken oblý hák Redondo Giro da Dama Lady’s Spin Damendrehung otáčka partnerky

Mestre Sala1 Mestre Sala Mestre Sala Mestre Sala Passo básico Basic Step Grundschritt základní krok Pião Spinning Top Kreisel pião („káča“) Picadinho2 Twists Twisten twisty Pica-pau Woodpecker Specht datel Puladinho Little Jump Kleiner Sprung poskok Romário3 Romário Romário Romário Saída Lateral Lateral Exit Seitenausgang boční východ /Saída ao lado Tesoura Scissors Schere nůžky Tirada ao lado Lateral Takeaway Seitliches odhození do strany Mitnehmen Tirada de Perna Leg Takeaway Bein Mitnehmen odhození nohy Trança Plait Zopf cop

Further explanation of figures: Mestre Sala, Picadinho, Romário

Mestre Sala1 means literally “Master of Ceremonies”; here it is a reference to a dancer with a special function during the Brazilian carnival. Picadinho2 means literally “Stew”; “dünsten” in German and “dusit” in Czech language. The figure is danced as twists so translation is as above. Figure Romário3 is named after the world-famous soccer player.

6.2.3.2 BALLROOM SAMBA (EN)

Examples of figures danced in Ballroom Samba:

BALLROOM SAMBA ENGLISH GERMAN CZECH Argentine Crosses Argentinische Kreuze argentinská křížení Backward Rock Rückwärtiger kolébka vzad Wiegeschritt Carioca1 Runs Carioca Läufe karioka běhy Circular Volta Turning to Left Kreisende Volta nach kruhové volty točené do L links Circular Volta Turning to Right Kreisende Volta nach kruhové volty točené do P rechts Cruzados2 Locks Cruzados Kreuzschritt cruzado křížení Cruzados2 Walks Cruzados Gehschritte cruzado chůze Close Rocks Geschlossener uzavřené kolébky Wiegeschritt Corta Jaca3 Corta Jaca korta jaca Criss Cross Botafogo4 Kreuzbotafogo botafoga křížem krážem Criss Cross Volta to Left Kreuzvolta nach links volta křížem krážem do L Criss Cross Volta to Right Kreuzvolta nach rechts volta křížem krážem do P Double Spiral Turn for Lady Doppelte Spiraldrehung dvojitá spirálová otáčka (Three Step Turn) (Drei-Schritt-Drehung) (trojkroková otočka) Drag Ziehen tažení Maypole Lady Turning to Left Maibaum – májka – dáma točí do L Damedrehung nach links Maypole Lady Turning to Right Maibaum – májka – dáma točí do P Damedrehung nach rechts Methods of Changing Feet Fußwechsel metody změny chodidla Natural Basic Movement Grundschritt nach recht základní pohyb vpravo gedreht Natural Roll Rechtsrolle valení vpravo

Open Rocks Offene Wiegeschritte otevřené kolébky Outside Basic Außenseitlicher základní pohyb mimo Grundschritt Plait Zopf pletenec Progressive Basic Movement Ortschreitender postupový základní krok Grundschritt Promenade Samba Walks Promenaden Samba promenádní sambová chůze Gehschritt Promenade to Counter Promenaden Botafogos promenádní botafoga Promenade Botafogos Promenade to Counter Promenadenläufe zu den běhy z promenády do Promenade Runs Gegenpromenadenläufe obrácené promenády Reverse Basic Movement Grundschritt nach links základní pohyb vlevo gedreht Reverse Roll Rollen nach links valení vlevo Reverse Turn Linksdrehung otáčka vlevo Samba Locks Lady on Left Side Samba Kreuzschritte – sambová křížení – F na L Dame nach links straně Samba Locks Lady on Right Side Samba Kreuzschritte – sambová křížení – F na P Dame nach rechts straně Samba Whisk to Left Samba Wischer nach sambové zášvihy do L links Samba Whisk to Right Samba Wischer nach sambové zášvihy do P rechts Side Basic Movement to Left Seitwärts Grundschritt základní pohyb stranou do L nach links Side Basic Movement to Right Seitwärts Grundschritt Základní pohyb stranou do P nach rechts Side Samba Chasse Seit Samba Chasse stranové sambové přeměny Side Samba Walks Seit Samba Gehschritt sambový krok stranou Stationary Samba Walks Stationäre Samba sambové zášvihy na místě Gehschritte

Travelling Botafogo4 Backward Fortlaufende Botafogo postupové botafogo vzad do to PP Rückwärts PP Travelling Botafogo4 Forward Fortlaufende Botafogo postupové botafogo vpřed Vorwärts Travelling Voltas to Left Reisevoltas/Fortlaufende postupové volty do L Voltas nach links Travelling Voltas to Right Reisevoltas/Fortlaufende postupové volty do P Voltas nach rechts Underarm Turning to Left Achsendrehung nach podtáčka pod rukou do L links Underarm Turning to Right Achsendrehung nach podtáčka pod rukou do P rechts

6.2.3.3 ANALYSIS OF BORROWINGS

WORD FORMATION

Borrowings:

Figure: Original: Borrowed: Botafogo Carioca Portuguese EN, DE, CS Corta Jaca Cruzado

Ballroom Samba does not borrow a great number of loanwords from Portuguese in comparison to Samba de Gafieira or Samba no Pé. Ballroom Samba is described by WDSF as well as another Latin dances (Cha Cha Cha, Rumba, Paso Doble, Jive). Borrowings taken from Portuguese, which are listed above, remain in the official description and translation.

Carioca1 is a term used for a native person from the city of Rio de Janeiro. Rio Carioca is river, which flows through Rio de Janeiro. People that settled down around this river borrowed the name for themselves. The word Carioca is likely to be created from “kara'iwa + oka” that means homem branco + casa and may be translated as a house of white men (probably created by a tribe of natives called “tupi-quarani”).

Cruzado2 is former standard monetary unit of Brazil, which is replaced by ‛Cruzeiro’ and later by another, current currency ‛Real’. Transferred meaning of cruzado means crossed, which is the meaning of the name of the figure.

Corta Jaca3 literally means ‛cut the jack’ or ‛jackfruit’, which a kind of fruit (see attachment). The equivalents of the name of the specific fruit are žakie in Czech language and Jackfrucht in German language.

Botafogo4 stands for a beachfront neighbourhood in Rio de Janeiro, Brazil (originally can mean something like “put fire”).

NOTE: The name Samba is a name of Portuguese origin as well.

SUMMARY:

We can see the influence of Portuguese language in several figures of Ballroom Samba. It has its own description of technique and its own list of figures (for the purpose of competitive dancing). Figures of Brazilian Samba remain in Portuguese language. It is very common that dancers of Brazilian Samba are, likewise, educated in Portuguese language.

6.2.4 POLKA (CS)

Polka is originally Czech dance. It is danced to folk music. The list of figures was published in 2017 by ČSTS/CDSF (stands for Český svaz tanečního sportu/Czech Dance Sport Federation). Competitive Polka is danced by children at Czech dance competitions. Translated figures below are suggestions of possible equivalents.

POLKA CZECH ENGLISH GERMAN dvojpolka Double Polka Doppelpolka dvojpolka s výměnou míst, Double Polka with Change Doppelpolka mit Platzwechsel, s točeným převedením of Places, Wing gedreht Übertragung kolečko Circle Kreis kvapík Hasty Galopp kvapíková polka Hasty Polka Hastig Polka

náskok a rozběh Jump on and Go Sprung und Lauf obkročák Astride Rittlings obkročák rychlý Fast Astride Schnell und Rittlings otáčka vlevo Reverse Turn Linksdrehung otáčka vpravo Natural Turn Rechtsdrehung otáčka vpravo ve stínové Natural Turn in Shadow Rechtsdrehung in pozici Position Schattenposition podtáčka tanečnice Lady Underarm Turn Drehung Damen unter der Schulter podtáčka tanečnice Quick Underarm Turn Lady Schneller Damendrehung unter zrychlená der Schulter přeměny stranou Side Chasse Seitchasse přeměny v promenádě Chasse in PP Promenaden Chasse přešvih Flick Schnipsen rej Swarm Reigen rejdovačka Romp Tummeln

SUMMARY:

Dance Polka, as well as dances Argentine Tango and Brazilian Samba uses the names of the figures or movements in their source language. If further explanation is necessary, the figures or movements may be described as advised in translation.

7. INTERPRETATION

Interpretation of dancing lessons is usually hold face to face. Dancing lessons are mostly interpreted consecutively (i.e., the interpreter converts the message into the target language after the speaker expresses a part of the whole speech, it usually contains of several sentences). The interpreter must firstly listen actively, afterwards analyses the message and then reproduces the message. Dancing lessons are strongly connected to non-verbal communication, e.g., the usage of paralinguistic features (connected with didactics of dance), mimics, eye contact, haptics, kinesics and gesticulation, posturology or proxemics. This must be taken in consideration during interpretation.

7.1 DANCING LESSON

The following example is interpretation of non-native English teacher into Czech language. The teacher is from Brazil and so her mother tongue is Portuguese. To be able to provide correct translation, the example of adjusted English lesson is shown below.

THE TRANSCRIPTION OF THE LESSON – ORIGINAL (SL → EN) non-native English teacher CONCECUTIVE INTEPRETATION (TL → CS), INTERPRETED

“BRAZILIAN ZOUK LADIES STYLING CLASS”

ORIGINAL INTERPRETATION “Lunge Turn and Return variation number one. So, we’re gonna open Lunge to the right „Otáčka do výpadu a zpět, variace číslo side.” jedna. Takže, budeme otevírat výpad doprava.“ “My arms I’m gonna bring…left up straight and right the same level of your shoulder. Now I’m gonna do half turn stepping together and bring arms together holding one wrist.” „Propnutou levou ruku zvedneme nahoru a pravou necháme ve stejné rovině jako je rameno. Uděláme půlotáčku, chodidla přisuneme k sobě a obě ruce dáme nahoru, přičemž jedna ruka drží za zápěstí druhou.“

“When I open to the left side, I’m gonna open left arm to the side.” „Když se otevíráme doleva, otevíráme doleva i levou ruku.“ “And we go...step, make sure you pivot and open to the right side to the side into lunge. Your left leg straight and your right leg bent. These arms need to be straight with your fingers alive.” „Uděláme krok. Ujistěte se, že se otáčíte a otevíráte doleva do výpadu. Vaše levá noha je propnutá a pravá pokrčená. Vaše ruce musí být propnuté a vaše prsty aktivní.“ “So, we do…hold your wrist…step, lunge…on the strong beat I transfer my weight to the right, so we do…one-ta-ta, two- ta-ta, three-ta-ta…” „Držíme se za zápěstí, uděláme krok a výpad. Na silný úder přenášíme svou váhu doprava a jdeme na raz-ta-ta, dva-ta-ta, tři-ta-ta.“ “Now, when I’m gonna bring my feet together, I’m gonna do a little movement with my body.” „Když přesunujeme chodila k sobě, uděláme tělem malý pohyb.“ “It’s starting to the right side.” „Začínáme vpravo.“

“We do right, left, and open and then we go back…right, left and open.” „Jdeme doprava, doleva a do otevření a pak zase zpátky...doprava, doleva a do otevření.“

“So, this movement…my hips are gonna follow my arms. So, my arms, my hips to the left, I roll back to the right, back to the left, back to the right.” „V tomto pohybu mé kyčle následují pohyb mých paží. Paže jdou první, pak kyčle doleva, rolujeme zpátky doprava, zpátky doleva a zpátky doprava.“ “So, we can use this when we turn. Ta-ta-one, roll, open, transfer, roll, open, transfer, roll, open, transfer into basic step, step, forward.” „Tento pohyb můžeme použít, když se točíme. Jdeme na ta-ta-raz, rolujeme, otevřeme, přeneseme váhu a znovu rolujeme, otevřeme, přeneseme váhu a znovu a do základního kroku, krok a vpřed.“ “Now, our second variation for lunge, we’re not gonna open lunge, we’re gonna do pivot.” „V naší druhé variaci výpadu se nebudeme otevírat do výpadu, ale točit.“ “So, we start stepping foot on the right leg. We go step, step on the left, pivot. Now, here we’re gonna use the same arm and body movement.” „Začneme krokem na pravou nohu. Uděláme krok, krok a otáčku. Použijeme ten samý pohyb paží a těla.“ “So, we do step, step, pivot. So, now we’re not gonna open lunge anymore. Make sure your knees together and bend your knee a little bit, just relax.” „Krok, krok, otáčka. Už výpad více neotevíráme. Ujistěte se, že jsou vaše kolena spojená a trochu je pokrčte, uvolněte.“

“We go one-ta-ta, two-ta-ta, three-ta-ta. All the time when you step forward, make sure you step with your leg straight and using your hips. And then we do around, twist, your weight is forward on your left leg.” „Jdeme raz-ta-ta, dva-ta-ta, tři-ta-ta. Po celou dobu, kdy děláme krok vpřed, se ujistěte, že je vaše levá noha propnutá a že používáte kyčle. A poté jdeme dokola, uděláme twist, jsme s váhou vepředu na levé noze.“ “Again…hips, around, twist, transfer your weight forward, don’t forget your arms. Make sure you don’t bend. Keeping it straight. One-ta-ta, two-ta-ta, three-ta-ta, basic.” „A znova kyčle, dokola, twist, přenesení váhy dopředu, nezapomínejte na ruce. Ujistěte se, že nejsou pokrčené, nechte je propnuté. Raz-ta-ta, dva-ta-ta, tři-ta-ta, základ.“

7.2 ANALYSIS OF DANCING LESSON

ADJUSTED VERSION

As the dance teacher is not originally from an English-speaking country, the adjusted version of her lesson is provided below. The biggest differences between the transcription and the adjusted version are in:

- Usage of articles. - Usage of tenses – mainly present continuous. - Small changes in vocabulary. Changes of words from informal to formal. - Usage of imperative mood. - Usage of discourse markers. - Corrected word order.

“Lunge Turn and Return variation number one. We are going to open Lunge to the right side. I am going to bring my left arm up and straight and the right arm is taking the same position as my shoulder. I am doing a half turn and I am stepping together and bringing my arms together. I am holding the wrist. When I am opening myself to the left side, I open the left arm as well. Let’s do it…step, make sure that you are turning and opening to the right side into the Lunge position. Your left leg is straight and you right leg is bent. Your arms need to be straight and you should keep your fingers alive. Here we go…hold your wrist…step, Lunge…I am transferring my weight to the right on the strong beat, so we are going…one-ta- ta, two-ta-ta, three-ta-ta…Now, as I am going to bring my feet one to another, I am going to do a little movement (circle) with my body. Let’s start the movement to the right side. We are going to the right side, to the left and open and then we are going go back…right, left, and open. My hips are following my arms in this movement. Be focused on your arms, then your hips…I am going to the left and then I am rolling back to the right, back to the left, back to the right. We can use this movement when we are turning. Ta-ta-one, roll, open, transfer, roll, open, transfer, roll, open, transfer into basic step, step and go forward.”

“Our second variation of Lunge is not Open Lunge, but Lunge with turn. We begin with the step on the right foot. We are making the step and then stepping on the left leg and doing the turn. I am going to use the same arm and the same body movement. We are doing…the step, step, turn. We are not going to open the Lunge anymore. Make sure that your knees are together and a little bit bent (just a bit relaxed). Here we go…one-ta-ta, two-ta-ta, three-ta-ta. Every time when you make the step forward, make sure that you are stepping on the straight leg and that you are using the hips. Here we go…around, twist, your weight is forward on your left leg. And again…hips, around, twist, transfer of your weight forward and do not forget about your arms. Make sure that you are not bending your arms, keep them straight. One-ta-ta, two-ta-ta, three- ta-ta, basic step.”

CONCLUSION

The main target of this diploma thesis was to ascertain how many or how often dancing terms remain in the original language. I presupposed that a significant number of terms are borrowed from the original language to the target language. The officially described dances (mainly for the purpose of competitive dancing) use translated descriptions, movements and lists of figures. The social dances use the terminology in the language of its origin. It is possible to translate these terms if necessary. The translator uses description of the meaning of the name or explains the culture background of the original term. The culture background is essential part of translation or interpretation. Dancers attending a dancing lesson learn the name how it is used and therefore the oral transmission help the extension of the usage of these terms (either in the original or the target language). The hypothesis was fulfilled.

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ATTACHMENTS

1. the picture of a woodpecker, page 12 S.r.o., (c) 2020 VIZUS.CZ. “Datel černý – Pták Roku 2017.” Ochrana Přírody. Web. 07 Dec. 2020. 2. the picture of the figure Pica-pau, page 12 available on youtube, “Samba de Gafieira – Pica-pau e Variação” 3. the picture of Latissimus Dorsi, page 25 “Muscle Madness: Latissimus Dorsi.” Peak Performance Fitness. 17 Apr. 2017. Web. 07 Dec. 2020. 4. Jackfruit “What Does Jack Fruit Taste Like & How to Eat Jackfruit.” What Does Jack Fruit Taste Like & How To Eat Jackfruit. Web. 07 Dec. 2020.