Ballet Dance Moves Terms
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Class Descriptions
The Academy of Dance Arts 1524 Centre Circle Downers Grove, Illinois 60515 (630) 495-4940 Email: [email protected] Web Site: www.theacademyofdanceartshome.com DESCRIPTION OF CLASSES All Class Days and Times can be found on the Academy Class Schedule ______________________________________________________________________________________________________________________________________________________________________________________________________________________________ BALLET PROGRAM AND TECHNIQUE CLASSES Ballet is the oldest formal and structured form of dance given the reverence of being the foundation of ALL The Dance Arts. Dancers build proper technical skills, core strength and aplomb, correct posture and usage of arms, head and foremost understand the basics in technique. Students studying Ballet progress in technique for body alignment, pirouettes, jumps, co-ordination skills, and core strength. Weekly classes are held at each level with recommendations for proper advancement and development of skills for each level. Pre-Ballet Beginning at age 5 to 6 years. Students begin the rudiments of basic Ballet Barre work. Focus is on the positions of the feet, basic Port de bras (carriage of the arms), body alignment, and simple basic steps to develop coordination skills and musicality. All this is accomplished in a fun and nurturing environment. Level A Beginning at age 6 to 8 years. Slowly the demanding and regimented nature of true classical Ballet is introduced at this level with ballet barre exercises and age/skill level appropriate center work per Academy Syllabus. When Students are ready to advance to the next level, another Level-A Ballet or B-Ballet class will be recommended per instructor. Level B Two weekly classes are required as the technical skills increase and further steps at the Barre and Center Work and introduced. -
The Biomechanics of the Tendu in Closing to the Traditional Position, Pli#233
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2013 The iomechB anics of the Tendu in Closing to the Traditional Position, Pli#233; and Relev#233; Nyssa Catherine Masters University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Engineering Commons Scholar Commons Citation Masters, Nyssa Catherine, "The iomeB chanics of the Tendu in Closing to the Traditional Position, Pli#233; and Relev#233;" (2013). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/4825 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. The Biomechanics of the Tendu in Closing to the Traditional Position, Plié and Relevé by Nyssa Catherine Masters A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in Mechanical Engineering Department of Mechanical Engineering College of Engineering University of South Florida Major Professor: Rajiv Dubey, Ph.D. Stephanie Carey, Ph.D. Merry Lynn Morris, M.F.A. Date of Approval: November 7, 2013 Keywords: Dance, Motion Analysis, Knee Abduction, Knee Adduction, Knee Rotation Copyright © 2013, Nyssa Catherine Masters DEDICATION This is dedicated to my parents, Michael and Margaret, who have supported me and encouraged -
Dance Program Handbook 2020-2021
Bethel College Academy of Performing Arts Dance Program Handbook 2020-2021 DANCE HANDBOOK CONTENTS GUIDE Contact Information 1 General Policies 2 Dance Department Expectations 4 Dress Code 5 Class Requirements 7 Ballet 6 Pointe 10 Jazz 11 Tap 12 Modern 13 Irish 13 Hip Hop 14 Adult Classes 14 Company Requirements 14 IMPORTANT CONTACTS Bethel College Academy of Performing Arts (316) 283-4902 EMAIL: [email protected] 300 E 27th Street, North Newton KS 67117 WEBSITE: www.bcapaks.org Lisa Riffel, Operations Manager (316) 283-4902 [email protected] Haylie Berning, Director of Dance (316) 619-7580 [email protected] Molly Flavin, Instructor (316) 283-4902 [email protected] Emily Blane, Instructor (316) 283-4902 [email protected] Resa Marie Davenport, Instructor (316) 283-4902 [email protected] Aviance Battles, Instructor (316) 283-4902 [email protected] Cathy Anderson, Instructor (316) 283-4902 [email protected] 1 GENERAL INFORMATION AND POLICIES Please read the current registration packet for a complete list of BCAPA’s policies and safety precautions. Keep in mind that some of the below policies may be affected by COVID policies put in place by BCAPA and Bethel College. 1. Communication Methods and Response Time. The best way to contact BCAPA’s dance director is by phone message at (316) 283-4902 or by email at [email protected]. Current students can find important information on upcoming events, workshops, and other announcements at our website, www.bcapaks.org or our Facebook page. 2. *Drop-Off Expectations. In the interest of safety, students must be accompanied to and from their classes by an adult. -
Dance Department Information Guide
2017-2018 Celebrating 35 Years of Dance Education Dance Department Information Guide Dr. Sandra Reed, Principal Marlena Duncan, Dance Department Chair Lisa Brown, Dance Faculty Carleigh Dunbar, Dance Faculty Power Academic and Performing Arts Complex 1120 Riverside Drive ** Jackson, MS 39202 Main Office: (601) 960-5387 Fax: (601) 968-5157 Website: http://www.jackson.k12.ms.us/power 1 Table of Contents Table of Contents/Important Contact Information 2 National Standards Vision/ School Mission, Vision, & Motto/ 3 Dance Dept. Mission, Vision, & Motto 4 About Power APAC School/Arts Program 5 Where are They Now? 6 Welcome Back Letter 7 Calendar of Events 8 Dress Code (Explanation of Dress Grade) 9 Explanation of Daily Participation Grade 10 Syllabus (Dance Fee)/Policy & Procedure/Portfolio Requirements 11-14 Levels of Dance 15-16 Dance Contract(s) 17-18 Theatre Etiquette 19 JPS ANTI-BULLYING POLICY 20-21 A Cubed Membership/Information 22-23 General Parental Permission Form 24 Emergency Contact Information 25 Adopters 26 DANCE FACULTY EMAIL ADDRESSES Marlena Duncan, Dance Chair [email protected] Lisa Brown, Dance Faculty [email protected] Carleigh Dunbar, Dance Faculty TBD Please check the website: http://www.jackson.k12.ms.us/power for a directory of all faculty, administration, and staff for updated news, school calendars, tutoring and testing schedules, etc. School number (601) 960-5387 The following information is subject to change due to APAC Arts Departmental requirements and will adhere to all JPS policies and procedures outlined in the Student Handbook & Code of Conduct. 2 National Standards for Arts Education Vision: The arts have been an inseparable part of the human journey; indeed, we depend on the arts to carry us toward the fullness of our humanity. -
Parent/Student Handbook
THE Academy of Dance Arts Ballet/Pointe Jazz/Contemporary Tap Lyrical Modern Hip Hop Young Children’s Programs Adult Classes Stretch & Strengthening Discover Dance Parent/Student Handbook “Dance is the hidden language of the soul.” Martha Graham Official School of Illinois Ballet Theatre Youth Company & Academy Dance Alliance Performing and Competing Company Studios & Office 1524 Centre Circle, Downers Grove, IL 60515 School Administrator & Assistant to Director ....................................... Pam Gazdziak Front Desk Staff ................................ Kim Winter, Dawn DeBenedictis & Judy Erhart Alliance Office Staff ............................................ Dawn DeBenedictis & Judy Omelson Costume Designers ........................................................Sabena Sellnow & Karen Ejzak Academy Website & Advertising ..............................................................MicroNet, Inc. All Office ................................................................................................... (630) 495-4940 Fax: ............................................................................................................. (630) 495-4983 email: ............................................................... [email protected] Website: ............................................................www.theacademyofdanceartshome.com *Messages for all faculty and staff can be left in their mailboxes at the front desk. Artistic Staff Sherry Moray, Artistic Director & Founder ....................................(630) -
Exit Skills Level 4 2014-15
Exit Skills Level 4 2014-15 Barre Stance/Aplomb Ability to demonstrate secure verticle alignment through the back of the leg as well as proper weight distrubution (especially on one leg) 2/3 of the weight over the ball of the foot 1/3 over the front of the heel pad. The action of lengthening the lower back and front of the pelvis should be clearly visible. Turnout Student can clearly show stable and neutral pelvis (with abdominal support) while maintaining turn out of both gesture and supporting leg. The muscles of the thighs that sustain this action should be well developed and visible on flat and 3/4 pointe where required. This should be maintained throughout all barre work Plié elasticity Elasiticity in demi-plié and ability to maintain strong back in grand plié (barre and center). Port de bras Well developed sense of breath while executing all port de bras with coordinated head and eyes and appropriate inclinations. Balance Ability to find secure balance on full 3/4 pointe with fully stretched and pulled up legs (1 and 2 feet) in following positions: 1st, 5th, coup de pied and retiré, 45° in arabesque, 45° in 2nd position Fondu coordination Well established co-ordination and alignment in fondu to stretch (on flat and demi-pointe) Dynamics,tracking and isolation Ability to clearly show proper knee tracking in frappé while maintaining turnout on both supporting and gesture leg with strong use of quick twitch muscles and secure 3/4 pointe. Ability to sustain proper alignment in 2nd position en l'air at 90° with a clear understanding of the action of turnout while allowing mobility in the knee joint for both inward and outward action of the lower leg. -
Pression and Shock, He Burned His Ballet Slippers and Fled to the Sewers, Only to Surface These Forty Years Later
Les Ballets Trockadero de Monte Carlo “The funniest night you will ever have at the ballet.” - Sunday Times “This is a company that brings its audiences pure joy.” -The Seattle Times History th Celebrating its 40 Anniversary season, Les Ballets Trockadero de Monte Carlo was founded in 1974 by a group of ballet enthusiasts for the purpose of presenting a playful, entertaining view of traditional, classical ballet in parody form and en travesti, Les Ballets Trockadero first performed in the late-late shows in Off-Off Broadway lofts. The TROCKS, as they are affectionately known, quickly garnered a major critical essay by Arlene Croce in The New Yorker, and combined with reviews in The New York Times and The Village Voice, established the Company as an artistic and popular success. By mid 1975, the TROCKS' inspired blend of their loving knowledge of dance, their comic approach, and the astounding fact that men can, indeed, dance en pointe without falling flat on their faces, was being noted beyond New York. Articles and notices in publications such as Variety, Oui, The London Daily Telegraph, as well as a Richard Avedon photo essay in Vogue, made the Company nationally and internationally known. The 1975-76 season was a year of growth and full professionalization. The Company found management, qualified for the National Endowment for the Arts Touring Program, and hired a full-time teacher and ballet mistress to oversee daily classes and rehearsals. Also in this season, they made their first extended tours of the United States and Canada. Packing, unpacking, and repacking tutus and drops, stocking giant sized toe shoes by the case; running for planes and chartered buses all became routine parts of life. -
Student Handbook 2016-2017 Page 2 of 183 Table of Contents
Page 1 of 183 University of Northern Colorado School of Theatre Arts and Dance Student Handbook 2016-2017 Page 2 of 183 Table of Contents Introduction • Letter from the School Director ........................................................................................................ 6 • Inclusion and Mission Statements ..................................................................................................... 7 • Faculty .............................................................................................................................................. 8 • Staff .................................................................................................................................................. 15 School Policies and Procedures • Code of Ethics ................................................................................................................................... 16 • Faculty and Student Relations .......................................................................................................... 16 • Class Obligation and Attendance Policy .......................................................................................... 17 • Performance Eligibility/Ineligibility ................................................................................................. 17 • Probation and Expulsion Policies ...................................................................................................... 18 • Advisors and Advising ..................................................................................................................... -
DOCTORAL THESIS the Dancer's Contribution: Performing Plotless
DOCTORAL THESIS The Dancer's Contribution: Performing Plotless Choreography in the Leotard Ballets of George Balanchine and William Forsythe Tomic-Vajagic, Tamara Award date: 2013 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 THE DANCER’S CONTRIBUTION: PERFORMING PLOTLESS CHOREOGRAPHY IN THE LEOTARD BALLETS OF GEORGE BALANCHINE AND WILLIAM FORSYTHE BY TAMARA TOMIC-VAJAGIC A THESIS IS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF PHD DEPARTMENT OF DANCE UNIVERSITY OF ROEHAMPTON 2012 ABSTRACT This thesis explores the contributions of dancers in performances of selected roles in the ballet repertoires of George Balanchine and William Forsythe. The research focuses on “leotard ballets”, which are viewed as a distinct sub-genre of plotless dance. The investigation centres on four paradigmatic ballets: Balanchine’s The Four Temperaments (1951/1946) and Agon (1957); Forsythe’s Steptext (1985) and the second detail (1991). -
SDO Application 2021
LIGHT OF THE WORLD BALLET Summer Dance Outreach - "A Mission in the Heart of New York" Sunday, July 11 -Friday, July 23, 2021 This summer experience gives dancers the opportunity to learn how to minister while performing. The first week consists of training (see “Activities” below for detailed description). The second week, students will put into practice what they have learned by performing/ ministering at different venues in Syracuse, NY. Students will never be the same again, learning what it means to remain ministry minded while performing! Ages: 10-19 Levels: Intermediate to Advanced Time: 1st week, 9:30am-6:30pm. 2nd week, times will vary based on performance schedule All students must attend the placement class/orientation at LWB studios on Sunday, July 18th, 3-6pm. Activities: Devotions, Ballet Technique, Pointe, Modern, Conditioning, Choreography, Outreach Training, Creative Worship! Cost: $800 Due by Friday, June 18th. LWB Students enrolled in the 2020-2021 year at Light of the World Ballet Studios pay $700 if payment is received on or before June 6th. A tuition discount is available for those attending both SDO and the Emerging Artist Program. Non-LWB Students take 10% off $800 if full payment is received on or before June 6TH You may raise support for your tuition by writing support letters. A sample support letter is below. Registration Fee: $25 per student Optional Fees: LWB T-shirt: $15 for Child sizes, $20 for Adult sizes Registration & Full payment Due by Friday, June 18th: -Have your pastor fill out the Pastoral reference* -Have your Ballet Teacher fill out Teacher's reference* -Please fill out Medical Information, Release Form, Student Information, -Include a Head Shot and a 1st Arabesque photo en pointe (4x6 photos) stapled to Student Information form. -
Classical Ballet Classical Ballet 1: Classwork and Teaching Helps for the Ballet Teacher of Students Age 8 to 12 by Ruth H.Brinkerhoff, B.A
BALLET ARTS Classical Ballet Classical Ballet 1: Classwork and Teaching Helps for the Ballet Teacher of Students age 8 to 12 By Ruth H.Brinkerhoff, B.A. Former Director, Utah Ballet Academy Registered Teacher, Royal Academy of Dance Copyright © 2015, The Ballet Source Cover design and illustrations © 2015, Eric Hungerford. All rights reserved. No portion of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the prior written permission of the copyright holder. The Teacher Must Decide The Ballet Arts series of manuals provides information, activities and suggestions for the teaching of ballet to children. The materials in these books have worked well for the author, and for other teachers of her acquaintance. However, the author cannot know what approach or which physical activities will be appropriate and safe for any particular teacher, class, or student. It is the responsibility of each ballet teacher to use his or her best judgment in applying the information and teaching suggestions contained herein, and in using the activities, enchainements, dances and teaching materials contained in the Ballet Arts series from The Ballet Source. Table of Contents Table of Contents 3 I. Preparing to Teach 4 Suggestions For Teachers 5 Seven Classical Ballet Principles For The Ballet 1 Class 9 Using the Principles In Class 11 Teaching Placement For Ballet 1 15 Can They Skip? Can They Do Spring Points? 18 II. In the Classroom 20 Ballet 1 Choreography for Classwork 21 More Teaching Notes 63 Notes For Presenting A First Lesson To Beginners 65 Music List for Ballet 1 67 III. -
Paul Boos on Jewels
Spring 2018 Ballet Review From the Spring 2018 issue of Ballet Review Paul Boos on “Jewels” Cover photograph by Stephanie Berger, Lincoln Center Festival: Dorothée Gilbert and Hugo Marchand in Emeralds. © 2018 Dance Research Foundation, Inc. All rights reserved. 4 Boston – Jeffrey Gantz 8 Tanglewood – Jay Rogoff 10 Chicago – Joseph Houseal 12 New York – Susanna Sloat 15 Chicago – Joseph Houseal 17 Moscow/St. Petersburg – Susanna Sloat 23 Saratoga Springs – Jay Rogoff 26 Jacob’s Pillow – Ian Spencer Bell 28 Toronto – Gary Smith 30 Sun Valley – Susanna Sloat 33 Stuttgart – Gary Smith 79 34 New York – Harris Green 36 New York – Juan Michael Porter II 37 Philadelphia – Eva Shan Chou Ballet Review 46.1 38 Brooklyn – Joseph Houseal Spring 2018 39 Miami – Michael Langlois Editor and Designer: Marvin Hoshino John Morrone 40 A Conversation with Steven McRae Managing Editor: Roberta Hellman George Dorris Senior Editor: 60 46 Picasso in Italy Don Daniels Associate Editors: 48 Adolf de Meyer: Joel Lobenthal Quicksilver Brilliance Larry Kaplan Alice Helpern 52 From the Horse’s Mouth Webmaster: Curated by Rajika Puri David S. Weiss Selected & Edited by Karen Greenspan Copy Editor: Naomi Mindlin Larry Kaplan Photographers: 60 Paul Boos on Jewels Tom Brazil 40 Costas Gary Smith 75 Demis Volpi Associates: Peter Anastos Robert Greskovic John Goodman George Jackson 79 André Levinson on Balanchine, Elizabeth Kendall 1925–1933 Paul Parish Nancy Reynolds 123 London Reporter – Clement Crisp James Sutton 127 Music on Disc – George Dorris David Vaughan† Edward Willinger 8 131 Check It Out Sarah C. Woodcock Cover photograph by Stephanie Berger, Lincoln Center Festival: Dorothée Gilbert and Hugo Marchand in Emeralds.