Ballet Moves and Mimes

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plié reverence split grand jeté pirouette battement arabesque pointes fish dive attitude swan royalty beautiful I love you I swear Swan Lake Ballet Moves Flashcards - Text and Symbol 1st 2nd 3rd 4th 5th position position position position position arabesque attitude grand jeté plié reverence Widgit Symbols © Widgit Software 2002-2018 This resource was created with InPrint 3 Page 1 of 3 Find out more at www.widgit.com Swan Lake Ballet Moves Flashcards - Text and Symbol pirouette split turnout pointe pas passé grand fish dive on the sideways battement spot Widgit Symbols © Widgit Software 2002-2018 This resource was created with InPrint 3 Page 2 of 3 Find out more at www.widgit.com Swan Lake Ballet Moves Flashcards - Text and Symbol travelling unison canon Widgit Symbols © Widgit Software 2002-2018 This resource was created with InPrint 3 Page 3 of 3 Find out more at www.widgit.com Swan Lake Ballet Moves Flashcards - Text 1st 2nd 3rd 4th 5th position position position position position arabesque attitude grand jeté plié reverence Widgit Symbols © Widgit Software 2002-2018 This resource was created with InPrint 3 Page 1 of 3 Find out more at www.widgit.com Swan Lake Ballet Moves Flashcards - Text pirouette split turnout pointe pas passé grand fish dive on the sideways battement spot Widgit Symbols © Widgit Software 2002-2018 This resource was created with InPrint 3 Page 2 of 3 Find out more at www.widgit.com Swan Lake Ballet Moves Flashcards - Text travelling unison canon Widgit Symbols © Widgit Software 2002-2018 This resource was created with InPrint 3 Page 3 of 3 Find out more at www.widgit.com Swan Lake Ballet Moves Flashcards - Text and Symbol 1st 2nd 3rd 4th 5th position position position position position arabesque attitude grand jeté plié reverence Widgit Symbols © Widgit Software 2002-2018 This resource was created with InPrint 3 Page 1 of 3 Find out more at www.widgit.com Swan Lake Ballet Moves Flashcards - Text and Symbol pirouette split turnout pointe pas passé grand fish dive on the sideways battement spot Widgit Symbols © Widgit Software 2002-2018 This resource was created with InPrint 3 Page 2 of 3 Find out more at www.widgit.com Swan Lake Ballet Moves Flashcards - Text and Symbol travelling unison canon Widgit Symbols © Widgit Software 2002-2018 This resource was created with InPrint 3 Page 3 of 3 Find out more at www.widgit.com.

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Muscle Imbalance Explained (4Pp).Qxp Layout 1 19/08/2014 10:46 Page 1
DUK Info Sheet 13 - Muscle Imbalance Explained (4pp).qxp_Layout 1 19/08/2014 10:46 Page 1 13 Muscular Imbalance Explained By Kim Hutt, 2014 Muscles are responsible for maintaining Muscle imbalances in themselves are not BOX 1 posture, creating positions, absorbing painful. However, when they reach the shock, producing heat, protecting the point of affecting joint mechanics or 3 Common Biomechanical body’s internal organs and stabilizing altering movement patterns, they can lead Imbalances and moving joints. Muscles account for to injury and pain. It is worth noting here approximately 40-45% of an average that injuries that are not associated with 1 Turnout – holding turnout in ballet for adult’s body mass. They are comprised of muscle imbalance (for example, if you go prolonged periods without including muscle cells, which are the only human over on your ankle and sprain a ligament), training in internal or neutral rotation cells able to produce active tension. may also affect movement patterns in an can often lead to short and tight This means that muscles are able to attempt to avoid pain, and consequently external rotators in the hip and long shorten, lengthen or maintain the same lead to muscular imbalance. Therefore it and weak internal rotators. length against a resistance. For example, is important to highlight that dancing the leg works against gravity when through any pain can indirectly lead to 2 Some dancers, in an attempt to working in the air or against ground muscle imbalance. In short, muscle develop their chest musculature utilize reaction forces when controlling landings imbalance can be a symptom or a weights and overwork the chest from jumps.
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The Psychosocial Effects of Compensated Turnout on Dancers: a Critical Look at the Leading Cause of Non-Traumatic Dance Injuries
University of Tennessee at Chattanooga UTC Scholar Student Research, Creative Works, and Honors Theses Publications 5-2018 The psychosocial effects of compensated turnout on dancers: a critical look at the leading cause of non-traumatic dance injuries Rachel Smith University of Tennessee at Chattanooga, [email protected] Follow this and additional works at: https://scholar.utc.edu/honors-theses Part of the Medicine and Health Sciences Commons Recommended Citation Smith, Rachel, "The psychosocial effects of compensated turnout on dancers: a critical look at the leading cause of non-traumatic dance injuries" (2018). Honors Theses. This Theses is brought to you for free and open access by the Student Research, Creative Works, and Publications at UTC Scholar. It has been accepted for inclusion in Honors Theses by an authorized administrator of UTC Scholar. For more information, please contact [email protected]. The Psychosocial Effects of Compensated Turnout on Dancers 1 The Psychosocial Effects of Compensated Turnout on Dancers: A Critical Look at the Leading Cause of Non-Traumatic Dance Injuries Rachel Smith Departmental Honors Thesis University of Tennessee at Chattanooga Department of Health and Human Performance Examination Date: March 22, 2018 ________________________________ ______________________________ Shewanee Howard-Baptiste Burch Oglesby Associate Professor of Exercise Science Associate Professor of Exercise Science Thesis Director Department Examiner ________________________________ Liz Hathaway Assistant Professor of Exercise
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Running head: GETTING TO “THE POINTE” GETTING TO “THE POINTE”: ASSESSING THE LIGHT AND DARK DIMENSIONS OF LEADERSHIP ATTRIBUTES IN BALLET CULTURE Ashley Lauren Whitely B.A., Western Kentucky University, 2003 M.A., Western Kentucky University, 2006 Submitted to the Graduate Faculty under the supervision of Gail F. Latta, Ph.D. in partial fulfillment of the requirements for the degree of Doctor of Education in Leadership Studies Xavier University Cincinnati, OH May 2017 Running head: GETTING TO “THE POINTE” Running head: GETTING TO “THE POINTE” GETTING TO “THE POINTE”: ASSESSING THE LIGHT AND DARK DIMENSIONS OF LEADESHIP ATTRIBUTES IN BALLET CULTURE Ashley Lauren Whitely Dissertation Advisor: Gail F. Latta, Ph.D. Abstract The focus of this ethnographic study is to examine the industry-wide culture of the American ballet. Two additional research questions guided the investigation: what attributes, and their light and dark dimensions, are valued among individuals selected for leadership roles within the culture, and how does the ballet industry nurture these attributes? An understanding of the culture was garnered through observations and interviews conducted in three classically-based professional ballet companies in the United States: one located in the Rocky Mountain region, one in the Midwestern region, and one in the Pacific Northwest region. Data analysis brought forth cultural and leadership themes revealing an industry consumed by “the ideal” to the point that members are willing to make sacrifices, both at the individual and organizational levels, for the pursuit of beauty. The ballet culture was found to expect its leaders to manifest the light dimensions of attributes valued by the culture, because these individuals are elevated to the extent that they “become the culture,” but they also allow these individuals to simultaneously exemplify the dark dimensions of these attributes.
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Classical Ballet Classwork & Teaching Suggestions
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Nutcracker Study Guide, 2012 Salt Creek Ballet Page 2
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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.
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Chapter 9 Ballet Edited.Ppt.Pdf
C H A P T E R 9 Ballet Chapter ?? Chapter 9 Ballet Enduring understanding: Ballet is a classic, Western dance genre and a performing art. Essential question: How does ballet help me express myself as a dancer? Learning Objectives •Recognize major ballet works, styles, and ballet artists in history. •Execute basic ballet technique, use ballet vocabulary, and perform barre exercises and center combinations. •Apply ballet etiquette and dance safety while dancing. •Evaluate and respond to classical and contemporary ballet performances. Introduction Ballet began as a Western classical dance genre 400 years ago and has evolved into an international performing art form. The word ballet comes from the Italian term ballare, meaning to dance. Chapter 9 Vocabulary Terms adagio allegro à la seconde à terre ballet ballet technique barre center derrière stage directions Devant turnout en l’air Ballet Beginnings Ballet moved from Italy to France when Catherine de’ Medici married the heir to the French throne, King Henry II. She produced what has become known as the first ballet, La Comique de la Reine, in 1588. Ballet at the French Court Louis XIV performed as a dancer and gained the title The Sun King after one of his most famous dancing roles. A patron of the arts, Louis XIV established the Academy of Music and Dance. In the next century the Academy would become the Paris Opéra. Court Ballets • During the 17th century, court ballets were dance interludes between dramatic or vocal performances or entire performances. • Sometimes ballets were part of themed balls such as pastoral or masquerade balls.
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Biomechanical Considerations for Turnout
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Review Article Measurement of Turnout in Dance Research A Critical Review Lowry M. Champion, M.F.A., and Steven J. Chatfield, Ph.D. Abstract procedure for assessing total turnout; rotation. Turnout measurement procedures, adoption of conventions for reporting Dance aesthetics often demand results, and reporting formats vary in data in compatible forms; and the de- what is considered “perfect TO,” with- dance medicine and science research, velopment of normative data sets for out regard to anatomical capabilities making comparisons difficult. It different categories of dancers. and limitations. Perfect turnout re- is agreed that turnout results from quires 90° of external rotation of each summative contributions of the he term “turnout” (TO) is extremity, establishing a 180° angle hip, knee, lower-leg, and the foot- commonly used in dance to between the longitudinal axes of the 1,3,5,8,11,12 ankle complex. However, the most denote external rotation of feet. This is a phenomenon Tthe lower extremities; in particular, that is anatomically and biomechani- frequently reported measurement is 1,12,15 hip external rotation, and even this is ballet uses a foundation of five turned cally uncommon. Of the desired measured in incompatible ways. No out positions of the feet: first, second, 90° of perfect unilateral external 1,2 normative data exist for component third, fourth, and fifth positions. rotation, the research suggests that a and summative measures or for dif- However, the term has many associa- range of 60° to 70° is contributed by ferent categories of dancers, making tions, and an operational definition the hip, while the distal aspects of the screening, clinical assessment, and has yet to be established.
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