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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. -
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. -
Noreen Londregan School of Dance
WHY CHOOSE 2019-2020 FALL SCHEDULE NOREEN LONDREGAN Noreen Londregan AWARDS MONDAY SCHOOL OF DANCE School of Dance Achievement awards are presented on the final lesson in 11:00 - 11:45 Terrific 2’s Offering the Best in Dance Techniques 12:00 - 1:00 Preschool 3-5 Yrs. Combo I June for students who have attended the required classes - 3 Spacious Dance rooms and are paid in full. 4:00 - 5:15 7-9 Yrs. Combo II 4:30 - 5:30 6-8 Yrs. Combo II - Limited Class Size 2019-2020 DANCE SEASON 5:15 - 6:15 Preschool 3-5 Yrs. Combo I - Friendly Atmosphere COMPETITION 5:30 - 6:30 Preschool 4-6 Yrs. Combo II - Age appropriate Music, Terrific 2’s • Creative Movement Noreen and Colleen’s dance company has won many 5:30 - 7:30 9-11 Yrs. Combo III Choreography and Costumes Classical Ballet • Combo Classes • Tap • Jazz awards during the past year. Students are accepted into the 6:15 - 7:30 6-8 Yrs. Combo II - Members of Dance Masters of Hip Hop • Street Jazz • Lyrical • Contemporary Dance Company by invitation/audition and are required to 6:30 - 9:00 Advanced B-T-J America, and Ohio be enrolled in ballet, tap and jazz classes. Minimum age is TUESDAY - Students placed by age & ability Adult Ballet & Tap 7 years old. Rehearsals are in addition to their normal class 4:00 - 5:00 5-7 Yrs. Combo I - Many levels of classes - time. Additional fees are charged. 4:30 - 5:30 5 & 6 Yrs. Combo I 2 years to adult 5:00 - 6:00 5-7 Yrs. -
Teachers Handbook July 2020
TEACHERS’ HANDBOOK July 2020 PO Box 425, Clifton Hill, VIC 3068 www.cecchettiballet.org email: [email protected] Ph: 03 9489 5682 Previous Versions 2019 2016 Following the ratification of the new Rules for Cecchetti Ballet Australia Inc. at the July 12th 2014 AGM, these Regulations and Procedures have been collated from previous rules issued by the National Council on behalf of Cecchetti Ballet Australia Inc. Should any alterations or amendments become necessary, these should be submitted in writing to the National Council. After consideration by National Council, any necessary alterations or amendments will be incorporated into the Rules in due course. Some sections of these Rules appear more than once in this Book. The information has been collected into sections and some information is relevant to more than one section. July 2014 CONTENTS EXAMINATION INFORMATION ........................................................................................................................................... 1 PRE-PRIMARY AND PRIMARY .......................................................................................................................................... 1 GRADE EXAMINATIONS .................................................................................................................................................. 1 ASSESSMENTS ................................................................................................................................................................. 3 DANCE SPECTRUM ONE (DS1) -
Ballet and Folkdance Modern
BALLET AND FOLKDANCE י MODERN DAN ~ CE Giora Manor interviews Jiri Kylian. Jiri Kylian, artistic director of the Nederlands Dans Theatre, master, you should know more about these things. First of was asked in the course of his company's third visit to all, of course, one has to study classical dancing and folk Israel, in the spring of 1980, to lecture on the relationship dancing but real folk dance, no character dance. Character between modem dance, ballet and folk dance. It seemed dance is something that's been taken from ethnic dances, that this topic, fundamental to the understanding of perverted in a way and made into a brilliant kind of insert modem stage dance, was especially well suited to Kylian's for classical ballets. No, we didn't study that, we studied choreographic style, as he often uses elements which derive real folk dances. We wouldn't study, for instance, the from folk traditions. Instead of a lecture he chose to show czardas in general but would leam a specific Szekely some video-films of his work and asked me to discuss the Czardas, which is a Czardas from a certain part ofHungary. topic with him in public. We wouldn't study just the polka but a very specific Polka that comes from a ce.rtain part of Czechoslovakia, Poland or The Bat-Dor Dance Company, who were the hosts of the Russia. This is what 1 really think is important and 1 would Nederlands Dans Theatre during their tour, made their hall advise schools to follow this example because character available, and about three hundred dancers, folk dance dances are only a perversion of real folk dancing. -
The Caramel Variations by Ian Spencer Bell from Ballet Review Spring 2012 Cover Photograph by Stephanie Berger, BAM : Silas Riener in Merce Cunningham’S Split Sides
Spring 2012 Ball et Review The Caramel Variations by Ian Spencer Bell from Ballet Review Spring 2012 Cover Photograph by Stephanie Berger, BAM : Silas Riener in Merce Cunningham’s Split Sides . © 2012 Dance Research Foundation, Inc. All rights reserved. 4 Moscow – Clement Crisp 5 Chicago – Joseph Houseal 6 Oslo – Peter Sparling 9 Washington, D. C. – George Jackson 10 Boston – Jeffrey Gantz 12 Toronto – Gary Smith 13 Ann Arbor – Peter Sparling 16 Toronto – Gary Smith 17 New York – George Jackson Ian Spencer Bell 31 18 The Caramel Variations Darrell Wilkins 31 Malakhov’s La Péri Francis Mason 38 Armgard von Bardeleben on Graham Don Daniels 41 The Iron Shoe Joel Lobenthal 64 46 A Conversation with Nicolai Hansen Ballet Review 40.1 Leigh Witchel Spring 2012 51 A Parisian Spring Editor and Designer: Marvin Hoshino Francis Mason Managing Editor: 55 Erick Hawkins on Graham Roberta Hellman Joseph Houseal Senior Editor: 59 The Ecstatic Flight of Lin Hwa-min Don Daniels Associate Editor: Emily Hite Joel Lobenthal 64 Yvonne Mounsey: Encounters with Mr B 46 Associate Editor: Nicole Dekle Collins Larry Kaplan 71 Psyché and Phèdre Copy Editor: Barbara Palfy Sandra Genter Photographers: 74 Next Wave Tom Brazil Costas 82 London Reporter – Clement Crisp 89 More Balanchine Variations – Jay Rogoff Associates: Peter Anastos 90 Pina – Jeffrey Gantz Robert Gres kovic 92 Body of a Dancer – Jay Rogoff George Jackson 93 Music on Disc – George Dorris Elizabeth Kendall 71 100 Check It Out Paul Parish Nancy Reynolds James Sutton David Vaughan Edward Willinger Cover Photograph by Stephanie Berger, BAM : Silas Riener Sarah C. -
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 -
Dance Etiquette Sheet 15
With the exception of dance shoes, many of the required code items and hair supplies are available for sale in our Pro Shop. Welcome! We are so happy to have you in our dance program. Together, we will work to instill a love of dance that can last a lifetime. Please review the following guidelines, and let us know if you have any questions. PROPER ATTIRE: HAIR: For ALL Ballet classes (Dance Tots, PreBallet, Ballet), hair must be pulled away from the face and pinned securely into a ballet bun (no bangs for ages 6 and up). For ALL other classes, hair must be in a ponytail, secured off the shoulders and away from the face. ALL CLASSES: NO LOOSE CLOTHES OVER LEOTARDS! TINY DANCERS: Female – Non-baggy athletic shorts & t-shirt. Dance attire (leotard, tights, ballet slippers**) may be worn if desired. Bare feet. Hair must be pulled away from face into a ponytail. Male – Non-baggy athletic shorts & t-shirt. Bare feet. Parents – Comfortable clothes that you can move in! Bare feet. DANCE TOTS: Female – Light pink leotard*, light pink footed tights**, pink leather ballet slippers*** Male – White t-shirt, black bike shorts or tights, white socks, black ballet slippers PREBALLET: Female – Light blue leotard*, light pink footed tights**, pink leather ballet slippers*** Male - White t-shirt, black bike shorts or tights, white socks, black ballet slippers CLASSICAL BALLET: Female – Black leotard*, light pink footed tights, pink leather ballet slippers** Male – White t-shirt, black bike shorts or tights, white socks, black ballet slippers *All leotards for Dance Tots, PreBallet, and Classical Ballet must be simple in style – preferably tank, cap, or short sleeve. -
Proper Attire
2021-2022 Welcome! We are so happy to have you in our dance program. Together, we With the exception of dance shoes, will work to instill a love of dance that can last a lifetime. Please review the many of the required dancewear following guidelines and let us know if you have any questions. items and hair supplies are available for sale in our Pro Shop. PROPER ATTIRE: HAIR: For ALL Ballet classes (Dance Tots, Fairytale Ballerinas, PreBallet, Ballet), hair must be pulled away from the face and pinned securely into a ballet bun (no bangs for ages 6 and up). For ALL other classes, hair must be in a ponytail, secured off the shoulders and away from the face. ------------------------------------------ ------ TEENY DANCERS: Female – Non-baggy athletic/bike shorts & t-shirt. Bare Feet. Dance attire (leotard, tights, ballet slippers**) may be worn if desired. Male – Non-baggy athletic/bike shorts & t-shirt. Bare feet. Parents – Comfortable clothes that you can move in! Bare feet. DANCE TOTS: Female – Light pink leotard*, light pink footed tights**, pink leather ballet slippers*** Male – White t-shirt, black bike shorts or tights, white socks, black ballet slippers PREBALLET: Female – Light blue leotard*, light pink footed tights**, pink leather ballet slippers*** Male - White t-shirt, black bike shorts or tights, white socks, black ballet slippers PRE-TAP/HIP-HOP: Female – Light blue leotard, light pink OR light suntan footed tights**. Tan Tap Shoes / Tan Slip-on Jazz Shoes. • Optional – Girls may also wear light blue or black dance skirt or dance shorts over their leotard & tights. Male - White t-shirt, black bike shorts, Black crew socks. -
Stage Dance A
NOVATEUR PUBLICATIONS INTERNATIONAL JOURNAL OF INNOVATIONS IN ENGINEERING RESEARCH AND TECHNOLOGY [IJIERT] ISSN: 2394-3696 Website: ijiert.org VOLUME 7, ISSUE 8, Aug.-2020 THE E0ERGE1CE A1D F2R0AT,21 2F THE S8B-ECT 2F F2/.- STAGE DA1CE A. I. YESHIMBETOVA, Teacher at the National Academy of Choreography of Uzbekistan E-mail address: [email protected] ABSTRACT: This article is a historical excursus into the formation and role of folk-stage dance from its origins to the present. It outlines the contribution of the enthusiastic reformers of character dance - A.F. Bekefi, F.I. Kshesinki, A.V. Shiryaeva, A.I. Bocharova and A.V. Lapukhov. Outstanding dancers, and later teachers, they stood at the origins of the creation of a system for teaching character dance, brought up more than one generation of dancers who continued the formation of folk stage dance as one of the main subjects of a cycle of special disciplines in the vocational training system in ballet schools. KEYWORDS: History of Russian ballet, F. Bekefi / character dance F.I. Kshesinskaya, "mazurist" A.V. Shiryaev, Mariinsky Theatre A.V. Lopukhov, Leningrad Choreographic College Fundamentals of character dance, A.V. Shiryaev, A.V. Lopukhov, A.I. Bocharov Folk stage dance, Folk dance ensemble. INTRODUCTION From its very origins folk stage dance has become of the main subjects in the cycle of special disciplines and an important part of the system of professional ballet dance training. Having gone through a certain path of formation and historical development, folk stage dance has become an academic discipline, an important and integral part of classical ballet education. -
Theophile Gautier Vs. La Sylphide
UCLA Paroles gelées Title Discordant Locations for the Me-ospheric Void: Theophile Gautier vs. La Sylphide Permalink https://escholarship.org/uc/item/3bm3g63t Journal Paroles gelées, 15(2) ISSN 1094-7264 Author Sadono, Regina Fletcher Publication Date 1997 DOI 10.5070/PG7152003072 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Discordant Locations for the Me-ospheric Void: Theophile Gautier vs. La Sylphide Regina Fletcher Sadono The art and literature of a dominant culture continually define, refine, and reinforce the rewards of "correct" sexual orientation. Whatever the determinants are for normative gendering, women have paid and still pay the greatest price for their maintenance. Despite many impressive scientific advances, humanity has not made great strides in the technology of selfhood, and we have hardly begun to examine the many cultural entities that perpetu- ate destructive attitudes towards women. Some of these, such as ballet, include so much of what is good and beautiful that it is hard to imagine dissecting them to isolate the misogyny from other narrative elements, or to conceive of what would remain after such an operation was complete. Ballet has played and still plays a role in sustaining prescriptions for normative gendering that we have inherited from the Romantic Era. Ballet is also a special case in regard to the female body in literature both then and now. Theophile Gautier was one of the first writers to recognize ballet as literature, and as one of the first dance critics, established the way that ballet is talked about. The argument for dance as literature is based on the concept of language as a system of signs, and literature as an enactment of those signs in a context of meaning. -
Strive Level 1-3 Ballet Audition Study Guide
Strive Level 1-3 Ballet Audition Study Guide General Questions Level 1-3 1. Name and explain the basic 5 focuses, in the correct order for every level. Posture, Placement, Positions, Preparations, and Transitions. 2. In what ways is ballet class “progressive” (i.e. building on itself)? • We begin working in small positions and gradually make them bigger. • We balance on two legs before we balance on one. • We start with the leg low and then as we warm up, we begin to lift higher. • While transitioning, we move through the five levels in order (don’t skip). • In the lower levels, we work slowly and increase speed as we get stronger in our technique. • In the beginning of the barre, we work slowly and gradually increase our speed. • In the lower levels, we work facing the barre and at the higher levels we work with one hand on the barre. As we progress we add the arms (Port de bra), and head and shoulders (Eppaulment) to the movement of the legs. 3. What are the basic ways of moving in ballet? Rise, Fall, Turn, Jump, Turning while jumping, Gliding, Floor Work. 4. What are the five “progressive” levels we travel through? Plie, Straight legs, Demi-pointe, Full pointe, and Release or Jump 5. What five ways do we learn (Hint: Use your five senses)? Watching, Listening, Feeling, Smelling, and Tasting. 6. How do these ways of learning constitute a 100% effort? Watching = 25%, Listening = 25%, Doing = 25%, and our energy = 25% 7. Name, in order, the seven points of isolation to think about when working on posture.