Section DANCE BASIC
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WBTF Coaches Manual Section 12 DANCE BASIC Dance……and movement As it relates to….. The sport of baton twirling DANCE is defined by Encyclopedia Britannica as: “A form of expression that uses bodily movements that are rhythmic, patterned (or sometimes improvised), and usually accompanied by music. One of the oldest art forms, dance is found in every culture and is performed for purposes ranging from the ceremonial, liturgical, and magical to the theatrical, social, and simply aesthetic.” We, in the sport of baton twirling, could add that dance is also performed for the purposes of combining the skill of twirling with the skill of dance to create aesthetic competitive programs in Freestyle, Pairs, and Teams, as well as all other related competitive events under the auspices of the WBTF. MOVEMENT is defined as: “ (1) : the act or process of moving; especially : change of place or position or posture (2) : a particular instance or manner of moving.” IN BATON TWIRLING, it is important for coaches to understand that athletes should begin their training in dance and movement from the first lesson, along with learning the basics skills of baton twirling. DANCE AND MOVEMENT is critical to the performance value of any Freestyle, Pair or Team. In actuality, all movement is dance, therefore, as this statement relates to baton twirling; every move in a performance should be considered a “dance move”. Included in this section is the following information: Document entitled: “Movement Technique At a Glance” Eight levels of dance movements ranging from very simplistic to very difficult that can be utilized in the training process of athletes, to coordinate the movement skills along with baton skills. Section 12 Page 1 10/19/2007 WBTF Coaches Manual Document entitled: “Movement Technique Skill Development Chart” A chart of dance moves and the skills they develop. Document entitled “Major and Minor Body Moves Section” Article on Movement entitled: “Teaching Movement” Article on Movement Skills entitled: “Movement Skills for the Coach” Article on Movement entitled: “Teaching Movement” Article entitled: “Physics of Ballet” Article entitled: “ Barre Work” MOVEMENT TECHNIQUE AT-A-GLANCE CLASS C 1. Attention - Jazz 1st 2. Arms out - T position 3. Demi Plie' - Jazz 1st 4. Pivot Turns -L & R CLASS B 1. Ballet Positions - 1st, 2nd, 3rd - R & L 2. Port de Bras, facing front - R & L 3. Demi Plie', Releve' in 1st & 2nd position - front & side 4. Battement Tendu' - front, side, back - R & L 5. Demi Lunges -2nd position - R & L 6. Chasse' - R & L CLASS BI 1. Ballet Positions - 4th & 5th - R & L 2. Jumps in 1st & 2nd position 3. Soussus, 5th position, R & L 4. Degage' - front, side, back - R & L 5. Demi Lunges - 4th Position - R & L 6. 3rd Arabesque a Terre - R & L CLASS BII 1. [2] Pique' Passe' - R & L 2. Pas de Bourree' Combination 3. One Chaine' Turn - R & L 4. Arabesque en l'Air - R & L 5. Sous-sus One Spin - L & R 6. Needles - R & L CLASS A 1. Grand Battement 45 to 90 Degrees - R & L 2. Jete' - R & L 3. One Chaine' Turn - Chasse' - Pique' Arabesque - R & L 4. Two Spin to Left 5. Forward Illusion - R or L Leg 6. Reverse Illusion - R or L Leg CLASS AA 1. Glissade - R & L 2. Outside Fan Kick - R or L Leg 3. Saute' Arabesque - R & L 4. Grand Jete' - L Leg 5. Grand Jete' - R Leg Section 12 Page 2 10/19/2007 WBTF Coaches Manual CLASS AAA 1. 2 Pique' Turns - R & L 2. Fouette' Arabesque - R or L Leg 3. Sissone - R & L 4. 1 1/2 Spin to Right 5. One Spin L - R Reverse Illusion ELITE CLASS 1. Attitude - Front & Back - R & L 2. Tour Jete' - R or L 3. Grand Jete' with Develope' - R leg 4. Grand Jete' with Develope' - L leg 5. Double Reverse Illusion - R or L Leg MOVEMENT TECHNIQUE SKILL DEVELOPMENT CHART EXAMPLES SKILLS DEVELOPED Stationary Development Exercises/Moves Attention - Jazz 1st Body Positioning Arms Out - T position Body Alignment - Shoulders Down Plie' - Jazz 1st Bending knees-Maintaining Posture Plie' - 1st and 2nd Ankle Flexibility - Turn out Five Ballet Positions.. Balance Battement Tendu Control - point Port de Bras.. Discipline - use of arms Sous-sus - 5th position Ankle strength - balance on toes Degage' Foot flexibility Cou-de-pied Proper placement of feet and ankles Fondu Developpe' Turnout Grand Battement Toe point 2nd Position Demi-lunge Arm development with control & fluidity - turn out 4th Position Demi-lunge Equal development & isolation of muscle groups - turn out Section 12 Page 3 10/19/2007 WBTF Coaches Manual Transition Moves Chasse' Slide - Movement covering distance - Timing Retire' Position Derriere Foot and ankle strength - brush Temps lie' [R & L] Turnout Pas de bourree' [R & L] Rhythm Pique' coupe' pique' retire' back Foot and ankle strength (right & left) Shifting of weight Glissade [R & L] Controlled movement with proper timing SKILL DEVELOPMENT - PAGE 2 Jumps and Leaps Jumps in 1st & 2nd Position Skill of jump - strength Jete' Motion & strength move - landing with control - Brush & Springing from one foot Saute' Arabesque Combination of motion & strength moves - Springing from one foot Grand Jete' with Develope' springing from ground by muscular action of feet, ankles and legs Fouette' Arabesque Continuation of body control Tourjete' Jumping & turning in air maintaining proper alignment Sissone Skill & strength of controlling the landing Body Positions with Weight on One Leg Arabesque a terre Support on one leg - positioning of hips Arabesque en l'air Leg flexibility - balance Section 12 Page 4 10/19/2007 WBTF Coaches Manual Grand Battement 45 to 90 degrees [R & L] Balance - strength - flexibility Attitude - Front & Back [R & L] Correct body alignment Forward Illusions Leg flexibility - Display of inclining skill - re-orientation - body "pattern" Reverse Illusions Leg flexibility - Display of inclining skill - re-orientation - body "pattern" Needles [R & L] Leg flexibility - Spatial awareness Outside fan kicks Leg flexibility - Balance on one leg - upper body alignment Turns and Spins Pivot turns Spotting technique Chaine' turns [R & L] Spacial awareness - spot technique Pique' turns [R & L] Horizontal re-orientation Sous-sus 1 spin Sustained balance on toes with rotation 1 1/2 spin to R Balance - proper technique of spin - ankle strength 2 Spin to L Balance - proper technique of spin - ankle strength Some moves have properties of more than one category. V. D. 5.9 TEACHING MOVEMENT EVERY TWIRL TAUGHT REQUIRES THE USE OF THE BODY’S MUSCLES AND SKELETON. If you think you do not need to know how to teach movement and how the body moves, think again. The dynamics of movement are infinite. This section is offered to spark the interest for further learning. It is in no way complete. To cover this topic adequately would require a manual on movement to match the size and volume of this manual. The teaching of movement is a broad topic, as is the teaching of baton twirling. Movement relates to the human body, with its infinite variations in size, type, strength and flexibility. It relates, too, to the intellectual capacity of the human being and each student’s (and teacher’s) ability to translate verbal instruction into successful physical action. Section 12 Page 5 10/19/2007 WBTF Coaches Manual Within the instructor’s teaching of movement, it is recommended that the coach use the technical terminology of the major muscle and skeletal names. Refer to appendix charts that follow this section. Most fourth through sixth graders learn the names of major muscles and bones in health or science class. The coach should be able to at least meet this intellectual level, if not exceed it. In Level I, movement is simplistic and mostly, in an upright posture. Little stress or strain is put upon musculature or on other soft tissues (tendons) , or skeletal elements of the body. The body is trained to respond upon command or to musical cues, and is not taxed in any extreme of flexibility or strength. With the exception of flexing the ankle to point the toe, movement is mostly natural. At any level, the degree of natural, innate grace varies greatly from student to student. Coordination skills vary from age to age and athlete to athlete. Additionally, sensitivity to personal awkwardness can vary. Thus, the coach must approach this and all instruction of movement by maintaining the dignity of the athlete and encouraging each student to expand their movement skills. At Level II, the teaching of proper movement takes a giant leap (or grande jete`) and becomes more complex. Here are the basic differences of movement instruction from Level I to Level II. Posture & Position of Spine • Level I - Posture & position of spine is primarily upright; Student is taught body alignment by contracting (tighten) gluteus and abdominal muscles, lifting ribcage, relaxing shoulders, level position of chin. Vertical alignment of head, shoulders, hips, knees, ankles and feet should be taught. Maintaining this posture muscularly is one of the greatest challenges for the Level I athlete (and coach). Extending the ankle for toe points is also difficult for this level. • Level II - The upright posture & position of spine should be easier to maintain by emphasis and repetition. When this discipline is not emphasized adequately, lack of control in body and baton (especially in aerial and roll modes) becomes an instructional issue. • Level II - Arch in the lower spinal column should become more controlled and used within appropriate moves. With the instruction of the body roll, layback, arabesque en l’air, kicks, and illusions, the proper arch of the lower spinal column becomes important. • Level II - Position of spine and use of muscles to hold spine in position in the sitting, standing and moving capacity becomes critical for successful movement and twirling skills.