Broughton High School Specialist Dance
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Principles of Movement Control That Affect Choreographers' Instruction of Dance
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work 5-2011 Principles of Movement Control That Affect Choreographers' Instruction of Dance Julia A. Fenton University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Part of the Motor Control Commons Recommended Citation Fenton, Julia A., "Principles of Movement Control That Affect Choreographers' Instruction of Dance" (2011). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/1436 This Dissertation/Thesis is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. Principles of Movement Control that Affect Choreographers’ Instruction of Dance Julia Fenton Preface The purpose of this paper is to inform choreographers of different motor control and skill learning principles that affect instruction of dance and choreography as well as provide a resource for choreographers to make rehearsals more productive. In order to accomplish this task, I adapted the information presented in three main texts, written by Schmidt and Wrisberg, Schmidt and Lee, and Fairbrother, in order for it to be useful to choreographers. I have included dance examples rather than sport examples in order for the choreographer to more easily relate to the information. The in-text citations in this paper were kept to a minimum in order for it to be read more easily. -
IDO Dance Sports Rules and Regulations 2021
IDO Dance Sport Rules & Regulations 2021 Officially Declared For further information concerning Rules and Regulations contained in this book, contact the Technical Director listed in the IDO Web site. This book and any material within this book are protected by copyright law. Any unauthorized copying, distribution, modification or other use is prohibited without the express written consent of IDO. All rights reserved. ©2021 by IDO Foreword The IDO Presidium has completely revised the structure of the IDO Dance Sport Rules & Regulations. For better understanding, the Rules & Regulations have been subdivided into 6 Books addressing the following issues: Book 1 General Information, Membership Issues Book 2 Organization and Conduction of IDO Events Book 3 Rules for IDO Dance Disciplines Book 4 Code of Ethics / Disciplinary Rules Book 5 Financial Rules and Regulations Separate Book IDO Official´s Book IDO Dancers are advised that all Rules for IDO Dance Disciplines are now contained in Book 3 ("Rules for IDO Dance Disciplines"). IDO Adjudicators are advised that all "General Provisions for Adjudicators and Judging" and all rules for "Protocol and Judging Procedure" (previously: Book 5) are now contained in separate IDO Official´sBook. This is the official version of the IDO Dance Sport Rules & Regulations passed by the AGM and ADMs in December 2020. All rule changes after the AGM/ADMs 2020 are marked with the Implementation date in red. All text marked in green are text and content clarifications. All competitors are competing at their own risk! All competitors, team leaders, attendandts, parents, and/or other persons involved in any way with the competition, recognize that IDO will not take any responsibility for any damage, theft, injury or accident of any kind during the competition, in accordance with the IDO Dance Sport Rules. -
CHOREOGRAPHY BASICS By: Max Perry to Choreograph an Effective Routine, a Dancer Will Use Several Techniques to Create a Dance T
CHOREOGRAPHY BASICS By: Max Perry To choreograph an effective routine, a dancer will use several techniques to create a dance that will not only fit the music, but will feel good when danced. The tools we use as choreographers are knowledge of the dance components, a basic idea of phrasing music, and an idea of how the material is to be used (the dancers or organization or company, etc.). ______________________________________ POINTS TO REMEMBER: 1. “A body in motion tends to stay in motion”. There is an initial force required to put the body in motion. Every time there is a change in the directional movement, there is additional force required to make the change. Too many abrupt changes in direction are not as comfortable as letting the body flow in the direction it wants to go, then gradually slow before changing directions. This does not mean you should slow down before every turn - I am referring to energy output only! 2. Choose music that has a wide audience appeal. You do not want a piece of music that sounds dated. The song should sound good every time it is played. If you want artists to take notice, or a national release, the rule is if you hear the song on the radio, it is too late. These songs were recorded months ago. Major established artists do not need a dance. Never go for the obvious - choose a cut from the album that may be released as a single or use a newer artist - possibly an independent artist. 3. Choose material that has a wide audience appeal. -
The THREE's a CROWD
The THREE’S A CROWD exhibition covers areas ranging from Hong Kong to Slavic vixa parties. It looks at modern-day streets and dance floors, examining how – through their physical presence in the public space – bodies create temporary communities, how they transform the old reality and create new conditions. And how many people does it take to make a crowd. The autonomous, affect-driven and confusing social body is a dynamic 19th-century construct that stands in opposition to the concepts of capitalist productivity, rationalism, and social order. It is more of a manifestation of social dis- order: the crowd as a horde, the crowd as a swarm. But it happens that three is already a crowd. The club culture remembers cases of criminalizing the rhythmic movement of at least three people dancing to the music based on repetitive beats. We also remember this pandemic year’s spring and autumn events, when the hearts of the Polish police beat faster at the sight of crowds of three and five people. Bodies always function in relation to other bodies. To have no body is to be nobody. Bodies shape social life in the public space through movement and stillness, gath- ering and distraction. Also by absence. Regardless of whether it is a grassroots form of bodily (dis)organization, self-cho- reographed protests, improvised social dances, artistic, activist or artivist actions, bodies become a field of social and political struggle. Together and apart. ARTISTS: International Festival of Urban ARCHIVES OF PUBLIC Art OUT OF STH VI: SPACE PROTESTS ABSORBENCY -
Choreography for the Camera: an Historical, Critical, and Empirical Study
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 4-1992 Choreography for the Camera: An Historical, Critical, and Empirical Study Vana Patrice Carter Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Art Education Commons, and the Dance Commons Recommended Citation Carter, Vana Patrice, "Choreography for the Camera: An Historical, Critical, and Empirical Study" (1992). Master's Theses. 894. https://scholarworks.wmich.edu/masters_theses/894 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. CHOREOGRAPHY FOR THE CAMERA: AN HISTORICAL, CRITICAL, AND EMPIRICAL STUDY by Vana Patrice Carter A Thesis Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Master of Arts Department of Communication Western Michigan University Kalamazoo, Michigan April 1992 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHOREOGRAPHY FOR THE CAMERA: AN HISTORICAL, CRITICAL, AND EMPIRICAL STUDY Vana Patrice Carter, M.A. Western Michigan University, 1992 This study investigates whether a dance choreographer’s lack of knowledge of film, television, or video theory and technology, particularly the capabilities of the camera and montage, restricts choreographic communication via these media. First, several film and television choreographers were surveyed. Second, the literature was analyzed to determine the evolution of dance on film and television (from the choreographers’ perspective). -
Dance Class Dress Code 2019 – 2020
Dance Class Dress Code 2019 – 2020 Class Description Photo Link Pre-School Dance, Motionwear Princess Seam Leotard (Cotton, Motionwear Princess Seam Leotard, COTTON, White) WHITE Creative Movement I, Ankle Socks (White) Creative Movement II Pre-Ballet Motionwear Princess Seam Leotard (Cotton, Motionwear Princess Seam Leotard, COTTON, PINK Pink) Ankle Socks (White) Primary I . Motionwear Princess Seam Leotard (Cotton, Motionwear Princess Seam Leotard, COTTON, PINK Pink) . Tights (Pink) Primary II . Motionwear Princess Seam Leotard (Cotton, Motionwear Princess Seam Leotard, COTTON, Light Blue) LIGHT BLUE . Tights (Pink) Primary III . Motionwear Princess Seam Leotard Motionwear Princess Seam Leotard, SILKSKYN, (Silkskyn, Royal Blue) ROYAL BLUE . Tights (Pink) Teen Ballet & . Motionwear Princess Seam Leotard Motionwear Princess Seam Leotard, SILKSKYN, (Silkskyn, Hunter Green) HUNTER GREEN Adult Ballet II . Tights (Pink) Level A . Motionwear Princess Seam Leotard Motionwear Princess Seam Leotard, SILKSKYN, (Silkskyn, Fuchsia) FUCHSIA . Tights (Pink) Level B . Motionwear Princess Seam Leotard Motionwear Princess Seam Leotard, SILKSKYN, (Silkskyn, Bright Red) BRIGHT RED . Tights (Pink) Level C . Motionwear Princess Seam Leotard Motionwear Princess Seam Leotard, SILKSKYN, (Silkskyn, Maroon) MAROON . Tights (Pink) Level D, . Motionwear Princess Seam Leotard Motionwear Princess Seam Leotard, SILKSKYN, (Silkskyn, Black) BLACK Boys & Girls Club, . Tights (Pink) Adult Ballet Youth Ballet Company . Motionwear Princess Seam Leotard (Cotton, Motionwear Princess Seam Leotard, COTTON, (Apprentice) Butter) BUTTER . Tights (Pink) Youth Ballet Company . Any style white leotard (Junior) . Tights (Pink) Youth Ballet Company . Any style black leotard (Senior) . On the 2nd Saturday of each month any color leotard is allowed. Tights (Pink) Boys Ballet . Motionwear Cap Sleeve Fitted T-Shirt . Motionwear Mens Cap Sleeve Fitted t-shirt, (Silkskyn, White) SILKSKYN, WHITE . -
The Cunningham Costume: the Unitard In-Between Sculpture and Painting Julie Perrin
The Cunningham costume: the unitard in-between sculpture and painting Julie Perrin To cite this version: Julie Perrin. The Cunningham costume: the unitard in-between sculpture and painting. 2019. hal- 02293712 HAL Id: hal-02293712 https://hal-univ-paris8.archives-ouvertes.fr/hal-02293712 Submitted on 31 Oct 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. SITE DES ETUDES ET RECHERCHES EN DANSE A PARIS 8 THE CUNNIN Julie PERRIN GHAM COS TUME: THE UNITARD IN-BETWEEN SCULPTURE AND PAINTING Translated by Jacqueline Cousineau from: Julie Perrin, « Le costume Cunningham : l’académique pris entre sculpture et pein- ture », Repères. Cahier de danse, « Cos- tumes de danse », Biennale nationale de danse du Val-de-Marne, n° 27, avril 2011, p. 22-25. SITE DES ETUDES ET RECHERCHES EN DANSE A PARIS 8 THE Julie PERRIN CUNNINGHAM COSTUME : THE UNITARD IN- Translated by Jacqueline Cousineau BETWEEN SCULPTURE from: Julie Perrin, « Le costume Cun- ningham : l’académique pris entre AND PAINTING sculpture et peinture », Repères. Ca- hier de danse, « Costumes de danse », Biennale nationale de danse du Val- de-Marne, n° 27, avril 2011, p. 22-25. -
Department of Dance and Choreography 1
Department of Dance and Choreography 1 DANC 102. Modern Dance Technique I and Workshop. 3 Hours. DEPARTMENT OF DANCE AND Continuous courses; 1 lecture and 6 studio hours. 3-3 credits. These courses may be repeated for a maximum total of 12 credits on the CHOREOGRAPHY recommendation of the chair. Prerequisites: completion of DANC 101 to enroll in DANC 102. Dance major or departmental approval. Fundamental arts.vcu.edu/dance (http://arts.vcu.edu/dance/) study and training in principles of modern dance technique. Emphasis is on body alignment, spatial patterning, flexibility, strength and kinesthetic The VCU Department of Dance and Choreography offers a pre- awareness. Course includes weekly group exploration of techniques professional program that provides students with numerous related to all areas of dance. opportunities for individual artistic growth in a community that values communication, collaboration and self-motivation. The department DANC 103. Survey of Dance History. 3 Hours. provides an invigorating educational environment designed to prepare Continuous courses; 3 lecture hours. 3-3 credits. Prerequisites: students for the demands and challenges of a career as an informed and completion of DANC 103 to enroll in DANC 104. Dance major or engaged artist in the field of dance. departmental approval. First semester: dance from ritual to the contemporary ballet and the foundations of the Western aesthetic as it Graduates of the program thrive as performers, makers, teachers, relates to dance, and the development of the ballet. Second semester: administrators and in many other facets of the field of dance. Alongside Western concert dance from the aesthetic dance of the late 1800s general education courses, dance-focused academics and creative- to contemporary modern dance. -
Dressing the Dancer: Identity and Belly Dance Students A
Dressing the Dancer: Identity and Belly Dance Students A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Margaret Anne Deppe IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Joanne Eicher, Elizabeth Bye May 2010 © Margaret Anne Deppe 2010 1 Abstract Dressing the Dancer: Identity and Belly Dance Students Dress is a primary tool in the public presentation of the self (Stone, 1962). Clothing, grooming, and the physical appearance of the dressed body contribute to self image in both professional and recreational settings. Attending belly dance classes is a popular leisure activity among American women, and for many, dress accouterments are a significant part of the class experience. Dressing of the self for recreational events gives individuals the opportunity to express alternate aspects of the self not typically evident in other social settings and provides an opportunity for female socialization. The appearance of vendors selling specialized dancewear for classes, seminars, and workshops suggests that dress plays a significant role for students at all levels of belly dance activity, not just among those who perform professionally. This study examines the types of dress worn for belly dance classes and the motivations for dress choices made by students learning to belly dance from professional instructors in dance classes, seminars, and workshops. The study will further investigate how dress contributes to the expression of identity in the belly dance class context. The methods used for this study are participant observation at locations and events where belly dance classes, workshops, and seminars are held as well as half-hour interviews with students attending those events. -
Advanced Ballet Technique (Majors) -- Daa 4210 Spring 2019
ADVANCED BALLET TECHNIQUE (MAJORS) -- DAA 4210 SPRING 2019 Tuesday/Thursday 8:45 – 10:15 AM G-11, McGuire Pavilion (though we may shift/rotate spaces all semester) INSTRUCTOR OF RECORD: Assistant Professor Elizabeth Johnson [email protected] *Email Policy: Use ONLY your UFL.EDU email account for e-mail correspondence related to class. Please include your name & class in the subject line or within the body of all correspondence. Syllabi are posted at CFA website under: Student & Parents: http://arts.ufl.edu/syllabi/ Lab Fees can be located at: http://registrar.ufl.edu/soc/201608/all/theadanc.htm Office: Room 234, Nadine McGuire Theatre & Dance Pavilion Office Hours: T/TH 10:30 AM – 12:00 PM, F by appointment Office Phone: 352-273-0522 REQUIRED TEXT: Readings from various sources will be provided digitally/free of charge. TBD. RECOMMENDED TEXT: TECHNICAL MANUAL AND DICTIONARY OF CLASSICAL BALLET by Gail Grant CATALOG DESCRIPTION: DAA 4210 Credits: 2; can be repeated with change in content up to 8 credits. Prereq: audition. Advanced ballet technique with discussion of terminology and style. COURSE DESCRIPTION: This class will move beyond the intermediate level of ballet technique to address advanced concepts. The language “concepts” indicates that the interweaving of embodied and theoretical material is at an advanced level physically, intellectually, and academically. This includes evidence of understanding in a more sophisticated way the course’s specific somatic lens. Class format will be that of the traditional ballet class including barre, centre, and petit and grand allegro. Readings, video viewings, and a related research assignment are required. -
Ceroc® New Zealand Competition Rules, Categories and Judging Criteria
Version: April 2018 Ceroc® New Zealand Competition Rules, Categories and Judging Criteria Ceroc® competition events are held in different regions across New Zealand. The rules for the Classic and Cabaret categories as set out in this document will apply across all of these events. Event organisers will provide clear details for all Creative category rules, which may differ between events. Not all categories listed below will necessarily be present at every event. Each event may have their own extra regional Creative categories that will be detailed on the event organiser’s web pages, which can be found via www.cerocevents.co.nz. Contact the event organiser for further details of categories not listed in this document. Contents 1 Responsibilities 1.1 Organiser Responsibilities 1.2 Competitor Responsibilities 2 Points System for Competitor Levels 2.1 How it works 2.2 Points Registry 2.3 Points as they relate to Competitor Level 2.4 Earning Points 2.5 Teachers Points 2.6 International Competitors 3 General Rules 3.1 Ceroc® Style 3.2 Non-Contact Dancing 3.3 Floorcraft 3.4 Aerials 3.5 Newcomer Moves 4 Classic Categories 4.1 Freestyle 4.2 Dance With A Stranger (DWAS) 5 Cabaret Categories 5.1 Showcase 5.2 Newcomer Teams 5.3 Intermediate and Advanced Teams 6 Creative Categories 6.1 to 6.15 7 Judging 7.1 Judging Criteria 7.2 Penalties and Disqualifications Version: April 2018 1 Responsibilities 1.1 Organiser Responsibilities The organiser is responsible for ensuring the event is run professionally and fairly. This is a complex undertaking and more information can be provided by the organiser or Ceroc® Dance New Zealand (Ceroc® NZ) upon request. -
Family Guide for the Nutcracker
Family Guide for The Nutcracker As of December 3, 2019. Subject to change. It is a great privilege to be part of The Nutcracker . You/your child have/has been selected as one of the 163 cast members out of the 245 students who auditioned. Cast members and their parent/guardians are expected to read all information about the production, stay fully informed throughout rehearsals and performances, respect this opportunity and conduct themselves professionally during this process. COMMUNICATION • Nearly all communication regarding The Nutcracker will be done via email and posted on- line. Bookmark this link! https://www.milwaukeeballet.org/school-academy/student-cast- information/ • We must have two contact numbers for each student dancer. • The cast contact list will be distributed in late November/early December so you can communicate with your child’s alternate cast member in case of an emergency. MANDATORY CAST MEETING • Saturday, October 5 from 1:00-2:30 at the Baumgartner Center for Dance • Mandatory for all student cast members and one parent/guardian of each child , even if you have been in the show in past years. Exceptions only for those who listed this conflict on their audition form. • Volunteer Sign-up details will be reviewed • Box Office will be open for ticket sales • Bring your calendar IMPORTANT PHONE NUMBERS AND WHEN TO CALL Baumgartner Center 414-902-2100 Monday-Friday and during weekend rehearsals Staff Cell Phone 414-334-1114 For use when students are at the Marcus Center VENUES Baumgartner Center for Dance 128 N Jackson St, Milwaukee, WI 53202 • Location of auditions, cast meeting, costume fittings, studio rehearsals • Free street parking available • Loading zone for quick drop off and pickup.