Ballet Terms Definition
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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. -
Costume List
CSBS DANCE DISPLAY 2019: LIGHTS, CAMERA, ACTION GRANGEMOUTH COSTUME LIST Please note below the items you will hire and those you need to supply for your child’s dance display. Hire money should be returned in the brown envelope provided BEFORE the dress rehearsal on Thursday 13 June. EVERY student will require a CSBS t-shirt for the Finale. It should be worn with full length black trousers or leggings and black shoes. CLASS YOU SUPPLY YOU HIRE £ Preschool Pink ballet shoes, ballet Burgundy/cream dress tights, ½” burgundy 4 ribbon for hair, teddy Pre-Primary Pink ballet socks and Green/black tutu, frog ballet shoes, flo green eyes scrunchie 6 Boys – black ballet socks Boys – green shorts , and shoes black vest, frog eyes Primary ballet Black ballet shoes / jazz Stripey t-shirt, mask shoes, black dance 3 socks, black dance trousers, white scrunchie Grade 1 ballet Pink ballet tights, ballet White velvet tutu shoes, ½” white ribbon 4 for hair Junior Jazz White jazz shoes, white Tiger top and tutu, dance socks, yellow brown unitard 5 scrunchie Boys - Tiger vest and shorts Junior Tap Black tap shoes, white Brown unitard, gold dance socks, yellow sequin skirt 2 scrunchie BOY – Brown unitard, yellow shorts Novice Jazz Black jazz shoes, white Red skirt and top dance socks, red 4 scrunchie BOYS –Red shorts and top Novice tap Black tap shoes, black Black tie, black sequin dance socks, black jazz hat pants, white long sleeve 2 school shirt, black scrunchie Grade 2 ballet Bare legs or tan tights, Beige dress, headband, 5 ballet shoes coloured scarves -
Is a Genre of Dance Performance That Developed During the Mid-Twentieth
Contemporary Dance Dance 3-4 -Is a genre of dance performance that developed during the mid-twentieth century - Has grown to become one of the dominant genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S. and Europe. -Although originally informed by and borrowing from classical, modern, and jazz styles, it has since come to incorporate elements from many styles of dance. Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles. -It also employs contract-release, floor work, fall and recovery, and improvisation characteristics of modern dance. -Involves exploration of unpredictable changes in rhythm, speed, and direction. -Sometimes incorporates elements of non-western dance cultures, such as elements from African dance including bent knees, or movements from the Japanese contemporary dance, Butoh. -Contemporary dance draws on both classical ballet and modern dance -Merce Cunningham is considered to be the first choreographer to "develop an independent attitude towards modern dance" and defy the ideas that were established by it. -Cunningham formed the Merce Cunningham Dance Company in 1953 and went on to create more than one hundred and fifty works for the company, many of which have been performed internationally by ballet and modern dance companies. -There is usually a choreographer who makes the creative decisions and decides whether the piece is an abstract or a narrative one. -Choreography is determined based on its relation to the music or sounds that is danced to. . -
Amod B C End 3:39 @ 45 Rpm
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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. -
Types of Dance Styles
Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together. -
Recital C Worksheet (Crew, Chaperones)
Recital C Worksheet Saturday 4:00pm (in order of appearance) Class Music Costume Quick Changes/ Notes Opener Another Day in the Sun Bright Bold Outfits (LA LA Land) Intro to Dance 1 Sat 11:00 Have You Seen My Teddy Purple/White Tutu Bear? Intro to Dance 2 Sat 11:00 Oh What a Beautiful Peach/Yellow Tutu Morning Pre/Ballet Tap 1 Sat 9:00 Mary Poppins Medley Pink/ White Polka Dot Dress CHIMNEY SWEEPS Company B2 (4) Pre/Ballet Tap 2 Sat 9:00 White/Red Striped Dress Elem Tap Grey Velour, Colored Socks/Scarves Sr Company A A Little Party Purple Tuexdo Biketard Ava W, Leoni F, Carina R, Jillian S, Izzi W (1) Danceworks 1C Tap September Lime Tutu Dress with Polka Dot Top Grayson F, Chiara S, Beck S, Rachel W (4) Fundamentals 1 Mon Ballet Leap! Pink/Aqua Short Tutu BARRES Fundamentals 2 Mon Ballet Pink Euro Tutu Ava W, Leoni F, Carina R, Sophia M, Izzi W (2) Fundamentals 3 Thu Ballet Light Purple Euro Tutu Madyson Daley, Madison Dorman, Julia Wang (4) Hip Hop 4 Get Woah Grey Hoodie, Metallic Turq Pants Mariana Nijensohn (2) Ava Henderson, Kate Shapiro (4) Company B2/Jr Company A What the World Needs Sand, Beige, Neutral Dresses Now Junior Tap/Senior Tap What is Jazz White Jacket, Black Leggings, Red Hat Excel Jazz 6 (5) Dance Team My New Philosophy White Polka Dot Top, Vest, Blue Pants Mariana Nijensohn (2) Grayson F, Chiara S, Beck S, Rachel W (3) Prima Ballerina 3 Princess Diaries Waltz Royal Top, Pink Euro Tutu Julia Wang (4) Teen Dance Collective Raise You Up Red, Gold, Turq, Pink Dress Company C2 Last Blues Song Blue Leotard Danceworks 1C Ballet Radetsky March Ivory Tutu with Blue Sash Excel Jazz 6 Me Too Emerald Biketard Sr Adv HH (4) Fundamentals 2 Mon Tap Stomp Clap Tappa Green/Blue Biketard Excel Ballet 2 Royals Ivory Long Dress Extra Fun Jazz 3 #squadgoals Black/Lime Jersey, Skirt Madison Dorman (3) Fundamentals 1 Mon Tap Crazy Little Thing Called Red Tutu Dress <3 Sr. -
DVIDA American Smooth Silver Syllabus Figures
Invigilation Guidance/ DVIDA/SYLLABUS/ Current'as'of'October'15,'2015' Extracted'from: Dance$Vision$International$Dancers$Association, Syllabus$Step$List$ Revised/May/2014 Invigilation Guidance/ AMERICAN)SMOOTH) / DVIDA American Smooth Bronze Syllabus Figures *Indicates figure is not allowable in NDCA Competitions. Revised January 2014. View current NDCA List Waltz Foxtrot Tango V. Waltz Bronze I 1A. Box Step 1. Basic 1A. Straight Basic 1. Balance Steps 1B. Box with Underarm Turn 2. Promenade 1B. Curving Basic 2A. Fifth Position Breaks 2. Progressive 3A. Rock Turn to Left 2A. Promenade Turning Left 2B. Fifth Position Breaks 3A. Left Turning Box 3B. Rock Turn to Right 2B. Promenade Turning Right with Underarm Turn 3B. Right Turning Box 3. Single Corté 4. Progressive Rocks Bronze II 4A. Balance Steps 4. Sway Step 5A. Open Fan 3. Reverse Turn 4B. Balance and Box 5A. Sway Underarm Turn 5B. Open Fan with 4. Closed Twinkle 5. Simple Twinkle 5B. Promenade Underarm Turn Underarm Turn 6. Two Way Underarm Turn 6A. Zig Zag in Line 6. Running Steps 7. Face to Face – Back to Back 6B. Zig Zag Outside Partner 7. Double Corté 7. Box Step 8A. Reverse Turn Bronze III 8A. Reverse Turn 8. Twinkle 8B. Reverse Turn with 5A. Crossbody Lead 8B. Reverse Turn with 9. Promenade Twinkles Outside Swivel 5B. Crossbody Lead with Underarm Turn 10A. Turning Twinkles to 9. Right Side Fans Underarm Turn 9A. Natural Turn Outside Partner 10. Contra Rocks 6. Hand to Hand 9B. Natural Turn with 10B. Turning Twinkles to Outside 11A. Change of Places 7A. Forward Progressive Underarm Turn Partner with Underarm Turn 11B. -
Recital Costume Requirements 2018 *In Show Order* Class/Name/Time Costume Footwear/Tights/Undergarments Hair EC Ballet Age 6 Monday 5 P.M
Recreational “A” Recital Costume Requirements 2018 *In Show Order* Class/Name/Time Costume Footwear/Tights/Undergarments Hair EC Ballet Age 6 Monday 5 p.m. Blue & Lavendar Tutu Ballet Pink Tights* High Bun, Hair Piece “A Gift of a Friend” Pink Ballet Shoes* Miss Danielle Jazz/Tap Combo Age 8 Tue 5:45 Red Leotard, Red fringe shorts Caramel Tights* High Pony-tale Jazz “Did I Mention” Black Jazz Shoes* Miss Samm Jazz/Tap Combo Age 7 Tue 5:45 Teal Leotard and Skirt Caramel Tights* High Bun, Hair Piece Tap “All Shook Up” Black Tap Shoes* Miss Dana EC Ballet Age 5 Monday 6 p.m. Pink Tutu Ballet Pink Tights* High Bun, Hair Piece Fly to Your Heart” Pink Ballet Shoes* Miss Danielle Jazz/Tap Combo Age 6 Mon 6 pm Red leotard, black jazz shorts Caramel Tights* High Bun, Hair Piece Jazz “Steam Heat” Black Jazz Shoes* Miss Samm Boy’s Hip Hop Age 7-10 Tue 6 pm Black Pants, yellow t-shirt, blue Black/white converse* Neatly groomed hair “Time Has Come” vest Tall black socks* Mr. Lance Ballet/Tap Combo Age 5/6 Sat 10 Peach Tutu Ballet Pink Tights* High Bun, Hair Piece “What A Wonderful World” Pink Ballet Shoes* Miss Elina Jazz/Tap Combo Age 8 Tue 5:45 Red Leotard, black sequin skort Black Tap Shoes* High Bun, Hair Piece Tap “Hit the Road Jack” Caramel Tights* Miss Samm ******INTERMISSION********* ******INTERMISSION********* ******INTERMISSION********* ******INTERMISSION********* Ballet Rec Age 7 Tuesday 5 p.m. Girls: Purple & Gold Tutu Ballet Pink Tights* High Bun, Hair Piece “Something There” Boy: Black pants, white top Pink Ballet Shoes* Miss Dana Boy: Black ballet shoes* Hip Hop Age 5 Saturday 1 p.m. -
Big Poppa Eʼs Bio Quiz!
TABLE OF CONTENTS POETRY the wussy boy manifesto! ............................................................. 1 wallflower .................................................................................... 4 frat boy ......................................................................................... 6 worm boy ..................................................................................... 9 fly boy ........................................................................................ 10 jesus moshpit .............................................................................. 12 the lonesome ballad of josephus moshpit .................................. 13 receipt found in the parking lot of super walmart ...................... 16 just take another drink ................................................................ 19 potty is pee ................................................................................. 20 the miracle corner pocket luck shot ........................................... 22 JUVENALIA minuet ........................................................................................ 23 sexuality ..................................................................................... 24 routine ........................................................................................ 25 party boy .................................................................................... 26 love poem #9 .............................................................................. 28 PROSE how to dance like a wussy -
'What Ever Happened to Breakdancing?'
'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud. -
Conference Program
CORPS de Ballet International 11th Annual Teacher Conference July 22-26, 2009 Hosted by The School for Classical & Contemporary Dance Texas Christian University Fort Worth, Texas Ballet Pedagogy as Embodied Practice: The Art and Craft of Teaching Valse-Fantaisie, by George Balanchine ©The George Balanchine Trust. Dancer: Tess Bernard From DanceTCU Spring Concert: Effortless (April 2008) Photography: Marty Sohl Photograph 11th Annual Teacher Conference July 22-26, 2009 Ballet Pedagogy as Embodied Practice: The Art and Craft of Teaching Hosted by: The School for Classical & Contemporary Dance at TCU Conference Guest Presenters Kim Abel Master Teacher Jennifer Jackson Lecturer, University of Surrey Choreography teacher – Royal Ballet School Upper Division Raymond Lukens Artistic Associate, ABT/ NYU Masters Program Jacqueline Kennedy Onassis School at ABT Faculty Ben Stevenson, O.B.E. Artistic Director, Texas Ballet Theater Choreographer, Master Teacher Lifetime Achievement Award (LAA) to Sandra Noll Hammond Artist, Author, Pedagogue, Scholar Other Presenters: Distinguished Members of CORPS de Ballet International Sandra Allen, Brigham Young University David Curwen, Western Michigan University Molly Faulkner, Ph.D., Palomar College Sharon Garber, Western Michigan University Christine Knoblauch-O’Neal, Washington University St. Louis Mishele Mennett, DeSales University Sandra Noll Hammond, University of Hawaii (retired) Anuschka Roes, Canada’s National Ballet School Conference Partners: Texas Christian University School for Classical & Contemporary Dance at TCU, Ellen Shelton, Director TCU College of Fine Arts, Dr. Scott Sullivan, Dean Fort Worth Convention and Visitors Bureau The Dance Council The Dance Shop Texas Ballet Theater School, Kathy Warakomsky, Principal American Repertory Ensemble, David Justin, Artistic Director July 23, 2009 Dear CORPS de Ballet members, guests and friends, It is a great thrill to welcome each of you to the 11th Annual CORPS de Ballet International Teacher Conference at Texas Christian University.