Rhythmical Nuance Sustained and Sudden Time
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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. -
The Mignon Furman Performance Awards 1000S of Dancers!
21st AAB Year! American Academy of Ballet MIGNON FURMAN, FOUNDING DIRECTOR TEACHERS’ SEMINAR & THE MIGNON FUR MAN PERFORMANCE AWARDS CERTIFICATION August 1 – 8, 2019 Teachers attend from the USA, Brazil, Argentina, Canada Japan, South Africa, Mexico, Portugal, Israel, and Spain. at ADELPHI UNIVERSITY, GARDEN CITY, NEW YORK REASONS TO ATTEND THE SEMINAR Mignon Furman 10 AND THE PERFORMANCE AWARDS Founder of the AAB, Teacher, Choreographer, Educationist. CERTIFICATION EVERYTHING MOVES FORWARD. “ THEREFORE, I RECOMMEND: ith her talents, courage, and determination KEEP IN TOUCH WITH YOUR ART. to give definition to her vision for ballet PERFORMANCE AWARDS — AGRIPPINA VAGANOVA, ” Weducation, Mignon Furman founded the American and “Steps” programs. Most wonderful programs for “BASIC PRINCIPLES OF CLASSICAL BALLET” (1934) Academy of Ballet: It soon became the premier teachers and their dancers. (View the brochures on Summer School in the United States. our website.) he composed the Performance Awards S which are taught all over the USA, and are an CERTIFICATION : international phenomenon, praised by teachers Become a certified Performance Awards teacher. in the USA and in many other countries. The Hang your diploma in your studio. success of the Performance Awards is due to Mignon’s choreography: She was a superb choreographer. Her many compositions are FOUR DANCES : free of cliché. They have logic, harmony, style, To teach in your school. (See page 5.) and intrinsic beauty. OBSERVE : Our distinguished argot Fonteyn, a friend of Mignon, gave faculty teaching our Summer School dancers. her invaluable advice, during several You have the option of taking the classes. Mdiscussions about the technical, and artistic aspects of classical ballet. -
Technique: Battement Tendu Once Upon a Ballet™
Technique: Battement Tendu Once Upon A Ballet™ Tendus are done during “circle barre” or “centre barre” up through Pre-Ballet II. In Ballet 1, students begin performing tendus at the barre. RECOMMENDED PROGRESSION OF BATTEMENT TENDU: ● 2 year olds should be able to “tendu” with the help of a prop (such as a bean bag, mat or tape for them to point to with their toes). They may also need the help of a parent/caregiver. ● 3 year olds should be able to tendu to the front in parallel with correct posture. ● 4 years olds should be able to tendu to the front from a "slight V" 1st position with correct posture. ● 5 and 6 year olds should tendu front and side from a "natural" 1st position with correct posture. Students should be introduced to completing tendus at varying speeds. When done slowly, there should be emphasis placed on rolling through the demi pointe to close. ● 7 through 9 year olds should tendu to the front, side and back from 1st position. Tendus should be introduced in a slow tempo with emphasis placed on rolling through the demi pointe. Later in the year, students should also be introduced to tendu front, side and back from 5th position. AGE-APPROPRIATE IMAGES AND WORDS TO USE: ● To help students work through their feet correctly, use the word “slide” out and “slide” in for tendus. ● If telling your students to “straighten” their knees does not obtain results, try telling them to “stretch their legs long” or to “keep their knees stiff”. Sometimes using different language will click better with certain students. -
Ballet Terms Definition
Fundamentals of Ballet, Dance 10AB, Professor Sheree King BALLET TERMS DEFINITION A la seconde One of eight directions of the body, in which the foot is placed in second position and the arms are outstretched to second position. (ah la suh-GAWND) A Terre Literally the Earth. The leg is in contact with the floor. Arabesque One of the basic poses in ballet. It is a position of the body, in profile, supported on one leg, with the other leg extended behind and at right angles to it, and the arms held in various harmonious positions creating the longest possible line along the body. Attitude A pose on one leg with the other lifted in back, the knee bent at an angle of ninety degrees and well turned out so that the knee is higher than the foot. The arm on the side of the raised leg is held over the held in a curved position while the other arm is extended to the side (ah-tee-TEWD) Adagio A French word meaning at ease or leisure. In dancing, its main meaning is series of exercises following the center practice, consisting of a succession of slow and graceful movements. (ah-DAHZ-EO) Allegro Fast or quick. Center floor allegro variations incorporate small and large jumps. Allonge´ Extended, outstretched. As for example, in arabesque allongé. Assemble´ Assembled or joined together. A step in which the working foot slides well along the ground before being swept into the air. As the foot goes into the air the dancer pushes off the floor with the supporting leg, extending the toes. -
Dance Department Information Guide
2017-2018 Celebrating 35 Years of Dance Education Dance Department Information Guide Dr. Sandra Reed, Principal Marlena Duncan, Dance Department Chair Lisa Brown, Dance Faculty Carleigh Dunbar, Dance Faculty Power Academic and Performing Arts Complex 1120 Riverside Drive ** Jackson, MS 39202 Main Office: (601) 960-5387 Fax: (601) 968-5157 Website: http://www.jackson.k12.ms.us/power 1 Table of Contents Table of Contents/Important Contact Information 2 National Standards Vision/ School Mission, Vision, & Motto/ 3 Dance Dept. Mission, Vision, & Motto 4 About Power APAC School/Arts Program 5 Where are They Now? 6 Welcome Back Letter 7 Calendar of Events 8 Dress Code (Explanation of Dress Grade) 9 Explanation of Daily Participation Grade 10 Syllabus (Dance Fee)/Policy & Procedure/Portfolio Requirements 11-14 Levels of Dance 15-16 Dance Contract(s) 17-18 Theatre Etiquette 19 JPS ANTI-BULLYING POLICY 20-21 A Cubed Membership/Information 22-23 General Parental Permission Form 24 Emergency Contact Information 25 Adopters 26 DANCE FACULTY EMAIL ADDRESSES Marlena Duncan, Dance Chair [email protected] Lisa Brown, Dance Faculty [email protected] Carleigh Dunbar, Dance Faculty TBD Please check the website: http://www.jackson.k12.ms.us/power for a directory of all faculty, administration, and staff for updated news, school calendars, tutoring and testing schedules, etc. School number (601) 960-5387 The following information is subject to change due to APAC Arts Departmental requirements and will adhere to all JPS policies and procedures outlined in the Student Handbook & Code of Conduct. 2 National Standards for Arts Education Vision: The arts have been an inseparable part of the human journey; indeed, we depend on the arts to carry us toward the fullness of our humanity. -
Classical Ballet Classwork & Teaching Suggestions
Classical Ballet 3 Classwork & Teaching Suggestions for the Ballet Teacher of Intermediate to Advanced Students Ruth H. Brinkerho, B.A. Former Director, Utah Ballet Academy Registered Teacher, Royal Academy of Dance Classical Ballet 3: Classwork and Teaching Suggestions for the Ballet Teacher of Intermediate to Advanced Students By Ruth H. Brinkerhoff, B.A. Former Director, Utah Ballet Academy Registered Teacher, Royal Academy of Dance Copyright © 2016, The Ballet Source Cover design and illustrations © 2016, Eric Hungerford. All rights reserved. No portion of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the prior written permission of the copyright holder. The Teacher Must Decide The Ballet Arts series of manuals provides information, activities and suggestions for the teaching of ballet to children. The materials in these books have worked well for the author, and for other teachers of her acquaintance. However, the author cannot know what approach or which physical activities will be appropriate and safe for any particular teacher, class, or student. It is the responsibility of each ballet teacher to use his or her best judgment in applying the information and teaching suggestions contained herein, and in using the activities, enchainements, dances and teaching materials contained in the Ballet Arts series from The Ballet Source. Contents Index 3 I. Improving Technique and Artistry 4 Using This Manual 5 Suggestions For Improving Technique and Artistry 10 Correct Muscle Use 17 Warming Up For Ballet 22 II. Classes 23 Sample Ballet Classes 24 To Improve Their Sense of Balance 55 For An Advanced Class 58 Classes With Pointe & Boys Work 61 III. -
Dictionary of Classical Ballet Terminology Free
FREE DICTIONARY OF CLASSICAL BALLET TERMINOLOGY PDF Rhonda Ryman | 100 pages | 14 Jun 2007 | Royal Academy of Dance | 9781904386872 | English | London, United Kingdom Ballet Terms A To Z - Dictionary of basic Ballet moves In ballet, there are several terms that are used. Dictionary of Classical Ballet Terminology can be easy for a beginner to feel lost with all of the terminology! These movements are typically done after warmup and closer toward the last part of class to avoid injury, and to maximize a dancers range while warmed up. Abstract ballet are ballets without a plot unlike the Nutcracker, Swan Lake, etc. Most often, contemporary ballets are considered abstract ballets. Arabesque is a position in ballet where the body is supported on a single leg, while the other leg is extended directly behind the body with a straight knee. There are several different versions of arabesque such as first, second, and third arabesque. They can also be done at different heights or with a straight leg or in plie. The basics being that the two legs join together in the air. An attitude is a position where the dancers stands on one leg with the other lifted, either in the front, or back. The leg that is in the air is usually slightly bent at the knee, creating an approximate degree angle. En avant refers to moving towards the front. En avant is not an actual step or position in ballet, but is used in conjunction with other terms, such as tendu en Dictionary of Classical Ballet Terminology. Adagio refers to slow movements in ballet. -
Parent/Student Handbook
THE Academy of Dance Arts Ballet/Pointe Jazz/Contemporary Tap Lyrical Modern Hip Hop Young Children’s Programs Adult Classes Stretch & Strengthening Discover Dance Parent/Student Handbook “Dance is the hidden language of the soul.” Martha Graham Official School of Illinois Ballet Theatre Youth Company & Academy Dance Alliance Performing and Competing Company Studios & Office 1524 Centre Circle, Downers Grove, IL 60515 School Administrator & Assistant to Director ....................................... Pam Gazdziak Front Desk Staff ................................ Kim Winter, Dawn DeBenedictis & Judy Erhart Alliance Office Staff ............................................ Dawn DeBenedictis & Judy Omelson Costume Designers ........................................................Sabena Sellnow & Karen Ejzak Academy Website & Advertising ..............................................................MicroNet, Inc. All Office ................................................................................................... (630) 495-4940 Fax: ............................................................................................................. (630) 495-4983 email: ............................................................... [email protected] Website: ............................................................www.theacademyofdanceartshome.com *Messages for all faculty and staff can be left in their mailboxes at the front desk. Artistic Staff Sherry Moray, Artistic Director & Founder ....................................(630) -
Beginning Ballet Vocabulary Once Upon a Ballet™
Beginning Ballet Vocabulary Once Upon A Ballet™ While it is up to the school and/or teacher as to how well their students know the French terms of the ballet steps they practice during class, at Once Upon A Ballet, we want to encourage as much use of the correct French terms as possible during class--particularly beginning in Ballet 1. This resource is a guide to the ballet steps learned in Ballet 1 (according to the Once Upon A Ballet Curriculum). Translations and descriptions are provided for each step for teachers. Activity sheets are provided at the end of this guide for students. Several excellent (and free) online ballet dictionaries include: ● American Ballet Theatre’s Ballet Dictionary: http://www.abt.org/education/dictionary/ ● Royal Opera House Ballet Glossary: http://www.roh.org.uk/learning/learning-platform/unit/ballet-glossary/ ● Royal Opera House Ballet Glossary Video Playlist: https://www.youtube.com/playlist?list=PL7E40E6E2DAB561B5 ● BalletHub’s Ballet Term Dictionary: https://ballethub.com/ballet-terms-dictionary/ TERMS, TRANSLATIONS + TEACHER GUIDANCE Demi Plié Translation: To bend; a half-bend of the knees Students should be able to do a simple demi plié in 1st, 2nd, and 5th positions while keeping their heels on the floor and backs straight Battement Tendu Translation: To stretch Students should be able to tendu to the front, side and back from 1st position. Tendus should be introduced in a slow tempo with emphasis placed on rolling through the demi pointe. Later in the year, students should also be introduced to tendu front, side and back from 5th position. -
Ballet West Student In-Theater Presentations
Ballet West for Children Presents Ballet and The Sleeping Beauty Dancers: Soloist Katie Critchlow, First Soloist Sayaka Ohtaki, Principal Artist Emily Adams, First Soloist Katlyn Addison, Demi-Soloist Lindsay Bond Photo by Beau Pearson Music: Peter Ilyich Tchaikovsky Adapted from Original Choreography: Marius Petipa Photo: Quinn Farley Costumes: David Heuvel Dear Dance enthusiast, Ballet West is pleased that you are viewing a Ballet West for Children Presentation as a virtual learning experience. Enclosed you will find the following information concerning this performance: 1. Letter from Artistic Director, Adam Sklute. 2. Letter to the parent/guardian of the students who will be viewing. 3. Specific Information on this Performance, including information on the ballet, music, choreography, follow-up projects and other pertinent material has also been compiled for the teacher's information. 4. We report to the Utah State Board of Education each year on our educational programs, and need your help. Usually, we gather information from teachers as to how the student reacted and what they may have learned from their experience. We’d love to hear from you by filling out our short Survey Monkey listed on our virtual learning page. We don’t have a way to track who and how many people are taking advantage of this opportunity and this will help us to know how we’re doing. You can always email me directly. Thank you very much for your interest in the educational programs of Ballet West. Please call if I may provide any additional information or assistance to you and your school. I can be reached at 801-869-6911 or by email at [email protected]. -
Coppelia-Teacher-Resource-Guide.Pdf
Teacher’s Handbook 1 Edited by: Carol Meeder – Director of Arts Education February 2006 Cover Photo: Jennifer Langenstein – Pittsburgh Ballet Theatre Principal Dancer Aaron Ingley – Pittsburgh Ballet Theatre Corps de Ballet Dancer Ric Evans – Photographer 2 Introduction Dear Educator, We have often thanked you, the academic community and educators of our children, for being partners with us in Arts Education. We have confirmed how the arts bring beauty, excitement, and insight into the experience of everyday living. Those of us who pursue the arts as the work of our lives would find the world a dark place without them. We have also seen, in a mirror image from the stage, how the arts bring light, joy, and sparkle into the eyes and the lives of children and adults in all walks of life. Pittsburgh Ballet Theatre strives not only to entertain but to demonstrate the significance and importance of presenting our art in the context of past history, present living, and vision for the future. In this quest we present traditional ballets based on classic stories revered for centuries, such as Coppelia and Cinderella; and contemporary ballets by artists who are living, working, and creating everyday, such as our jazz program Indigo In Motion and the premiers we have done to the music of Sting, Bruce Springsteen, and Paul Simon. In this way we propel our art into the future, creating new classics that subsequent generations will call traditional. It is necessary to see and experience both, past and present. It enhances our life and stirs new ideas. We have to experience where we came from in order to develop a clear vision of where we want to go. -
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.