Classical Ballet Classwork & Teaching Suggestions
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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. -
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 -
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. -
Getting to “The Pointe”
Running head: GETTING TO “THE POINTE” GETTING TO “THE POINTE”: ASSESSING THE LIGHT AND DARK DIMENSIONS OF LEADERSHIP ATTRIBUTES IN BALLET CULTURE Ashley Lauren Whitely B.A., Western Kentucky University, 2003 M.A., Western Kentucky University, 2006 Submitted to the Graduate Faculty under the supervision of Gail F. Latta, Ph.D. in partial fulfillment of the requirements for the degree of Doctor of Education in Leadership Studies Xavier University Cincinnati, OH May 2017 Running head: GETTING TO “THE POINTE” Running head: GETTING TO “THE POINTE” GETTING TO “THE POINTE”: ASSESSING THE LIGHT AND DARK DIMENSIONS OF LEADESHIP ATTRIBUTES IN BALLET CULTURE Ashley Lauren Whitely Dissertation Advisor: Gail F. Latta, Ph.D. Abstract The focus of this ethnographic study is to examine the industry-wide culture of the American ballet. Two additional research questions guided the investigation: what attributes, and their light and dark dimensions, are valued among individuals selected for leadership roles within the culture, and how does the ballet industry nurture these attributes? An understanding of the culture was garnered through observations and interviews conducted in three classically-based professional ballet companies in the United States: one located in the Rocky Mountain region, one in the Midwestern region, and one in the Pacific Northwest region. Data analysis brought forth cultural and leadership themes revealing an industry consumed by “the ideal” to the point that members are willing to make sacrifices, both at the individual and organizational levels, for the pursuit of beauty. The ballet culture was found to expect its leaders to manifest the light dimensions of attributes valued by the culture, because these individuals are elevated to the extent that they “become the culture,” but they also allow these individuals to simultaneously exemplify the dark dimensions of these attributes. -
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. -
Dossier De Presse
DOSSIER DE PRESSE ÉDITO Depuis 1974, le Sporting Monte-Carlo accueille les Il y a des artistes incontournables qui sont liés à notre plus grandes stars, c’est sa marque de fabrique. Ses histoire musicale. C’est pourquoi nous nous devions soirées exceptionnelles autour d’un dîner-spectacle de recevoir JOHNNY HALLYDAY pour deux concerts. ont marqué des générations. Chaque année, il nous Cette année, nous créerons un nouveau spectacle : faut maintenir cette tradition, mais aussi la JAKE AND ELWOOD – THE BLUES BROTHERS STORY. renouveler, la faire évoluer pour rester dans l’air du C’est un bel hommage à la musique afro-américaine temps et regarder l’avenir. que nous rendrons à travers ce show spécialement imaginé pour cette saison d’été. Pour cette édition 2015, nous avons voulu présenter un plateau artistique qui nous amènera vers d’autres Programmer le Monte-Carlo Sporting Summer Festival sons, d’autres styles, d’autres tendances de la dans ce lieu mythique qu’est la Salle des Étoiles est un musique et de la performance. Une large place sera travail de longue haleine, et le travail de toute une ainsi faite aux concerts debout, qui nous permettent équipe, celle de la Direction Artistique du groupe d’accueillir un nouveau public, et de rajeunir l’image Monte-Carlo Société des Bains de Mer. Nous sommes du Festival. très fiers de pouvoir vous présenter le plus beau des festivals d’été et participer ainsi à l’animation estivale Un concert exceptionnel de TONY BENNETT & de cette belle Principauté de Monaco. LADY GAGA ouvrira cette saison le 4 juillet, une rencontre entre deux grandes voix du jazz et de la pop, un duo que nous ne pouvions imaginer tant il semble à l’opposé, et qui se retrouve sur un répertoire intemporel, symbole de l’histoire du Sporting Monte-Carlo. -
American Ballet Theatre's National Training
AMERICAN BALLET THEATRE’S NATIONAL TRAINING CURRICULUM PRESENTS “RAISING THE BARRE: THE CUBAN METHOD,” OCTOBER 19-20, 2019 Laura Alonso, Rodolfo Castellanos Cardoso and Caridad Martinez To Serve as Guest Faculty for Two-Day Teacher Training Workshop American Ballet Theatre’s National Training Curriculum will conduct a two-day workshop focusing on the Cuban methodology of ballet training on Saturday and Sunday, October 19 and 20 from 10:00 AM–6:00 PM at ABT’s 890 Broadway studios in New York City. The workshop is open to dance teachers of all levels. Intermediate/advanced-level students (ages 13–18) are welcome to enroll with their teachers. This interactive weekend workshop will explore the roots of the Cuban methodology of ballet training and the intertwined history of the Cuban heritage with American Ballet Theatre. The unique Cuban style is a specific curriculum created on formations and progressions, which combines European, American and Afro-Cuban traditions. Hosted by Cynthia Harvey, Artistic Director of ABT’s National Training Curriculum and the ABT Jacqueline Kennedy Onassis School, the two-day workshop will feature technique and pas de deux classes for teachers and students, as well as a history lecture, film showing and panel discussions on the Cuban method. Guest faculty for the workshop include renowned teacher and coach Laura Alonso, dance historian Allison Eggers and former principal dancers of the National Ballet of Cuba, Rodolfo Castellanos Cardoso and Caridad Martinez. ABT’s National Training Curriculum is a program for the development and training of young students that embraces sound ballet principles and incorporates elements of the French, Italian and Russian schools of training. -
Nutcracker Study Guide, 2012 Salt Creek Ballet Page 2
STUDY GUIDE SALT CREEK BALLET’S PRODUCTION OF EXCERPTS FROM THE NUTCRACKER SPONSORED BY THE ADDISON CENTER FOR THE ARTS A GUIDE FOR TEACHERS GRADES 2-5 ALIGNED WITH THE ILLINOIS STATE STANDARDS Dear Teacher: We know that classroom time is precious, so we thank you for taking the time to use this resource and enrich your students’ experience of The Nutcracker ballet! The purpose of this packet is to both assist you in preparing your students for Salt Creek Ballet’s production of The Nutcracker ballet as well as provide you with several ways in which to integrate the dance experience into your daily academic curriculum. Although the students will only view specific portions of the ballet (the end of Act I and part of Act II), we encourage you and your students to learn more about ballet and the complete story of The Nutcracker ballet by using the pre-performance discussion activities provided below. After attending the performance, you may help the students “dive more deeply” by using any of the suggested post-performance writing or discussion activities provided. TABLE OF CONTENTS Suggested Pre-Performance Activities…….page 2 About Ballet……………………………………………page 2 About the Theater…………………………………. page 4 About the Music……………………………………..page 4 Background Information…………………………page 5 Ballet and Dance Vocabulary……………….…page 7 Creating a Ballet………………………………….…page 8 What Students can expect………………………page 8 Ideas for Curriculum Integration…………….page 9 Selected Bibliography and Resources……page 12 SUGGESTED PRE-PERFORMANCE ACTIVITIES Basic Activities: Read aloud or have the students read the story of The Nutcracker ballet. (A synopsis of SCB’s version of story is included in this packet.) Listen to excerpts from the Tchaikovsky score and notice the ways the music changes with each different scene in the story. -
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. -
Effective Use of Turnout Biomechanical, Neuromuscular, and Behavioral Considerations
Effective Use of Turnout Biomechanical, Neuromuscular, and Behavioral Considerations Gayanne Grossman, Ed.M., P.T., Donna Krasnow, M.S., and Thomas M. Welsh, Ph.D. Abstract the potential for using science and its spin-off tech- This article offers a specific example of the benefits nologies to improve dance training and performance. that might result from integrating scientific princi- In addition to the benefits above, some of the specific ples into the daily practice of dance training. Using performance improvements the movement sciences the mastery of turnout as our focus, we 1. describe may be able to help dancers achieve include higher the anatomy of turnout in terms familiar to the extensions and arabesque, longer leaps, cleaner turns, dance artist, 2. explore conditioning and imagery and more effective use of turnout. Once dancers, and work designed to improve the use of turnout, and those who train them, begin to experience some of 3. outline a practical strategy for helping dancers the benefits of using science to inform the dancer’s use new turnout skills while they are dancing. approach to training the instrument of their art form, the human body, the adoption of science-based ver the past 70 years, our understanding of enhancements is likely to become as popular among the science of human movement has blos- dancers as it is among athletes. somed. In the world of sports, the scientific The purpose of this article is to offer a specific O example of the benefits that might result from inte- method is frequently used to create and inform new approaches to training.