CSET Subtest III: Visual and Performing Arts
Theatrical dance (cont.): Well-known musical productions are ballet, jazz, and tap. Other productions include ethno-cultural, kabuki, Russian, and Celtic dance.
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Theatrical dance: is based on music, songs, dialogue, and dance. Audiences often experience it in the form of musical theatre productions.
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These elements should be integrated throughout dance instruction, from warm-up and skill building to expression through classroom dance activities.
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Subsection
Dance Historical Timeline
Section
Dance Interpretation
Elements of Dance Levels Form and Shape - angular, rounded, twisted, bent, crooked, symmetrical, or asymmetrical.
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Elements of Dance Levels Level - high, medium, or low.
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Elements of Dance Levels Pathway - floor, elevated, or air patterns.
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Elements of Dance Levels Range - wide, narrow, big, or little.
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Elements of Dance Levels Direction - forward, backward, up, down, sideways (horizontal or vertical), diagonal, straight, circle, out, in, zigzag, or spiral.
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Abstraction: The essence of an idea applied to the art of movement.
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Adagio: As in music, the opposite of allegro, or a slower tempo. Adagio is also a set of practice exercises in class consisting of extensions and balances.
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Alignment: The way in which various parts of the dancer's body are in line with one another while the dancer is moving.
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All dance performances engage, in some aspect, one of these movement elements: space, time, levels (dynamics), and force (energy).
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Allegro: From the musical term, this refers to quick or lively movements.
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Arabesque: A pose in which the working leg is extended with a straight knee directly behind the body. (Both the height of the leg and the position of the arms are variable.)
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As children transform images, thought, and feelings into a series of sequential moves, these movements reveal personal, social, and cultural significance.
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Attitude: A pose modeled after the statue of the winged Mercury by Giovanni Bologna in which the working leg is extended behind the body with the knee bent; it can also be held in front of the body.
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Barre: A round rail attached to the wall horizontally, about three and a half feet above the floor, for dancers to hold during the first half of technique class; it is also used for stretching the legs by placing the feet or legs on it.
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Begin with a warm-up and end with a cool-down. Exercises should include steps to be used in the dance activity.
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Body movement: Includes locomotor (moving from one place to another) and axial (contained movement around an axis of the body).
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Choreography: The steps of a dance as put together for performance or the art of composing dances.
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Classical: Refers to the lexicon of dance as taught in the original academies; this is also used in reference to ballets as created during the Imperial Russian days, such as The Sleeping Beauty, The Nutcracker, and Swan Lake; this also refers to a style of performing that was developed over the years in France, Italy, Denmark, and Russia or the kind of dancing that comes from that style.
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Creative movement: Dance movement that is primary and nonfunctional, with emphasis on body mastery for expressive and communicative purposes.
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Dance activities begin with body awareness and warm-up exercises, including posture, balance, flexibility, strength, and coordination.
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Dance helps children organize physiological energy within space and time to communicate an artistic form of expression from internalized structures of their surrounding world.
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Dance is the art of movement and expression.
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Dance: All-inclusive term meaning the aesthetics of movement. A dance is the organization of moves with a beginning, middle, and end in sequential form.
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Determine appropriate age-related expectations for a safe, enjoyable classroom activity.
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Determine the physical abilities, as well as gender-specific and special needs of students.
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During adolescence, dance provides students with opportunities to express their creative, physiological, and technical abilities as they practice and refine their skills in arranging, performing, and interpreting movement skills.
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Early Twentieth Century ❏ Revolutionary aspects of Ballets Russes (Russia); stretched the boundaries of classical ballet; new movements ("turnout").
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Early Twentieth Century ❏ Revolutionary aspects of early modern dance; appreciated the qualities of the individual; primitive expression and emotion; "new freedom" of movement; choreography of Isadora Duncan and Martha Graham and their harsh break from restrictive classical ballet and tutu; broadening the minds of the public; explosion of modern dance in the early twentieth century. It was during this period that ragtime jazz emerged, and the "flapper" era influenced fast-moving dances like the Charleston.
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Eighteenth and Nineteenth Centuries ❏ Ballet developed throughout Europe; this led to virtuoso dancing; expressive capacity of the body; pointe footwork and the heel-less shoe.
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Eighteenth and Nineteenth Centuries ❏ Era of Romanticism (early 1800s): the continued evolution of ballet; emphasis on emotions and fantasy; true pointe work; evolution of "lightness in flight"; this differed from other dance forms in placement and alignment of the body, as well as in training.
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Eighteenth and Nineteenth Centuries ❏ Focus on the ballerina; the male dancer was secondary.
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Eighteenth and Nineteenth Centuries ❏ Formal dancing spread to the Continent; expansion of professional dancing masters; professional choreography at the Paris Opera (opera and dance); costuming; introduction of the waltz (1-2-3) rhythm; court dance.
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Elements of Dance Force Degree of Energy - strong, weak, heavy, light, dynamic, static, flowing, or tense.
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Elements of Dance Force Quality of Energy - sustained (smooth), suspended (light), swing (under-curve), sway (over-curve), collapsed (loose), percussive (sharp), or vibrate (shudder).
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Elements of Dance Levels Focus - gaze, floor, or away.
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Elements of Dance Space Combined Locomotor (often traditional folk steps) - two-step, paddle, grapevine, step-hop, chug, and spinning. When thinking about space, teachers should also be aware of the space between the dancers. ❏ Individual, group, or class (solo, duet, or ensemble) ❏ Space between dancers (side-by-side, supported, far, or near) ❏ Interactions between dancers (leader, follower, mirror, unison, or parting)
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Elements of Dance Space Locomotor: (travelling through space) The Eight Basic Steps - walking, running, leaping, jumping, hopping, galloping, skipping, and sliding (Chasse).
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Elements of Dance Space Nonlocomotor: (staying in one place "on spot") - stretching, pushing, twisting, bending, kicking, sinking, or curling.
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Elements of Dance Time Beat - even or uneven.
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Elements of Dance Time Meter - 2/4 time, 3/4 time, etc.
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Elements of Dance Time Rhapsodic Rhythms - non-metric (e.g. breath, water, or wind).
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Elements of Dance Time Rhythm - countable patterns.
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Elements of Dance Time Syncopation - a rhythmic pattern produced when a deliberate pattern is upset.
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Elements of Dance Time Tempo - fast or slow speed.
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Encourage opportunities for different dance experiences such as solo, line, circle, scatter, or group formations of three and four. This dispels the idea that one must have a partner to dance. Restrict choice when partners are needed (e.g., ask students to dance with the person standing opposite, or the person closest). Encourage frequent and rapid change of partner.
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Encourage vigorous activity so that students become involved in the experience and have little time to worry about things such as who their partner is.
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Ethnic and Cultural Dance (cont.): Religious or Ceremonial Dance: Choreography played a significant role in many cultural events throughout history. The origins of dance show that dance was created and performed in celebrations, rituals, and rites of passage. Native Indians, for example, have expressed mourning the spirit in dance movement. They have also used dance as a ritual to prepare for battles and to celebrate joyful occasions. Many cultures consider dance a universal spiritual language.
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Ethnic and Cultural Dance: Cultural dances - often carry important historical significance from ancient civilizations. Classic cultural dances from around the world include the Chinese ribbon dance, the Polish polonaise, and India's Kathakali or Bharatanatyam dance. Another cultural dance is "clogging," traditionally from Wales, which involves double taps on both the heel and ball of the foot. Popular performances of the production Riverdance demonstrate Irish dancing. Some popular historical dances that are often used today include the pavane or galliard (from the Renaissance period), the minuet, Charleston, twist, disco, hip-hop, and Lambada.
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Explain the floor pattern. Have the dancers walk through the floor pattern. Then combine the steps with the floor pattern, first without music, and then with music. (Remember that not all dances have a set floor pattern.)
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Folk Dance (cont.): Play and sing with movement: Primary school children love to play and sing with movement in the simple sing-along dances of London Bridge, Hokey Pokey, Ring Around the Rosie, The Farmer in the Dell, B.I.N.G.O, Pop Goes the Weasel, and Skip to My Lou.
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Folk Dance (cont.): Although there are many dances that originated in Europe, authentic folk dancing in its purest form must include these four factors: 1. Dance movements must predate the nineteenth century. 2. Dance is performed by peasants or royalty. 3. The choreography is derived from tradition. 4. There is no teacher. Variations of the original folk dances are found in dance forms of today, including square dancing and barn dancing.
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Folk Dance (cont.): Maypole dance: Often danced on May Day in various European nations such as Germany and Sweden, the Maypole dance is taught in American schools today. The maypole itself is a tall pole decorated with floral garlands, flags, and streamers. Ribbons are attached to a pole, so that children can hold a ribbon as they dance.
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Folk Dance: All folk dance is a form of cultural dance. Folk dance originated from medieval times when townspeople danced to celebrate. Medieval "carolers" were the first folk dancers and could be found throughout England and other parts of Europe.
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Guidelines for analyzing dance from various societies and cultures around the world should include: ■ the origin and purpose of the dance (i.e., ceremonial, social, ritual, etc.). ■ the geographic location and climate of the country. ■ the rituals, customs, and beliefs of the culture. ■ historical influences of the dance. ■ symbolism, analogies, or metaphors used in the dance.
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If the dance is to be performed in a formal or public setting, allow opportunities for all students to perform, and not just the most able dancers.
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Late Twentieth Century ❏ George Balanchine (director of the New York City Ballet) and modern American ballet; Broadway and Hollywood shows; a new style of moving with emphasis on speed and mobility; lean body types; importance of the female dancer.
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Late Twentieth Century ❏ Growth of contemporary dance, post-modernism in the 1960s; movement toward simplicity and a less sophisticated technique; "No" manifesto, a frequent rejection of costumes and stories.
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Late Twentieth Century ❏ Martha Graham and psychodrama: intense movement often depicting pain, fear, and love; dance forms "sculptured" by human body positions; contraction and release of the torso, "fall and recover"; angular gestures; schools and dance companies.
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Late Twentieth Century ❏ Other directions post-1960s: more eclectic; ballet and ethnic used in the same performance; all-male groups; intense theatrical effects in lighting, costumes, and sets.
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Late Twentieth Century ❏ Social dance and mass culture: Rock 'n' roll; MTV; hip-hop; ballroom dancing (tango).
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Middle Ages (500-1400) ❏ Characteristics of folk dance: there are many regional differences; all had recreational aspects and basic steps such as running, walking, hopping, and skipping; all are linked to culture, music, and the history of a group; they take the form of a circle.
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Middle Ages (500-1400) ❏ Current examples in the twentieth century: polka; square dances; historic dances—Cossack dance of Russia, polonaise of Poland, Czardas Hungarian tavern dance, and Mexican El Jarabe Tapatio ("hat dance").
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Middle Ages (500-1400) ❏ The Church attempted to restrict pagan dance, often associated with fertility, but folk dances evolved from earlier ritual dance (e.g., Maypole dance; origins in primitive fertility rituals [dancing around a pole]; associated with spring).
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Modern dance (cont.): Modern dance choreography is based upon the subjective interpretation of internalized feelings, emotions, and moods.
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Modern dance (cont.): Since modern dance encourages free-style dance, teachers should utilize this style of dance in an effort to provide dance opportunities for all ability levels in the classroom. It also encourages students to express feelings and emotions through movement.
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Modern dance (cont.): Unlike formal ballet, modern dance is often unstructured and makes deliberate use of gravity and body weight to enhance movement.
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Modern dance: was born in the twentieth century as a result of dancers resisting the rigid structure of classical ballet dance.
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Play helps children to engage their imagination and use their physical and mental abilities.
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Prehistory to Beginning of Middle Ages (A.D. 400) ❏ Characteristics: Circle form (rhythmic motion within a circle); use of imagery.
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Prehistory to Beginning of Middle Ages (A.D. 400) ❏ Forms: Social dance, which celebrated births, special events, and rights of passage; ritual dance, which maintained tradition, religious rituals (temple dances), and hunting magic; and fertility dance, which marked the changing seasons (especially for planting and harvesting) and sought favor with gods.
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Prehistory to Beginning of Middle Ages (A.D. 400) ❏ Gender roles: war and hunting for men, seasons and planting for women. Early accompaniment came from drums, harps, flutes, and chants.
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Prehistory to Beginning of Middle Ages (A.D. 400) ❏ Historic evolution (use of dance movement): Egypt: movement associated with gods/funerals; Greece: in theatre-chorus; also the festival of Dionysus; Rome: pantomime/dance expression; India: formalized hand movements (e.g., Hindu dance, the oldest world dance); Java: elaborate costumes, balance and moderation, and traditional dance; China: ceremonial dance with each character having specific hand movement, and martial (war) dancing; Japan: Kabuki (traced to primitive rituals; it involves stomping, elaborate costumes, is male only, and is still current).
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Provide a classroom dance program that includes different styles of dance from a cultural and historical context.
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Provide an opportunity for students to refine their skill level. Once the whole dance has been learned, repeat several times to increase fluency and enjoyment.
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Provide opportunities for interpretation of dance.
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Provide students with research and learning opportunities for cross-disciplines.
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Renaissance (1400-1600) ❏ Ballet developed in France (1500s), and moved to Italy; this led to the development of court dancing in Europe (nobility in a palace setting); patronage of the Medicis; "dancing masters"; steps were slow (adagio) and fast (allegro); lack of spontaneity (defined steps).
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Renaissance (1400-1600) ❏ Dancing evolved from pageants and processions of the period.
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Renaissance (1400-1600) ❏ Minuet: a formal aristocratic court dance developed at the end of the period.
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Renaissance (1400-1600) ❏ Music to accompany specific, technical ballet steps; a theatrical art form developed—music, costumes, setting, plot, and themes such as Greek and Roman mythology and history (Julius Caesar); Shakespeare's Romeo and Juliet.
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Separate the dance into the steps. Begin by teaching the steps, describing and demonstrating each separately. Steps are done slowly at first, using counts, and then at the proper tempo.
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Social dance (cont.): The popularity of competitive social dancing has helped many of these dance styles become household names. Social dance styles include hip-hop, line dance, ballroom, waltz, foxtrot, tango, rumba, jive, and swing.
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Social dance: refers to dances in which socializing is the main focus; therefore, a dance partner is essential.
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Teach one part of the basic step pattern at a time. When two parts have been learned, combine them to establish continuity of the dance.
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The dynamic complexity of these elements can be combined to create dozens of combinations of dance movements.
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The elements of dance movements are space, time, levels (dynamics), and force (energy). These elements are fundamental to the art of dance, and CSET candidates will be required to know these conceptual tools.
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The emphasis of these elements is based upon the student's experience, performance level, and creative expression.
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The foundation of the elements of dance begins prior to entering school as children first express movement through their experiences of play.
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The language of dance provides children with a unique opportunity to appreciate movement from the vibrant cultures around the world that interface with music, literature, theatre, and visual arts.
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Use key words and counts to cue the steps and directional changes, and to alert students (e.g., "ready"). This helps students keep the main rhythmic pattern and encourages them to gain a sense of the whole.
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Subsection
Dance Glossary
Domain 1
Dance
Section
Elements of Dance
Section
Framework for Dance Activity Instruction
Section
Styles of Dance and Movement