DANCE TEST

In rhythmic patterns, the 4/4 time signature is also known as the

"common time" gets four beats per measure. Two measures equal a dancer's 8 count.

Dance Energy: The animating energy of dance can be the most compelling of its elements, as energy provides clearer more inuitively recognized

"cues" to a viewer than a particular movement or any other formal element.

In rhythmic patterns, the 2/2 time signature is also known as

"cut time" as it cuts common time in half. There are two beats per measure, and 4 measures equal a dancer's 8 count.

Doris humphrey's dance style explores

"fall and recovery" the body's interplay with gravity

In there is no "one way to do it", a choreographer begins with a vague idea of

"flight." He watches birds, airplanes, insects and even superman movies. As he improvises movement in the studio, the idea become more clearly focused on the moment of lift-off and the sheer joy it brings. Now, his dance has an intention.

In the dance floor surface, Though different kinds of dance require different types of floors, in general, the flooring must be able to

"give" slightly under a dancers, weight, especially when the dancer lands after performing jumps and leaps.

Sequence and presnetation of programming: A show that is too short (less than half an hour)-unless admission is free-can make the audience members feel like they

"havent gotten their moneys worth"

In mobility, people with loose ligaments are described as

"hyper mobile" and exhibit a greater range of motion. They are also susceptible to joint misalignment.

In kinesiology principle first rule of every vocation is

"know your equipment"

Lester Hortons dance technique appears in the

"lateral T'' shape his dancers assume a one leg balance with the torso tilted off center and the other leg extended to the side in a counterbalance.

Jazz dance like america itself, became a

"melting pot"

The extremes of this continuum are _________ and _________

"quick" (sometimes also characterized as "sudden") and "sustained."

Sequencing and Presentation: Dances must contain sufficent vocabulary to keep the work from

"saying the same thing" repeatedly. Dances are very similar in terms of their visual elements, accompaniment or energy should be sepearated in the program.

Constructive Feedback: Finally video tapes of performance tests are immensely valuable for helping students to

"see for themselves" specific instances of technical inaacuracy, and for helping teachers suggest corrections.

In parallel foot positioning, the awkward, outwardly rotated stance required of ballet dancers in favor of the more natual parallel position is referred to by ballet dancers as

"sixth position"

The use of syncopation can serve to _______ a regular rhythm of music or movement

"spice up"

One cannot assumes flooring will be better than studio flooring. For ballet, modern, amd jazz performances, the stage will ideally

"sprung" or wooden floor covered with marley.

Rehearsals: Familiarsing with spacing often do not involve any performance of movement, but requires dancers to

"stand in" at each spot where cues for music, lights, video or stage direction change

The front plane is characterized by Rudolph Laban as

"the door plane"

Dance as an Explicit Language: When studying dance, we speak of a set of mvoements as the

"vocabulary" of a dance

In rhythmic patterns, the 3/4 time signature or

"waltz time" is characterized by a strong weak weak beat pattern that reflects the down up up dance steps of waltz. Two measure equal an 8 count.

Analyzing Dance-Through the Eyes of a Choreographer: Choreographers generally view perofrmances through the lens on

"what works and what doesnt" even once the dance is onstage in its final form.

"Just the Parts in Front of One's Eyes": shapes and spatial paths of the movements themselves as well as their palcement in space, patterning, sequence, time, etc. elements serve as the

"words and sentences" in a dance's "vocabulary" and express the dance's message

The progenitor of ballet was dance that originated dyring the

Italian Renaissance

Birth of Ballet: Ballet arose out of court dance during the

Italian Renaissance in the 16th century.

Ballet: The earliest forms of ballet were developed in

Italian and French Courts

Birth of Ballet: Catherine de Medici is an

Italian noblewoman and patron of the arts, married King Henry II of France in the mid-1500s. She brought with her the Italian court's dancing master, Balthasar de Beaujoux.

The Royal Academy of Dance methos combines aspects of

Italian, French, and Russian styles into one that balances the rigorous technical training with an emphasis on elegance and fluidity.

The Italian Cecchetti method is developed in

Italy in the mid 19th century

Flow often invest movement with

Its vitality and expressiveness

Butoh: The profound destruction of WWII gave rise to a generation of

Japanese artists whose work responded to the devestation in unconventional ways, challening previous societal notions of arts, authority, and propriety

Zig zags and angles are

Jarring

In modern performance forms of jass dance, Gus giordano instituted the

Jazz Dance world Congress

Modern/Contemporary Dance: Subsequent dancers further expanded modern dance technique who includes

Jose Limon, Alvin Riley, Paul Taylor, Katherine Dunham, and Merce Cunningham

Butoh: The movement performance of Butoh was originally developed by two artists who were

Kazuo Ohno and Tatsumi Hijikata.

Birth of Ballet: Ballet caught on in France over the next centruy, finding its greatest favor with

King Louis XIV. This monarch established the Academie Royale de Danse, the first offical school of Ballet

Laban Movement Analysis is also known as

Laban/Bartenieff movement analysis

Ectomorph has enhanced flexibility due to

Lack of muscular strength and loose connective tissues.

The frontal is also known as

Lateral or vertical

Basic movements of adduction and abduction occur on the

Lateral plane

"Just the Parts in Front of One's Eyes": Although the elements of analyzing a dance form do nothing to address the intagible qualities that enliven a dance and give it character and excitement, they are useful in building blocks to

develop a basic understanding of a dance

Teaching students good time and resource management skills: Long hours in the studio are necessary to

develop and maintain technique as well as learn and rehearse choreography

Critical thinking, creative probelm solving, cooperation, self discipline: These written analyses should be handed in to the teacher at every class metting in order to

develop critical and descriptive proficiency through repitition and to instill a sense of accountability in students.

Teaching movement to Students who learn different paces: Teacher may also apply any of these options to selected students in the interest of

developing a particular skill.

Frappe desired physical effects

develops coordination, strengthens feet and legs

Relationship with other studies: Relationship between dance, social studies and language arts: Just as different countried and cultures have identifiably different languages, the dances or different cultures also have

different attributes

Ways in which Dance Forms Interact: Similar dance moves can be found in

different countries, and modern dance choreographers work with ballet companies (and vice versa).

Analyzing Dance-Through the eyes of the dancer: Dancers are endlessly striving to improve their performance, so it is often

difficult to not to zero in on the moment that could have gone better.

Sound Equipment: lights are wired to

dimmer packs, which allow power levels to be adjusted.

The Bournonville School was develop by the

director of the Royal Danish Ballet, August Bournonville in the mid-19th century

Low level of movement in dance is associated with subhuman things such as

disadvantage/poverty/sadness/dejection

In kinesthetic awareness dancers must be able to

discern not only their speed, direction, orientation to vertical, balance and relation to gravity, but also the state of their muscle (tension, length, contraction, etc.) and the position of their joints.

In body isolations in jazz dance, multiple isolations vreate the impression that many

disparate things are happening at once (which is often the case with the rhythms that acocmpany movement, as well as the cultural climate which surreound jazz dance).

Range of motion describe the

distance a joint can move from flexion to extension as well as its direction of movement.

Indian Classical Dance: After the 9th century BC, classical dance began to

diversify according to regional influences, and to deviate from Natyasatra's principles. During this time, the individual stules of bharatanatyam, kathak, orissi, kathakali and manipuri began to take shape

Instructional strategies for special needs students: To conduct a task oriented improvisational group exercise, the teacher

divides the class into groups (3 to 7 students, depending on class size) and gives each group a task to be achieved (the same one for all groups, or different onces for each group). Examples of tasks may include: "Each dancer holds another dancer's foots in his or her hands and the group crosses the floor without decoming unattached at any point" or "Dancers 'build' and then 'demolish' a building using only the bodies that are in contact with each other."

Flamenco is a

dramatic dance form that features intricate percussive footwork, stylized arm and hand movements, and a proud, regal carriage of the torso and head to communicate themes of passion, pride and defiance.

Developpe means to

draw the working foot up the standing leg and then extending it outward

Ballet: These are especially well expressed by the classic ballet tradition of the pas de deux, a

duet between a male and a female dancer in which the dance guides, steadies and lifts the female dancers in extraordinary movements

duration

duration is the amount of time a movement takes, from its initiation to its completion. Duration of inaction is the amount of time between ending one moremvemnt and beginning another

Dance Education-Similarities in Form and Expression Among Dance, Mime (pantomime) and theatre: Dance, mime and theater are

dynamic expressive arts. Their common goal is to express ideas and feelings through action. Each form has borrowed specfic skills from others to further develop its own capabilities

Traditional dances from england, scotland, ireland and wales dances are influences the social dances of the

early united states resulting in popular american dance style known as square dancing

African dances all share a powerful, integral sense of rhythm and represent a connection with the

earth (the land, water, wind, sun, moon, stars, plants and animals), living people, and the ancestors or deities who watch over humans as they go about their daily lives.

Floor movements such as crawling, rolling, scooting, dragging, slithering, etc. can express ideas of

earth, gravity, weight, debasement, flith, ugliness, evil, disadvantage, poverty, sadness or dejection, among others.

Mobility describes the

ease of movement within a given joint

In all dance classes, clothes must allow

ease of movement, whether they are fitted or loose. There should be no extraneous pieces that might catch, such as zippers, buttons or snaps. No jewelry should be work. Layering clothing is a common strategy used by dancers. They wear many layers at the beginning of the class, and then shed them as they body warms up

Developing and implenting individually appropriate conditioning programs: Teachers should cover the issue of

eating disorders, which are common among dancers, especially teenagers and young adults. Every effort should be made to impress upon students the importance of physical conditioning outisde technique classes.

Basic practices of a healthy lifetyle includes

eating health foods in reasonable amounts at proper intervals to maintain blood sugar levels, drinking enough water to keep the body adequately hydrates at all times, getting sufficent rest to allow regenertation of muscular tissue and resture neurological function, achieving and maintaining sufficient lung capacty to deliver adquate oxy gen to the brain, maintaining a sage weight that is beither too far over nor too far below an individuals ideal weight, maintaining a clear and strong mental focus when working, and relaxing both physically and mentally when not working

Educational festivals of Modern Dance in the US: One major development that established modern dance as a legitimate artistic tradition in the US was the founding of

educational festivals.

In Sacroiliac (S/I) joint dysfunction, pilates exercises are

effecrive in providing necessary abdominal/core stabilization, and regular stretching of the psoas, quadriceps, hamstrings and muscles attaching to the iliotibial band can even out imbalances in muscular tone

Analyzing Dance-Through the eyes of the dancer: Dancers often take note of particularly

effective movement phrases and look for them to be repeated or manipulated

Developing students' observation and evaluation skills: The more students know about choreogpraphin, performing and analyzing dance the more

effective they will be at performing all three tasks.

Folk dances in India mostly dance to deities for

either supplication for favors or for celebration and thanks

In native american dance, _______costumes are also integral to this form

elaborate

The French school of the Paris Opera Ballet focuses on

elegance, fluidity, grace, and sophisticaion of gesture above technical virtuosity.

In dynamics, phrasing and musicality in dance, a dancer can vary time the

element while performing a movement phrase, performing some movements over a longer period of time and some over a shorter period of time. This produces phrasing. Musicality is phrasing in which the dancer visibly responds to the rhythm and dynamics of music. Both add to the "personality" of the phrase and ideally, support the choreographer's intention for the movement.

National Standards to Dance: These standards guide assessment throughout

elementary, middle and highschool and establish competencies for content and achievement for students in grades 4, 8 and 12.

Lens of genre: Looking at form is simply a place to start when considering the

elements and effects of a dance

Providing Students with Opportunities to Think by Analyzing Their Own and Others Dances and Performances: Choreography offers even more opportunities for analysis as it involves so many

elements, forces, and possibilities. First, becomign familiar with and manipulating choreogprahic elements requires comprehension, critical selection and creative application. Second, analyzing the interaction of the forces at work in a finished dance requires perceptive discrimination and discernment.

In classical ballet, the ultimate goal is

elevation and elongation of the "lines" of the body, and of movement

Ballet: Aiming for a sense of effortlessness and weightlessness, ballet movements are generally approached with a sense of

elevation and leongation of the dancer's silhouette. The same basic movements are taught to children and practiced daily by veterans

Body posture and movemention intention in ballet are focused on

elongating and elevating

Like modern dance, jazz does not

emanate from a system of codified steps. It is more of a styles of "physical slang" conveying attitude and nonchalance.

Physically, Jazz is

embodied in a looseness and fluidity of movement punctuated by a sharp rhythmic features and dramatic shapes created by the use of isolations, which involved moving body parts independently of and often deliberately against the whole.

Flow often invests movement with its vitality and expressiveness as it so clearly communicates_________

emotion and mental state through the degree to which a dancer visibly releases or contains the energy of movement

Evoking Particular Feelings or Reactions: Some dances are created to elicit an

emotional repsonse to audience

Broadway tap

emphasizes the forms dances aspects

Instruction that integrates an understanding of dance and other art forms: Exercises in which students physically interpret other art forms are especially effective at

emphasizing commonalities

Applying Evaluative Criteria to assess the different abilities and experience levels of individual students: Energy

employing appropriate energy and movement quality for each movement

Low level movement in dance facilitates positions and actions such as

Lying, crouching, sitting, kneeling, rolling, crawling, scooting, dragging, etc.

Native North American and African Dances: Other dances depict animals, plants, and other natural forms the dancers

encounter and depend upon in dialy life

Misalignment in the foot which is exacerbated by gravity and force can also result in________.

Misalignment in the next closest joint and if not addressed all subsequent ones.

Encouraging Students' Self Expression and the Use of Dance to Respond to Their Environment: To address personal situations or emotional issues, students can be

encouraged to express their feelings and to explore adjustments and resolutions through movement

Sequencing and Presentation: Skillfully sequencing the energy and type of dances in program can lead audiences on an

energetic journey, enhancing their impression of variety and excitement

Dance Energy: Human respond instinctively to

energy and can rely on strongly on their own perceptions when considering its effects.

Mental and Emotional skills acquired: Organization and mental agility are valuable assets in almost any career, including

engineering, architecture, construction, finance, information technology, transportation and all forms of administration

Helping students Employ Appropriate and Effective Imagery: Visual images are especially useful for

enhancing technique, as teachers can choose images with shapes similar to the desired body shape or spatial path.

In conditioning, many dancers believe that going to dance class every day is

enough to adequately condition their bodies which is not true

In conditioning, The purpuose of dance is to

explire the possibilities of human movement and express ideas, thoughts and meaning not to transform the body into its best possible shape. In fact, many styles of movement in dance require movements that are quite detrimental to the bodys physical integrity.

The musical (acoustic) aspect of tapping in rhythm tap, dancers

express themselves through the rhythms they create. This style tends to be grounded into the floor to focus on the feet.

Relationship with other studies: Relationship between dance, social studies and language arts: The main objective of dance is to

express thoughts and ideas-this is also the main objective of language

African dances are

expressive and often exuberant, even acrobatic.

Lens of genre: The same methods of ananlyzing dance characteristics can be applied to evaluate modern dance's

expressiveness and inquiry into creative movement types, ballet's fluidity and weightlessness and flamenco's rhythm, passion and footwork.

For ankle sprains immediate treatment should include

extended rest and elevation, periodic application of ice and compression. Longer term rehabilitation involves gentle range of motion and strengthening exercises with extra support.

Indian classical style dance require

extensive trainging in order to perform.

In props, costumes, makeup and hair, the proper handling of props whether handheld or larger, requires

extra attention and care. Most dancers would rather focus that extra attention on maintaining their technique, remembering choreography, and other important tasks.

Butoh: Butoh is frequently presented in

extreme environments, and often addresses taboo topics

Dance of england, ireland and scotland dances for individuals or couples in dancing would

face and move around eachother.

In morris dances and other group dances, individuals would

face eachother

Developing sense of timing and rhythm: Excercises exploring these elements can easily be paired with music illustrating the concepts to

facilitate easier assimilating and understanding.

Often in ballet folkorico, the choregoraphy involves the partners

facing eachother. The men maintain a closed frame with their arms while the women sweep the edges of their skirts into swirling arcs that can travel above their heads.

Spectators opinions of modern dancing were

familiar only with vaudville had never before seen the kind of imgainative, innovative and evocative morevemnt being performed by the women, and though there was a measure of ridicule and distrust, popular opinion overwhelmingly supported the new developments.

The modern dance technique of Merce Cunningham, abstract as it appears to many, has had a

far reaching effect on the modern dance canon

Distal

farther away from the center of the body, limb, or structure being describe (most commonly used to describe limb structure)

Tap dance: the buck and wing

fast and dynamic performed in wooden soled shoes

At least 20 percent of a dancers diet should consist of

fat, which provides energy, helps with vitamin absorption and imrpoves resistance to disease. Avocados, nuts and seafood are rich in fats, but low in (saturated ("bad") fats.

Sequence and presnetation of programming: Most shows are too long (over an hour and a half with intermission) leaving audience members feeling

fatigued and irritated by the end

Dance Energy: In a dance context, this means that audience members can legitimately examine how the dance made them

feel, what the accompanying image made them think about, and what overall impression they recieved.

Technical modern dance: Parallel foot positioning

feet are situated in alignment under the hips, and the toes point forward

Endomorph capabilities for strength, endurance, and flexibility are

Normal

Time

Refers to the length of time a movement takes, from intimation to completion.

Tempo can be _______ or _______

Regular or varied

In direction in space, backward movement communicates

Retreat

Rhythm/Accent/Meter

Rhythm is a repeating pattern of beats, whether strong/stressed or weak/unstressed. Rhythmic patterns are combinations of weak and strong beats. Accents are beats with special emphasis placed upon them. Meter is the grouping og repeated, accented beates in a piece of music.

________ can affect our impression of a dance.

Rhythmic patterns

In the 1930s, George Balanchine has been with _________was invited by a patron to bring his______

Sergei Diaghilevs company Ballet Russes; talents to America

Time, Space, weight and flow of the movement interact in endless combinations to

Shape gestures or movements, which communicate different impressions depending on the combination of their makeup.

Contributing Individuals to Ballet: Catherine de Medici

She brought the precoursors of ballet to France in the 1500s

Contributing Individuals to Tap Dance: Ruby Keeler

She was a hollywood dancer who appear in "42nd street" and other films

Contributing Individuals to Jazz Dance: Twyla Tharp

She was an award winning choreographer of both broadway and hollywood jazz and modern dance

_____________can be used to evoke images that convert several aspects of movement quality of effort simultaneously.

Single, descriptive words

Adagio

Slow, sustained movements that often incorporate developpes and balances each as penches

The Royal Academy of Dance (RAD) is also known as the

The Royal Ballet

The "Table plane" is also known as

The Transverse plane

A path can involve

The body as a whole or it can feature several paths as each body part contributes to the choreography.

Additional Art Forms in the Production of Dance Performances: Interpretation is

The choreogrpaher's objective is to express intentions through movement, without words. This leaves room for audience interpretation. Audiences can imagine and spectulated about a choreographer's intentions, and can draw their own conclusions about meanings.

The clearer a choreographer/dancer understanding of movement qualities during the creation, manipulation or performance of a movement_______

The clearer the intent and effect of the movement will likely be

Instruction the integrates and understanding of dance and other disciplines: Social studies

The concept of culture can be explored by having students "dance" about" aspects of their daily lives. Exercises may also involve asking students to illustrate everyday movements or represent dreams, apistation and past experiences through dance.

Gravity defines as

The concept of vertical, as it pulls any object or body toward the earth vertically from it is point(s) of support.

The impact is

The degree of force

Statically, shape describes

The design a body makes in space, or the collective shape made by a group of bodies.

Float Illustrative Image

The easy action of a down feather sailing on a light breeze

Press Illustrative Image

The effortful action of pushing a stalled car

Balletic movement usually begin on

The first count of a standard eight count measure

Reverence

The flow port-de-bras and "bow" at the end of class to acknowledge gratitude to the teacher

Spatial path is

The shape of a movement from initiation to completion or the pattern it traces in space.

Glide Illustrative Image

The smooth action of a skier skiing down a hill

Contributing Individuals to Jazz Dance: Gus Giordano

This celebrated teacher founded the Jazz Dance of World Congress

Models for Dance Curriculum and Assessment: Discipline based model

This combines content and skills in dance history, criticism, aesthetics and production/perforamnce, beginning with fundamental skills in elementary school and gradually adding more complex and abstract skills as the student matures and progresses.

Models for Dance Curriculum and Assessment: Combination model

This combines the best of the process and product models and focuses on three aspects: artistic (involving technique and performance), aesthetic (emphasizing perception, observation and evaluation of performance), and cultural (examining dances geographical, social and political contexts). Forms of assessment include rubrics and contracts.

Contributing Individuals to Jazz Dance: Jack cole

This denishawn dancer and broadway choreogrpaher invented "Theater dance"

Contributing Individuals to Tap Dance: Cholly Atkins and Charles "Honi" Coles

This dup became famous in the 1940s. Along with Cab Calloway, they were part of the big band circuit and the performed in hollywood

Models for Dance Curriculum and Assessment: Product (or performance) model

This emphaszies the acquisition of ever higher levels of technical skills. It is the standard model used in technique classes. Assessment forms include performance testing, rating scales and written testing.

Releasing muscular tension and latering detrimental movement behaviors: Ideokinesis

This employs mental visualization of carefully devised imagery with tactile input to enhance coordination of movement and adjust habitual posture and movement habits. The reasoning behind this practice is that if one can "see" efficient and aligned movement, one can achieve it.

Contributing Individuals to Jazz Dance: Ann Miller

This hollywood jazz and tap dancer popularized the practice of wearing pantyhose in place of stockings

Cross disciplinary categories of dance knowledge and proficiency: Artistic development

This include an understanding of aesthetic principles, the artistic demands of each dance form as well as its production and performance; and attributes of the dancer who is striving to develop artistry.

Cross disciplinary categories of dance knowledge and proficiency: Supportive knowledge

This includes a knowledge of how to define individual dance forms; a familiarity with dance vocabulary, history, culture; and adherence to rules related to proper etiquette and attire.

Cross disciplinary categories of dance knowledge and proficiency: Psychosocial development

This includes compliance with classroom conduct rules and expectations; personal development in communication with the self, the teacher and others and development of group collaboration skills.

Cross disciplinary categories of dance knowledge and proficiency: Technique and choreogpraphy

This includes comprehension and implementation of dance vocabulary, an ability to choose and work with appropriate music or other sound accompaniment, and the development of both teacher created and students create choreography

Cross disciplinary categories of dance knowledge and proficiency: Physiological training and conditioning

This includes knowledge and application of components of fitness such as principles of exercise, types of activity, training factors, nutrition, weight control, etc.

Evaluating student progress in written and verbal communication: Journal

This is a students collection of personal reflections on dance exercises, daily self assessments and goals, feelings toward the class, assignments such as dance analyses, and choreographic processes.

Evaluating student progress in written and verbal communication: Process folio

This is a students record of insights gained through the learning process. It focuses on production, reflection, perception and approach.

Evaluating student progress in written and verbal communication: Portfolio

This is chronologically ordered collection of all workds pertaining to a students learning experience (written assignments, videos, photographs, journals, self evaluations and ones done by the teacher, etc.)

Contributing Individuals to Jazz Dance: Cholly Atkins

This legendary tap dance partner of Charles "Honi" Coles also worked as a choreographer for artists with the Motown record label in his career

Releasing muscular tension and latering detrimental movement behaviors: Feldenkrais

This practice employs repetitive motions derived from funamental gestures and natural mvoements to increase awarness of habitual mvoement patterns and release tension left over from old injuries and habits in order to expand range of motion in the joints.

Instruction that integrates an understanding of dance and other art forms: Writing

This type of instruction can involve exploring parallels between communicative units, as well as equating with movement sequences, and paragraphs with entire combinations

Instruction that integrates an understanding of dance and other art forms: Music

This type of instruction can involve exploring spatial relationships (spaces between notes as spaces between movments or dancing bodies), similarities in time (movements with different tempos, sequencing, beginnings, durations, and endings), or physical representations of pitch and texture (movements that "look like" vibrato, crescendo, etc.)

Contributing Individuals to Jazz Dance: Judson Church

This was a post modern dance collective established in the 1970s

Punch movement is also known as

Thrust

Postural movement is also known as

Whole body movement

The "Table plane" according Rudolf Laban can be a dimensional combination of

Width and depth

Asymmetrical in shape is

With each sides limbs in different positions

Symmetrical in Shape is

With the limbs on each lateral side of the body in the same "matching" position

Postural or whole body movement happens solely

Within a dancers personal space as opposed to traveling and locomotion

Conversely, the lifting of any appendage or limb, or even the entire body-either in partnered lifts or in leaps and jumps-requires

Work to counteract gravity as does the maintaining of a position in a balance.

AB, ABA, and Rondo structures in Composition in dance, Rondo also makes use of the AB idea but incorporates more themes in

a ABACADA form, introducing more movement to contrast with the original theme. as with the Theme B, each additional theme must have something in common with the Theme A, as Theme A is referred to before each new theme is introduced. All of these forms are also used to organize structures in music.

In african dances, dances can be accompanied by

a capella singing drums, or other instruments.

Imposing movement quality changes for the purpose of manipulating and shaping basic choreographic material Exmaples include

a choreographer could take a basic moment or two and change the moaunt of time it takes to do them: stretching them over over an entire minute, cramming them into a few seconds, or chooding various time intervals between the two. The movments could be varied in space, initiated with an indirect intention to land in an entirely new spot or finished with a decisive directness acorss the room from where they started. A previously light hop and skip mvoement could be imbued with additional weight, yielding a completely different impression. Or an originally bound movment could be eased up to create a light a free flow.

Teaching Dance techniques from a variety of genres, culture and time periods: In some cases, teachers can make use of community resources to

broaden the students horizons. If the surrounding community is home to any professional performances, teachers, companies or recreational groups that specialize ina particular kind of dance, their input can be espeically inspiring to students.

Degage means to

brush the foot through tendu to slightly leave the ground

Battement means to

brushing extension with a quick close

In securing musical resources, For choreographers, opportunities for procuring live music can be limited because of

budget, time or scheduling restrictions, or physical access to composers and musicians. In scholastic setting, dance and music departments can often collaborate to provide access to live musicians. The choreographer should keep in mind that musical scores are also copyrighted. Therefore, right must be secured to use them.

In conditioning, Exercises that require the dancer to over come gravity to suspend and move weight (holding a plank or completing push ups, leg lifts, presses, curls, pull ups and even plies and releves, fro example) or press against resistance (using ab/adduction pressues or doing sit ups or crunches) will

build active muscles

Sound Equipment: Lights connected to dimmer packs, are connected through

cables (or sometimes a wireless systems) to the main light board.

Helping students Employ Appropriate and Effective Imagery: Kinesthetic images are naturally useful for

calling a students attention to how a movement "feels from the inside" For example, the kinesthetic image for a parallel side bend might be: "Feel the stretch along the side of the bodyde, from outside the heel all the way up to the outside of the leg, hip, ribs, under the shoulder gidle and through the top of the head."

Teaching students appropriate behavior for an audience member: Once the show is finished, students should exit the theater

calmly and if they have a performer to congratulate, wait in the lobby.

Illustrating the importance of safety to students: Students must be taught and reminded to cooperate with other students so that everyone

can find adequate space at barre or on the floor before each exercise.

Cultural Development That Gave Rise to Modern Dance In America: Martha Graham, Doris Humphrey and Charles Weidman were dancers who would

capitalize on the freedom of the Roaring Twenties to create the new form of "modern" dance

Half or more of a dancers diet should consist of

carbohydrates, which provide muscles with energy.

In prop design and construction, generally the use of props requires

careful attention from a performer, and dancers often do not have the time or the means to handle and exhibit them while in motion. However, some dancers are choreographed around a prop or a set of props to illustrate a central theme.

Even if a dancer begins with a perfectly intact body, many of the regimens necessary to the technique of dance can

cause chronic injuries over time. Examples include forcing turnout for ballet and releasing pelvic ligaments for jazz.

Dance culture, History and Analysis- Court Dance and Sacred Dance: The aims of court dance and many forms of sacred dance are similar which is to

celebrate and show respect and devotion to a rulers, or to a deity, ancestor or other spiritual being.

Although part of the hertiage of modern dance rest upon the freedmon of each dancer to find a personal way of moving, nearly all styles of modern dance share

certain features

Misalignment in a joint can also create a

chain reactiom as each surrounding joint is subjected to unbalanced forces due to the structural weaknesses of the first joint. The surrounding joints will then compensate for these unbalanced forces. If left unaddressed, misalignment in one joint could eventually lead to misalignment in all the body's joints.

Contraction

characteristic movement of jazz dance that is a musculary movement in which the abdomincal muscle draw back into the body, rounding the back and drawing the pelvis under and forward.

Hip isolation

characteristic movement of jazz that involves shifting hips from side to side while holding the rest of the body motionless.

Layout

characteristic movement of jazz that is a dramatic extension that requires a dancer to balance on one leg, the other leg forward and "lay back" with the torso, following the line of the extended leg.

Jazz square

characteristic movements of jazz dance that is a step sthe follows a sqaure pattern on the floor. While facing forwards, the dancer steps open right, crosses front left, steps back right, and finishes by stepping open left. The step can be started with either foot.

Jazz walk

characteristic movements of jazz dance that is a walk exaggerating the articulations of the limbs and showcasing the attitude and individual style of the dancer.

Rib isolation

characteristic movements of jazz dance which involved shifting the ribcage from side to side while holding the rest of the body motionless.

Evoking Particular Feelings or Reactions: Dances may represent things such as

characters, settings, or situations about which people already have strong feelings

Folk dances in India danced for deities are mostly performed by

children

In the sound designer, the sound designer (who is often also the musical director) assists the

choreographer in selecting, acquiring, formatting, and transmitting a dance's sound or musical accompaniment. Choreographers often work with music from the beginning of their process, and have definite requirements for accompaniment. Nonetheless, sound designers contribute a great deal of creative input.

Clues to Discern the Intention and Quality of a Dance: The volume, style and choice of pre show music can be an indication of

choreographer's or the music or artistic director's tastes

In personal factors, providing adequate time for rehearsal is largely up to the

choreographer, who schedules rehearsals. However, it is the dancer's responsibility to request extra rehearsals if she or she feels underprepared for an upcoming production.

Relationship with other studies-Relationship Between Dance, Math and Science: Math and dance often intersect in terms of their geometric and temporal studies seen in

choreographic design elements of shape, grouping of dancers and arrangement and inherently mathematical form-and dance.

Developing students' observation and evaluation skills: A good exercise will incorporate

choreographing, performing and analyzing. In one round, students break into groups of three. Student A choreographs a phrase and performs it for students B and C, who observe and give feedback on both choreography and movement. Then students B and C learn the phrase. Each performs it for the other two who observe and respond. For the second round, this process is repeated with student B's choreography. For the the third it is repeated with student C's.

Additional Art Forms in the Production of Dance Performances: Projections film footage and computer graphics have become standard elements in some

choroegrapher's work and interaction between dancers ontstage and dnacers onscreen is now common

Rond de Jambe translation

circle of the leg

Dance culture, History and Analysis- Court Dance and Sacred Dance: These two forms share an overall atmosphere of

circumsepection and decorum and are performed a stately pace with serve movements.

Helping students Employ Appropriate and Effective Imagery: Imagery can be used as verbals cues to help dancers

clarify and organize their thoughts and perceptions about body positioning during stasis and movement.

In accompaniment for different types, moods and intentions of dance, choreographers also consider

aesthetic similarities when choosing accompaniment. Ballet and classical music share define structures and refined aesthetics. Jazz and popular music's improvisational styles fit with tap and jazz music. Modern dance, the great experimenter, often uses unusual sounds and music.

Ballet: Reflecting its courtly origins, ballet has maintain a refined and rarefind

aesthetic, often depicting romanticized version of nature, fairy tales and unrequited love.

Communicating through dance: Improvisational exercies that impose different movement qualities on spontaneous movements are also useful for discovering

affinities (fast+direct = puncch, or heavy + slow = drag) that produce specfic impressions

Classial dances of Asian countries: Reasons for the Asian dance similarites include the

age of the dance form, the proximity of the countries to each other, and migration patterns.

In modern performance forms of jazz dance, Matt maddox's physically demanding style emphasizes

agility in all area-rhytmic complexity, simultaneous isolations of arm/sfeet/head/rib cage, weight transfer and response/resistance to gravity. Opening barre exercises provide a total warm up by focusing on each atomical area.

Developing the qualities of performance that make dance expressive, dynamic and interesting to watch: During movement exercises, a teacher's verbal cues employing imagery can be especially useful for

alerting students to qualities such as facial movement expressiveness, projection, confidence, rhythmic sense, phrasing and musicality.

The Royal Academy of Dance has become the foundation of

all ballet methods throughout the world

Evaluating Relative Success: The production elements of sound, lighting, costuming and make up (as well as pieces, props and video, if they are used) should

all enhance the effect of a dance's movements. They should help acheive the choreographer's desired effect

Slavery and the Origins of Many Quiessentially American Dance Forms: African rhythmic patterns, melodies, and methods lie at the heart of

all forms of music and dance mentioned above, as do the compositional elements of commonality, challenge, mimicry and embellishment, humor and improvisation. These elements are what give the forms their distinctive fire and variety. These elements, combined with all the other cultural influence of the US melting pot, define American art forms.

In the video designer, the video designer assists the choreographer with

all matters related to video production used during a dance. In addition to providing creative input to support and develop the vision of the choreographer, the video designer has numerous logistical responsibilities: familiarizing himself or herself with the dance, procuring necessary video (whether it is from an existing source or new footage is needed), acquiring and formatting media, and compiling, processing and editing footage into its final format.

choreographic material: literature, history, religion, mythology folklore and fantasy

all of these are sources for stories, characters and situations that can be portrayed in dance.

Safety precautions: The stage managers is the person in charge of ensuring safety of

all perofrmers and crew, so he or she will know the location of the venue's first aid kit.

Safety precautions: Production personnel, including performers, must be aware of

all possible conditions and hazards

Encouraging Students' Self Expression and the Use of Dance to Respond to Their Environment: The exploratory, non competitive environment of public school dance class can be beneficial for

all students, and has yielded especially effective results for at risk students with ADHD or other behvioral issues and those with limited language capabilities.

An awareness of alignment and the action of gravity on joints is necessary for

almost every movement in dance, especially lifts and jumps, battements and kicks, weight bearing movements, and inversions

In studio conditions, Room size and capacity are

also important factors.

In studio conditions, room temperature is

also important, as dancers must be warm enough to prevent muscle tightness but not so warm as to overheart once activity becomes intense.

In parallel foot positioning, The feet as extensions of our legs

also move in sagittal back and forth motion.

In environmental factors, a dancer's spatial awareness is affected by the

amount of floor space that is available onstage and in the wings. Dancers naturally respond to changing conditions by "pulling in" to conserve movement in a small space, or by expanding out into a larger space. Navigating transition spaces such as paths from the dressing room to the stage of the "crossover" space behind the stage requires caution and presence of mind. Avoiding set pieces or other obstacles in a dark space can distract or slow down a dancer.

Sound Equipment: Pre-recorded formats can make use of any of the technologies mentioned above, but live performances require

amplifiers or direct inputs/pickups for instruments (usually provided by each musician) and microphones for vocals.

Charleston

an african american social dance jazz technique that feature jaunty forward and back steps with a kick. It could be performed by individuals or partners. It sometimes incorporated rotating the knees inwards and outward and corssing the hands back and forth over them.

Black bottom

an african american social dance jazz technique that was a "challenge" dance that purportedly originated in the mimicry of a cow's hind legs stuck in the mind. It was chracterized by side to side steps, hops forward and back (while slapping the buttocks) and hip gyrations.

Cakewalk

an african american social dance jazz technique that was a dance performed by couples. Dancers joined hands and walked in striaght lines to form a box, often in an exaggeratedly solemn fashoin (the dance could involved the use of high kicks, lean back torsos, waving canes, etc.). It parodied white ballroom dance styles.

Jitterbug

an african american social dance jazz technique that was a partner dance in swing style. A distinctive rhythm was created by the side by side step cross back turn.

Lindy hop

an african american social dance jazz technique that was a partner swing dance with a signature slow quick quick (or sometimes quick quick slow) rhythm. It provided opportuniteis for numerous dynamic and acrobatic embellishments, such as swings, kicks, lifts and throws.

Erick Hawkins developed a modern dance tehcnique that is

an effortless "free flow" technique that released tension in the body.

Movement philosophies prevalent in modern dance are:

an emphasis on coordinating movement with the breath; a focus on shifting the weight freely across the feet, hans, shoulders, pelvis, spine, or any other body part that touches the floor; the use of an articulated spine and the limbs; a focus on working with the floor and the force of gravity; and an intention to explore or express a personal, intellectuals, emotionsal, design, philosophical or ther concept through movement.

Sequence and presnetation of programming: The sequencing of performance program, similar to narrative or a dance, had

an energetic flow that can be adjusted to have the greated possible impact on the audience

Helping students Employ Appropriate and Effective Imagery: Pictoral images evokes

an entire mental scene, can focus or transform performance qualities dramatically. These mental pictures are often associated with particular feelings or qualities, internalized by the dancer, and immediately translated into movement that exemplifies and exudes the associated feelings.

In a meter signature, most western music is based on

an even number of beats. Consequently, most time signatures have an even denominator (often 4 or 8, but sometimes 2 or 6) and an even numerator (most often 2, 4, 6 or 8). The time signature is called "common time" and the shorter 2/2 signature is called "cut time"

When there is no established theme initially, a choreographer might spend

an hour, a day, or a week in the studio alone, exmploring, discarding and keeping mvoements. Through this attentive process of improvisiation, bits and pieces of movement come together. Almost always, after enough time with them an idea emerges that fits witht the mvoements and ties them all together into a unified theme.

Analyzing Dance-Through the eyes of the Audience Member: There are several factors can affect their ability to

analyze and evaluate a dance. There are however, several characteristics that almost all audience memeber automatically use to assess a dance's value. These are as valid as any sophisticated cultural inquiry, and often overlap with the criteria uses by other assessors.

Identifying Students technical and/or performance problems: Teachers observe students execution of movement to

analyze their technical correctness, as well as their ability to apply movement principles and work within the rules of the dance form.

Providing students with opportunities to develop their own choreography skills: Verbal discussion can follow demonstrations, allowing students to

analyze, compare and evaluate the uses of different choregprahic concepts in the various exercises. Some combinations will more fruitful than others and students should have an opportunity to delve into the hows and whys of their perceptions. Discussions and exercies can be extended by having students prepare a written analysis of choreographic concepts and the insights gained from the exercises.

Goals of creative expression and performance: One practice involves the study of proper terminology for

anatmony and movements, as well as concepts of-and conditioning practices for achieving and maintaining-alignment, strength, flxbility, balance, endurance, speed and injury prevention

Appropriate behavior while performing in a dance event: In this setting, teachers can emphasize the need for dancers to pay attention to

backstage hazards, sightlines from offstage and behind curtains, the authority of the stage manager, and the duties and needs of the technical crew.

Illustrating the importance of safety to students: To address performance space safety, teachers can discuss the need to check

backstage pathways and obstacles, saty out of the technicians way during rehearsals, refrain from talking to the stage crew while working and make sure the stage floors are swept before any class, rehearsal or performance. Conducting a tour of a performances venue (if doing so is possible) is very useful for pointing out possible hazards.

Putting a Choreographer's Work into Context: Part of a choreographer's skill appears in the

balance and restaint with which he or she plays homage to or rejects various influences

In classical ballet upright position mean

balanced, locomoting upon or jumping/lepaing and landing upon the feet

In Classical Balle, "en pointe" means

balancing that are often held up on the tops of the toes

Balkan dances are performed to

balkan regional music, which features quick, repeating, hypnotic beats and a non specific meter

Although modern dance shares some features with this dance, it was largely in response to and rebellion against

ballet

Birth of Ballet: A century later, King Louis XIV advocated for the form, requiring his courtiers to participate in

ballets and even training and performing in them himself (He got the name "The Sun King" from the Ballet de Nuit, in which he performed).

Hula is usually performed with

bare feet

Releasing muscular tension and latering detrimental movement behaviors: Bartenieff fundamentals

based on laban movement analysis, this practice encourage a deepend awareness of the connections between mind, body, movement, and internal and external environments to enhance mobility and function

Dance Education-Similarities in Form and Expression Between Dance and Music and between dance and visual Art: Shape, form, dimension, plane and other fundamental concepts of visual art also serve as

basic elements in the development of choreography

In personal factors, a dancer's energy, both the physical reserves they call up on during exertion and the particular quality of attitude effort they put into movement is affected by

basic factors such as adequate sleep, nutrition, hydration and stress release.

Imposing movement quality changes for the purpose of manipulating and shaping basic choreographic material: motif and development

basic movements or short sequences are manipulated to create new but related movements

In south/central american dance styles, these dances incorporate

basic rhythms patterns of forward and back, side to side, or combination steps

Time steps in tap dance are recognizable rhytmic combinations of steps and are considered

basics that should be mastered by all tappers.

Instructional strategies for special needs students: In technique classes, there should be an emhpasis on the importance of

basics. In ballet for instance, prima ballerinas concentrate on basic plies and tendus alongside novices.

Sound Equipment: Because live accompaniment at every rehearsal is unheard of, rehearsal sound generally needs to

be formatted onto a portable, distrubtable, repeatable medium, which could be a CD, mp3 or audio file.

In studio conditions, Floors should

be swept before each class, and should be free of protrusions (nails, fixtures, etc.)

In studio conditions, Carpet flooring should never

be used, as it impedes movement and can cause burns.

Lens of genre: Every form of dance has signature characteristics that identify and define it and that make it

beautiful and distinct from all other forms.

Contributing Individuals to Dance: Beyonce Bowles

becamse the most highly acclaimed and highest paid female performer in the world in the 2000s. In keeping with the cultural sampling media tactics of the current era, her music videos often feature visuals and movements from other cultures. The mozambican kwaito dance in her "Run the Streets" video is just one example

Evaluating Relative Success: Dancer must have also had enough rehearsal time to

become familiar and comfortable with movements, not only their basic form, but also the finer nuances of timing, pacing and energy

Couples Dancing: Couples dancing underwent a fundamental change in form in the 1960s where partners

began dancing together on a dance floor without touching eachother

Neighboring Countries Whose Traditional Dances are Similar: For example, the dances of many Balkan countries such as Albania and Macedonia resemble styles also seen in

beighboring Greece. Dancers bounce rhythmically in a snaking lines, often with a lead dancer performing special tricks and jumps.

Plie translation

bend

Plie means to

bending and striaghtening the knees

Modern and ballet produce similar motions such as

bending in plie in order to push off the flore and lieft the body into they air.

In tap dance, famous "hoofers" include

bill "bojangles" robinson, sammy davis jr., gregory hines and savion glover

Colling down after dancing is possibly even more important than warming up, as it prevents

bloos from pooling in the tissues and causing soreness in muscles.

In performance venue conditions, birght footlights or side lights can

blot out established landmarks in a dancers field of vision, causing disorientation and even dizziness. Completing a number of rehearsals with full lighting is recommended.

Slavery and the Origins of Many Quiessentially American Dance Forms: It can be argued that without the tragedy of t slavery in its historical record, the US would not have been spawned many of the art forms, now considered essentially American including

blues music, rock and roll, tap dance, swing dance, break dance and hip hop

Cultivating Movement Skills: Exercises that require many students to share space and move through and around each other without colliding help develop

body sense

In context of dance, ignorance or miscalculation in this area can get work

booed, snubbed, or banned. What sees like a funny or grossly over stated, characterization in one theatre can seem like an insultingly spot on portrait to audiences in another. If the choreographer's intention is to provoke or to illuminate a social issue, this effect may be a desirable one. Otherwise, choreographers should use caution.

In the intention and expression of dancing, intention is found in

both in the overarching aspiration for the dance (the particular perspective that the choreographer hopes to communicate to the audience) and in in each movement (the impression that each movement imparts). The degree to which movements intention is successfully conveyed is influenced by the partnership between the choreographer (who designs the movement) and the dancer (who must interpret and perform it).

"Just the Parts in Front of One's Eyes": Analyzing a dance's form is one to process it in the

brain

Break dancing and hip hop: Less than century later, another combination of forces resulted in a new dance form. First funk the hip hop music produced a form of social dance known as

break dancing

Communicating through dance: After demonstrating movement material to the class (and possibly accompanying the movment with verbal cues and dance terminology), the teacher may

break the combination down into progressions.

Break dancing and hip hop: Originally, hip hop dance consisted of

breaking (influenced by the dances of James Brown, martial arts and gymnastics), locking and popping.

In logistical factors, a clean performance space, admission and seating processes that are are ordered and show attention to detail, legible programs, a thoughtful opening address and quick smooth transitions between pieces are all characteristics of

a production executed by an organized and professional cast and crew.

In dance studios, In addition to actual studio rooms, many dance studios feature some of the following such as

a reception area and/or waiting room for parents or incoming dancers, a dressing room with storage for bags and street clothes, and restrooms (which may or may not have showers)

In square dancing, feet movements mostly consist of

a rhythmic, bouncing locomotion step, which propels individuals and coiples thorugh the floor patterns. The arms are relaxed, and arms movement is largely restricted to what is necessary for dancing with a partner.

The dancers repetitive movement for days will result in

a risk for reptitive motion injuries, especially if any joints are misaligned while the movement is being performed. Worse still, if the repeated movements are jumps or leaps, repeated impact can damage feet, ankles and knees.

Tango: Outside brothels, dancing skill became extremely important for attracting

a scarce mate

Tap dance: soft shoe

a smooth, fluid style done in soft leather soled shoes

Making use of community resources and support: The students dance community should also be seen as

a source fo support

Evaluating student solutions to a given movement problem: Problem solving in dance involves the use of movement to accomplish

a specific task or communicate a particular intention.

Assessing Students progress: Choreography is evaluated according to whether there is evidence of

a students understanding and creative use of choreographic elements of space and design, time and rhythm, energy and force, relationships, choreographic devices and compositional structures in teh creation of dance. Knowledge of production and presentation may also be assessed.

AB, ABA, and Rondo structures in Composition in dance, AB structure is

a theme followed by a different theme. Although the two themes are different, they share a common element that serves to highlight their dissimilarities. A deliberate transitions is beneficial for connecting Them A to Theme B

Baile Folklorico

a traditional performance style of dance combining footwork, costuming, and musical accompaniment of latin folk dances with the exacting choreography and exaggerated positions of ballet.

Though many dances revolve around an overt theme which is

a unifying idea of intention that is specified (and often even researched) well before the development of choreography begins-others do not begin with a definite idea. These kinds of dances evolve out of movement play and improvisation by the choreographer in the studio.

Modern dance classes do not share

a universally codified structure or sequence, although like ballet classes, they begin with warm up movements.

Hula dance, performed simultanousely, illustrates stories about legends about creations, the natural world, deities, royalty, and ancestors through

a variety of movements that range from established foot patterns and kness and hip undulations to acrobatic combat and juggling sequences.

Endruance is the

ability to continue activity overtime.

Sound Equipment: Instruments (or "cans") light the stage from

above, from the foot, or from the sides.

Enhancing teaching and learning in dance: Videos websites like youtube, daily motion, and others provides

access to endless choreography, but the level of performance skill varies widely. If these sites are used, dances should be considered and chosen carefully.

Once ideas of spirituality took shape in the culture of the ancient peoples, dance was there to

accomodate and communicate those concepts, too. Clasped hands and bowed head or upturned faces and upraised arms the standard posture and gesture of many world religions communicate the gratitude, supplication, reverence and worship involved in spiritual practice.

A suitable level of strength and stability must

accompany mobility in order to maintain the structural integrity of the body. Dancers should take this into consideration when developing and implementing a conditioning program.

In african dances, the cue to change movement is often provided by

accompanying drummers

Like tempo and rhythmic patterns, accents in rhythm can be matched or opposed either with _______ or _________

accompanying music or within the rhythm of the movement if there is no music.

Like tap from which it evolved, Jazz maintained a strong interplay with the

accompanying music, but shifted emphasis upward from the feet to the hips, spine, limbs and head. This created a more sensuous and expressive response to the often syncopated rhythms.

Once a central idea is established for a dance (or just as often even before the idea is fully developed), images

accompanying that idea will likely begin to emerge during choreogpraphic research. The choreographer pays attention to these image, recording and manipulating them, exploring the ways they can translate into or inform movement choices and eventually using them to stimuate and generate choreography.

Developing dance knowledge and appreciation of the arts and promoting students acheivement: If possible, teachers can show students a video during every class meeting. Videos should feature

accomplised dancers from various cultures, dance background, historical periods performing different styles of dance.

Motor learning: Pairing visual input with verbal cues and instructions helps the student

accumulate movement vocabulary while also learning the corresponding dance terminology

Rehearsals: Spacing rehearsals allow the dancers to become

accustomed to the dimensions and particular memebers to familiarize themselves with technical cues.

Making use of community resources and support: Implementing one or more of these practices will allow the dancer to

achieve optimal strength, flexibility, coordination and endurance.

In greek dances, often a dancer at one end of a line or circle formation performs

acrobatic jumps and kicks

Improving students abilities to observe, reflect upon, and critically evaluate dance: Using humor and levity, placing an emphasis on constructive criticism and swtiching roles so that everyone gets to

act as both critic and performer can reduce the likelihood of senstivity or shameful reactions.

Constructive Feedback: Auditory cueing can be very useful for

addressing problems in the categories of knowledge, placement, timing, or musicality.

Basic movements of _________and ____________ occur on the lateral plane

adduction and abduction

Endomorph functioning of the muscular and cardiovascular systems is

adequate

In dance studios, Dance studios have one or more medium to large open rooms that are used for

classes and rehearsals. Rooms originally designed for dance will be entirely open with no obstacles, but remodeled spaces may have posts place inconveniently near the center of the room.

Educational festivals of Modern Dance in the US: Educational festival events offer

classes, performance, dancers and established artists alike

Asking and Answering Questions: Comparing and contrasting a dance with other dances from the same time period-whether works made by the choreographer in question or seversal different choreographers can give a

clear "snapshot" of a certain era, especially if it is or was defined by particular historical or political events

proximal

closer to the center of the body, limb, or structure being described (most commonly used to describe limb structure)

Clues to Discern the Intention and Quality of a Dance: Before a dance begins, audience memebers can look for

clues about the dance or series of dances in the title. Is the title brief or wordy, descriptive or abstract?

In studio conditions, courtesy, vigilance and care should be used at all times to avoid

colliding with other dancers, striking another dancer with a limb or being struck by the limb of a fellow dancer.

Illustrating the importance of safety to students: Issues in the studio mostly related to finding enough space to dance without

colliding with other dancers.

Audience member's experience and persepctive: It is important for audience members to understand that their own perspectives will

color their repsonses to a dance every bit as much as anything the choreographer or dancers do

Originally, tap dances was a

combination of Irish step dance and English clog dance and satirical versions of African Slaves dances.

Communicating through dance: exercises exploring dynamics will require previous knoedlge of

combinations of movement qualities. Ideally, students will also have a knowledge of Laban's effort actions.

Ways in which Dance Forms Interact: During the creative process of choreogrpahy, movements from all styles in which the dance is proficient can be

combine in a myriad of ways. This permeability of form has always existed in dance

Modern dance movement: rolls

combining spiral theory with floor work and locomotion, modern dancers explore methods of rolling in numerous body positions

Evaluating Relative Success: All interactions between dancers onstage, in fact, appear

comfortable and deliberate, whether they are exchaning gestures from across an entire stage or coming into close contact to perform the loftiest lifts or tightest rolls

Ankle sprains are

common

Social dance is by definition, a

communal dance

The energy in folk dance is

communal; it is focused on the entire dancing group as well as on spectators.

Dance Education-Similarities in Form and Expression Among Dance, Mime (pantomime) and theatre: Pantomime and dance are both essentially wordless forms of

communication.

In the history of human development, movement predated language as a means of

communication. Through eons of evolution, humans have become adept at communicating and understanding meansing and intention conveyed through gesture and movement.

In ankle and knee injuries, over time (especially with misalignment), releve and en pointe dancing movements can

compact the bones of the foot, destroy cartilage, and even cause hairline fractures or degenerative arthritis.

Goals of historical/cultural heritage: As students learn more, exercises involving more sophisticated identification, analysis and comparison of a variety of dances can be

completed. Eventually this leads to learning and performing dance from various cultures and historical periods, and even reproducing or approximating choreogprahy to deepen students understanding of various dances.

Dance Education-Similarities in Form and Expression Among Dance, Mime (pantomime) and theatre: theater and dance share logistical concern when performed on stage including

completing entrances, exits and transitions, responding to cues, hitting the correct mark on the stage plot, and adequately projecting the performers energy into the audience.

Different drum sounds and rhythms call for different movements allowing for

complexity in groups and timing choreography

Career options for Dance Students: Working choreographers perform the work of a

composer, a dancer, an agent, and an administrator. They must create choreography, stay in good enough shape to demonstrate it, find and solicit companies and presenters who can and want to pay for choreography and keep track of all the inherent scheduling, budgeting and production demands.

Video Equipment: Since modern video production programs are computerized, an artist's software, files, medica, and computer equipment must be compatable with the venue's

computer operating system, projector (s), cables and control board. Types of equipment can vary immensely form venue to venue.

Video Equipment: Often, video projection is controlled through the artist's

computer rather than the venue's centralized board, which is used to control traditional sound and lighting

Sound Equipment: Modern light boards are often

computerized, and one button can be used to record levels and change cues.

Sound Equipment: Modern sound boards are

computerized, and single button can be used to record levels and change cues.

Goals of creative expression and performance: In the final practice of this component, students learn basic compositional

concepts and implment choreographic device and compositional structures to create complete dances

Familiarity with mobility and stability can help dancers tailor

conditioning plan to meet their own individual needs as can an understanding of somatotypes and their individual requirements

Indian Classical Dance: Through 9th century BC dances stayed mainly within the

confines laid out by this text

Tendons

connect bones to muscles

Educational festivals of Modern Dance in the US: The American Dance festival moved to

connecticut in 1947 and then to duke universtiy in north carolina in 1978

The Italian Cecchetti method also focuses on an understanding of the

connections between the limbs, torso, and head to create the fluid lines as a cohesive whole, rather than pieces to be moved seperately.

Appropriate behavior while performing in a dance event: Dancers are also expected to be

considerate towards all other parties during the rehearsal and production process.

momentum is the

consistent increasing of tempo; it has a connection with energy (energy increases as the tempo speeds up, and decreases as it slows down)

Critical thinking, creative probelm solving, cooperation, self discipline: Critical thinking, self discipline and written communication skills can be developed by

consistently requiring each students to provide written analysis of class exercises. This also strengthens integration between the students skills in spoken and movement languages.

Analyzing Dance-Through the eyes of the dancer: Dancers, consumed as they are (and must be) by

constant training technique, may tend to focus on a dance's technical elements and whether they were adequatley performed when viewing a piece

Because contact improvisation is a mental moving exercise, practitioners are

constantly leanring to simultaneously balance the objectives of responding to movement, creating movenent, and adjusting tempo, pressure and expectations.

Begun as a subset of post modern dance is

contact improvisation

In accompaniment for different types, moods and intentions of dance, certain accompaniments are well suited to certain

contexts. Silence focuses audiences more intently on movement, requiring strong technique or compelling charisma from a dancer. Loud, fast music "sweeps up" an audience, so movement must be strong enough to "hold its ground"

Ways in which Dance Forms Interact: Hybridzation of dance happens as dancer

continually seek to improve and expand their training by taking class in numerous styles

In later years with Doris humphreys dance technqiue, Jose limon

continued and refined the styles ensuring it would continue to be practiced for generations

Analyzing Dance-Through the eyes of the critic: The critic will look for a balance between

continuity and inventiveness within the context, as well as the dance's relevance within the current cultural climate and community

Cardiovascular endurance is developed by

continuous activity to exercise the tissues of the heart and lings and force them to carry out their respective function.

Muscular endurance is a muscles ability to

contract over time

Conductive Summative Assessments of Dance Knowledge and Skills: Formal evaluations of any kind hsould include

conversations between the teacher and student afterward to discuss results and subsequent plans for improvement. They should also be scheduled with adequate intervals in between to allow students to progress between evaluations. Students should be given plenty of notice so they have time to preserve.

In the context of falling and swinging and even rolling, a dancer

cooperates with the force of gravity for the downward portion of the movement.

Applying Evaluative Criteria to assess the different abilities and experience levels of individual students: Another method is to use a rubric to evaluate whether the student

correctly performs one of the critieria rarely, sometimes, most of the time or always. Other descriptions may also be used.

Evaluating Relative Success: Appropriate make up will

correspond with the size of the venue (too much in a small venue is clown-like, while too little "disappears" on the face), the tone of the piece and the character of each dancer.

In ballet folklorico, _____ are important in this style of dance

costumes

Rehearsals: Dress rehearsals combine all of a shows production elements which are

costumes, sound, lighting, videos, sets, props-into a run through that looks as much like the actual perofrmance as possible. These happen usually before a performance.

Dance culture, History and Analysis- Court Dance and Sacred Dance: The dances are also visual spectacles, often incorporating

costuming elements or environmental adornment such as shrines and offerings.

In rhythmic patterns, musicians and dancers begin

counting differently. Musicians start counting on the 1 (as in "1 and 2 and...). Dancers who need time prepare the body for its first movement-often begin counting on the "and" preceding the 1 (as in "1 and 2...")

Couples Dancing: By mid-17th century, couple dancing move from the

courts to the middle and lower classes with the burgeoning popularity of the waltz

Punch Illustrative image

A heavy fist suddenly thrown at a boxing opponent

Misalignment in the foot, which is exacerbated by gravity and force can create________.

A need for compensation.

Flick illustrative image

A quick, attention-getting tap on the shoulder

Ectomorph body type has_______type.

Lean body

The Kinesphere change it's form as the ____,____ and ______ move the body into different shapes.

Limbs, spine and head

Contributing Individuals to Jazz Dance: Luigi

He was a dancer with physical disabilities who created a therapeutic method that led to the development of standard jazz technique

Contributing Individuals to Jazz Dance: Merce Cunningham

He was a legendary avant garde choreographer and the founer of the Merce cunningham dance company

Contributing Individuals to Ballet: Vaslav Nijinsky

He was a star dancer with and controversial choreographer Ballets Russes

Contributing Individuals to Jazz Dance: Matt Mattox

He was celebrated teacher of jazz technique

Contributing Individuals to Ballet: Marius Pepita

He was teh creator of legendary ballets for the Russian and Imperial Theatre including "The Nutcracker" and "Swan Lake"

Contributing Individuals to Tap Dance: Master Juba

He was the African American dancer to play to white audiences and they only one to recieve top billing in a white minstrel group

Contributing Individuals to Ballet: Mikhail (Michel) Fokine

He was the choreographer for Ballet Russes

Contributing Individuals to Jazz Dance: Ted Shawn

He was the co founder of denishawn and the founder of Jacob's pillow dance festival

Contributing Individuals to Ballet: Sergei Diaghilev

He was the founder of Ballet Russes

Contributing Individuals to Tap Dance: Bill "Bojangles" Robinson

He was turn of the century vaudeville hoofer who danced on Broadway and in Hollywood Shirley Temple films

Humans are intimately familiar with rhythm through

Heartbeats, breaths, the rhythm of walking on two feet

The high level of movement in dance is associated with things that are

Heavenly, holy, remote, unattainable, weightless, timeless, effortless and sometimes superhuman

"The door plane" can be understood as the combination of the dimensions of

Height and width

Spirals are

Hypnotic

Free flow is also associated with

Modes of locomotion

The transverse line is a _____________ line

Horizontal

The middle level movement in dance is associated with

Human/ pedestrian/ mundane ideas, humility and regularity Locomotion and transition

Balletic movement makes use of

Multiple instrument voicings that correspond with the movements of different groups and mimics note length to produce corresponding movement.

The force required to produce motion is provided by the

Muscles

Bound flow can communicate

Images of halting, containment, constraint, suppression, control and worry

Naturally, paths between these stage area will produce

Impressions of their own

The neuromuscular system initiates_________.

Impulses in the brain, transmitting them via the nerves to the muscles, which contract and release to produce motion or to maintain a position in space.

Developing dance knowledge and appreciation of the arts and promoting students acheivement: Exposing students to greate dance is one extremely effective strategy for developing

dance appreciation and knowledge and for promoting student achievement.

Career options for Dance Students: Many dancers, both performers and non performers choose careers in

dance education, passon their enthusiasm and knowledge to subsequent generations.

Indian Classical Dance: In the early part of the 20th century, however, a concerted effort by those interested in dance and culture led to a revival and the establishment of

dance schools to preserve India's dance traditions

In its simplest characterization, tap dance can be explained as

dance that creates its own rhythm.

Cental to the choreogrpahic process is the intention for the

dance what does the choreographer wish to communicate to an audience thorugh what particular perspective will the information be communicated and what is purpose of communicating the information to the audience? The clearer the intention is in the creaters mind, the greater the chances that they resulting dance will be a cohesive lucid expression.

Teaching students good time and resource management skills: Resources are scarce in the ____ and _____ may be the scarest resource of all.

dance world; time

In selecting movement that converys integrity and meaning, in such an instinctive and sometimes and mysterious medium as

dance, the use of codified methods can seem foreign and even inappropriate. However, decades and even centuries of tradition have yielded wisdom about the creation of dance, wisdom that novice choreographers would do well to learn and apply.

Career options for Dance Students: Employers can include

dance, theater or physical education departments in public or private schools; private dance studios for students of all ages; and college dance departments

In securing musical resources, Musical accompaniment can contribute a strong element to

dance. Music (and how it will be used) should be given careful consideration.

Career options for Dance Students: Dancers with administrative skills can often use their familiarity with the special needs of

dancers and the dance community to perform much needed administrative work for dance companies, university dance departments, dance schools and studios, and performance venues. They may focus on areas such as fundraising, promotion and company management

pas de deux entree section is

dancers first come together

In addition to unifying dancer, drummers and spectators (who regularly become participants), they also control the movements of

dancers in many ways.

Making use of community resources and support: Teachers can introduce and advocate partnerships between

dancers in the school program and enttities in the school's municipal community.

Analyzing Dance-Through the Eyes of a Choreographer: Choreographers, are masterminds of

dances that see it all

Aspects of space that are commonly manipulated to develop choreography: shape

dancing bodies create shapes, which can be categorized as curve/straight as symmetrical/asymmetrical, and in terms of negative/positive space. Movements also trace shapes in space. These shapes are called spatial paths.

Motor learning: The motor stage is associated with a

deeper focus on the specific mechanics of particular movements

Dance culture, History and Analysis- Court Dance and Sacred Dance: These two dances convey an attitude of

deference from the dancers, communicating respect and acknowleding the power of the leader or god (or both) the the dance is inteded to honor.

Dynamics

defined specifically as the volume at which musical notes are played, dynamics also refers to the energy behind the playing and the varied time across which the music is played. In this way, dynamics in music are similar to dynamics in dance. Both give pieces variety and personality.

Folk dances in India are often dedicated to

deities

Indian classical dance: Dance enjoyed a repsected place in Indian culture, with

deities such as Lord Krishna portrayed in Dance.

Classial dances of Asian countries: Often, the purpose of classical dance forms is to exalt a

deity, or depict a mythological or cultural story.

In accompaniment for different types, moods and intentions of dance, of course a choreographer can choose to

deliberately challenge these affinities if "shaking up" an audience's perception is the explicit goal.

Using Dance to Gain Power over Subjects: Displays of special skills by dancers served two purposes which are to

delight spectators senses, and to attest to the wealth and power of the monarch who could afford such skillful dancers.

Understanding and Analyzing Dance: Useful methods to understand dance include

description, interpretation, appreciation and evaluation

Pattern in terms of space is known as

design, and encompasses many of the visual phenomena inherent to dance, such as shape, kinesphere, spatial path, level, direction, floor path, facing, etc.

Teaching students appropriate behavior for an audience member: Ideally, students will also pay attention to the impressions left on them by the dance's

design, outstanding moments and overall energy

Pushing a joint past its intended range of motion can

destabilize it and cause injury, and should be avoided

In dance studios, dance studios differ in their

details but all have certain elements in common. Some of them are outline below.

Constructive Feedback: Kinesthetic, anatomical, visual and pictorial images can help students

determine the correct shape or spatial path of movement, different body parts, to engage or release, or feeligns to reach for when executing movement.

Clues to Discern the Intention and Quality of a Dance: The viewer can also view costumes to ask

Do the dancers resemble someone or something? What colors, fabrics and silhouettes are used?

The arch forms a _________across the two feet when they are parallel to eachother.

Dome

The low level of movement in dance connotes

Downward movement on and into the floor

___________is often used interchangeably with movement quality, but connotes a more theoretical context.

Dynamics

Traveling and locomotion movement happens

In and across the larger performance or rehearsal space

In tap dance, the rhythm made by the feet upon the floor is paramount that can be done

In concert with counter to the rhythm of the music or acapella

Classial dances of Asian countries: Classical dance in many Asian countries including

India, Indonesia, Java, Cambodia, Thailand.

The "Effort Actions" is

Interactions between the first three factors result in eight main movement descriptors from Laban Movement Analysis.

____________is also important because of its effect on the alignment of bones and joints built upon it.

Foundation

The pas de deux is also known as

French for "step of two"

The Bournonville School style is followed closely after the

French method

Proper theoretical understanding of skeletal alignment, muscle and joint action and gravitational forces upon body can.....

Further Enhance the development of individually appropriate methods of physical conditioning of efficient motion and distinctive movement patterns which improve dancer performance and expression.

Rond de Jambe desired physical effects is

Further warms the foot, ankles, calf, thigh, and especially the hip rotators

The Royal Academy of Dance or the Royal Ballet was founded in

London in 1920

Making use of community resources and support: Members of this community include

fellow dancers, teachers, counselors, staff, administrators and parents. These are the people who offer rides to workshops and auditions, set up chairs, work the box office, hand out programs and work as stage crew members during performances.

Strengthening exercises involve

few repititions and great resistance or weight

When performed by partners there is often

fierce eye contact and challenging attitudes, but very little physical contact.

Sound Equipment: Colored lighting can be achieved through the use of

filters or "gels" attached lights and special effects can be achieved through the use of "gobos"

Modern dance emphasizes the

finding of an individual, personally authentic movement style over the codification of form and structure.

Classial dances of Asian countries: Exacting combinations of carefully prescribed

finger, hand, foot, and head positions and movements, as well as eye and facial expression are enhanced by elaborate costumes, headdresses, and masks. The latter three elements are often used to depic the gods or their servants.

Performing increasingly complex movements and patterns: In the part whole part presentation method, the teacher

first points out and explaing the particulars of any difficult parts before demonstrating the entire movement combination. Then as in teh whole part method, students work to perform the seuqence while teacher watches and offer feedback and assistance.

By 1700, along with French vocabulary for ballet movement other countries

founded their own ballet schools and styles most notably Russia, Denmark and Italy, followed later by England and the United States.

Warming up before dancing prepares the body to handle the impending demands of class or performance by

gradually accelerating the heart rate, stretching and raising the temperature in the muscles, lubricating tissues surrounding joints and focusing the mind on the task at hand.

Additional Art Forms in the Production of Dance Performances: More people than ever before are becoming proficient in burgeoning art forms such as

graphic design, computer animation, film, editing, sound editing and design, etc.

Career options for Dance Students: The world of dance is indebted to

great teachers

Extremely low levels of body fat also place dancers at a

greater risk of exhaustion and disease.

Balkan dances have a similar formation as

greek dances

Tight day time schedules or limited budgets often make

grocery shpping difficult so dancers must often eat what they can, when they can.

Low level of movement in dance is associated with all things

grounded/heavy/earthy

Body posture and movment intention in modern dancing is on

grounding and spreading

Technically partner dances, ballet folklorico dances are often performed by

groups of couples that forms circles or rows on the floor.

Teaching movement to Students who learn different paces: Students who wish to focus on the basics or those who learn combination more slowly can choose to perform the combination at

half the regular speed, on full foot instead of in releve without jumps, with sing turns, etc.

Social dance steps, as well as music, costumes and other accompanying traditions, are

handed down from one generation to the next.

In flamenco dance, both sexes wear

hard soled boots to amplify the rhythmic patterns created by feet.

In performance venue conditions, in many theatres is notoriously

hard to control, and in nontraditional venues there maybe no control at all. Dancers should bring enough clothes to heavily layer them in case the temperature is extremely cold and plenty of water in case the temperature is extremely hot.

Coming up with a dance when there is no specific idea in mind, coming up with a theme is

imperative, as it provides direction for the development of further choreography. Once it is established, idea and movement tend to feed off each other providing the intention for the piece.

In south/central american dance styles, many indigenous and psnaish speaking american cultures were influenced by the

importation of slaves from africa

In the audience member, ideally, the audience member also pays attention to the

impressions left on him or her by the dance's design, outstanding moments, and overall energy.

Using Dance to Gain Power over Subjects: Dance represented another opportunity to

improve a rulers reputation through a display of power and weatlh

All choreogprahy essentially begins with

improvisation-trying out movements without knowing ahead of time what they will look or feel like, repeating or varying or discarding movements in the spirit of exploring and identifying ones that fit with the choreographers mindset at the time.

Choreographic studies generally follow

improvisational exercies. They focus and shapes kinesthetic/creative insights of raw movement exploration into more fully developed movement phrases, each with a cohesive beginning, middle and end.

Developing Improvisational Skills: In addition to setting the score before hand, the teacher can call out guiding reminders and instructions to students during

improvisations, and ask questions afterward that promote deeper inquiry.

Tap and Jazz dance: Jazz dance kept the original

improvisatory style, but abandoned the taps on the shoes and added stylization from African, Caribbean and African American forms, as well as ballet and other styles.

Modern dance movement: falls

in a typically cooperative relationship with gravity, modern dancers employ numerous ways of falling to the ground without injury

In many cases, traditional dance steps are based on movements used

in the work and daily lives of the people and their ancestors, and so are already familiar to the people learning them.

Additional Art Forms in the Production of Dance Performances: Social networking puts more artists

in touch with eachother, facilitating cross pollnation between art forms. All this serves to answer the global audiences call for entertainment with more moving parts.

Parallel foot positioning is

in which feet are situated in alignment under the hips with the toes pointing it forward.

Martha Graham technique in dance

involved a dramatic "contraction and release" wherein dancers use an explosive exhalaltion to facilitate a correspponding deep muscular contraction in the torso.

inversion

inward rotation; turning a limb inward, toward the front of the body

The folk dancing atmosphere

is relaxed, and the setting is social and recreational one.

Tendu's desired physical effects

is to warms muscles of the foot, deepends the point and strengthen the soles against the floor

This is an identifying feature in jazz dance which is

isolation

Ballet shares only one characteristic with folk dance which is

it is taught using traditional approach

Dengage desired physical effect is that

it warms the foot, ankle and calf

As the influences on jazz broadended, so did

its movement style

Begun as a subset of post modern dance, contact improvisation has become

its own distinct for with diverse manifestations.

Break dancing and hip hop: Everntually Hip hop became a distinct movement form of its own, even spawning a subset of

jazz dance with basic movement vocabulary that taught in classes and used to develop choreography

In modern performance forms of jazz dance, Eugene louis (luis) facciuto developed his

jazz style as a therapeutic method after a crippling car accident.

Chronic injuries can develop over time due to

joint misalignment or muscular imbalance, resulting in painful inflammation and never pressure at joints of extreme stress.

It should be emphasized that too much flexibility creates

joint misalignment, resulting in injuries.

Physically, excess weight places extra stress on a dancers

joints, muscles and circulatory and respiratory systems. It can exacerbate traumatic injuries and accelerate the effects of chronic or cumulative injuries.

Shin splints often come from

jumping on hard flors and can be trated with rest ice and gentle stretching

Drums in african dance fo more than

keep time for dancers.

Cultivating Movement Skills: Cultivating body sense in space involves developing

kinesthetic awareness ( a sens of the body's location, position and orientation in space) and spatial perception (an awareness of the seld, others, and objects in the environmental space, as well as an awareness of the spatial relationship and patterns between the seld and other dancers).

Input from teachers and choreographers is integral to developing a dancers

kinesthetic awareness, and imagery is an effective way to develop that sense. Often, teachers use sensory images to heighten perception of particular body part of group of muscles. Examples include light rainfall on skin to help boraden the back and shoulders, a fist closing to help contract abdominal muscles and a light shining onto (or out of) a schest that needs opening and lifting. Often, imagery can help establish a dancers "muscle memory" for a certain movement.

Floor work can be done while

kneeling, crouching, on hands and knees, sitting or lying on the floor. Combinations of these positions can also be used.

Applying Evaluative Criteria to assess the different abilities and experience levels of individual students: Assessing individual students technical development in dance can be dones by considering the elements such as

knowledge, timing, exectuion, placement, energy, musicality

Birth of Ballet: France ballet school is called

l'Ecole Francaise

The French school of the Paris Opera Ballet is also known as

l'Ecole Francaise)

Dance as an Explicit Language: Dance, an expressive art, has a natural affinity with

language

Relationship with other studies: Relationship between dance, social studies and language arts: Dance should be considered just another

language

Skills and abilities Cultivated through the study of dance: Since dance is essentially a form of communication, it has a natural affinity with

language arts

Grand Allegro

large jumps or leaps which move the dancer across the floor such as grandes jetes or tour jete

Instruction the integrates and understanding of dance and other disciplines: Teachers can instruct students to create and perform short phrases exploring these concepts by using approaches such as

math, science, social studies and language arts

Adolescent stage of development for dance education in grades 8-12: The adolescent body is reaching

maturity, approaching its peacher functioning level without having had sufficient time and wear to begin sustaining the injuries almost always found in dancers.

In hula dance, every fold of fabric, leaf, flower and ripple of the hand adds

meaning to the story that hula tells.

Analyzing Dance-Through the Eyes of a Choreographer: The finished product is always

measured, voluntarily or involuntarily against the orginal vision

In the costumer, ideally costumers (or their crew) will take dancers

measurements; sew mockups for approval by the choreographer; schedule fittings, buy and prepare material and supplies, cut patterns and sew, fit, alter, and repair costumes.

Complete proteins are commonly found in

meat, poultry, and fish, and in combinations of soy, vegetables, grains and nuts.

Communicating through dance: breaking the combination down into progressions in this method, the teacher addresses the

mechanics of movement or a phrase, first breaking down the actions of each of the body parts-feet and leg movements first, then art and hand gestures and finally torso and head movements-and allowing students to practice them sperately before reassembling them into the whole movement. This method can then be applies to the next movement or phrase and added on to the first set. This process can be repeated for each subsequent movement or phrase until the students has learned the entire combination.

Contact improvisation is used by some as a

meditative movment practice, by others as a specialized form of social dance, by others as a means of movement research to generated choreographic materials and by the highly skilled as a form of dance suitable for performances in concert settings.

Hawaiian culture is passed through

memorized chants

Dance Education-Skills that the pursuit of Dance Can Instill and Foster: Because dance is a demanding field of study both physically and mentally, and because it is not traditionally well supported by education or industrial institutions, dancers gain attributes related to

mental "toughness" such as self reliance and self-descipline. They "do it for the love of the dance"

Dance Education-Skills that the pursuit of Dance Can Instill and Foster: Dance also promotes skills related to

mental agility, such as memorization and the ability to shift movements or sequences in space and time.

In muscular endurance it takes

mental discipline to continue working consciously through the boredmon of that repitition induces

Because contact improvisation is a _______ exercise

mental moving

Motor learning: At the autonomous stage it allows the student to develop mental skills such as

mental review, imagery and focus we well as physchological skills such as positive attitude, confidence and self counseling

If intention is the choreogrpaher's initial question, theme is the

method of expressing the answer. Themes can take almost any shape in a dance: investigations into pure movement combinations of space, time, and energy; emotional motivations; dramatic narratives; personality characterizations; dynamics of human interaction; or symbolic structures.

Improvisational exploration and choreographic study are related to

methods of focusing awareness and intention on movement in order to generate choreography.

Neighboring Countries Whose Traditional Dances are Similar: While folk dances vary within countries from region to region, the types of folk dances found in different countries can also share basic elements as a result of people

migrating to and from neghboring countries

In clothing, Jazz and tap dancers often

mix up the dress codes of modern dance and ballet based on their individual prefences.

Muscle flexibility allows for

mobility and an enhanced range of motion in joints. High kicks, deep curls and fluid psinal undulation all owe their pleasing shapes to muscle flexibility.

Physically, movement efficiency means there is a proper proportion of

mobility and stability in the musculoskeletal structures. Bones and joints are aligned well during movement, and muscles and connective tissues are working within their proper range of motion and endurance. Thus, efficient movement serves to not only conserve a dancers, energy, but also to prevent injury.

____dance and ____ dance employ the same physical forces to produce similar motions, but are also different

modern and ballet

Butoh: Butoh shares a number of characteristics with

modern dance

Cultural Development That Gave Rise to Modern Dance In America: Loie Fuller, Isadora Duncan, and Ruth St. Denis began forging their own individual movement styles and laying down the groundwork for what would become

modern dance

Modern/Contemporary Dance: In the 1920s, Denishawn students Doris Humhrey, Charles Weidman and Martha Graham along with west coast dancer Lester Horton, became the pillars of the

modern dance form and have created their own distinct styles each of which is taught as basci technique to contemporary dancers today

Floor work also supports the

modern ethos by affording opportunities to use unconventional body parts for balance, locomotion and pivoting ( as in shoulder stands, dragging the pron body forward with the elbows, or spinning on one sitz bone), as well as to invert the body in unfamiliar orientations.

Communicating through dance: Gestures (culturally meaningful movements of the limbs and head to express specific thoughts) and facial expression are two major way of communicating

mood and intention in a dance

Evaluating Relative Success: Lighting establishes the

mood of the dance, and its color, intensity, and direction will compliment movement. It should not upstage, overpower, or confuse movements, but enhance them

In sound and lighting, lighting not only makes the dance visible, but can also create a

mood or environment, define or adorn space a space, direct the audiences attention, establish performers roles and relationships and create special effects. Lights are hung above the stage or set at the foot or sides of the stage. During the performance, lights are directed onto strategic areas as the dance necessitates.

Imposing movement quality changes for the purpose of manipulating and shaping basic choreographic material: accumulation

more is added to the original movement

Safety precautions: Distracting a crew member (or a performer) can results in

more than missed cues-it cuase potentially hazardous and possible dangerous accidents.

Ways in which Dance Forms Interact: Today, because electronic communication and easier international travel offer greater access to global dance forms, dance spreads into

more varied communities faster than ever before. This increases the number of salsa, African, tango, hip hop, swing, hula, baile folklorico and other classes in a community and results in more versatile dancers

Choreographic deveices used to develop, manipulate, and refine movement for choreographic composition: choreogrpahic devices used to develop, manipulate and refine movment for choreogrpahic composition includes

motif and development, repitition, fragmentation, incorporations, accumulation, augumentation/diminution, tempo acceleration/deceleration, rhythm, action/reaction, retrograde, unison, canon, instrumentation, inversion/lateral shift, quality, level, staging, combination

Ectomorph exhibits exceptional range of

motion and quickness in movement

Onces the barre warm-up is finished, dancers

move to the center of the floor to complete exercises that develop strength, balance, and movement control on both sides fo the body

Intention does not always precede movement. Sometimes, the ideas dont emerge until

movement "gets the mental juices flowing." Whichever the order of events, the choreographer uses the interplay between movement and the thoughts and emotions it elicits to focus and deliver the choreogrpahic message of the dance.

Motor learning: In verbal cognitive stage of motor learning, a students connect

movement and language

adduction

movement of a limb toward the midline of the body (memory tip: "adding to the body)

abduction

movement of limb away from the midline of the body (memory tip: abduction = away)

In compositional structure and theme of dance, The final outcome of a theme and variation structure will appear as a

movement sequence repeated several times, each time with a different "face"

articulation is

movement through the range of motion of a joint or succuessive series of joints (ex. "wave" movement made by the hand)

Helping students Employ Appropriate and Effective Imagery: An example of pictoral image such as "Glide like a crane landing on a still lake" conveys

movement with focus, tranquility, and natural majesty. In this way, imagery can help dancers use movements to convey an idea, thought or common.

Goals of creative expression and performance: Another practice aims to foster students abilities to fully perform movement in many styles. In increasingly advanced exercises, students are taught

movement; are then taught to memorize, repeat, and reverse it; and are finally taught to vary dynamics and make movement expressive

Formalistic Dance Piece: Time can also be measure in the speed, duration, rhythms, arrangement and sequencing of

movements

Native North American and African Dances: Dance forms practiced by Native American nations within North America and by traditional African cultures share not only cultural and spiritual motivations, but also

movements

Relationship with other studies: Relationship between dance, social studies and language arts: When comparing language and dance words can be compared to

movements

In intention and expression of dance, expression is the dancer's ability to convey movement intention through

movements and facial gestures. Skilled dancers know that the angle of a dropped shoulder, how long a hand is pressed forward to say "stop" or even look inquisitiveness in the eyes can change the quality of an impression, whether the choreographer, dancer, or audience member is aware of it or not. The accuracy with which a dancer uses his or her body and face can support or undermine the overall impression the choreographer hopes to achieve.

Imposing movement quality changes for the purpose of manipulating and shaping basic choreographic material: repitition

movements are repeated

Performing increasingly complex movements and patterns: The add on presentation method can be used to group

movements into entire combinations. The teacher demonstrates the first part of teh sequence, and the students reproduce it. When the students are ready, teh teacher demonstrates the second part of the sequence. The students learn it, and then perform the first and second parts in teh sequence. This process is repeated to add on the third movment, the fourth movement, etc. until sutdents have learned the entire combination.

Pattern in terms of dance structure (or forming) appears in the sequencing and order of

movements, phrases, and combinations. Sequencing patterns often successfully mirror natual rhythms, including rise/climax/fall, theme and variation, ABA, canon, rondo, etc.

Isolations in jazz dance are achieved by

moving one body part independently of all others. For exmaple, rolling the head atop a still body rather than cooperatively moving of all body parts in the same manner or directions.

Unstructured "free" improvisation is

moving without premeditation and without any choreographic limitations placed upon the body or mind can be a useful way to discover what thay body and mind can produce

Imposing movement quality changes for the purpose of manipulating and shaping basic choreographic material: canon

multiple performers perform a movement in succession

Imposing movement quality changes for the purpose of manipulating and shaping basic choreographic material: unison

multiple performers perform the movment in the same way at the same time

Dehydration can result in

muscle cramps, weakness, dizziness and fainting.

Warm ups almost always involve

muscle stretches and joint articulations and can include repititive movements, strategic muscle contractions and aerobic activities such as jogging or jumping.

In conditioning, muscular strength is the

muscles ability to exert tension against resistance. It allows a dancer to hold the integrity of positions aginst the weight ogravity or his or her own (or another anders) limbs and body and allows a dancer to stop a moving object or person by overcoming its momentum

Neuromuscular analysis is essential for understanding which

muscles can produce a specific action most efficently, which cna help reduce unnecessary muscular tension and wear and prevent injuries.

Flexbility exercies should elongate

muscles only; joint-stabilizing ligaments should never be stretched.

The familiar "burning" sensation in a muscle signals that

muscular endurance is reaching its limit; generally performing five repititions past that point will increase endurance

Rhythm tap focuses on the

musical (acoustic) aspect of tapping

Tango: Spanish outpost Brothel were popular, and while you wait entertainment was provided by

musicans playing the mix of European instrumentation, flamenco, and minuet timing, and African rhythms that would become tango music.

Evoking Particular Feelings or Reactions: An examples of dancing evoking feelings or reactions is

mythological stories have always been a favorite theme across many forms of dance as the characters are strong, their defeats disheartening, and their triumphs inspiring

Providing Students with opportunities to Think Critically and Creatively: To develop critical thinking, teachers can call out the

name of the mvoement and ask students to perform it (for younger students), ask students to supply the name of the movement or the concept illustrated by it, or show variations of or other ways a movement could be performed.

World and Social Dance: The advent folk festivals has helped preserve the

native traditional dances of various countries, but in other places where culture has been demonlished by war, land development, or other catastrophes the dance are lost as the poeple are scattered

Parallel foot positioning is ht emost

natural foot orientation for human locomotion. This is in fact the orientation in which human use to walk.

choreographic material: patterns in nature and movement phenomena

natural formes, movements and rhythms are endlessly fascinating in their intricacy, variety, predicatbility, or unpredictability.

Relationship with other studies-Relationship between dance, social studies and language arts: Dance can be identified as a

natural interest of sical studies. Many anthropological studies include native dances amog the basic attributes of peoples culture

In dance studios, often a wall in a dance studio features

one or two wooden or fiberglass ballet barres, or there may be portable, free standing barres. Another wall is usually covered by mirrors. Floors should be wooden, whether spring or traditional, and may or may not be covered with marley vinyl. There is usually a sound system of some kind in one corner.

Young dancers who are underweight can experience a delay in the

onest of mentruation. The resulting lack of estrogen can impede bone development, leading to advance osteoperosis at unnaturally young ages.

Conductive Summative Assessments of Dance Knowledge and Skills: To best track a student's progress during a given time period, periodic, formal summatove assessment should be combined with

ongoing, formative assessments.

efficiency of movement can be define as using

only the required amount of muscular and energetic effort to perform an action.

Dance Education-Skills that the pursuit of Dance Can Instill and Foster: Ensemble work (especially contact) cultivates

open minded cooperation, communication and collaborative skills. Additionally, the particular demands of dancers daily schedules tend to make them highly organized and efficent

Dance Education-Similarities in Form and Expression Among Dance, Mime (pantomime) and theatre: Although staging and expressive concerns can be quite different for actors and dancers, theater and dance still share many

of the same logistical concern when performed on stage.

Jazz dance began in America in the 1940s as an

offshoot of tap dancing and sharing its close attention to the syncopated musical rhythms of jazz music.

Encouraging Students to Make Healthy Lifestyle Choices: Frank classroom discussion can address choices, but may not always be optimal for addressing the difficult emotional situation in which teenagers

often find themselves.

In modern dance, individual styles are

often informed by the specific focus of a dancers creative exploration and the nees of the physical body

Butoh: In Butoh dance, each was a response to

older, restrictive dance traditions. Additionally, each form encompasses a wide rand of natural, philosophical, and formal approaches that are often devised by practitioners. However, each style has an easily recognizable and identifiable form

Encouraging Students' Self Expression and the Use of Dance to Respond to Their Environment: In order to complement school work, a teacher can develop exercises focusing

on and illustrating principles from other classroom curricula, such as spatial concepts, geometric shapes, vocabulary and verbal expression, or cultural studies.

Most african music prominently features at least

one and usually several types of drums

Instructional strategies for special needs students: An exercise should present a task that cannot be accomplished by

one dancer alone, but must be completed by seversal dancers working together in unconventional ways.

Teaching Dance techniques from a variety of genres, culture and time periods: In order to acquaint students with the immense breadth of the dance world, it is necessary to present them with

opportunities to both see and learn to perform dances from a variety of genres, cultures and time periods.

In dance floor surface, "sprung" floors are

optimal. In these several padded or flexible layers are covered with a wooden top surface.

Modern dance often places emphasis on

organically occurring patterns and ways dancers can embody them to produce natural movements.

World and Social Dance: Sometimes, social dances remain unchanged, and are preserved by their

originating populations

World and Social Dance: Sometimes, social dances are affected by

outside influence from other parts of the world

eversion

outward rotation turing a limb outward, toward the back of the body

When stretching, one must

overcome the body's natural stretch reflex: the automatic contraction of a muscle immediately after it has been stretched.

However, a more prevelant problem within the dancer world is that dancers are often

overweight. This is often as a results of the field's prevailing and extreme emphasis on thinness. This is especially true for ballet dancers, who are at a disproportionately higher risk for eating disorders such as anorexia nervosa and bulimia.

Tension results in

pain in the pectoralis minor, levator scapula, upper trapezius or rhomboids. It also results in a limited range of motion for neck flexion, extension, inclination and rotation.

Sound Equipment: Lights types include PAR or

parabolic, cyc/strip, Frensel, and ERS or Ellipisoidal, amogn others.

Although part of the hertiage of modern dance rest upon the freedmon of each dancer to find a personal way of moving, nearly all styles of modern dance share certain features includes

parallel foot positioning, flexed feet, groundedness, weight sharing in contact work

Imposing movement quality changes for the purpose of manipulating and shaping basic choreographic material: fragmentation

part of a movement is performed

Ways in which Dance Forms Interact: Once a dancer "gets a movement in his or her body" it becomes

part of the dancers movement vocabulary

Appropriate behavior while performing in a dance event: Teachers can use discussion in the classroom to initially prepare students to meet the

particular behavioral expectations for dancers in a performance setting. Then if possible, taking a field trip to tour a theater would be beenficial, as it would allow the teach to walk students through all areas that are important to performers.

World and Social Dance: Many social dances around the globe are thousands of years old, having developed naturally from the

particular landscape, kinds of work, spiritual needs, sociopolitical position and community wide culture of their peoples

Formative, or Continual, Assessments of Dance Knowledge and Skills: These insights may be shared immediately, but are usually stored away for use in

particular situations in which insights about a students technique would be useful to share. When planning lessons, this accumulated knowledge of each students progress can serve as the basis for subsequent lessons that are compatible with general levels of student readiness.

Technical modern dance: weight sharing in contact work

partners distribute their combined weight in optimal proportions to make shapes and movements while in close contact.

Contrary to ballet partnering, where one partner supports the other while both remain mostly uprights, contact improvisation requires partners to distribute their collective weight to achieve, maintain or transition through shapes and movements. This form allows

partners to use eachother as a support, ballast, launchpad, mat, ladder, blanket, etc.

Originality and Visual/Emotional Impact: Ideally, a dance should look and feel like no other. This can be a problem, especially within a

small dance community or a single choreograhpher's canon/ Many dances can look alike because they make use of the same stock movements and devices

In dance floor surface, the hard soled shoes worn to perform dances such as tap, irish step and flamenco can make

small dents and divots in wooden floors. If at all possible, these wooden floors should be used solely for dance classes during which hard soled shoes are worn, and no others.

In performance venues, can include

small, medium, and large theatres, as well as sound stages, art galleries, night clubs, warehouses, gymnasiums, homes, outdoor public spaces such as parks and courtyards, and just about any other place imaginable.

Petit Allegro

small, quick jumps in place, such as changements, temps leves and assembles

Evaluating Relative Success: Ideally, transitions between movements appear

smooth, and entrances and exits appears organized.

In south/central american dance styles, partner dances done by couples to a variety of accompanying Latin rhythms are one of the

social dance popular across central and south america.

Banning of Traditional Dance: Dances, if not wiped out entirely, often transform from spiritual practiced into

social or performance dances

Modern dance movement: spiral

spiraling motions help dancer move sequentially down into the floor and back up as well perform prone rolls across the floor

Native American dances can also represent the

spirit world. The hoop dance, for instance, represents the circle of life.

Connection Between Dancers and Their Religious Entities: Historian agree that that the earliest organized and recognizable dances arose out of

spiritual belief and gratitiude

Jazz sneakers are more like

split soled athletic shoes, providing added support and stability

an inverse relation exsists between

stability and mobility

as mobility increases in a given joint or limb,

stability decreases and vice versa.

Safety precautions: Dancers should only go where a

stage manager or choreographer directs them, and should promptly follow all instructions.

Evoking Particular Feelings or Reactions: dances with a dramatic or comedic objective often borrow methods from theater such as

staging, costumes, props and sets.

modern dance has no

standard terminology, so even though it uses many standard terms from its predecessor, balles (plie, tendu and battement for example), these are augumented by countless other movement words that range from basic commands (bend, contract and swing for instance) to terms specific to one teachers movement philosophy.

Formalistic Dance Piece: Although abstract dances do not specifically aim to evoke viewer's emotions, they may

still do so-and will certianly create impression and elicit reactions of some kind

In folk dancing religious dances reflect a peoples spiritual beliefs including

storytelling, dances to transwer knowledge, medicine dances for healing or protection, imitation dances (mimicking important animals or events), commemorative dances demaracting annual events (solistices, harvests, animal migrations, etc.) or personal landmarks in individuals lives (birth, initiation, marriage, death, etc.) and dances to achieve a spiritual connection with dieties.

Ectomorph exhibits exceptional range of motion and quickness in movement but lacks

strength and endurance

Stability is associated with

strength and maintaining alignment, and mobility with flexbility and range of motion

In Strengthening exercises, because dancers move through a myriad of positions instead of holding particular ones, it is recommended that

strength exercises be performed through the entire range of motion, rather than "contracting in place". Slow movement if preferred over fast, as it allows the dancer to focus on and address weak spots within his or her range of motion.

In classical ballet, to provide stability, the dancer must

strength in core muscles is needed the limbs are elevated from the core arms are typically extended away from the body in "airy" postures the legs perform movements in a position roated or "turned out" from the hips hips need flexbility in the muscles of the hips and legs balances are often held upon the tips of the toes (en pointe)

Identifying Students technical and/or performance problems: Observing and listening simultaneously can allow teachers to gather information about the

strength of a students rhythmic sense and musicality-whether they can match movements with their intended counts and respond to music through movement

Hortons dance technique emphasizes on

strengthening movements and flat backs, pelvic hingers, and oppositional movement created powerful dancers capable of sustaining constant movement.

Misalignment destabilizes a joint and makes it work inefficiently creating

stress

Tendu

stretching of the foot along the floor away from the standing leg

Modern dance was a response to the

strictures of ballet

Frappe means to

strike the floor with the foot in a brushing movement

Tap

striking the floor with an immediate release; can be done with the heel or the ball of the foot

Toe

striking the floot with the tip of the foot with or without a weight change

Educational festivals of Modern Dance in the US: In 1933, after the closure of the Denishawn School, Ted Shawn established a

summer dance festival on his family farm in Jacob's Pillow in upstate New York. This festival is still held today.

Audience member's experience and persepctive: Viewers being their own elements to a dance which is

past experiences, socialpolitical orientation, aesthetic preferneces and a certain degree or lack of knowledge about dance in general and the specific choreographer, company or presenting institution behind the dance

Highschool Dance Education: creative expression and performance criteria ensure that students understand and apply principles of

physical fitness and movement philosophy to the performance of dance, and also apply principles of composition and choreogrpahy when creating their own work

In conditioning, a few choreographic styles focus upon enhancing

physical integrity, but all dancers should engage in a separate conditioning regiment for optimal performance

Developing and implenting individually appropriate conditioning programs: A teacher cannot over emphasize the importance of individualized conditioning to address a dancer's specific

physical needs, minimise limitation and maximize capabilities, and produce strong, flexibe, coordinated and versatile dancer.

Elements of ballet, theatrical, social and ethnic dance injected a sense of

physical prowess into the expression of the cultural climate.

Developing and implenting individually appropriate conditioning programs: Along with teaching technique, teachers also introduce students to fundamental concepts of the

physiological conditioning require in order for students to maintain body that is fit to dance.

Eugene louis facciuto developed jazz style as a therapeutic method as it is often used by dancer looking for

physiological symmetry and integrity.

Step

placing the ball of the foo ton the floor with a weight change

Touch

placing the ball of the foot on the floor without a weight change

Stamp

placing the entire foot on the floor with a weight change

stomp

placing the entire foot on the floor without a weight change

Indian dances formations for deities, participants often

play instruments while simultaneously dancing.

Birth of Ballet: During the Italian Renaissance, dancing was done by the royal court to

please the monarchs (who also participated in the dance).

Using Dance to Gain Power over Subjects: The original purpose of court dance was to

please the royals with beautiful dancing, which they either joined in with or watched and commented on.

Classial dances of Asian countries: Many forms of Asian dance are thousands oa years old and have had

plenty of time to "travel"

African dances mostly are usually done in

plie

Barre sequence of warm-up exercises include

plie, tendu, degage, rond de jambe, developpe, frappe, battement

Tendu means to

point the toes

The combination of several drum sounds and pattern produces

polyrhythms, the "different voices" that give african music its complexity, urgency and depth

Sound Equipment: Studio playback can be done on a

portable "boombox" stero, a computer or mp3 player with plug-in speakers, or even a PA system

Instructional strategies for special needs students: All students respond to

positive reinforcement.

In relationship between dance and music, sound, spoken word and silence, spoken word (dancers or others) can be a

powerful accompaniment, but choreographers should be aware of overwhelming a dance with words, especially poetry, narrative, or conversation.

Helping students apply critical thinking, creative problem solving, cooperation and self discipline: Task-oriented improvisational group exercises offer an excellent way for students to

practice and develop skills of critical thinking, creative problem solving, cooperation and self disciplines.

Teaching students good time and resource management skills: The time in scarcity also applies to

practice and rehearsal time in the studio.

In contact improvisation, Judson Church dancer Steve Paxton originated the

practice of contact improvisation in the 1970s, focusing on the physical and energetic points of contact between two or more dancers and the way they could initiate mvoement through the dancers responses.

Over the years, in Jazz dance, a canon of movements contributed by its

practitioners has developed.

In parallel foot positioning, we are psychologically designed as

predators, with two eyes in the front of our heads and limbs that naturally swing sagittally during locomotion.

Motor learning: The teacher detects errors and addresses them through

prescriptive feedback and the repetition of specific approaches to problematic movements.

In contact improvisation, contact exercises will

present a concept or task that aligns with the chorepgraphers intentions for a dance piece and promising movement culled from the exercise will be repeated and manipulated to become set choreography.

Tap and Jazz dance: During the mid-19th century, white performers in American minstrel shows began

presenting these dances along with the dances of African Slaves found in the American South. Shortly After, black performer began doing the same.

Putting a Choreographer's Work into Context: Once they are familiar with an artist's back ground and current work, audiences can also determine the influences that shaped a given dance. Styles come about as combinations of

previous influences (as in the case of jazz dance arising from tap and social dance), or as deliberate rejections of them (as in modern dance reacting to ballet).

Analyzing Dance-Through the eyes of the critic: Theoretically, the critic knows something about the choreographer's

previous work, training and teaching lineage, peers and collaborators, current and historical politcal, social and cultural working conditions, philosophy, and artistic focus and style (The critic may be familiar with the dancers backgrounds as well)

Evaluating student solutions to a given movement problem: Teachers can also subjectively assess the creativity with which the students addresses the

problem, or the number of different approaches he or she uses to try to find a solution.

Neuromuscular analysis studies the muscles needed to

produce action in a joint, including specfic muscle types and larger muscle groups, and looks at the kind of contractions muscles must perform.

Rehearsals: After the relatively lengthy period of studio rehearsals, in which dancers learn perfect choreography,

production begins

Clues to Discern the Intention and Quality of a Dance: Audience members can also look at the

program notes. Do they include quotes, highlighted informatiom, or thank yous to other choreographers who have created recognized works?

From warm ups in modern dance classes then

progress through a series of increasingly demanding movements before finishing with the learning and performing of a choreographic combination.

Instructional strategies for special needs students: More advance students should be encouraged to

progress, even as less advanced students maintain focus on basic elements. This require keen observation of each students capabilities and limitations. It also require careful curriculum planning, which includes developing realisitic movement modifications for students with special needs.

The four main movements involved in a pas deux are

promenades, turns, lifts, leaps

In african dances, foot patterns are

prominent, and range from simple to extremely complex.

In ankle and knee injuries, _______ can help prevent the compact of bones of the fotts, destroy cartilage and even cause hairline fracture or degenerative arthritis to the dancer.

proper flooring, joint align,ent and muscular balance

Assessing Students progress: Technique is assessed for

proper form, skill in executing movement, adherence to the rules of particular dance forms and comprehension and application of movement principles.

In time management finding time and opportunities for __________ is difficult.

proper nutrition, rest, and relaxation (physical and mental) is often difficult.

In morris dances and other group dances they would also use

props such as sticks, hoops, flexible swords, garlands or handkerchiefs.

About 15 percent of a dancers diet should consist of

protein, which maintains tissue integrity in muscles, tendons, ligaments and bones.

In the pas de deux duet, the male dancer

provides support for a female dancer allowing her to perform more numerous turns, longer balances, and higher leaps than she could on her own.

Appropriate behavior while performing in a dance event: Teachers should also clearly state general expectations for dancers including

punctuality, physical and mental readiness (including prepapredness for long waits and/or hurried interactions in uncomfortale conditions) and alertness.

Classial dances of Asian countries: All Asian cultural dances are similar in terms of

purpose, movement, costuming and other elements.

Teaching students appropriate behavior for an audience member: Students should watch the the entire performance

quietly. There should be no talking, whispering, fidgeting, using phones, using flash photography, or eating candy with crinkly wrapping.

Greek dances hold their hands as

raised or at the shoulders

Joints in the body vary widely in terms of their

range of motion

Intellectual, social, emotional and physical development of 8th-12th grade students: Physical

rapid gains in height/weight, development of sexual organs, body hair, onset of menstruation in girls, increase in glandular activity (sweat, oil and acne) and continuation of brain development.

Break dancing and hip hop: Break dancing style developed along side other skills of hip hop culture such as

rapping, dj'ing and graffiti

Ballet: Overtime, ballet transformed into and remains today a

rarefind form of concert dancer performed by highly trained individuals

Additionally, in order to constantly explore how far the body will go, and the keep perfect steps and combinations, dancers

repeat movements over and over sometimes for days.

In a meter signature, a meter is the

repeated grouping of accented beats in music. Meter signatures (also called "time signatures") are written in music notation as a fraction. The denominator (bottom number) signifies the unit of measurement, the basic beat that makes up the rhythm. The numerator (top number) represents the number of these beats that make up one measure.

Native North American and African Dances: Rhythms are created by

repeated stamping movements that help the dancers locomote in a circle or sometimes in a forward-backward moving line

In african dances frequently, movements are done in

repeating patterns

Safety precautions: If a dancer discovers a hazard or needs a question or issue addressed, he or she should immediately

report it directly to the stage manager

In neck and shoulder injuries, Moderate and severe injuries in the neck and shoulder should be treated with

rest, ice, and anti inflammatory medication until moving is no longer painful. Then proper stretching and muscular conditioning is recommended for rehabilitation or to avoid injury.

pas de deux coda sections is

reuniting to end the pas de deux

Instruction the integrates and understanding of dance and other disciplines: Exercises in which students physically interpret concepts from other disciplines are effective at

revealing their relevance to and interactions with dance

In a choreographer who "has no idea what to dance about", realizing that the choreographer can heal some old wounds, while simultaneously entertaining an audience with the proper compositional structure, the choreographer

revisits the original theme, condensing and lightening it considerably. Then, after inserting thoughtful transitions between them, she sequences the original theme, the second theme, and the condense original into a cohesive ABA structure.

Constructive Feedback: Calling out movements names at their intended times, advising adjustments in body placement, and clapping along with the steps or singing along with the music to empahsize

rhythm or intensity can all be helpful to students "moving in the moment"

Today, tap is loosely divided into two styles

rhythm tap and broadway tap

Pattern in terms of tiem is most easily identified as

rhythm, as in the pattern of accented and unaccented beats that repeat to create meter. Rhythmic patterns are as varied as the movements of a dancers leg.

Greek dances feature

rhythmic dragging, hoppinh or leaping.

Balkan dances performs dances as

rhythmic hops and steps while holding on to each others shoulders

Dances of England, Ireleand and Scotland feature

rhythmic stepping and hopping patterns.

Many Native american dances incorporate

rhythmic stepping and stamping

Often, traditional dance steps are

rhytmic and feature set foot patterns, as rhythm and patterns are both easy devices for categorizing and recalling information.

In ballet folklorical costumes, women wear

ribbons in their hair, ruffle blouses, voluminous, heavily ruffles skirts, and (occasionally) shawls. The latter two pieces can be used to further dramatize the female dancers swirling, sweeping, arm movements.

The vast number of potential sources of ideas and inspiration for a dance can yeld

rich and compelling choreogrpahy, or a product that is flat, over emotional, inane, or incomprehensible. The success of the endeavour depends on several factors related to the process of transforming an idea into a dance.

The Italian Cecchetti method is a

rigid procedure that exercises different muscles in a weekly sequence, imparting evenness of strength and flexibility.

Tap shoes are more

rigid to protect against impact. They come in flat and heeled varieties,and have metal taps on the heels and toes.

Indian classical dance requires

rigorous balance, control of the torso and center of gravity and well developed coordination to balance rhythmic footwork and precise foot patterns with multiple gestural movements fo the hands, feet and eyes to communicate a variety of mental states and emotions.

In time management, Even professional dancers must keep

rigorous training, rehearsal and touring schedules.

Improving students abilities to observe, reflect upon, and critically evaluate dance: For younger students unfamiliar with critical analysis,

role playing can be useful for introducing the process.

In south/central american dance styles, the basic rhythm patterns of forward and back, side to side or combination steps, which are embellished by

rolling the hips and shoulders, varying body positions and adding accents and turns

Illustrating the importance of safety to students: Students should use their peripheral vision and kinesthetic awareness to sense where other people are in the

room, and to follow established entrance and exit pathways for across the floor exercises.

articulation joints: pivot possible movements

rotation (ex. pronation or supination of the forearm, rotating the head)

In accompaniment for different types, moods and intentions of dance, one useful rule concerning accompaniment is to

roughly correlate the number of sound producers (human voices, instruments, car horns in pre recorded traffic, etc) to the number of performers on stage. This will safeguard against overwhelming a single dancers with a massive cacophony or "underwhelming" a chorus of dancer with one lonely voice.

Grand spectacles of dance were performed for the amusement of

royalty

In misalignment, extreme prolonged and repeated stress on a joint can

rupture cartilage or tendons, pull muscles over stretch ligaments, and even deteriorate or calcify dones if they rub against muscles or other bones.

Tango: By the early 20th century, the form began to travel with

sailors, dancers, and musicans.

In south/central american dance sryles, popular dance forms in these regions includes

salsa, rumba, mambo, cha cha, conga, cumbia, salsa, meregue and tango.

articulation joints: condyloid possible movements

same saddle as joint (ex. jaw and the first joint of the index finger)

Jazz shoes usually cover almost the entire foot, are made of the

same soft leather as ballet shoes, and can have a split sole that is also made of suede. Some have a slight heel.

Pointe shoes are essentially a

satin wrapped cardboard box that fits around the toes, with padding stuffed inside to give support when en pointe.

Dance is not always valuedin society and even less often compensated so many dancers must fit their dancing in between

school, day jobs, family and other demands.

Mental and Emotional skills acquired: Self- discipline can be especially useful in any occupation that requires constant trial and error such as

scientific research, service industry work, writing (text or computer code), agriculture, and freelance work of any kind as it is largely self directed.

In hula, both men and women can perform various hula dances while

seated or standing (or sometimes both).

Teaching Dance techniques from a variety of genres, culture and time periods: In many public school, dance classes are broken into

sections, and focus on different kinds of dance each week or every couple of weeks. For example, one section might focus on the concert forms of jazz, tap, ballet, modern and hip hop. Another might focus on folk dances of greece, india, western aftrica, the british isles and north ameria. Then, there might be another section that focuses on Italian renaissance court dances, early american square dances and social dances of the 1950s and 1960s.

Developing dance knowledge and appreciation of the arts and promoting students acheivement: Though not every student will respond postively to every video, each will

see something inspiring over time. Additionally all students will gain exposure to teh breadth and delpth of greatness possible in the thousands of worlds that exist inside dance.

Helping students Employ Appropriate and Effective Imagery: Kinesthetic images evokes

sensations in particular body parts to achieve a corresponding position or shape

Cultivating Movement Skills: Along with cultivating body sense in space, students should also learn how to

sense, identify, understand and eventually use physical forces and phenomena (gravity, force, resistance, action and reaction, inertia, structural integrity, velocity and momentum) that act upon their bodies while they perform and create dance. The application and illustration of these concept during regular movement exercises can familiarize students with them.

In conditioning, In order to meet the physical demands of classes, reshearsals and performance nearly all dancers need a

separate conditioning program based upon their body type and individual strengths, weaknesses, alignment issues, movement behavior patterns and needs for strength, flexilbity and endurance

Evaluating Relative Success: Dancers should avoid collision with

set pieces, lights and other dancers in ensemble pieces

Providing Students with opportunities to Think Critically and Creatively: To develop creative thinking, teachers can ask students to

supply their own imagery for particular movements. Students can string together movements to create a phrase for themselves and others to perform.

In conditioning, dancers must cultivate a broad and comprehensive range of physical attributes to

support dynamic daily movement at a consistently high level

Modern dance movement: Body swings

supported by the stability of the lower body the weight of the upper body can be combine with the gravity to produce momentum in swinging the torso, either sagittally into psinal felxion or laterally in an arcing spatial path

Banning of Traditional Dance: Religious officals also ban traditional dance for reasons of

supposed immorality

Dance as an Explicit Language: As certain cultures have historically sought to colonize or ensalve others, they have consistently worked to

suppress the native language of those the wished to conquer. As a results, subjugated people have sometimes turned their dance as the "secret language".

In order to overcome the body's natural strech reflex can be achieved by

sustaining a stretch for a long time, using a gentle pulsing (NOT bouncing) stretch, or reciprocal inhibition, where the opposing muscle group i sforcefully contracted during a stretch. Conscious use of the breath during stretches can enhace the effect.

In props, costumes, makeup and hair, heavy character makeup can run when a dancer

sweats. Makeup can cause stinging if it gets into the eyes. False lashes obscure vision and result in a "hooded" sensation for the wearer. Wigs can slide off during strenuous movement, and especially heavy ones can alter a dancer's center of gravity.

All styles of tap incorporate the

syncopation of beats, as well as the practice of improvisation

Formative, or Continual, Assessments of Dance Knowledge and Skills: Formative evaluation is the kind of ongoing assessment that

takes place daily (or at every class meeting) as a result of the teachers constant attention to students continuing evolution.

Career options for Dance Students: Dancers whose main livelihood is performing are usually extremely

talented and very rare.

Developing Improvisational Skills: The development of new skills in dance, such as improvisation or choreography, requires a combination of

talking and listening and doing and experiencing.

Tango: In the intensely focused Spanish outpost Brothels, this intensely focused environment,

tango was born

Break dancing and hip hop: Jazz in America arose from

tap

Tap and Jazz dance: The combination of African American south dance and British Isles and Irish native dance merged into

tap dance, which gained popularity during the vaudeville era and the 1940s and 1950s in Hollywood. Tap then fell out favor for many years, but expreience a resurgence in the 1980s.

Building block steps in Tap Dance are

tap, step, touch, stamp, stomp, toes, brush/scuff, shuffle, flap, slap, ball change, hop, jump

Common knee injuries and issues include

tears in ligaments and cartilage, as well as inflammation of the fluid sacs and fat pads that cushion the knees. First response for these injuries is rest, ice, and anti inflammatory medication followed by properly strengthening the muscle to remedy the misalignment.

Video Equipment: Video for dance performances has its own set of

technical considerations

Identifying Students technical and/or performance problems: An overwhelming proportion of teachers observation time is devoted looking at

technique and its exacting physical rules-the alignment of joints, the correct elevation and palcement of the limbs, torso and head, etc.

Body isolations and jazz dance are practiced diligently in

technique classes and are intrinsic to jazz choreography.

Improving students abilities to observe, reflect upon, and critically evaluate dance: Discussions should highlight the critical focus on performance factors like

technique, phrasing, energy and impression, as well as on compositional concerns such as use of space and staging, timing and sequencing of movements.

Additional Art Forms in the Production of Dance Performances: Slam poetry or spoken word trend is the result of several forces, but is mostly related to the widespread availability of

technology

Dance culture, History and Analysis- Court Dance and Sacred Dance: Court and sacred dance are different from ecstatic religious dances where

the goal is to work dancers intoa trance believed to facilitate a direct connection with the divine

Rest in RICE is

the injured individual should cases using the affected body part for at least 48 hourss after the injury to ensure it is not repeated. After that, controlling inflammation is paramounts, as it will allow the affected tissues to begin healing, and will limit amount of scar tissues the body will produce.

Relationship with other studies-Relationship Between Dance, Math and Science: Physics and kinesiology are an example of

the intersection between dance and science in that they both study the effects of physical forces on structure of the human body during movement.

Teaching movement to Students who learn different paces: The inclusive style of teaching invites dancer to select

the level of difficulty at which they will perform a given exercise. The teacher presents a medium level movement combination, and then varies the difficulty of a number of aspect of the movemnt, including speed, complexity, number of turns, addition of beats or jumps, use of releve of fondu, directional change, etc.

Lighting Equipment: Since most studios do not have lighting options, lights rarely enter the equation until

the lighting degisner begins attending rehearsals.

In clothing ballet classes, form fitting leotards and tights are the norm, giving the teacher a clear vision of

the lines of each students form. Leg warmers, arm warmers, nylon dance pants and small wrap around sweaters or shrugs are common worns as top layers.

Lifts in the pas de deux is

the males dancer lifts the female dancer into the air

Native American dances can represent

the material world, depicting daily activities such as tracking or hunting or the motion of the grass or water.

Balanchine is considered the founder of

the modern classical method of ballet

Modern/Contemporary Dance: Jose Limon, Alvin Riley, Paul Taylor, Katherine Dunham, and Merce Cunningham revolutionized the form with

the modern dance abstract approach technique from Denishawn

Rhythm

this is a repeating pattern of stressed and unstressed beats in a piece of music. Rhythm can exist cooperatively with or independently of melody.

Melody

this is a succession of tones set to a particular rhythm that serves as the "voice" in music

Because many dance classes end with the highest energy, higest intensity movements, cool downs should involve

slowly decreasing the intensity of movement and slowing down the heart. This can be done by walking, rolling or performing other easeful movements as well as by stretching muscles to reduce tension.

Technical modern dance: Groundedness

this is an affinity for the floor and the force of gravitiy that takes a dancer there. It allowed for the use of momentum in swings, and for "pushing into" the floor to gain greater height in jumps and extensions.

choreographic material: Human behavior and interaction, cultural phenomena, etc.

this is an ideal source because nothing is more fascinating to a human than watching the actions of fellow humans.

Technical modern dance: flexed feet

this is comparable to the pointed toe of ballet. It communicated humanity, capability, locomotion, defiance, homeliness, or comedy or it can be used to add another angle to the visual design of a dance.

expression

this is the ability to communicate feelings, mental states, and more through both body gestures and facial expressions

context

this is the atmosphere (political, cultural, historical, etc.) within which a dance is being presented

Intention

this is the idea or impression that a choreographer wishes to communicate with a movement

dynamics

this is the interaction of the force, duration and intention applies to movement,which results in a particular impression

Space

this is the physical environment in which a dance is performed

tempo

this is the speed at which music is played. Interplay between the respective tempos of movement and music is a powerful choreographic device

time

this is the temporal structure within which a dance is performed

phrasing

this is the time emphasis given to or withheld from certain movements within a phrase

energy

this is the type and the amount of force applied to the movement

structure/forming

this is the way in which elements of movements are arranges into sequences, phrases, combinations and dances

In there is no "one way to do it", after the choreographer experiments with variations of his movement theme, which could include sleepy, terrified, confused, elated, the choreographer chooses

three and crafts transitions to move from the original theme to each variation. Thrilled that the dance conveys his original intention, the choreographer crafts an ending, finishing the dance.

In the house manager, stage manager and stagehands, The house manager looks after

ticket reservations and sales (by telephone, in person and online). The house manager also maintains the press and "comp" lists for free seating, distributes programs, and looks after accounting tasks such as collecting receipts (these might be for cash, check, credit card or online transactions). The house and stage managers coordinate the start time of each show.

Dance Education-Similarities in Form and Expression Between Dance and Music and between dance and visual Art: As art form, dance and music enjoy unusually tight affinity. The two intersect mainly in their use of

time, force, and energy. Each manipulate the elements of beat, tempo, rhythm, meter, syncopation and sequence (through the form of canon for example to create a particular moof or feeling.

Developing sense of timing and rhythm: students need to internalize movement patterns in relation to

times, specifically the phrasing, sequencing and rhythm of the dance

All dances must take care not to eat too much or too little. However other equally important concerns related to eating include

timing, availability and nutrients.

Analyzing Dance-Through the eyes of the dancer: Any dancer, whether participating in a performance or watching it, will likely be attuned to the choices made by the peroformers in terms of

timing, phrasing, dynamics, movement quality, and energy.

Battement translation

to beat

Developpe translation

to develop or grow

Degage translation

to disengage

Contrary to ballet partnering, where one partner supports the other while both remain mostly uprights, contact improvisation requires partners

to distribute their collective weight to achieve, maintain or transition through shapes and movements.

Tendu translation

to extend or stretch

Frappe translation

to strike

Syncopation is also referred

to the absence of an accent on an expected strong beat

Improving students abilities to observe, reflect upon, and critically evaluate dance: After the idea of critical perspective has been introduced and discussed, students may work

together and take turns performing and offering critiques, either as a group led by the teacher (for younger students) or one-on-one with occasional teacher input (for more advanced students.

Evoking Particular Feelings or Reactions: Dances with a dramatic or comedic objective often borrow methods from theater such staging, costumes, props and sets are methods that can help set the

tone for bringing forth certain feelings

Unlike ballet, modern dance

took shape under a banner of individual exploration into natural, instinctive, expressive movement styles, and has developed ever since into its own always evolving entity that encompasses as many styles of movement as there are dancers.

Posterior

toward the back of the body, limb, or structure being described

anterior

toward the lower part of the body, limb, or structure being described

Medial

toward the middle of the body, limb, or structure being described

Lateral

toward the side of the body, limb, or structure being described

Superior

toward the upper part of the body, limb, or structure being described

Anterior

towards the front of the body, limb, or structure being described

Native North American and African Dances: The basic posture of African and Native American dance is an

upright position with a slight tilt forward at the waist. The knees are usually bent

In classical Ballet, the majority of movement is done in

upright positions

Structural integrity of a dancer's body: The fundamental goals related to the structural integrity of a dancer's body are an

upright posture, appropriate alignment of joints, a strong abdonminal core, spine elongation upward from the pelvis, and flexible muscles that are relatively free of habitual tension.

Applying Evaluative Criteria to assess the different abilities and experience levels of individual students: Placement

using correct alignment of joints and other principles throughout movement

Chronic injuries are denoted as

using the suffix "itis"

Evoking Particular Feelings or Reactions: In these dances, dancers often portray more emotion than

usual through facial expression, gestures, and the particular kind of energy in their movements.

pas de deux variations sections is

usually one for each dancer to show individual skills

Motor learning: Teachers can employ greater imagery and repitition introducing

variations in and relationships between movments.

Sequencing and Presentation: Within a single dance, movements must be sequenced in a way that

varies the dance's energy over time, giving it an overall sense of transformation. The same should be done for dance pieces acorss an entire concert.

Sequencing and Presentation: Whether within the confines of a single dance or across the whole breadth of a concert,

variety and contrast will keep audiences interested and anticipating "Whats coming next". This not require sensationalism, but a careful eye to identify excessive repetition or uniformity of elements.

Goals of historical/cultural heritage: Implementation of this curriculum begins wiht a basic study of dances from

various cultures and time periods. This may involve watching videos or films in the past workds. The characteristics of these dances and their cultural and/or historical significance should be discussed. Important historical figures in the field of dance should be studied.

Motor learning: When performing movements, the teacher pairs

visual input with verbal cues and instructions that utilize action words and dance terminology.

For as long as the customs of different cultures have been recorded, dance has ben

vitally important in identifying and communicating ideas about environments, living arrangements, social standards and the ideals and spirituality of people.

Hula dance employs a vast

vocabulary of fluid hand motions representing words, concepts, or natural elements.

Activities in cardiovascular endurance includes

walking, running, bicycling, swimming or any activity that elevates the heart rate.

Developpe desired physical effects is to

warm hip and thighs, especially hamstrings

Plie's desired physical effects is to

warm up leg muscles, especially the hip flexors

Battement desired physical effects

warms all leg and foot muscles, accelerates heart rate, builds strength and quickness

Lens of genre: An audience memeber can look for dance characteristics when

watching particular styles of dance, and can then discern whether those characteristics are present and strongly represented

Developing dance knowledge and appreciation of the arts and promoting students acheivement: Nothing is more galvanizing, edifying, or informative for a novice than

watching the work of a great performer, regardless of his or her chosen art form.

Developing sense of timing and rhythm: Phrasing refers to the

way in which a dancer performs the components of a movement at varying speeds. It can slo refer to how a dancer performs movements within a phrase for varying lengths of time, changing the duration of movements from initiation to completion. Phrasing exercises can explore combinations of quick and slow, sustained and truncated movements.

Martha Graham technique in dance also emphasizes

weight moving into the floor and a spiral image for off center or off balance movement

In contact improvisation, according to steve paxton, the responses could vary in terms of

weight, energy and momentum

Erick Hawkins developed a "free flow technqiue" that puts an emphasis on

weight, placement, impulse, immediacy and movement dynamics.

Analyzing Dance-Through the eyes of the critic: Since a critic, by virtue of his or her occupation, sees many more dances than just about any other population (including dancers and choreographers), he or she is usually particularly

well informed about the cultural and historical context of a dance and its players

Safety precautions: Dancers should arrive at the performance venue

well rested, hydrated, reasonably red, as tension free as possible, and focused on the production process. This may involve as much coming and going, sitting and wating, and hurrying and stopping as it does dancing.

In rhythmic patterns, certain rhythmic patterns are prevalent in

western music and dance. Because dance is often taught to a standard 8 count, dancer's understanding of music measure is often different than musicians'

Birth of Ballet: Balthasar de Beaujoux choreographed

what is considered the first true ballet: Ballet de la Reine

Modern/Contemporary Dance: The Judson Church and other post modernist artists in the 1960s and 1970s further expanded of

what modern dance could be

Developing sense of timing and rhythm: Sequencing refers to

when and in what order movements happen. Students can take turns performing the same moveent or progression of movements in dfferent orders or patterns of time, exploring canon, retrograde, etc.

Goals of Response and Evaluation: The response and evaluation component focuses on numerous aspects of dances function and value in society such as

when its good, what its good for, who thinks so, what is compares to, how its valuable, etc.

Kinesthetic awareness is athe ability to know

where (and in what shape and condition) the body, limbs, and extremities are in space in any given position or movement.

Additional Art Forms in the Production of Dance Performances: Spoken word is used as

whether pre recorded or live whter the deliver is simple and striaghtforward or precented in the rhythmic format of "slam poetry" is also increasingly used in place of (or in addition to) musical accompaniment

Analyzing Dance-Through the eyes of the Audience Member: Audience's criteria for dance value points includes

whether the dance holds the viewer's attention and is entertaining, whether it features technically proficient dancers, whether the music or other form of sound accompaniment works well with the movements, whether there are compelling images that can provides clues about the dance's "meaning" and whether the dance makes any clea point or lasting impression.

Choreographic material: music

whether used as an actual accompaniment to movement or as pure inspiration the formal elements of time, rhythm, and dynamics in music can often help the choreographer make movement choices that correspond to these elements.

In native american dance rythmic stepping and stamping is done mostly in

while dancers are standing upright or bend slightly forward at the waist. The weight is on the balls of the feet and the bent knees. The dancers often move in circles. A single dancers may spin around individually, or a group may trace a path around a central point.

Developing a student's physical skills and performance of movement: verbal cues

while students perform a movement, the teacher observes and calls out suggestions for refining it. This method is especially effective for auditory learners.

The downstage areas are associated with

Personality and intimacy

To express ideas and images, dance uses

Directional movement to encourage these perceptions

Safety precautions: Dancers should examine the

backstage area and performance space upon arrival.

Native North American and African Dances: The two styles diverge in their use of the

spine and arms

Methods of Self Evaluation to improve technique: The teacher asks a yes or no questions designed to draw attention to the technique such as

"Are your knees pointing over your tost in demi plie?" Students observe themselves in the mirror or in person (looking down or at the specified body part) to dsicover the answer.)

The two polarities of space are __________ and __________

"Direct" and "indirect"

Helping students Employ Appropriate and Effective Imagery: Examples of visual images might include

"Fall forward like a board, stiff from head to toe", or "Developpe like theres a balloon attached to your toes-rising, rising, rising effortlessly."

The middle level is the ___________ level

"Human"

Symmetrical shapes can be made by dancers

"Mirroring" each other

Kinesphere is sometimes called

"Reach space" or "personal space"

Corners of the stage are

"Strong Spots"

The frontal plane is also known as

"The door plane"

Sagittal plane is also known by Rudolf Laban as

"The wheel plane"

Evoking Particular Feelings or Reactions: Whereas formalistic dances ask audiences to focus on the

"What" and "how" of a dance, dramatic pieces draw the view into the humanity of the situation. They focus on the "why" or in comedic pieces portraying the absurd behavior of a character the "who"

Lens of genre: That working contrary to form does not necessarily make a dance

"bad"

Complex carboydrates

(cereal, pasta, rice, legumes, etc.) are preferred over simple sugars, which can cause blood sugar to rise and fall quickly.

Ballet folklorical costumes, men wear

(sometimes ornately embroidered) pants, short jackets, and wide brimmed hats.

In responsibilities of a dancer on the day of a dance production, to ensure optimal performance on "show day" a dancer should do the following:

*Before a performance, dancers should get adequate sleep, eat a reasonable amount, drink plenty of water, and do whatever they can to release as much tension as possible from the body. A gentle yoga or Feldenkrais class can help. If a dancer fail to do even one of these, it could result in an impaired performance or even injury. *As a matter of professionalism and courtesy, dancers should arrive at the performance venue clean and grounded. *Dancers should arrive promptly at their call time to ensure they will have adequate time for costuming, hair, makeup, warming up, and any last minute rehearsing as well as the unforeseen time waster that always come up before a show. *Dancers should also come prepared with enough food, water, extra clothing, and personal supplies to stay comfortable in an uncomfortable environment for several hours.

Translating an idea into a fully crafted choreogrpahic work include

*The chosen idea for a dance must be able to be expressed thorugh physical actions. Some themes are too grands, abstract, or comples to be expressed through movement. *The choreogrpaher must present a particular perspective on the idea rather than simply presenting it in its original form. All artists have something to say about their chosen subject, or they would have chosen it in the first place. *A sufficent degree of choreogpraphic craft must be imposed on the idea to save it from appearing half baked, sentimental, or self indulgent. Its important to keep in mind however, that there are no guarantees this wont happen anyway.

The main cognitive objectives of kinesiology related to dancers and dancing are

*comprehension of basic human physiology as it relates to movement *understanding of human skeletal structure, its proper alignments, join actions and restrictions and individual differences in bone structure *familiarity with the human muscular system, the structural make up of muscle tissue and contraction, and individual differences in muscular structure *Knowledge of the force of gravity on a body and the rance of muscular repsonses to gravity during mvoement and stillness as well as practical applications of that knowledge *awareness of physical demands regularly place son the dancer body and an understanding of ways to build physical potential and increase efficiency of motions in repsonse to those demands

The pain practical objectives of kinesiogly related to dancers and dancing are

*increasing a dancers awareness and understanding of their own and others movement capacities and limitations and fostering comprehension and acceptance of how to capitalize on capacities as much as possible and address limitations *facilitating maxiumum growth and development in physical ability to achieve ever increasing levels of technical and artistic excellence *fostering optimal muscular efficiency in as wide a rance of movements as possible to use energy in the best possible way to avoid deterimental movement patterns and undue stress and injury while still meeting the physical and artistic requirements for each movement *preventing injury thorugh greater cognitive awareness of potential hazards and incread kinesthetic sensitivity to the messages sent by ones own body *recovering from injuries more quickly and completly by applying knowledge of beneficial rehabilitation practices *extending the practical length of a dancers career through the achievement of the previous objectives

2 directional ways the Arch run:

*longitudinally from toes to heel *transversely from the inside to the outside edge of the foot

In conditioning the broad and comprehensive range of physical attributes to support daily movement at a consistenly hight level includes

*strength in skeletatal, muscular and connective tissues (tendons and ligaments) to provide stability, balalnce and the capactiy to move limbs easily against gravity and resistance *flexibility and muscular capactiy in order to achieve fill range of motion and complete extensions are important to attributes. While joint mobility and flexibility are the dancers holy grail, one should always aim to balance these attributes with stability to prevent injuries. *muscular endurance, in order to sustain movement (especially repetitive movments during classes or rehearsal) over time without fatigue or injury *cardiopulmonary endurance so the body will be able to continue delivering blood and oxygen to all part of the body during sustained aerobic exercise *neuromuscular coordination for the prescise performance of complex movement as well as the ability to respond kinesthetically to cus of structural misalignment

Assessing Students progress: The progress of dance students is generally assess in three areas including

1. Dancing: includes skills involved in the development of technique as well as performance 2. Making dances: Understanding and implementing the elements and processes of choreography to make dance 3.Analyzing dances: Includes skills used to understanding and critically analyze dances and performances.

Assessing Students progress: Assessment in dance is necessary, and allow both the student and teacher to determine

1. The objectives of the class: knowledge to be gained, skills to be developed or mastered and processes to be experienced. 2. Expectations of student behavior and achievement within the class environment 3.Whether, how quicly, and how effectively the student is learning, assimilating and retaining class material 4. The students strengths and limitations from one class meeting to the next, and his or her overall progression 5. Any areas of the students performance in class the require special attention to correct or enhance

In cases of injury to sacroiliac (S/I), _____________ is needed

72 hours of the standard Rest, Ice, Compression, Elevation method of treatment

National Standards to Dance: Seven main areas of student assessment includes

1. identifying and demonstrating movement elements and skills in performing dance (learning and performing technique for different forms) 2. Understanding choreographic principles, processes and structures (creating dance through choreogpraphy) 3. Understanding dance as a way to create and communicate meaning (assimilating dances as an expressive form) 4.Applying and demonstrating critical and creative thinking skills in dance (dance-related mental and emotional skills) 5. Demonstrating and understanding dance from various cultures and historical periods (knowledge and contect of global dance) 6. Making connection between dance and healthiful living (applying principles of nutrition, hydration, rest, tension/relxation and conditioning) 7.Making connections between dance and other disciplines (placing dance in a larger world context)

To increase cardiovascular endurance,

15 minutes of daily activity at the "target" heart rate is require. To acheive this, it is necessary to complete 20 to 30 minutes of aerobic activity everyday.

Tap dance originated in the

1800s.

Jazz dance began to emerge in America in the

1940s

Tap and Jazz dance: Jazz dance emerged from tap in the

1940s

Educational festivals of Modern Dance in the US: Considerably newer but still considered "one of the Big Three", the Bates dance festival was established in

1983 at Bates College in Maine

In waltz the accent is placed on the ______ beat

1st

In a meter signature, Dancers in western countries are attuned to the "cut time structure" resulting the prevalent usage of the

8 count rhythmic bar by choreographers and teachers (who hasn't seen a choreographer portrayed as barking out 5-6-7-8!" to begin an exercise?)

Modern dance shows its first glimmers in the

20th century

Modern/Contemporary Dance: Modern dance began in America at the turn of the

20th century with the innovations of Loie Fuller, Isadora Duncan, and Ruth St. Denis. All of these dancers were reacting against the rigidity of ballet and searching for a natural, authentic movement form.

Meter of the waltz has ______ beats

3

In joints, wrists and ankles can rotate

360 degrees, the knees can only flex posteriorly and sacroiliac join barely flexes all.

Slash illustrative image

A combative sweeping blow with a switch blade

Gravity

A constant physical force that affects human movement.

Laban Movement Analysis

A theoretical and experimental system for the observation, description, prescription, performance, and interpretation of human movement.

Relationship with other studies: Relationship between dance, social studies and language arts: Dance should be considered just another language akin to to

ASL (American Sign Language), semaphore (the flag positioning isgnals used by military and industrial workers), or other movement based forms of communication.

Birth of Ballet: The first offical school ballet is

Academie Royal de Danse

Birth of Ballet: In 1661, King Louis XIV established the

Academie Royales de la Danse with Pierre Beauchamp as director to codify the language, rules and defining concepts of Ballet, such as turnout and the five foot positions. These are still taught today.

Like tempo and rhythmic patterns, ________ in rhythm can be matched or opposed

Accents

Dancers learn to move both with gravity and against it to

Achieve various movement objectives.

In jazz influences, increasing numbers of dancer from various back grounds were attracted to the form, diluting its mainly

African American origins and futher expanding the forms vocabulary and expressive capabilities.

The Russian Vaganova method used today was made by

Agrippina Vaganova, a graduate from the Russican Imperial Ballet School.

Balanchine opened the The school of

American Ballet in New York

In modern dance, floor work consist of

All the lims and sometimes even the head come into contact with the floor, challenging notions of vertically and introducing the mover to possibilities of inversion and balances upon unusually body parts.

While movement can only be achieved by musculature working to counteract gravity l, the human body

Also works to resist gravity when it is still

Contributing Individuals to Dance: Katherine Dunham

An innovator of African American Modern Dance, integrated her classical ballet training ethnographic studies of caribbean dance forms and their african roots. While starring on broadway and in hollywood in the 1940s, she also established the countrys only permanent, internationally acclaimed black dance troupe

Transverse plane intersects

An upright standing body horizontally, parallel to the ground

The human brain comprehend and assimilates familiar images more than _____________ or __________

Analytical information or technical instruction

Dance Energy: An example of dance energy can be

Any combination of steps across the floor can be performed with a strong, direct energy, which would communicate urgency, earnestness, or the sense of "being on a mission." The same combination of steps could also be done lightly with a free flow, which would communicate ease and possibly playfulness-very different impression. The movements are the same, but the messahe is completely different.

The human body employs the strongest known structure known as the_______to stack the bones of the skeleton.

Arch

Tango: When Tango achieved international fame, the upper classes in

Argentina claimed it as their own. Now, the form is popular around the world

Communicating meaning through gesture and movement includes

As an example, consider the three basic human gestures that we innately understand: the extension of a hand to be shaken or otherwise touched as a greeting; the turning of the head toward a sound or action, which indicates the focusing on attention (whether that focus is intentional or not); and the raised hand poised to strike, which communicates aggression.

Couples Dancing: Countries or cultures that do not accept couples dancing include

Asian, Native American and African

In direction in space, forward movement communicates

Assertiveness

Flow is

Associated with the quality of continuity the momentum (or lack Therof) within an single movement or in a transition between movements.

Additional Art Forms in the Production of Dance Performances: Evaluation is

Audiences can als discern the quality of both the choreography and its performance. Did the dance communicate its impressions (whatever they were) clearly? Did the dancers seem technically able, comfortable with the choreography, and well rehearsed?

Modern Dance shares ______ movement vocabulary

Ballet

By 1700, mushc of the familiar French vocabulary for _______ was established.

Balletic movement

The Italian Cecchetti method is developed by

Ballets Russes Dancer Enrico Cecchetti

Spatial Tension examples are

Body parts, dancers, and even props or other objects

Range of motion of each joint is determined by

Bone structure Ligament length and Density Muscular Tension and flexibility

Low level of movement in dance is associated with sometimes

Dirty/base/ugly/evil

The two polarities of Flow are _________ and ________

Bound and free

The two polarities of flow are

Bound and free

Indian Classical Dance: Widespread practice of Indian classical dance began dying out during

British rule

Neighboring Countries Whose Traditional Dances are Similar: Partner dancing in Europe traveled around the globe, wherever the

British, French and German colonist went.

Mesomorph body, ____________ system is extremely efficient.

Cardiovascular

Steady regular beats elicit feelings of

Comfort, safety and order

When _________ of the Italian ruling family later migrated to France in 1553 to marry Henry II, soon to become the king of France, she brought court musicians and dancers with her. Thus, the courtly but yet uncodified dance form was established in France.

Catherine de Medici

Birth of Ballet: In the 16th century, Ballet spreaded to France through art patron

Catherine de Medici, who brought her dancing master and musician with her in the mid-1500s when she married King Henry II of France.

A basic single time step is structure similar to a

Classical pattern of a time steps is two bars repeated three times, two bard break and the two bars repeated three times again. (right shuffles/left hop/ right step/ left flap/ right step; repeat on other side; then break, which consists of right shuffle/ left hop// right step/ left flap/ right flap/left flap/ right step. Many times tap dancers will begin with a preparatory hop or step on the "eight" or the "and eight" count of an eight count phrase. The first step of a time step is also often varied. It may be a step, a shuffle or a hop.

A downstage cross from one side to the other is often used during

Comedic movements

Because free flow is continuous and unbroken it can

Communicate images of ease, fluidity, freedom, joy, outpouring, and release.

In direction in space, lateral movement communicates

Concealment

Dance forms such as ballet and jazz match the movement of the meter of the accompanying music to create a

Concordant impression following same tone and structure

Contributing Individuals to Jazz Dance: Erik Hawkins

He was a celebrated choreographer and the first male dance for the Graham Company

An advance from upstage to downstage signifies

Confrontation

Ligaments

Connect bones to bones

_____________"knit together" the skeletal and muscular systems.

Connective tissues

Humans respond to beat ____ and _____

Consciously and unconsciously

Free flow is

Continuous and unbroken

Time is described on a

Continuum

Certain areas of a stage are perceived as holding significance these places are

Corner of stage, Upstage, down stage and center stage

Evaluation Formats for Assessing Student Progress in Movement Skills: Checklists

Critieria are established for the requirements of performing each movement. The student either does (check) or does not (check) fulfill the requirements.

Shape is also describe by whether the lines are ________ or _______

Curved or straight

Additional Art Forms in the Production of Dance Performances: Appreciation is

Dance audiences can deepen their experiences by nothing which aspects interested in them or made them feel something, whether it was emotion, intellectual curiosity, or a physical sensation

Dance is a __________art form.

Dance is a dynamic art form.

Relationship with other studies-Relationships between dance and design or architecture: Design as used by the human body

Dance relies on design elements as the "building blocks" of choreography, working with the concepts and variations of shapes, form, symmmetry, and asymmetry, curves and striaght lines, dimensions, spatial tension and negative and positive space to create the shapes and images of a dance.

Dance requires__________\___________\__________\________

Dance requires a healthy, strong, flexible body as it's instrument, familiarity with the sciences of body structure, body functions and bodies in motion.

The Kinesphere travels with the ______ at all times

Dancer

Modern/Contemporary Dance: Doris Humhrey, Charles Weidman and Martha Graham along with west coast dancer Lester Horton were students of the

Denishawn Dance school

"The wheel plane" is the dimensional combination of ________and ____________

Depth and height

Additional Art Forms in the Production of Dance Performances: Description is

Describing anything can help a viewer further understand what he or she saw. By paying attention to, and latering describing, a dance's movements and images, audience members can enhance their conception and appreciation of it

Asking and Answering Questions: Questions that arise about a dance performance can include

Did a clear message come through in the dance? What was that message? Did the dance tell a story, express feelings, solve a puzzle, comment on a situation, or just look pretty? were there repeated movements or series that were easy to identify? Did specific images catch your attention? What images caught your attention, and what were they like meant to express? What might the choreographer's intentions have been? What was the choreographer trying to say? Did the dance say it clearly? How did you feel after the dance? Can you distill teh description of that feeling down to one sentence? Can you express that feeling using a single word?

Modern dance and tap choose either to match movement to the beat or counter it this is done to produce

Differing impressions

Mesomorph body have a normal ______ and _____ system.

Digestive and Endocrine system.

Endomorph has extreme inefficiency of ___________, _____________, ____________ often result in weight gain.

Digestive system, low thyroid functioning, and low metabolism

Straight lines are

Direct

Beats can be stressed or unstressed depending on the

Emphasis or accent placed upon them

In keeping with taps spirit of rhythmic play, tap dancers

Emphasize accent in their rhythms and often employ syncopation to vary rhythmic patterns and keep things interesting

Negative space is the

Empty space around the form

Mesomorph body __________ and __________ levels are high.

Energy and metabolism

Birth of Ballet: Italy ballet is developed by

Enrico Cecchetti, a strong fluid style of ballet dance

Contributing Individuals to Dance: Josephine Baker

Established herself as a dancer and singer during the Harlem Renaissance and then quickly became a star in Paris. Her sensational perofmrances often included elements of African, Caribbean and Asian cultures. These culminated in the iconic Danse Savage, in which appear wearing skirt made of bananas. This spectacle is still imitated today.

Cultural Development That Gave Rise to Modern Dance In America: At the end of the 19th century, the world was changing faster and faster. The second Industrial Revolution was transforming the way people worked and lived and this brought about a corresponding change in

Europe and America

Tango: In Paris, it caught fire and spread across

Europe, eventually coming to the US around 1913.

Dance as an Explicit Language: A dancer's communication of dancing through images and expression example is

Evident is Hawaiian hula, and informs of Indian classical dance, which both have thousands of hand gestures signifying specific words

Intellectual, social, emotional and physical development of 8th-12th grade students: Intellectual

Expansions of advanced reasoning skills (including hypothetical thinking, augumented logic capabilities, and the capability to make a decision by considering multiple options), abstrac tthinking skills, and meta cognition skills (the ability to "think about thinking" empathize, project others view points and think strategically)

This is what the _______ notices in spatial te room, shifting viewers focus to the connection rather than the objects being connected.

Eye

Symmetrical shapes can be done by dancers "mirroring" each other by either

Facing each other in opposition or facing the same direction in succession

The _________is strong enough to support the body's weight and act as a foundation equally capable of accommodating a wide range of motion.

Feet

In fifth position classical ballet, the feet and arms

Feet: heel of one foot against the big toe of the other foot, toes turned out Arms: both arms extended overhead, fingers reaching toward midline

In first position classical ballet, the feet and arms

Feet: heels touching, toes out Arms: both arms held in front of the torso symmetrically, hands at waist level, fingers reaching toward midline

In third position classical ballet, the feet and arms

Feet: hell of one foot against the instep of the other foots, toes turned out Arms: arm corresponding with fron foot overhead a sin fifith positions, arm corresponding with back foot open to the side as in second position

In second position classical ballet, the feet and arms

Feet: separated laterally at about width, toes turned out Arms: both arms extended open and held symmetrically out to the sides, hands between the shoulders and ribcage

In fourth position classical ballet, the feet and arms

Feet: seprated sagittally, one in front of the other; toes turned out Arms: arm corresponding with fron foot in front of the torso as in first positions, arm corresponding with back foot overhead as in fifth position

Contributing Individuals to Jazz Dance: Gene Kelly

He was a broadway and hollywood tap and kazz dancer as well as a movie star

Relationship with other studies-Relationships between dance and design or architecture: Design of the human body

First the human body is a structure in itsefl, designed and "built" according to the same principles as buildings and other edificies. It is also affected by the same forces of physics, time, gravity and weight, foundation and use and wear. Bodies are made of bones, muscles, tendons, ligaments, fascia, nerves. organs, soft tissues and liquids revealed through the study of anatomy.

Helping students develop their analytical powers of observation, reflection and evaluation: In the "theory plus practice" approach includes

First the teacher and the class discuss kinesthetic response (movement impulses that involuntary reactions to watching movement) and thw ways in which dance evokes thoughts, ideas, memories and questions in observers. Second the teach divides the class into two groups. Group 1 is instructed to create some short movement combinations. Once they do this, Group 1 shows their movements to group 2. Third the groups switch places. Group 2 creates movements that are inspired by the kinesthetic response and emotional reactions to the movements performed by group 1. Finally, both groups reflect and discuss thoughts that emerged and responses felts in the body while watching eachother's movments. The process is repeated, except this time group 2 shares their short movement combinations with group 1 and group 1 responds.

Video Equipment: Video equipment consideration inclueds

First, room dimension has a large influence on the format and projection of video images, and must be considered during the initial editing and formatting of footage. Projector placement is another primary concern. If images are to be rear projected, available backstage space and dimensions should also be considered. Screen and projector setup and placement should cooperate with and enhance, not interfere with, the lighting plot.

In Mesomorph body has a normal digestive and endocrine system, high energy and metabolism and cardiovascular system is efficient. These result in great strength and endurance but lack__________.

Flexibility

Sagittal plane movements that occur in this plane are

Flexion, extension and hyperextension

The Effort Analysis Includes

Float Punch Glide Slash, Dab, Wring Flick Press

Like other shapes, __________ give different impressions based on their configuration and placement within the whole design.

Floor paths

Curved lines imply

Flow, resiliency and softness

Curve lines are

Flowing and indirect

Free flow modes of locomotion include

Flying, sailing, running or rolling

Intellectual, social, emotional and physical development of 8th-12th grade students: Emotional/Social

Formation and establishment of a students identity, independence, and autonomy, as well as greater intimacy, social skills, and sexuality (many teenagers also seek leadership and inspiration as they begin to acheive and aspire to follow certain career paths)

Birth of Ballet: US ballet school is called

George Balanchine's NYC ballet

Butoh: Kazuo Ohno and Tatsumi Hijikata were influenced by their earlier studies of

German expressionist dance and began creating work that established the Butoh style around 1959

Mesomorph body type is a sturdy body with strong, dense musculature and connective tissues resulting in

Good posture

Meter is the

Grouping of beats in a piece of music

Contributing Individuals to Tap Dance: Gregory Hines

He was a broadway/hollywood hoofer and actor who ushered the "tap revival" of the 1980s

Contributing Individuals to Tap Dance: Sammy Davis, Jr.

He was a browadway, hollywood and lad vegas dancer, singer and actor

Faster tempos convey

Haste, urgency and stimulation

Contributing Individuals to Jazz Dance: Lester Horton

He established the Horton technique in Los Angeles and was a longtime partner of Bella Lewitzky

Contributing Individuals to Ballet: King Louis XIV of France

He established the first ballet school in France in the 1600s

Contributing Individuals to Ballet: George Balachine

He is the "father of ballet in America" and the founder of the New York City ballet

Contributing Individuals to Tap Dance: Savion Glover

He is the new generation broadway/hollywood tap and hip hop dancer and choregorapher

Ectomorph nervous system is efficient leading to

High neuro muscular tension

Tap and Jazz dance: Jazz gained supremecy in New York's Broadway productions and in Hollywood movies, spawned a whole new movement which is

Hip Hop dance

Ectomorph circulatory and digestive systems are

Inefficient

Developmental Stages of School Aged Children Between the Ages of 5 and 12-Children Age 5-6 (Kindergarten, Grades 1 and 2): Intellectual, Emotional, Social, physical

Intellectual: counting, identificaiton of colors and vocabulary expression Emotion: self assurance, capability, emerging responsibility and guild, and pride in accomplishments Social: cooperative play with children of the same sex and competitiveness Physical: Motor ability and control, skipping, hopping, jumping and balancing

Developmental Stages of School Aged Children Between the Ages of 5 and 12-Children Age 10-12 (Grades 5,6,7 or 8): Intellectual, Emotional, Social, physical

Intellectual: more logical thinking, problem solving, abstract thinking, increased concentration and worry, sophisticated verbal skills, and a greater importance placed on popular culture Social/emotional: growing need for independence along with a need for home and family stability, increased sexual awareness and intensified peer influence Physical: varies widely, but common developments are increased strength, agility and fine and gross motor skills; body approaches puberty

Developmental Stages of School Aged Children Between the Ages of 5 and 12-Children Age 7-9 (Grades 2, 3, 4 and 5): Intellectual, Emotional, Social, physical

Intellectual: more sophisticated literacy and numeric skills, computer or musical instrument competency and conversational ability Social/emotional: Increased confidence, independence, responsbility, moral consideration, humor, empathy, and an inclination to "belong" Physical: increased coordination, muscle control, agility, stamina and strength (may begin playing team sports and practiving skills for mastery)

Force

Is the amount of energy applied in a movement and ranges in intensity from gentle to strong

Energy

Is the animating factor that overcomes stasis or gravity to initiate or affect movement in a body.

Spatial Tension

Is the arrangement of solids elements in such a way that the space between them becomes noticeable.

Flow

Is the degree of ease or continuousness of a movement from initiation to completion or during the transition into the next movement.

Weight

Is the degree of the force (the impact) of body weight introduced into a movement.

Space

Is the intentional quality of the path taken by a body part or a body through space during a movement.

Dynamics

Is the interaction of force and time

Movement Quality

Is the traits created by the application of energy in a body, which results in movement executed in a particular way.

The Vaganova method style can also be sometimes known for its

It is also sometimes known for it dramatic qualities.

Educational festivals of Modern Dance in the US: The bennington Summer Dance festival in Vermont, which was held from 1934 to 1942, was originally staffed by

Marth Graham, Doris humphrey, Charles Weidman, and hanya Holm. The festival was a precursor to today's American Dance Festival

Cultural Development That Gave Rise to Modern Dance In America: After the precedented horrors of WWI in teh early 20th centruy, Americans were ready to forget and move forward with speed, gaiety, and new forms of entertainment. The Densishawn school, established during this time produced

Martha Graham, Doris Humphrey and Charles Weidman.

Concordant impressions

Match movement to the meter of accompanying music

Accenting a particular beat at a repeating interval creates

Meter

Resisting gravity allows the body both to

Move and maintain positions over time

Joints within the skeleton allows for

Movement

Skeleton only affords the potential for

Movement

Rudolf Laban is a

Movement Analyst

Time, space, energy, weight and flow forces act upon the

Movement in various combinations which range from simple to complex.

Dynamics is the interaction with force and time which results in

Movement that imparts an impression to the viewer; as a movements dynamics vary, the resulting impression varies.

Either symmetrical or asymmetrical shape can be achieved by

Multiple bodies

Indian Classical Dance: Most forms of Indian classical dance can trace their roots back to the Sanskrit text of

Natyasatra, which codifies eleements of classical dance, including mudras (hand positions), foot patterns and gait, and limb positioning.

In 1948, Balanchine opened the ______ which became the _________ in the United States

New York City Ballet; premire ballet company

The shape along which a dancer travels on the floor during a dance is also called a

Path

Syncopation is

Placing an accent on a normally weak beat or "between" beats

The Kinesphere is associated with ________movement.

Postural or whole body

Circles are

Powerful and exclusive or inclusive

Proper alignment in the foot promotes_______.

Proper alignment in all superior (higher) joints, enhancing precision of movement execution.

___________ can play an important role in preventing injury

Proper warm up and individualized conditioning

The upstage area of the stage are associated with

Remoteness and grandeur

Examples of Balletic movement latter are

Repetitive changement jumps during with note triplets and adagio extensions during whole note legato sessions.

Bones of Skeletal system for the framework that gives body structure allowing it to____________.

Resist gravity Remain in positions over time Maintain balance

RICE stands for

Rest, Ice, compression, and elevation. This approach can be used to treat joint sprains, muscle strains and some bone injuries. Fractures, however, require immediate professional medical attention.

Slower tempos convey

Restfulness, indolence, trance

Flamenco is handed down from the form's

Romany or Gypsy, progenitors

Movements that happen on a transverse plane is

Rotational movements

Endomorph has a ___________ body type.

Rounded

In 1661, King Louis XIV established the ______ which was the world first professional ballet school.

Royal Academy of Dance

The frontal plane can be visualized as

Running vertically across the chest, shoulder to shoulder, on an upright standing body.

Birth of Ballet: From the birth of the first ballet school, ballet spread out geographically in all directions. Schools and performing companies were established in many countries including:

Russia, Italy, France, England, Denmark and US

Birth of Ballet: Russian Ballet teaches the Vaganova method is being taught at the

Russian Imperial Ballet School and Sergei Diaghilevs Ballet Russes being two of the most famous

In performance venue conditions, it is also important to inspect

backstage areas and the path to the performance area for hazards.

Endomorph neurological system functions

Somewhat slowly

__________ in shapes can be achieved by wearing long skirts that stretched across the knees during every plié drawing attention to the line of connection between them.

Spatial Tension

The path that is more abstract conception of shape, as a path is ever changing and never overtly visible is a

Spatial path

When __________ is achieved by careful placement Of bodies or objects in the field of human perception, perspective and focus are also involved in perceiving the negative space.

Spatial tension

Modern dance movements that appear regularly in a class include

Spirals, body swings, falls, rolls, everyday gestures and movements

Symmetrical shapes gives an impression of

Stability, balance, and control

Sequencing and Presentation: Pacing choiced also affect an audiences

experience immensely.

The middle level movement in dance facilitates level movement and positions and actions such as

Standing (plie, on flat, or releve) Walking Running Skipping

Straight lines give an air of

Stasis and rigidity

Bound flow at its furthest edge contributes to

Stillness and balance

Bound flow is characterized by the

Stopping of motion with varying degrees of intensity

Instruction the integrates and understanding of dance and other disciplines: Language arts

Story telling, character, and timeframe can be represented through gesture, expression, shape and spatial choices in movement

A strong beat is

Stressed

Beats can be ________ or _________

Stressed (strong) or unstressed (weak)

The two polarities of weight are __________ and __________

Strong and light

Rhythmic patterns are created by combinations of

Strong and weak beats

In performance venue conditions, lighting affect even

experienced dancers.

Mesomorph body type

Sturdy body with strong dense musculature and connective tissues.

Punch Combination

Sudden time Direct space Strong weight

Dab Combination

Sudden time Direct space Light weight

Slash Combination

Sudden time Indirect space Strong weight

Glide Combination

Sustained time Direct space Light weight

Press Combination

Sustained time Direct space Strong weight

Float Combination

Sustained time Indirect space Light weight

Wring Combination

Sustained time Indirect space Strong weight

The shape made by a body can be _______ or ______

Symmetrical or asymmetrical

Positive space is filled up by a

Tangible form

Syncopation is often used in _____ and _____where there is a strong emphasis on improvisation and personal style.

Tap dance and jazz

Tap dance involves

making music on the floor with the feet while wearing shoes with taps on the toes and heels.

Instruction that integrates an understanding of dance and other art forms: Visual art

Teachers can guide students in exploring space, shape (curves, lines, spirals, angles, etc.) and light. Students represent the shapes and lines of a visual pattern through dance, motionlessness and locomotion

Instruction that integrates an understanding of dance and other art forms: Architecture

Teachers can instruct students to explore the effect of space on movement (ducking under imagined low ceilings, dodging pillars, etc.) or illustrate architectural shapes. For the latter, a group of students can be told to lie down, sit or stand to create a "building" with their bodies.

Modern/Contemporary Dance: St. Denis married dancer

Ted Shawn and opened the Denishawn dance school in 1915

Center work in ballet includes

Tendu, Adagio, Turns from center, turns at center, petit allegro, grand allegro, reverence

Instruction the integrates and understanding of dance and other disciplines: Science

The forces of physics and how the affect bodies in motion can be explored through exercises that emphasize gravity, balance, speed, force, buoyancy, and pressure. Exercises may also involve mimicking the movements of cell components.

Movement qualities can be defined as

The forces that act upon the execution of any given movement.

Dab illustrative image

The gentle application of dots of makeup onto face

To better employ plié in preparation for jumps imagery:

The image of a floor made of springs

To prolong lift in a leap in Imagery:

The image of a gazelle leaping and remaining suspended for a second before landing

To achieve deeper abdominal contraction in imagery:

The image of a snail curing deep into its Spiraling shell

To soften tension I port de bras in imagery:

The image of a soft blanket gently gliding over the skin, or of gentle waves washing the arms

To sharpen angular movement and shapes in imagery:

The image of skyscrapers that are full Of hard lines and acute angles

To accelerate attach in an assemble in imagery:

The image of stepping on a dollar bill before someone else gets it

To improve balance in Imagery:

The images of sand slowly falling and accumulating (as in hour lass) to fill up a standing leg

Wring Illustrative Image

The intense grinding of spice in a mortar and pestle

A beat is

The main unit of rhythm-the repeating "strike" that provides animation to music and movement.

Center part of the stage is viewed as

The most "captivating spot"

The feet are equally capable of accommodating a wide range of motion due to_______________.

The number of bones and joints they contain.

The upstage right to downstage left diagonal path is widely recognized as

The one that creates the greatest impact communicating everything from an epic journey to the arc of a personal relationship.

Dynamically, shape can also refer to

The path a movement creates from its initiation to completion

A path example include

The pattern made by the left hand will create a different path than the one made by the right knee.

Tempo is

The speed at which music is played or movement is performed

Cultivating Movement Skills: Locomotion

The student covers ground and achieves amplitude when moving across the floor. Walking, running, and leaping exercises help clarify movements and infuse them with quality, intention and style

Evaluating student progress in written and verbal communication: Contracts

The student identifies his or her level of ability, skills he or she needs to work on masting, and the level of achievement desired. The student later performs a self analysis and consults with the teacher to assess his or her progress.

Cultivating Movement Skills: Axial and oppositional movemnt

The student initiates movement from the core for expansive and integrate quality, and coordinates movement with the opposing limbs. This skill can be enhanced by stationary shape-making "folding in" and "spreading out" and exercises that divide torso movement.

Cultivating Movement Skills: Stability and muscle control

The student maintains positions when static, contracts muscles, directs motion with clarity, maintains balance during and after motions, and ceases movement decisively. This skill can be strengthened with exercises that have quick starts and stops, holds, and balances.

Cultivating Movement Skills: Release and momentum

The student releases muscle contractions fully, allows momentum in swings, falls, movements off center of gravtiy, and inversions.

Cultivating Movement Skills: articulation

The student sequentially "unfolds" or "folds" bones within a joint duing flexion and extension, resulting in greater clarity and expressiveness of movement. Warm up exercises in particular can concentrate on articulating different joints.

Models for Dance Curriculum and Assessment: Process Model

The students creative growth is assess in terms of levels of fluency, frequency, originality, and imagination in finding unqiue ways to solve movement problems. It is used in creative movemnt, improvisation and choreography. Assessment forms include process folios, portfolios and group projects.

These people brought modern dance to fruition as an unprecedented arts form defined by individual movement philosophies.

The subsequent generation of dancers notably: Doris humphrey, robert weidman, martha graham.

Developing a student's physical skills and performance of movement: manual adjustment

The teach physically touches and repositions parts of students bodies whil e they perform movement to give them a kinesthetic sense of the desired alignment, path, etc. This is esepcially effective for kinesthetic learners.

Evaluation Formats for Assessing Student Progress in Movement Skills: Rating scales

The teacher creates a numeric scale, designates critieria for the highest and lowest levels, and rates each student's performance on scale. A prominent example is the Likert scale, which uses 4 or 5 point scale for ranking student performance.

Evaluation Formats for Assessing Student Progress in Movement Skills: Performance tests

The teacher defines critieria and creates movement combinations requiring those particular skills. The student learns, practicies and performs the combinations while teacher videotapes the performance. Teh teacher then uses the recording evaulate with a checklist or rating scale.

Evaluation Formats for Assessing Student Progress in Movement Skills: Rubrics

The teacher establishes criteria to be measured, describes invidiual skills releated to each categroy, established a ranking system (usually 3 or 4 levels), creates indicators and description for all performance levels and tehn assess student performance using the critieria being measured.

Developing a student's physical skills and performance of movement: Imagery

The teacher presents various images that illustrate and exemplify the desired shape, path, quality or skill in a movement

Contributing Individuals to Jazz Dance: Martha Graham

This Denishawn student, legendary dance, and choreographer developed the Graham technique and established The Martha Graham Dance Company, the first dance company

Contributing Individuals to Jazz Dance: Bob Fosse

This award winning choreographer and musical director of "cabaret" "sweet charity" and "All that jazz" created the Fosse technique

Contributing Individuals to Jazz Dance: Jerome Robbins

This broadway and hollywood choreographer choreographed film version of "west side story"

Contributing Individuals to Jazz Dance: Katherine Dunham

This broadway and hollywood performer and choreographer

Contributing Individuals to Jazz Dance: Doris Humphrey and Charles Weidman

These Denishawn students produced the first modern dance performance and established the Humphrey (later Humprey/Limon) technique

Evaluating student progress in written and verbal communication: Written tests

These are examinations used to assess knowledge gained. They can include true/false, matching, short answer completion, multiples choice, or essay questions. they can be scored using points on a grading scale or percentages. They may also be graded on a pass/fail basis.

Contributing Individuals to Tap Dance: Harold and Fayard Nicholas

These brothers were famous in vaudeville, on the jazzcircuit and in hollywood for their daring, acrobatic style

Evaluating student progress in written and verbal communication: Oral reports

These involve the verbal delivery of assignments such as dance concert reports, video reports, etc.

Contributing Individuals to Ballet: Agrippina Vaganova, Enrico Cecchetti, August Bournonville, Alicia Alonzo

These teach established and disseminated the distinctive ballet styles of Russia, Italy, Denmark, and Cuba, respectively

Contributing Individuals to Ballet: Anna Pavlova, Rudolf Nureyev, Mikhail Baryshnikov

These were Russian dancers who popularized ballet in America during the 1920s, 1960s and 1970s and 1980s respectively

Folk and social dance all share certain characteristics such as

They are informally and socially communicated by lay people (non professionals) are shared in a communal place as opposed to a stage are taught using the traiditional approach knowledge of these dances is passed on from one generation to the next.

Contributing Individuals to Ballet: Pierre Beauchamps and Jean-Georges Noverre

They codified many standard ballet rules still used today

Contributing Individuals to Jazz Dance: Katherine Dunham, Peal Primus and Helen Tamiris

They researched and injected African and Caribbean styles into modern dance

Contributing Individuals to Jazz Dance: Paul Taylor, Alvin Riley, Jose Limon and Alwin Nikolais

They were notable later generation choreographers

Contributing Individuals to modern/contemporary dance: Loie Fuller and Isadora Duncan

They were the progenitors of modern dance

Movement quality forces include

Time Space Weight Flow

When creating movement, energy is applied over

Time and in space to become force

Movements qualities are often evoked by words and images describing the forces of

Time, space, energy, weight and flow

Words "floating" and "airy" give a sense of a movements time _________, space__________, weight_________, and flow ___________.

Time: Sustained, probably slow Space: indirect Weight: light Flow: free

The_____________of the neuromuscular system vary according to where muscles are located and functions they perform.

Tissue makeup Shape Grouping of muscles

Differing impressions

Tone of the dance requires

Irregular beats elicit

Unease, a sense unpredictability and sometimes excitement

A weak beat is

Unstressed

Native North American and African Dances: ___________ of African Dance are much __________, while Native American dance the _______is mostly kept striaght and the arms are _______.

Upper body movements of African dance are much larger and freer, while in Native American dance the spine is mostly kept straight and the arms are held low

The high level of movement in dance carries connotations of

Upward movement, air, ether, elevation and flying.

Tango: Tango originated in lower-class neighborhoods in

Uruguay and Buenos Aires, Argentina.

The two methos to develop from the original French form of classical ballet are the

Vaganove method from Russia and the Cecchetti method from Italy

Asymmetrical connotes

Variety, movement and dynamism

The Sagittal plane runs

Vertically from the front to the back of an upright standing g body from the nose to the back of the head, for instance.

Since dance is an expressive form of movement which seeks to communicate meaning through physical images it follows that making ____, ______, or _______ images part of the students learning process will elicit more evocative and expressive movement from the student.

Visual, kinesthetic or emotional

Placing movement accents counter to musical accents can serve to

Wake up, discomfit, galvanize or annoy an audience or make them laugh.

Couples Dancing: Couples dancing is a

Western European concept

Ballet closely reflects the rhythms of the _____ music to which it is often performed.

Western classical (symphonic)

Couples Dancing: The common forms of ballroom dancing evolved from the waltz tradition and it remained a standard of social dancing in

Western society for centuries

Dance as an Explicit Language: A dance used as a secret language as an example can be

When African slaves in the US were forbidden to speak their native languages or sing traditional songs, they often used dance to communicated a secret language the "masters" could not understand. (Eventually, dance was banned too)

Developing Improvisational Skills: Improvisational exercises are often undertaken with a previously set or agreed upon "score" in mind which is

a collection of defining boundaries or instructions to shape and direct movement. This framework gives the teacher a perfrect opportunity to use improvisational exercises to emphasize key features of the form, such as kinesthetic and spatial awareness, spontaneous movement choice, avoidance of self censoring and the implementation of choreographic concepts at appropriate points.

Providing students with opportunities to develop their own choreography skills: Choreography is

a complex area with an extensive body of practices. Dancers must internalize these practices inorder to apply them when creating dances.

Hula dance is

a complex dance form encompassing many dancers native to hawaii.

Dancer pushing their bodies everyday frequently would result in

a condition that might be a small problem for a non-dancer (differing leg lengths, habitual joint misalignments, muscular imbalance, etc.) in to a large, potentially career-ending one for a dancers.

Traditionally, flamenco dancers are accompanied by

a corps of musicians and powerful singers, thorugh they are capable of accompanying themselves with complicated rhythmic foot patterns and/or castanets.

In relationship between dance and music, sound, spoken word and silence, silence can create

a deeply focused, intimate atmosphere or stifling one

Audience member's experience and persepctive: As the syaing goes "We can only see what we can see". Differing combinations of the viewer characteristics mentioned above create

a different version of the dance for every viewer, shaping perception more strongly than choreographic intention

The pas de deux is

a duet in which two ballet performers perform together as partners.

Providing Students with opportunities to Think Critically and Creatively: The optimal method of learning its components and practices is

a dynamic one

Teaching movement to Students who learn different paces: Students who are more advanced or those wish to push themselve can choose to perform the combination at

a fast speed or incoprtate added beats, more revolutions, directional changes, etc.

Stability refers to

a joints ability to maintain a particular position over time.

In performance venues, can include

a lobby, an audience seating area, a booth for technicians, a stage which the performance takes place, and a backstage area with dressing rooms for performers. Larger theaters can have an orchestra pit below or in front of the stage, tall fly spaces and cat walks above the stage, a scene shop and/or costume shop, and possibly storage space beneath or behind the stage.

When a strong, flexible, well aligned body performs a movement in efficiency movement,

a minimum amount of effort is exerted by the muscles for each movement. Afterwards, there is a minimum amount of tension remaining in muscles.

Imposing movement quality changes for the purpose of manipulating and shaping basic choreographic material: incorporation

a movement is made part of another movement

Providing Students with opportunities to Think Critically and Creatively: Every abstract concept expressed verbally can also be illustrated by

a movement or a dynamic visual or kinesthetic image.

Pilates is

a movement practice that focuses on building endurance, strength, and stability in the core muscles of your body (abdominals, hips, buttocks, spine, upper thighs and shoulder girdle) through repeated exercises that induce muscular contraction and release. The numerous stretched that are part of pilates also develop flexibility. Pilates can be done alone on a mat or on specifically designed resistance training equipment that incorporates weights, springs and pulleys, The method emphasizes concentration, precision, control, breathing, flowing movements during practice.

In studio conditions, nothing in a studio is more dangerous than

a moving dancer especially in a crowded class.

In folk dancing, religious dances reflect

a peoples spiritual beliefs.

Couples Dancing: European post medival court dances began to feature a

man and a woman dancing in close contact

Sound Equipment: Once production begins, the tehcnical considerations are

many

In selecting movement that conveys integrity and meaning, a mirror is useful for

adjusting, manipulating, and refining movement once it is selected. During the initial stage of creating choreography, however, the gaze should be "turned inward" toward the creative impulsive, rather than focused outward on how a movement looks.

Encouraging Students to Make Healthy Lifestyle Choices: The stress of transitioning into young adulthood can lead teens to

adopt unhealthy habits like foregoing sleep, behaving dangerously, smoking, using drugs, and drinking. Self consciousness and body issues make teens especially bulnerable to eating disorders.

Traditional dances from england, scotland, ireland and wales share

many characteristics

For joint mobility and muscular flexbility, Yoga is an

ancient system and mental spiritual centering combined with physical conditioning. It emphasizes coordinating the breath with movement, which creates organic and beneficial postures and movements. In addition to enhancing strength and stability, yoga can also foster relaxation of habitually tight muscles and connective tissues, resulting in greater joint mobility. Many forms of the practice feature alongating and widening stretches forthe major and minor muscles of the torso, spine, limbs and extremities, neck and head.

Yoga is an

ancient system of mental and spiritual centering combine with physical conditioning. Although many people thing of yoga as "only streching" the hath, vinyasa, and other physical styles incorporate many extension, balances, inversion and holds that build muscular strength and stability in pelvis, abdominals, spine, shoulder girdle and limbs. Additionally, yoga emphasizes coordinating the breath with movements, which creates the most organix and beneficial postures.

Highschool Dance Education: developing thought and movement skills centered on the awareness of ones own and other peoples bodies and movements in time and space not only helps students understand themselves from the inside but also helps them understand

and better navigate the outside world.

Originality and Visual/Emotional Impact: Visual impact (especially as a conduit to emotional impact) is extremely important in art form whose images appear

and then vanish in a moment's time. The lucky viewer will see the dance featuring images so striking that they wont leave his or her head or the rare dance that imparts such a moveing overall impression that he or she "cant shake the mood" it causes

In props, costumes, makeup and hair, costume pieces that hang, catch, whip around, or fall off can cause not only

annoyance, but also possibly dangerous distraction or movement obstruction for a dancer. Costumes that are too tight or too loose and ones that fit oddly can cause discomfort.

Originality and Visual/Emotional Impact: Originality is paramount quality for

any artist work

Merce Cunningham's modern dance technique created dances without

any attached historical, cultural, or philosophical meanings and subjected the elements of his dances, music sets, costumes, even movement segements and dancers spatial relationships to chance during each individual performance.

Using Dance to Gain Power over Subjects: The reasoning behind the use of court dance was that

any country whose courts feaured such skillful dances would certainly invoke pirde and patriotic feeling in it citizens. A perfect examples of this can be seen in the thousands of synchronized dancers and gymnasts who perform in the North Korean Mass Games, a massive pageant of nationalistic unity.

Imposing movement quality changes for the purpose of manipulating and shaping basic choreographic material: combination

any movement strategies may be combines to develop, refine or modify a movement.

In relationship between dance and music, sound, spoken word and silence, now that technology has made sound engineering accessible, non musical sound accompaniment can include

any sound found on earth. Sounds can range from one slight clang, to vocal sounds made by dancers or others, to full blown pre recorded soundscape

Flexibility training refers to

any system of stretching the muscles. It has a number fo heatlh benefits, including releasing muscular tension, correcting muscular imbalances, relasing lactic acis and toxins stored in muscles, maintaining natural muscle length and density, increasing the range of motion in joints, reducing pain, and enhancing physical performance

"Folk dance" is a catch all term for

any traditional dance participated in communally by non professionals.

In props, costumes, makeup and hair, a dancer's performance can be affected by

anything that comes into his or her personal space, which includes production elements such as props, costumes, makeup and hair. These can all create distractions and/or discomfort. Dancers must prepare and compensate for all these issues.

Improvisational Exercises that can be used to generate choreographic mater for a dance: Once some raw identifiable movement has been elicited, an exercise

applying movement qualities and dynamics can often refine it into a choreographic study. Instructions for exercises might be:"Repeat the body parts exercise, but with 10 times the weight as before," or "Repeat the body parts exercise, but complete it in hadl the amount of time as before."

Encouraging Students to Make Healthy Lifestyle Choices: The healthy lifestyles for dancers students need to learn are the principles of

appropriate eating habits, sufficent and consistent hydration, adequate rest, expansive lung capactiy, release of neuromuscular tensions, proper weight maintainence and relaxation. Teachers should take advantage of opportunities to point out the individual benefits of each. During a class for instance, the teacher might state that "Turns are easier when youve had enough sleep."

Teaching students appropriate behavior for an audience member: Teachers can use discussion in the classroom to inform students of the

appropriate protocol for audience members at a dance performance. Then, if possible, taking a field trip to attend an actualy performance would be ideal, as it would allow students to implement their knowledge. Teachers can advise students of the following guidelines for audience members.

Teaching students appropriate behavior for an audience member: Students should applaud at

appropriate times.

Clues to Discern the Intention and Quality of a Dance: Finally the viewer can study staging and ask questions such as

are there set pieces? what do they look like? what do they do? do the dancers follow floor pattern or go to specific spots repeatedly? where are the entrances and exits? Considering all of these elements will help a viewer get more out of the dance

Instead of being performed at a barre, modern dance classes

are usually performed at center, sometimes beginning from a supine position on the floor

In dancer and choreographer during dance performance rehearsals and productions, the dancer's responsibility is to

arrive on time for all necessary rehearsals, meetings and performances. The dancer should have eaten, hydrated, slept and conditioned himself or herself adequately to be able to fully focus on and efficiently perform movements and other required tasks. In the performance venue, dancers should follow all rules and instructions given to them, and should be respectful in their communications with all personnel.

Skills and abilities Cultivated through the study of dance: Dancers regularly strive to achieve greater

articulation and more effective expression as well as a deeper understanding of communcation directed towards them.

In the lighting designer, assists the choreographer

artistically and logically in designing, engineering and implementing an appropriate lighting plot. The lighting designer also coordinates with the technical manager of the production facility during production. Because lighting is a specialized craft, designers in this field have great creative freedom in shaping the design of the dance.

Developing a student's physical skills and performance of movement: movement repitition

as students repeat a new movement, neural pathways and "muscle memory" are established, which help students recognize, reproduce and refine the movement.

Achieving proper alignment: for teachers helping dancers correct joint alignment and posture, one use of imagery may involve

asking students to visualize the arches of their foot as a dome. Or, if a teacher is trying to help a student achieve elongated posture without excessive muscular tension, he or she may tell the dancer to "unfurl the spine from the pelvis like a vine growing up from a pot" or a teacher aiming for more fluidity in a dancers spine may invoke the image of a lithe sapling swaying in the wind. Both images can results in more organic and successful responses than body part by body part instructions.

Developing dance knowledge and appreciation of the arts and promoting students acheivement: Someone who is great at what they do helps others

aspire to the same level of greatness, and motivates them to pay close attention to how its done.

Providing Students with opportunities to Think Critically and Creatively: Critical thinking is necessary to

assess appropriate associations and their proper application to each concept.

articulation joints: gliding/plane possible movements

assist with flexion/extension/rotation (ex. cuneiform ankle bones and carpal wrist bones (both are a series of tiny bones that glide across one another)

In body isolations in jazz dance, several different isolation are usually employed

at once-pulsing a hip to the right while rotating the left hand at the wrist and tossing the head for instance.

In canon and round structures, in simultaneous cannons, all performers begin

at the same time, but at different starting points within the same phrase. In cumulative canons, dancers begin at different points in a phrase, "fall into step" as the phrase progresses and end in unison.

Integrating movement skills and elements appropriate for students of various skill levels: Movement for dance class must be challenging enough to keep student engaged in

attempting and practicing it, but still simple enough to be mastered by all students in the class. This requires careful observation of each students skills and implementation of movement and corresponding levels of difficulty.

Developing sense of timing and rhythm: Whether in movement itself or in relation to muscial accompaniments, dancers must become

attuned to rhymic patterns including ones incorporating pulse, beat, pattern, accent and tempo.

In communicating meaning through gesture and movement, for the most part dancers are naturally

attuned to the significance and meaning communicated by movement. This is true even of movements considered much "harder to read" than basic, pedestrian human gesturing. For that reason, dancers are especially adept at communicating thorugh motion. Through sensitive perception and attentive portrayl by choreographers and dancers, audience can "see" a myriad of meanings represented through dance.

In logistical factors, staging can be tailored for all

audience sizes and types of spaces. A deep stage or apron allows dancers to work far downstage to avoid the impression of "dancing in a hole". A small intimate space required careful staging that makes the most of the proximity of audience members without "dancing in their laps".

In relationship between dance and music, sound, spoken word and silence, an aural accompaniment deeply colors an

audience's perception of dance. Choreographers must decide early in the composition process what effect they want to achieve with the accompanying sound.

Evaluating Relative Success: Dancers are the vehicles that being the choreograher's vision to the

audience, so much of the success of a dance naturally depends on their performance

In logistical factors, Lighting has a subtle yet powerful effect on an

audience. Aside from the lighting requirements for each individual dance, there are other lighting considerations. House lighting should be bright enough to allow audience members to read programs, but soft enough to create a pleasant atmosphere. Stage lights should be carefully focused to avoid shining them into audience members' eyes from any possible sightlines.

In hula dancing, greate emphasis is placed on

authenticity of interpretationm precision of the movement vocabulary, and correct presentation of the prescrible elements of costumeing for each dance.

In parallel foot positioning, modern dance pioneers, in their quest for more natural and instinctual movement, rejected the

awkward, outwardly rotated stance required of ballet dancers in favor of the more natual parallel position.

Imposing movement quality changes for the purpose of manipulating and shaping basic choreographic material: Once basic material has been created and selected for a dance, it is subjected to

crafting, shaping and refining through the application of numerous choreogrpahic devices. One of these methods involves the application of basic movement qualities-times, space, weight and flow through their various ranges.

Floor work movements include

crawling, rolling, scooting, dragging, slithering, etc.

Developing a dance to polyrhythmic music can afford a choreographer the opportunity to

create several movement motifs (and possibly characters) to correspond with each rhythm, to sinlge out one rhythm or a few rhythms, or to ignore the rhythms completely. Each choice creates its own effect.

In sound and lighting, each element (lighting and sound) is usually

created, shaped, and overseen by its own designer. The lighting designer and sound designer both work with a crew to configure the correct technical setup, which is often executed during performances by a different technician.

Fascia

creates a flexible "net" around muscles, nerves, and blood vessels to provide support.

Aspects of space that are commonly manipulated to develop choreography: staging/floor patterns/facing/direction

creating staging involves making choices above how the performance space should be used. Floor patterns are movement paths traced along the floor. Facings are the downstage, upstage, stage left, and stage right directions where movements can be focused. Directions are the paths along which dancers move from spot to spot on stage

In dancer and choreographer during dance performance rehearsals and productions, the choreographer begins the process by

creating the dance and then teaching it to the dancer. The choreographer is also responsible for producing and communicating the rehearsal schedule, and for collaborating with the necessary professionals to produce the accompanying sound or music, lighting plot and cues. The choreographer must also oversee the design and construction of costumes and any set or prop pieces for the dance. If the choreographer is also the artistic director, he or she must collaborate with music and sound designers, the stage manager, the facility technical manager, technicians and the crew to ensure the production proceeds as planned in the performance venue.

Dance Education-Skills that the pursuit of Dance Can Instill and Foster: Making choices among endless improvisation or choreographic options hones

creative problem solving skills

Dance Education-Similarities in Form and Expression Between Dance and Music and between dance and visual Art: Improvisation is featured as a means of

creative, spontaneous expression in certain styles of each art form.

Developing students' observation and evaluation skills: becoming knowledgable about the essential elements, implications, expectations, and etiquette of the world of dance, as well as its various cultural contexts around the world develops

critical and creative thinking as well as deicision making and communication skills

Improving students abilities to observe, reflect upon, and critically evaluate dance: teachers can use discussions to introduce the idea of

critical perspective.

Relationship with other studies-Relationships between dance and design or architecture: Dance and design or architecture are connected most essentially through their mutual focus on the use of space resulting in a

cuase and effect relationship that works in both directions

Methods of Self Evaluation to improve technique: In the self check style of teaching, the teacher either gives

cues or develops (in conjunction with the student or alone) a checklist for the execution of a movement or combination. The student performs the movement or combination, observes himself or herself in the mirror (or on videotape in certain circumstances), and evaulates the execution using the criteria provided. In this way, the student takes responsbility for both teaching and learning the environment.

Developing students' observation and evaluation skills: This curriculum seeks to expand the students knowledge of dances

cultural context and significance in art forms (such as music, theater and visual art), different disciplines (such as math, science, social studies and language arts), and society at large. Students also learn to analyze a variety of dance forms from several perspectives (dancer, choreogrpaher, critic or audience member) and recognize the value of dance-related skills in workplace experiences.

Relationship with other studies: Relationship between dance, social studies and language arts: Dance is a primary communicator of

culture, illustrating a communitys landscape, livelihoods, social standards, spiritual priorities and history through movement

Couples Dancing: Couples dancing is one that is not accepted by many

cultures around the globe, especially where arranged marriages are the norm and rules of contact between sexes are strict.

Dance culture, History and Analysis- Court Dance and Sacred Dance: Often, the two styles of court and sacred dance are most similar in

cultures where political leaders are also spiritual leaders.

Teaching students good time and resource management skills: Teachers can have students create a breakdown of their

daily time usuage, as well as daily time requirements and priorities.

In conditioning, relying solely upon the daily repitition of these movements for conditioing is a way to

damage the body, not strengthen it

Neighboring Countries Whose Traditional Dances are Similar: As global travel and out interconnectedness due to the internet continue to increase and accelerate, influences from unlikely, far flung countries have begin to appear in

dance and culture of other countries. This can be seen in the recent Balkan-Beats and Bollywood influences in DK and social dance culture in the US

Analyzing Dance-Through the eyes of the Audience Member: Audience members can vary greatly in terms of their previous exposure to

dance and other forms of art, their understanding of cultural expression, and their tolerance for the unfamiliar

In dance floor surface "sprung" and wooden floors may be covered with

marley vinyl, a non slip surface that provides traction, but still allows turns.

In the house manager, stage manager and stagehands, the stage manager is the person in charge and is responsible for

ensuring all technical aspects of a production are executed properly. The stage manager knows the dance thoroughly; coordinates all schedules to arrange rehearsals and work sessions; ensures safety; facilitates communication between dancers, designers and tech crews; communicates with the house manager during performances; and calls the cues to performers and sound, light, and video technicians during performances.

Development of projection, confidence, expression, rhythmic sense and musicality: To elicit projection, expression and confidence from students,

enthusiastic verbal cues are essential. Suggestions along the lines of "playing to the back row" "letting them see your face" and "claiming your spotlight" can be helpful.

Relationship with other studies: Relationship between dance, social studies and language arts: Phrases are obviously phrases, and dances can be viewed as

entire essays or novels

The pas de deux classical form sections are

entree, adagio,variations, coda

Putting a Choreographer's Work into Context: Artist, like all people, are influenced by

environment, or context-styles, attitudes, peer groups, cultural habits, time period and political events. They are also influenced by their place of origin, upbringing, education and trainging, philosophy and past teachers and collaborators.

Skills and abilities Cultivated through the study of dance: The mental acuity and organization that dancers learn through the daily practice of

envisioning, realizing and adjusting design in space and time; their ingrained understanding of the human body as a structure in motion; and their constant management of demanding scheduling can be immensely hlpful in carrying out the exacting theoretical and applied practical work required in both mathematics and science.

In african dances, the spine is mostly

erect, with much articulation as well as freedom of movement in the pelvis.

Cultivating Movement Skills: Individual and group exercises conducted with closed eyes and/or in silense are

especially helpful

Improvisational Exercises that can be used to generate choreographic mater for a dance: Exploring shapes, body parts, or images is an

espeically useful starting point for improvisation. Possible initial instructions might be: "choose two body parts to lead all your movements." Then, after soemtimes with that dieas, the following instructions be given "choose a geometric shaped and let your chosen body parts lead you in tracing that shapes mvoement path along the floor." Other possible instructions could be: "Imagine that your goals is to move an object across the floor in as many ways as you can. Note how the object's size, weight and texture affect its movement."

Developing Improvisational Skills: Initially, teachers should verbally present the

essential concept for student to keep in mind while engaging in the practical improvisational exercises that follow. This information can be further assimilated during later discussion betweem the teacher and his or her students.

Mental and Emotional skills acquired: Many dancers capitalize on their superior familiarity with the human body and easy connection with other people by

establishing a second career in healing arts or medicine. Others transfer their specific body of knowledge to the next generation by entering the field of education (which also requires all of the above attributes)

Providing Students with Opportunities to Think by Analyzing Their Own and Others Dances and Performances: Critical thinking is most effectively tested by asking a student to

evaluate his or her own or another dancer's performance of a dance (whether performed as part of a classroom exercise or in a professional concert). Nothing clarifies thoughts more than being required to express them, either verbally or in writing.

Asking and Answering Questions: Comparing and contrasting a dance with other forms of art from the same time period can provide an

even clearer picture of the cultural climate of the time

Career options for Dance Students: Working choreographers, who are paid to create choreography for dancers and companies are

even rarer than working dancers.

Paul Taylors dance technique draws from

everyday gestures and movements such as sitting, crawling, rolling, walking and running to explire and expand upon fundamental human states and their interactions with dynamix athleticism.

Indian folk style dance reflect

everyday life and culture of villagers and rural peoples

Dancers push their bodies everyday in order to

excel at their work.

Lens of genre: Learning a dance characteristic exmaple can be in tap where it

exemplifies rhythm and improvisation. If choreogrpahy ignores or contradicts the rhythm in an unpleasant way, simply repeats tiem steps without every choosing to improvise movements during these breaks, it could be considered an unsuccessful representation of its form.

Instruction the integrates and understanding of dance and other disciplines: Math

exercises may involve examining geometric shapes, spatial paths, floor patterns or spatial arrangements of dancers; addiing or subtracting the number of bodies dancing or the unites of space covered by movement; multiplying time increments through canon and adding through repitition

In stability, people with shorter denser ligmaments tend to

exhibit greater stability and corresponding reduced range of motion

Highschool Dance Education: Critieria for the development of perception skills develop a students ability to

exhibit kinesthetic and spatial awareness, and to percieve, understand, and synthesize emotions and ideas from the environment into movements

Sequence and presnetation of programming: If the program features the work of just one choreographer, audiences

expect a more cohesive show

In compositional structure and theme of dance, In a theme and variation structure, the theme is

first presented and unadorned hop turn step leap fall, for instance. Then each variation gives the theme a different character without altering its original composition. (This is quite different from the choreographic device of motif and development, in which the sequence and even basic movements of the motif can be drastically changed by various development of strategies.) Each variation expresses a different personality of the theme-playful, sluggish, distracted, etc.

Possible exmaples of familiar movements in traditional movements are

fisherman pulling nets and farmer planting seeds.

Traditionally, dancers strived for increased

flexbility to achieve the greatest range of motion possible in all joint, which maximizes the number of shapes that can be formed with the body

articulation joints: hinge possible movements

flexion and extension in one direction (ex. knee and elbow)

articulation joints: saddle possible movements

flexion, extension, adduction, abduction, circumduction (but not axial rotation); these joins can perform simultaneous movements in more than one direction (ex. thumb and sternoclavicular joint)

articulation joints: ball and socket possible movements

flexion, extension, adduction, abductions, 360 degree rotation (ex. shoulders, hip)

Sound Equipment: Lights are classified according to their function as

floodlights or spotlights

Because of modern dances emphasis on groundedness, a connection to the

floor and a working cooperation of gravity as well as its openness to experimentation the modern form of dance involves more floor work than other forms of dance such as ballet or tap. In these forms, dancers usually stand on their feet.

Formalistic Dance Piece: A choreographer may create a dance to explore the relationship between

floor patterns and the directions dancers face, or to explore patters in time created by combining long delays and short bursts of movement. The choreographer might even include "what happens if" scenarios that are based on chance.

Modern dance unlike ballet, incorporates the use of

floor work

Eugene louis facciuto's therpaeutic jazz style emphasizes on

fluidity, unbroken motion, balance and smooth transitions. Isolations are done gently.

Rhythm tap

focuses on muscial patterns

Dance styles in India can be divided into two groups which are

folks styles and classical styles

Safety precautions: As always, dancers should bring enough

food, water, extra clothing, and personal supplies to stay comfortable for an extended period of time in the performance venue

In ballet folklorico, often both sexes wear hard soled boots, which emphasize

foot rhythms

In Dynamics, phrasing and musicality in dance, dynamics are a product of the interaction of

force, time and intention of movement. For every movements or phrase performed in a dance, the dancer faces and endless combination of choices about varying degree of energy put into the movement and the time taken to initiate, sustain or complete the movement. The dancer must also consider the choreographer's (and his/her own) aspirations for presenting a particular impression to the viewer. A split leap can be done lightly and quickly to give a playful impression, or very powerfully to make it appear quite spectacular to an audience.

Biochemical analysis focuses on the

forces of physics involved in movement, the eggect of gravity and other physical forces on the "levers" (long bones of the lims and extremities) of the body, and the type and range of actions various forces can produce.

In flamenco dance, women wear

form fitting dresses with heavily ruffle skirts that are sometimes tossed or "switched" for added dramatic effect.

The Bournonville School later integrated Russian elements after the French method to

form its own distinct, romantic flavor, incorporating many quick beats within the footwork accompanied by very basic, graceful arm positioning.

Highschool Dance Education: Response and valuation criteria sharpen a student's perception of the

form, characteristics, qualities and uses of dance, and of the place of the art form in relation to other arts forms and disciplines and in society at large.

Analyzing Dance-Through the Eyes of a Choreographer: Choreographers may also choose to focus on the dance's

formal elements, scrutinizing the staging in terms of levels, facings, directions of movement, areas of focus in floo patterns, etc., or the timing, pacing and phrasing of the movements

Conductive Summative Assessments of Dance Knowledge and Skills: summative assessment is the kind of

formal evaluation that happens at intervals during and at the end of the semester (or other period). It allows teachers to arrive an overall value of each students cumulative work. This type of assessment can take form of performance tests, written assignments, oral presentations, group projects, or full performances.

Sound Equipment: Sound designers or choreographers addressing the needs of sound accompaniment includes

formatting, playback and amplification

shuffle

forward brush followed by a backward brush

flap

forward brush followed by a step

slap

forward brush followed by a touch

Highschool Dance Education: Implementation of this curriculum begins with exercises designed to

foster kinesthetic sense. These should be directed both internally and externally toward others and their potential mvoement choices. These exercises evolve into more finely calibrated internal perceptions we well as more complex movement interactions with others. This curriculum also begins with the identification of external design cues for movement and the basic connections among emotions, ideas and movement. It then advances into the identification of danceable images, details and designs from a variety of environments

Traumatic injuries include

fractures (possible types of breaks are simple, compound, green sticks, spiral or stress); dislocation or subluxation (a bone removed from its proper place within a joint); sprains (can result when joints are pushed beyond their normal range of motion); strains (muscle tears); concussions (brain injury from a blow to the head, which can results in headache, nausea, dizziness, disorientation, sleepiness and uneven pupils); bruises; cuts and lacerations or punctures.

In compositional structure and theme of dance, compositional structures are

frameworks for the sequential pattern of a dance, such as ABAB, rondo, cannon or sound. They help organize and configure the elements of a dance across time. A theme is clear, non repeating movement in sequence, an expression of the dance's intention, which once established can then be developed through variations.

Noted broadway tap dancers include

fred astaire, gene kelly and ann miller

Because of the free flow technqiue, Erick Hawkins modern dance technique

freed up the body for greater flexibility and strength and also freed the mind so it could be more deeply engaged in the movement.

Development of projection, confidence, expression, rhythmic sense and musicality: Finally, nothing galvanizes a dancer's movements more than actually performing in

front of an audience. Opportunities for students to perform in front of friends and family in a setting that is as authetic as possible will familiarize them with the nervousness, excitedment and particular requirements of performance.

Improvisation often proves to be a

fruitful means of generating movement vocabulary and examining ways in which movement can be manipulated for the creation of dances. It can also serves as a way of expaning dancers habitual patterns into more exploratory, spontaneous, and nuanced movement.

Most importantly, dances are taught in a

fun, social environment, which motivates dancers to learn the dance steps, rememeber them and look forwards to performing them.

Break dancing and hip hop: As breaking grew past its early stages, it accumulated more innovative styles from other areas such as

funk styles from the west coast

Banning of Traditional Dance: Colonzing governments often seek to suppress traditional dance as one method of

gaining dominace over a people

The layering over rhythms over each other in polyrhythm can create sensations of

gathering, complecity, urgency, overhwleming force and even ironically-unity.

Analyzing Dance-Through the Eyes of a Choreographer: While watching a dance, the choreographer will almost certainly

gauge the technicality and energetic effectiveness of the dancers performance, and will make note of parts that may need to be adjusted for subsequent performances

Providing students with opportunities to develop their own choreography skills: Improvisational exercises are in classes to

generate raw movement that is later manipulated through the use of choreographic devices. After introducing the principles, uses and objectives of each choreogprahic concepts, teh teach can the facilitiate exploration of these devices by hacing students apply one or two at a time to their own or otehr students movement sequences. Students can then demonstrate their results for the class.

Contact improvisation has proven useful for

generating fresh choreography.

Once the movemenet of the affected area sacroiliar (S/I) is no longer painful, the next step is

gentle strengthening, stretching, and range of motion exercises can be started to retrain the surrounding structure and encourage alignment that is more supportive

Teaching Dance techniques from a variety of genres, culture and time periods: Each dance form should be introduced and accompanied by a discussion of it

geographical and historical origins, accompanying customs, cultural purposes, costumes and other identifying factors, influences and similarities to other forms.

Indian dances are closely associated with the

geographical area from which they originate

Relationship with other studies-Relationship Between Dance, Math and Science: Math and dance often intersect in terms of their

geometric and temporal studies

In african dances, there is a great variation in

gesture, extension, and/or swinging of the limbs.

Dance Education-Similarities in Form and Expression Among Dance, Mime (pantomime) and theatre: Mime's vocabulary is limited to

gestures and facial expressions, whereas dance vocabulary can be more abstract and varied. The two have been intertwined throughout history., with mime used to promote enhanced understanding of many Romantic and Classical-period ballets

When shapes in the positive space are arranged carefully it can

give shape to the negative space

Putting a Choreographer's Work into Context: All the influences by keeping in mind of the choreographer's work, audiences can

glean more information from a dance

Sequence and presnetation of programming: Generally, the aim of sequencing a performance is to

grab attention with the first piece; follow with slower, lighter pieces that increase energy and then finish with the stronggest, most energetic work

Career options for Dance Students: Performing dancers work extremely

hard, compete for scarce roles and sports in dance companies, get apid very poorly (especially in light of the toll hteir work takes on their bodies and career longevity) and often finish their performing careers at a relatively young age due to physical or financial concerns. However, if students feels he or she is "born to dance" performing is an artistically satisfying route.

In classical ballet being in an upright position requires for you to

have both flexbility and strength in the legs and feet

Safety precautions: Theaters, with their moving parts and hidden obstacles, are

hazardous places.

Adolescent stage of development for dance education in grades 8-12: This time in students life is an especially goo one to develop a plan of

healthy eating, sufficent rest, and conditioning designed to address the dancers individual flexbility, strength and endurance needs as well as any alignment issues.

Encouraging Students to Make Healthy Lifestyle Choices: Students need guidance to learn and implement the main principles of

healthy lifestyles for dancers

In environmental factors, venue temperature is also a factor. Dancers require enough

heat to keep muscles warm and elastics without overheating, and theater spaces are notoriously hard to hard and/or cool.

To perfect their skills and technique, dancers rely

heavily on how they feel inside and how the look in the mirror but that internal and external knowledge can be greatly enhanced by the theoretical and technical knowledge of their equipment and the tasks it need to perform on a regular basis

On the other end of the effort/weight spectrum, words like "dragging" and "dense" can convert a sense of

heavy and bound, but still slow, movement

African dances in foot stepping are using the

heel, the ball of the foot, or the entire sole is a common feature.

Using Dance to Gain Power over Subjects: The phenomenon of court dance developed within the monarchies that existed throughout

history and around the globe

Native american dances, dances by hunters

honor animals upon which they depend

Rhythm tap dancers are called

hoofers and consider themselves part of the jazz tradition.

Applying Evaluative Criteria to assess the different abilities and experience levels of individual students: Students may be evaluated on the basis of

how often they fulfill each of the critieria ona checklist (checked the corresponding number of times) or a rating scales during a given testing exercises, combination or class session

In African music and dance, the sound of the drum is likened to the

human heartbeat, as well as the heartbeat of the world it is considered vitally important.

Adolescent stage of development for dance education in grades 8-12: Emotionally and mentally this is a time when students are establishing

identity, autonomy and a world view, as well as displaying increased concentration and sophisticaion in both systemic and abstract thought. These conditions are ideal for exercises involving composition, systemic revisions and verbal analysis of a dance, possibly ones related to a social relevant theme.

In parallel foot positioning, the "sixth position" is an

illusion to parallel positions addition to the five classical (and turned out) ballet positions

Helping students develop their analytical powers of observation, reflection and evaluation: When teaching abstract skills through dance the "theory plus practice" approach is often useful. This involves an initial discussion of the topic and the method intended to

illustrate it, followed by student participation in the exercise, and then a discussion of the insights grasped as a result.

Butoh: Butoh relies heavily upon

imagery (overt or obscure) and normally employs slow, controlled movements that can contort the performer into grotesque shapes

Constructive Feedback: For problems with execution, placement, energy or musicality, offering

imagery can be helpful.

Dance as an Explicit Language: In some cultures, dance has long been used to communicate very specific ideas and stories through a dancer's

images and expressions.

Helping students Employ Appropriate and Effective Imagery: Imagery stimulates dancers

imaginations and emotions, connecting their bodies to their hearts and minds and animating their movements with purpose and vitality

Providing Students with opportunities to Think Critically and Creatively: With the use of movement, dynamic visual or image, creative thinking is required to

imagine and assemble the abstract, verbal and kinesthetic components.

In body isolations in jazz dance, isolations are one of the elements that

imbue jazz with its characterisitc casual virtuosity, its controlled chaos, its ready for anything sense of surprise and its insouciant attitude.

Integrating movement skills and elements appropriate for students of various skill levels: Slower learners can be accomodated without

impeding the progress of the entire class. Often, more advanced students will enjoy having time to repeat and refine skills once they've acquired them, which will give the teacher time to work with students who need additional assistance.

Communicating through dance: Mirroring and guessing game exercises are useful for helping students

indentify and reproduce effective gestures and expressions

Encouraging Students' Self Expression and the Use of Dance to Respond to Their Environment: Creative movement experiences have been known to help students of all ages and backgrounds process

information from other classes, as well as express thoughts and feelings about situations from both their own lives and the world at large.

Encouraging Students' Self Expression and the Use of Dance to Respond to Their Environment: The excitement and freedon of movement clears students heads and allows them to process

information more clearly

Applying Evaluative Criteria to assess the different abilities and experience levels of individual students: musicality

informing movement with an awareness of music, breath and phrasing

Compression in RICE is

inhibit swelling by applying an elastic bandage, brace, air cast, or boot to compress the tissues of the affected area.

Ice in RICE is

inhibit swelling by applying ice to the injured area for 20 minutes at a time, 4 to 8 times a day. Do not allow the ice to come into direct contact with the skin.

Elevation in RICE is

inhibit swelling by raising the affected area above the level of the heart.

In personal factors, technical skill is a function of

innate talent, physical conditioning, and technical training. Innate talent is the luck of the draw, but dancers can take control over conditioning their bodies to minimize limitations and maximize capacities. They can also constantly train to improve their dance technique.

The structural analysis knowledge is

instrumental in understanding and achieving proper joint and skeletal alignment, which plays an important role in preventing injury

In personal factors, focus (a dancer's will and ability to fully concentrate physically and mentally on every moment of a dance) and expressions (the ability to communicate emotional states through gesture and facial expression) are

intangible qualities that are readily visible to audiences.

In sound and lighting, Sound is an

integral element in dance, deeply affecting the audience experience during a performance. Music, sounds, spoken words can be live or pre recorded. In all except the tiniest of performance spaces, sound will usually need to be amplified during the performance so that both the audience and performers will be able to hear it.

Analyzing Dance-Through the eyes of the critic: In addition to all of this, the critic evaluates all teh same elements that the choreographer does which is

integrity and strength of the dancers technique, structural elements such as staging and timing and whether the production elements are combined withthe movements in a way that effectively expresses a clear vision and intention

Balanchines modern classical method of ballet style emphasized on

intense speed and intricacy of steps (requireing great agility and strength), unconventional arm positions, an especially deep plie (requiring great flexbility), and strong lines.

In context of the dance it helps to determine whether

intention is clearly communicated to the audience. It is impossible to escape the atmosphere in which a dance is presented. Choreographers need to consider the town (sometimes even the neighborhood), country, time period, audience demographics and cultural subtexts, historical and current events, and the political and artistic climate in which they are presenting their work.

Audience member's experience and persepctive: Choreographers contribute

intention, knowledge and craft

Choreographically, Balancines modern classical method of ballet have an emphasis on

interplay between choreography and the accompanying musical structure.

European/American social dances: circles dance, such as schottisches, provide couples and indiviudals with the opportunity to

interweave their stepping patterns and "greet" other dances as they make their way around the room

Methods of Self Evaluation to improve technique: Guided discovery is an easy method teachers can use to

introduce all but the youngest students to the habits of self evaluations and self correction (and convergent thinking or finding the "right" answer). This method can be used for more advanced studies of improvisation and choreography as well.

Developing the qualities of performance that make dance expressive, dynamic and interesting to watch: Dance teachers can use encouragement, imagery, and exmaples to

introduce and develop performance qualities in students.

Dance culture, History and Analysis- Court Dance and Sacred Dance: In court dances, predictability and tradition are prized over

invention

In prop design and construction, traditional theater sets are usually

large, painted of wood or fabric that simulate a particular setting or object. Sets in dance often play a different role: emphasizing specific design elements of a dance. Sometimes, set pieces are integrated into a dance, with dancers moving and climbing on them as part of the choreography. This requires extra consideration of safety and mobility issues during design and construction.

In time mangement, long work or school days can mean

late rehearsals, which cuts into the dancers sleep and results in fatigue. This puts dancers at risk for injury.

The Russian Vaganova method used today was developed in the

later 19th century

In studio conditions, if a room is too cold and the teacher cannot change the temperature,

layering clothing and completing extensive warm-up exercises may help

In there is no "one way to do it", The choreographer's improvisational exercise focuses on elevating movement from middle level to high through

leaps and lifts. As movements accumulate, the choreographer varies their size and temps, changers their dynamics and even asks other dancers to help him explore canon. Other exercises develop the movements into one phrase, then another and then another. This continues until an identifiable theme emerges to express his "joyful lift off" intention.

World and Social Dance: Global communication become more available and global travel more accessible, some subcultures of various countries

learn about and adopt the dance forms of others. these dances thereby preserved in completely new context. The phenomenon of rugby players performing Maori haka chants and dnaces before a match is a good exmaple

Classial dances of Asian countries: The older the dance form, the more opportunity other cultures have to

learn and adapt it

Enhancing teaching and learning in dance: Increasingly, interactive dvds are available that are designed not only to help dancers enhance their skills, but also

learn and reproduce particular choreography. This process is made dramatically easier by standard features such as pause, slow motion, and frame by fram capabilities. Extra features such as floow pattern maps, variable camera angles, split screens, looping options, text descriptions, time codes and accompanying musical tracks may also be available.

Integrating movement skills and elements appropriate for students of various skill levels: In any class, there will be students who progress more slowly when

learning and reproducing movement.

Instructional strategies for special needs students: Teachers must also take into account the students

learning styles. Classes usually contain a mix of kinethetic, visual, and auditory learners, so integrating all kinds of sensory input (adding visual represenations as well as audible and tactile cues and adjustments) is important.

jump

leaving the ground and landing on the other foot

hop

leaving the ground and landing on the same foot

By the 1950s, Jazz dance has

left behind tap's necessity of creating audible rhythms, and had evolved into it own distinct form by incorporating elements of ballet, theatrical dance, social dances, and ethinic traditional dances from many countries.

In securing musical resources, Recorded music is easier and cheaper to access, and a greater variety exists now than ever before. Choreographers, however, still need to secure

legal rights to use musical piece for any professional performance outside a class or school recital. This can be as simple as contacting the publisher, providing details of the performance and signing a contract for use. For short or small scale engagements, the fee can often be waived.

Hawaiian have memorized chants relating to

legends about creations, the natural world, deities, royalty, and ancestors.

In modern performance forms of jazz dance, Gus giordano instituted the Jazz world congress with the intention to

legitimizing jazz dance as a concernt form, established an exploratory style.

Safety precautions: Dancers should limit the

length and volumes of conversations, both in person and on cell phones. Texting should be kept to an absolute minimum, and should be done in the dressing room outside during breaks-never in the wigs or onstage.

Sound Equipment: The main lightboard, the lighting technician sets

levels for each instrument and changes the settings for each cue.

Connection Between Dancers and Their Religious Entities: People danced in thanks for

life, sustenance, shelter or other bounty they had been given-whether by the earth iteself, the Great Spirit that animated it, or particular gods that populated it

Ballet: Posturally, it is distinguished by a

lift and contracted torso, leg positions that are turned out from the hips, and upright balances upon the feet (often upon the tips of the toes)

Classical Ballet technique revolves around a dancer's

lifted, contracted torso

In modern performce forms of jazz dance, Gus giordano's jazz as a concert art form combines

lifted, elongated upper body and deep plies of ballet with an earthy grounded, sensibility that moves the entire body and also isolates movement in different parts.

The high levels of movement in dance facilitates actions such as

lifting, leaping, and jumping and evokes images of soaring and sailing.

Muscular endurance exercies involves

light resistance or weight and many repititions as in ballet barre exercises such as degages and frappes or any repeating msucle contracting exercises.

Applying Evaluative Criteria to assess the different abilities and experience levels of individual students: Timing

matching the correct movements with their intended counts, and implementing proper phrasing

In the lighting designer, after becoming familiar with the dance, the lighting designer creates a

lighting plot on paper, communicates it to the lighting/electrical crew, and oversees the hanging, wiring, placement, and focusing of instruments (lights). Once the general plot is in place, the lighting designer attends rehearsals to adjust the placement of lights based on the choreography and costumes. The lighting designers will also codify cues for changers in lighting. Once the final plot is agreed upon, the lighting designer creates a cue sheet and communicates it to the lighting techs working the board.

Dance Education-Similarities in Form and Expression Among Dance, Mime (pantomime) and theatre: Dance has adopted many theatrical production elements, such as

lighting, makeup, set design and props

Brush/Scuff

lightly striking the floor in an outward sweeping motion (brush with ball, scuff with heel)

Sequence and presnetation of programming: In a mixed program, variety is practically built into programming. This is an advantage, as not everybody

like every kind of dance, and greater variety offers more opportunities for audiences to connect with a piece

Teaching Dance techniques from a variety of genres, culture and time periods: A visit from a guest teacher or a performer with a specialized knowledge can offer not only visual stimulation in the form of accompanying costumes and electrifying demonstrations but

likley also a deeper familiarity with entertaining lore, as well as techniques and creative teaching methods intrinsic to the form.

Making use of community resources and support: Careful observation of a student's posture, energy, and movement patterns can reveal

limitations or imbalances that may be addressed by conscientiously implementing various movement modalities.

European/American social dances: Floor patterns can be roughly divided into

lines and circles (or adapted squares).

Development of projection, confidence, expression, rhythmic sense and musicality: To develop rhythmic sense and musicality in students, they should be encouraged to

listen attentively to the music. This may even involve stopping and repeating sections to emphasize a particular rhythmic feature.

Providing Students with opportunities to Think Critically and Creatively: Dance is a

living art form

Safety precautions: It is wise for dancers to be aware of the venue's first aid kit's

location as well

People that started modern dancing were

loie fuller, Isadora Duncan and Ruth St. Denis. They all began showcasing their own styles of dance, eliciting great response from a worls ready for change,ease, and freedom.

Instructional strategies for special needs students: The exercise should last

long enough and be difficult enough to present an appropriate challenge (and be fun) without seeming impossible.

The subsequent generation of dancers notably: Doris humphrey, robert weidman, martha graham refined their personal styles into

longstanding methods still being taught today, and spawned multiple generations of modern dancers, teachers, and choreographers.

Clues to Discern the Intention and Quality of a Dance: During the dance itself in addition to the use of space, time and energy in designing and arranging the movement a view can

look at the lighting plot. Are the colors warm or cool? Art the lights bright or dim? Does the lighting highlight particular parts of the stage?

In clothing, Modern dance favors

looser, comfortable rehearsal clothes that are easy to move in. Dancers may wear leotards and tights as well as sweat pants tank tops and shorts. Sweat shirts and t shirts are commonly worn when clothing is layered.

The Vaganova method style focuses on

lower back strength, flexbility, precise placement of the arms, endurance and the lyrical qualities necessary for the classical pas de deux.

In performance, the height of jumps can be

lower, choreographic shapes can appear less clear if limbs are obstructed by extra tissues and lifts can be more difficult.

In greek dances, dancers move in the

main direction for a certain number of steps. They then move a few steps back in the opposite direction to end the phrase.

cardiorespiratory endurance is the ability to

maintain aerobic activity over time.

Eating healthy food frequent enough intervals to ____________is a must

maintain blood sugar levels ; Howeverm most dancers face a constant lack of money and time and sometimes must resort to fast food or whatever is available whenever they can get it. Additionally, traditional eating patterns (such as three large meals a day, as is common in America) dont fit the lifestyle and needs of dancers.

Evaluating Relative Success: Sound accompaniment is a

major element that works with movement, providing strong cues to the audience about the energy and intentions of the piece. Ultimately it will reflect the dances scope (from huge ensemble to solo), context (silence for serious, subjects, novelty songs for comedy, etc.) and its aesthetic and energetic qualities.

African dances are as varied as the countries that

make up the continent itself

In costuming and makeup, costumes can enrich the overall impression a dance

makes, and are chosen as carefully as any other design element. With their color, siihouette, fabric, adornment, and texture, costumes can suggest a time period or a mood, emphasize motion and speed, highlight space unoccupied by motion, draw attention to important body parts or particular performers, augument a defining movement quality suggest groupings and relationships and enhance the intensity of a dance. Even basic costumes acquired on a tight budget can permit freedom of movement, while communicating a sense of line, energy, focus and tone.

Goals of creative expression and performance: The creative expression and performance component focuses on acquiring knowledge of essential physical concepts and implementing fundamental practices in three basic areas such as

making and keeping the body fit to dance, learning and practicing various styles of dances and going through the process of making dance. Implementation of this component involves related but separate practices.

Achieving proper alignment: mimicry comes

naturally to humans from birth; it is how we learn to talk, move, and feed ourselves. This process for attaining skills and knowledge soon becomes instinctual. A dancers natural repsonse to an image is to "mimic" a physical representation of that image, resulting in movement that is evocative and organic.

Teaching students good time and resource management skills: Students may need instructions in how to

navigate room schedules and sign up sheets or online scheduling sites

In the lighting designer, all designers attend every

necessary meeting and rehearsal, keeping their technical crews informed of necessary scheduling considerations.

In the sound designer, all designers attends every

necessary meeting and rehearsal, keeping their technical crews informed of necessary scheduling considerations.

In the video designer, all designers attend

necessary meeting and rehearsal, keeping their technical crews informed of necessary scheduling considerations.

In the costumer, the costumer attending all

necessary meetings and rehearsals, familiarizing himself or herself with the dance and collaborating with the choreographer in order to design the costumes. Costumes designers are usually granted a decent amount of artistic license in developing costumes. They typically expand upon the choreographer's ideas rather than simply execute them as presented. The task of costume design is often separate from costume construction. Because of its time consuming nature, costume construction is almost always delegated to a crew of costuming assistants.

In jazz influences, the post world war II boom created a

nervous energy in the country that was perfectly portrayed by the isolations, syncopation, and attitude of jazz.

The majority of the neck pain arises from

neuromuscular tension, which is often a by product of movements in other parts of the body.

In dance floor surface, carpet should

never be used, as it impeded movement and can cause burns

Cultural Development That Gave Rise to Modern Dance In America: Artists and writters were setting aside conventional methods of expression in favor of

new ideas

The origins of both forms of Tap dancing can be traced back to

nightclubs, when rhythm tappers would set the tempo for jazz bands.

The subjects of Native American dances can also illustrate the differences among

nomadic tribes, hunting tribes and stationary agricultural tribes.

Additional Art Forms in the Production of Dance Performances: Anyone who currently attends dance performances has most likely noticed the steady integration of

non dance art forms into dance

Dancers need fluids more consistently and in greater amounts than

non dancers

Mental and Emotional skills acquired: The creative problem solving abilities cultivated in dancers are useful in many fields such as

non profit administration, sales, social services, event production, law media and every kind of artesian work

Ballet unlike folk dance, the enegry in ballet is

not communal.

Slavery and the Origins of Many Quiessentially American Dance Forms: While the immigration of people from Africa to America would certainly have happened at some point even if slavery had never existed (as a result of normal global migration pattersn throughout history), it would likely

not have happened early enough or on a large enough scale to affect American culture as it did

Originality and Visual/Emotional Impact: If audiences can walk down the street and see another work that is almost exactly the same, they're

not likely to give it much attention. All artists are unique, singular perspectives and backgrounds, and their should reflect that

Once the sacroiliac (S/I) is confirmed the individual should

not move the affected area in any way that results in pain

In performance venue conditions, performances of tap and other dance styles that involve the use of har dsoled shoes, marley is

not necessary, but a wooden stage surface is helpful.

Stillness

not only the abscence of movement, stillness can also be understood as the absence of the flow of time

Encouraging Students to Make Healthy Lifestyle Choices: One on one consultations may be called for when the teacher

notices individual problems.

Developing students' observation and evaluation skills: dance sometimes feels very different from the it looks to an

observer.

In performance venue conditions, low backstage lighting makes

obstacles, over hangs, and black painted stage equipment difficult to see.

Asking and Answering Questions: Comparing and contrasting a dance with earlier works by the same choreographer can illustrate the development

of the artists canon throughout his or her career

The French School of the Paris Opera Ballet trains dancer to perform

numerous steps extremely quickly.

To address thefood and nutritional issues, many dancers must carry

nuts, dried fruits, yogurt, prepared energy bars, apples, citrus fruits, granola or other affordable portable foods. This allows them to eat small amounts of healthy foods several times a day. This helps to avoid the "spike and crach" blood sugar pattern that traditional eating patterns can induce.

Social dance steps are handed down from one generation to the next through

observation and participation rather than via rigid scholastic format.

Methods of Self Evaluation to improve technique: Seversal teaching styles allow students to

observe, evaluate and correct themselves when practicing techqniue, but not all are appropriate for beginning students.

Safety precautions: Ideally, the stage manager or a member of the stage crew will familiarize dancers with

pathways between the backstage area and the stage, and will point out any hazards dancers should watch out for.

Integrating movement skills and elements appropriate for students of various skill levels: Students who require more practice than others to master the movements should be trated with

patience and understanding and should be encouraged when they achieve partial successes as the progress

The practice of contact of improvisation according to stever paxton can be practiced by

people with a ranger of physical abilities or physical limitations, as the forms main emphasis is on sensitivity to the movemnts and energy of other dancers as well as on inventive ways of creating movements by using the percieved information.

Indian dances often tell stories of

people, animals or deities

Highschool Dance Education: Critieria for highschool dance education includes

perception, creative expression or performance, knowledge of historical or cultural hertiage, and response/evaluation

Formative, or Continual, Assessments of Dance Knowledge and Skills: The teacher asseses students as they

perform in class "bookmarking" for later examination the areas that individual students need to work on, as well as areas in which students are progressing or nearing mastery. After each sesson, the teacher makes notes about the content of the lesson and the aforementioned observations of specfic students progress.

In the audience member, The audience is a big part of the reason why dancers

perform. Without an audience, dancers would simply dance in class, as there would be no reason to take to the stage. As such dancers owe the audience much gratitude. However, audience members also have their own responsibilities to dancers during performances.

The energy in ballet is deeply focused on

performance and on creating illusion to be enjoyed by spectators.

Career options for Dance Students: Teaching options are numerous and more attainable than

performance careers

Assessing Students progress: Performance can be evaluated on correct

performance of movements and sequences, rhytmic competency, movement quality and expression. (Additional critieria may inclue attitude, etiquette and professionalism).

In the house manager, stage manager and stagehands, stagehands prepare the

performance space as needed. This might include loading equipment, constructing and moving scenery, hanging lights or speakers, manipulating props, or clearing and cleaning the stage and backstage areas.

Rehearsals: During the production point, the rehearsals move to the

performance venue

Sound Equipment: During production, sound is almost always amplified by the

performance venue's PA (public address) system, and is typically controlled by a sound technician at the sound board who sets volume levels and switched sound and music for each cue.

In the video designer, the video designer also coordinated early on with the

performance's venue's technical manager to determine theater dimensions, projector locations, obstructions, video equipment needs, and other technical considerations. During production, the video designer attends rehearsals to coordinate video with lighting, sound, costumes, and choreography, and then designs a cue sheet and communicates it to all necessary personnel.

Applying Evaluative Criteria to assess the different abilities and experience levels of individual students: Execution

performing each movement using the correct technqiue

Evaluating Relative Success: The most fundamental requirement of a successful dance is that dancers must possess sufficent technique and training to

perofrm the movements as the choreographer intended.

Dance Education-Similarities in Form and Expression Between Dance and Music and between dance and visual Art: Force and energy are varied in

pharsing and dynamics in borht forms.

Communicating through dance: Exercises can establish one basic movement in

phrase, and then applying varying movement qualities ("gliding", "sharp", "heavy", etc.) in order to demonstrate different effects.

Motor learning: At the autonomous stage, a students kinesthetic sense and motor memory are sufficently developed to perform

phrases and combinations without thinking about individual components. The student can now "dance" the movements

In costuming and makeup, make up used in dance is subject to greater

physical demands than that used in a regular theatrical setting. It is prone to running due to dancers sweat (which may results in the make up getting into and stinging the dancers eyes), smearing during dancers contact with each other and the floor, and changing color under the creative lighting choices that may be used in dance.

Connection Between Dancers and Their Religious Entities: In many cultures, it became common practice to dance until one

reached an altered state of consciousness-through frenzy, dizziness, or exhaustion. Once in this state, the dancer could communicated directly with the intended deity. Today, many cultures still perform these types of dances as part of their spiritual practice

In the contact improvisation form of dance, partners

react spontaneously to each others movements, often in close contact. Unfamiliar orientations of limbs and bodies are used.

Teaching students good time and resource management skills: With the knowledge of the breakdown of time usage and time requirements, students can then create

realistics, individualized schedules and that will allow them to make the best use of their time each day-and still spend enough time in class and rehearsal

"Drum breaks" in african drumming are

recognizable changes in drumming patterns, are signals to change movement patterns

Highschool Dance Education: Historial or cultural hertiage critieria assess a students ability to

recognize, understand, and reproduce various dance forms from around the globe and from periods throughout history

Social dances are primarily for

recreation and community.

In neck and shoulder injuries, Relaxation methods and strategic stretching are recommneded to

reduce tensions and balance muscle strength so the head can be better supported

Polyrhythm

refers to simple, multiple, and different rhythm patterns played at the same time.

pattern

refers to the reoconizable, often repeated seuqences in the space, time, and structure of a dance

Over th enxt century and a half, ballet was not only embraced by the French, but also

refine, expanded upon, systematized, and tuaght to succeeding generations.

Ballet folklorico costumes is influenced by

regional identities and aesthetics.

Adolescent stage of development for dance education in grades 8-12: Highschool students are mentally and physically capable of developing a

regular exercise plan and physically it is an opportune time to do so.

Teaching students good time and resource management skills: Long hours in the studio necessary must be balanced with a student's

regular schedule, which likely includes school, homework, transportation, extracurricular activities, chores, sleep, and downtime. Often, students can benenfit from guidance in how to structure their daily schedules to maximize the use of their time.

In the sound designer, sound designers provide

rehearsal music, secure usage rights, and handle sound equipment needs, coordinating with the facility technical manager during production. If there will be live music, the sound designer is also responsible for meeting musician's needs. This may involve scheduling auditions and rehearsals, addressing union requirements, and procuring sheet music and equipment. If the music will be pre recorded, the sound designer creates and oversees sounds media (CDs/mp3s, etc.) The sound designer also creates music cue sheets, distributes music cue sheets to the sound tech crew, and oversees the crew during production.

Sound Equipment: Sound designers or choregoraphers must address the technical needs of sound accompaniment during

rehearsal or production.

Appropriate behavior while performing in a dance event: Ideally, the teacher would suggest proper protocil for each area, and would provide a basic timeline of event for

rehearsals and performances in the venue

Safety precautions: Performers should not advise or consult with crew members during

rehearsals, and should not converse with them at all while a performance is in progress.

Constructive Feedback: Teachers should offer positive feedback to students as often as possible to

reinforce positive techniques and behaviors that they have already established.

In ankle and knee injuries, dancers work in ____ and ballet dancers do so _____

releve; en pointe

In cases of injury to the sacroiliac (S/I), anti inflammatory medication is optional for

relieving swelling and pain

World wide, these dances can be placed into two main categories which are

religious dance and social dance.

Analyzing Dance-Through the eyes of the dancer: If the dancer actually performed the dance in question, he or she may

relive the dance entirely as a series of tasks to be achieved-this saut de basue combination which he nailed, that roll across the floor shooting up into the handstand which never seems to ascend to its full height, etc.

Ballet dance largely requires the dancer to

remain upright, atop the feet and legs

Improvisational Exercises that can be used to generate choreographic mater for a dance: As improvisational exercises progress students or choreographers should practice

remembering, retaining, and repeating movements that grab their attention.

In a choreographer who "has no idea what to dance about", the choreographer changes rhythms and retrogrades the original movements, expanding them into

several phrases. Other movements begin to assert themselves in her body. She follows their lead, and soon a related but wholly different phrase has created itself, begging to be developed through the use of lateral shift and different instrumentation.

A joints range of motion can be restricted by the

shape and arrangement of its bones, the length and density of its ligaments, and the amount of tension or flexbility in the muscles surrounding it

Aspects of space that are commonly manipulated to develop choreography include

shape, dimension/plane, level, staging/floor patterns/facing/direction

Key areas of focus in structual analysis are the

shapes and positions of bones and ligaments relative to eachother in joines, and the ways in which they allow or restrict movement in joints.

"Just the Parts in Front of One's Eyes": The visible structural aspects of a dance's construction is through the

shapes and spatial paths of the movements themselves as well as their palcement in space, patterning, sequence, time, etc.

In performance venues, this features of theater stages also vary, but also

share common characteristics. There is a deep, wide floor that is open to the audience at the downstage edge (this location is sometimes demarcated by a proscenium and extended with an apron) and covered by a curtain or wall at the upstage edge. Curtains or "legs" are hung in the wings at either side to cover exits and entrances.

Contributing Individuals to Jazz Dance: Ruth st. Denis

she was the co founder of Denishawn, the first modern dance school

In the dance floor surface, the unyielding harndess of concrete and hard tile floors transfers the

shock of impact entirely into the bones, cuasing stress and injuries. Possible injuries include shin splints, cartilage deterioration, plantar fasciitis, compression and hairline fractures.

Modern dancers do not typically wear

shoes in class or during performances. Some may wear ballet or jazz shoes or toeless shoes (often worn by lyrical dancers) upon the ball of the foot.

Tap and Jazz dance: British Isles and Irish Immigrants brought along their native forms of dance, many of which required

shoes with metal taps designed to amplify the rhymic stepping sounds

Neck tension can also affect

shoulder mobility

Broadway tap is also know as

show tap

Teaching students appropriate behavior for an audience member: Students should arrive well before

showtimes, enter the theater and find a seat quietly, and turn off cell phones and leave them off for the duration of the performance.

In the audience member, the ideal audience member arrives well before

showtimes, pays the ticket prices with a smile, enters the theatre quietly, chooses a seat promptly, and turns off his or her cell phone and leaves it off. During the shows, the audience member watches the entire performance quietly, and does not talk, whisper, fidget, use the phone, use flash photography or unwrap food with crinkly wrapping. These audience member also applauds at appropriate times. Once the show is finished, the audience member exits the theater calmly. If the audience member has a performer to congratulate he or she waits in the lobby or asks to be directed backstage.

In melody, rhythm, meter, tempo and dynamics dance, many musical theatre elements, especially those involving time and structure, such as rhythm, meter and tempo, have

similar functions in relation to music composition and dance composition.

AB, ABA, and Rondo structures in Composition in dance, ABA form (sometimes written as ABA) is

similar to AB but returns to the first theme after finishing the second, often, Theme is A is repeated in a condensed or abbreviated form, which emphasizes the differences between the original two themes.

To best facilitate this informal learning, traditional dance steps are usually

simple and somewhate natural

Dance of england, ireland and scotland dances are performend in

single lines, double lines, or circles

Indian dances formations for deities include

single or double circles, parallel rows, and sometimes even pyramids, which are often divided by sex.

Time steps are commonly categorized as

singles, doubles, and triples

Performing increasingly complex movements and patterns: The whole part presnetation method has proven useful for teaching

singular steps, or short, simple sequences. First the teacher performs the entire exercise while the students watch, and then breaks the movement down into parts, showing students a single movement and observing as they work to reproduce it.

Modern dance movement: everyday gestures and movements

sitting, standing, walking, running, greeting, shaking hands, and other pedestrian mvoements are examined in many modern dance classes.

Studio flooring for dance classes should be

slightly flexible to protect dancers joint.

Asking and Answering Questions: Many viewers leave a dance performance asking one main question: "What was that all about?" However, there are other questions audience members can ask and answer for themselves or other spectators that are

slightly smaller in scopr and more likely to conjure up bits of understanding.

pas de deux adagio sections is

slow sustained movement together

Skills and abilities Cultivated through the study of dance: Mutual communication and creative cooperation skills which dancers acquire through completing ensemble work and collaborating with other creative professionsals and technicians, can be highly beneficial in

social studies. In particular, the open minded inquirey that dancers cultivate can be useful when working with unfamiliar populations and subcultures.

Ballet slippers are made of

soft leather with a suede sole and are secured with an elastic strap acorss the top.

Making use of community resources and support: Assuming school regulations perfmit "booster organizations", local business could be

solicited to volunteer, provide donations or sponsorship, or run advertisements in performance programs. Recreations centers could be asked to donate space and gym and/or studio time or to lend equipment.

In selecting movement the conveys integrity and meaning, one main choreographic rule of thumb is that

solid, effective movement comes from "doing" not from "seeing". In other words, effective movement is movement that imparts a feeling of organic agreement with its intention and work well with the dancer performing it. It is not merely movement that looks pretty in a mirror. The latter, though sometimes pleasing to the eye, often results in movement that is flat, empty or pointless.

Flamenco can be dance

solo or with a partner

Evaluating student solutions to a given movement problem: The appropriateness of a solution to a movement problem is assess first on where it

solves the problems, and the on how well it solves it. For examples, teh teacher could look at how smoothly the sitting motion is achieved, or at how visibly and convincingly the image of loss is conveyed.

Flexibility training and yoga are

somatic practices that address a dancers need for muscular flexibility as well as join mobility

Making use of community resources and support: In addition to regular warm-up and conditioning exercises, teachers can introduce small doses of various

somatic technique for enhancing joint alignment (Barteneiff fundamentals), elongating the spine (alexander technique and yoga), balancing muscular use of patterns (ideokinesis), fortifying and integrating core support (pilates methos), releasing neuromuscular tensions and improving kinesthetic awareness (feldenkraise, alexander technique and yoga), and expanding breath capacty (yoga).

Developing and implenting individually appropriate conditioning programs: If possible, a teacher should build a unit of student to address the different

somatotypes and their individual needs into the curriculum. This unit can also familiarize students with the basic principles of proper alignment, common injuries and how to prevent then, and strategies for proper weight control.

Dance Education-Similarities in Form and Expression Between Dance and Music and between dance and visual Art: Although dance is a dynamic (moving) art form and visual arts are mainly static (excepting kinetic structure and some other types, the two areas overlap in their use of

space and design elements.

Elements of choreography includes

space, time, energy, pattern, dynamics, phrasing, musicality, expression, intention, context, structure/forming

Communicating through dance: Dynamics (also somtimes called movement qualities) are the combination of

space, time, weight, flow and effort that dancer can vary to give their movements individual personality and color

"Just the Parts in Front of One's Eyes": In order to examine these formal elements, audiences can consider such criteria as how and where the dancers moved in

space, when they moved in time and sequence, whether the choreography presented clear and varied dynamics (changes in energy), if there were repeated sets of movements that underscored a certain image, etc.

Dance Education-Similarities in Form and Expression Between Dance and Music and between dance and visual Art: Both forms also explore the pull between

spatial tension and visual balance, negative and postive space, asymmetry and symmetry, and curves and striaght lines

Guided or structure improvisation exercises can also be effective. These exercises proceed from the idea that

specific limitation can propel the resulting movement in surprising and useful directions. Any movement qualities or structual elements can be implemented as criteria for an exercise, sinly or in combination. These qualities and elements time, space, weight, energy, rhythm, flow, levels, direction and speed, among others. In addition, improvisation exercise guidelines can include words or phrases, shapes, images, body parts, or tasks to be accomplished.

Illustrating the importance of safety to students: Class and rehearsalspace safety may be overlooked or forgotten because students

spend so much time there, but teachers must emphasize safety procedures in these spaces for exactly that reason.

In relationship between dance and music, sound, spoken word and silence, Intertwined, throughout history, music and dance have a

strong affinity. Music can be performed live on stage, back stage, or in an orchestra pit (or even the audience). It can also be pre recorded and played back. Choreographers should carefully examine music choices with prominent lyrical, rhythmic, or melodic features.

Dance Education-Skills that the pursuit of Dance Can Instill and Foster: Obviously daily dance training can shape a dancer's body into a

strong, flexible, coordinated machine, and years of physicality offer a deep understanding of the human body. The study of dance can also cultivate many other valuable mental and emotional attributes

Mobility is determined by

structure as well as musculature, but mainly by the length and density of ligaments that support the joint by joining bone to bone

Helping students Employ Appropriate and Effective Imagery: Anatomical images focus on the

structure of the body, and are therefore perfect for enhancing dancers mental conceptions of alignment and translating them into properly applied muscle contraction to achieve correct posture. For exmaples, an anatomical image given while students are standing in parallel might be: "Engage the arches of the ffet as though there were a bubble of air under each."

Critical thinking, creative probelm solving, cooperation, self discipline: Questions for students at all levels can focus on describing the

structure of the exercise and the students response while performing it; what the student thought the exercise objectives were and whether he or she met them; what the student was "trying to say" with the movements he or she devised; and any images shapes, movements, or phrases that stood oute, as well as ideas, thoughts, emotions, or questions that entered the students mind while doing the exercises.

Developing the qualities of performance that make dance expressive, dynamic and interesting to watch: Praise and positive reinforcement heighten the quality of a

student's performance. When students know that they are being watched, appraised and judged as successful, they not only internalize the feeling of success, but also hunger for more "playing to the audience" with greater animation and confidence.

Evaluating student solutions to a given movement problem: Movement probelms should be presented at a level appropriate to

students development. They may be simples as "fin a way to sit on the floor" for inexperienced students, or as complex as "convery a sense of loss solely through use of the arms" for advanced students. The complexity of other movement problems will be somewhere in between.

Structural analysis involves

studying the bodys bones and ligaments

As form developed in tap dance, elements of current social dances were incorporated and

stylistic elements of jazz, ballet, ballroom and modern dance were also introduced.

Head Whip

stylistic points that distinguish jazz from other performance dance forms is a kind of snap. The head is tossed or turned from a frontward orientation to the side. It can be extended as an isolation into a full 360 degree head roll.

Pelvic thrusts

stylistic points that distinguish jazz from other performance dance forms jazz move, usually done from a contraction, the pelvis is pressed forcefully forward, often rhythmically, and sometimes with the intention of creating a provocative movement.

Angular oppositions

stylistic points that distinguish jazz from other performance dance forms that involves placing limbs into positions so that the resulting combination of angles (most visibly created by elbows and knees) is usual, unnatural and attention grabbing.

Jazz hands

stylistic points that distinguish jazz from other performance dance forms that is the most recognizable (and easily parodied) feature of jazz, and is a widespread hand posture where the fingers are extended strongly outward from the palm.

Snap

stylistic points that distinguish jazz from other performance dance forms where it is a dynamic "hitting" of a position, characterized by an accelerated approach into and an emphatic arrival at a shape, which can then be held for further emhpasis. Sometimes, the snape happens during the withdrawal from a shape instead.

In flamenco dance, costumes for men are

stylized versions of male toreador costumes, which include tight black pants and cropped jackets.

Using Dance to Gain Power over Subjects: court dance was also used to inspire allegiance in

subjects and followers

Relationship with other studies-Relationship Between Dance, Math and Science: Gravity, force, resistance, action and reaction, intertia, structural integrity, velocity, momentum and other scientific concepts not only act upon the body during dance, but also frequently end up as

subjects of choreography because of the interesting visual images the inspire

Flick Combination

sudden time indirect space Light weight

Frequently the dancer foods that are easiest to access are

sugary, salty, or caffineated foods from vending machines and convenience stores. These conditions in addition to the daily demands of classes and rehearsals, combine to create heightened levels of neuromuscular tension and mental stress for dancers.

Improvisational explorations begin with a set of

suggestions designed to elicit movement-images to explore, questions to answer, kinesthetic input to pay attention to, tasks to complete, etc. They continue in a freeform style until the choreographer or dancer is able to glean some new direction from the movement.

Before langurage and music were created by early humans, people were

telling stories with movements, acting out for each other the events of the days hunt, lifting their hands joyously to greet a much needed rainstorms or raising a protective arms to shield a child from dancers. These movements understood through a shared set of experiences became the earliest basis for dance.

tempo/momentum

tempo is the speed of a movement or a movement sequence. It can be sped up to create intensity of excitement, and slowed down to impart language or reluctance.

aspects of time that are commonly manipulated to develop choreogprahy include

tempo/momentum, duration, rhythm/accent/meter, stillness

Chronic injuries are included as

tendonitis, (inflammation of tendone around joints), burisitis (inflammation of fluid sacs in major joints), myositis (inflammation of muscle tissue), and fasciitis (inflammation of the fascia, or sheath of connective fibers that support soft tissues in the body).

Birth of Ballet: Denmark ballet school is called

the Bournonville school of the Royal Danish Ballet

Birth of Ballet: England's ballet school is called

the Royal Academhy of Dance

flexion

the action of "bending" a join, or the action of decreasing the angle between two levers

hyperextension

the action of "over straightening" a join past its natural angle, or the action of increasing the angle between two levers to more than 180 degrees

extension

the action of "striaghtening" a join, or the action of increasing the angle betweem two levers

rotation

the action of "turning" a ball and socket joint; circular movement around a central axis

Highschool Dance Education: Skill related to developing though and movement skills centered on the awareness of ones own and other bodies and movements in time and space includes

the assessment of internal ideas, thoughts and emotions as well as external environmental images and patterns that might be appropriate topics for dance exploration

Vitamins and minerals are also important as they help

the body carry out its functions.

Doris humphrey's dance style "fall and recovery" involves

the body falling into chaos and then returning to equilibrium

Early tap evolved into two distinct styles:

the buck and wing and soft shoe

Encouraging Students to Make Healthy Lifestyle Choices: Teachers can emphasize the importance of healthy habits, but the requirements may be difficult for student experiencing

the changes of puberty to meet.

Audience member's experience and persepctive: The performance of any dynamic (moving) work of art involves three essential parties which is

the choreographer, who creates; the dancers, who perform; and the audience member, who recieved and interprets.

Pattern can be generally defined as

the choreographers tool for synthesizing varied, dynamic and interesting dances. It makes itself most readily apprent in the elements of space, times and structure.

Broadway tap or show tap focuses on

the design and dance (aesthetic) aspect of tapping and incorporates elements of modern, ballet, jass and social dances.

choreograpahic material: psychological or emtional states

the drama inherent in the workings of the human mind and heart can often be expressed in interesting movements

Developing the qualities of performance that make dance expressive, dynamic and interesting to watch: Also useful are videos featuring the work of professionals whose styles exemplify particular elements of performance quality people such as

the dynamism paula abdul, the effortless maria tall chief, the rhymic sense of gregory hines, etc. The combination of visual examples and artistic role models can be especially persuasive for teenager, who are often searching for mentors and are especially attuned to success in popular culture.

Kinesphere can be describe as

the entire area within a stationary human body's (and it's limbs) reach.

Imposing movement quality changes for the purpose of manipulating and shaping basic choreographic material: staging

the facing, direction, location or floor pattern of the movement is changed

Promenade in the pas de deux is

the female dancer balalnces en pointe and the male rotates her in a circle

leaps in the pas de deux

the female dancer leaps on her own and the male dancer heps her leap higher or the female dancer leaps and the male dancer catchers her before she lands

Turn in a pas de deux is

the female dancers turns repeatedly and the male stabilizes her from behind

In classical ballet, movement is largely directed away from

the floor, as the ballet dancer continually strives to create the illusion of weightlessness and effortlessness.

In Jazz dance, improvisation and embellishment are hallmarks of

the form, as are movements done in syncopation.

Methods of Self Evaluation to improve technique: The inclusive style of teaching offers students the opportunity to self evaluate by introducing

the movement combinations with different levels of difficulty. Teachers offer options to make the movement more challenging, such as adding more steps, accelerating speed, or changing direction during a combination. Each student can then choose an option based on their evaluation of how much difficulty they can handle. This can be an especially eye opening self evaulation for students, allowing them to truly understand their actual level of proficiency.

Imposing movement quality changes for the purpose of manipulating and shaping basic choreographic material: level

the movement if performed at a different level (levels are classified as high, mid or low)

Imposing movement quality changes for the purpose of manipulating and shaping basic choreographic material: retrograde

the movement is performed backwards

Imposing movement quality changes for the purpose of manipulating and shaping basic choreographic material: inversion/lateral shift

the movement is performed upside down or using the other side of the body

Imposing movement quality changes for the purpose of manipulating and shaping basic choreographic material: Instrumentation

the movement is performed using a different body part

Imposing movement quality changes for the purpose of manipulating and shaping basic choreographic material: tempo acceleration/deceleration

the movement is speeded up or slowed down

Analyzing Dance-Through the Eyes of a Choreographer: Choreographers evaluate how well the accompanying production values (sound, lighting, etc.) work with

the movements to articulate the overall vision

Providing Students with Opportunities to Think by Analyzing Their Own and Others Dances and Performances: After they are given ample exposure to technical requirements, movement quality concepts, assessment critieria, and constructive communication strategies, students are armed with

the necessary knowledge to being assess their own and others performance. This may be done verbally in a whole class discussion (possible employing view points or another system for analyzing and discussing dance), one on one, or in the form of a written assignment.

Times steps of singles, doubles and triples depends on

the number of mvoements (and corresponding sounds) on the second and sizth counth of an eight counth phrase.

Identifying Students technical and/or performance problems: Students learning technique and developing perofrmance sense can benefit immensely from

the observations and input of a teacher

Imposing movement quality changes for the purpose of manipulating and shaping basic choreographic material: action/reaction

the original movement is the question, and the new movement is the answer

The sacroiliac (S/I) joint is

the pelvic junction where the ilium "floats" alongside the sacrum, transfers weight from the spine to the pelvis. Dysfunction can occur due to traumatic injury or repetituve forces over time, and commonly results from uneven leg length or pelvic misalignment due to tightness (or laxity) in surrounding muscles.

The middle level of movement in dance can also carry neutral connotations as it is

the plane on which most humans operate daily

Improving students abilities to observe, reflect upon, and critically evaluate dance: Older students will likely have been exposed to

the process in the past, and may be somewhat proficient at critically evaluating dance.

Social dance is created for

the purpose of affirming a communitys shared knowledge, culture and experiences.

Imposing movement quality changes for the purpose of manipulating and shaping basic choreographic material: quality

the quality or dynamics of the movement is varied

Relationship with other studies-Relationship Between Dance, Math and Science: Often artistic disciplines are regarded as the aexact opposite of scientific or mathmatics ones. However, dance, math and science share a fundmental common denominator which is

the quest to understand and navigate the physical world by organizing it into different systems.

Imposing movement quality changes for the purpose of manipulating and shaping basic choreographic material: rhythm

the rhythmic pattern (not the speed) of the movement is varied

Native american dances, dances by farmers depict

the seasons, plants and the movements used to sow and harvest crops

Imposing movement quality changes for the purpose of manipulating and shaping basic choreographic material: accumulation/diminution

the size of the movement is increased or decreased

In parallel foot positioning, the sagittal back and forth motion is aided by

the striaghtforward orientation of the toes and the corresponding capactiy to balance weight evenly across the feet

Stability helps preserve

the structural integrity and alignment of individual joins, and enhances whole body resistance to gravity in balances.

Developing a student's physical skills and performance of movement: visual cues

the student collects information by watching the teacher and other students perform a movement, and then applies the information to his or her reflection in the mirror. This method is especially effective for visual learners.

In a choreographer who "has no idea what to dance about", under deadline to create a dance, an idea-less choreographer enters

the studio and begins to move. Eventually, a combination of hops and a fall followed by a rise from the floor surface repeatedly. This reminds the choreographer of a traumatic hopscotch even from her childhood. She decides to portray the fateful incident in a stylized way.

Developing a student's physical skills and performance of movement: mimicking

the teacher performs the movement as the students watches, and the students then imitates the movement

Aspects of space that are commonly manipulated to develop choreography: dimension/plane

the three planes of human movement are: lateral/frontal plance running vertically from shoulder to shoulder; sagittal plane, running vertically from front to back; and transverse plane, running horizontally, parallel to the ground

Understanding the cultural context of a choreographer's body of work or a particular dance: Cultural context is

the time, place, cultural climate, and artistic influence surrounding artists and their work can provide a strong set of clues to a viewer trying to analyze a dance or canon of work, and can be understood by using several methods

Hallmarks of brodway show tap dancing style include

the use of choreographed movements of the arms and torse as well as they legs and feet and a lighter more lyrical styles than rhythm tap.

Choreographic material: visual art, architecture and design

the visible products of someone elses creative urge are often inspiring to choreographers, who respond kinetically to form, line, space, and design

articulation of the wave impulse begins with

the wrist (carpals), moves through the palm (metacarpals), and travels through the fingers (phalanges)

In environmental factors, lighting is extreme in

theatres. Onstage, footlights can be blindingly bright, and sidelights can be set directly at eye level. Backstage areas, by contrast, can be entirely dark. Quick crossovers between the two areas can be especially disorienting.

Organizing lessons to expand students knowledge of movement: A skilled teacher is able to analyze movements in terms of

their difficulty and appropriateness for students particular stage of learning.

Enhancing teaching and learning in dance: Instructional abound and vary in terms of

their effectiveness.

Development of projection, confidence, expression, rhythmic sense and musicality: Classroom experiences should consistently stress the importance of performance qualities to foster an awareness of

their importance in students. Teachers can discuss with students the different necessities and opportunities related to dancing in a classroom and onstage, and can remind students to practice emitting performance level energy.

Identifying Students technical and/or performance problems: Teachers can look as the movement qualities and energy that students put into movements as a clue to

their potential for depth and varieyt expression. They can also look for evidence during performance of the synthesis and integration of technical, artistic, and stylistic principles.

Rehearsals: The performance venue vary widely according to

their purpose and the deisgn eleements that will be incorporated into the rehearsal

Paul Taylor's modern dance choreogprahy often embodies

thematic opposites of dark and light and tragedy and comedy simultaneously

DEveloping "Body Sense": Teachers seek to help students develop an enhanced awareness of

themselves, other dancers and physical eleements in relation to space.

Aspects of space that are commonly manipulated to develop choreography: level

there are three levels of movement. Low levels allows downward movement, on or into the floor. Middle level facilities pedestrian locomotion on the "human plane". High level allows jumping, leaping, and lifting into the air.

Contributing Individuals to Tap Dance: Fred Astaire and Ginger Rogers

these Hollywood partners were famours for appearing in films that featured their supernaturally smooth ballroom and tap styles

Turns from corner

these include pique, chaine, and similar turns that move the dancer across the floor

Turns at center

these include pirouette and fouette turns in which the dancers remains in one place on the floor

Dancers need more fluids than non dancers because

they sweat out high volumes of fluid everyday, which must be replaced constantly.

Tango: In the early 19th century, thousands of European men migrated to

this developing Spanish outpost to find work, bringing the new European configuration of partner dancing-and few precious women to dance with-with them

Releasing muscular tension and latering detrimental movement behaviors: Alexander technique

this focuses on recognizing habitual movement patterns and postures, as well as places of accumulated tensions and then altering patterns a postures to address associated problems. The alexander technique can help improve balance, muscular support and flexibility, cooridnation and mvoement efficency, resulting in increased energy and greater each of movement.

musicality

this is a kinetic repsonse to the rhythm, phrasing, and dynamics of music, which is expressed in the dance styles

Meter

this is a repeated grouping of accented beats

Rond de Jambe means to

tracing a half cricle upon the ground using the toes

Break dancing and hip hop: Tap dance arose from

traditional Irish and African dances

The hula dance is accompanied by

traditional instruments and chants

Neighboring Countries Whose Traditional Dances are Similar: In South American countries, the dances were paird with

traditional rhythms, and promptly traveled northward to take over US dance floors in the 1930s and 1940s.

In prop design and construction, sets and props are often less prevalent in dance than in

traditional theater. This is because dancers mainly require open space and freedom of movement to perform. However, if used strategically, sets and props can add dimension and creativity to a dance.

In studio conditions, "Sprung" floors are ideal, though expensive, but even

traditional wood is better than concrete or hard tile

In dance floor surface, the second best types of floors are

traditional wooden floors

Career options for Dance Students: Some dancers who have knowledge of alternative movement forms and movement based healing methods seek additional

training to acquire certification for a careers in dance therapy or otehr forms of movement study. These may include Feldenkrais, Alexander technique, pilates and others.

Audience member's experience and persepctive: Dancers supply their

training, focus, interpreation and energy.

Banning of Traditional Dance: Native North American dances, outlawed by the US government in the late 19th and 20th centuries, have been somewhat preserved and perpetuated by the decision of tribal elders to

transform traditional powwows into dance centered competitions. A similar phenomenon happened in Hawaii, where some dances became purley tourist attractions, while others retained their spiritual significance

With Doris humphreys dance technique, Charles Weidman ass his own talen for

transforming everyday movement into the absurd or dramatic to the technique.

Classial dances of Asian countries: The proximity of the countries to each other and migration patterns also make more likely that travels, students and immigrants will

transmit the form from one country to another

Both religious and social dance are an effective way of

transmitting culture and reinforcing a people's communal values and experiences.

In the costumer, during the performance the costumer (if part of the wardrobe crew) will

transport the costumes and check them in and out. The costumer will also repair, launder, store and safeguard the costumes between performances.

European/American social dances: Line dances, which include reels, usually consist of

two lines with the dancers facing each other. Often dancers venture from their palce in line to the center, where they engages with a partner or another dance before returning to their place in lines.

Couples Dancing: In couples dancing,

two partners in close contact, facing eachother, hand in hand or in a formal embrace.

ball change

two steps in sequence one on each foot; the first step gets less weight than the second

In neck and shoulder injuries, Because most dancer concetrate on the muscles of the feet, lefs and torso, shoulder muscles are often

under conditioned, leading to injuries such as a muscle spasm, tendonitis, bursitis, or even subluxation/dislocation.

Making use of community resources and support: because dance is traditionally chronically

underfunded, it is endlessly important for dancers to be able to utlize many different forms of support whenever possible. This is a survival skills for many daners, and should be taight alongside other skills.

Assessing Students progress: Critical analysis is assessed based on evidence of a student's ability to

understanding and analyze dance through the various elements for form, genre, choreographic intention, environmental factos of presentation and production elements, and cultural and historial context. Verbal and written communication of such analysis is often assessed under this category as well.

The basics of a healthy lifetyle can be augumented by acquiring skills more specific to the demands fo dancing including

understanding ones own body type and its limitations, capacities, and needs; having a clear idea of ones individual joint alignment and any specific joints that require rehabilitation or modification; and becoming familiar with ones own specific conditioning needs (to achieve increased strength, flexbility, coordination endurance, etc.)

Applying Evaluative Criteria to assess the different abilities and experience levels of individual students: knowledge

understanding specific movements, sequences, and transitions in between

Imagery connect the ________ with the ________ allowing a dancer to understand and feel the movement being performed

unfamiliar with the familiar

Goals of historical/cultural heritage: Studying the significance of the cultural and historical context of dances helps students comprehend the

universality and commonalities of the art form, and to increase their awareness and appreciation of various hertiages and traditions, including their own. This results in more tolerant citizens with a more sophisticated understanding of the world and its cultures

Ballet dance is _____ and modern dance is _____

up and down

In south/central american dance styles, the influnces from imported african slaves appears not only in many of the rhythms and movements used in popular sorical dances, but also in

various folk dance forms done by groups of men and women, which contain a wide variety of movements depicting love, slavery many forms of labor and even war. (Ex. the acrobatic dance combate forms of el juego de mani and capoeira)

In canon and round structures, in music as well as dance, the canon structure is used to

vary the starting and ending time of a single repeated phrase (or parts of a phrase). This adds interest by combining the singularity of one phrase with the multiplicity of repetition. As a sequencing structure, canon can be used in many forms.

Instructional strategies for special needs students: When teaching technique, simple exercises can have

varying levels of difficulty. Opportunities to practice more difficult movement combinations (by adding double turns, incorporating extra beats, or inserting movements, for instance) should be incorporated when possible.

Since different drums produce different sounds, they have

varying patterns and purposes

Formalistic Dance Piece: In these dances, the space is quite visible in

varying shapes made by bodies and movements themselves, as well as levels, planes, facings, directions and floor patterns in which the dancers move.

Formalistic Dance Piece: Choreographer can also explore dynamics by

varying the weight put into the movements and the energy and timing with which the dancers approach, maintain and release movements.

Some potential sources a choreographer can consult to help generate choreographic material include

visual art, architecture and design, music, literature, history, religion, mythology, folklore and fantasy, human behavior and interaction, cultural phenomena, psychological or emotional states, patterns in nature and movement phenomena

Instruction that integrates an understanding of dance and other art forms: Teachers can instruct students to "dance other arts" through

visual art, architecture, music, writing

Enhancing teaching and learning in dance: Considering the volume of information to be transmitted in the field of dance, constant

verbal discussion and live interaction are crucial in the classroom

Developing students' observation and evaluation skills: Choreographing, performing and analyzing dance require

very different skills.

The Balanchine modern classical method of ballet choreography is often

very dramatic, requiring dancers to be especially expressive

Enhancing teaching and learning in dance: Besides live performance, film and video are the most

viable and direct ways to transmit dance, although using video as a means for dancers to see and reproduce choreography has traditionally had its limitations.

Ballet differs from folks dance in it emphasis on

virtuosty and its intention to divide performers from spectators for the performance configuration

Since dance is an expressive form which seeks to communicate meaning through physical images and motion, it follows that using

visual and emotional images ("soar like an eagle") to inform the choreographic and reshearsal processes, as opposed to abstract concepts ("embody the lift and thrust flight") or clinical instructions ("elevate the arms, bring them down, and run with power") will naturally elicit strong images that will be reflected in the movement and its performance.

Connection Between Dancers and Their Religious Entities: A few examples of dances meant to establish a direct connection to the divine include:

wildy abandoned Greek dances to Dionysus, the god of wine and dance; Haitian voodoo ceremonies in which dancers aim to become possessed by spirits; the repetitive spinning of Sufi whirling dervishes; and the trance-inducing Brazilian dances of Candomble, which are conducted to worship African Yoruba deities called orixas.

Methods of Self Evaluation to improve technique: Once the answer is clear (and if the answer is no), alsmost all students

will automatically adjust their positioning or performance accordingly. Student participation also offers the benefit of retention for future reference.

Teaching Dance techniques from a variety of genres, culture and time periods: Alternatively, a field trip to see a performance by a soloist or a group can be equally exiting providing the opportunity to

witness firsthand how the dances look, sounds and feel in their natural forms. If attending a live performance is not possible, video footage of particular dances forms is a useful option, especially in the student of historical dances.

In flamenco, castanets are

wooden handheld percussion instruments

Social dances that are for recreation and community include

work dance (mimicking mvoements of a particular kind of labor); courtship dances (less prevelant in cultures that impose strict limitations on contact between the sexes); war dances to prepare, motivate or intimidate before battle; and communal dances to enhance cooperation.

Developing students' observation and evaluation skills: At the end of the exercise, each student has created

work, interpreted it for both a choreographer and an audience, witnessed a performance analyzed a performance and communicated a critical response to both the dance itself and the dancers performance

Knowledge of joint actions and relactive range of motion can be very useful when

working on turnouts and extensions. It helps dancers learn what is natural, when to push to achieve a movement or position and when to stop pushing.

Native North American and African Dances: Numerous Native American and African Dances are designed to being the dancer closer to god or gods through

worship, exaltation, gratitude, imitation, or trance.

Banning of Traditional Dance: In India in the early 20th century, the government outlawed the existence of devadasi, who are

young girls whole lives were dedicated to learning classical dance for the purpose of serving particular deities. Brahmim families established schools to propogate bharatanayam, kathakali, and other forms, which now flourish in Inda and abroad