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Ballet Ped > Final BPed > Flashcards

Final BPed Flashcards

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1
Q

What are the 3 stages of motor learning

A

initial verbal cognitive learning stage, motor stage, and autonomous stage

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2
Q

initial verbal cognitive learning stage

A

students present a rough execution of the exercises and steps being learned. It is important that during this stage the teachers should give feedback to the students that clearly say what it is correct technique thrugh their collective and personal performance

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3
Q

motor stage

A

student execution becomes more precise, but it can be frustrating when the movement does not consistently work the way they want. teacher should be clear, concise, and understood in order to motivate students

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4
Q

autonomous stage

A

students can self correct and high consistcy of performance. teachers can use french to give a combo and they will know what they mean

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5
Q

2 methods of presenting material to students

A

part-whole method

whole part method

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6
Q

part whole method

A

teacher presents the combo twice
first time:with verbal cues without music.
second time teacher demo with music

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7
Q

whole part method

A

presents the entire combo then breaks it down into parts then repeats the whole combo again. Questions are crucial to answer in this method

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8
Q

what are the seven ways to cue movement

A
  1. words- using names of steps
  2. counting-when you count the movement
  3. nonsense syllables-like skitskatting
  4. singing- sing the words of movement with the music without using the music. shows the rhyth. Jo does this a lot
  5. clapping- clap out the rhythm of the step. can be done with or without music (watch out for echoing in room)
  6. vocal emphasis- reinforce the words or nonsense syllables with vocal inflection. high/low, soft/loud,slow/fast
  7. part of the phrase- when you cue only one part of the entire phrase. helps when student knows combo and needs help with certain transitions or new steps
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9
Q

name and describe 4 types of imagery

A
  • -visual- knowledge of familiar tangible objects that can become an anology of how a step is performed or hot to apply a principle is applied to an exercise or step. can develop correct placement and spatial sense or feeling of a movement.
  • -kinesthetic imager- uses dancers sense of what is happening in the body. ex: placing your weight in different places and feeling the differences internally
  • -anatomical imagery- uses understanding and ability to visualize the structure of the body. ex: elongate the spine without losing the 3 curvatires of the spine
  • -pictorial: combine this with visual- uses mental pictures to help dancers attain correct body alignment
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10
Q

how does a student build a visual memory

A
  • by observing demos of steps
  • repetition is important because students before visual memories will stop moving if the teacher stops moving or demonstrating.
  • show the entire exercise, so they can visualize it before they actually do/learn it
  • ask students to mentally think about the exercise before they actually do it
  • rehearse it away from the mirror to feel it
  • visualize the sequence with the correct timing
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11
Q

describe four levels of learning

A

1-teaching actionsof the legs
2-explaining timing, accents, and breath phrasing that are part of the step
3-teaching simple arm movements, put arms and leg movements together
4- incorporates head mvmt

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12
Q

3 specified body types

A

mesomorph- solid, square smucsular, almost athletic appearance. excels in strength in endurance and power. grand allegro, jumps. Falts- flexibility and mobility

ectomorph- long, narrow, slender, almost fragile structure. very flexible and has graet mobility. falts- strength and endurance

endomorph- rounded body contour with excessive body fat tissue. performs petit allegro well. has strength and flexibility. Struggles with weight control

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13
Q

types of knee shapes

A

knock knees, bowlegs, tibial torsion, hyperextension

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14
Q

knock-kneed

A

medial condyle is taller then the lateral condyle
in 1st pos, calves/knees are touching
weight rests on heals
test: look from behind in 1st pos, should be no more than 1-2 inches between heals

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15
Q

bowlegs

A

lateral condyle is taller then medial
usually in men
tendency to supinate, or roll outward on feet
hip joint turns inward
test: view from behind in parallel 1st position and turned out, knees will have space in bowlegged

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16
Q

tibial torsion

A

variant of bowlegged
patella shifts toward medial side of knee
test: look from front at knee caps, see if they are centered or not

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17
Q

hyperextension

A

occurs when knees press too far back and ligaments behind the knee appear too flat
results in hollow i back and bulge in the front
weight carried in heals
test: view in parallel 1st from side and back, notice if knees touch and legs are sway backed, hyperextended

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18
Q

What are the 6 teaching styles

A

command style, practical style, reciprocal style, self check style, inclusive style, guided discovery style

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19
Q

command style

A

traditional
presents entire lesson to students
simultaneously present the combo with a demo and verbalize

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20
Q

practical style

A 
teachers encourage students to practice physically and mentally outside of class
allow students to practice movement without music on their own time
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21
Q

reciprocal style

A

known as peer teaching

working in partnerships to observe or be observed

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22
Q

self check

A

students monitor their own personal performance in class. teavher establishes the criteria and the students analyzes personal performance.

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23
Q

inclusive style

A

giving students options to challenge themselves and discover their own ability
all students are included regardless of ability

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24
Q

guided discovery style

A

when a teacher asks certain questions looking for an answer. allows students to analyze movement

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25
11 general principles of classical ballet
1. alignment- this is the foundation, good posture, head, torso, and legs. 2. turn out- outward rotation of legs and feets (6 deep rotators of hip) 3. weight distribution- how well dancer balances and moves, recentering yourself 4. stance- to have good sense, weight should be centered over arches 5. transfer of weight- shifting weight from 1 ft to the other or 2ft to 1 6. squareness- keeping shoulders and his on the same level. parallel 7. pull up or lift- pulling up through legs by stretching upward from floor, engaging abdominals and lifting torso off the legs is crucial 8. couterpull- appointing forces 9. counterbalances- upward and slightly forward tilt of torso when leg lifts to the back 10. aplomb- imaginary vertical line teachers use, center line 11. balance- the dynamic princile dancers try to maintain while stationary or moving
26
alignment
this is the foundation, good posture, head, torso, and legs.
27
turn out-
turn out- outward rotation of legs and feets (6 deep rotators of hip)
28
3. weight distribution-
3. weight distribution- how well dancer balances and moves, recentering yourself
29
4. stance-
4. stance- to have good sense, weight should be centered over arches
30
5. transfer of weight-
5. transfer of weight- shifting weight from 1 ft to the other or 2ft to 1
31
6. squareness-
6. squareness- keeping shoulders and his on the same level. parallel
32
7. pull up or lift-
7. pull up or lift- pulling up through legs by stretching upward from floor, engaging abdominals and lifting torso off the legs is crucial
33
8. couterpull-
8. couterpull- appointing forces
34
9. counterbalances-
9. counterbalances- upward and slightly forward tilt of torso when leg lifts to the back
35
10. aplomb-
10. aplomb- imaginary vertical line teachers use, center line
36
11. balance
11. balance- the dynamic principle dancers try to maintain while stationary or moving
37
frontal
front half and back half
38
sagittal
right side and left side (aplomb line)
39
transverse
top half and bottom half
40
main objectives of barre work
``` warm up core temp develop technique prepares for the center apply principles at the barre provides a structure enabling the student to expand focus ```
41
what are the 7 movement of dance. french and english
``` to bend-plier-plie to stretch-éntendre- tendu to raise-relever- releve to glide- glisser- glissade to jump-sauter-saute to dart-élancer-pique to turn-tourner- pirouette en dehor ```
42
components of center
``` center barre adagio turns intro and transition steps allegro ```
43
5 types of jumps
``` 2->2 changment 1->2 assemble 2->1sissone 1->other jete, grand saut de chat 1->same saute arabesque ```
44
what are the 2 overall concepts to the construction of a beginning ballet class
repetition and simplicity
45
repetition
cues are simple, accurate and consistent, select elements from center and repeat them several times in barre exercises
46
quality vs. quantity
less is more, sacrifice perfection for one combo so their spirits can soar. goos balance between quality and quantity
47
how can barre exercises vary in patterns
directional changes directional acuity promote strength in the supporting leg contribute to learning stance and change of weight as the working leg moves in different direction and the weight is transferred from one leg to the other
48
how should the beginning dancer end a barre exercise?
put a period on the end of the statement | fifth, arms en bas, head tilt slightly outward, teaches dancers to stay serious until the end of the movement
49
kneeland methodology-3 categories in ballet
physical appearance-what you are born with is what you work with technical study- vocab, mastering steps kineisiology- how do we do it? what must the body do to do it physical laws of motion
50
what words should teachers eliminate
tuck under-neutral pelvis tighten or squeeze- engage watch using but- use bottom or derriere
51
neutral state of body
alert, aware, anticipate
52
main mistake concerning turn out
turn out from the hips, not just the feet
53
isaac newtons laws of physics
for every action there is an opposite reaction | for every cause there is an effect
54
release and recoil
mini prep and breathe how to go up to go down to go up (jumps) bounce ball- up to bounce down to make it go up
55
purpose of tendus
``` strengthen instep proper use of working leg work in opposition of body build strength resistance against floor ```
56
purpose of degage
quickness | strength in feet and toes
57
purpose of fondu
strength and resistance take off and landing in jumps for control and transitions balance
58
purpose of plie
establishes turn out and placement most important step warm up all muscles of legs
59
rond de jamb a terre
rotation in hip joints | opposition of eachother (legs)
60
rond de jamb en lair
strrengthen muscles around knee | engage quad
61
frappe
preparing action of knee for jumps
62
petit battement sur le coud de pied
control in leg prepare for beats develop speed in lower legs
63
grand battement
control full leg at full range in motion controlling back and abdominals prep for big jumps
64
ways to learn something
auditorial- hearing kinetically- doing it visually- seeing it
65
attention you give students
BEST TOOL - watch out for giving too much attention when bad then they crave that - make sure when they return to not give attention until they do something good
66
creative movement
not looking for correctness make class fun and simple encourage exploration structured class week to week
67
structure for creative movement
great at door, share time, center circle stretch time, center barre, center work and across the floor, free dance, reverence
68
prepatory ballet
prep for 1 real year in ballet introduce dancer posture musicality and rhythm, still having fun, respect, expand vocab, fluidity in arms,
69
Cognitive Development Stages
1. sensory motor stage- birth to 2 years-building concept of reality 2. pre-operational stage- 2-7- need concrete physical situations, unable to think abstractly (Right vs. Left), dont over explain, focus on 1 aspect 3. concrete operational-7-11- start to problem solve, can recognize and do steps, little sponges, 4. formal operation-12-15-cognitive structure like an adult, maturity NOT like an adult, can learn things quicker
70
pointe work - appropriate time begin - physical prerequisites - wolf's law
11-13, serious training 3-4 years, 2nd position vertical all the way up on the toes
71
purpose of temp d'arret
gave the muscles a chance to rest and stretch | *resting
72
purpose of correct placement of the arms in second position
activates muscles of torso, maintains balance, and elevates carriage of the arms
73
purpose of emphasizing "heel down"
- to give the achilles a moment to stretch - allows it to stretch out * stretching
74
characteristics of maturing adolescents (15-20)
Age 15-20, max cognitive development, intermediate and advance level, thinking globally, their future purpose where their place is in life, balancing academics and social life, physical changes
75
characteristics of early adolescents (11-14)
Level 3 and 4, 11-14, looking for role models outside of their family, be a mentor, encourage to dance out, most drop at this time, level 4 is same but more advanced and cognitively can concentrate more
76
goals for beginner ballet student
!
77
focus and emphasis of the intermediate years
Vocabulary, head and arm coordination, self correcting, extension strength and flexibility
78
focus and emphasis of the advanced dancer
Mastering complex steps and ideas, fundamentals | Beat in combos, multiple turns, clear transitions, speed, accuracy, fluidity, musicaloty
79
progressing a dancer/building scaffolding
!
80
three words that need to be eliminated from a teacher's vocabulary
Tighten/squeeze -engage tuck under-neutral pelvi pull up-push down
81
** on test--how bad habits develop
4 things - pushes a student too quickly(levels or teaching class to fast) - ignoring problems, not seeing the problems (teacher fails to see or correct a problem) - less than ideal body type - incomplete or improper explanation from the teacher
82
glissade and pas de chat
begins in plie, *start with foot from back
83
Wolfs law
A bone in a healthy person will adapt to the load that is placed on it. If the load increases the bone will become denser remodeling itself
84
Brise
``` Demi plie Foot progressions Dégagé Fondu Frappe Petit battlement Sauté in 1-2-5 Changement Assemble battu voyage Jete over Assemble battu voyage ```
85
Entra chat quartre
``` Demi plié Foot progressions-tendu dragged Releve Temps d'arret Fondu Frappe Petit battlement Sauté 1-5 Changement Soupersous Echappe Echappe battu Royale ```
86
How does pace ska define style
A particular interpretation of the classical technique which usually emphasizes or exaggerates certain aspects of the technique
87
How does paveska define placement
Placement- ballet stance | Alignment- configuration of bone upon bone in a more general way
88
Define allonge
Used to describe a lengthened position in which the palm of the hand faces downward
89
Difference between coupe and Cou de pied
Coupe- a cutting motion, downward path of travel | Cou de pied - position heel resting on ankle if supporting leg
90
Years of study divided into 3 categories. What's the focus for each category?
1-4 years. Critical in establishing good habits and setting the foundation for all future progress Before 7- a degree of control and use of imagery 7-10. Instil correct habits the principal goal of early years of trainibg
91
What happens in the mind and body between age 7-10
Can't remember to do one thing and then remember to do another. Eight year olds can. 9-10 can apply every more corrections
92
What should teachers guard against in the final two years if study?
Letting choreographic liberties creep into combinations or detract from the classical line, mannerisms
93
When do male dancers need men's class and what is the emphasis of men's class
When they reach high intermediate level. Building strength
94
What are the reasons male dancers need to build strength?
Lift ballerinas and do more jumps and beats.
95
What milestones and rules should be followed before starting a student on pointe
Must be strong enough to support the weight of the body. Strong arch and ankle. Strength in hop joint and spine. At least four years of ballet training.
96
What are the characteristics of the classical line?
Length. Purity. Simplicity.
97
Tension vs stress
Tension not only enhances movement but is used to link steps into coherent phrases Stress comes from misdirected effort which in turn is the result of misalignment
98
Cautions teachers have with extension in early years of training
Nurture control and strength in the hip joint and spine by limiting extensions to 90 degrees
99
Why are arms held in second position during barre
Activates muscles I the torso. Helps maintain verticality and balance. And introduces the elegance of carriage tht classifies classical ballet
100
Basic rules to en dehors and en dedan
En dehors. Close with working leg in back. | En dedan. Close with working leg in front.
101
2 components to a pirouette
Balance and impetus( force)
102
What must teachers understand and expect in arabesque and open hips.
Open hips produces a more attractive line and allows a higher extension. However this concept cannot be introduced too early in training. Opening hip is a gradual process.

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