Section A Flashcards
(182 cards)
1
Q
Accessory
A
an additional item of costume
2
Q
Actions
A
what a dancer does
3
Q
Acceleration
A
speeding up the movement
4
Q
Accompaniment
A
the sound that you hear during a dance
5
Q
Accumulation
A
when a dancer performs a series of movements and others join in at different times until all perform in unison
6
Q
Air Pattern
A
a design that is traced in the air by part of the body
7
Q
Alignment
A
correct placement of body parts in relation to each other
8
Q
Appreciation
A
recognition and understanding of the qualities of dance
9
Q
Artistic Intention
A
the aim of a dance; what the choreographer aims to communicate
10
Q
Artistry
A
creative skill
11
Q
Auditory
A
relating to sound
12
Q
Aural Setting
A
an audible accompaniment to the dance such as music
13
Q
Balance
A
a steady or held position achieved by an even distribution of weight
14
Q
Binary
A
a composition in two parts or sections
15
Q
Canon
A
when the same movements overlap in time
16
Q
Choreographic Approach
A
the way in which a choreographer makes the dance
17
Q
Choreographic Devices
A
methods used to develop and vary material
18
Q
Choreographic Intention
A
the aim of the dance; what the choreographer aims to communicate
19
Q
Choreographic Processes
A
activities involved in creating dance such as improvisation
20
Q
Choreography
A
the art of creating dance
21
Q
Climax
A
the most significant moment of the dance
22
Q
Complementary
A
perform actions or shapes that are similar to but not exactly the same as another dancer’s
23
Q
Constituent Features
A
characteristics of choreography such as style
24
Q
Contrast
A
movements or shapes that have nothing in common
25
Control
the ability to start and stop movement
26
Coordination
the efficient combination of body parts
27
Costume
clothing worn by dancers in performance
28
Counterpoint
when dancers perform different phrases simultaneously
29
Critical Appreciation
evaluation of dance based upon knowledge and understanding
30
Dance Film
where dance and film are both integral to a work; this includes documentary
31
Dance for Camera
where the choreographer collaborates with (or is) the film-maker; where the intention is to produce a dance work in a multi-media form that cannot be achieved in live performance
32
Dancewear
what the dancer wears for class and rehearsal
33
Deceleration
slowing down the movement
34
Development
the way in which movement material is manipulated
35
Direction
the facing of a movement
36
Duet
two performers
37
Dynamics
the qualities of movement based upon variations in speed
38
Elements of Dance
action
39
Elevation
the action of ‘going up’ without support
40
End-stage
a performance space with the audience on one side; also known as ‘end-on’
41
Episodic
a choreography with several sections
42
Execution
carrying out actions with the required intention
43
Expressive Skills
aspects that contribute to performance artistry and that engage the audience
44
Extension
lengthening one or more muscles or limbs
45
Facial Expression
use of the face to show mood
46
Features of Production
lighting
47
Flexibility
the range of movement in the joints (involving muscles
48
Focus (use of)
use of the eyes to enhance performance or interpretative qualities
49
Form
the overall shape and structure of a dance
50
Formations
shapes or patterns created in space by dancers
51
Fragmentation
use of parts of a phrase or motif
52
Highlights
important moments of a dance
53
Ideational
relating to ideas or concepts
54
Improvisation
exploration or generation of movements without planning
55
In-the-round
a performing area with the audience seated on all sides
56
Intention
aim or desired outcome
57
Interpretation
finding the meaning that is in the movement or finding the movement that is in the idea
58
Isolation
an independent movement of part of the body
59
Kinaesthetic
sensory perception (or awareness) of movement and position
60
Levels
distance from the ground: low
61
Lighting
the illumination of the performance area
62
Logical Sequence
the flow of phrases or sections of a dance
63
Manipulation of Number
how the number of dancers in a group is used
64
Mental Rehearsal
thinking through or visualising the dance
65
Mental Skills
these include commitment
66
Mobility
the range of movement in a joint; the ability to move fluently from action to action
67
Motif
a movement phrase encapsulating an idea that is repeated and developed throughout the dance
68
Motif Development
ways in which a movement phrase can be varied
69
Movement Material
the matter of dance: actions
70
Movement Memory
the automatic recall of learned movement material
71
Musicality
the ability to make the unique qualities of the accompaniment evident in performance
72
Narrative
dance that tells a story
73
Pathways
designs traced in space (on the floor or in the air)
74
Patterns (spatial)
a repeated design traced in space (on the floor or in the air)
75
Performance
the presentation of dance to an audience
76
Performance (personal)
acquisition and development of physical and expressive skills
77
Performance Environments
different settings for dance such as in-the-round
78
Phrase
a short sequence of linked movements
79
Phrasing
the way in which the energy is distributed in the execution of a movement phrase
80
Physical Skills
aspects enabling effective performance such as posture
81
Posture
the way the body is held
82
Professional Work
original choreography by an individual or company that is recognised nationally or internationally
83
Projection
the energy the dancer uses to connect with and draw in the audience
84
Prop/property
a portable object that is used in a dance
85
Proscenium
the arch or opening that creates the effect of a picture frame and separates the stage from the auditorium
86
Rehearsal Discipline
attributes and skills required for refining performance such as commitment
87
Relationships
the ways in which dancers interact; the connections between dancers
88
Repetition
performing the same action or phrase again
89
Retrograde
reversing a movement phrase
90
Rhythmic Content
repeated patterns of sound or movement
91
Rondo
a music or dance form with alternating and repeating sections
92
Safe Execution
carrying out actions safely
93
Safe Working Practice
personal care
94
Sensitivity to Other Dancers
awareness of and connection to other dancers
95
Site Sensitive
dances that are designed for (or relate to) non-theatre spaces
96
Solo
one performer
97
Space
the ‘where’ of movement such as levels
98
Spatial Awareness
consciousness of the surrounding space and its effective use
99
Spatial Design
the way that elements of space have been considered
100
Staging/Set
the presentation of dance in the performing space including set
101
Stamina
ability to maintain physical and mental energy over periods of time
102
Stimulus/Stimuli
inspiration for an idea or movement
103
Strength
muscular power
104
Structure
the way in which material is organised to create the whole
105
Structuring Devices
the ways in which a dance is made
106
Style
characteristic way of dancing
107
Style Fusion
the combination of features of two or more styles
108
Systematic Repetition
repeating something in an arranged or ordered way
109
Tactile
relating to the sense of touch
110
Technical Skills
these include accuracy of action
111
Ternary
a composition in three parts
112
Timing
the use of time or counts when matching movements to sound and/or other dancers
113
Transitions
links between dance phrases or sections
114
Unison
two or more dancers performing the same movement at the same time
115
Unity
a sense of ‘wholeness’ or harmony
116
Visual
relating to sight
117
describe an exercise to develop posture
stand at barre do 2 demi-plies in parallel then 2 in first, keep back straight and bottom tucked under, repeat in second (2 in parallel and 2 in first), do 3 reps per week
-after 1 week do grand plie in first, after 2 weeks add grand plie in second, after 3 weeks do an extra rep each week
-record and watch yourself
118
describe an exercise to develop strength
-lay on the floor and do 3 sets of 10 reverse crunches every other day
-after 1 week increase rep to 3 sets of 15, after 2 weeks increase rep to 3 sets of 20
record and watch yourself
119
describe an exercise to develop control
-lay on the floor and do 3 sets of 10 reverse crunches every other day
-after 1 week increase rep to 3 sets of 15, after 2 weeks increase rep to 3 sets of 20
record and watch yourself
120
describe an exercise to develop balance
-lay on the floor and do 3 sets of 10 reverse crunches every other day
-after 1 week increase rep to 3 sets of 15, after 2 weeks increase rep to 3 sets of 20
record and watch yourself
121
describe an exercise to develop extension
-start in parallel 1st, 4 tendus right leg to front, 4 tendus left leg to front, 4 tendus left leg to side, 4 tendus right leg to side, repeat in 1st
-after 1 week add small leg raise just off the floor after each tendu, after 2 weeks add leg raise to knee height after each tendu
-record and watch yourself
122
describe an exercise to develop flexibility
-do low lunge and hold for 30 seconds on each leg, repeat twice per day
-try and lunge lower and lower each time until you can lower into splits
-record and watch yourself
123
describe an exercise to develop alignment
stand at barre do 2 demi-plies in parallel then 2 in first, keep back straight and bottom tucked under, repeat in second (2 in parallel and 2 in first), do 3 reps per week
-after 1 week do grand plie in first, after 2 weeks add grand plie in second, after 3 weeks do an extra rep each week
-record and watch yourself
124
describe an exercise to develop mobility
-shoulder rolls back x4, shoulder rolls forward x4, arm circles back x4, arm circles forward x4, repeat every other day
-after 1 week increase speed and energy, after 2 weeks add spine contraction on forward rolls and swings
-record and watch yourself
125
describe an exercise to develop stamina
-do 10 star jumps, lifting your hands high above your head, do 3 reps, repeat every other day
-increase reps to 15 on week 1, increase reps to 20 and increase speed on week 2
-record and watch yourself
126
describe an exercise to develop coordination
-travelling sequences on the diagonal with arms on opposite directions, step ball change step leap on RF with opposite arms, left arms forward and right arm at side at shoulder height, repeat on other side, complete 3 times each side
-change arms each day (e.g. high V on leap), each week change sequences of footsteps e.g. add turn, change direction
-record and watch yourself
127
describe an exercise to develop isolation
-stand in 2nd with hands on hips slightly bend knees, hold shoulders still move only head through positions (right, left, up, down), hold each position for 8 counts and repeat holding for 4, do 4 reps every other day
-after 1 week increase speed, after 2 weeks add a rep holding positions for only 1 count
-record and watch yourself
128
Why do you need good posture?
-essential for control of movements, poor posture could make you lose centre of gravity which affects control
-safety: poor posture makes you focus down which is dangerous when dancing with others, can lose centre of gravity
-expression & projection: poor posture make dancer express and project towards floor so can't create effective relationship with audience
-poor posture can impact whole body and cause injury and poor alignment, pains in back and neck are common from poor posture
129
Why do you need good strength?
-to be more in control of body
-execute more technically demanding actions
-safety
-with good strength movement can be held with greater ease to make it look effortless
130
Why do you need good control?
-be able to execute choreographic intent accurately
-have greater expressive quality
-hit accents in music with correct dynamic
131
Why do you need good balance?
-developing balance through strengthening ankles helps to maintain releve positions in balanced movements
-good balance requires strong core helping to maintain alignment in spine
132
Why do you need good extension?
-ensures actions are performed correctly with clarity
-makes movements seem effortless and endless
-aesthetically pleasing to audience
133
Why do you need good flexibility?
-to improve mobility in joints allowing you to perform difficult actions accurately
-flexibility encourages and helps towards gaining good alignment
134
Why do you need good alignment?
-put less stress on joints
-prevent injury
-maintain good posture
135
Why do you need good mobility?
-execute movements with precision and control
-to perform with fluency
-to perform dynamics accurately
136
Why do you need good stamina?
-to prevent injury
-in extended performances, heart and lungs need to deliver oxygen to to blood and muscles as efficiently as possible, once fatigue sets in mistakes in judgement or undue stress on muscles and joints make continued dancing unsafe
-allows high intensity actions to be performed accurately throughout a performance
So audience don't see fatigue in a less dynamic performance
137
Why do you need good coordination?
-essential for developing accuracy in performance of actions
138
Why do you need good isolation?
-add intricacy to movements
-enables illusion of 'waves' in body or arms
-ensures performance accuracy of choreographic content especially within hip hop
139
what do physical skills do?
prevent injuries, make dance look aesthetically pleasing, allows more challenging movements
140
what do expressive skills do?
engage the audience, communicate emotion/character/theme, communicate choreographic intent
141
what do technical skills do?
communicate the choreographic intent, provide variation and contrast, engage and maintain interest of audience
142
what do mental skills do?
for accurate and successful demonstration of other performance skills, for safety (concentration)
143
Why do you need good focus?
-to enhance narrative
-to communicate connection with another dancer
-to make performance confident
-to draw audience info specific area
-to enable good balance
-to create clean performance for audience
144
Why do you need good choreographic intent?
-to have a clear message to portray to the audience
-to give dance a clear theme, idea or mood to follow
-to draw audience in
-to create an original and engaging performance
145
Why do you need good sensitivity to other dancers?
-for dancers to understand their relationship with each other within the narrative
-to portray connection between dancers to audience effectively
-to enhance choreographic intent
-to enhance narrative
-to draw audience in emotionally
-to use relationships effectively (e.g. unison and canon using peripheral vision)
146
Why do you need good spatial awareness?
-create effective formations
-for dancers own safety and safety of others
-to use performance space effectively to portray choreographic intent
-to ensure performance is spatially pleasing for audience
147
Why do you need good musicality?
-make performance seem confident
-draw audience in
-complement highlights and climax in music
-emphasise accents in music
-complement melodies or instruments in music
-to portray certain mood
148
Why do you need good facial expression?
-makes performance seem confident
-draw audience in
-giving engaging performance to audience
-portray certain mood
-portray certain character
-enhance narrative
149
Why do you need good projection?
-make performances seem confident
-draw audience in
-give engaging performance to audience
150
Why do you need good phrasing?
-make performance seem confident
-draw audience in
-give engaging performance to audience
-complements aural setting
151
Describe an exercise to develop focus
-look at 1 specific space/object, dance while looking at it
-repeat until you can stare at it for whole dance
-film and watch back
152
Describe an exercise to develop choreographic intent
-choose a word for each phrase, try to show word through movement
-repeat with different words
-film and watch back
153
Describe an exercise to develop sensitivity to other dancers
-1 person chosen to lead, they make up phrases and others have to copy
-repeat with different leaders
-film and watch back
154
Describe an exercise to develop spatial awareness
-dance in smaller area, do same dance but in bigger area
-repeat until you get used to surrounding
-film and watch back
155
Describe an exercise to develop musicality
-clap rhythm when beats are accented
-clap different phrases until you can do it confidently
-film and watch back
156
Describe an exercise to develop facial expression
-do facial expression while looking in mirror
-share with another person and try theirs
-ask friend to give feedback
157
Describe an exercise to develop projection
-perform 1 count of 8 as quiet, do the same count of 8 as loud
-do different phrases loud and quiet
-film and watch back
158
Describe an exercise to develop phrasing
-find where commas and full stops are in phrase
-breathe instead
-film and watch back
159
What are the safe working practices (process)?
-warming up
-cooling down
-nutrition
-hydration
160
What are the safe working practices (during performance)?
-safe execution
-appropriate dance wear (including footwear, hairstyle, absence of jewellery)
161
What should you do immediately after an injury?
Protect - remove additional danger or risk from injured area
Rest - stop dancing and stop moving injured area
Ice - apply ice to injured area for 20 minutes every 2 hours
Compression - apply elastic compression bandage to injured area
Elevation - raise injured area above heart
Diagnosis - acute injuries should be evaluated by a healthcare professional
162
What should you do the next few day after an injury?
AVOID:
Heat - will speed up circulation, so more swelling and longer recovery
Alcohol - can increase swelling so longer recovery
Running or other excessive exercise - exercising too early can cause further damage, also increase blood flow resulting in more swelling
Massage - increases swelling and bleeding into tissue, prolonging recovery time
163
What should you wear to dance?
-Non restrictive, lightweight - free movement and body line to be seen in class so alignment can be checked
-Elastic clothing - enabled grip on floor and even distribution of weight on sole of foot
-Hair tied back - enables sight lines to be clear, hair doesn't get caught
-Layers of clothing - adjustment of body temp
-No jewellery - freedom of movement without fear of cutting oneself or others
164
What are the best types of food to eat to sustain energy?
Carbohydrates (bread,pasta,rice,potatoes), will release energy slowly and keep you going, should eat 2-4 hours before you start
165
Why do you need to warm up?
-increases blood flow to muscles
-increases heart rate gradually
-prepares body mentally and physically
-increases body temp so makes muscles more elastic
166
Why do you need to cool down?
-helps heart rate return to normal
-prevents build up of lactic acid so avoids muscle soreness
-allows mind to return to calm, restful state
167
How should the rehearsal space be safe?
-ceiling high enough for jumps and lifts
-mirrors made from safety glass to check technique
-enough space for amount of dancers
-well ventilated
-sprung floor, splinter free and not too slippery
-no obstructions (e.g. chairs in middle of floor)
-optimum safe temp for a studio is 21°C
-good lightning
168
How do you respond to feedback?
- teacher
-self feedback
-verbal feedback
-written feedback
-video feedback
-friend feedback
169
What are the expressive skills?
projection
focus
spatial awareness
facial expression
phrasing
(for groups):
musicality
sensitivity to other dancers
choreographic intent
170
What are the physical skills?
posture
alignment
balance
coordination
control
flexibility
mobility
strength
stamina
extension
isolation
171
What are the technical skills?
action content
spatial content
dynamic content
Relationship content (for groups):
timing content
rhythmic content
movement in a stylistically accurate way
172
What are the mental skills (process)?
systematic repetition
mental rehearsal
rehearsal discipline
planning of rehearsal
response to feedback
capacity to improve
173
What are the mental skills (during performance)?
movement memory
commitment
concentration
confidence
174
What are the choreographic processes?
researching
improvising
generating
selecting
developing
structuring
refining & synthesising
175
What are the structuring devices?
binary
ternary
rondo
narrative
episodic
beginning/middle/end
unity
logical sequence transitions
176
What are the choreographic devices?
motif & development
repetition
contrast
highlights
climax
manipulation of number
unison & canon
177
What features of production are there?
staging/set
lighting
properties
costume
dancers
aural setting
dance for camera
178
How can a dance communicate the choreographic intent?
mood
meaning
idea
theme
style/style fusion
179
What are the performance environments?
proscenium arch
end stage
site-sensitive
in-the-round
180
What choreographic content is there?
movement content (actions, dynamics, space, relationships)
structuring devices & form
choreographic devices
181
What are the relationships to aural settings?
call and response
disassociation
direct correlation
enhancement of mood & atmosphere
music visualisation
mutual coexistence
narrative
182
What are the aural settings?
silence
spoken word
song
found song
instrumental
natural sound
body percussion
orchestral
