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Ballet And Its Features
Ballet And Its Features
Ballet And Its Features
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Identification and Justification of the research:
Research describes dance to be physical, intellectual and emotional (Brown, 2014). There are many observational tools that will assist in the acquisition of technique and form in serial movement tasks like a dance sequence. Observational learning is used in dance when the expert teacher/choreographer is instructing the sequence or set moves to the novice dancers. Observation is beneficial as it facilitates motor learning and the development of cognitive processing (Rohbandard et al., 2011). Although observation is useful, most studies test acquisition of simple discrete tasks (Rohbandard et al., 2011). The issue that continues to exist is that the body remains an object for the teacher to
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For the pre-test the participants are required to perform 5 physical practice trials (ballet combo) with no KR. The ACQ 1 requires participants in the physical practice group to continue the combination for 10 more trials, the observation groups, observe either the novice, expert or mixed perform the segment for 10 trails and the control group has no physical practice, no observation and no KR during this time. Next the immediate retention test (Imm. RET) follows and all participants physically perform motor task segment again with no KR. In ACQ 2 both the physical practice group and the observation groups perform segment again for 10 trials with no KR, the control condition do not get an opportunity to practice at this time. Following this period of acquisition there is a ten minute period for rest and retention. When the 10 min break is over all participants are then tested again in a 10 trail physical practice with no KR. Participants will undergo a 24 hour consolidation period, then return to the study and perform a 10 trial physical practice with no KR. All phases of the experiment took place in a dance studio, each of the experimental phases is done separately and participants could not see each other during the study. The dependent variables that are measured in this study are variable error (VE) in the movement form during the 4-segement routine, and form and accuracy of movement pattern is assessed. There are no significant differences in the level of ability, as assessed in the pre-test, confirming that groups are at equivalent skill level. Based on the research and study provided after the completion of acquisition phase 1, it is hypothesized that the observational-mixed group is expected to show superior form and accuracy compared to all other groups (Rohbanfard at al.,
Aalten, A. (2005). In the presence of the body: Theorizing training, injuries and pain in ballet. Dance Research Journal, 37(2), 55-72. Retrieved from http://www.jstor.org/stable/20444641
Jazz dance today is presented in many different forms. Jazz history and famous jazz dancers and choreographers have helped influenced what we know today, as jazz dance. It is incorporated in an assortment of styles including, hip hop and Broadway, Jazz dance today has its own movement, while there trendy modern types of jazz, traditional jazz never goes out of style. Over the years, jazz dance has become popular in the media and can be found in music videos, television, movies, and commercials. Jazz dance is always changing with the time periods, and can be found in social dance, musical theater, dance schools, and night clubs.
New Dance is described as a developing art form; this dance was articulated in the early 20th century. According to Chapter 8 in History of Dance book, “the new dance emerged as a response to the ballet that populated the variety shows and music halls, which had a rigid formula of steps and poses” (Kassing). The New Dance was a product of several strands that interlaced together dancers’ studies and backgrounds; these strands and others were woven together in a historical, political, and societal framework. For instance, one strand of New Dance consisted of the concepts, techniques, costumes, and stage settings from around the world. These strands influenced major dancers and choreographers, such as, Isadora Duncan, Loie Fuller, Ruth St. Denis, and Ted Shawn.
Humans have expressed thoughts and emotions through movement long before the development of speech. However, the origins of ballet can be traced back specifically to the Renaissance period and the early court dances in France and Italy. Any celebratory occasion, such as the birth of an heir or an influential marriage would call for social court dancing. All ladies and gentlemen of the court learned these rather intricate dances as part of their grooming for society. Around the 1400s, as the court dances became more detailed and complicated, it became necessary to formally codify these dances to maintain consistency. Special dance instructors or “Ballet Masters” began to appear. These men were highly revered and considered to be the finest dance teachers. They also served as dance makers or choreographers, creating dances that were used throughout Europe. King Louis XIV had a profound influence on the progression of ballet. Not only was he an avid supporter of dance, he was also a beloved performer. In fact, King Louis XIV is commonly referred to as the Sun King, a name he received after appearing ornately adorned in gold as Apollo, god of the sun, in Le Ballet de la Nuit (The Ballet of the Night). Many other highly respected dancers include: Giovanni Battista Lulli, Vaslav Nijinsky, George Balanchine, Vladimir Malakhov, and many more, all being men. It wasn’t until the early 20th century where women were finally respected in the dance world. Women like Martha Graham, Angela Isadora Duncan, Mary Wigman, Gret Palucca, Harald Kreutzberg, Yvonne Georgi, and Twyla Tharp were the first dancers and choreographers who began to create a reputation for women that changed the image of dance all over the world. Today, one renounced Africa...
On Tuesday, December 5th I observed Ashley LeSage 5th grade class at Thornwell Elementary. This was my first time watching 5th grade dance class in a public school. I immediately noticed that the students were very talkative walking into the classroom. Ashley handled it situation very quick. They came in and took their shoes off and sat on their assigned spot. Sitting on the spots, they were very interested in what the scarves were for and why they were there on the table. She introduced to them that they were for, but they could only use them if they were quite throughout the class and behave. Her warm-up was an upbeat choreographed dance to two songs. Reminded of a Zumba dance. I thought that it was interesting how she went straight into upbeat movement
The Shapes & Reflections 2016 dance concert consisted of well-put together dances from countless genres, most of which were Hip Hop, Modern, World, Tap, Ballet, and Contemporary. I was part of the show, so I received the chance of viewing the dances a multiple amount of times. After observing the show, the two dances I selected that stood out the most to me were “Danse De L’ Amour”, choreographed by Kim Gregg, and “Overload”, choreographed by Julio Velazquez.
Gray, Judith A., and Physical Education, Recreation and Dance, Reston, VA. National Dance Association. American Alliance for Health. Dance Technology. Current Applications And Future Trends. n.p.: 1989. ERIC. Web. 17 May 2014.
I had said before that “Some quotable quotes in the first two weeks of dance class were me to “my arms hurt”, “my legs hurt”, and “I feel like goo”.” I have found that this class has actually helped encourage me to work out on my own. This has had favorable results as I feel I have improved physically. While I don’t think that I will be pursuing dance as a career, I think I am ready to continue on to other forms of dance for the remainder of my education here at CSU. I expect the other classes to be more technically demanding, but I have a feeling this one will have been the most physically demanding. “I feel my entire body engaged…” I wrote this after we first started the forward/backward crescent movement exercise, before we added the pleats in first and second position.
My mom said that she would protect us and that we would be fine. The storm just kept rolling in with heavy rain and lightning and thunder. We were on the top of the bridge for about 5 minutes when the traffic began moving slowly down the bridge. I felt relief and achievement.
As long as anyone can remember Africans have been using their style dance to impact not only their community, but the world around them. There are hundreds of African dance styles and the styles vary depending on their message. There is no one founder to African dance because African dance started in tribes of people. The dancers started by using small foot shuffles and torso movements. The African dances use their drum music, footsteps, little clothing, and large movements to express themselves and their culture.
I’ve been dancing all my life. As a kid, my parents signed up for countless dancing lessons thinking I’d become a professional dancer. In freshmen year, I joined the dance team in my high school and it soon became a big part of my life. I practice five days a week after school to 7 o’clock pm and sometimes even on the Saturdays early in the morning to noon time. My life revolved around the team, therefore, I had no time outside of the team and sometimes barely time for food. Around May or April of each season, we went on competitions every Saturdays and that is when things go intense. In my junior year, we competed in the jazz category, which I learned within four weeks because I had a broken arm. There was a trick in the routine where three people had to lift me up and do a flip with a perfect landing. I competed in that routine for the first time, and the trick was not successful because there wasn’t enough practice. I did it over again at every competitions; I finally made it at State
The past three months have been fairly eventful for me. Three months ago I had the honor in performing in the DeSales University Dance Ensemble concert. Performing in DUDE has been one of my absolute favorite things to due since my Freshman year at DeSales. Each year I set only two goals for myself: to show my best self at auditions and to improve from the previous year. Unfortunately, I cannot say that I have ever met either of those goals, but I am positive that there is still time to do so. This year, I set a new goal for myself: to understudy the senior piece. I was extremely fortunate to have been chosen as an understudy for the senior piece, which was an important moment in my life. Being surrounded by so many creative and eye-opening
So as most people know I’ve been in dance for about six years now. I love dance. I don’t know what I would do without it, but at the end of sixth grade I decided it was time for a change. I didn’t know what kind of change, but I had all summer to think about it. In the past my old dance studio has had problems with not pushing the dancers to their limits, and there was a lot of drama. There was drama at dance competitions, with the teachers, and with other dancers and parents. Also, I had a few problems of my own going to that dance studio. I live in West Jordan, of course, but I also live with my dad in Bountiful. My parents have been divorced for about eight years now so I live at both of their houses, but mostly at my moms for school. Anyway,
Once a skill is learned, it can be transferred to a new setting or routine or be the foundation for new learning. An example is having the dancer practice getting into the retiré position in relevé without a barre for support, and spotting in chaînés turns before teaching pirouette turns. There is positive transfer from both the retiré and spotting as both are fundamental aspects of a pirouette. The mechanics of a pirouette turn can transfer over to the learning of many one legged turns in ballet. Although positive transfer is a powerful means of learning, dance instructors should be aware of the temporary effects negative transfer can have as well. When a dancer initially trained in Barathanatyam Indian classical dance begins ballet training, there will be a period of negative transfer. In Barathanatyam, the araimandi position is similar to a plié in ballet, except for the tilt of the pelvis. The araimandi uses a slightly anterior tilt in the pelvis and the plié stresses a slightly posterior tilt in the pelvis. Since the effects of negative transfer are not permanent, the instructor needs to be patient as the dancer distinguishes the difference and trains her body to adapt to the new ballet
Since the beginning of the semester, my dancing has improved greatly. I started off CP Dance One with absolutely no experience. Less than two months later I have chassés, pas de bourrées, pencil turns, and more under my belt! My confidence and willingness to try new things has also been ameliorated by dance class. In the first few weeks of class, I would shuffle over to the corner and not attempt a move because it looked too intimidating. Additionally, I learned that over-thinking a move and dwelling on how to do it can hurt a dancer’s ability instead of simply executing it. I have also come to appreciate the phrase ‘Practice makes perfect’. In preparing for the performance test on the basic dance, I tried the dance at home multiple times per