assistant cua30313 dance sampledancecollege.com.au/docs/sample_dance_module.pdf · 2016-01-19 ·...

DANCEA S S I S T A N T

T E A C H E R

Certificate III in Assistant Dance Teaching

DANCE TEACHING AND ANALYSIS

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CONTENTSPart A: Prepare For Dance Classes 6

1.1 Safe Dance Sequences 1.2 Minimising Risk 1.3 Appropriate Practice Attire 1.4 Techniques to Prevent Injuries 1.5 Selecting Music and Choreography 1.6 Determining Student Needs 1.7 Equipment and Resources

Part B: Demonstrate Basic Dance Techniques 28

2.1 Communicating About Dance 2.2 Posture and Alignment 2.3 Isolation and Coordination 2.4 Using Techniques 2.5 Control, Memory and Detail 2.6 Movement and Music 2.7 Class Dynamics and Learner Behaviour

Part C: Maintain Expertise In Teaching Basic Dance Techniques 46

3.1 Using Feedback For Improvement 3.2 Development Resources

Part D: Review The Dance Analysis Process 52

4.1 Purpose and Scope of Dance Analysis 4.2 Theories of Dance and Movement Analysis 4.3 Principal Terms Used in Dance Analysis 4.4 Forms of Dance Analysis

Part E: Analyse Elements Of Dance Sequences 62

5.1 Delineate main movements of dance styles 5.2 Musical rhythms 5.3 Place dance movements in their appropriate historical context 5.4 Dance Vocabulary

Part F: Complete A Basic Analysis Of Dance Performance 72

6.1 Assess individual performance movements 6.2 Seek feedback on analysis 6.3 EvaluatE analytical process

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ABOUT THIS MODULEThis module aims to prepare assistant dance teachers for assisting in dance instruction for students with varying levels of skill and abilities. Participants will learn to assist with dance instruction in a manner that supports a healthy and safe environment and practice.

Participants will learn to prepare for classes, use techniques to prevent injuries, teach students basic dance techniques, and seek feedback for improvement.

Dance is not only movement of the body but a form of artistic expression that combines physical movement, control, mental sharpness and memory. Dance also involves history, culture, anatomy and spatial understanding. To teach dance is more than just demonstrating movement and technique, it is effectively combining all the components that make up the dance techniques.

Regardless of what level instructor a dancer is, or will become in the future, the basic fundamentals of preparing and teaching a dance class remain the same. These are the foundation for every dancer’s training, knowledge and ability.

KEY INFORMATION

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AUSDANCE

• www.ausdance.org.au

EFFECTIVE DANCE TEACHING METHODS

• www.ausdance.org.au/articles/details/effective-dance-teaching-methods

AUSTRALIAN COUNCIL FOR THE ARTS

• www.australiacouncil.gov.au

DANCE POSITIONS AND MOVES

• www.danceclass.com/ballet-positions.html• www.howcast.com/guides/455-Ballet-

Dancing-Lessons • www.howcast.com/guides/830-Jazz-

Dance-Moves-for-Beginners• www.howcast.com/videos/507276-Basic-

Elements-of-Swing-Dancing-Swing-Dance • www.howcast.com/guides/450-How-to-

HipHop-Dance• www.howcast.com/guides/660-How-to-

Dance-Salsa

SAFE DANCE

• www.safeindance.com

DANCE INJURIES

• www.dance-teacher.com/2010/08/10-common-dance-injuries

WARMING UP

• www.fitday.com/fitness-articles/fitness/exercises/5-dance-warm-ups-and-stretches.html

• www.wikihow.com/Stretch-Properly-for-Dance

• www.sharingdance.ca/SharingDance/filestorage/bb/bbeccb2a-fa9a-40fc-8e41-a515ee2604b4.pdf

• www.youtube.com/watch?v=lb5kjrZnkvc• www.youtube.com/

watch?v=nJvhUT_7FIM

• www.youtube.com/watch?v=MOJzEGK9644 DANCE TERMINOLOGY

• www.orthopt.org/downloads/PAglossary.pdf

• www.centralhome.com/dance-terms-b.htm

• www.abt.org/education/dictionary/

ISOLATION MOVES

• www.howcast.com/videos/512456-How-to-Do-Lower-Body-Isolation-Moves-Sexy-Dance-Moves

• www.educationscotland.gov.uk/video/j/video_tcm4558687.asp

• www.youtube.com/results?search_query=isolation+moves+dance

• www.worldofdance.com/channels/dancetutorialslive/how-to-dance-lower-body-isolation-tutorial-hip-hop-moves-matt-steffanina/

ANATOMY AND PHYSIOLOGY

• www.innerbody.com• www.lyceum.algonquincollege.com/lts/

onlineCourses/anatomy

COUNTING MUSIC

• www.ihatetodance.com/category/hear-the-beat/

• www.youtube.com/watch?v=APpeziJeDGI

MANAGING THE DANCE CLASSROOM

• www.dance-teacher.com• www.danceteacherweb.com • www.danceadvantage.net

DANCE MAGAZINE

• www.dancemagazine.com/reviews

DISCLAIMER: These links were correct at the time of print. If any links are damaged, please search for them within the relevant website.

ADDITIONAL RESOURCES

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PART A

PREPARE FORDANCE CLASSESSA

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8 DANCE TEACHING AND ANALYSIS WWW.DANCECOLLEGE.COM.AUCertificate III in Assistant Dance Teaching

In preparing for a successful dance class, regardless of the dance style, class environment or student level, it is important to think ahead and plan the class thoroughly. This can include preparing:

A safe working space

Always arrive to the dance studio early to make sure it’s cleaned up from the previous class and prepared for the students – the floor should be clear, any tools or props should be readily available and music should be prepared.

Proper warm up, floor practice and cool

down combinations

Divide the class schedule allowing adequate time for a thorough warm up (including barre work), floor practice (including combinations across the floor and teaching new choreography) and a proper cool down (allowing the dancers’ muscles to stretch cool down gradually before leaving the studio).

Appropriate clothing

Like the student dancers, the assistant instructor should be appropriately dressed to fit the dance style with the correct clothing and shoes. For example, sandals are not proper dance shoes and are not allowed in the dance studio.

Music selection

The teacher should not wait until in class to choose the music! The music needs to fit the warm up, exercise or choreography beforehand and precious class time should not be wasted trying to find a useable song. Additionally, some of the same music may be used in each class, there should also be new selections for new exercises combinations and choreography.

Preparing for a dance class also involves being mentally prepared and confident in one’s

PREPARE FOR DANCE CLASSESteaching ability and knowledge base. This means understanding what is expected of the instructor, and the students, being able to meet the students’ needs and abilities, and anticipating any issues and challenges that may arise.

The assistant dance teacher will need to be aware of challenges or difficulties that could potentially arise when teaching dance basics. Possible challenges could include:

Teaching in an unfamiliar space

Arrive early, particularly if you don’t usually teach there. Each space works differently and the teacher will need to assess the situation, make sure the space is danceable (including having clean, strong, smooth floors and a sound system and good lighting) and decide how to physically place the students.

Teaching new students

It can be intimidating and uncomfortable starting a new dance class as a student – especially if the rest of the students are already familiar with each other, classroom protocol and expectations. New students should be made to feel welcome and comfortable asking questions as they adjust.

Teaching students who are struggling to

keep up with the rest of the class

Individual attention must be paid to all students to ensure they’re practising moves safely and properly and to gauge their ability, limitations and trouble areas.

Having technical issues, like a faulty sound

system

At some point, there will be technical difficulties with lights or sound systems may not work. In these cases, the teacher will need to be able to improvise or provide alternatives to continue

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DANCE TEACHING AND ANALYSIS 9 WWW.DANCECOLLEGE.COM.AU Certificate III in Assistant Dance Teaching

with the class. It is useful for the teacher to have a small set of portable speakers to use for music or to focus on deep stretching and strengthening while waiting for the lights to come back on.

Having technical issues, like a faulty sound

system

At some point, there will be technical difficulties with lights or sound systems may not work. In these cases, the teacher will need to be able to improvise or provide alternatives to continue with the class. It is useful for the teacher to have a small set of portable speakers to use for music or to focus on deep stretching and strengthening while waiting for the lights to come back on.

Being ill or injured and unable to fully

demonstrate to the class

Again, in these cases the teacher will need to

improvise or adjust the teaching. This could mean bringing in extra help or changing the lesson for the day to better fit any diminished energy and ability.

Though some issues will arise when teaching dance, being prepared to the best of one’s ability will help lessen problems or mistakes, and help overcome any instructional challenges.

1.1 SAFE DANCE SEQUENCES

All dance styles have their own foundational styles, steps and elements. In ballet, for example, there are the five-foot positions that begin and finish most movements.

First position

Second position

Third position

Fourth position

Fifth position

• Standing with heels close to touching, rotate the hips and toes outward creating a ‘V’ shape.

• Make sure not to turn out too much, putting unneeded pressure on the knees, and that the bottom is tucked in creating a long smooth line from the heels up to the top of the head.

• From first position simply slide one foot out to the side, keeping the feet and hips rotated out.

• The distance between the heels should be equal to about 1.5 lengths of one’s foot.

• From third position, slide the same heel back to meet the other foot, again keeping the toes turned out.

• The heel of the foot that was moved should meet at the centre of the standing foot.

• From third position, slide the front foot forward about the length of one of the feet.

• Finally, slide that front foot back and slightly further across the body so the toes of the back foot are touching the heel of the front foot.

• Keep both feet turned out (pull back the toe of the front foot slightly more if necessary).

These five positions are the foundations for all ballet steps and movements; meaning every movement begins and ends in one of these positions.

In tap, beginners start by learning simple

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For a more in-depth look at these positions, including arm placement and photos http://www.danceclass.com/ballet-positions.html

steps like the shuffle (brushing the ball of the foot forward and back across the floor) and heel drop (resting on the ball of the foot and dropping the heel into the floor).

These types of foundational steps vary between dance styles, but are building blocks that must be mastered before learning more complex moves. They are also always an integral part of a good warm up, preparing students to use the steps in different combinations and choreography.

On a general level, while dance classes should be educational, challenging, rewarding – and fun – techniques must first be conducted safely. Dance teachers must be familiar with and able to describe key aspects of safe dance practice including:• General health and safety in the classroom

• How to prevent, identify and manage injuries• The anatomy• Physiology in dance• Health mental attitudes(http://www.safeindance.com/certificate.htm)

Some specific examples could include:• Ensuring students are appropriately dressed

and dancing in a safe environment• Encouraging students to test their boundaries,

but while listening to their body and never pushing too far

• Understanding the body’s make up, functions and processes

• Understanding how the body can safely move with certain dance styles and steps

• Promoting a healthy body image among students

Along with ensuring students are taught in a safe space designed for dance practice, , teachers must have a strong knowledge of anatomy and physiology to better explain how steps should be performed and provide alternatives or adjustments

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for students who are not practising steps correctly.Understanding anatomy and physiology is also

imperative for preventing and recognising injuries, understanding the body’s limitations, and how to quickly identify when students are not practising properly or should change how they are practising to protect their body and alignment.

For example, when doing leaps or jumps, a dancer should make sure they completely press their entire foot to the ground (including the heel) before springing off, since jumping solely from the balls of their feet can tighten the Achilles tendon and cause it to snap.

A dance teacher who has a working knowledge of the body and how it moves can better demonstrate the proper way to complete steps, explain why the technique is important and identify issues in students before they happen.

Dance teachers must also create a safe and positive classroom atmosphere that encourages a healthy mental attitude. This can include setting high standards for how students interact and

address one another and fostering a safe place to grow and learn from mistakes.

As an assistant dance teacher, it is important to collaborate with the senior teacher or supervisor to develop safe teaching strategies that are appropriate to different levels of ability and competence. This will help to create safe dance sequences, maintain a safe dance environment and prevent injuries. The assistant teacher can collaborate with their teacher or supervisor to develop safe dance strategies by considering the following:• Skill and experience level of the students • Length and thoroughness of warm-up/cool-

down sessions• Condition of the dance floor• Appropriate attire required for the dancers• Past or current injuries of the dancers

It is important that the assistant teacher collaborates with their teacher or supervisor, and

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1.2 MINIMISING RISK

Part of creating a safe and healthy dance teaching environment includes being able to identify and minimise various risk factors of specific dance styles. Whether it’s jazz, ballet, hip hop, tap or tango, each practice has distinct risk factors when

discusses these elements of dance instruction, when developing the teaching strategy or dance sequences.

Just as with any type of workout, a dance class should be sequenced to gradually build up in difficulty and intensity before coming back down. This includes starting with gentle stretches and basic steps to warm up the muscles and practise foundational moves that will be built on throughout class, before moving on to more complicated sequences, such as combinations travelling across the floor instead of repetitive steps in one place, then slowly cooling the body down with a gentler combination and stretching.

How to sequence a dance class

• Start with gentle stretches and exercises, the neck and shoulder rolls, to begin warming up the body (warm up techniques are discussed further in section 1.4).

• Move on to simple combinations standing at the barre to practice foundational steps, such

as tendues and pliés in ballet or shuffles and flaps in tap. When the muscles are warmer, further stretch the body holding a different leg, arm and back stretches for up to 30 seconds.

• Move away from the barre and begin with practising steps in the centre of the floor working on balance and technique.

• From here, introduce more complex or higher-energy steps and combinations moving across the floor.

• End with a cool-down series of slower movements and stretches to bring down the heart rate and allow the muscles to cool gradually.

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practising and performing.Minimising safety risks, such as common

body alignment issues, ensures students will stay physically and mentally safe, uninjured and healthy.

It is important to understand what the common injuries or risk factors are in the type of dance being specialised in to help teach students, and teacher, how to stay safe, healthy and uninjured. A large part of this is making sure dancers wear proper footwear and clothing to give them the support and flexibility they need.

For example, strong flexible feet and ankles are essential in dancing. However, those studying ballet must be aware of protecting their feet while dancing on demi-pointe or in pointe shoes. Because of the nature of the shoe and the ballet steps, certain injuries, such as sesamoiditis, when a tendon near the big toe becomes inflamed due to pressure dancing on demi-pointe, are common in ballet dancers.

On a more general level, dancers often experience injuries related to: • Tendonitis• Ankle sprains• Muscle strains

Achilles tendonitis is common across many different dance forms, especially if there is a lot of jumping, leaping and moving on the balls of the feet involved as in ballet, jazz and tap. Putting pressure on a tight calf without allowing the foot to fully flex and stretch out the calf, can cause the Achilles tendon to become tight, shortened and fragile. When this happens, a misstep or bad landing can cause the tendon to tear or snap. As mentioned before, if dancers are aware of the risk and make an effort to always press their heel into the floor when jumping or leaping, along with ample stretching, they can minimise the risk of injury.

Minimising risk does not only pertain to how dancers move and treat their bodies – risks can

also be found within the dance studios themselves. For example, the quality of the dance floor is

extremely important to ensure that dancers don’t slip, fall or step through the floor. Dancers need to be able to trust that the floor is there to safely support them. Barres and any other equipment (free standing or attached to the walls), must also be sturdy and reliable – a barre cannot be falling to the floor as a dancer lifts their leg onto it to stretch! Space can also become a risk factor if the studio is too small for the number of students.

Learn more about some common dance injuries, and how to avoid them:• http://www.dance-teacher.

com/2010/08/10-common-dance-injuries/

For more information on proper studio spaces visit:• http://www.ndta.org.uk/advice-

information/dance-studio-specification/

The dance instructor will need to ensure:• The dance studio is large enough for the

number of students attending the class. A common rule of thumb is having three square metres for each dancer.

• The dance studio is clean and free from obstructions. The floor should be clear, strong and undamaged.

• The studio is heated or cooled to an appropriate temperature. How warm to keep the dance studio depends on the teacher, the location and the students, but it should remain at a temperature where student’s muscles can stay warm without overheating.

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PART B

DEMONSTRATE BASIC

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The bulk of a dance class, and dance teacher’s role, is teaching and demonstrating the chosen dance style. To do this, the teacher must be able to:• Describe dance principles and techniques in

the chosen dance style• Describe features of a commonly performed

repertoire in the chosen dance style

Being able to teach these principles and features can include describing, explaining and demonstrating aspects of the dance such as:• The history. Where did the dance style

originate? Who created it? Why?• Different methods or schools of thought

within the dance style. For example, ballet has up to six different methods of teaching, all with a slightly different style, focus and feel.

• What steps are indicative of the dance style? For instance, in ballet, dancers almost always have their feet turned out, while in jazz feet are often kept in a more parallel position.

• What common risks are there associated with the chosen dance style? Since styles tend to use repetitive or similar movements, sometimes certain parts of the body are more likely to become injured. Being aware of these, and pointing out to students possible risks and ways to avoid them, will help students dance more safely and minimise injuries.

• What is the vocabulary associate with the dance style? What are the steps called? Sometimes this is different in different languages while other times, as in ballet, dance steps are only named in a specific language.

A dance style is not made up merely from a few similar steps, but a combination of all factors listed above and more.

Three common dance styles and what makes

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them unique are:

Modern

Originally created as a rebellion from ballet, modern dance encourages dancers to move their bodies more freely and emotionally, rejecting ballet’s strict techniques and limitations. Often steps will be the exact opposite of what one would expect in ballet – dancers will play with gravity and fall heavily to the floor instead of always keeping their body and movements up and lifted, for example.

Different teachers and choreographers, including Martha Graham who is considered to be one of the pioneers of American modern dance, created different schools within this dance style, each with slightly different focuses or techniques, but always creating a clear shift away from classical ballet and trying to convey the human spirit or emotion.

While modern dance can consist of newly created steps at any moment, some common steps that make up modern dance’s foundation include:• Stag leap – The dancer jumps high into the air

splitting the legs but keeping the forward leg bent at the knee.

• Primitive squat – The dancer hops up into the air then lands with legs and feet separated into second position bending into a deep squat.

• Flat back – Often standing in second position, the dancer folds at the waist keeping their back straight until their torso is parallel to the floor, bringing their arms out and forward as an extension of their back.

Jazz

Jazz is a fun and energetic dance form regularly used in musical theatre and often requires some

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degree of personalisation or improvisation from individual dancers. While more casual and open-ended than ballet, jazz dancers should also have a strong foundation in ballet as it helps encourage proper alignment, strength, balance and gracefulness.

Jazz classes and dances are often high energy and can be performed to a range of music and include a variety of steps, though there are some common steps and techniques in jazz.

Irish

Irish dance is a traditional dance form originating from Ireland and characterised by dancers performing complicated, quick foot movements while keep their upper bodies straight and still. Irish dancing is often performed in two ways: as set dancing known as ‘quadrilles’, where four couples are arranged in a square formation, or ‘céilí’ dancing where two to 16 dancers dance together in various formations. Irish dancing can further be categorised as ‘soft shoe’ or ‘hard shoe’ depending on the type of footwear the dancers use and the sound they make on the floor.

Irish dancing is made up of different types of dances performed to specific types of music that vary in timing including:• The reel – is a dance to ‘reel music’ and danced

with soft shoes• The jig – is danced in 6/8 time with soft shoes• The slip jig – is a more graceful style danced in

9/8 time with soft shoes

As all dance styles are different and complex, it’s crucial that teachers understand their chosen dance style’s principles, techniques and common repertoire to be able to fully and effectively teach their students.

2.1 COMMUNICATING ABOUT DANCE

Dance terminology varies from style to style as all steps have their own name and descriptions. While it’s impossible to cover all basic terms used for different styles here, there are some expressions

commonly used across all genres.• Posture – Referring to the neck, shoulder and

back placement• Alignment – Referring to how different parts

and bones in the body are lined up• Step – A dance move• Combination – Referring to a series of dance

moves done together in a short sequence• Balance – Referring to the shift in weight

between one foot and the other• Timing – Referring to counting the music and

knowing how the count corresponds with which step

• Focus – Referring to where the eyes and/or attention are focused during a move or choreography

• Tempo – Referring to the speed of the music

These terms, along with countless others, are used to help describe and explain how dancers are supposed to control and move their body.

For a more in-depth glossary of dance terminology, including some specific steps in different dance styles:• https://www.orthopt.org/downloads/

PAglossary.pdf • http://www.centralhome.com/dance-

terms-b.htm.

For a dictionary of French ballet terms, visit American Ballet Theatre’s online dictionary at:• http://www.abt.org/education/

dictionary/.

An assistant dance instructor does not only have to know the appropriate dance terms to be able to teach a class. They must also be able to effectively communicate what they are trying to teach through verbal descriptions and explanations

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as well as physical demonstrations.

When teaching a new step, combination or piece of choreography it is important to go over the information clearly and thoroughly, demonstrate the information, allow students time for practice and feedback, and check for understanding from students. It is useful to keep the following steps in mind:• Introduce the step, combination or

instructions. What is it called? Where did it come from?

• Describe the step or combination. How should the students move their body? What other movements or positions does it involve that the students are already familiar with? How will it be used or built upon in the future?

• Demonstrate the step or combination. Clearly show all parts of the movement at a slower pace.

• Demonstrate the step or combination with accompaniment. Show how the steps will work with music, counting out what students should be doing on each beat.

• Ask for questions. Allow students to ask questions or for clarification and answer them thoroughly. Do they understand the material? Can they perform it on their own?

For example, a teacher who is teaching ballet students how to tendu, a step that involves standing and sliding one foot out to a pointe either to the front, side or back of the body, would:• Introduce the term tendu and explain what it

is: ‘Today we will be practising tendus. Tendu means ‘stretched’ in French and is often used to prepare for more complicated steps like pirouettes and beginning floor combinations. While it’s a simple, step it’s also important to have it perfect before moving on to other moves.’

• Describe what a tendu looks like and how the students should move their body: ‘Starting in first position with your left hand on the barre

and your right arm in second position, slowly slide your right foot out in front of you. Your foot should be turned out and keep as much of your foot on the floor as possible until the last second when you stretch and point your foot, gently resting your toes on the floor.’

• Demonstrate a tendu. Stand as the students should stand and slowly demonstrate moving the foot forward in a tendu while explaining the movement, then have the students practise with the teacher. The teacher should scan for errors or room for improvement for each student.

• Demonstrate a tendu in a sequences or practice combination with movement. Show the students how to practise tendues with the music. Have them repeat the steps for memorisation.

• Ask for questions. Ask students if they have any questions or if they are able to practise on their own.

• Have the students perform the step on their own. Walk around the classroom observing how students are doing and making adjustments as necessary.

• Give feedback. After the students have completed the exercise, provide feedback on what they did well and what they can work on. Do they have any questions now? Repeat the exercise as necessary.

A teacher cannot just give instructions then sit back and let the students do the rest. Once the teacher has instructed the students on the step or combination they’re practising, demonstrated the step and demonstrated again with the students following, the teacher must observe their actions as they practise on their own.

The teacher should look for incorrect body alignment, missteps, problems students may be having with timing or a transition, and how both individuals and the group as a whole can improve. Go up to students individually while they practise to give them words of advice or gently adjust their

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body. Once the exercise has ended, individuals can be asked to practise as an example in front of the class, and be given feedback from the teacher.

Body alignment and posture is a common issue when teaching or practising a new step, and this is discussed in the next section.

2.2 POSTURE AND ALIGNMENT

Teaching and encouraging correct posture and body alignment of a chosen dance style is an integral part of any dance class, and something that must be at the top of both the teacher’s and students’ minds.

A dance teacher is expected to be able to explain, identify and demonstrate proper posture and body alignment. To do this, and ensure students are learning and practising safely and correctly, the dance instructor should have a working understanding of anatomy and physiology. This helps to explain how the body should move and feel throughout the dance style, recognise

A helpful resource for learning more about anatomy is :• http://www.innerbody.com

For more information about both anatomy and physiology :• http://lyceum.algonquincollege.com/

lts/onlineCourses/anatomy

when students are unaligned and be able to provide support and suggestions for correcting the alignment.

While anatomy and physiology are intrinsically linked and studied together, they still have separate focuses.

Anatomy is the study of the structure of the body and how they relate to one another.Physiology is the study of the functions of the

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body; how the body moves and operates.Anatomy involves the body’s different systems

including the skeletal system, muscular system, nerve system and respiratory system – all of which are affected when a dancer moves their body. Physiology looks at how the body works, how the bones, joint and muscles move and affect one another – this is important for understanding how and why the body can or cannot move in certain ways.

A teacher must, in the context of demonstrating dance technique, explain the significance of the following anatomical foundations:

Articulation of the spine

Is the student moving their spine properly and safely? Is it in line with the neck and head? In ballet, for example, the spine is usually supposed to be long and straight keeping the tail bone tucked under, the neck lengthened and chin up.

Engagement of the feet

In any type of dance, there is always a specific position the foot should be in or movement it should be doing. It is also important that foot positions be practised correctly so as not to injure the dancer. For example, when doing a turn or spin while on the ball of the foot a dancer must have a strong ankle supporting them so they do not twist or collapse.

Range of motion in the joints

In order to look more advanced, sometimes dancers try to push their bodies in incorrect or unnatural ways, such as over-extending their hips in turn out.

Differentiation of the legs and pelvis

How do the legs and pelvis work together, or should they work separately from one another?

Bases of suppor t, including feet, legs,

hands, arms, and torso

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How can these body parts support the body? For example, what do dancers need to be aware of when they’re supporting themselves with their hands and wrists or balancing on one foot?Not only does correct posture and body alignment add to a student’s understanding and ability to perform a specific dance style, but it also protects them from injury. Often dance challenges students to test their physical, and mental, limits as they learn, grow and improve, but to do this safely they must understand how to stretch themselves carefully. For example:• In ballet, a wide rotation is seen as something

to strive for. However, each person’s natural rotation is different and while working towards increasing one’s hip rotation, it is important to practise and increase flexibility gradually in order to protect the hips and relieve unnecessary pressure on the knees. It is common for young ballet students, trying to imitate others, to force their rotation, resulting in improper alignment. This is

something the dance teacher must be aware of and correct.

We will now look at common posture and body alignment for the following types of dance:• Ballet – As mentioned above, proper ballet

alignment usually features a long, straight back and neck (from the tail bone to the top of the head), as well as turned out legs and

Each movement in dance requires the posture and body alignment to vary. The following website has a range of educational videos to support instructors in the development of their own posture and body alignment, which they can then teach to students:• http://www.educationscotland.gov.

uk/video/c/video_tcm4558641.asp.

feet. Additionally, arm positions vary, but shoulders should always be kept down with shoulder blades rolled back and down.

• Salsa – As with all dance styles, salsa requires a strong core to keep the stomach pulled in, and the back straight. Again, the shoulders are rolled down and back.

• Tap – In tap, dancers should usually have their weight slightly forward, though not with their backs hunched over, to allow them to dance on the balls of their feet. Knees and ankles should be relaxed to be able to produce light and quick movements.

Remember, having a strong understanding of basic anatomy and physiology, especially as it pertains to the chosen dance style, is imperative for teaching students correct and proper technique while minimising physical risks and injuries.

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2.3 ISOLATION AND COORDINATION

Being able to explain and teach the different techniques of a chosen dance style includes demonstrating how to isolate body parts as well as simple movement sequences that teach students how to control and move different parts of their body.

Though isolations take on different forms in different dance styles, in ballet an isolation can be seen when a dancer tendues their foot without the rest of their body moving, while in jazz isolations often are more subtle. Isolations can be broken down into five categories:• Side to side• Front to back• Up and down• Diagonally• Circular or rolling

For example, a dancer can move their rib cage separately from the rest of their body. They can move it from right to left, forward and backward by rounding and extending the spine, up and down by controlling the spine and breath, diagonally by thinking of the ribcage as a square and shifting it from one corner to the other, or circularly by moving the rib cage smoothly out to the side, forward, to the other side, backward, then out to the first side again.

Beginning to combine these isolations and different steps into simple combinations is the gateway for students to move from the warm up to a more advanced practice as simple movement sequences can then be combined or added on to create more difficult combinations.

Much of this work for dance styles such as ballet, tap and jazz are practised at the barre, for balance control and support, and then out in the centre of the floor to further practise balance. Exercise and simple combinations, like practising one-step repetitively or stringing together a series of simple steps to work on transitions, help develop a dancer’s coordination.

An example would be focusing on the ballet step, tendu, as discussed in Section 2.1. A tendu is an isolation of one leg moving separate from the rest of the body. Combined with an arm position, the isolation helps increase coordination as the dancer is focusing on moving their leg while holding their arms in a certain position.

Additionally, since a dance can tendu to the front, side and back, creating a simple combination that has the dancer doing a tendu in and out to the front for a certain number of counts, then to the side, then to the back with their right leg and then the left further combines isolation and coordination in a simple movement sequence.

2.4 USING TECHNIQUES

Though simple isolations may focus on a specific part of the body at a time, dance as a whole is made up of much more than just isolations and standalone steps.

Dance teachers must be able to teach a range of techniques, steps and sequences that combine: • Balance – Including shifting and balance and

weight between parts of the body as well as balancing on the balls of the feet or on one foot.

• Flexibility – Even dance styles that don’t

Compare two or three of the videos at http://www.educationscotland.gov.uk/video/c/video_tcm4558641.asp then list all the similarities and differences you can see between each form of dancing.

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There are many instructional videos available online that demonstrate how to carry out a range of isolation moves. The following websites have more information:• http://www.howcast.com/

videos/512456-How-to-Do-Lower-Body-Isolation-Moves-Sexy-Dance-Moves

• http://www.educationscotland.gov.uk/video/j/video_tcm4558687.asp

• http://www.youtube.com/results?search_query=isolation+moves+dance

• http://www.worldofdance.com/channels/dancetutorialslive

involve highly flexible moves like those in ballet require a certain degree of flexibility to complete the dance steps and avoid injury. For example, a casual salsa dancer may not be required to do the splits or lift their leg to their head, but they still need to have flexible hips, shoulders and back to complete the steps and partner work.

• Stamina – All types of dancing get the heart rate moving! Students can work on their stamina by gradually building up the intensity or length of their practices and breathing properly with full breaths.

• Coordination – Dancing requires excellent coordination and body awareness which makes dance classes a good learning environment for growing children. For many students, coordination comes with time, patience and practice.

• Weight transfer and control – Related to balance, weight transfer and control refers to a dancer’s ability shift their weight, from the heel to the ball of their foot, for example, or from one foot to the other, without becoming off balance or out of control.

• Articulation of individual body parts – This includes moving body parts separately and in conjunction with one another, such as moving the foot and arm into a new position at the same time.

Techniques taught at a basic level must relate to and involve:• Adage: An exercise or combination focusing

on slow, controlled movements highlighting balance and extension. Adage exercises are often used to help students develop their posture, focus, patience, muscle control and strength.

• Correct body alignment: As discussed earlier, refers to the way the body’s bones are lined up.

• Stretches: Stretching the body’s muscles during warm-up and cool-down exercises help increase students’ flexibility while helping prevent injuries.

• Abdominal strengthening: All dance requires a strong core to hold up the body and show muscle control. Many steps and combinations will inherently help strengthen core muscles, but teachers can also introduce some strength training into their lessons using sit ups, planks and other abdominal exercises.

• Focusing eyes and mind while performing: Dancers should learn from the beginning how and where to focus their gaze and attention while dancing. Not only does this help them perfect steps, such as learning where to focus their eyes when turning or spinning so as not to become dizzy, but also makes them better, more interesting performers.

• Isocentric and polycentric isolations: Isocentric isolations refer to isolations or movement from a single part of the body while polycentric isolations refer to different isolations or movement from different parts of the body at the same time – this is a common characteristic of African dance styles, for example.

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PART C

MAINTAIN EXPERTISE IN TEACHING BASIC

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Good teachers are good students willing to continually learn and develop themselves. While certain steps may stay the same, other aspects of teaching dance will always be changing and it is up to the instructor to remain fresh, informed and up to date.

This can include regularly taking dance lessons to maintain a strong technical ability and physical control, consulting various resources for information, ideas and inspiration, and being aware and active in the larger dance community.

MAINTAIN EXPERTISE IN TEACHING BASIC DANCE TECHNIQUES

3.1 USING FEEDBACK FOR IMPROVEMENT

It is important for a dance instructor to demonstrate they have the ability to evaluate their own teaching practice, and identify ways to improve that practice to become a better instructor.

No one is perfect and there will always be room for improvement. Teachers should be sure to use feedback from others to help improve and hone their teaching skills and class management.

This could include requesting evaluations and feedback from:• The dancing school director or supervisor• Other dance instructors• Students• Parents of students

It is a good idea to seek feedback throughout one’s career, but especially when first starting out as an instructor and still learning how to structure a class, teach a lesson, manage one’s time and interact with students.

Feedback from supervisors and other colleagues is important and useful as they understand the beginning teacher’s situation and can give constructive criticism as well as offer tailored suggestions or tips on how to improve.

When teaching children in a private studio it is

also a good idea to regularly ask their parents for feedback, such as through a brief survey, to stay aware of the parents’ overall satisfaction with the classes and teaching, or any concerns and issues they may have.

If a teacher is not getting the feedback they need, they should ask for it! For example, if there’s an aspect of teaching the teacher wants to work on, they should ask for specific feedback and suggestions.

Watching and being aware of what other teachers do is also a great way to assist in developing and honing one’s skills.

Teachers can work with other personnel and students to make improvements to their practice by using their feedback to identify which areas need the most improvement. For example, if a teacher has received feedback from students that their instructions are hard to follow at times, the teacher might need to work on developing better communication skills in a dance environment.

Along with class observations and feedback, teachers can draw on a variety of sources to stay educated about industry trends, issues and codes of practice.

In Australia, a great resource and organisation is Ausdance (http://ausdance.org.au). This is a professional dance advocacy organisation that, among other things, has helped standardise dance guidelines and standards throughout the industry.

Teachers can also evaluate their own teaching practice by regularly setting goals for themselves and their students and checking that these goals have been met. Another idea is to video record classes and analyse them. Taking the time to actually watch a lesson may alert teachers to things they were not aware of and what they need to improve.

Some things to keep in mind when assessing

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Helpful resources could include:• Dance Australia – http://www.

danceaustralia.com.au• Dance Informa – http://www.

danceinforma.com.au• Ausdance – http://ausdance.org.au• Australian Teachers of Dancing –

http://www.atod.net.au• Commonwealth Society of Teachers

of Dancing – http://www.comdance.asn.au/

• Australian Dance Association – https://www.adatheatre.com.au/about

• Other dance instructors, one’s own teacher or studio management

teaching and classes could include:• Overall demeanor and teaching voice. Is it

friendly and welcoming? Are you speaking too loudly, softly or quickly?

• Students’ behaviour and focus. Do you notice your student’s doing things on the video that

you didn’t realize in class? Is there a time in class where they tend to lose focus? What can you do to fix this?

• Class transitions. Is there any point in class where there is wasted time or a lull in your teaching?

• Class timing. Do you fully use the time available? Are you spending an appropriate amount of time, or not enough, on warm ups, floor work, etc.?

Once a teacher has received feedback, they can use it to implement changes in the classroom and improvements in teaching style. Did the people providing feedback give any recommendations or suggestions for things to change? How can these suggestions be incorporated into future lessons?

If a teacher does not understand something in the feedback, they should ask the reviewer to elaborate or give an example. If they don’t give any recommendations, ask for those too! Be active and proactive about getting honest reviews and feedback. Work on necessary improvements and at a later date invite those same people to observe the teaching again to see how it has improved.

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3.2 DEVELOPMENT RESOURCES

Dance teachers must be able to demonstrate key principles in the Australian Guidelines for Teaching Dance and the dance industry’s Code of Ethics. These principles and requirements help keep both teachers and students physically, mentally and legally safe while continuing to further overall dance industry standards and respect within in the country.

AUSTRALIAN GUIDELINES FOR TEACHING

DANCE (AGTD)

The guidelines outline minimum standards for teaching dance focusing on three areas:• Effective teaching methods – including skills,

knowledge, practices and more that create a strong teaching methodology

• Safe dance practices – including creating a safe environment and preventing injuries

• Professional business practice for studio teachers – including ethical, legal and professional standards to protect both teachers and students

For more information, visit http://ausdance.org.au/publications/details/australian-guidelines-for-dance-teachers

CODE OF ETHICS FOR DANCE TEACHERS

1. Studio principals will have clearly defined aims and goals. The benefits an individual student can expect to receive through staff’s conscientious implementation of these aims and goals will be clearly stated.

2. Studio principals will make sure that the school and its staff is capable of providing any services claimed.

3. Studio principals will employ teaching staff with the experience, knowledge and/or qualifications required for the range of levels and techniques being taught. Student teachers will be trained and supervised to ensure the school’s teaching standards are maintained.

4. Studio principals will provide effective assessment procedures and will ensure that students and parents receive, or have access to, advice when necessary.

5. Studio principals will conform to sound business practice and provide an efficient fee system.

6. Studio principals and individual teachers will ensure that class sizes are suitable to the levels and techniques being taught. Students in each class will be of a similar age and/or standard.

7. Studio principals and individual teachers will ensure that facilities provided: • conform with minimum safety and space

requirements• have suitable flooring, with a safe surface

designed and constructed to minimise risk of injury.

8. Individual teachers will use effective and flexible teaching skills to create a productive learning environment. Individual teachers will: • strive to communicate a love of dance• show professional attitudes, including

punctuality, reliability and responsible care of students

• strive to develop self-discipline and self-motivation in the students

Create a simple evaluation form you might give to students in your class to collect feedback.

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SOURCE: http://ausdance.org.au/articles/details/code-of-

ethics-for-dance-teachers

• encourage and support the individual in the class situation

• present general concepts of movement as well as those of a particular dance style.

9. Individual teachers will recognise the role of dance in the development of the whole person. They will also seek to recognise and develop each student’s potential, whether it lies in dance or in related fields, and offer appropriate guidance for further progress.

10. Individual teachers will endeavour to recognise physical anomalies, modifying their teaching and seeking medical advice when necessary. The teaching and choreography must be anatomically safe, and teachers must be prepared to deal with medical emergencies.

11. Individual teachers will strive to develop in the students an appreciation of the characteristic style of each specific technique taught.

12. Individual teachers will take responsibility for seeking more knowledge in all aspects of their work.

Following these guidelines and ethics will help maintain a high standard of dance education in Australia, while better training and protecting instructors and students.

Continued professional development (CPD) is essential for expanding teaching skills, ability, experience and confidence. Dance instructors are expected to be able to describe sources of information to continue their professional development in dance instruction.

Some examples could be the industry publication and organisations outlined in previous sections. Other examples of ways and resource to further professional development could include: • Taking dance classes as a student. Regularly

taking dance classes will help teachers maintain their technique, skill and flexibility. It was also expose them to other ways of

teaching and classroom management.• Staying up to date on current news, trends

and issues in the dance community through organisations or publications. The dance industry is constantly evolving teachers should know what’s going on for both their own and their students’ sake. Information about teaching, running a studio and dealing with students will help improve teaching ability while also learning about new dance trends, news, music and equipment.

• Learning about different dance styles. Even if a teacher specialises in only one type of dance, learning about other styles is a great way to maintain creativity and inspiration, and provide the knowledge to incorporate different techniques, principles or steps.

• Attending industry conferences. Attending conferences or participating in industry organisations will help teachers develop their professional network, meet with colleagues and mentors and keep up to date with industry happenings.

Teachers should always be taking dance classes themselves but the amount of time they dedicate to other professional advancement is up to them – the important thing is to stay informed, relevant and aware of what’s going on in the industry and how changes can affect both teachers and their students.

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PART D

REVIEW THE DANCE

ANALYSISPROCESS

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The key elements of dance instruction can be organised into four main areas, each of which play essential and interlocking roles in the development of a strong dance course, and defined as:• Movement and performance• Creation and composition• Historical and cultural context• Analysis and critique

Developing skills in dance analysis and critique enables both dance teachers and students to interpret and evaluate dance technique and performance; to appropriately employ dance vocabulary and terminology; and to identify and compare dance genres and styles.

This unit will cover the dance analysis process, the tools required for analysing dance sequences, and the process of completing an overall dance performance analysis.

Reviewing and understanding the process of dance analysis is critical for developing a strong foundation prior to engaging in any formal research, evaluation or critique. This will ensure the teacher is equipped with the proper tools and information to perform valuable analyses of dance compositions. Dance analysis calls for critical and reflective thinking, tools which require thorough preparatory understanding.

Familiarising oneself with the elements of dance analysis will ultimately promote the overall development of dance literacy of both the teacher and their students.

REVIEW THE DANCE ANALYSIS PROCESS

4.1 PURPOSE AND SCOPE OF DANCE ANALYSIS

Various key actors may play a role in discussions regarding the purpose and scope of dance analysis. These people are called relevant personnel.

Relevant personnel may include:• Choreographers/teachers

• Performers/students• Critics• Parents• Audience-observers• Dance historians/researchers• Stagehands

Through the interpretation and evaluation of dance compositions, students become exposed to styles, skills and theories which support their capacity as learners and creators. As such, analysis serves to broaden an individual’s repertoire of movement vocabulary and dance technique.

Dance instructors must demonstrate knowledge of the appropriate terminology used to identify, discuss and critique physical movements and techniques. The following table highlights several of the key principles relevant to dance analysis:

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DEFINITION EXAMPLE MOVEMENT TERMINOLOGY

Effort theory is a system for understanding movement based on the actor’s intention, comprised of four motion factors which together make up the dynamic of a movement:• Time (sudden or

sustained)• Weight (strong or light)• Space (direct or indirect)• Flow (bound or free)To stretch, elongate or lengthen any limb away from the midline (core) To bend the body at a joint, such as the arm, leg or hip

An external force that governs balance, alignment, and height of jumps, which can be either defied or released into for variation in movement quality

To pivot a body part inward or outward from the joint, or to fully turn the whole body

To transfer body weight from one leg to the other

An awareness of where the body moves, the arrangements of bodies in space, and the paths in the air or on the floor through which movements are conducted

The actions of reaching for an object and punching someone entail similar basic body placement. The categories of effort theory – time, weight, space and flow – are the elements which differentiate between the specific qualities in the two actions.

A grand jeté is a moving, high leap with both legs extended outward and toes pointed. A useful dance stretch for warming up involves folding at the waist to reach for the toes. To suspend is the action of temporarily pausing in space at the top of a leap, which creates the impression of defying gravity; to collapse is the action of releasing tension throughout the body and fully giving in to gravity. Turn-out is a position in which the legs are rotated externally starting at the hip joints and feet pointed outward. Walking, running and leaping all involve shifting weight from one leg to the other, with variations in speed, height, distance and body angle. During a performance individual dancers must maintain a strong spatial awareness to guide their movement in relation to the stage, props and other dancers.

Effort theory (time, weight, space and flow)

Extending

Folding

Relationship with gravity

Rotating

Shifting weight

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All actors involved in the process of dance analysis should develop a thorough comprehension of these terms and their application. The specific utilisation of movement principles may vary depending on the needs, context and personnel engaged in the situation.

For example, a dance instructor may use the vocabulary to correct a student’s body movement, while a historian may employ terms as a basis for

exploring shifts in popular movement quality over time.

Dance critics and audience members can use dance language to identify, discuss and interpret specific elements or moments of a performance. Teachers may also use the terms as criteria for assessing student progress and producing class evaluations.

Watch the following dance performance video: http://bangarra.com.au/education-resources/moth Describe the performance, using at least five terms from the above list of movement terminology.

4.2 THEORIES OF DANCE AND MOVEMENT

ANALYSIS

Dance analysis is undertaken for a range of different objectives and goals. It allows us to appreciate dance as an art form and method for communication and expression; to develop tools as choreographers and instructors; to improve critical thinking and perception skills; and to enhance performance quality.

The motivating purpose will determine which factors the analysis focuses on. Three main objectives for analysing dance and the corresponding factors to be considered include:

Examine the success of the dance

• The purpose of the dance – theatre or social• The choreography• The individual performances• The quality of the dance• The audience’s response and expectations of

the dance• The significance of the dance

To deconstruct the dance and classify its

components

• The look of the dance

• The dancers• The production elements – set, design,

costumes, music, lighting and movement• The dynamics of the dance• The dancers use of space

To examine the choreographer’s motivation/

intent

• The meaning of the dance• The subject matter• The genre or style• The context of the dance

To learn more, visit http://www.boardofstudies.nsw.edu.au/syllabus_hsc/pdf_doc/dance_support.pdf

Within the field of dance theory, there are three main branches which each promote a distinct approach to analysis and criticism:• Philosophy concerns the aesthetic

interpretations of a dance. It involves assigning meaning to elements of the performance and

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examining the symbolic components. There is a strong focus on the concept of the ‘body’ and its layers of meaning, as well as a linkage to other forms of artistic expression such as music and visual arts.

• Choreology is the analysis and description of movement. It involves studying the dynamics, shape and quality of dancers’ movements, broken down into individual elements. This branch employs highly specific dance vocabulary to describe the position and action of precise movements. The effort theory (outlined in Section 1.1) developed by Rudolf Laban provides a theoretical framework for defining and analysing dancer movement.

• Sociology positions dance within a social and cultural context. Specific genres and styles are analysed in relation to external sociocultural dynamics. Dance features may be linked to issues of social class, nationality, ethnicity, ideology, gender or sexuality.

Often dance analysis will employ elements from different theories in one broader approach, allowing the critic to evaluate a work of dance from multiple perspectives. Comprehensive analysis may cover issues ranging from anatomical movements to spatial relationships among dancers to the piece’s historical and cultural influences.

Regardless of the reviewer’s ideology, the research methodology should always follow the process of describing, analysing, interpreting and evaluating.

4.3 PRINCIPAL TERMS USED IN DANCE

ANALYSIS

To conduct an effective dance analysis, means being able to understand and correctly employ terms used in the field. Categories of focus for dance analysis include elements of dance, form and structure, organisation of the dance, interpretation and evaluation.

Numerous relevant terms fall under each

category, for example:

Form and structure

• The use of motifs• The use of phrasing• The overall form of the work

Organisation of the dance

• Sequencing• Transitions• Repetition• Variation and contrast• Formal structure• Unity

Elements of dance

• Movement• Spatial elements• Dynamic elements• Aural elements• Dancers• Set environmentsInterpretation

• Context• Genre• Subject matter• Meaning• Significance

Evaluation

• Worth and merit• Choreography• Performance quality• Context

How can the teacher best make use of these terms?

The table below outlines some of the most important terms alongside their definitions and questions which will help when applying them to dance analysis.

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DEFINITION QUESTIONS FOR ANALYSIS TERM

Motif

Phrasing

Transition

Variation and contrast

Unity

Movement

Spatial elements

Aural elements

Set environments

A distinctive and recurring gesture used to provide a theme or unifying idea A partial dance idea composed of a series of connecting movements and similar to a sentence in the written form When a movement, phrase or section of a dance progresses into the next A pair or range of different things. Contrasts in the use of space, force, time and spatial designs as well as some repetition of movements and motifs provide variety and emphasise differences Dance movement that takes place at the same time in a group; also, a feeling of completion or wholeness in a dance achieved when all of the parts work well together The physical position, shape and direction of dancers’ bodies; a repeated sequence of ideas, a rhythmic sequence, a spatial design on the floor or in the air, or a specific relationship or grouping of people Of or relating to the space on stage

Of or relating to the sound, music or otherwise

Elements of stage design, including lighting, props and costumes

What dance movements made up the central motif? What was the overall effect? How would you describe the rhythm and quality of movement of the most commonly repeated phrases? Were the transitions used smooth or sharp, and to what effect? How did the choreographer employ contrast and variation to maintain audience interest?

At what point in the dance were the dancers’ bodies moving in unison, and what was this used to highlight?

What did the dancers’ movements remind you of?How were the movements that were a part of the dance similar to or different from everyday movements and sports movements? What shapes did the bodies of the dancers make? What floor patterns in space did the dancers make as they travelled through space?How was the energy of the movement similar to or different from the dynamics of the music? How effectively did the dance incorporate sets, lights, costumes and sound, if at all? How did

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Context

Genre

Choreography

The historical, social or cultural background of a piece

A particular kind or style of dance, such as ballet, jazz, modern folk, tap

Creation and composition of dances by arranging or inventing steps, movements and pattern of movements

these elements complement the movement and the choreography? How did the dance reflect the personal history of the choreographer or the culture of a particular country or people? How does the dance portray thematic ideas or societal issues? How closely did the dance reflect the elements of its genre? Were there multiple genre influences? What was the theme or the subject matter of the dance? How effectively was it carried through in the choreography?How original was the style of choreography?

4.4 FORMS OF DANCE ANALYSIS

Dance analysis can take many different forms depending on the context in which it is presented. Is the dance being analysed for a class assignment, a newspaper review or an academic research paper? The purpose and audience of the analysis will determine what format and tone it should take.

Dance analysis may be conducted by a professional critic, a performer, a fellow choreographer or an audience member, each of whom will enter the performance with a specific point of view.

Students may be responsible for conducting an analysis of their own work, that of their classmates or professional performances. Self-assessment and peer evaluation are valuable tools to support the development of students’ composition and self-expression skills; attending community dance performances shares new movement techniques and inspires long-term aspirations. Both practices will help build assessment criteria and evaluation techniques that can be employed in any future applications of analysis.

Considering the following questions will help guide a dance analysis in an appropriate form:• Who are the intended readers? What is their

background and knowledge level in the field of dance?

• What is the purpose for writing the critique? Is the writer trying to persuade the reader to attend or not attend the performance?

• Is the analysis serving as a format for highlighting the student’s level of dance comprehension? Is it part of a larger research framework?

• What background research will help inform the viewing of the performance?

• Is the dance from a well-known choreographer or is it from a traditional genre?

• Is the dance related to a specific culture or ethnic group? Does the dance have a purpose beyond the aesthetic (e.g. ceremonial)?

A dance analysis may have a specific intention or area of focus that will also serve to determine the ultimate format. For example, dance criticism may emphasise the choreographer, the context or the movement quality.

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PART E

ANALYSE ELEMENTS OF

DANCESEQUENCESSA

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In dance, a sequence refers to a series of movements connected in a specific and purposeful order.

Sequences are the choreographer’s building blocks with which dance pieces are constructed. Through sequence development, choreographers make use of tools such as repetition and contrast to maintain visual interest as well as to establish an overall sense of thematic unity.

Sequences may vary in length but can be defined by an encapsulated sense of beginning, middle and end. They will maintain a feeling of unified rhythm and continuity throughout.

For example, a sequence may begin with dancers moving diagonally across the floor, during which a series of rapid leaps and turns will carry them across the floor, bookended on either end by a moment of stillness. As dance students grow, they are able to learn longer and more complex sequences in the classroom.

Choreographers build, shape and combine sequences just as writers do with words and sentences. Likewise, just as literary critics break down a piece of writing to its most basic parts, analysing dance requires the examination of a performance’s elemental movement sequences.

ANALYSE ELEMENTS OF DANCE SEQUENCES

5.1 DELINEATE MAIN MOVEMENTS OF DANCE

STYLES

The world of dance is vast and the number of dance genres and styles nearly infinite. The term genre generally refers to the main category of dance, while each genre may be comprised of a number of different styles that reflect variations within the overall tradition.

Genre and style categorisations allow dances to be measured against a common set of evaluation criteria and enable comparisons and connections to be drawn.

Before partaking in the analysis of a certain

dance genre, the teacher should be highly proficient in the style’s terminology and background in order to place the critique within a broader dialogue.

Below are some of the movement qualities of the most commonly taught dance genres:Ballet

• plié (a bend of the knees while the torso is held upright)

• pirouette (a controlled turn on one leg)• tendu (a ‘stretched’ action of the gesturing

limb from a stance position with flat foot to a pointed foot)

Ballroom

• waltz (an elegant dance in a 3/4 tempo, with accent on the first beat)

• cha-cha (the most popular Latin dance composed of quick steps)

• foxtrot (a dance to a 4/4 tempo)

Folk dance

• banghra (a Punjabi harvest dance)• noh (a Japanese musical drama)• polka (a Central European folk dance)

Hip hop

• popping (isolating a movement in a jerky fashion)

• breaking (style that often involve gymnastics moves performed on the floor with speed and intensity)

• locking (large and expressive moves linked with freezing, synched with music)

Jazz

• fan kick (a high straight leg kick in which the gesture leg makes a swooping circular arc across the front of the body)

• body roll (a rolling movement through the

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body)• shimmy (shoulder shaking: alternating in a

rapid motion)

Modern/Contemporary

• isolations (moving one part of the body, such as the head, shoulder, ribs or hips, while the rest are immobile)

• squat (legs are in parallel, torso is straight, knees are fully bent, with heels remaining on the floor)

• lunge (a large, open fourth position in which one knee is bent, and the other is straight)

Tap

• ball change (quick shifting of weight from one ball of the foot to the other)

• toe tip (hitting the tap shoe toe on the ground)• bells/clicks (clicking the heels together in the

air)

5.2 MUSICAL RHYTHMS

Music is a key element of choreography – the potential choices for musical accompaniment are as vast as the array of dance styles. Some musical choices, such as those accompanying ballroom dance styles or traditional folk dance, may be more prescribed, while contemporary or modern dance offer choreographers free rein over the accompanying sound (or lack thereof).

Musical rhythms often provide cues about a dance performance’s historical traditions. For example, many styles of West African dance are performed with traditional drumming circles which may act as choreographer through the introduction of new drumming cues. Ballroom dances such as the waltz and tango are structured such that the beats of the choreography line up with the musical rhythms.

Both jazz and hip hop dances evolved concurrently alongside their corresponding musical styles, with a mutually influential process taking place through the convergence of dancers and musicians.

For modern and contemporary pieces, choreographers will often elect to utilise non-traditional forms of sound, such as everyday objects used as percussion, or recordings of natural soundscapes. These forms also make effective use of silence, and will employ musical cues that may contrast or subvert the rhythm of the dance.

To better understand the impact that musical accompaniment has on a dance sequence, visit the Choreographer’s Toolbox:• http://www.artsalive.ca/en/dan/

make/toolbox/elements.asp.

Under the Rhythm section (3c), are a number of videos which demonstrate the same ballet phrase performed to silence, waltz music, a slow soundscape and an electro beat.

The variance between each demo underscores the significance of music choice in supporting a choreographer’s vision. The section also includes video footage of a contemporary dance piece performed to unconventional percussion using hammers and other materials, as well as a virtual composition contrasting dance movements performed on and off beat.

5.3 PLACE DANCE MOVEMENTS IN THEIR

APPROPRIATE HISTORICAL CONTEXT

Understanding dance history and the cultural and social significance that gave rise to specific genres is a central competency for students and teachers of dance. The context in which a dance evolved, including the historical influences and its function (e.g. aesthetic, social or ritual), determines the general standards for assessment.

Dance analysis must be able to place the work being critiqued in a larger framework. The teacher

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and student should be able to identify the piece’s main influences, both from preceding styles of choreography as well as political, cultural and

social contexts. The table below introduces brief background

descriptions for seven main genres of dance:

VARIOUS DANCE STYLES AND THEIR ACCOMPANIMENT

Ballet

Ballroom

Folk dance

Hip hop

Jazz

Modern/Contemporary

A form of dance originally developed in the 18th-century French court with a codified movement vocabulary. Advanced female ballet dancers work ‘en pointe’, wearing hard-tipped shoes that enable them to stand on the tips of their toes. A dancer must train in a consistent, rigorous daily ballet program for a minimum of three years before starting pointe work. Ballroom dancing comprises several styles of partner dancing, and today is most often performed in competition. Some of the most common styles include tango, waltz, foxtrot and samba. Each sub-genre is linked to a specific historical tradition and musical style. Many dances are influenced by dance traditions from Latin America, which are recognised for being fast paced and expressive. Other styles in modern ballroom descended from traditional partner dances performed in the early 20th century in Western society. Dance forms that have arisen out of the tradition of a people and are performed throughout that culture in substantially the same way, as opposed to original forms that have been created by a single individual, e.g. Indian Bharata Natyam and Haitian Shango are traditional dance forms; Martha Graham and Merce Cunningham styles are not. Folk dances may be social, ritual or theatrical in their purpose and performance, or a combination of these categories. Hip hop dance originated on the streets of New York City among young Latino and African-American men during the late 1960s as part of the hip hop culture of rap, scratch music and graffiti art. Break dance is the most common style of this constantly evolving dance form. A newer development that came out of Los Angeles is the freestyle, high energy and confrontational krumping, in which the dancers sometimes use physical contact and weight sharing. Hip hop dance and music, which became internationally popular in the late 1970s, are now often incorporated into theatrical dance. Jazz dance was developed in the United States by African-Americans in the early part of the 20th century. It drew on African rhythms and techniques that isolated various parts of the body in movement. The name was first used during World War I, and by the 1920s jazz had been taken up by general society. Jazz is a major influence in Broadway show choreography, and is characterised by sharp body isolations, a presentational aesthetic, high kicks and pelvic movements. Modern dance usually refers to 20th-century concert dance that developed in the United States and Europe. Rebelling against classical ballet, early modern dance pioneers began to practise ‘free dance’, often in bare feet. Today the term modern dance is sometimes used interchangeably with contemporary

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Tap

dance, which developed from the early roots of modern dance. It does not have fixed or established movement patterns but rather is in a continuous search for new forms and dynamics. It produces performances or shows in conventional and non-conventional stages (such as theatres or public and private places), having a frequent dialogue with other aesthetic languages such as audio-visual technologies, visual or fine arts, lighting, architecture and music. Tap dance was first seen in the late 19th century. The name comes from the tapping sound made when the small metal plates on the dancer’s shoes touch a hard floor. This lively, rhythmic tapping makes the performer not just a dancer, but also a percussive musician. In its solo form, tap dance often includes an improvised section that might be compared to a solo taken by a jazz drummer. Individual tap dancers are recognised for having their own distinct voice or tapping style. This type of dance grew out of American popular dancing, with significant roots in African-American, Irish and English clogging traditions.

Watch the following video from the Bangarra Dance Theatre and read the accompanying texts, which outline the background story, derived from Australian Indigenous culture. Write a short passage discussing the dance’s cultural and historical influences and linking elements of the story with the choices made by the choreographers.http://bangarra.com.au/education-resources/brolga http://bangarra.com.au/education-resources/brolga/brolga

5.4 DANCE VOCABULARY

All dance analysis begins with description. A critic, first and foremost, must be able to accurately and specifically describe the performance in order to communicate the basic premise to the reader, before engaging in further stages of interpretation

and evaluation.Genre-specific dance vocabulary is an

extensive area that requires attention. Being able to correctly identify the dance movements in any given piece will provide an analysis with the necessary clarity and frame of reference.

LEARNING ACTIVITY: DANCE CONTEXT$

SOURCE: bangarra.com.au/performance/fire-a-retrospectiveSAMPLE


The boxed text below contains a list of key terminology used in four main genres. Continue researching expressive vocabulary independently,

with particular focus on areas of interest for potential future analyses.

BALLET

arabesquebarre

elevéfifth position

first positionfourth position

jeté pas de bourreé piroutté (or pirouette) plié

pointe, en

port-de-bras

promenade sauté second position third position

The gesture leg is extended behind the dancer’s body at 90 degrees or higher. The introductory/warm-up portion of the ballet class, conducted while holding onto a ballet bar. The dancer always starts with the left hand at the bar, working the right gesture leg. A rise upward onto the toes. The legs are externally rotated, one foot is crossed in front of the other, with the forward toe touching the back heel. The legs are externally rotated, and heels are together. The legs are externally rotated, one foot is crossed in front of the other, separated by the distance of one foot. A ‘throwing step’ where a leaping jump is executed from one foot to the other. A basic linking step which permits a change from one fifth position to another. ‘Whirl or spin’. A controlled turn on one leg in relevé. The gesture leg may be held in retiré (passé), seconde, attitude, cou-de-pied, etc. A bend of the knees while the torso is held upright. The action relies on varying degrees of hip and knee flexion, with ankle and MTP dorsiflexion, depending on whether the plié is demi- or grand. On pointe. Position of the foot in a pointe (or toe) shoe, in which the dancer stands on the toes. Carriage of the arms. The codified arm positions which provide strength and balance to the trunk, and may also serve as gesture or enhancement of focus. A slow pivot of the body while standing on one leg. A simple jump in the vertical direction. The legs are externally rotated and separated by the distance of one foot, in the frontal plane. The legs are externally rotated, and one heel is placed in front of the other.

BALLROOM DANCE

cha-chafoxtrotpolkaswing

waltz

The most popular Latin dance composed of quick steps. A dance to a 4/4 tempo. Originated as an English folk dance, in a 2/4 tempo. Evolved from the jazz era. There are three types: triple, double and single, depending on the tempo of the music. Uses a hold similar to the fox trot. Also known as the lindy. An elegant smooth dance in a 3/4 tempo, with accent on the first beat.

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MODERN AND JAZZ DANCE

bridgecompass turncontraction

Graham technique

jazz framejazz handreleasespiral'V' position

Also called a back bend. Like an arabesque turn, but the toes stay in contact with the floor. Tightening the abdominals, tucking the pelvis, and forming a ‘C’ with the torso so that the shoulders are over the pelvis. A modern dance technique developed by Martha Graham, based on ‘contraction and release’ as the motivation of all movement. Includes terms such as spiral, tilt and pitch turn. Arms are crossed overhead with fingers in jazz hands. Fingers are spread. A relaxing or arching movement. Rotation of the torso around the pelvis. Position in which the arms, legs and body make a ‘V’ shape.

TAP DANCE

ball changebrush

cramp rolldrawflapheel/heel drop

pick-ups/pullbacksscuffsyncopationtaptoe droptoe standwaltz clog

Two quick changes of weight from one ball of the foot to the other. Striking of the ball of the foot or the toe tap against the floor. This is usually done in a direction. Step using toe and heel drops in a specific pattern. Pulling of the free foot from an open to a closed position with a sliding motion. Brush and step with transfer of weight. Forceful dropping of the heel on the floor, with the weight placed on the ball of the same foot. Hop on one foot with a back brush in the air, landing on the same foot. Can be done as singles, doubles or alternating. Shuffles and taps can also be added. Forward movement hitting the heel of the foot on the ground. Accenting the weak part of the beat. Striking the ball of the foot without weight transfer. Dropping the toe with weight on the foot. Movement in which the dancer stands on the tips of the tap shoes: ‘en pointe’. A dance in 3/4 time.

SOURCE: https://www.orthopt.org/downloads/PAglossary.pdf

Keeping the target audience in mind is also pertinent to the descriptive process – their level of background knowledge will determine how complex a vocabulary can be used and which terms require elaboration.

Read the brief excerpts below for examples of how dance critiques employ these terms to communicate both concise imagery as well as larger ideas.

Try to imagine undertaking the process of analysis without these terms at hand. • ‘What follows is entirely predictable –

variations with three sequences of eight counts, followed by an eight-count transition; pas de deux with lots of lifts and turns; bravura solos and mesmerising corps work.’ (http://arts.heraldtribune.com/2012-08-06/featured/review-paris-operas-la-bayadere-

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PART F

COMPLETE A BASIC ANALYIS OF

DANCEPERFORMANCESA

MPLE

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Now that you have developed an understanding of the dance analysis process and relevant elements has been developed, this section will outline the steps for conducting and reviewing an analysis.

This section will enable more thorough examination of the application of dance knowledge to the assessment process, focusing on the areas of movement analysis, musical or rhythmic accompaniment, presentation format, outside feedback and self-reflection.

COMPLETE A BASIC ANALYSIS OF DANCE PERFORMANCE

6.1 ASSESS INDIVIDUAL PERFORMANCE

MOVEMENTS

Understanding how to describe and assess the movements used in a dance performance is the foundation of any effective analysis. Body

movements, the choreographer’s building blocks, are the basis through which dancers convey information and ideas.

The ability to intelligently discuss a dance performance will hinge on the analyser’s proficiency in identifying and assessing movement types.

In order to assess an individual dance performance in terms of the movements being used, prepare a list of guiding questions. These can then be used as a checklist to assess an individual dance performance, based on the movements used in the piece.

The boxed text below presents a comprehensive list of instructional questions, categorised according to the main elements of dance.

THE DANCERS’ BODIES:

• How were the dancers’ bodies used in this dance?• What different body parts did they use?• Did they seem to move skilfully?• Can you explain the roles that the skills of body alignment and dance technique play in a dance

performance?• How can you use what you learned from the dance you have seen to understand these concepts

more fully?• What is it about the dancers’ training that allows them to use their bodies expressively?• What were the physical relationships between the dancers to each other during the dance? Did

they ever move in unison?• How are these movements different from everyday movements or sports movements?• Can you compare the ways dancers warm up and prepare their bodies for dancing with the way

that athletes warm up and prepare for competitions?

MOVEMENT:

• Using the elements of dance, can you describe some of the movements in the dance, especially the ones that made a big impression on you?

• What did the dancers’ movements remind you of?• How did the dancers combine locomotor (moving through space) and non-locomotor

(stationary) movements?

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• What do you remember the most about the movements of the dancers?• How are the movements that are part of the dance similar to or different from everyday

movements and sports movements?

SPACE:

• What shapes did the bodies of the dancers make?• What floor patterns in space did the dancers make as they travelled through space?• Did the dancers change levels at any time during the dance?• Were there many ‘lifts’?• In what sections of the dance was space emphasised the most?• Were the shapes they made symmetrical or asymmetrical?

TIME:

• What aspects of the element of time were used?• Was the dancing fast or slow? Were there changes in the tempo?• What did you notice about the dancers’ rhythms?• Were any of the movements accented?

ENERGY:

• How would you describe the energy of the dancers and the dance?• Can you name all the different movement qualities (the way force and energy were used) you

saw in the dance?• How did the energy in the movement affect the mood of the dance?

SOURCE: http://www.ket.org/artstoolkit/dance/respond.htm

Examples of movements may be locomotor, which means they move through space, such as:• Run• Jump• Leap• Walk• Hop• Skip• Slide

Or they may be non-locomotor, which means they occur in a stationary location, with the dancer’s body moving around its axis, such as:• Bend• Twist• Shake

• Push• Pull• Bounce• Stretch

A more extensive movement vocabulary, means the more accurately the teacher will be able to break down a dance phrase or sequence in order to then develop an interpretive analysis.

For example, consider the following selection from a dance review, paying attention to the way that the detailed description of movement is used to evoke a larger feeling about the piece:

‘Two women are seated on the floor. Leaning into each other as we look over their shoulders, they suddenly bend backward and, to a bit of a

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waltz, seem about to float off together. It is as if the music seizes them and starts to sweep them along like clouds caught in a wind. In another vignette, a woman seated properly, perpendicularly, on a bench, begins to tilt at an angle. As her legs leave the floor and her torso leans to the side, both she and the bench seem to levitate a little above the floor. That such surreal events arise out of realistic situations without astonishing the characters onstage effectively erases any difference between being awake and dreaming.’

(Vienna-Lusthaus (revisited); Reviewed by George Jackson: Dance Magazine, May 2003: 79.)

Building an analysis on a foundation of accurately and well-described movements will support the later progression to broader and more complicated interpretations about a piece.

The teacher should record and document their assessment of the dance movements so that they can help the student improve their performance in the future. The assessment should be recorded in a format that is easy-to-understand, and which provides constructive feedback and suggestion for improvement. The relevant dance organisation may have a structured form or template for assessment reports already created. Teachers should speak to their supervisor to find out if there are specific formatting requirements. All dance assessment records should be stored safely and securely, so as to protect the privacy of the students. The organisation of the document storage should allow any relevant personnel to find these records quickly and easily.

Accompaniment

Along with set design and costuming, music choice is an important component in the choreographer’s toolkit. When analysing a performance, it is vital to take into consideration the overall relationship between the dance movements and the musical elements.

Depending on the genre and choreographer’s intention, the music may be complementary, most often seen with traditional dance forms and styles

that adhere to genre conventions, or contrasting, most common in modern and contemporary dances.

Important preliminary considerations include commenting on the role the music played in the performance; the dynamic between the movement and the music; and whether the music appeared to reflect a specific culture or historical era.

There are many conventions in choreography that establish the common musical selections for a piece, for example, using classical music for a ballet, or ‘found sound’ recordings for a modern dance. These conventions (aka traditions) are relevant to the analysis of dance styles and genres, since they will change the context and purpose of each musical piece.

Identifying whether the choreographer adhered to these traditions or defied them will reveal more about his or her intentions and the impact of the musical selection.

To identify variation in musical style, analyse the following elements of musical conventions:• Was the music live, pre-recorded or a

combination?• Was it performed by a group or soloist?• Was there a steady rhythm or was the meter

irregular or abstract?• Was the tempo fast or slow?• Was the source of the music traditional or

non-traditional (e.g. experimental, using natural recording, or using unconventional materials)?

• How did the choreographer employ silence? What was the impact of dancer-created sounds (e.g. tapping)?

• Did the choreography match the musical rhythm, or work against it?

Musical rhythms, structures and moods are frequently used to influence or reflect choreographic direction. Examining the choices made with regard to musical accompaniment will also deepen the teacher’s capacity to analyse the

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dance as a whole. Guiding questions related to the musical choices can be broken down into the same categories as the movement elements above. For example:

• DANCERS’ BODIES

How did the musical accompaniment affect the way the dancers moved?

• MOVEMENT

Did the movement seem to ‘go with’ the music?

• SPACE

Did the music seem to have any impact on the way the choreographer chose to use space?

• TIME

Was the tempo of the movement always the same as the tempo of the music?

• ENERGY

How was the energy of the movement similar

to or different from the dynamics of the music?

The following videos represent different ways of pairing dance and music. In the first, a waltz is paired with the traditional music that shares its name. The second highlights an example of dancers providing the percussive rhythm through their movement.

The final video pairs contemporary dancing with an experimental soundtrack that juxtaposes the visual and aural components through contrast. • https://www.youtube.com/

watch?v=YNaLLFnpCdA • https://www.youtube.com/

watch?v=Q4FYNF02yEM • https://www.youtube.com/

watch?v=gGHvnRtr3TI

Search youtube for the video 'Stomp Live - Part 4 - Little Brooms and Hosepipes and describe the way music and movement relate in the piece. What tools are used to provide a soundtrack? How are the different rhythms and beats layered? What effect does the addition or subtraction of sound components have on the overall viewing experience?

LEARNING ACTIVITY: MUSIC AND RHYTHM $

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