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Ballet Ped > Final BPed > Flashcards

Final BPed Flashcards

1
Q

What are the 3 stages of motor learning

A

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

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2
Q

initial verbal cognitive learning stage

A

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

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3
Q

motor stage

A

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

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4
Q

autonomous stage

A

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

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5
Q

2 methods of presenting material to students

A

part-whole method

whole part method

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6
Q

part whole method

A

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

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7
Q

whole part method

A

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

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8
Q

what are the seven ways to cue movement

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

name and describe 4 types of imagery

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

how does a student build a visual memory

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

describe four levels of learning

A

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

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12
Q

3 specified body types

A

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

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

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

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13
Q

types of knee shapes

A

knock knees, bowlegs, tibial torsion, hyperextension

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14
Q

knock-kneed

A

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

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15
Q

bowlegs

A

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

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16
Q

tibial torsion

A

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

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17
Q

hyperextension

A

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

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18
Q

What are the 6 teaching styles

A

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

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19
Q

command style

A

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

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20
Q

practical style

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

reciprocal style

A

known as peer teaching

working in partnerships to observe or be observed

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22
Q

self check

A

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

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23
Q

inclusive style

A

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

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24
Q

guided discovery style

A

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

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25
Q

11 general principles of classical ballet

A
  1. alignment- this is the foundation, good posture, head, torso, and legs.
  2. turn out- outward rotation of legs and feets (6 deep rotators of hip)
  3. weight distribution- how well dancer balances and moves, recentering yourself
  4. stance- to have good sense, weight should be centered over arches
  5. transfer of weight- shifting weight from 1 ft to the other or 2ft to 1
  6. squareness- keeping shoulders and his on the same level. parallel
  7. pull up or lift- pulling up through legs by stretching upward from floor, engaging abdominals and lifting torso off the legs is crucial
  8. couterpull- appointing forces
  9. counterbalances- upward and slightly forward tilt of torso when leg lifts to the back
  10. aplomb- imaginary vertical line teachers use, center line
  11. balance- the dynamic princile dancers try to maintain while stationary or moving
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26
Q

alignment

A

this is the foundation, good posture, head, torso, and legs.

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27
Q

turn out-

A

turn out- outward rotation of legs and feets (6 deep rotators of hip)

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28
Q
  1. weight distribution-
A
  1. weight distribution- how well dancer balances and moves, recentering yourself
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29
Q
  1. stance-
A
  1. stance- to have good sense, weight should be centered over arches
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30
Q
  1. transfer of weight-
A
  1. transfer of weight- shifting weight from 1 ft to the other or 2ft to 1
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31
Q
  1. squareness-
A
  1. squareness- keeping shoulders and his on the same level. parallel
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32
Q
  1. pull up or lift-
A
  1. pull up or lift- pulling up through legs by stretching upward from floor, engaging abdominals and lifting torso off the legs is crucial
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33
Q
  1. couterpull-
A
  1. couterpull- appointing forces
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34
Q
  1. counterbalances-
A
  1. counterbalances- upward and slightly forward tilt of torso when leg lifts to the back
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35
Q
  1. aplomb-
A
  1. aplomb- imaginary vertical line teachers use, center line
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36
Q
  1. balance
A
  1. balance- the dynamic principle dancers try to maintain while stationary or moving
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37
Q

frontal

A

front half and back half

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38
Q

sagittal

A

right side and left side (aplomb line)

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39
Q

transverse

A

top half and bottom half

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40
Q

main objectives of barre work

A 
warm up core temp
develop technique
prepares for the center
apply principles at the barre
provides a structure enabling the student to expand focus
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41
Q

what are the 7 movement of dance. french and english

A 
to bend-plier-plie
to stretch-éntendre- tendu
to raise-relever- releve
to glide- glisser- glissade
to jump-sauter-saute
to dart-élancer-pique
to turn-tourner- pirouette en dehor
42
Q

components of center

A 
center barre
adagio
turns
intro and transition steps
allegro
43
Q

5 types of jumps

A 
2->2 changment
1->2 assemble
2->1sissone
1->other jete, grand saut de chat
1->same saute arabesque
44
Q

what are the 2 overall concepts to the construction of a beginning ballet class

A

repetition and simplicity

45
Q

repetition

A

cues are simple, accurate and consistent, select elements from center and repeat them several times in barre exercises

46
Q

quality vs. quantity

A

less is more, sacrifice perfection for one combo so their spirits can soar. goos balance between quality and quantity

47
Q

how can barre exercises vary in patterns

A

directional changes
directional acuity
promote strength in the supporting leg
contribute to learning stance and change of weight as the working leg moves in different direction and the weight is transferred from one leg to the other

48
Q

how should the beginning dancer end a barre exercise?

A

put a period on the end of the statement

fifth, arms en bas, head tilt slightly outward, teaches dancers to stay serious until the end of the movement

49
Q

kneeland methodology-3 categories in ballet

A

physical appearance-what you are born with is what you work with
technical study- vocab, mastering steps
kineisiology- how do we do it? what must the body do to do it
physical laws of motion

50
Q

what words should teachers eliminate

A

tuck under-neutral pelvis
tighten or squeeze- engage
watch using but- use bottom or derriere

51
Q

neutral state of body

A

alert, aware, anticipate

52
Q

main mistake concerning turn out

A

turn out from the hips, not just the feet

53
Q

isaac newtons laws of physics

A

for every action there is an opposite reaction

for every cause there is an effect

54
Q

release and recoil

A

mini prep and breathe
how to go up to go down to go up (jumps)
bounce ball- up to bounce down to make it go up

55
Q

purpose of tendus

A 
strengthen instep
proper use of working leg
work in opposition of body
build strength
resistance against floor
56
Q

purpose of degage

A

quickness

strength in feet and toes

57
Q

purpose of fondu

A

strength and resistance
take off and landing in jumps
for control and transitions
balance

58
Q

purpose of plie

A

establishes turn out and placement
most important step
warm up all muscles of legs

59
Q

rond de jamb a terre

A

rotation in hip joints

opposition of eachother (legs)

60
Q

rond de jamb en lair

A

strrengthen muscles around knee

engage quad

61
Q

frappe

A

preparing action of knee for jumps

62
Q

petit battement sur le coud de pied

A

control in leg
prepare for beats
develop speed in lower legs

63
Q

grand battement

A

control full leg at full range in motion
controlling back and abdominals
prep for big jumps

64
Q

ways to learn something

A

auditorial- hearing
kinetically- doing it
visually- seeing it

65
Q

attention you give students

A

BEST TOOL

  • watch out for giving too much attention when bad then they crave that
  • make sure when they return to not give attention until they do something good
66
Q

creative movement

A

not looking for correctness
make class fun and simple
encourage exploration
structured class week to week

67
Q

structure for creative movement

A

great at door, share time, center circle stretch time, center barre, center work and across the floor, free dance, reverence

68
Q

prepatory ballet

A

prep for 1 real year in ballet
introduce dancer posture
musicality and rhythm, still having fun, respect, expand vocab, fluidity in arms,

69
Q

Cognitive Development Stages

A
  1. sensory motor stage- birth to 2 years-building concept of reality
  2. pre-operational stage- 2-7- need concrete physical situations, unable to think abstractly (Right vs. Left), dont over explain, focus on 1 aspect
  3. concrete operational-7-11- start to problem solve, can recognize and do steps, little sponges,
  4. formal operation-12-15-cognitive structure like an adult, maturity NOT like an adult, can learn things quicker
70
Q

pointe work

  • appropriate time begin
  • physical prerequisites
  • wolf’s law
A

11-13, serious training 3-4 years, 2nd position vertical all the way up on the toes

71
Q

purpose of temp d’arret

A

gave the muscles a chance to rest and stretch

*resting

72
Q

purpose of correct placement of the arms in second position

A

activates muscles of torso, maintains balance, and elevates carriage of the arms

73
Q

purpose of emphasizing “heel down”

A
  • to give the achilles a moment to stretch
  • allows it to stretch out
  • stretching
74
Q

characteristics of maturing adolescents (15-20)

A

Age 15-20, max cognitive development, intermediate and advance level, thinking globally, their future purpose where their place is in life, balancing academics and social life, physical changes

75
Q

characteristics of early adolescents (11-14)

A

Level 3 and 4, 11-14, looking for role models outside of their family, be a mentor, encourage to dance out, most drop at this time, level 4 is same but more advanced and cognitively can concentrate more

76
Q

goals for beginner ballet student

A

!

77
Q

focus and emphasis of the intermediate years

A

Vocabulary, head and arm coordination, self correcting, extension strength and flexibility

78
Q

focus and emphasis of the advanced dancer

A

Mastering complex steps and ideas, fundamentals

Beat in combos, multiple turns, clear transitions, speed, accuracy, fluidity, musicaloty

79
Q

progressing a dancer/building scaffolding

A

!

80
Q

three words that need to be eliminated from a teacher’s vocabulary

A

Tighten/squeeze -engage
tuck under-neutral pelvi
pull up-push down

81
Q

** on test–how bad habits develop

A

4 things

  • pushes a student too quickly(levels or teaching class to fast)
  • ignoring problems, not seeing the problems (teacher fails to see or correct a problem)
  • less than ideal body type
  • incomplete or improper explanation from the teacher
82
Q

glissade and pas de chat

A

begins in plie, *start with foot from back

83
Q

Wolfs law

A

A bone in a healthy person will adapt to the load that is placed on it. If the load increases the bone will become denser remodeling itself

84
Q

Brise

A 
Demi plie
Foot progressions
Dégagé
Fondu
Frappe
Petit battlement
Sauté in 1-2-5
Changement
Assemble battu voyage
Jete over
Assemble battu voyage
85
Q

Entra chat quartre

A 
Demi plié
Foot progressions-tendu dragged
Releve
Temps d'arret
Fondu
Frappe
Petit battlement
Sauté 1-5
Changement
Soupersous
Echappe
Echappe battu
Royale
86
Q

How does pace ska define style

A

A particular interpretation of the classical technique which usually emphasizes or exaggerates certain aspects of the technique

87
Q

How does paveska define placement

A

Placement- ballet stance

Alignment- configuration of bone upon bone in a more general way

88
Q

Define allonge

A

Used to describe a lengthened position in which the palm of the hand faces downward

89
Q

Difference between coupe and Cou de pied

A

Coupe- a cutting motion, downward path of travel

Cou de pied - position heel resting on ankle if supporting leg

90
Q

Years of study divided into 3 categories. What’s the focus for each category?

A

1-4 years. Critical in establishing good habits and setting the foundation for all future progress

Before 7- a degree of control and use of imagery

7-10. Instil correct habits the principal goal of early years of trainibg

91
Q

What happens in the mind and body between age 7-10

A

Can’t remember to do one thing and then remember to do another. Eight year olds can. 9-10 can apply every more corrections

92
Q

What should teachers guard against in the final two years if study?

A

Letting choreographic liberties creep into combinations or detract from the classical line, mannerisms

93
Q

When do male dancers need men’s class and what is the emphasis of men’s class

A

When they reach high intermediate level. Building strength

94
Q

What are the reasons male dancers need to build strength?

A

Lift ballerinas and do more jumps and beats.

95
Q

What milestones and rules should be followed before starting a student on pointe

A

Must be strong enough to support the weight of the body. Strong arch and ankle. Strength in hop joint and spine. At least four years of ballet training.

96
Q

What are the characteristics of the classical line?

A

Length. Purity. Simplicity.

97
Q

Tension vs stress

A

Tension not only enhances movement but is used to link steps into coherent phrases
Stress comes from misdirected effort which in turn is the result of misalignment

98
Q

Cautions teachers have with extension in early years of training

A

Nurture control and strength in the hip joint and spine by limiting extensions to 90 degrees

99
Q

Why are arms held in second position during barre

A

Activates muscles I the torso. Helps maintain verticality and balance. And introduces the elegance of carriage tht classifies classical ballet

100
Q

Basic rules to en dehors and en dedan

A

En dehors. Close with working leg in back.

En dedan. Close with working leg in front.

101
Q

2 components to a pirouette

A

Balance and impetus( force)

102
Q

What must teachers understand and expect in arabesque and open hips.

A

Open hips produces a more attractive line and allows a higher extension. However this concept cannot be introduced too early in training. Opening hip is a gradual process.

Ballet Ped (1 decks)

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