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Dance > Glossary > Flashcards

Glossary Flashcards

1
Q

Abstraction

A

A choreographic device: the essence of the idea (feeling) rather than the literal image

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2
Q

Accumulation

A

A choreographic device where new movements are added to existing movements in a successive way. Eg: A+1 becomes A+1+2 becomes A+1+2+3 etc

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3
Q

Action words

A

Words which describe everyday movements such as run,hop, twist, jump, etc. they can be used to expand a dancers movement vocabulary

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4
Q

Addition

A

A choreographic device: to perform a distinctive body action and ADD another body action to it. The original body action must’ve been seen clearly on its own to establish that something has been added to it

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5
Q

Alignment

A

The static and dynamic relationship of the skeleton to the line of gravity or plumb line and base of support (the feet)

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6
Q

Alignment principles

A

Principles used by the dancer to correctly align body parts in movements and in stillness to enable ease of movement and efficient use of energy through the torso

Alignment principles that assist a dancer to move safely and efficiently involve:

  • correct place: my of the weight on the feet: lifted and supported use of the arches to avoid pronation
  • core stability: the activation of the muscles of the abdomen to create core stability in order to facilitate safe placement of the pelvis/spine
  • appropriate rotation of the leg in the hip socket for the individual body ( to allow for the safe use of turn out)
  • maintenance of the hip-knee-ankle relationship: hip in line with knee-knee tracking over foot- to avoid hip, knee, shin and foot injuries
  • correct stalking of body parts when standing in plumb line
  • stability of pelvis in relation to the spine
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7
Q

Artistry

A

Dances are choreographed to express and communicate expressive intentions. A dancer’s artistic action or behaviour (artistry) has the purpose of communicating and expressing ideas and intentions through movement to connect with their audience.

It’s important to develop this skill in order to:

  • project the movement vocabulary and create a connection with the audience
  • project a mood to the audience and enhance the expressive intention
  • communicate a pleasing aesthetic that an audience can relate to and appreciate
  • promote the dancers connector the emotion of the movement vocabulary they are performing and fulfil their commitment to communicating to the audience
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8
Q

Arranging

A

A movement creation process. The process of manipulating or structuring movement vocabulary through the use of tools such as the elements of movement and choreographic devices, to communicate the intention of the dance maker

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9
Q

Axial movement

A

Axial movement is ‘on the spot’ it can be upwards, downwards, diagonally or circular in terms of direction

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10
Q

Balance

A

A physical skill, refers to the ability to maintain perfect equilibrium. Balance is not only about balancing on one foot, it can be balancing on hands, one hand, one foot or a variety of body parts

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11
Q

Body Actions

A

A terms which refer to the 6 classifications of movement

Gesture, Locomotion, Elevation, Falling, Turning, Stillness (GLEFTS)

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12
Q

Body Maintenance

A

All aspects of health and conditioning related to the dancer. It includes nutrition, hydration, use of safe environment, alternative training, preventative therapies, and general body preparation for dance classes and performances

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13
Q

Body Shape

A

The sculptural designer of one or more bodies in space. Body shapes are described as curved, or angular

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14
Q

Canon

A

Movements p reform net with a once successive time difference. This may be one movement by two or more dancers or a phrase of movement put into canon

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15
Q

Choreographer

A

The individual/s responsible for the composition/creation of a dance work

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16
Q

Choreographic Devices

A

Tools of the choreographer used for arranging or structuring movement material. These could include the compositional process of augmentation, abstraction, accumulation, addition, distortion, embellishment, fragmentation, insertion, inversion, repetition, rearrangement, retrograde and or/ transposition.

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17
Q

Choreographic Principles

A

The ‘principles’ which underpin choreography such as the elements of movement, dance design, phrases and sections, unified composition, spatial organisation and group structures

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18
Q

Choreography

A

The creation and composition of dances by inventing and or/arranging movements and patterns of movements into artistic statements which make sense to an audience

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19
Q

Control

A

A physical skill, that can be seen in many ways. From holding a position of stillness, to slowly moving from one shape to another, and being clear about where every body part is at every moment of time

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20
Q

Contrast

A

A group structure where two or more people simultaneously dance differing movements. Different movement at the same time.

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21
Q

Coordination

A

A physical skill, refers to the patterning of different body parts and different relationships. Doing one thing with one body part and simultaneously doing something else with the other

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22
Q

Dance Design

A

Dance design refers to HOW the dance was designed or structured through the relationship between the expressive intention, form and movement vocabulary.

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23
Q

Dance-making practices/processes

A

Practices/processes that relate to either learning the dance work/s of another choreographer (learning, rehearsing, performing) or students creating their own dance work/s (choreographing, rehearsing, performing).

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24
Q

Dance style

A

Dance style is a specific category within a particular dance genre/tradition, which may be based on a smaller range of shared characteristics (romantic ballet within the ballet genre/tradition) or a particular choreographer’s technique or a performer or choreographer’s individual characteristics.

25
Q

Dance technique

A

The development and refinement of a movement vocabulary through attention to physical skills and technical aspects such as preparations, landings, use of spotting, etc. Dance technique can be improved through regular and systematic training.

26
Q

Dimension

A

The height, width, depth of the shape in space and the personal shape and size of group arrangements in space.

27
Q

Direction

A

Direction is the place in space towards which a body travels in relation to the front. Dancer/s could travel forwards, backwards, up, down, sideways, circular or diagonally.

28
Q

Distortion

A

A choreographic device: To bend or change the shape of the body action or movement- to distort it

29
Q

Duration

A

The length of time given for the movement phrase, section or entire dance: e.g. 5secs, 1 min, 30 mins.

30
Q

Elements of movement

A

The three basic components of movement are time, space and energy. These elements can be combined and manipulated in choreography to arrange movement and create expression.

31
Q

Elevation

A

Moving the whole body or body part from one level to a higher level. This can include an action that causes the body to leave the ground.

32
Q

Embellishment

A

A choreographic device: To add detail; adding detail to a movement such as a hand or a head movement

33
Q

Energy

A

Energy is the degree of expenditure of muscle tension and contraction in any movement or action. It is the necessary amount of muscular contraction needed to move the body through space. It is described by identifying the quality of movement as suspended, sustained, swinging, percussive, vibratory or collapsing; and the amount of force and flow applied to the movement quality.

34
Q

Expressive intention

A

The intention of the choreographer or reason for creating the dance. The origins of the intention may come from many sources including the choreographer’s ideas, emotions, observations and exploration of movement itself.

35
Q

Evaluating

A

Evaluation is a movement creation process. It can occur during any stage of the choreography or when the dance is finished. It could involve reflecting about what works and what doesn’t; or receiving critical feedback from peers/teacher about what you have created.

36
Q

Falling

A

Moving the body or body part from one level to a lower level such as from high to medium, medium to low. The body gives in to the force of gravity.

37
Q

Flexibility

A

Flexibility occurs in muscles, ligaments and joints. Flexibility can be shown in a variety of ways with a variety of body parts. Think about the movement range available to you when you use your head and neck, or your upper spine, your arms in the shoulder joint and also the hip socket.

38
Q

Floor patterns

A

Floor patterns are produced by locomotion or travelling patterns through the performance space. They can be described as direct or indirect (curves, arc, circles).

39
Q

Focus (eye/body)

A

Focus refers to the eyes and the body. It describes the point of concentration – the eye/body facing. It may be described as being direct or indirect.

40
Q

Form

A

The form is the overall shape of the dance work. When evaluating the form of a work students need to look at HOW the movement vocabulary has been arranged into sections using various elements (ie elements of movement and choreographic devices) to communicate the overall expressive intention. They also need to look at the pattern created or the ‘formal structure’ when the sections are unified or linked together.
Formal structures inform us about the overall arrangement or pattern. For example, binary = 2 contrasting sections AB, ternary = 3 sections where the final section repeats or echoes the first ABA, narrative = 3 or 4 progressive and/or contrasting sections ABCD, etc.

41
Q

Formal structure

A

Formal structure is a term used to identify the pattern created when the sections are unified or linked together. Formal structures can be described as; for example, binary = 2 contrasting sections AB, ternary = 3 sections where the final section repeats or echoes the first ABA, narrative = 3 or 4 progressive and/or contrasting sections ABCD, etc. (Also see the term FORM)

42
Q

Fragmentation

A

A choreographic device where only a part of the motif or phrase is repeated, such as the beginning or the end.

43
Q

Free form

A

The arrangement of movement into sections which do not fit recognised pattern or formal structure. The sections may not have any relationship to each other.

44
Q

Gesture

A

Relates to any movement or action of the body that communicates or emphasises meaning. May be realised by any body part.

45
Q

Groupings (formations/placement)

A

Dancers move through many different group shapes as they perform a piece of choreography. The choreographer creates these shapes by designing groupings and by arranging dancers in ways that are balanced (symmetrical) or unbalanced (asymmetrical) to the eye.

46
Q

Group structures

A

The placement of symmetrical and asymmetrical groupings of dancers in the space, and the use of movement vocabulary performed with respect to space and time (unison, contrast and canon).

47
Q

Improvisation

A

Improvisation is a spontaneous movement response without preplanning. To improvise you need to experiment play with and try out and discover new patterns of movement. The key elements are concentration and spontaneity.

48
Q

Influences

A

The term ‘influences’ refers to WHAT influenced the choreographer to create the work in the manner that s/he did or to make particular choices.
When discussing influences you could make reference to:
ideas/beliefs, social movements, political ideologies, personal experiences, family background, dance training/background, other choreographers/works, dance genres/styles, theatrical trends, art movements, technological developments, etc.
This list can be added to as INFLUENCES refers to anything that affects or impacts on the choreographer’s choices.

49
Q

Inversion

A

A choreographic device: To do the movement using the opposite side, direction, or angle e.g. right side of the body then left side of the body or in an upwards direction then downwards, outwards then inwards

50
Q

Level

A

An aspect of height dimension which includes a variety of working levels from low, medium to high.

51
Q

Locomotion

A

Refers to travelling through space from one place to another in any manner on any level.

52
Q

Manipulation

A

The choreographer varies and expands movements through the manipulation of body actions, the elements of movements or group structures and spatial organisation.

53
Q

Motif

A

A single movement or short movement phrase which has the potential to be developed into an integrated whole. A movement motif functions as an organising device within the choreography and so is classified as a choreographic device. It can contain the essence for the completed piece and is usually repeated in exactly the same way and/or manipulated throughout the dance.

54
Q

Movement creation processes

A

The methodology of creating movement, including improvisation, selection, arrangement, refinement and evaluation
ISARE

55
Q

Movement vocabulary

A

A range of body actions and physical skills which characterise a particular style, a combination of styles, or personal preferences

56
Q

Performance practices

A

Involves what a dancer does prior to going into a space to perform (pre- performance) and when actually performing
Pre-performance practices are used to prepare the dancer’s body for execution of required physical skills in performance including physical warm-up, mental preparation, visualisation, spacing of group dance formations and physical orientation in performance space.
Performance practices are used to communicate the expressive intention in performance including technical proficiency, knowledge and clarity of choreographed body actions, accuracy of choreographed timing, spacing and use of energy including qualities of movement, orientation in performance space, accurate and expressive execution of group formations, eye/body focus, facial expression and projection through the whole body.

57
Q

Performance quality

A

The qualities a dancer contributes to a performance in order to create a connection with the audience and fulfil the choreographer’s intent. Includes the use of focus, projection, stage presence, concentration, commitment to movement, expression and clarity of execution.

58
Q

Personal movement vocabulary

A

Personalised preferences for the selection of movement actions and skills.

59
Q

Pathway

A

Floor directional changes that trace paths through the floor space. Pathways can be analysed in terms of direct or indirect or combinations of these. Within cubic space, the vertical, horizontal, sagittal and diagonal pathways through the air may also be analysed.

Dance (5 decks)

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