Our year 11 contemporary dance assessment for semester 1 consisted of dance exercises taught by Rachel. Due to a dance injury I sustained 14 weeks ago I was unable to participate in the assessment but, instead was asked to asses my peers and write corrections and strengths they demonstrated throughout the class.
In this class I really feel, as a group, they lacked an effective dance vocabulary. In answer to the question ‘What do you feel you need to work on in this exercise?’ there was only really the basic terminology used, basic things said that did not show a very thorough grasp on dance language. I feel that the use and understanding of communication in verbal modes was poor and at a low standard. For this age they should be able to effectively converse appropriate dance vocabulary. Although that said, this conclusion is targeted at the group as a whole; there were certain individuals who came up with some valuable answers.
In this task I feel that the demonstration of appropriate dance technique to the contemporary genre was at a satisfactory standard. The correct contemporary technique was evident in a number of students, while others, I feel require more effort. The group, in general lacked physical competencies. Strength and flexibility was not a strong highlight, although they did demonstrate good coordination skills. The drop swings exercise proved to be their strongest asset. The Grande Battement exercise required work, turn out and alignment seemed to be, overall the thing that most people had difficulties in mastering. The identification and application of correct posture and alignment was evident, more often than not throughout the class. In general I feel that my peers have improved over the weeks but still demands a lot more work in order to strengthen their technique.
Presenting dance sequences, I feel was a positive feature in the contemporary assessment to some extent. My fellow peers, generally had a thorough grasp on all exercises demonstrated. They understood and carried out dance combinations with great awareness to what they were doing. This said I feel that although my peers know and can demonstrate the exercises, they have no real approach or presentation to their work. Style has a great impact on dance. The way a dancer approaches an exercise or dance piece can change one’s technique, body stance and physical ability. Julie and Stephanie showed a great display of this in all exercises, but particularly the jump exercise.
...re of different dance cultures within the vocabulary of their scope, then the results would be so astounding as to give that dancer an unspoken quality distinguishing them from among their peers. Movement knowledge is cultural knowledge and remembering that each culture is beautiful and different in its own way can help create a dancer that will resonate with any audience member.
Ballroom dancing in New York gives underprivileged children the opportunity to be exposed to the arts, which is usually a program that is cut from low-income schools. This program is a part of a fine arts curriculum with a focus on movement/dancing. A fine art curriculum approach integrates the different aspect of the arts to enhance the learning experiences of the students (Agrelo, 2005; “Dancing Classrooms- Mission”, 2015; Gorski
Even though people always tend to attribute “authentic” knowledge of a practice or product by tracing its culture, in the currently globalizing world where the cultures are overlapped and intertwine with one another, the criteria is ineffective due to the difficulty of ascribing the practice to a specific culture; hence, the notion of cultural authenticity is no longer legitimate. The cross-cultural origins and further developments of the Contemporary Ballet illustrate that to simply consider this dance form authentically American is inappropriate, whereby demonstrates the high degree of illegitimacy in the pursuit of cultural authenticity.
... social dance. Many people in today’s society enjoy social; dancing. Chapter eleven dance concert, properly planning and establishing a dance concert is of the utmost importance. The partnership with the lighting designer usually takes priority over all other factors. One of the most important issues concerning customers has to do with mobility. The dancer must be able to move comfortably in the costume. The task of producing a dance concert is an overwhelming and tiring one. Chapter twelve dance in education and career in dance, many dance educators present the argument that teaching and learning dance as an art form is obviously absent from the American student education. There has always been and always will be people who have a love, desire, and passion to instruct and learn the art of dance, will ensure an important place for dance in higher education.
“Hey girl, what are you doing?” “Girl, I’m practicing on this dance. I been dancing and training for hours and hours, I am exhausted. “Although it is not a proven Fact, many people do not consider dancing as a sport, yet serious competitive dancers undergo the same amount of training as competitive athletes in regular sports. This paper will prove that dancing is and can be accounted as a competitive sport. Various opinions have been made due to the weather people think dancing can or cannot be accounted as a sport. In my research paper I am for and do think that dancing is considered as a competitive sport. The interesting idea about dance that I've came across is that it can be many things to many people. Is it a sport? Yes, it can be. Same as Golf can be considered a sport simply because it is a competition. Many Ballroom dancers compete, as well as dance teams in High School and Colleges across the nation. Is it an art form? Absolutely, some people paint on canvas and it last many years, and some people use space as their canvas, and their bodies are the paintbrush making their art more fragile and more fleeting than a painting could ever be. Dancing can also be used as a tool for political statements, a voice for those who move in such a way to express their joys or sorrows. Can dance be taught as a new skill? Yes, reasons being is because dance can be taught just as any other sport can be taught as a skill. Dancing and other sports are very different but similar as well. Dance is widely recognized as a holistic workout, providing for an exercise regime that satisfies the heart as well as the sole. Going much beyond the physical aspects of toning muscles as well as improving agility and cardiovascular fitness, dance offers on...
As a student studying kinesiology, I believe that professionals should acquire knowledge of dance because dance is an activity that has to do with physical movements. In my opinion, to be a professional in Kinesiology we must have enough knowledge of the human movement and dance is indeed a topic that requires the knowledge of physical movements. The physical education professionals are not like psychiatrists or physicians that give the clients medicine and tell them what to stay away from. However, people in the other fields, i.g. physical education, have to let clients know that there is a different kind of approach to their issues by introducing them to dance. Dance is related to the history of kinesiology because it has been practiced since long ago and it is still present
Dance is the universal language of the soul. Dance speaks of the truest inner feelings and life experiences of a dancer. Every dancer and/or choreographer will grow up to have a very distinctive style and set of unique techniques, dance values, and teaching methods to be followed. The dancer whom we will be analyzing in this paper is a pioneer of modern dance, Lester Horton. He was born on January 23rd, 1906 in Indianapolis, Indiana (Segal, 1998). He had moved to California to create dances and had developed a fresh and unique style of technique and choreography (Warren, 1977). He established the first permanent theater in America devoted to dance, and organized one of the first integrated modern dance companies (Yeoh, 2012).
...dance education is to continue growing throughout public schools and colleges in the United States, students, parents, and the rest of the community will need to stand behind their dance educators. Dance has always served a form of great exercise that allows people to express themselves through movement, and will continue to do so into the future. Dance education in the elementary level is a place that may need some help in child development, and the way to solve this problem is by getting classroom teachers who are skilled in dance and creative movement instruction. Dance education in the secondary level also needs to get highly skilled teachers who are also certified in dance themselves. It would also help attract more students if dance was presented in a different department other than physical education. Dance education in the college level is taught by certified dance instructors, therefore dancers in this level are able to explore movements, while being critiqued by someone who knows what is happening. Dance education has played a major role in the development of children of all ages, and will continue to do so, as long as dance educators and dancers have the proper support.
Over Halloween weekend, Dance TCU in concert, performed at Ed Landreth Hall on the TCU campus, was a mid term showcase performed by the students in the TCU School for Classical and Contemporary Dance. The overall mood was very professional. These college level dancers performed various pieces from Giselle to video edited versions of dance to contemporary dances inspired by swing dancing. Each piece was unique and whether the style was classical or contemporary, the execution was very good. The quality of the performance was spectacular and showed all the work that everyone involved in the production has put out to perfect all the aspects of the show come together. While there were some minor technique errors, the staging, costume design, lighting,
Overby, L. (1992). Status of dance in education (Report No. ED348368). Washington, DC: Eric Clearinghouse on Teacher Education. Discusses the status of dance as a part of the elementary school curriculum. This Digest examines the rationale for dance in education, the status of dance education, and selected issues in dance education.
Contemporary dance first originated from ballet, however changed when Isadora Duncan decided that she didn’t want to dance ballet. She disregarded the refined technical Classical ballet and thus the concept of Contemporary dance was born. This style incorporates movements where the body moves freely and doesn’t have restrictions, embodying raw human emotion. Pioneers of contemporary dance comprise of the internationally known Isadora Duncan, Martha Graham and Merce Cunningham (The Conversation, 2014, online) + (Bibliography, 2012, online). These three dancers helped to revolutionise contemporary dance and express their interpretation of it, all unique but added layers to the genre. A range of movements that originated from these dancers are
I needed to find a source that provided me with evidence of multiple dance teachers’ methods in order to show that they were not using math, indicating that there are other ways of teaching dance that are even more useful than integrating mathematical concepts. I found a source in Library West that supplied this support in the book Talent Abounds: Profiles of Master Teachers and Peak Performers. The chapter entitled “Modern Dance Masters” provided me with the information I needed. The author, Robert F. Arnove, talked with five different dancers, all prominent in the field of modern dance. He discusses the dancers’ ideal techniques/qualities of teaching and learning in a dance setting, all of which he gained through his conversations with them. All of the dancers predominantly discussed the personality of the teachers and students, their creativity and imagination, and their enthusiasm, indicating that they do not perceive a use in involving mathematics within the process of dance education. These dancers were all prominent in the field of modern dance, starting out as thriving performers and turning into prosperous teachers with various student successes of their own. This ensures that their teaching styles were and still will be
Preparing for the final evening was as much fun as the event itself. We were a group of eighteen girls. Some, like I, had some background in Kathak while others were dancing in this style for the first time. The teachers worked hard with us over a period of twenty days. They encouraged the team and were patient with us as we fumbled with the steps. It was hard work as the steps of the dance were changed few times till we got the steps all the eighteen girls were comfortable with. We did not grudge the effort and looked forward to performing before the parents.
On the night of the DancePlus performance, I saw numerous little performances. There were six of them in total and the one I had most reactions and favors to is the last one of the first half, which is called Swampin. It was choreographed by John Evans with additional material by Oluwadamilare Ayoride, Jennifer Payan and surprisingly, the dancers. Usually what I would expect from a piece of dance performance is choreographers dominating the process of being creative on the grounds o f coming up dance moves. However, this time, it is nice to see how the dancer actually participating first hand in the creating process of the whole performance which would definitely benefit the quality of the dance, since the dancers would their own choreography
Group Discussion: I will ask the class which one of the performance assessment stood out to them in the video and why?