The ability to move quickly with ease and efficiency.
Alignment of the body
The optimum placement of and balance between joints in order to allow the body to move with ease and efficiency. Removing unnecessary muscular tension and effort.
The ability to understand the worth of a dance/choreography and value its qualities and importance within the context of the art form; a recognition of aesthetic values.
Artistic intention includes a knowledge and awareness of the purposes, characteristics and principles of the art from and how these contribute to the structuring of individual choreographic intention.
The aural choices the choreographer decides upon in the creation of a work. eg. music, the spoken word, sound effects, natural sound, found sound, the audible aspects of dancing, silence.
The ability to maintain equilibrium over the base of support.
An AB sectional structure/form. Section B provides the contrast to the opening section A.
Call and response
Similar to a conversation the music or dance 'calls', the other 'responds'.
The capacity to sustain co tenuous moderate-level exercise.
The elements which a choreographer selects in order to manipulate, develop and structure into a coherent whole. eg. the three movement components (action, dynamic and spacial elements), dancers, aural setting and physical setting.
An objective and informed enquiry into both content and context, enabling the student to develop and articulate an in-depth knowledge and understanding of dance through time and location in relation to features of a specific genre.
Dance and music are created independently of each other and when performed share only space and time.
Dance and music work together, sharing the same time signature, tempo, phrasing and cadences.
The variations in the expenditure of energy in relation to the action/motion of the body.
A tangible or visible,e form of a dance/choreographic idea, quality or feeling.
The accents provided by the dancer at different movements throughout the dance. The accents may relate for example to energy, space and timing.
A series of sections presented by a choreographer. The sections can be self-contained but when put together will illuminate the overarching theme of the choreographed work.
The range of motion possible at a joint
The resistance of a joint to motion
The intensity and direction of the dancers eye line, for example to a specific point in space, to a fellow performer or to the audience.
A broad classification of a dance type, for example Ballet, Modern dance, Jazz dance.
The parts of study (ie performance and choreography/practical and theory) which will only be understood by a reference to the whole.
A developed perception of bodily movement by the dancer.
Enhancement of mood and atmosphere
This relationship aids in the communication of theme. The dancers may not be using the musical rhythm or phrasing but the aural setting is helping to evoke the mood and/or atmosphere.
The ability to produce force against a particular resistance repeatedly.
Dance that aims to clarify the music, using the structure and content as its base. The dance follows the rhythmic, melodic and harmonic lines in the music.
An interpretation of the musics structure, rhythm, mood and meaning by the dancer in performance.
Dance and music are created independently of each other but may share the same tempo, theme or directive.
The music and dance express an idea or tell a story
A susqeuntial structure/form which allows the story to unfold.
The synchronous working or muscles during complex movements.
The skills required by a dancer to inform technique, for example strength, flexibility, cardiovascular endurance, muscular endurance.
A person actively engaged within the art form off dance, for example a performer or choreographer.
The engagement of dancer's whole self in the communication of the dance idea: a considered use of energy to attribute perceivable qualities to the movement content.
ABACADA structure/form. The repetition of A provides the recurring theme whilst the other sections provide variety and contrast.
The maximum force generated by a muscle abasing resistance in a single effort.
A full understanding and awareness of procedures which need to be implemented in relation to the development of kills either in a class, rehearsal or performance environment.
The specific choices and manipulation of the three movement components by a choreographer which when put together become a recurring and major element of the choreographic output.
The consistent choices a choreographer makes in relation to all elements of choreography, for example subject matter and its treatment, use of choreographic devices, structuring, dancers, aural setting and physical setting.
The theme narrative and/or dance ideas associated with a specific piece of choreography.
The skills acquired by the dancer in training in order to present clear and precise movement in performance, utilising an awareness of control, alignment and physical setting.
An ABA structure/form which develops on from Binary by providing a return and reiteration of the opening statement. This is thus cyclic in nature.
Theme and variation
An A,A1,A2,A3 etc. structure/form. A theme is stated at the outset of the dance and the subsequent section are all variations of this theme. The initial theme is not necessarily re-stated in its original form.