How to do the collapse dance move

What are Dynamics in Dance? The Six Different Qualities of Movement – Move Dance Learn

Often in dance, we can mainly focus on technique and technique alone without any thought for the dimension of expression. It is far easier to teach students in steps and movements, but what separates a good dancer from a great one is the ability to interpret a piece of music in movement. It takes an understanding of the music and how it makes you feel, the emotion it evokes, and how it can be interpreted through dance. To do this well dancers, teachers and choreographers need to have a good understanding of dynamics, what they are and how to use them in their work and performance.

Dynamics in dance describe the quality of a movement or set of movements. There are six main movement qualities in dance that aim to describe dynamics in dance. These qualities are swinging, suspended, vibratory, sustained, percussive and collapsed.

Each dynamic can be performed individually, but to create interesting and compelling dance, we use them in combination to compliment as well as contrast each other.

Qualities of Dynamics in Dance

1.

SWINGING MOVEMENT

Swinging movements are one of the most fun to perform because they heavily rely on the pull of gravity to propel your movement from one side to another. Although they can be performed vigorously and aggressively if called for, they mostly remind me of joyful skipping or monkeys traversing from tree to tree!

Swinging Dynamic Definition:

A swinging dynamic in dance is a quality of movement that creates arches or circular shapes. It uses the pull of gravity on the body to create a pendulum-like forward and backward motion. In dance swinging our bodies can also mean oscillating up and down, from corner to corner or round and round.

Words that can describe swinging movements:

sway, shift, pendulate, waving, spinning, twirling, arch, circular, round, oscillate, teeter-totter, swivel, switch, undulate, whirl, rock, roll, pivot, seesaw, fluctuate, teeter, waver, dangle

2.

SUSPENDED MOVEMENT

Suspended movement I find harder to perform as it requires a lot of balance, muscle control, and or thrust to be able to hold your body for a moment at the peak of its movement which is why in my video tutorial and examples I focus on suspending walking and body parts. When I think of suspended movement I imagine those dancers who mid-leap seem to be able to defy gravity and almost pause in the air for a second or the dancer who seems to be able to hold that arabesque on pointe right on the edge of teetering over for that extra moment. The suspended dynamic also reminds me of pretending to be an astronaut in space on earth as you try to recreate that sense of weightlessness as you bound from the ground reaching a peak in your walk and then slowly drift back down.

Suspended Dynamic Definition:

A suspended dynamic in dance is a quality that emphasizes the peaks of movement through the effort of holding, lingering, and hovering before pulling back. The dancer suspends their motion in mid-air to create the illusion of defying gravity.

Words that can describe suspended movements:

weightless, hanging, buoyant, float, peak, hovering, rise, defy gravity, levitate, drift, linger, cling,

3. VIBRATORY MOVEMENT

Vibratory movements basically make everything wiggle and wobble whilst performing them. A true vibration is one that moves back and forth at an incredible speed, but because our bodies can move in multiple directions we can also vibrate them in various ways! We can also choose to vibrate our whole bodies or isolate one or several parts or sections to vibrate.

Vibration Dynamic Definition:

A vibratory dynamic in dance refers to rapid movements that are continuously moving to and fro.

The reverberation could be forwards and backward, side to side, up and down – whatever inventive way a dancer is able to move their bodies. A dancer may make their whole body shake and tremble or the vibration could involve quivering an arm, shaking their head very fast, or even thrashing a leg.

Words that can describe vibratory movements:

flicker, palpitate, ripple, stagger, thrash, toss, waggle, wiggle, librate, wobble, vacillate, fluctuate, flutter, quiver, reverberate, shiver, shudder, pulsate, pulse, convulse,

4. SUSTAINED MOVEMENT

When I think of sustained movement I immediately think of tai chi or ballet. I imagine the slowness and steadiness of a group of people in a park, moving in unison, taking time and care with their movement or of the ballet dancer at a barre slowly unravelling their leg into a develope or arabesque and controlling their movement as they bring their leg to the ground and back into 5th position. Sustained movement in these respects seems calming and serene, but remember the quality of the dynamic can also be changed by the context for example someone performing a fight scene in slow motion or pretending to be stuck in honey or glue and trying to get out! That being said it could also be argued that fast movement that is continuous and flowing could also be described as sustained

Sustained Dynamic Definition:

The sustained dynamic in dance refers to a continuous and flowing movement where a dancer’s motion is constant, even, and smooth. Although the sustained dynamic is best observed and demonstrated through slow controlled motion it can also describe fast movement where a dancer is able to keep their movement even, constant, and steady but at an increased speed.

Words that can describe sustained movements:

Controlled, smooth, held, even, constant, continuous, uninterrupted, steady, endless, connected, unfaltering, unceasing, unbroken, gradual, heavy, delayed, flowing, maintained, non-stop, unbroken, connected, seamless,

5. PERCUSSIVE MOVEMENT

I find using the Percussive dynamic in dance requires a high level of cardio vascular fitness, especially if you intend to use it for long periods of time compared to using any of the other five dance dynamics. This is because to produce this quality in your movement you need to exert a lot of force and energy throughout your body and limbs.

Some styles of dance that use a lot of percussive movement are commercial jazz, jazz dance, and hip hop. Tap dance by nature is percussive as the dancer creates staccato beats and sounds with their feet, but a tap dancer’s upper body movements are not generally percussive in style, rather they are fluid drawing from the suspensed, collapsing, and sustained dynamic forms. Ballet also uses percussive movement – think battements – and there is much repertoire that uses the dynamic when called for!

Percussive Dynamic Definition:

The percussive dynamic in dance refers to movements that are performed in a sudden, abrupt or sharp way. They have a strong and often assertive, quality as the dancer exerts energy and strength to produce stacatto like moves with their body.

Words that can describe percussive movements:

Strong, sharp, strike, beat, sudden, bang, choppy, jagged, abrupt, hit, tap, staccato, assertive, forceful, vigourous, energetic, bold, fiesty, thump, thwack, punch, whack

6. COLLAPSED MOVEMENT

Collapsed movement could literally be named as one of the most recognisable elements of modern and contemporary dance. Well ok, so there are a lot more to those two styles of dance than just the concave body shape or the rolling of the spine but it is a heavily used element in these styles. This is mainly due to the fact that modern dance in particular was developed with an intention of being an alternative and contrasting style to ballet. In ballet you stand in turned out positions, aligned with impeccable posture, where as in modern and contemporary dance you stand in parallel, and although upright the tendency is to incorporate collapsed movement to emphasise concave or vexed positions of the upper torso and body – which is in stark contrast to classical dance.

Collapsed Dynamic Definition:

The collapsed dynamic in dance refers to movements where a dancer lets go of tension in their body to produce a noticeable quality of release in their motion. The collapse can be performed in any downward direction and by the whole body or in isolation such as letting an arm fall from a raised position.

Words that can describe collapsed movements:

falling, release, concave, convex, cave in, sag, slump, flopping, crumple, crumble, faint, give way, sunken, incurved, incurvate

OTHER ELEMENTS OF DYNAMICS IN DANCE

The six qualities of movement dynamics described in this article help us to define the type of movements we can perform. But the element of dynamics in dance can also refer to things such as:

Direction – Does the movement travel towards or away from the audience?
Length – How long is the movement?
Speed – How fast and quick is the movement?
Rhythm – What kind of regularity? Does it reflect an upbeat or a downbeat, or other patterns?
Weight – Is the movement light or heavy?
Energy – Is the dancer’s energy high or low?
Force – Is the movement in general strong or soft?
Quality – What characteristics are within the movements? – swinging, suspended, vibratory, sustained, percussive, collapsed.

Dynamics are generally a topic that can be both demonstrated and discussed in an educational setting to develop a greater understanding and awareness of the elements that make up a dance piece. Not only can one use dynamics to describe or analyze movement, but also dancers themselves can use dynamics to describe their own style. This gives them a better understanding of their abilities within their art form.

Dancing on the edge of collapse: the many reasons to support the arts sector | by In The Fight NBK

“People are homeless and hungry, and local governments are broke — why should we pay for you to write slam poetry and make weird performance art?” — if you’re in the arts sector, you’ve not only heard something like that, it’s how it most often feels like the world sees you. What many Americans don’t fully understand is the quantifiable and unquantifiable gifts that this sector offers all of us. Because of the economic crisis resulting from COVID-19, it is not an exaggeration to say that we might lose those gifts — essential social nourishment, rather.

For the vibrancy of our lives and our communities

The arts add color and texture to our lives. They beautify our parks and buildings. They fill subway stations with music that makes us smile and dance a little when we might have otherwise just been stressed about running late. They put up a mirror that makes us see who we really are and what we really believe (there’s a reason that the first people despotic regimes imprison are intellectuals and artists). They light us up. They connect us.

In New York City, the arts are Broadway, concerts at Madison Square Garden, visual art exhibits, and New York Fashion Week. They’re people enjoying an acoustic guitarist in a cafe. They’re vibrant street art. They’re a teen in a rough neighborhood going to dance classes at a community center rather than joining a gang. They’re the heartbeat of the city.

To draw out that image of a youth going to dance classes rather than joining a gang, arts organizations touch communities far beyond their four walls; most, if not all, have some sort of social outreach program or set of initiatives. These programs and initiatives raise funds and awareness for important causes, expose people who wouldn’t otherwise have access to the myriad whole-person benefits of artistic pursuits, and bring healing catharsis to communities who need it. Alma NYC (@_almanyc) and Fortitude Dance Productions (@fortitudedanceprouctions) are great examples of arts organizations doing amazing work in this area. Some arts organizations are even especially geared towards this work out in communities, in and out of NYC — check out Darkness Rising (@darknessrisingproject), Groove With Me (@groovewithme), Kaiser’s Room (@kaisersroom), and Shining Light (@shining_light).

Nurturing the arts ecosystem

Admittedly, however, many people’s direct exposure to and source of art is “pop culture” — popular films, music, books, and dances. Yet without nurturing the entire arts ecosystem we will not experience art that has the quality to reach mass appeal. A meme that was circulating on Facebook towards the beginning of COVID lockdown felt truly resonant — “Try spending months without books, iTunes, Spotify, Netflix, or Hulu and then tell us that the arts don’t matter.”

Every artist who’s become a family name has heard “no” countless times and still kept going. They kept learning through trial-and-error and honing their craft. If we want to enjoy the work of the Spielbergs, Beyonces, and Misty Copelands of the world, we need to support artists at every stage of their creative path.

It’s the economy, too, stupid…

The hard fact is that right now, many arts workers are currently in a position where they very well might not be able to keep going. They might have to somehow shift paths to another source of income, if that’s even possible (all too often it’s not, even in the best of economies). 94% percent of arts workers lost income due to COVID. 62% of them have become fully unemployed. 79% of them experienced a “drastic loss of income” in recent months. 66% of them are currently unable to access resources necessary to generate their creative work (space, supplies, et cetera). Artists are incredibly resourceful and resilient, but at a certain point making it all work becomes simply unsustainable.

51% of arts organizations have cancelled events due to the pandemic, and leaders at 10% of them are “not confident” that their organizations will survive past it (beanartshero.com). We can’t know that amongst that 10% wouldn’t have been the next Alvin Ailey American Dance Theater, Second Story Theater, or Pixar. We can’t know what will have been lost.

And with those losses, our larger economy will face tremendous losses as well. Many jobs and tourism dollars come to localities through arts institutions. And these institutions know how to be fiscally efficient and effective; every one dollar put into arts institutions results in nine dollars put back into surrounding communities (through jobs, money spent at local businesses on outings to shows and exhibits, and the like). Addressing the US Senate, Arts advocate Michael-Lee Erlbech puts these numbers, and the stakes at hand, into a potent frame:

The $877 billion our industry generated last fiscal year is about to disappear. The 4.5% we added to our GDP — about to vaporize. We are second only to Retail as the most powerful economic driver of this economy, boasting an export of $72.6 billion and an annual growth rate of 4.16%, nearly double that of the U.S. economy as a whole at 2.2%. Without your immediate action for financial relief by August 1, we will collapse, and the result will be an economic cataclysm.

In New York State, the arts sector adds an average of 483,424 jobs and $119, 971,904,300 to the economy annually. That amount stands at 7.5% GSP (Gross State Product), approaching double the national average — which, on a side note and to put into context, is more than Agriculture, Tourism, and Construction individually.

…and the right thing to do.

Apart from the described social nurturance that the arts offer us, this is a social justice issue. For one, the arts can increase civic engagement and educate audiences about the experiences of historically marginalized groups. For two, arts workers are our sons, daughters, parents, cousins, friends, lovers, and co-workers. They offer our society far more than we’ve given them credit for, and now’s a time when we can stand up for them.

We can stand up for something that our society needs to be the best it can be. If you’re ready to do that, call your Senators and urge them to pass legislation supporting measures such as appropriations to state arts organizations for grants to individuals and organizations, increased appropriations for the NEA, and COBRA healthcare benefits for arts workers. Urge them to pass the HEROES Act, which will help artists and many other individuals, families, and communities in this challenging time — as well as the Save Our Stages Act, which will appropriate emergency funding to help arts venues stay in business through the pandemic.

Support arts organizations by attending a virtual dance class, screening, reading, or showing — and donate what you can. If you have arts worker friends, check in with them — what do they need right now? Be vocal about the issue with your social media platform and with people in your life. We can all do our part to keep a vibrant arts ecosystem part of the fabric of our local communities and larger nation. We all benefit, so we can all be part of making a difference.

Kathryn Boland, Founding Member of ITF, is a dance writer, dancer, and overall arts enthusiast. She began dancing at age thirteen, while also heavily involved in theater, and soon became enamored with all things artistic. She studied Dance, Theater, English, and Art History at The George Washington University and graduated with a BA in Dance. Her path then led her to yoga and Dance/Movement Therapy, attuning her to matters of trauma, power, privilege, oppression, and how those things intersect with our bodies and how they move. That rising awareness led her to political organizing and policy advocacy. You can find her writing in Dance Informa (danceinforma.com) and Yoga U Online (yogauonline.com). When not working or organizing, Kathryn enjoys nature, reading, comedy, music, and a cup of coffee with a good friend (socially distanced and masked these days, of course).

Collapse posture

alecture No. 1

DEVELOPMENT HISTORY JAZZ DANCE

United States America brought to the world choreographic evolution of two artistic elements: "free" dance of Isadora Duncan and african american jazz dance. The latter was brought by blacks - slaves from Africa, but historically developed and evolved in the USA. artistic feature of jazz dance is perfect freedom of movement of the whole body of the dancer and individual parts of the body, both horizontally, and vertically space. Jazz dance is first of all, the embodiment of emotions dancer, this is a dance of sensations, not of form or ideas, as it happens in modern dance.

Jazz as artistic phenomenon is the result of a century evolution of percussion playing African Negro tribes. Each the Negro tribe has its own own set of dances with certain rhythms for each specific case. Rhythms change even depending on seasons and clearly differentiated. To fully fulfill many of them, it takes more than four hours.

AT for three hundred years, from the XVI to XIX century, black slaves were brought from Africa to countries of Latin America and the USA. Having hit to America, they are fast enough restored their holidays and customs. But adapting instead of drums the black population of America used hand clapping and kicking rhythm. If in Africa there are customs, holidays, dance and song rhythms were each tribe has its own, in America they merged into one.

Simultaneously there was another process. Since the main The US population consisted of Irish, Scottish and English settlers, then the dances of these national cultures were important an integral part of art and Everyday life. These dances can divided into two large groups. To the first belonged to the so-called "country dance", i.e. rural dances, folklore and performed by a group or duet. Irish dances "Jig" and "Clog" were performed in special wooden shoes, with with which the rhythm was tapped out. Co. second group of dances popular in this time, belonged to ballroom dancing - minuet in XVIII century, cotillon, country dance, quadrille and gallop in XIX century.

These two directions cultures - European and Negro - in the New World influenced each to each other and eventually assimilated. Thus, it can be concluded that the origin of jazz dance direction was based on African culture, i. e. rhythms and folk dances, which were superimposed by various layers: ethnic, religious, aesthetic, geopolitical.

In the end XVIII century in the major cities of the liberal The North have sprung up musical shows for white audiences in which white performers wearing black masks and their costumes, imitated African songs and dances. Of course they weren't identical. original, but exoticism and the grotesqueness of such spectacles was good bait for the public. In 1830 at the Louisville Thomas Theater Dart-mund Rais staged a performance in which which was attended by the famous contemporary black dancer William Henry Lane - "Master Juba". It was the first black performer whose name preserved the history of jazz dance.

Chernykh actors were only allowed on stage after graduating in 1865 from the Civil wars in the USA. However, there were black troupes very few, and to win sympathy white spectators, they had to show himself only in a negatively ironic style, so basically received the development of such genres of stage arts like sketch, vaudeville and comedy. It was in these genres that he began to develop jazz dance as a theatrical dance, constituting a single whole with singing and music. This path of development led to the XX century to the appearance of such a typical American genre, like a musical.

The only one for black performer opportunity get on stage was involved in dance competitions that had huge popularity at the time. Favorite competitive dances were Jig and Keiku-ok. The first was a solo dance, the second was a pair dance. Often the dancers held on their heads a glass of water, and white spectators concluded bet which of the dancers at the end there will be more competition water.

Although black performers have access to professional scene, however there was an opinion that the "black" dance are separate, illogical and inept movement. Over time and white dancers began to understand charm and the complexity of the dance in this direction. One of the first Negro performers dance became George Primrose, creative whose career began in 1867.

"Black" dance remained a priority in the representations "minstrel theater", gradually turned into magnificent shows. In 1880 James MacArthur was the first to use in their dance shows technique of black performers. About Born at the same time in New Orleans and jazz music.

Since the 90s until the end of World War II the next stage in the development of jazz dance as a special technique, with its own school, a certain lexical module and movement system. It was at this time jazz dance renders tremendous influence not only on theatrical and household dance, but also to the ballet theater. Genre nature of jazz dance becomes less and less obvious. Mutual influence of "black" and "white" the dance is increasing, is lost folklore character of the dance. All this and causes the selection of jazz dance into a separate direction of dance technology.

Between 1890 and 1916 the real the explosion of the popularity of "black" dances and in the field of everyday dance. They are dancing throughout the New and Old Worlds. "Charleston", "Black Botton", "Two-step", "BigApple", Chicken Stretch, Drag, Shimmy, Congo, "Funky Bat" succeeded each other with incredible speed. To the same time refers to the appearance of the word jazz and jazz dance. This word comes from many roots, but researchers tend to it was used by blacks and how noun and as a verb. As noun it translates as "strength, impetuosity, ecstasy." And as verb - "to excite, activate, to excite".

1917-1930 - peak development of jazz dance. "Black" dance and music became indispensable part of musical performances Broadway and Harlem. Outstanding performers of the time - Bill Robinson, Bert Williams, Beck and Babols were in the center all musical performances in "black" variety show of Harlem - the capital Negro Art and Culture, whose history began in 1920.

From the Shuffle Elong show (1921) began the tradition of "black" revues on Broadway. Many shows have traveled and through the cities of Europe, introducing the public Old world with new directions dance and music. Al Taner, Avon Long, Elvis Witman - these names were not familiar only to US viewers, but also in many countries of Europe. At 1922 on Broadway already three "black" musicals were staged: "Miss Lizzy's Start", "Planstein Revue" and "Liza".

jazz dance, having passed the way from everyday, folklore dance through stage, theater dance, gradually became special kind of dance art. He gradually captures the whole of Europe. AT shows and musical performances shone "Black Venus" - Josephine Baker ("Chocolate dandy"), Bill Jungles Robinson - best tap performer and others.

In the 1930s, interest to jazz dance fades somewhat. This is due to the fact that "black" art it was purely entertaining. Many choreographers tried to create language jazz dance more serious on the topic works, but these attempts are not have always been successful.

In 1931 Hemsley Winfield founded the Negro Theater Arts”, whose prima ballerina was Edna Gay. She tried to dance spirituals and created a new style of dance, united African plasticity and achievements of modern dance.

In 1933 Doris Humphrey created the choreography of the Negro opera "Run, little children." It was the first attempt to create a serious work based on Negro art.

Genuine Success brought the production in 1935 of the opera by J. Gershwin "Porgy and Bess". Although the role choreography in this performance was limited, he had a huge impact not only for musicians, but also for choreographers who in their work began to turn to the "black" theme.

But most famous choreographer, dancer, writer, ethnographer and anthropologist was Katherine Dunham, a person who jazz dance owes its theory and methodology. Having deeply studied the history and specifically African folk dances, she included their elements into their choreography. Can be sure to state the exact date transformation of "black" dance into stage art. It is April 18, 1940, when Katherine Dunham presented in New York his first jazz production Tropics and Hot Jazz" subtitled "From Haiti to Harlem. The content of the performance was the path of "black" jazz dance from the West Indies, New Orleans and to Harlem. This ballet brought fame not only to Katherine, but also to the speakers for the first time on Broadway to dancers (and in further and choreographers) Archie Savadt and Telly Beatty. In the same year took place another premiere - Negro the musical "Cabin in the Air" with Ethel Waters and Katherine Dunham in the lead roles. Then Dunham's work in Hollywood, and in 1943 again Broadway production - Tropical Revue. With the Dunham Troupe grew up such famous dancers, as Lavinia Williams, Archie Savadt, Telly Beatty, Jean-Leon Dustin and Walter Nike. AT Dunham opened a school in New York in 1945 where she experimented in the field methods and theories of teaching jazz dance.

Among the great dancers and choreographers of the 40s - Pearl Primus. In her work, she deepened in the history of "black" dance. Ardent adversary shows and revues, in her productions she involved serious political questions. "Strange fruit" is a problem lynchings, "Hard Times" is a problem living conditions for blacks in the South, Market slaves" - the attitude towards the black population.

In 1950 a student Dunham Telly Beatty performed on his own as a choreographer. The most famous his production is “The Path of the Phoebe Train Snow." From 1959 to the present, this performance is part of the repertoire Alvin Ailey Troupe. For this troupe 1968 Telly Beatty created the play "Black belt".

Huge the role jazz dance played in history musical development. In the 30s and 40s, there the process of artistic evolution of the musical. Its subject matter is diversified. increasing choreographic richness his means of expression. Directors performances become famous and talented choreographers: J. Balanchine, X. Holm, A. deMille, J. Robbins.

In the 50s and 60s, with emergence of young talented choreographers - G. Champion, M. Kidd, B. Foss, G. Ross and others, detailed choreographic action has become the artistic basis of the performance, and dance is a means of expressing the psychological the world of the heroes of the play, their motivation actions, a means of recreating unique artistic atmosphere.

By the end of the 60s jazz dance has firmly taken its place in a number of areas of modern choreography. Its application was quite wide: household dance, theatrical dance, dance cinema, and, finally, purely choreographic performances created in the language of jazz dance. Being an "open" system, jazz dance in its quest turns to means of expression other systems and directions of dance, incorporating achievements, open modern dance, classical dance, folk choreography and others areas of dance art. As a result, the process of merging main schools of modern choreography and a new artistic phenomenon arose - modern jazz dance.

Lecture No. 2

Basic terms contemporary choreography.

AIRPLANE

ACROSS THE FLOOR

ARCH - arch, back deflection of the torso.

ATTITUDE TURN

BASEUALL BAT

BIRD

BODY ROLL - torso tilt group associated with alternately moving the center of the body in the lateral or frontal plane (synonymous with "wave").

BOUNCE - trampoline rocking up and down, in mainly occurs either through flexion and extension of the knees, or pulsating torso.

BOW AND ARROW

BRUCH - sliding or smearing the whole foot along floor before opening the leg into the air or when closing into position.

BRIDGE

CAMEL WALK

CATCH STEP - step on place without promotion.

CAP

CHICKEN WALK

CONTEMPORARY TEQNIC

CONTRACTION - compression, reduction of the body volume and rounding of the spine in the center of the pelvis, gradually capturing the entire spine, performed on the exhale.

COMPASS TURN

CORKSCREW TURN - "corkscrew" turns, in which performer raises or lowers rotation level.

CRAPE WINE

CURVE - curvature of the upper spine (to the "solar plexus") forward or to the side.

DEEP BODY BEND - forward torso tilt below 90°, maintaining a straight line of the torso and arms.

DEEP CONTRACTION - strong compression to the center of the body, in which all joints are involved, i.e. in it movement includes arms, legs and head.

DRACKE

DROP - falling of the relaxed torso forward or to the side.

FAN KICK

FINGER FAN – click fingers, starting with the little finger.

FLAT BACK - torso tilt forward, to the side (on 90°), back with a straight back, no bend torso.

FLAT STEP - a step in which the entire foot simultaneously is placed on the floor.

FLEX - reduced foot, hand or knees.

FROG - POSITION - sitting position in which bent in knees feet touching each other feet, knees should be as much as possible opened to the sides.

FROG JUMP

HIGH RELEASE - high expansion, movement consisting from lifting the chest with a slight bend back.

HINGE - the position of the dancer, in which the straight, without bends, the torso leans back to the maximum distance, knees bent, feet on half toes.

HITCH KICK — PAS DE CHAT jump, imitating cat jump.

HIP FOLL

HIP LIFT - climb hips up.

NOR - jump from one foot to one, "working" the leg is often in the "at" position. knees."

HORSESHOW

HURDLERS LEAP

JACK KNIFE - the position of the body in which the torso leaning forward, back straight, support on hands, knees extended, legs in second parallel position, heel not come off the floor.

JAZZ HAND - the position of the hand, in which the fingers tense and spread apart.

JAZZ TURN -

JELLY ROLL - pelvis movement, consisting of small co muscle contractions with small turn at the same time pelvis right- to the left (synonym - shake pelvis.)

JERK - POSITION - hand position in which the elbows are bent and are slightly retracted behind the chest cage, forearms are located parallel to the floor.

JUMP - jump on two legs.

KNEE TURN -

KICK - throw the leg forward or to the side on 45° or 90° via pull-out developpe .

LAY OUT - a position in which the leg, open 90° to the side or back, and the torso is one straight line.

LEAP - Jumping from one foot to the other moving forward or sideways.

LOCOMOTOR - circular motion bent at the elbows arms along the torso.

LOW BACK - rounding of the spine thoracic region.

PERCH - jerk

PENCIL TURN

PIVOT

POINT - extended position of the foot.

POINT STEP – toe step

PRANCE – movement to develop mobility foot, consisting of a quick change semi-finger positions u point .

PRESS - POSITION - the position of the arms, in which bent in elbows hands palms touch the hips front or side.

RECOVER

RELEASE - expansion of the volume of the body, which takes place on inspiration.

RILL STEP – heel step

ROLL DOWN - spiral twisting down and forward, starting from the head.

ROLL UP - the reverse movement associated with gradual expansion and straightening the torso to the starting position.

SCOOP

SHIMMI - spiral, swirling movement pelvis right and left.

SHAMPOO

SHOULDER STAND

SIDE STRETCH - lateral torso stretch, tilt torso to the right or left.

SLAIT

SQUARE — four steps in a square: forward-in side - back - side.

SPLIT LEAP

STEP BALL CHANGE - connecting step, consisting of a step in side or forward and two steps on half toes (synonym step pa de bouree ).

STRETCHING

STRETCH TURN

SPIRAL

STAG

SUNDARI - movement of the head displacement of the cervical vertebrae to the right-left and back and forth.

SUSPEND

SWASTIKA

SWING — rocking any part of the body (arm, leg, head, torso) in a special jazz rhythm. (Kinds: flat back swing , roll swing , release swing ).

SWIVEL

THRUST - a sharp jerk of the chest or pelvis forward, to the side or back.

TILT - angle, posture in which the torso deviates to the side or forward of the vertical position, the "working" leg can be open in opposite direction at 90° and above.

TRIPLE

TOUCH — attached step or half-toe step without transfer body gravity.

TURNED IN ATTITUDE

TWIST

WARMING UP

WINDMILL

WIST PON

Lecture No. 3

Classification positions of arms and legs in jazz dance.

Hand positions:

Hand positions Lester Horton (Egyptian positions) , V - POSITION , L – POSITION , S – POSITION

Hand positions and brushes:

BASEUALL BAT

SHAMPOO

PRESS-POSITION

WINDMILL

LOCOMOTOR

JERK-POSITION

BOW AND ARROW

Positions and leg and foot positions:

BIRD

CAP

jazz HAND

finger FAN

POINT

FLEX

WIST PON

Leg positions in modern choreography are similar classical dance, but they can transform and subdivide to:

1. Parallel

2. Perpendicular

3. IN POSITION

5.OUT POSITION

6. WIDE POSITION

For the foot there are movement:

POINT

price

FLEX

BRUCH

Lecture No. 4

Basic dance steps in jazz dance. Basic types of jumps and spins.

Species steps :

camel WALK

CATCH STEP

CHICKEN WALK

crap WINE

FLAT STEP

POINT STEP

rill STEP

SQUARE

STEP BALL CHANGE

TRIPLE

Rotations:

ATTITUDE TURN

COMPASS TURN

CORKSCREW TURN

JAZZ TURN

KNEE TURN

PENCIL TURN

STRETCH TURN

PIROUETTES

Jumping :

FROG JUMP

hitch KICK

NOR

JUMP

LEAP

STAG

HURDLERS LEAP

SPLIT LEAP

Lecture No. 5

Fundamentals torso.

Torso:

body ROLL

deep BODY BEND

FLAT BACK

JACK KNIFE

Curves Torso :

ARCH

CURVE

deep CONTRACTION

CONTRACTION

high RELEASE

low BACK

RELEASE

side STRETCH

SCOOP

ROLL DOWN

ROLL UP

Movements for whole body development:

AIRPLANE

BOUNCE

BRIDGE

DROP

HINGE

HORSESHOW

lay OUT

PIVOT

SWIVEL

THRUST

TILT

TURNED IN ATTITUDE

Movements for lower body development:

FANKICK

HIP FOLL

HIP LIFT

jelly ROLL

KICK

SHIMMI

Twisting Torso:

TWIST

SPIRAL

Lecture No. 6

Principles of movement, borrowed from jazz dance

When analyzing African Folk Dance Katherine Dunham identified the following technical features of this style:

1. Usage in the collapse pose dance.

2. Active movement of the performer in space, both horizontally and vertically.

3. Isolated movements of various parts of the body.

4. Usage rhythmically complex and syncopated movements.

5. Polyrhythm of dance.

6. Combination and interpenetration music and dance.

7.Customized improvisations in the general dance.

8. Functionalism dance.

it the concept of nothing to do with medical does not have a term. It is about a kind holding the body when there is no tension and stretch upwards. body is free and relaxed, his curves a little exaggerated, knees bent, torso and head slightly tilted forward. Main difference between jazz dance, modern dance and classical ballet, first of all, lies in holding the spine. If in classical ballet spine is the axis of the whole body, the axis of rotation and jump, and there is even a special the term "put your back", then in jazz dance is diametrically opposed The spine is soft and relaxed. In modern dance, the spine, as in classical dance, is the axis movement, but this axis is not always directed strictly vertical, and very often bends and rotates in various departments. At voltage the movement of individual centers is impossible, for example, sang the vis or chest, while with sufficient relaxation such movements are possible. The main task teacher at the first stage of training - achieve sufficient freedom of the spine, to make movements of various parts. But at the same time the body must be tight enough to move were energetic. Ability to distribute tension in the spine is called relaxation. Voltage distribution and relaxation are the foundations of jazz technique dance.

Isolation and polycentre

AT African dance, the body, as it were, consists from separate parts-centers: this is the head and neck, shoulder girdle, chest, pelvis (hip part), arms and legs. Because the arms and legs are made up of individual joints: in the hand - a brush, forearm, in the leg - foot and ankle, then these parts of the centers, which are called ranges, can also be isolated and perform movements regardless of other centres. These centers can spatially and rhythmically independently move, that's what creates the polycentric movement. Every part of the body, or every center, has its own field tension and your own center movement. In their movement isolated centers can be combined with each other (to be coordinated). When moving 2 centers at the same time we are talking about bicentria, 3-tricentria, when moving all centers are polycentric. polycentric is the fundamental principle dance technique. To make it real dance, there is a technique, which is called isolation implies that every part of the body, center, moves independently of the other parts. This, at first glance, simple the task is quite difficult for a beginner dancer, as according to the anatomical to the features of our body, all centers closely related, and movement, e. g. head naturally evokes tension in the shoulder girdle or in chest. However, isolation is the main technique from which Jazz dance begins.

Polyrhythm

In jazz dance centers can move not only in various spatial directions, but and in various rhythmic patterns, metrically independent of each other.

Polyrhythm closely associated with music. African folklore dances accompany exclusively percussion instruments. Often used multiple instruments, each which leads its own rhythm. Contemporary music in particular jazzy, monometric in its structure, i.e. the imposition of various rhythmic drawings do not occur, however, during improvisation of an instrument on the main, basic rhythm is superimposed improvisation rhythm. It leads to the emergence of such a musical concept, like a swing, i.e. a certain pulsation the basic rhythm associated with displacement melodic pattern and rhythmic the basis of the work. This is what displacement cannot be fixed musical notation, but it greatly influences to a dance move that performed to swing music so the dancer must feel his body musical swing and try put it into motion. Hence and appears not only musical, but also swing dance concept. In dance this concept means swinging, any motor-rhythmic movement part of the body or the whole body. Swing in motion must be performed before everything, free, unstressed body or a separate part of our body (hand, foot, head, pelvis). In this movement, the main task is feel the weight of the body or part of it and move freely up and down back and forth or side to side. Swing movements of the body especially help to relax the spine and relieve excessive stress.

An example polyrhythmic movement is a drummer who simultaneously hands and with his feet creates a variety of rhythms and often sings.

All of the above applies to other genres of music, used to create choreographic works. contemporary music, not jazz only, mostly very complex in rhythmic structure. special cause difficulty for the performer odd sizes that are unusual for the aesthetics of classical ballet. it requires careful attention to development of rhythmic perception in students.

Jazz (principles, terms)

ARCH [arch] - arch, back deflection of the torso.
ALLONGE, ARRONDIE [alonge, arondi] - the position of a rounded or elongated arm.
ASSEMBLE [assembly] - a jump from one foot to two is performed with the legs abducted in a given direction and collecting the legs during the jump together.
BODY ROLL [body roll] - a group of torso tilts associated with alternately moving the center of the body in the lateral or frontal plane (synonymous with 'wave').
BOUNCE [bounce] - springboard swaying up and down, mainly occurs either due to flexion and extension of the knees, or pulsating tilts of the torso.
BATTEMENT TENDU [batman tandu] - the movement of the leg, which is retracted to the toe forward, backward or to the side with a sliding motion. In modern jazz dance, it is also performed in parallel positions.
BRUCH [brush] - sliding or smearing the whole foot on the floor before opening the leg into the air or when closing into position.

CONTRACTION [contraction] - compression, reduction of the volume of the body and rounding of the spine, begins in the center of the pelvis, gradually capturing the entire spine, performed on exhalation.
CORKSCREW TURN - 'corkscrew' turns, in which the performer raises or lowers the level of rotation.
COUPE [coupe] - a quick substitution of one leg for another, serving as an impetus for a jump or other movement.
CURVE [curf] - bending the upper part of the spine (up to the 'solar plexus') forward or to the side.

DEEP BODY BEND [deep body band] - lean the torso forward below 90°, keeping the straight line of the torso and arms.
DEEP CONTRACTION [deep contraction] - a strong compression in the center of the body, in which all joints participate, i.e. this movement includes arms, legs and head.
DEGAGE [degazhe] - transfer of the weight of the body from one leg to another in the second position (right, left) and in the fourth position of the legs (forward, backward), can be performed both with demi-plie and with outstretched legs. Synonym for shift.
DEMI-PLIE [demi-plie] - semi-squatting, in which the heels do not come off the floor.
DEMIROND [demi rond] - a semicircle with the toe of the foot on the floor forward and to the side, or back and to the side.
DROP [drop] - falling of a relaxed torso forward or to the side.
EN DEDANS [an dedan] - the direction of movement or turn towards oneself, inward.
EN DEHORS [an deor] - the direction of movement or turn from oneself or outward.
ECARTE [ekarte] - a pose of classical dance (a la seconde), turned diagonally forward or backward, the body is slightly deviated from the raised leg.
EPAULMENT [epolman] - the position of the dancer, turned in 3/4 in bar 8 or bar 2; differs epaulement croise (closed) and epaulement efface (erased, open)

FLAT BACK [flat back] - tilt of the torso forward, to the side (by 90 °), back with a straight back, without bending the torso.
FLAT STEP [flat step] - a step in which the entire foot is simultaneously placed on the floor.
FLEX [flex] - reduced foot, hand or knees.
FLIK [flick] - a foot stroke on the floor to the supporting leg.
FOUETTE [fuette] - a turn technique in which the performer's body turns to a leg fixed in a certain position (on the floor or in the air).
FROG-POSITION [frog-position] - a sitting position in which the legs bent at the knees touch each other with the feet, the knees should be maximally opened to the sides,

GLISSADE [glissade] - ground sliding jump without leaving the floor moving right-left or forward-backward.
GRAND BATTEMENT [grand batman] - throwing a leg 90 ° and higher forward, backward or to the side.
GRAND JETE [grand jet] - jump from one foot to another moving forward, backward or sideways. The legs open up to the maximum and take the position of 'split' in the air.
GRAND PLIE [gran plie] - full squat.

HIGH RELEASE [high release] - high expansion, a movement consisting of lifting the chest with a slight backward bend.
HINGE [hinch] - the position of the dancer, in which the straight, without bends, the torso leans back to the maximum distance, the knees are bent, the feet are on half-toes,
HIP LIFT [hip lift] - lifting the hip up.
NOR [hop] - step-jump, 'working' leg is usually in the position 'near the knee'.

JACK KNIFE [jackknife] - body position in which the torso leans forward, the back is straight, resting on the arms, knees extended, legs in the second parallel position, heels do not come off the floor.
JAZZ HAND [jazz hand] - the position of the hand, in which the fingers are tense and spread apart.
JELLY ROLL [jelly roll] - a movement of the pelvis, consisting of a small contraction of the muscles with a simultaneous slight turn of the pelvis to the right and left (synonymous with the pelvis shake.) are retracted behind the chest, the forearms are parallel to the floor.
JUMP [jump] - jump on two legs.

KICK [kick] - throwing the leg forward or to the side by 45 ° or 90 ° through the developpe take-out,
LAY OUT [lay out] - a position in which the leg is open at 90° to the side or back, and the torso form one straight line.
LEAP [liip] - a jump from one foot to another moving forward or to the side.
LOCOMOTOR [locomotor] - a circular movement of arms bent at the elbows along the torso.
LOW BACK [low back] - rounding of the spine in the lumbar-thoracic region.

PAS BALANCE [pa balance] - pa, consisting of a combination of tombe and raz de poigree. It is performed with the advancement from side to side, less often - back and forth.
PAS CHASSE [pa chasse] - an auxiliary jump with advancement in all directions, during which one leg 'catches up' with the other at the highest point of the jump.
PAS DE BOURREE [pas de bourree] - an auxiliary dance step, consisting of alternating steps from one foot to the other, ending in demi-plle. Synonym for step pas de bourree. In modern jazz dance, the position of sur le cou-de-pied is not fixed during pas de bourree.
PAS DE CHAT [pas de sha] - a jump, a cat's limiting jump. Legs bent at the knees are thrown back.
PAS FAILLJ [pa failli] - a connecting step, consisting of passing the free leg through the passing demlplie in I position forward or backward, then the weight of the body is transferred to the leg with some deviation from the vertical axis.
PASSE [passe] - a passing movement, which is a link when moving the leg from one position to another, can be performed in the first position on the floor (passepar terre), or at 45 ° or 90 °.
PIQUE [peak] - a light injection with the fingertips of the 'working' leg on the floor and lifting the leg to a given height.
PIROUTTE [pirouette] - rotation of the performer on one leg en dehors or en dedans, the second leg in the position sur le cou-de-pied.
PLIE RELEVE [plie releve] - the position of the legs on half-toes with bent knees.
POINT [point] - the extended position of the foot.
PRANCE [price] - movement for the development of foot mobility, consisting of a quick change of position 'half-lalse' and point.
PREPARATION [preparation] - a preparatory movement performed before the start of the exercise.
PRESS-POSITION [press position] - the position of the hands, in which the arms bent at the elbows with the palms touch the hips in front or side.

RELEASE [release] - expansion of the volume of the body, which occurs on inspiration.
RELEVE [relevé] - lifting on half-fingers.
RENVERSE [ranverse] - a sharp bending of the body, mainly from the pose of atitude croise, accompanied by pas de bouree en tournant.
ROLL DOWN [roll down] - a downward-forward spiral tilt, starting from the head.
ROLL UP [roll an] - a reverse movement associated with a gradual unwinding and straightening of the torso to its original position.
ROND DE JAM BE PAR TERRE [ron de jamb par terre] - a circle with an outstretched leg, touching the floor with your fingers.
ROVD DE JAM BE EN L 'AIR [ron de jamb anler] - circular movement of the lower leg (ankle) with a fixed hip, set aside to a height of 45 ° or 90°.

SAUTE [saute] - classical dance jump from two legs to two legs in I, II, IV and V positions.
SHIMMI [shimmy] - a spiral, twisting movement of the pelvis to the right and left,
SIDE STRETCH [side stretch] - lateral stretching of the torso, tilting the torso to the right or left.
SISSON OUVERTE [sisson overt] - a jump with flying forward, backward or to the side, upon landing one leg remains open in the air at a given height or in a given position.
SOUTENU EN TQURNANT [sutenu an turnan] - a turn on two legs, starting with the retraction of the 'working * leg into the fifth position.
SQUARE [square] - four steps in a square: forward-to-side-back-to-side.
STEP BALL CHANGE [step ball change] - a connecting step, consisting of a step to the side or forward and two steps on half-toes (synonymous with step pa de hour its
SUNDARI [zundari] - head movement, which consists in shifting the cervical vertebrae to the right and left and
SURLE COU-DE-PIED [sur le cou-de-pied] - the position of the extended foot of the 'working' leg on the ankle of the supporting leg in front or behind
SWING - swinging with any part of the body (arm, leg, head, torso) in a special jazz rhythm.

THRUST [frast] - a sharp jerk of the chest or pelvis forward, sideways or backward.