Dancing for Fun - Intermediate for Home Schooling
Group Dancing for All Ages
Book Two
Piano Compositions byMark L. Greathouse
Choreography Transcriptions byHelena Greathouse
TABLE OF CONTENTS
1. Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3. How to Use this book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . · Choreography.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4. Who Cares?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . · Who Cares? choreography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5. Trekking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . · Trekking choreography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6. Reflections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . · Reflections choreography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7. Innocence Waltz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . · Innocence Waltz choreography. . . . . . . . . . . . . . . . . . . . . . . . . . . 8. Portraits .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . · Portraits choreography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9. Clown Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . · Clown Dance choreography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10. Remembrance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . · Remembrance choreography . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11. Muffin Rag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . · Muffin Rag choreography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12. Snowfall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . · Snowfall choreography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13. Medieval Waltz. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . · Medieval Waltz, part 1 choreography. . . . . . . . . . . . . . . . . . . . . . · Medieval Waltz, part 2 choreography. . . . . . . . . . . . . . . . · Medieval Waltz, part 3 choreography. . . . . . . . . . . . . . . . · Medieval Waltz, part 4 choreography. . . . . . . . . . . . . . . . · Medieval Waltz, part 5 choreography. . . . . . . . . . . . . . . .14. Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15. Glossary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16. Links to Dances .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DEDICATION
This book is dedicated to all dancers, who wish to learn new dance skills while having fun.
PREFACE
- Dancing is part of being human. Our earliest ancestors moved their bodies to the accompaniment of rhythms and chants. This urge to move together with sounds or with music is part of our human nature.
- This book, second in the series, presents dances in which you can express your deepest feelings together with music. If you want to dance in a group of any size, at any age, you can easily do it using this book. To benefit the most, however, some intermediate level dancing is recommended.
- The online YouTube videos show you how to do the moves. At the back of the book, you will find the links to YouTube to see each dance performed. The written choreography for each dance is there for reference to match the dance exactly with the music. As with book one, these dances are meant to be done in a group, which just invites having a lot of fun with other dancers. The dances are not in any particular order, so just pick a dance and start learning it. Check the Glossary at the back of the book to learn the meaning of the italicized words that you’ll find throughout.
- When we prepared this book, we wanted to make sure that you could learn the dance as easily as possible and have fun at the same time. Now, give it a try!
- We especially wish to thank:
- Marilyn Olson, who ultimately inspired the creation of the music and who contributed many hours to the editing of the music. Without her help there would be no music.
- Elena Kameníková for the creation and performance of the choreography.
- Gail Watson for her skills in designing the book.
- Elizabeth Berg for her artistic contribution for the front cover.
- Ron Stark for his technical knowledge and computer skills and for his generosity in giving of his time.
- 1 -
Introduction
Over the years Mark has had an ongoing interest in composing melodies, especially on the piano. Nevertheless, he performs on the accordion as a soloist and accompanies Helena’s singing and dancing. They perform at many locations in Oregon as well as in Helena’s native country, the Czech Republic, Slovakia and Germany. Over the years, whenever a new melody would come to Mark, he would record it on a cassette tape. This activity began already in the 1980’s and continues to the present. Later in 2009 he began to transcribe these melodies into notation form, and under the guidance of composer Marilyn Olson of Newberg, Oregon, it became apparent that many of these melodies could be easily used for dance. This combination of melody and dance has led to the writing of this second book in the series, Dancing for Fun.
Helena brings special abilities to our duo, The GREATHOUSE of Music. In the case of this book, she thoroughly understands the choreography of these dances. Elena Kameníková of Prague created all of the choreography. Then Helena, observing each dance, transcribed it all into English from their conversations in their mutual native language, Czech.
Helena competed in Rhythmic Gymnastics for twelve years until the end of her university years. She coached this sport, and then for 29 years judged Rhythmic Gymnastics to represent the United States as an international judge (two Olympics, Goodwill Games, Pan American Games). She therefore knows well the dance terminology and techniques represented in this book.There are no restrictions on the performance of these dances. Feel free to show them to audiences wherever, whenever! If you put them on YouTube, the world can see them…including us. We would be proud!
Helena brings special abilities to our duo, The GREATHOUSE of Music. In the case of this book, she thoroughly understands the choreography of these dances. Elena Kameníková of Prague created all of the choreography. Then Helena, observing each dance, transcribed it all into English from their conversations in their mutual native language, Czech.
Helena competed in Rhythmic Gymnastics for twelve years until the end of her university years. She coached this sport, and then for 29 years judged Rhythmic Gymnastics to represent the United States as an international judge (two Olympics, Goodwill Games, Pan American Games). She therefore knows well the dance terminology and techniques represented in this book.There are no restrictions on the performance of these dances. Feel free to show them to audiences wherever, whenever! If you put them on YouTube, the world can see them…including us. We would be proud!
How to Use This Book
This book is intended for dancers in a group who are intermediate in their skill level. The first two dances are relatively easy, but to get the maximum benefit of this book, dancers should have had some dance practice. There is no progressive order of difficulty to the dances in the book. Just take a look at the table below and the dances online. Then choose one that you particularly like.
It would be good to have a dance leader or instructor become familiar with the dance before the group practice begins. This person could watch the online dancer beforehand and then give a more personalized guidance to the other dancers as they learn the dance.
We’ll list a few points which will help you maximize the use of this book.
It would be good to have a dance leader or instructor become familiar with the dance before the group practice begins. This person could watch the online dancer beforehand and then give a more personalized guidance to the other dancers as they learn the dance.
We’ll list a few points which will help you maximize the use of this book.
- These are all group dances with a minimum of at least two dancers but preferably more in order to create more of a group activity. More dancers will show the dances to be more beautiful and even more fun to learn.
- For the most part, the level of dances is intermediate. Some dance experience is advisable.
- The dances are all relatively short – all less than 4 minutes.
- Be sure to note the starting formation and starting position at the beginning of each dance.
- In some dances the dancers are divided into two groups: odd and even. In these instances there is different choreography for each group (mirror image). Only the dance “Trekking” has video of both versions. In other dances, if odd and even groups are mentioned, the video shows the choreography for only one group, but the choreography is written for both.
- Read the choreography before starting each dance, because the video only shows one dancer.
- Adjust formations based on the actual number of dancers you have.
- The table on the next page will give you some information for each dance in the book. This can be helpful when it comes to planning and organizing each dance.
- Check out our website (www.greathouseofmusic.com) to hear other musical forms (vocal, solo piano, accordion) of some of the music in this book.
Choreography Elena Kameníková
Elena Kameníková (12/15/1976). Teacher of dance at Taussigova Performance Arts School, Prague, Czech Republic.
Since early childhood active in dance and Rhythmic Gymnastics. As a Rhythmic gymnast was member of a competitive group, which twice received title of Junior Champion of the Czech Republic.
In 1991 entered Jaroslav Jezek Dance Conservatory in Prague. Upon graduation started to dance in the ballet of the State Opera in Prague, first in the ensemble and later became soloist. Later transferred as a soloist to the ballet company of F.X. Salda in Liberec, Czech Republic.
Between 2000 and 2003 studied at the School of Philosophy at Charles University, Prague, receiving a Bachelor of Arts degree.
Since early childhood active in dance and Rhythmic Gymnastics. As a Rhythmic gymnast was member of a competitive group, which twice received title of Junior Champion of the Czech Republic.
In 1991 entered Jaroslav Jezek Dance Conservatory in Prague. Upon graduation started to dance in the ballet of the State Opera in Prague, first in the ensemble and later became soloist. Later transferred as a soloist to the ballet company of F.X. Salda in Liberec, Czech Republic.
Between 2000 and 2003 studied at the School of Philosophy at Charles University, Prague, receiving a Bachelor of Arts degree.
Links to Dances
Name of Dance | Level of Difficulty | Special Notes |
Who Cares? | Easy | Choreography is written for 8 dancers |
Trekking | Easy | There are 2 videos: one for even-numbered dancers and one for odd-numbered dancers |
Reflections | Easy-Intermediate | Dance calls for 3 rows of dancers |
Innocence Waltz | Intermediate | Dance calls for 3 rows of dancers |
Portraits | Advanced-Intermediate | There are odd- and even-numbered dancers. Choreography is written for 8 dancers |
Clown Dance | Advanced-Intermediate | There are odd- and even-numbered dancers. Choreography is written for 6 dancers |
Remembrance | Advanced-Intermediate | Three rows of dancers |
Muffin Rag | Intermediate | Three rows of dancers |
Snowfall | Advanced-Intermediate | One dancer is designated as soloist –Use scarf |
Medieval Waltz
Part 1 | Advanced-Intermediate | One dancer is designated as soloist –Use scarf |
Medieval Waltz
Part 2 | Advanced-Intermediate | Soloist and odd-and even-numbered dancers |
Medieval WaltzPart 3 | Intermediate | Soloist |
Medieval WaltzPart 4 | Intermediate | Soloist |
Medieval WaltzPart 5 | Advanced-Intermediate | Soloist – Use scarf |
Each Song Package is $5
Who Cares?
Daily life surely has its frustrations –
but being a caring friend to all and extending
love unconditionally brings us closer to
peace and happiness. Try it!
Trekking
Moving deliberately forward at a
measured pace is often the way to overcome
obstacles and help us arrive at our life purpose.
Reflections
Watch the sunlight shimmering on the
surface of a lake. Is your life a reflection
of your inner thoughts, beliefs, and values?
Innocence Waltz
Innocence provides a certain sense of
safety and courage. Is innocence ever lost
completely? Can we regain it through goodness?
Portraits
Did you ever watch a portrait artist at a
public forum and marvel at the multiple
of variations and interpretations of the people
he sees?
Clown Dance
Clowns make us laugh, but don’t they actually
portray a perspective on reality?
Can they teach us something about life?
Remembrance
We all have memories of calm, peaceful
periods in our lives as well as of
exciting, eventful times.
Muffin Rag
Is everything clear and predictable? Does the
beginning tell you how the ending will be?
Do red skies in the morning always warn of coming rain?
Snowfall
The pristine white snow falling can be
beautiful to watch. But sometimes
the wind rises and a blizzard is born.
Medieval Waltz
God plants a seed in our heart.
When we nourish it, it blossoms.
GLOSSARY
Airplane arms: Arms straight out to the side in one line, palms facing down, tilt the torso sideways keeping arms straight.
Arabesque: The position of the body supported on one leg, with the other leg extended behind the body, both knees straight, torso vertical.
Arabesque scale: The position of the body supported on one leg, with the other leg extended behind the body horizontally, both knees straight, torso and head horizontal as an extension of working leg.
Arm sequence: Circle arms in frontal plane close to front of body: Start movement by lowering arms sideways towards torso; cross arms low in front nearly touching torso; continue movement upward in frontal plane until hands overhead, palms facing down – look upwards towards palms; continue movement downward in frontal plane, arms opening to sides, palms up until reaching horizontal; palms turn down and continue movement downward in frontal plane until closing arms to torso on sides.
Arm wave: Arm action in any direction (side, front, or back) with the impulse from the elbow and the forearm following sequentially all the way through the fingertips. Movement should flow. Impulse from the elbow can lead up or down.
Arms in Frontal Plane to R: R arm side horizontal, L upper arm nearly vertical, L elbow nearly touching body and bent about 90 degrees, L forearm parallel with R arm in frontal plane. Arms port de bra: In ballet terms, it is a movement or series of movements made by passing the arm or arms through various positions. Carriage of the arms. Attitude: A position in which the dancer stands (or jumps) on one leg (known as the supporting leg) while the other leg (working leg) is lifted and well turned out with the knee bent at approximately 90-degree angle. The lifted or working leg can be behind (derrière), in front (devant), or on the side (à la seconde) of the body. Balance Step L: Step L to the side, place right foot behind left and shift the weight on the R, then shift the weight forward again on L. Balance step forward on R: Rock step crossing R foot in front of L, lift L foot behind with demi plie on R, then step back on L and finish feet together. Presentational arms on cross step, then move arms to hips on back step. Canon: Dancers perform the same movement in succession, one dancer after the other (each dancer on an assigned beat in the music). Cartwheel (on the right): Movement where one moves sideways (in the motion the wheel of a cart would follow) in a straight line keeping the back straight placing R hand on the ground followed by L hand as the legs are open sideways as in a “V” shape and passed over the body while inverted. Then L leg touches the ground first, followed quickly by R leg. End in a standing position on both legs. Cat Leap R: Taking off from L leg, kick bent R leg (in front attitude) front. While in the air, kick bent L leg (in front attitude) higher than R and land on R leg with L leg still forward. Chaines: A series of turns (each 180 degrees) as if in a “chain”, alternating feet with progression along a straight line or circle. Head spotting. Usually done in very small steps with straight knees, all steps on toes; can also be executed on flat feet or in demi plie. Chaines with Dorsal Side bends L: During chaines, keep both arms in one line at all times while alternating dorsal side bends, first to L (while stepping on L), so that R arm is up and L arm is down, then reverse: Side bend to R (while stepping on R), so that L arm is up and R arm is down, then reverse again. (During chaines, arms appear to describe circles in frontal plane – from the viewpoint of audience.)
Charleston Step with R: Step R front on demi plie, heel slightly off the floor with weight on the ball of the foot. Quickly turn R heel out and both knees turn in so that the knees and thighs are touching. L shin kicks out to horizontal. Then step L in front of R leg to repeat to opposite side. This move can be done moving forwards or backwards. Chasse step on R: A sliding step in which one foot "chases" and displaces the other. It is a traveling step. Literally "to chase". Slide R forwards, backwards, or sideways followed by sliding L to meet R. First, bend both legs during the slide, and then straighten both legs while L closes to R. It can be done either with springing into the air (when legs meet and straighten) or with releve (without springing, when legs meet and straighten). It is similar to a gallop (like children pretending to ride a horse).
Circle Arms R: Second half of Figure Eight R, that is, Parts (2.) and (3.).
Column: Single file, perpendicular to audience. One dancer behind the other, all facing in the same direction.
Cou-de-pied (front or back): Bent and turned out (or bent and parallel) working leg with toes pointed toward floor is positioned in front of or behind support leg (or on the side) above ankle. If back (or parallel), working leg is touching support leg. Demi plie: Standing dancer bends the knee(s) halfway, keeping heel(s) securely on the floor and torso upright. Develope: A movement in which the working leg is first lifted, then fully extended passing through attitude (or parallel attitude) position. It can be done in front (en avant), to the side (à la seconde), or to the back (derrière). Dorsal bend: Movement that occurs in the upper torso. Can be done by arching back, curving forward, or bending sideways. Explode arms: Both arms shoot out from the center of the body to an upper “V” shape with palms facing forward, fingers stretched and apart. This action is performed quickly and with a surprising energy. Fifth (V) Position of legs (R leg front): Starting from first (I) position, keeping legs turned out, move R heel forward to L toe.
Figure Eight R arm leading: (1.) R arm describes arc from R to front while L arm moves front to low R, dorsal front bend; then (2.) R arm continues L up while L arm is still on R side in front of body, dorsal side bend to L; then (3.) R arm continues back in horizontal plane behind body finishing R up, L arm moves to L up, straighten torso. Movement is continuous during this configuration, and L arm follows movement of R arm slightly later. First position of arms: Position arms in front of the waistline parallel to the navel, arms are slightly curved and fingertips are pointing towards one another. First (I) Position of legs: Standing, heels together, toes pointed out, feet in a “V” formation.
Fouette with R leg: Swing straight R leg front to horizontal, L supporting leg is also straight. Turn quickly 180 degrees to L on supporting L leg, keeping R leg stationary in the air. Finish with R leg in arabesque.
Fourth (IV) position of legs (R leg front): Starting from first (V) position, keeping legs turned out, move R turned out foot forward to a distance of approximately one foot, equal weight on each foot. Frontal plane: Refers to the space or action occurring in the vertical plane in the front of or behind the body. Gallop: Chasse with springing into the air. Grapevine step to R: Side step R, step L across in front of R (in front of support leg), side step R, step L across behind R (behind the support leg); repeat the sequence. Heel Drag Backwards R: Step back R on diagonal to demi plie shifting R hip out and dragging L heel on floor towards body (R hip leading the movement), L knee straight, L foot flexed. Hands in fists are placed on hips. Straight torso tilts forward with each step, head in line with torso. Hop with wiggles: Spring into the air on both legs while stretching the legs towards the floor. Land on both legs with knees bent and feet slightly apart. Move the shoulders alternating front and back while the arms hang down loose. Allow the arms to react freely & naturally to the shoulders moving causing them to “wiggle” in the air. Horizontal plane: Refers to the space or action occurring in plane parallel with the floor. It can be at any level including above the head.
Jette: Small leap with straight legs taking off from one leg and landing on the other.
Jump from both to both: From demi plie spring from both legs, in the air one leg bends at knee, then straighten both legs again and put them together, finally land on both. Lunge (front, side, back): Support leg is in demi plie while the other leg is straightened on pique back, side or front. The weight of the body is on the support leg. Leg on pique: Stretched working leg to touch floor with toes (front, side, back) Parallel: Working leg not turned out, if this term is connected with another dance term (e.g., attitude, passé, etc.) Parallel attitude: Attitude when working leg is not turned out. Parallel demi plie: Demi plie on both legs (or one), feet (foot) pointed straight ahead. If on both legs, can be done either with legs together or apart. Parallel passe: Passe forward when working leg is pointed straight ahead (not turned out). Partial split R: Split as defined under split R, but weight is shifted to R hip. One or both legs can be bent. Pas de basque to R: Start in demi plie on L, with R leg bent in front, R toes touching floor; circle R toes on the floor to R, do small leap onto R foot turning head slightly to R, cross L in front of R on releve, shift weight onto L, then back to R into demi plie. Passe: Standing on supporting leg, the working leg is bent so that the thigh is horizontal and foot is placed at knee level of supporting leg. Pivot on R to R: Step forward R into demi plie, shifting weight on it and leaving L foot in place on floor. By quickly straightening R knee with releve on R and spotting, rotate to R on the ball of R foot to the desired degree of rotation. Pivot Step on R: Maintaining L leg in the same place the whole time, step with R forward and turn 180 degrees to L –weight is on the R leg. Switch weight of the body to the L leg, step R forward passing beyond the L leg, put weight on the R and turn to the L 180 degrees. Repeat. Plie: Standing dancer bends the knee(s) completely, keeping torso upright. Port de Bras: Carriage of the arms. A movement or series of movements made by passing the arm or arms through various positions. Prancing: Hop onto R and put weight on R foot, simultaneously lift L knee in parallel front attitude, then repeat to L. Legs are sharp and toes point as soon as they leave the floor. While prancing, torso remains straight, elbows are bent in sharp angle, elbows and upper arms touching body, forearms front, wrists bent down, and hands are hanging. Presentational arms: Starting from first position arms, gesture the arms open to the sides in the horizontal plane with palms facing up. Rainbow step to R: Side step together R with windmill arms to R. Rainbow turn: Windmill arms while executing a pivot step. Relevé: Commonly used in ballet, relevé is a movement in which the dancer rises on the tips of the toes or on the balls of the feet. This movement can be performed on both legs simultaneously or on one leg (with the other foot not touching the floor). Row: Single line of dancers, parallel with audience. One dancer next to the other, all facing in the same direction. Sagittal plane: Refers to the space or action occurring in the vertical plane on the sides of the body. Scissor Leap R: Taking off from L leg, kick R leg straight front up. While in the air, kick L leg higher than R leg and land on R leg with L leg still forward. Second position of arms: Arms extended horizontally out to the sides. Second (II) position (of legs): Legs turned out and in a wider stance (wider than shoulder width apart), equal weight on each foot. Shoulder Stand: Lie down on back. Bend knees up over chest, legs together. Gradually straighten legs and push hips forward until reaching vertical alignment, resting weight on shoulders. Support lower back with palms or straighten arms along floor with palms down. Side Body Wave R: Standing on L, R leg to side on pique. Bend L knee to demi plie, shift the L hip to side so that torso bends to R. Gradually shift weight of body onto R leg, so that both legs are in second (II) position demi plie. Push R hip to side, so that torso bends to L and shift weight onto R leg in demi plie. Straighten R knee, finishing standing on R with L leg side on pique. During the whole sequence, keep torso vertical (no movement forward or backward). This movement is performed smoothly and sequentially. Soutenu turn to R: Prepare R leg side on pique, L leg in demi plie. Step R side on releve and close stretched L leg to R to fifth (V) position releve, L leg front, turning 360 degrees to R in releve to finish in fifth (V) position releve, R leg front.
Split R: Sitting on the floor extend R leg front and L leg back. Keep hips from rotating and torso vertical. Spotting: A term given to the movement of the head and focusing of the eyes while turning. The dancer chooses a spot in front at eye level and as the turn is made toward the spot, the head is the last to leave and the first to arrive at the spot as the body completes the turn. This rapid movement or snap of the head gives the impression that the face is always turned forward and prevents the dancer from becoming dizzy. Stag Leap: Jette as defined above, but with the front leg bent. Step together with R: Step R to side, forward or back and close L leg to R. Support leg or Standing Leg: The leg on which full body weight is being supported. Third position of arms: Arms raised up, elbows slightly bent, palms facing down, fingers of one hand nearly touching fingers of the other. Arms are not directly overhead, but slightly to front, so that if dancer looks up, she looks directly into palms. Windmill arms R – Starting with both arms down on L side of body, torso turned to L, R arm leads in frontal plane, reaching high and to the R side, L follows in same plane. Finish with both arms down on R side of body, torso turned to R. Head follows arm movements. Working Leg: The leg doing the action and not serving as support.
Arms in Frontal Plane to R: R arm side horizontal, L upper arm nearly vertical, L elbow nearly touching body and bent about 90 degrees, L forearm parallel with R arm in frontal plane. Arms port de bra: In ballet terms, it is a movement or series of movements made by passing the arm or arms through various positions. Carriage of the arms. Attitude: A position in which the dancer stands (or jumps) on one leg (known as the supporting leg) while the other leg (working leg) is lifted and well turned out with the knee bent at approximately 90-degree angle. The lifted or working leg can be behind (derrière), in front (devant), or on the side (à la seconde) of the body. Balance Step L: Step L to the side, place right foot behind left and shift the weight on the R, then shift the weight forward again on L. Balance step forward on R: Rock step crossing R foot in front of L, lift L foot behind with demi plie on R, then step back on L and finish feet together. Presentational arms on cross step, then move arms to hips on back step. Canon: Dancers perform the same movement in succession, one dancer after the other (each dancer on an assigned beat in the music). Cartwheel (on the right): Movement where one moves sideways (in the motion the wheel of a cart would follow) in a straight line keeping the back straight placing R hand on the ground followed by L hand as the legs are open sideways as in a “V” shape and passed over the body while inverted. Then L leg touches the ground first, followed quickly by R leg. End in a standing position on both legs. Cat Leap R: Taking off from L leg, kick bent R leg (in front attitude) front. While in the air, kick bent L leg (in front attitude) higher than R and land on R leg with L leg still forward. Chaines: A series of turns (each 180 degrees) as if in a “chain”, alternating feet with progression along a straight line or circle. Head spotting. Usually done in very small steps with straight knees, all steps on toes; can also be executed on flat feet or in demi plie. Chaines with Dorsal Side bends L: During chaines, keep both arms in one line at all times while alternating dorsal side bends, first to L (while stepping on L), so that R arm is up and L arm is down, then reverse: Side bend to R (while stepping on R), so that L arm is up and R arm is down, then reverse again. (During chaines, arms appear to describe circles in frontal plane – from the viewpoint of audience.)
Charleston Step with R: Step R front on demi plie, heel slightly off the floor with weight on the ball of the foot. Quickly turn R heel out and both knees turn in so that the knees and thighs are touching. L shin kicks out to horizontal. Then step L in front of R leg to repeat to opposite side. This move can be done moving forwards or backwards. Chasse step on R: A sliding step in which one foot "chases" and displaces the other. It is a traveling step. Literally "to chase". Slide R forwards, backwards, or sideways followed by sliding L to meet R. First, bend both legs during the slide, and then straighten both legs while L closes to R. It can be done either with springing into the air (when legs meet and straighten) or with releve (without springing, when legs meet and straighten). It is similar to a gallop (like children pretending to ride a horse).
Circle Arms R: Second half of Figure Eight R, that is, Parts (2.) and (3.).
Column: Single file, perpendicular to audience. One dancer behind the other, all facing in the same direction.
Cou-de-pied (front or back): Bent and turned out (or bent and parallel) working leg with toes pointed toward floor is positioned in front of or behind support leg (or on the side) above ankle. If back (or parallel), working leg is touching support leg. Demi plie: Standing dancer bends the knee(s) halfway, keeping heel(s) securely on the floor and torso upright. Develope: A movement in which the working leg is first lifted, then fully extended passing through attitude (or parallel attitude) position. It can be done in front (en avant), to the side (à la seconde), or to the back (derrière). Dorsal bend: Movement that occurs in the upper torso. Can be done by arching back, curving forward, or bending sideways. Explode arms: Both arms shoot out from the center of the body to an upper “V” shape with palms facing forward, fingers stretched and apart. This action is performed quickly and with a surprising energy. Fifth (V) Position of legs (R leg front): Starting from first (I) position, keeping legs turned out, move R heel forward to L toe.
Figure Eight R arm leading: (1.) R arm describes arc from R to front while L arm moves front to low R, dorsal front bend; then (2.) R arm continues L up while L arm is still on R side in front of body, dorsal side bend to L; then (3.) R arm continues back in horizontal plane behind body finishing R up, L arm moves to L up, straighten torso. Movement is continuous during this configuration, and L arm follows movement of R arm slightly later. First position of arms: Position arms in front of the waistline parallel to the navel, arms are slightly curved and fingertips are pointing towards one another. First (I) Position of legs: Standing, heels together, toes pointed out, feet in a “V” formation.
Fouette with R leg: Swing straight R leg front to horizontal, L supporting leg is also straight. Turn quickly 180 degrees to L on supporting L leg, keeping R leg stationary in the air. Finish with R leg in arabesque.
Fourth (IV) position of legs (R leg front): Starting from first (V) position, keeping legs turned out, move R turned out foot forward to a distance of approximately one foot, equal weight on each foot. Frontal plane: Refers to the space or action occurring in the vertical plane in the front of or behind the body. Gallop: Chasse with springing into the air. Grapevine step to R: Side step R, step L across in front of R (in front of support leg), side step R, step L across behind R (behind the support leg); repeat the sequence. Heel Drag Backwards R: Step back R on diagonal to demi plie shifting R hip out and dragging L heel on floor towards body (R hip leading the movement), L knee straight, L foot flexed. Hands in fists are placed on hips. Straight torso tilts forward with each step, head in line with torso. Hop with wiggles: Spring into the air on both legs while stretching the legs towards the floor. Land on both legs with knees bent and feet slightly apart. Move the shoulders alternating front and back while the arms hang down loose. Allow the arms to react freely & naturally to the shoulders moving causing them to “wiggle” in the air. Horizontal plane: Refers to the space or action occurring in plane parallel with the floor. It can be at any level including above the head.
Jette: Small leap with straight legs taking off from one leg and landing on the other.
Jump from both to both: From demi plie spring from both legs, in the air one leg bends at knee, then straighten both legs again and put them together, finally land on both. Lunge (front, side, back): Support leg is in demi plie while the other leg is straightened on pique back, side or front. The weight of the body is on the support leg. Leg on pique: Stretched working leg to touch floor with toes (front, side, back) Parallel: Working leg not turned out, if this term is connected with another dance term (e.g., attitude, passé, etc.) Parallel attitude: Attitude when working leg is not turned out. Parallel demi plie: Demi plie on both legs (or one), feet (foot) pointed straight ahead. If on both legs, can be done either with legs together or apart. Parallel passe: Passe forward when working leg is pointed straight ahead (not turned out). Partial split R: Split as defined under split R, but weight is shifted to R hip. One or both legs can be bent. Pas de basque to R: Start in demi plie on L, with R leg bent in front, R toes touching floor; circle R toes on the floor to R, do small leap onto R foot turning head slightly to R, cross L in front of R on releve, shift weight onto L, then back to R into demi plie. Passe: Standing on supporting leg, the working leg is bent so that the thigh is horizontal and foot is placed at knee level of supporting leg. Pivot on R to R: Step forward R into demi plie, shifting weight on it and leaving L foot in place on floor. By quickly straightening R knee with releve on R and spotting, rotate to R on the ball of R foot to the desired degree of rotation. Pivot Step on R: Maintaining L leg in the same place the whole time, step with R forward and turn 180 degrees to L –weight is on the R leg. Switch weight of the body to the L leg, step R forward passing beyond the L leg, put weight on the R and turn to the L 180 degrees. Repeat. Plie: Standing dancer bends the knee(s) completely, keeping torso upright. Port de Bras: Carriage of the arms. A movement or series of movements made by passing the arm or arms through various positions. Prancing: Hop onto R and put weight on R foot, simultaneously lift L knee in parallel front attitude, then repeat to L. Legs are sharp and toes point as soon as they leave the floor. While prancing, torso remains straight, elbows are bent in sharp angle, elbows and upper arms touching body, forearms front, wrists bent down, and hands are hanging. Presentational arms: Starting from first position arms, gesture the arms open to the sides in the horizontal plane with palms facing up. Rainbow step to R: Side step together R with windmill arms to R. Rainbow turn: Windmill arms while executing a pivot step. Relevé: Commonly used in ballet, relevé is a movement in which the dancer rises on the tips of the toes or on the balls of the feet. This movement can be performed on both legs simultaneously or on one leg (with the other foot not touching the floor). Row: Single line of dancers, parallel with audience. One dancer next to the other, all facing in the same direction. Sagittal plane: Refers to the space or action occurring in the vertical plane on the sides of the body. Scissor Leap R: Taking off from L leg, kick R leg straight front up. While in the air, kick L leg higher than R leg and land on R leg with L leg still forward. Second position of arms: Arms extended horizontally out to the sides. Second (II) position (of legs): Legs turned out and in a wider stance (wider than shoulder width apart), equal weight on each foot. Shoulder Stand: Lie down on back. Bend knees up over chest, legs together. Gradually straighten legs and push hips forward until reaching vertical alignment, resting weight on shoulders. Support lower back with palms or straighten arms along floor with palms down. Side Body Wave R: Standing on L, R leg to side on pique. Bend L knee to demi plie, shift the L hip to side so that torso bends to R. Gradually shift weight of body onto R leg, so that both legs are in second (II) position demi plie. Push R hip to side, so that torso bends to L and shift weight onto R leg in demi plie. Straighten R knee, finishing standing on R with L leg side on pique. During the whole sequence, keep torso vertical (no movement forward or backward). This movement is performed smoothly and sequentially. Soutenu turn to R: Prepare R leg side on pique, L leg in demi plie. Step R side on releve and close stretched L leg to R to fifth (V) position releve, L leg front, turning 360 degrees to R in releve to finish in fifth (V) position releve, R leg front.
Split R: Sitting on the floor extend R leg front and L leg back. Keep hips from rotating and torso vertical. Spotting: A term given to the movement of the head and focusing of the eyes while turning. The dancer chooses a spot in front at eye level and as the turn is made toward the spot, the head is the last to leave and the first to arrive at the spot as the body completes the turn. This rapid movement or snap of the head gives the impression that the face is always turned forward and prevents the dancer from becoming dizzy. Stag Leap: Jette as defined above, but with the front leg bent. Step together with R: Step R to side, forward or back and close L leg to R. Support leg or Standing Leg: The leg on which full body weight is being supported. Third position of arms: Arms raised up, elbows slightly bent, palms facing down, fingers of one hand nearly touching fingers of the other. Arms are not directly overhead, but slightly to front, so that if dancer looks up, she looks directly into palms. Windmill arms R – Starting with both arms down on L side of body, torso turned to L, R arm leads in frontal plane, reaching high and to the R side, L follows in same plane. Finish with both arms down on R side of body, torso turned to R. Head follows arm movements. Working Leg: The leg doing the action and not serving as support.
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Links to Dances
Dance | Links to YouTube |
Who Cares? | |
Trekking | |
Reflections | |
Innocence Waltz | |
Portraits | |
Clown Dance | |
Remembrance | |
Muffin Rag | |
Snowfall | |
Medieval Waltz
Part 1 | |
Medieval Waltz
Part 2 | |
Medieval WaltzPart 3 | |
Medieval WaltzPart 4 | |
Medieval WaltzPart 5 |