Latest EntryMar 13, 2010 BALLET Videos Comments Off
BASIC BALLET VIDEOS
BALLET FEET POSITION
BALLET ARM POSITIONS
PLIES
TENDU
CHASSE
PIQUE
ROND DE JAMBE
BOURRE
PORT DE BRAS
RELEVE
SAUTE
SPRING POINTS
COU DE PIED
GRAND BATTEMENT
Mar 13, 2010 BALLET Dictionary Comments Off
The Ballet Dictionary contains the words, definition, and pronunciation for terms used in ballet sessions at KKZ. The KKZ will only provide basic and limited definition and words used in ballet. For a full guide of a ballet dictionary, order the book “Technical Manual and Dictionary of Classical Ballet” by Gail Grant. Handy resource book for dancers. We will also have a library set up in the KKZ office.
A
Adage, Adagio: [a-DAHZH] Adage is a french word derived from the Italian ad agio, meaning at ease or leisure.
For the English ballet teachers use “adage” meaning:
1. A series of slow and graceful movements which may be simple or of the most complex character, performed with fluidity and apparent ease. These exercises develop a sustaining pwer, sense of line, balance and the beautiful poise which enables the dancer to perform with majesty and grace.
2. The opening section of the partner, performs the slow movements and enlevements in which the danseur lifts, supports or carries the danseuse.
Air, en l’ [ahn lehr] In the air. Indicates that a movement is to be made in the air or/and that the working leg, after being opened to the second or fourth position to be raised to a horizontal position with toe on the level of the hip.
Allegro [a-lay-GROH] Brisk, lively. A term applied to all bright and brisk movements.
Allonge [a-lawn-ZHAY] Extended, outstretched.
Aplomb [a-plawn] Assurance, poise. This term applied to the dancer means that he or she has full control of the body and limbs with the weight correctly centered during a movement.
Arabesque [a-ra-BESK] One of the basic poses in ballet, arabesque takes its name from a form of Moorish ornament.
Arque [ar-KAY] Arched (bowlegged)
Arriere, en [ah na-RYHER] Backwards. Step executed away from the audience.
Assemble [a-sahn-BLAY] Assembled or joined together.
Attitude [a-tee-TWED] Position on one leg with the other liefted in back, knee bent at an angle of 90 degrees and well turned out so that the knee is higher than the foot.
Avant, en [ah na-VAHN] Forward, or moving towards the audience.
B
Balance [ba-lahn -SAY] Rocking step.
Balancoire, en [ahn ba-lahn-SWAHR] Like a seesaw.
Ballon [ba-LAWN] Bounce.
Ballotte [ba-law-TAY] Tossed.
Bas, en [ahn bah] Low. Low position of the arm.
Battement [bat-MAHN] Beating
Batterie [bat-REE] beaten steps.
Battu [ba-TEW] Beaten - any step embellished with a beat is called a pas battu.
Bras [brah] Arms
Brise [bree-SAY] Broken, breaking.
C
Cabriole [ka-bree-AWL] Caper. An allegro step in which the extended legs are beaten in the air.
Cambre [kahn-BRAY] Arched. Body is bent from the waist backwards or sideways.
Chaines [sheh-NAY] Chains, links.
Changement Battu [shahnzh-MAHN ba-TEW] Changement beaten.
Chasse [sha SAY] Chased. Step which one foot chases the other.
Cheville [shuh-VEE-yah] The ankle joint
Ciseaux [see-ZOH] Scissors. Scissor like movement.
Cloche, en [ahn klawsh] Like a bell.
Colle [kaw-LAY] Adhering, glued. Both legs kept tightly together.
Corps [kawr] body
Corte, de [duh koh-TAY] Sideways, step to be made from the side.
Cou-de-pied [koo-duh-PYAY] Neck of the foot, between the ankle and the base of the calf
Coupe [koo-PAY] Cut, or cutting.
Couru [koo-REW] Running.
Croise, Croisee [krwah-ZAY] Crossed. Crossing of the legs with the body placed at an oblique angle to the audience.
Croix, en [ahn krawh] In the shape of a cross.
Cuisse [kweess] Thigh
D
Deboite [day-bwah-TAY] Disjointed
Deboules [day-bo-LAY] Rolling like a ball
Dedans, en [ahn duh-SAHN] Inwards.
Degage [day-ga-ZHAY]Desengaged or disengaging step.
Dehors, en [ahn duh-AWR] Outwards
Demi [duh-MEE] half
Derriere [deh-RYEHR] Behind, back
Dessous [duh-SOO] Under.
Dessus [duh-SEW] Over
Detire [day-tee-RAY] Drawn out.
Detourne [day-toor-NAY] Turned aside.
Deux [duh] Two
Deuxieme [duh_ZYEM] Second
Devant [duh-VAHN] In front.
Developpe [dayv-law-PAY] Unfolding or developing movement.
Dos a dos [doh za doh] Back to back
Dos au public [doh oh pew_BLEEK] Back to the audience
Double [DOO-bluh] Double
E
Ecarte [ay-kar-TAY] Separated, thrown apart
Echappe [ay-sha-PAY] Escaping or slipping movement. Feet from a closed to open position.
Efface [eh-fa-SAY] Shaded. Which the dancer stands at an oblique angle to the audience so that a part of the body is taken back and almost hidden from view.
Elance [ay-lahn-SAY] Darting
Elevation [ay-lay-va-SYAWN] Is the ability of a dancer to attain height in dancing.
Emboite [ahn-bwah-TAY] Fitted together, boxed
En [ahn] In, while.
Enchainement [ahn-shen-MAHN] Linking
Entree [ahn-TRAY] Enterance
Enveloppe [ah-vuh-law-PAY] Envelopped.
Epaule [ay-poh-LAY] Shouldered
Epaulement [ay-pohl-MAHN] Shouldering.
Etendre [ay-TAHN-druh] To stretch.
Etendu [ay-tahn-dew] Outstretched, extended
Extension [eks-tahn-SYAWN] Term used to describe the ability of a dancer to raise and hold her extended leg en lair (in air)
F
Face, de [duh fahss] In front, full face
Face, en [ahn fahss] Opposite (audience) facing audience
Faili [fah-YEE] Giving away.
Faux [foh] false
Ferme [fehr MAY] Closed
Fondu [fawn-DEW] Sinking down
Fouette [fweh-TAY] Whipped
Frappe [fra-PAY] Struck
G
Genou [zhuh-NOO] Knee
Glissade [glee-SAD] Glide
Glisse [glee-SAY] Glided
Grand, Grande [grahn, grahnd] Big, large
H
Haut, en [ahn oh] High
J
Jambe [zhahnb] Leg
Jete [zhuh_TAY] Throw
L
Leve, temps [tahn luh-VAY] Time raised or raising movement
Lie, temps [tahn lyay] Time linked or linking movement
Ligne [LEEN-yah] Line
M
Mains [men] Hands
Maneges [ma-NEZH] Circular
O
Ouvert, Ouverte [oo-VEHR, oo-VERHT] Open, opened
P
Pas [pah] Step
Penche [pahn_SHAY] Leaning, inclining
Petit, Petite [puh-TEE, puh-TEET] Little, small
Pied [Pyay] feet
Pique [pee-KAY] Pricked, pricking
Pirouette [peer-WET] Whirl or spin
Plie [plee-AY] Bent, bending
Port de bras [pawr duh brah] Carriage of the arms.
Pose [pohz] Pose, posture
Premier [pruh-MYAY] First
R
Raccourci [ra-koor-SEE] Shortened.
Rebours, a [a ruh-BOOR] In reverse
Releve [ruhl-VAY] Raised
Retire [ruh-tee-RAY] withdrawn
Reveerence [ray-vay-RAHNSS] Reverence or curtsey. Curtsey performed by the female dancer to acknowledge the applause of the audience. It is also done at the end of ballet class to show respectful admiration of the pupils for their teacher.
Rond [rawn] Round or circular
Rond de bras [rawn duh brah] Circles of the arms
Rond de Jambe [rawn duh zhahnb] Round of the legs, circular movement of the legs
S
Saut [soh] Jump
Saute [soh-TAY] Jumped, jumping
Sautille [soh-tee-YAY] Hopped, hopping
Sissone [see-SAWN] Cutting or scissor movment
Soubresaut [soo-bruh-SOH] Sudden spring or bound.
Sous-sus [soo-SEW] Under-over
Suite, de [duh sweet] Continuously
Sur [sewr] On, upon.
Sus-sous [sew-SOO] Over-under
T
Temps [tahn] Time, step, movement
Tendu [tahn-DEW] Stretched
Terre, a [a tehr] On the ground
Tete [tet] Head
Tour [toor] Turn, turn of the body
Tournant, en [ahn toor-NAHN] Turning
TIPS ON BALLET TERMS
The ballet terms for those learning or barely understand need to remember to replace the ballet term with the translated English term for example “Attitude croise derriere” - meaning Crossed Behind/Back
Mar 12, 2010 COMPETITION Tips & Advice Comments Off
TIPS FOR DANCE COMPETITION
In my experience as a director of a successful amateur dance competition, I have found that dancers and teachers alike are looking for the inside edge on what the judges are looking for. As such, I have interviewed one of my VIP judges, from New York City, to get the scoop on how to succeed in these events.
Below are 5 tips to help amateur dancers thrive in the ever-growing circuit of dance competitions as told by Mr. Tom Richardson.
1. Performance
As a Choreographer, Dancer and Judge, I find dancers and dance teachers alike spend too much time practicing routines and perfecting the technique and not enough time on showmanship. I always tell my dancers that they have to dance with “Passion, Love and Devotion” and perform every single time in the rehearsal studio. You must be completely aware of your full presentation before entering the stage. The old saying “I will perform once on stage” is never true, and you won’t perform to your full potential. Professional dancers in rehearsal for a show must perform completely so the directors, choreographers and producers know exactly what will be on stage and you, as the dancer, are completely comfortable with your facial presentation.
QUESTION: Do you dance you fullest potential every time you rehearse or most time, or sometimes, or rarely? After reading this article, are you going to attempt to dance as if you’re at competition all the time?
2. Musicality
I find when judging, dancers and even the choreographers don’t really listen to the music and the full potential music has for them. We dancers and choreographers are music lovers and we are enriched by music that has so much depth and character and we must be able to bring that music to life with the movement, breathe and choreography. Be careful of anticipating steps because it loses its gusto and element of surprise. Sometimes the smallest movement with such an incredible accent in the music can be breathtaking. I always tell my dancers to close their eyes and listen to the music while doing choreography in their heads, and every time they always say, they hear something that they never heard before. Remember music choice is just as important as the dancer and the choreography.
QUESTION: Is the routines your practicing for choreography just a bunch of steps put together or does your routine express and represent the music you are dancing to?
3. Choreography
It is imperative as judges to not only assess the technique, showmanship and presentation of the dancer but also the choreography. Too often than not, routines are over-choreographed. Throwing in as many tricks as possible does not make an amazing piece of choreography. Transitions are often overlooked and the choreographer does not think of how and why the dancers get from A to B. Even the smallest of movements of a hand or head have to be just as important as a turn sequence. It’s always a partnership with the choreographer and the dancers.
QUESTION: The choreography of your routines do they have nice transitions, do they display techniques within your level, does it all come together nicely?
4. Story
Not only do dancers have to be amazing technicians but they must also be great actors. Telling a story is extremely important in all genres of dance. It motivates the movement and gives it a reason to move. When I am judging or simply watching a performance for enjoyment, I want the performer to entertain me and take me on an emotional journey.
Dancers who are able to do 8 pirouettes and demonstrate sheer ability in strength and flexibility are great, however, if there is no emotion and/or story, the performance gets lost. An audience member will watch the face first and then the movement but a judge will watch the face, the body and the movement together.
QUESTION: Do you exercise or practice your drama skills? Do you allow yourself to emotionally express the music you are dancing?
5. Enjoyment
Remember why you dance, it is because you have love for the art. We spend 98% of our dance lives in the rehearsal studio and only 2% on stage. We drill and work vigorously to perfect our craft and we forget about the sheer enjoyment that we get to “Dance”.
So “Live” every time you dance, spread the love of your enjoyment. It is always and honor and a pleasure to watch and judge dancers who just “live” on stage and in the studio.
FOOD FOR THOUGHTS: Think about the last line in the article “enjoyment” and think about your dedication and passion to the program and dance itself. What is it about dance that makes you attracted, what is it that you enjoy, and what makes you feel passionate about it?
Mar 12, 2010 DANCE Advice & Tips Comments Off
TIPS ON MEMORIZING DANCE CHOREOGRAPHY
Mark the boxes of techniques you use and work for you.
Many people use different techniques to help them remember a set of choreography. Here are a few ideas to help you stay on track. At the beginning of a new year, many dance students are returning from winter break and beginning to learn their routines for a summer production. Whether you have one or 20 dance pieces to learn, it is important to have a strategy to remember the choreography. Here are a few ways to look at your choreography and break it down into smaller parts, in order to remember the entire piece.
o Counting
Dances are usually counted in eights (as in, two bars of music equals one eight and would be counted as 1, 2, 3, 4, 5, 6, 7, 8). A way to remember the choreography for a piece would be to think about what happens on each count, in relation to the music. The emphasis points in a certain piece of music, for example, may be on the counts of four and eight. In this case, you would want to remember what step you are doing on each count of four and eight. If you can memorize these steps, then you can begin to piece together the other six counts, as transition steps to the main emphasis points.
o Memorizing Phrases
In any choreography, there are certain phrases, or groups, of steps that link together to form an entire piece. If you can memorize each important phrase, then you piece together the rest of the choreography as transitions between the phrases. An example of two phrases would be “ball-change, chaine, leap turn”, and “walk, walk, pirouette, jump to second”.
If you can remember these phrases, then it would be easier to remember that there is, for example, a four-count walk to a new position in between them. This will help you to link phrases and remember the entire piece of choreography.
o Studying Your Choreographer
If performing in a professional show, or if working with a new or guest choreographer in your studio, it is a good idea to research their previous work. This can help you to understand themes and similar phrases in your piece. For example, if your choreographer typically follows a calypso jump with a roll to the floor, then you can probably expect him or her to include this in your piece. When it is included, you will be aware of the combination ahead of time, and will be more likely to remember the sequence of steps in your own piece. You can find examples of many choreographers’ work on their individual websites, competition sites, or on YouTube by searching their name.
At all times, it is important to keep the line of communication open between you and your teacher or choreographer. If you are having difficulty remembering a piece or a certain combination of phrases or steps, you should let them know that you are concerned. They may provide you with a trick or tip to help you more easily remember the choreography. They may also decide to change a sequence of steps if the majority of the group is having trouble with that section.
Students will usually have up to five months to learn a piece of choreography, before cleaning it for performance. During these five months, you should try a variety of strategies to remember the choreography. As always, practicing the choreography alone and with others in the group outside of class can also be a big help. In the last month before a performance, students should know the choreography very well, so that the entire piece can be cleaned and perfected before going on stage.
Mar 12, 2010 TAP DANCE - Tips & Advice Comments Off
TOP MISTAKES IN TAP DANCING – HOW TO AVOID MISTAKES
It’s time to review those common errors that keep us tap dancers from performing at our highest level. Check off the listings of mistakes you have corrected.
o Dropping heels when they shouldn’t be dropped is a nasty habit that shows up all of the time in tap dancing. It can lead to unwanted sounds & improper weight transitions.
o Also, an unnecessary “Stamp” can ruin the music in a tap step by changing its intonation.
o There is as much difference between a Step and a Stamp as there is between a Shuffle and a Flap. Don’t treat the two as interchangeable, as it only robs each of its unique flavor and your dancing of some of its range.
o Most of the problems that we have learning new tap dance steps are due to placement of weight. If your weight is on your right foot and you need to lift it, chances are you’re not lifting it.
o Also, dancers sometimes have a tendency to lean back too much when tap dancing. This causes you to lose your center of gravity and increases the likelihood of falling down.
o Incline your weight forward when tap dancing. Primarily you should be balancing on the balls of your feet, with your heels up and available. And when learning a step, pay just as much attention to where your weight is, as you do to the order of the steps.
I mean who can resist the temptation to blind others with blazing speed and a wall of sound. The problem is, as soon as speed enters the room, cleanliness often heads for the exit.
To be frank, speed without clarity is just mess! You may feel like speed hides your mistakes but, in reality, it only pushes them closer together.
o First – SLOW DOWN! Getting faster with a tap combination is usually a process. Plus, remember that speed is not everything. A clean combination speaks. A combination that is not is hard to understand.
Often, we tend to overuse our ankles when trying to execute steps more quickly. Nerves can add to this effect leaving us unable to execute anything on stage.
o We tap dance using our legs, starting from the hip. The more you limit your movement to the ankle, the more shut out the very muscles that make tap dancing easier.
o One secret to speed (and cleanliness) is relaxing the ankles. For the fastest tap dancers, the ankles are almost completely removed from the equation. Practice allowing your legs to do the work, and imagine the feet just
o Tap dancers experience the rhythm of the music and the dance in a very special way. When performing before an audience, it can become very tempting to turn inward and focus on the “experience” of tap dancing. This approach is not always appropriate and can lead one to forget to engage the audience.
o Obviously, the solution is to engage the audience. This can be accomplished with eye contact or a smile. You can also find other ways to interact with them and respond to their reactions. A lot can be accomplished by just remaining conscious of the audience and directing your attention and energy toward them.
Becoming a better dancer is not just about adding speed or tricks to the repertoire. It’s also about reducing the number of basic mistakes you make. Problems that start out small can become major stumbling blocks as you continue to grow as a tap dancer.
Mar 12, 2010 DANCE Advice & Tips Comments Off
BECOMING A BETTER DANCER
Practice makes perfect. Of course, no-one’s perfect, but everything can be improved. Practicing can definitely improve your technique, steps, etc.
QUESTION: How often do you practice weekly?
Stretch! Stretching can improve your flexibility as well as your dancing. The more stretched you are, the better jumps will look, steps, etc. Stretching can also help prevent injuries. Even small streches like jumping-jacks or stretching in the running position helps stretch out your hips for more flexibility.
QUESTION: How often do you stretch out – outside class time?
Eat right. A good diet (not one of the ones you go on to lose weight!) can make you a better dancer. The better you eat, the better you are.
QUESTION: Are you eating healthy or mostly junk food?
Exercise. Exercising can help you be a better dancer, too. Crunches can make jumps look stronger and make it easier to keep your balance on turns and steps that you have to hold.
QUESTION: How many crunches can you do at this time? What is your goal of how many crunches by the end of the season?
Do ballet. Whatever your choice of dance, ballet is the foundation of all dance. It can help improve your technique and your posture.
QUESTION: Do you appreciate ballet? As this article stated, your teacher says the same thing. Ballet is the foundation to all dances! If you stay focused on your ballet exercises, it will help you become a better dancer. Do you take your ballet exercises seriously? Do you practice ballet at home?
Work on your confidence. Even if you’re not out on that dance floor, roll your shoulders back and hold your head high, so you look confident on the stage, too. If you’re a competitive dancer, confidence helps boost your score.
QUESTION: How would you rate your confidence in dance? Low, Fair, or Good?
Mar 12, 2010 COMPETITION Tips & Advice, PERFORMANCE Tips & Advice Comments Off
STAGE MAKE UP BASICS
As performers, stage makeup becomes a big part of our onstage image. We can use makeup to accentuate the facial characteristics, or to change a face entirely. Makeup is needed for stage presence and visibility of expression. Here are some tips for on stage dancers:
* Red nail polish will show up on stage as black…nix the dark nail colors.
* For general ballet stage makeup; a bright red lipstick is necessary, any other color will get washed out. You can use red glitter on your lips as well.
* Eyes need to be widened and enlarged in most ballets. The use of false eyelashes is a good way to bring them out; use on top and bottom.
* spray glitter can be used on hair, it comes out as shine on the stage.
* Be sure to follow the exact instructions of your choreographer when applying your own makeup. What looks like too much up close, is sometimes not enough for the stage.
* Makeup needs to be worn to dress rehearsal for lighting and distance review…and for simple practice!
Dancers usually carry quite a makeup kit to performances. It is a good idea to buy all the emergency and preparation items beforehand, to assure everything runs smoothly.
Some items to include are:
Bobbie pins/hair accessories
Makeup
Glitter for hair and body
Hairspray
Petroleum jelly for teeth
Hair curlers and/or hot iron
Safety pins and sewing kit
Double stick tape/glue
Bandaids and ointment
Copy of the edited stage music for practice
Extra pair of tights & pointe/jazz/tap shoes
Performers put a lot into their dance preparation, so it’d be silly to have it all go awry over some sort of preparation issue! Stay on top of it and your last minutes back stage can be focused on your choreography instead of your mishaps.
HOMEWORK:
Show and talk to your parent about make up and kits for performance (this sheet). Talk with your parents about helping you put together a make up kit for your next performance. List below all the things you put together for your make up kit. NOTE: your make up kit should be separate from your play make up or regular wear make up.
Mar 12, 2010 DANCE Advice & Tips Comments Off
FOUR RITUALS HOW TO BECOME A BETTER DANCER
Stretch. We all stretch during warm-ups, to cool down, or if we feel pain or discomfort. But what about during your time off? Simply taking time when you’d normally be sitting on the couch and, instead, getting down into some simple floor stretches will do wonders for keeping (and improving) your flexibility. And make sure to do all of the stretches you know; repeating the easy ones over and over won’t help you and might even make you bored.
Learn. You mean you’ve never been to the ballet studio down the street? You’ve often seen the sign for Thursday night salsa, but always been afraid to go? Taking classes will not only work your body and improve your coordination, but it will also help train your brain to remember and retain choreography, which helps you learn more, faster. Classes also help dancers maintain a dance language; knowing and using the terminology often means more and better communication with teachers, choreographers and other dancers.
Practice. No one gets every step right the first time, but the good dancers keep practicing all the way home. This time, instead of throwing down your bag and feeling grateful that you have another week until you have to try again, make an effort to solve the problem immediately. Sometimes breathing and taking a moment to clear your head is all it takes to make the footwork come into focus. Then you can go back to class next week and be sure that you’ve gotten it right!
Watch. Sitcom writers learn from watching television; musicians learn from listening to the masters at work. Why wouldn’t dancers learn from watching as many other dancers as possible? Taped concerts, documentaries, even live performances are wonderful ways to better understand trends in the dance world and the abilities of other dancers out there. Who knows; maybe watching other dancers on stage might inspire you to action!
HOMEWORK: What are some of the things you lack or need to do more of to improve yourself as a dancer?
What are some of the things you currently do to improve yourself as a dancer?
Mar 12, 2010 COMPETITION Tips & Advice Comments Off
COMPETITION TIPS AND ADVICE
Many dancers go the route of competition in their dance careers. This is a great way to gain status and recognition in the dance world. Competition newcomers need to keep a few things in mind to optimize their competition opportunities:
Pre-competition and Rehearsal Basics
When you get feedback from teachers, make sure you take it serious and make the changes. Teachers only have your best interest in mind and want to see you succeed. They have experienced this all before so take their knowledge and use it.
Make sure your pre-competition activities aren’t injury inducing. This means no snow, contact or water sports!
Visualize your routine as many times as you can pre-competition. This is great form of practice and polish.
A well-rehearsed piece should fuse together like glue. There should be no steps, only an appearance of natural movement reaction to music.
QUESTION: Do you practice your competition routines weekly and weekends?
A dancer needs to bring a good attitude to rehearsals; this isn’t about winning or losing but about doing the best this team can possibly do. Work on a positive mind frame and a feeling of camaraderie.
Everyone involved in the competition should be aware of rules and regulations before the trip is made. Everyone also needs to be aware his or her schedule needs to be flexible at this time.
Sometimes it’s important to take a break for a day or two and step away from the choreography and preparation. Let it all sink in and come with a rested and fresh perspective.
QUESTION: Review the KKZ Competition Guidelines to give you a reminder what you must achieve not only during competition class and practice but any time you are in the KKZ dance room. Are there areas you are lacking?
Creativity Counts
A good exercise is to practice opposite emotions than what is set to the choreography. This brings out such a contrast that it sometimes highlights the polar emotions.
Visualize the audience and their reaction to the piece. This needs to be interesting to people of all backgrounds and experience.
Don’t forget Dynamics! Sometimes dancers get carried away with dancing ‘full out’ throughout the entire piece. Remember to highlight the peaks and valleys so the climax will appear as so.
Try setting a particular style of dance, to an opposing piece of music. Why not try ballet movement to hip hop music or vice versa?
Remember your true passion for dance, you’re there for you, not others. Dance out of your heart and you will be a truly unique performer.
QUESTION: Do you dance in just dance style or are you dancing in full performance style?
Presentation
How a dancer carries him/herself in the presence of the judges, is important from start to finish. Walk on the stage with confidence, hold your chin up and have an honest smile of appreciation on your face. Make eye contact with the audience and judges.
Props, hairpieces and costumes should be neat and groomed as well as secured tightly. Don’t let a loose bobby pin steal the show! When it comes to competition, teams are so polished that the smallest things can make a dancer stand out negatively… make sure your hair is secured and your costume pieces are on tight!
A complete package is essential to competition. This means good costumes, music, choreography, technical skills, dancers and personality.
QUESTION: Evaluate the routines you are currently practicing for competition. Is the music something unique at the time? Is the choreography using proper moves to express the music? Is the floor being used and dancers rotate at least two-four times? Have you added at least 75% technical moves to the routine?
Make sure you speak to the dance group as well as those who will be in the audience for your group. This needs to stay professional without inappropriate outbursts from the audience. This rates poorly with the judges.
Competition is usually the highlight of the season; morale needs to stay high. Winning isn’t everything, make sure this mindset is highlighted but not to the point of relaxation. All students should reach for the gold but if they don’t win, they need to take it as a learning experience. Not everyone will place as a finalist. When the competition is over, make sure to review judges’ notes. Also watch the performance and critique as well. Practice, polish and persevere!
QUESTION: Do you attend competition only for fun, do you attend only to win, or do you attend to challenge others of your skills and use the criticism by the judges to better yourself for the next year?
LOSING: We all know losing is no fun, but let’s pretend you are at competition and you found out you lost. How will you react? Do you think being disappointed, crying, or showing emotional distress will affect the team?
IF YOU LOSE
As a team if your team or routine loses, it will be a disappointment why? Because you worked hard all year to master the routine, technical, and dramatic of your dance. However, rather than being angry, upset, and overly emotional, just remember that not everyone can win all the time, sometimes we forget that we are dancers in training, and use the criticism provided by the judges to question yourself and your team members, what you may have improved, what was lacking, was every member in the team giving their best? Simple things like smiling, showmanship, or common errors or a team member lip singing or looking at another member during the routine can simple take you from first to third or third to fifth. The most important thing of all, remember there is always the next competition and always next year. LEARN FROM YOUR PREVIOUS YEAR MISTAKES!
Mar 12, 2010 TAP DANCE - Tips & Advice Comments Off
TAP DANCE PICK UP TIPS
For most of us, a Pickup (also known as pull backs) is a light, hopping step that has two sounds, done on the ball of the foot. For standard pickups, both feet take off with a brush back. Then you land on the balls of your feet at the same time. With practice, a pickup can also be done standing on one foot.
There are variations of the step of course, just like any step in tap dance. Four count (I’ve also heard them called delayed pickups) happen when one foot makes a brush, followed by the other. You then land on the first foot, and the other quickly lands after it.
However, you’ll discover the above technique has two major flaws.
The first problem? That brush back adds a “scrapey” sound. If you’ve been tap dancing for a while, you know the difference between a clear brush and a scrape. Listen to your shuffles; your taps should resonate with a crisp sound.
QUESTION: Make absolutely sure you know the difference between scraping and tapping. Do you know the difference?
The second problem?
Psychologically speaking, once you brush back, your body wants to put the foot down BEHIND you, instead of landing on your start position. This makes you travel backward (ever learned pickups traveling across the floor?) and makes it much more difficult to stay on the spot.
So how to avoid traveling, and make cleaner pickups? Follow these three steps:
* FIRST: Take lift off. JUMP. Don’t even think about the brush back. Spring off the balls of your feet, and only jump straight up in the air.
* SECOND: Once you’re in mid air, quickly tap on the way DOWN. You need to time that split second before gravity pulls you back down. Tap in the space before you land.
* LASTLY: Land on balls of your feet, making sure to bend your knees. NO HEELS! Always keep your weight on your toes.
This most likely involves reprogramming the physics that you’ve learned from previous teachers. Because tapping on the way DOWN requires a bit more stomach, thigh and shin muscle strength, as well as perfect timing. But it can be done.
Try this today, and make it a habit from now on.
The best way to perfect this is to sit in a chair, lift your feet off the floor by pushing off the balls of your feet, then tap, then land. Repeat. Once you get it, you’ll immediately hear and feel the difference in your technique.
HOMEWORK: Try the tip and exercise stated on this article. Have you noticed any difference in your tapping and pick up?
