{"id":1184,"date":"2020-09-22T13:31:31","date_gmt":"2020-09-22T12:31:31","guid":{"rendered":"https:\/\/blogs.glowscotland.org.uk\/gc\/createresources\/?page_id=443"},"modified":"2020-12-01T17:26:59","modified_gmt":"2020-12-01T17:26:59","slug":"glossary-dance","status":"publish","type":"page","link":"https:\/\/blogs.glowscotland.org.uk\/gc\/createresources\/glossary-dance\/","title":{"rendered":"Glossary of Dance Terms"},"content":{"rendered":"
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\n Glossary of Dance Terms <\/h3>\n
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\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
accent\u00a0<\/span><\/td>\na movement or shape performed in such a way as to give emphasis.\u00a0<\/span><\/td>\n<\/tr>\n
action\u00a0<\/span><\/td>\nwhat the body is doing; including locomotive and non-locomotive movements.\u00a0<\/span><\/td>\n<\/tr>\n
aesthetics\u00a0<\/span><\/td>\nstandards on which to make judgments about the artistic merit of a work of art; \u201cis the piece aesthetically pleasing?\u201d\u00a0<\/span><\/td>\n<\/tr>\n
alignment\u00a0<\/span><\/td>\nbody placement or posture; the relationship of the skeleton to the line of gravity and the base of support. Proper alignment lessens strain on muscles and joints and promotes dance skills.\u00a0<\/span><\/td>\n<\/tr>\n
balance\u00a0<\/span><\/td>\nEqual distribution of weight.\u00a0<\/span><\/td>\n<\/tr>\n
bases\u00a0<\/span><\/td>\nbody parts that support the rest of the body. For example, when standing, the feet are the body base; when kneeling, the knees are the body base.\u00a0<\/span><\/td>\n<\/tr>\n
binary form\u00a0<\/span><\/td>\ntwo-part structure; AB.\u00a0<\/span><\/td>\n<\/tr>\n
call and response\u00a0<\/span><\/td>\none soloist\/group performs, with the second soloist answering or entering in \u201cresponse.\u201d\u00a0<\/span><\/td>\n<\/tr>\n
canon\u00a0<\/span><\/td>\nchoreographic form that reflects the musical form of the same name, in which individuals and groups perform the same movement\/phrase beginning at different times.\u00a0<\/span><\/td>\n<\/tr>\n
classical dance\u00a0<\/span><\/td>\ndance that has been developed over time into highly stylised structures and forms within a culture.\u00a0<\/span><\/td>\n<\/tr>\n
compositional forms\u00a0<\/span><\/td>\nstructures of dance composition. Examples include:\u00a0<\/span><\/p>\n

\uf0b7 AB\u2014a form made up of two contrasting sections, each of which may or may not be repeated.\u00a0<\/span><\/p>\n

\uf0b7 ABA\u2014a three-part compositional form in which the second section contrasts with the first section. The third section is a restatement of the first section and can be in a condensed, abbreviated, or extended form.\u00a0<\/span><\/p>\n

\uf0b7 narrative\u2014choreographic structure that follows a specific story line to convey specific information through the story.\u00a0<\/span><\/td>\n<\/tr>\n

cool down\u00a0<\/span><\/td>\nFollowing dancing, the dancer should allow the body to gradually cool down. Abruptly stopping vigorous activity causes pooling of the blood,\u00a0<\/span><\/p>\n

sluggish circulation which hampers removal of waste products, cramping,\u00a0<\/span><\/p>\n

soreness and even fainting. Light activity and stretching after the dance class is\u00a0<\/span><\/p>\n

recommended.\u00a0<\/span><\/td>\n<\/tr>\n

dance criticism\u00a0<\/span><\/td>\nthe process and result of critical thinking about dance. It usually involves description, analysis, and interpretation of dance.\u00a0<\/span><\/td>\n<\/tr>\n
directions\u00a0<\/span><\/td>\nforward, backward, sideways, up and down.\u00a0<\/span><\/td>\n<\/tr>\n
dynamics\u00a0<\/span><\/td>\nthe dance element that relates to how a movement is done; movement quality.\u00a0<\/span><\/td>\n<\/tr>\n
elevation\u00a0<\/span><\/td>\nthe body\u2019s propulsion into the air away from the floor, such as a leap, hop, or jump.\u00a0<\/span><\/td>\n<\/tr>\n
ethnic dance\u00a0<\/span><\/td>\ndances that are usually created and performed by specific ethnic groups within societies or cultures.\u00a0<\/span><\/td>\n<\/tr>\n
expression\u00a0<\/span><\/td>\na process of conveying ideas, feelings, and meaning through the selective use of the communicative possibilities of dance.\u00a0<\/span><\/td>\n<\/tr>\n
focus\u00a0<\/span><\/td>\na central point or focus of attention in the movement space; the concentration, attention, or specific energy given to movement in space.\u00a0<\/span><\/td>\n<\/tr>\n
folk dances\u00a0<\/span><\/td>\ndances that are usually created and performed by specific groups within cultures.<\/span><\/td>\n<\/tr>\n
force\u00a0<\/span><\/td>\ndegree of muscular tension and use of energy while moving, such as heavy\/light, sharp\/smooth, tension\/relaxation, bound\/flowing. Tension\/relaxation: Tension feels hard and tight; relaxation feels soft and loose.\u00a0<\/span><\/td>\n<\/tr>\n
flow\u00a0<\/span><\/td>\nWhen energy is released freely, we describe the movement as free flowing. Energy can also be released in a controlled, restrained manner.\u00a0<\/span><\/td>\n<\/tr>\n
improvisation\u00a0<\/span><\/td>\nmovement that is created spontaneously, ranging from free form to highly structured, but always with an element of chance. Improvisation provides the dancer with the opportunity to bring together elements quickly and requires focus and concentration.\u00a0<\/span><\/td>\n<\/tr>\n
initiation\u00a0<\/span><\/td>\nthe point at which movement is said to originate. It particularly refers to specific body parts.\u00a0<\/span><\/td>\n<\/tr>\n
interpret\u00a0<\/span><\/td>\nthis process of responding to works of art identifies the ideas, feelings, moods, and overall meaning communicated by the work of art. It also calls for the investigation of the influence of time and place upon the artist who created the work.\u00a0<\/span><\/td>\n<\/tr>\n
kinaesthetic\u00a0<\/span><\/td>\nrefers to the ability of the body\u2019s sensory organs in the muscles, tendons, and joints to respond to stimuli while dancing or viewing a dance\u00a0<\/span><\/td>\n<\/tr>\n
landing\u00a0<\/span><\/td>\nthe manner and quality in which the body returns to earth following an action of elevation such as a leap, hop, or jump.\u00a0<\/span><\/td>\n<\/tr>\n
levels\u00a0<\/span><\/td>\nthe vertical distance from the floor. Movements take place on three levels: high, middle, and low or deep level.\u00a0<\/span><\/td>\n<\/tr>\n
locomotive\u00a0<\/span><\/td>\nmovements that travel from one location to another. Examples include:\u00a0<\/span><\/p>\n

\uf0b7 walk: steps from one foot to the other, with the weight being transferred from heel to toe.\u00a0<\/span><\/p>\n

\uf0b7 run: steps from one foot to another performed at a relatively fast tempo.\u00a0<\/span><\/p>\n

\uf0b7 hop: a movement whereby the body is propelled through space by springing from one foot and landing on the same foot.\u00a0<\/span><\/p>\n

\uf0b7 jump: a movement whereby the body is propelled through space by springing from two feet and landing on two feet.\u00a0<\/span><\/p>\n

\uf0b7 leap: a movement whereby the body is propelled through space by springing from one foot and landing on the other foot.\u00a0<\/span><\/p>\n

\uf0b7 gallop: a sliding step whereby the body is propelled through space in an uneven rhythm, so the same foot is always leading.\u00a0<\/span><\/p>\n

\uf0b7 skip: a step and a hop, alternating feet.\u00a0<\/span><\/td>\n<\/tr>\n

movement quality\u00a0<\/span><\/td>\nthe identifying attributes created by the gathering, release, follow-through, and energy in the body, which are key to making movement expressive. Typical terms denoting movement quality include, but are not limited to, smooth, sustained and percussive.\u00a0<\/span><\/td>\n<\/tr>\n
movement theme\u00a0<\/span><\/td>\na complete idea in movement that is manipulated and developed within a dance.\u00a0<\/span><\/td>\n<\/tr>\n
musicality\u00a0<\/span><\/td>\nthe attention and sensitivity to the musical elements of dance while creating or performing.\u00a0<\/span><\/td>\n<\/tr>\n
narrative\u00a0<\/span><\/td>\nfollowing a storyline through dance,\u00a0<\/span><\/td>\n<\/tr>\n
non-locomotive\u00a0<\/span><\/td>\nmovement that is performed around the axis of the body rather than designed for travel from place to place, such as bend and stretch, push and pull, rise and sink, swing and sway, twist and turn, shake; also called axial movements.\u00a0<\/span><\/td>\n<\/tr>\n
parallel\u00a0<\/span><\/td>\nFeet in anatomical position, knees in line with arches of feet and directly under hip joint, fist width apart, \u2018train tracks\u2019<\/span><\/td>\n<\/tr>\n
pattern\u00a0<\/span><\/td>\na repetition of lines, shapes, and\/or movements that results in a spatial or movement design. patterns we make as we move through the air or around the floor (i.e., straight, vertical, horizontal, zigzag). Can be made with locomotor or non-locomotor movements, separately or in combination.\u00a0<\/span><\/td>\n<\/tr>\n
phrase\u00a0<\/span><\/td>\na brief sequence of related movements that has a sense of rhythmic completion.\u00a0<\/span><\/td>\n<\/tr>\n
purpose\u00a0<\/span><\/td>\nthe intended function of a dance within its cultural and\/or aesthetic contexts.\u00a0<\/span><\/td>\n<\/tr>\n
repetition\u00a0<\/span><\/td>\na choreographic device whereby a movement or motif are repeated exactly for\u00a0<\/span><\/p>\n

emphasis.\u00a0<\/span><\/td>\n<\/tr>\n

rondo form\u00a0<\/span><\/td>\na dance structure with three or more themes where one theme is repeated; ABACAD \u2026\u00a0<\/span><\/td>\n<\/tr>\n
shape\u00a0<\/span><\/td>\nthe form created by the body\u2019s position in space. Aspects of shape are open\/closed, symmetrical\/asymmetrical, angular\/curved.\u00a0<\/span><\/td>\n<\/tr>\n
space\u00a0<\/span><\/td>\nincludes directions, size, levels, and shapes.\u00a0<\/span><\/p>\n

\uf0b7 general space\u2014the dance area.\u00a0<\/span><\/p>\n

\uf0b7 personal space \u2014the area of space occupied by the dancer\u2019s body.\u00a0<\/span><\/p>\n

\uf0b7 size\u2014the magnitude of a body shape or movement, from small to large.\u00a0<\/span><\/td>\n<\/tr>\n

style\u00a0<\/span><\/td>\na distinctive manner of moving or dancing; the characteristic way a dance is done, created, or performed that identifies the dance of a particular performer, choreographer, culture, or period.\u00a0<\/span><\/td>\n<\/tr>\n
symmetry\u00a0<\/span><\/td>\na balanced, even design of shapes and\/or movements in space.\u00a0<\/span><\/td>\n<\/tr>\n
Tension\/relaxation (release)\u00a0<\/span><\/td>\ntense movements feel hard and tight; relaxed movements feel soft, loose, and flowing.\u00a0<\/span><\/td>\n<\/tr>\n
tertiary form\u00a0<\/span><\/td>\nthree-part structure; ABA.\u00a0<\/span><\/td>\n<\/tr>\n
time\u00a0<\/span><\/td>\nincludes duration, tempo, and beat.\u00a0<\/span><\/p>\n

\uf0b7 duration\u2014the length of time a movement lasts.\u00a0<\/span><\/p>\n

\uf0b7 tempo\u2014the speed with which a movement is performed.\u00a0<\/span><\/p>\n

\uf0b7 beat\u2014the underlying rhythmic pulse.\u00a0<\/span><\/p>\n

\uf0b7 time signature: a written symbol in music that denotes a metric rhythm; for example, 3\/4, 4\/4.\u00a0<\/span><\/td>\n<\/tr>\n

turned out\u00a0<\/span><\/td>\nterm used to describe a dance position in which you stand with your legs and\u00a0<\/span><\/p>\n

feet facing outwards. Your feet may be either together or apart. Rotation of the\u00a0<\/span><\/p>\n

thigh bone in the hip socket. All rotations are functional and should occur at the\u00a0<\/span><\/p>\n

hip. The lower leg and foot remain aligned with the femur.\u00a0<\/span><\/td>\n<\/tr>\n

unison\u00a0<\/span><\/td>\ntwo or more people performing the same movement at the same time.\u00a0<\/span><\/td>\n<\/tr>\n
warm-up\u00a0<\/span><\/td>\nmovements and\/or movement phrases designed to raise the core body temperature and bring the mind into focus for the dance activities that follow.\u00a0<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
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\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/section>\n","protected":false},"excerpt":{"rendered":"

Glossary of Dance Terms accent\u00a0 a movement or shape performed in such a way as to give emphasis.\u00a0 action\u00a0 what the body is doing; including locomotive and non-locomotive movements.\u00a0 aesthetics\u00a0 standards on which to make judgments about the artistic merit of a work of art; \u201cis the piece aesthetically pleasing?\u201d\u00a0 alignment\u00a0 body placement or posture; …<\/p>\n","protected":false},"author":10538,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"template-builder.php","meta":{"footnotes":""},"class_list":["post-1184","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.glowscotland.org.uk\/gc\/createresources\/wp-json\/wp\/v2\/pages\/1184","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.glowscotland.org.uk\/gc\/createresources\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogs.glowscotland.org.uk\/gc\/createresources\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.glowscotland.org.uk\/gc\/createresources\/wp-json\/wp\/v2\/users\/10538"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.glowscotland.org.uk\/gc\/createresources\/wp-json\/wp\/v2\/comments?post=1184"}],"version-history":[{"count":5,"href":"https:\/\/blogs.glowscotland.org.uk\/gc\/createresources\/wp-json\/wp\/v2\/pages\/1184\/revisions"}],"predecessor-version":[{"id":1375,"href":"https:\/\/blogs.glowscotland.org.uk\/gc\/createresources\/wp-json\/wp\/v2\/pages\/1184\/revisions\/1375"}],"wp:attachment":[{"href":"https:\/\/blogs.glowscotland.org.uk\/gc\/createresources\/wp-json\/wp\/v2\/media?parent=1184"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}