Rory Foster
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034591
- eISBN:
- 9780813046297
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034591.003.0002
- Subject:
- Music, Dance
This chapter traces the historical development of ballet pedagogy, covering ballet in Russia, the Italian influence, ballet in the Soviet Union, the Royal Academy of Dancing, August Bournonville, ...
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This chapter traces the historical development of ballet pedagogy, covering ballet in Russia, the Italian influence, ballet in the Soviet Union, the Royal Academy of Dancing, August Bournonville, George Balanchine, the American Ballet Theatre National Training Curriculum, and Romantic ballet and the introduction of pointe dancing.Less
This chapter traces the historical development of ballet pedagogy, covering ballet in Russia, the Italian influence, ballet in the Soviet Union, the Royal Academy of Dancing, August Bournonville, George Balanchine, the American Ballet Theatre National Training Curriculum, and Romantic ballet and the introduction of pointe dancing.
Rory Foster
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034591
- eISBN:
- 9780813046297
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034591.001.0001
- Subject:
- Music, Dance
There are many different methods for teaching classical ballet—Bournonville, Vaganova, Cecchetti—the Royal Academy of Dancing being the most widely known. All of these methods are effective tools for ...
More
There are many different methods for teaching classical ballet—Bournonville, Vaganova, Cecchetti—the Royal Academy of Dancing being the most widely known. All of these methods are effective tools for presenting the technique and art of ballet. Knowing how to use these tools successfully requires more than being a devotee of the technique; it also requires the mastering of various skills. In this book, the author aims to share his extensive knowledge of how to teach rather than focus exclusively on what to teach, arguing that it is not enough for a ballet teacher to be well trained in technique, but that he or she must also know how to utilize pedagogical skills. The book is appropriate for either followers of a single methodology or for those who have adopted a more eclectic approach to technique. The author believes that effective teaching skills—proper demonstration, counting, correcting, musicality, anatomical approach, etc.—do not come automatically just because one has trained as a dancer. He covers all areas involving dance, from history to injury prevention, from anatomy and kinesiology to vocabulary and music, and even offers pragmatic advice on the business of starting a dance school.Less
There are many different methods for teaching classical ballet—Bournonville, Vaganova, Cecchetti—the Royal Academy of Dancing being the most widely known. All of these methods are effective tools for presenting the technique and art of ballet. Knowing how to use these tools successfully requires more than being a devotee of the technique; it also requires the mastering of various skills. In this book, the author aims to share his extensive knowledge of how to teach rather than focus exclusively on what to teach, arguing that it is not enough for a ballet teacher to be well trained in technique, but that he or she must also know how to utilize pedagogical skills. The book is appropriate for either followers of a single methodology or for those who have adopted a more eclectic approach to technique. The author believes that effective teaching skills—proper demonstration, counting, correcting, musicality, anatomical approach, etc.—do not come automatically just because one has trained as a dancer. He covers all areas involving dance, from history to injury prevention, from anatomy and kinesiology to vocabulary and music, and even offers pragmatic advice on the business of starting a dance school.
Jessica Zeller
- Published in print:
- 2013
- Published Online:
- May 2013
- ISBN:
- 9780199939985
- eISBN:
- 9780199333134
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199939985.003.0014
- Subject:
- Music, Dance
“Developing the American Ballet Dancer: The Pedagogical Lineage of Rochelle Zide-Booth” identifies Zide-Booth as a representative teacher of American ballet. Her role in helping to develop an ...
More
“Developing the American Ballet Dancer: The Pedagogical Lineage of Rochelle Zide-Booth” identifies Zide-Booth as a representative teacher of American ballet. Her role in helping to develop an eclectic approach to American ballet training stemmed from her desire to resolve her own physical contradictions. Ballet pedagogy is often treated as a homogeneous entity; teachers’ individual contributions to the larger tradition of classical dance training are often overlooked. In identifying Zide-Booth's unique contributions, this chapter complicates the notion that classical ballet tradition exists as an unbroken, monolithic teaching practice. Instead, it insists on the fluidity, heterogeneity and capaciousness of that tradition.Less
“Developing the American Ballet Dancer: The Pedagogical Lineage of Rochelle Zide-Booth” identifies Zide-Booth as a representative teacher of American ballet. Her role in helping to develop an eclectic approach to American ballet training stemmed from her desire to resolve her own physical contradictions. Ballet pedagogy is often treated as a homogeneous entity; teachers’ individual contributions to the larger tradition of classical dance training are often overlooked. In identifying Zide-Booth's unique contributions, this chapter complicates the notion that classical ballet tradition exists as an unbroken, monolithic teaching practice. Instead, it insists on the fluidity, heterogeneity and capaciousness of that tradition.
Rory Foster
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034591
- eISBN:
- 9780813046297
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034591.003.0003
- Subject:
- Music, Dance
There are multiple approaches to teaching ballet according to traditional methods or schools. Each method follows a sequentially progressive syllabus for each year or level of instruction that ...
More
There are multiple approaches to teaching ballet according to traditional methods or schools. Each method follows a sequentially progressive syllabus for each year or level of instruction that addresses the training goals and objectives from which barre and center exercises are constructed and taught. When the lesson plans are methodically designed and taught effectively, the goals become self-evident. Knowing these goals and having access to any one of these syllabi will be extremely helpful as a reference point or guide for teachers developing their own syllabus. Without this, they will have to construct their own. This chapter is a guide on how to do this. Topics covered include constructing your class, sequencing the barre exercises, barre exercises, center floor work, and notating your class.Less
There are multiple approaches to teaching ballet according to traditional methods or schools. Each method follows a sequentially progressive syllabus for each year or level of instruction that addresses the training goals and objectives from which barre and center exercises are constructed and taught. When the lesson plans are methodically designed and taught effectively, the goals become self-evident. Knowing these goals and having access to any one of these syllabi will be extremely helpful as a reference point or guide for teachers developing their own syllabus. Without this, they will have to construct their own. This chapter is a guide on how to do this. Topics covered include constructing your class, sequencing the barre exercises, barre exercises, center floor work, and notating your class.
Rory Foster
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034591
- eISBN:
- 9780813046297
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034591.003.0007
- Subject:
- Music, Dance
This chapter discusses teaching techniques for ballet teachers. It covers directions of the body in presenting and viewing ballet; teaching and demonstrating; mirroring; cueing and counting; giving ...
More
This chapter discusses teaching techniques for ballet teachers. It covers directions of the body in presenting and viewing ballet; teaching and demonstrating; mirroring; cueing and counting; giving corrections; pacing; using voice, demeanor, and energy level; using music effectively; teaching through touch; and teaching with imagery.Less
This chapter discusses teaching techniques for ballet teachers. It covers directions of the body in presenting and viewing ballet; teaching and demonstrating; mirroring; cueing and counting; giving corrections; pacing; using voice, demeanor, and energy level; using music effectively; teaching through touch; and teaching with imagery.
Charles M. Joseph
- Published in print:
- 2002
- Published Online:
- October 2013
- ISBN:
- 9780300087123
- eISBN:
- 9780300129342
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300087123.003.0007
- Subject:
- Society and Culture, Cultural Studies
This chapter tells the story of Kirstein's military discharge in late 1945, at which time he rekindled his wide-eyed 1933 dream with resurgent optimism. With an unswayable, noblesse-oblige mission of ...
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This chapter tells the story of Kirstein's military discharge in late 1945, at which time he rekindled his wide-eyed 1933 dream with resurgent optimism. With an unswayable, noblesse-oblige mission of bringing classical ballet to the people, Kirstein proposed to capitalize upon the lessons learned from the troubled American Ballet affiliation with the Metropolitan Opera. Yet whatever Kirstein's “reckless” aspirations for the future, his recent past had nothing to do with what Balanchine had been experiencing back in the United States. Kirstein had clung to his dream while serving the war effort in Europe; however, the vicissitudes of Balanchine's artistic endeavors in New York had led the choreographer to a hard-edged sense of commercial realism, as well as to new personal relationships that were reshaping his thinking.Less
This chapter tells the story of Kirstein's military discharge in late 1945, at which time he rekindled his wide-eyed 1933 dream with resurgent optimism. With an unswayable, noblesse-oblige mission of bringing classical ballet to the people, Kirstein proposed to capitalize upon the lessons learned from the troubled American Ballet affiliation with the Metropolitan Opera. Yet whatever Kirstein's “reckless” aspirations for the future, his recent past had nothing to do with what Balanchine had been experiencing back in the United States. Kirstein had clung to his dream while serving the war effort in Europe; however, the vicissitudes of Balanchine's artistic endeavors in New York had led the choreographer to a hard-edged sense of commercial realism, as well as to new personal relationships that were reshaping his thinking.
Rory Foster
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034591
- eISBN:
- 9780813046297
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034591.003.0010
- Subject:
- Music, Dance
This chapter presents some concluding thoughts from the author. He says that there are intrinsic characteristics or qualities in his training, both in technique and performance, which go far beyond ...
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This chapter presents some concluding thoughts from the author. He says that there are intrinsic characteristics or qualities in his training, both in technique and performance, which go far beyond merely training the body and mind to dance. Training in ballet prepares dancers for performing careers, albeit relatively short ones, and also prepares them for life. It offers them what entrepreneurs possess, and what corporate, educational, research, and nonprofit enterprises seek in future associates and executives.Less
This chapter presents some concluding thoughts from the author. He says that there are intrinsic characteristics or qualities in his training, both in technique and performance, which go far beyond merely training the body and mind to dance. Training in ballet prepares dancers for performing careers, albeit relatively short ones, and also prepares them for life. It offers them what entrepreneurs possess, and what corporate, educational, research, and nonprofit enterprises seek in future associates and executives.
Rory Foster
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034591
- eISBN:
- 9780813046297
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034591.003.0004
- Subject:
- Music, Dance
Every ballet teacher should have a fundamental understanding of the musculoskeletal system and the biomechanics of human movement as it pertains to dance. Precise execution of a movement requires ...
More
Every ballet teacher should have a fundamental understanding of the musculoskeletal system and the biomechanics of human movement as it pertains to dance. Precise execution of a movement requires correct technique, which in turn requires accurate posture and placement in balancing and counterbalancing. This is paramount, because once muscle memory—physical habit—is established through repetition, it is difficult to undo. Anatomy books have been written for dancers and teachers that should be on every teacher's bookshelf for easy reference. This chapter aims to reinforce and emphasize important points regarding muscular and skeletal functions as they apply to correct dance training, as well as to highlight certain areas that are particularly vulnerable to dance injuries.Less
Every ballet teacher should have a fundamental understanding of the musculoskeletal system and the biomechanics of human movement as it pertains to dance. Precise execution of a movement requires correct technique, which in turn requires accurate posture and placement in balancing and counterbalancing. This is paramount, because once muscle memory—physical habit—is established through repetition, it is difficult to undo. Anatomy books have been written for dancers and teachers that should be on every teacher's bookshelf for easy reference. This chapter aims to reinforce and emphasize important points regarding muscular and skeletal functions as they apply to correct dance training, as well as to highlight certain areas that are particularly vulnerable to dance injuries.
Rory Foster
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034591
- eISBN:
- 9780813046297
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034591.003.0005
- Subject:
- Music, Dance
This chapter discusses musical accompaniment for dance. Mastering the use of musical accompaniment can be the single most difficult aspect of teaching for most pedagogy students and young teachers. ...
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This chapter discusses musical accompaniment for dance. Mastering the use of musical accompaniment can be the single most difficult aspect of teaching for most pedagogy students and young teachers. There are two forms of accompaniment used for ballet class: recorded piano music on CD and live piano. Both forms have their advantages and disadvantages, and teachers usually prefer one over the other. Musicality in dance means that an integral relationship exists between music and movement. It can be simple and literal or, in the case of certain choreographic performances, sophisticated and abstract. By utilizing the subtlety of nuance in phrasing and counterpoint, this partnership offers many possibilities in movement qualities and textures.Less
This chapter discusses musical accompaniment for dance. Mastering the use of musical accompaniment can be the single most difficult aspect of teaching for most pedagogy students and young teachers. There are two forms of accompaniment used for ballet class: recorded piano music on CD and live piano. Both forms have their advantages and disadvantages, and teachers usually prefer one over the other. Musicality in dance means that an integral relationship exists between music and movement. It can be simple and literal or, in the case of certain choreographic performances, sophisticated and abstract. By utilizing the subtlety of nuance in phrasing and counterpoint, this partnership offers many possibilities in movement qualities and textures.
Rory Foster
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034591
- eISBN:
- 9780813046297
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034591.003.0009
- Subject:
- Music, Dance
Many private studio teachers prefer to work for an employer rather than cope with all of the responsibilities of owning their own business. But for entrepreneurial-minded teachers, this chapter is ...
More
Many private studio teachers prefer to work for an employer rather than cope with all of the responsibilities of owning their own business. But for entrepreneurial-minded teachers, this chapter is devoted to opening and operating a dance school enterprise. It discusses how to lay the groundwork, location and demographics, and creating a business plan.Less
Many private studio teachers prefer to work for an employer rather than cope with all of the responsibilities of owning their own business. But for entrepreneurial-minded teachers, this chapter is devoted to opening and operating a dance school enterprise. It discusses how to lay the groundwork, location and demographics, and creating a business plan.
Rory Foster
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034591
- eISBN:
- 9780813046297
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034591.003.0008
- Subject:
- Music, Dance
Ballet is highly cultured and sophisticated in its technical demands. For accuracy of execution, each step in its vocabulary requires that the legs and feet be turned out, and that there be excellent ...
More
Ballet is highly cultured and sophisticated in its technical demands. For accuracy of execution, each step in its vocabulary requires that the legs and feet be turned out, and that there be excellent flexibility in the hips and torso. Therefore, ballet requires a body that is strong and supple, and one which has the ability to shape itself and move in accordance with classic line and technique. Students develop increased flexibility in the legs, feet, and torso by gradually coaxing their bodies to flex, extend, and rotate. However, not all students are successful in accomplishing this goal because, even at a young age, their bodies are not naturally and easily responsive to the demands of ballet. Some students find that they need to use excessive, perpetually held force to hold and control positions, and this can result in various types of injuries. This chapter discusses aches and pains, treating injuries, and nutrition and eating disorders.Less
Ballet is highly cultured and sophisticated in its technical demands. For accuracy of execution, each step in its vocabulary requires that the legs and feet be turned out, and that there be excellent flexibility in the hips and torso. Therefore, ballet requires a body that is strong and supple, and one which has the ability to shape itself and move in accordance with classic line and technique. Students develop increased flexibility in the legs, feet, and torso by gradually coaxing their bodies to flex, extend, and rotate. However, not all students are successful in accomplishing this goal because, even at a young age, their bodies are not naturally and easily responsive to the demands of ballet. Some students find that they need to use excessive, perpetually held force to hold and control positions, and this can result in various types of injuries. This chapter discusses aches and pains, treating injuries, and nutrition and eating disorders.
Rory Foster
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034591
- eISBN:
- 9780813046297
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034591.003.0006
- Subject:
- Music, Dance
This chapter discusses class levels, the student–teacher relationship, and establishing good technical habits. Dance schools usually divide students into four categories based on age: primary or ...
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This chapter discusses class levels, the student–teacher relationship, and establishing good technical habits. Dance schools usually divide students into four categories based on age: primary or predance (below the age of 6), preadolescent (ages 6–10), early adolescent (ages 11–15), and late adolescent through adult (ages 16 and up). Developing a relationship with students, especially in a preprofessional environment, is the first step to mastering the training process. It is an equal partnership, in which the teacher and student each have a designated responsibility to recognize and fulfill. Dancers develop a highly complex system of movement habits. Once a bad habit has been established, it can be hard to undo. This is why it is so important to establish correct technique and placement at the outset.Less
This chapter discusses class levels, the student–teacher relationship, and establishing good technical habits. Dance schools usually divide students into four categories based on age: primary or predance (below the age of 6), preadolescent (ages 6–10), early adolescent (ages 11–15), and late adolescent through adult (ages 16 and up). Developing a relationship with students, especially in a preprofessional environment, is the first step to mastering the training process. It is an equal partnership, in which the teacher and student each have a designated responsibility to recognize and fulfill. Dancers develop a highly complex system of movement habits. Once a bad habit has been established, it can be hard to undo. This is why it is so important to establish correct technique and placement at the outset.
