NATIONAL QUALIFICATIONS CURRICULUM SUPPORT
Dance
Technique and Choreography
Advice and Guidance for
Practitioners
[NATIONAL 5]
This advice and guidance has been produced to support the profession with the
delivery of courses which are either new or which have aspects of significant change
within the new national qualifications (NQ) framework.
The advice and guidance provides suggestions on approaches to learning and
teaching. Practitioners are encouraged to draw on the materials for their own part of
their continuing professional development in introducing new national qualifications
in ways that match the needs of learners.
Practitioners should also refer to the course and unit specifications and support notes
which have been issued by the Scottish Qualifications Authority.
http://www.sqa.org.uk/sqa/34714.html
Acknowledgement
© Crown copyright 2012. You may re-use this information (excluding logos) free of charge in
any format or medium, under the terms of the Open Government Licence. To view this licence,
visit http://www.nationalarchives.gov.uk/doc/open-government-licence/ or e-mail:
psi@nationalarchives.gsi.gov.uk.
Where we have identified any third party copyright information you will need to obtain
permission from the copyright holders concerned.
Any enquiries regarding this document/publication should be sent to us at
enquiries@educationscotland.gov.uk.
This document is also available from our website at www.educationscotland.gov.uk.
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Contents
Introduction
Skills and knowledge covered in this course
Curriculum for Excellence
Approaches to learning and teaching dance
Advice and guidance on lesson structure
National 5 Dance Assessment: summary
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5
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6
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Suggested approaches to learning and teaching contemporary dance
Contemporary dance videos: guidance for practitioners
10
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Suggested approaches to learning and teaching jazz dance
Jazz dance videos: guidance for practitioners
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Glossary
31
Resources
33
Summary comparison of dance course
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INTRODUCTION
Introduction
This material should be read in conjunction with the National 5 Dance Course
Specification and National 5 Dance Course and Unit Support Notes, which
are both available to download from the SQA’s website (www.sqa.org.uk).
The advice and guidance provided in this resource will be useful in
supporting the development of dance within the curriculum in the secondary
school environment, particularly where there is interest and expertise.
This material has been developed to provide advice and guidance to support
the teaching and development of technical skills in contemporary and jazz
dance. In the National 5 Dance course these techniques will be applied to the
solo performance in one chosen dance styl e. The final assessment will take
the form of a visiting assessment, further details of which are provided within
this introduction and also within the National 5 Dance Course As sessment
Specification, which is available to download from SQA’s website
(www.sqa.org.uk).
Techniques in dance form the movement vocabulary of the activity, just as
skills in basketball, badminton and football form movement vocabulary ,
which is then applied in the nature and context of the activities.
In dance, learners initially gain expertise in discrete techniques , which are
then combined into longer motifs and finally a practitioner-led choreographed
piece of dance.
To this end, the teaching of dance should always strive towards accurate and
safe practice. Learners should be encouraged to develop knowledge of a range
of techniques and understanding of the features of good practice.
As learners progress through this course, they should work towards
continually refining techniques to ensure a quality performance and an
effective outcome in the final assessment.
This material offers guidance for practitioners, using the videos produced by
Education Scotland for the Higher Dance Practice course. These videos show
some of the basic techniques in contemporary and jazz dance. The techniques
shown in both dance genres make up the core essential
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INTRODUCTION
elements necessary to develop good practice within the full vocabulary of
these styles. Further information on the techniques in classical dance can be
found in the Higher Dance Practice videos on classical dance and in the
Higher Dance Course Support Notes, available to download from the SQA’s
website (www.sqa.org.uk). This material on contemporary and jazz dance
also provides guidance on structure, a glossary of techniques, terms in both
contemporary and jazz dance, and advice on sources of further reading
material and sources that can provide examples of dance performance. The
suggestions, whilst not prescriptive, do give an example of the structure that
could be used in the delivery of dance. This resource will develop a
knowledge base of technique and an understanding of the principles relevant
to the teaching of dance.
Skills and knowledge covered in this course
Through participation in this course learners will develop:
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knowledge and understanding of a range of dance styles
specific knowledge and expertise in the development of dance techniques
an understanding of safe and effective practice
knowledge of the application of techniques in motif de velopment
an understanding of the application of techniques in the interpretation of
music/stimulus
an ability to work and engage with others in dance performance
an understanding of the process of evaluating and refining performance
experience in evaluating the work of others and understanding good
practice
literacy through understanding, communicating and recording using
subject-specific vocabulary.
Curriculum for Excellence
Dance, and the process of learning dance, contributes significantly to the
progressive development of the capacities, features and attributes promoted
by Curriculum for Excellence, not only within the four capacities but also in
relation to skills for learning, life and work, further details of which can be
found in the SQA’s document Skills Framework: Skills for Learning, Skills
for Life, and Skills for Work.
Dance provides learners with active experience of:
 listening and focussing on specific tasks
 implementing and completing tasks to the best of their ability
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INTRODUCTION
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working with others
accepting feedback and refining performance
target setting and monitoring of performance
contributing ideas in groups/teams
accepting ideas from others
using technology to further knowledge and research .
Dance affords learners the opportunity to develop high-order skills such as
analysis and evaluation, and creativity. Through the approach of
personalisation and choice, learners gain expertise in identifying specific
areas for improvement and consideration of strategies to inform and develop
performance. In learning technical skills in dance, there is often the
opportunity to select appropriate combinations of techniques and
development motifs.
Approaches to learning and teaching dance
When planning a dance session, it is important to select and pre pare both a
stimulus and music according to the genre and the qualities required.
Classes in all styles of dance should, where possible, be carried out in an
appropriate and ventilated area with a sprung floor. Although not always
possible, a mirrored wall provides the dancer with instant feedback to allow
correction of technique and engagement with others in the class when
working in unison.
Care should be taken to advise learners to wear clothes that will allow
freedom without hindering or restricting movement. Appropriate footwear
should be worn to allow for effective execution of techniques, particularly in
travelling.
Advice and guidance on structure
Classes in both contemporary and jazz dance can often follow the pattern
below. Barre work, a feature of classical dance, may also be included.
Examples for each area of the session have been given using techniques in
contemporary dance. Further details of techniques in other dance genres are
listed in the National 5 Dance: Unit Support Notes – Technical Skills, which
is available to download from the SQA’s website (www.sqa.org.uk).
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INTRODUCTION
Structure
Suggested techniques
Head movements to right, left, up, down
Warm-up
Shoulder circles, arm circles
Roll down and up
Swings, back rotations
Centre techniques
Pliés, tendus, high release, contractions, lateral
stretches, lateral spine curves, turns, lunges
Floor techniques
Sitting to high release, tilts, curves forward, spirals,
floor balances, hip rolls, transitions from standing to
floor
Travelling/crossfloor
Runs, triples, leaps, turns
Combining travelling steps such as four triples, four
runs then two step leaps
Combinations
Motifs/dance
rehearsal
Cool down
Combining centre and floor: pliés into contraction to
high release, sink to floor, hip roll into balance into
sitting curve forward into spiral
This part of the class allows learners to practise work
they have done earlier or in a previous class
It also allows time for rehearsal
Before leaving class, learners should be given time to
slow down and stretch the main muscle groups
Practitioners will find it useful to observe examples of good practice in
dance. There is a wealth of material available on You Tube that provides
examples of both techniques and dances using these techniques. Practitioners
should be mindful, however, of the local, college or school authority
procedures relating to e-safety.
A list of resources is available in the National 5 Dance Course Support Notes ,
which are available to download from the SQA website (www.sqa.org.uk).
This material provides guidance for practitioners on the teaching of the
discrete skills shown in the videos. There is also some exemplification of
combined techniques.
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INTRODUCTION
Initial presentation of dance techniques will use direct interactive teaching,
providing the learner with the opportunity to develop technical expertise and
knowledge of good practice. Later on in the course, as the leaner progresses
and develops techniques, it is sometimes useful for the practitioner to
withdraw this and allow the learner to develop kinaesthetic awareness of the
quality of their work.
This strategy is particularly helpful when preparing for final assessment.
Practice at performing solo is essential in order to gain the required
confidence for effective and successful performance in the final assessment.
National 5 Dance Assessment: summary
Full details of both unit and course assessments are available in the
documents National 5 Dance Course Support Notes and National 5 Dance
Course Assessment Specification, which are both available to download from
the SQA’s website (www.sqa.org.uk).
Assessment in National 5 Dance takes the form of unit assessment and course
assessment. The summary information below provides practitioners with a
clear statement of the assessment demands of National 5 Dance.
Unit assessment will gather evidence of the learner’s knowledge and
understanding of a specific dance genre, and the social and cultural
influences on that dance genre. Progress on the development of technical
skills, the use of safe dance practice and the ability to apply techniques to
perform a sequence in two dance styles will also be internally assessed.
When delivering this course practitioners should endeavour to develop
approaches that will allow learners to fulfil the required elemen ts for
assessment, whether written, oral or practical.
Final course assessment involves the performance of a solo in one dance
genre. This solo is created by the centre, must last a minimum of 1.5 minutes
and be within SQA guidelines. It is assessed using visiting assessors
appointed by SQA.
Having developed technical expertise, in conjunction with the good practice
demonstrated in this resource, centres should create a dance for final
assessment that encompasses the strengths of their learners. Care should be
taken to provide ample opportunity for leaners to memorise and practise the
dance, and to gain confidence in performing solo.
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On the day of assessment learners will perform solo in front of their
practitioner and the visiting assessor, who together mark each learner.
Discussion after each performance determines the final mark out of a possible
35 marks. The solo performance is only one part of the final assessment. The
performance of a choreography for two dancers (35 marks) and a support log
for that choreography (30 marks) provide the remaining elements of
assessment.
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SUGGESTED APPROACHES TO LEARNING AND TEACHING
Suggested approaches to learning and teaching
contemporary dance
Learning techniques in dance disciplines and prepares the body to execute
moves and create dance within any dance genre .
Contemporary dance uses these techniques to provide a safe platform for the
improvisation and development of original chore ography.
The videos in this material provide the practitioner/learner with model
performances of some of the basic elements of dance, accompanied by a
detailed voice-over explaining how to perform the techniques safely and
accurately.
Contemporary dance videos
1.
Posture, alignment and centre
2.
Centre work – contemporary pliés
Tendus with pliés
Parallel pliés in contraction
Combining parallel and turned-out pliés with parallel pliés in
contraction
3.
Floor work – high release
Spirals
Combining contraction, high release and spirals
Side falls with recovery
4.
Movement and travelling
Triplets
Runs
Leaps
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Contemporary dance videos: guidance for practitioners
These notes provide a summary description of the required features for each
technique, supporting the exemplification in the videos. The notes can be
used by practitioners to provide information to learners regarding good
practice.
1.
Posture, alignment and centre
Prior to moving, the young dancer must learn how to stand. When this
discipline is learned at the start, it becomes an automatic feature of any
movement in dance. Poor posture and alignment should be corrected
immediately it is observed.
Finding the position
 Stand with feet in parallel, with the weight on the whole of each foot
 Knees are centred over each foot
 Front thigh muscles (quadriceps) are gently activated to maintain good leg
positioning
 The pelvis faces squarely forward, centred over the knees and feet
 Abdominal muscles should lift and tighten, ensuring a strong core
 The centre of gravity centres between both feet
 Shoulders pull back slightly, lifting the sternum
 Neck is lengthened comfortably
 Head is centred above the spine, eyes look straight forward
Observations requiring correction
 Feet and knees rotated inwards
 Pelvis titled forward, resulting in slouching
 Pelvis titled backwards, producing a lower back arch
 Shoulders forward
 Head not centred above spine
The next videos introduce some of the main techniques in centre work. These
techniques develop correct and safe practic e, and are key features of any
dance work.
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2.
Centre work: contemporary pliés
Parallel demi-pliés
 Stand with the feet in parallel, both feet directly under the hips
 Ensure good posture and alignment before moving
 Centre of gravity is between the feet
 Arms start in second position (out to the side)
 With heels on the ground, slowly bend both knees
 Bring arms into first position
 Maintain a strong core to achieve balance
 Slowly push up to return to starting position
 Return arms to second position
Parallel full pliés
 Stand with the feet in parallel, both feet directly under the hips
 Ensure good posture and alignment before moving
 Centre of gravity is between the feet
 Arms start in second position (out to the side)
 Bend knees into full plié, lifting heels off the floor
 Arms come forward into first position
 Maintain a straight back and strong core
 Push through the legs to return through a demi - plié to start
 Arms return to second position
Observations requiring correction
 Knees rotate inwards, shifting weight to the inside of the feet
 Poor upper body posture and alignment
 Body lowers too far in full plié, creating pressure on the knees
Pliés in turn-out
 Start with the feet in first position turn-out
 Tighten the inside leg muscles, keeping legs together
 Tighten the buttock muscles to assist in maintaining turn -out
 Arms in a neutral position at the sides of the body
 Slowly bend the knees outwards over the feet
 Keep the heels on the floor
 Maintain a straight back and strong core
 Push through the legs to return to centre
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Tendus with pliés
A tendu is a ‘point’ – a movement of the leg away from the body, culminating
in an extension of the foot into a pointed position. It can be performed in a
variety of directions around the body. A dancer requires the ability to p erform
a good extension of the foot into a point therefore practice in this technique is
essential.
Tendus with pliés in parallel
 Start with the feet in parallel, feet hip width apart
 Arms are in a neutral position at the sides of the body
 Slide the foot along the floor and into a parallel point
 Weight remains on the back foot
 Pull the extended foot back into the starting position
 Perform a small parallel plié
 Repeat the whole exercise with the other foot
Tendus with pliés in turn-out
 Start with the feet in first position turn-out
 Arms are in a neutral position at the sides of the body
 Slide the foot along the floor in a turn-out position
 Extend the foot into a turn-out point
 Weight remains on the back foot
 Pull the extended foot back into the starting pos ition
 Perform a small turn-out plié
 Repeat the whole exercise with the other foot
Observations requiring correction
 In a parallel tendu the foot turns inwards
 In a turn-out tendu the heel is not leading the point
 Poor posture and alignment not maintained
 Weight is wrongly transferred forward onto the point
Parallel pliés in contraction
A contraction is a signature technique in contemporary dance. It involves a
movement in the centre of the body in which the core muscles pull the centre
of the body towards the spine. This creates a hollow appearance in the core.
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Start with the feet in parallel, hip width apart
Arms are in a high V, breathe in to initiate the contraction
Slowly bend the knees in a demi-plié
Abdominal muscles pull in to create the contracti on
Arms rotate inwards to position in front of the face
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 Head and eye focus is above the hands
 Slowly push up to return to start
Observations requiring correction
 Knees rotate inwards
 Core of the body slouches downwards into the hips
 Shoulders slouch forward
Combining these techniques
Combining the previous techniques can produce a short motif, which allows
the dancer to develop both memory and flow from one technique into another.
The quality features of the techniques are as previously mentioned. This
description takes the learner through the movements of this combination.
Phrase 1
 Start with feet in parallel, arms in second position
 Perform two parallel pliés, bringing arms to first position
 Perform one full plié
 Rise to relevé (onto the balls of the feet), arms in high V
 Drop towards the floor, arms dropping through second position to join at
the floor
 Rise and pull hands up towards the centre of the body
 Drop again to the floor and then rise to relevé
 Repeat the drop section again
 Finish with feet in parallel, arms in second position
Phrase 2
 With arms in neutral, perform a tendu forward wi th the right foot, close in
plié
 With arms in neutral, perform a tendu forward w ith the left foot, close in
plié
 Take arms to a high V, tendu right forward, close
 Tendu right forward, bringing arms almost together in front of face
 Close in plié
 Repeat whole exercise on left foot
Phrase 3
 Stand in first position turn-out, arms in neutral position
 Perform two demi-pliés then one full plié
 Rise to relevé, arms in a high V
 Drop towards the floor, arms through second position to join at floor
 Rise and pull hands up towards the centre of the body
 Drop again to the floor and then rise to starting position
 With arms in neutral, feet in first position turn-out
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Perform a forward tendu right foot then left foot
Tendu right foot to second position, then left to second position
Tendu right to the back (derrière) the left to derrière
Tendu right foot to second position, then left to second position
Phrase 4
 Stand in second position turn-out, arms in second
 Perform two demi-pliés, bringing arms to first position in the plié
 Perform one full plié, then rise to relevé, arms in a high V
 Perform one demi-plié with arms in second position
 From the plié, transfer weight onto the left foot
 Stretch over the left foot, right arm stretches in a diagonal line
 Allow right arm to drop round in front, finishing in a deep plié
 From this centred plié, repeat the stretch to the right side
 Left arm stretches in a diagonal line, then drops in front to a deep plié
 Return to starting position, arms in second position
 Perform a high release, recovering through second position to a neutral
stance
 Finish arms in fifth position
3.
Floor work
These videos demonstrate some of the basic techniques in floo r work in
contemporary dance. They are often combined with other techniques, such as
floor balances and hip rolls. A full list of techniques is provided in the
National 5 Dance: Unit Support Notes – Technical Skills, which is available
to download from the SQA website (www.sqa.org.uk).
High release
A high release is a signature technique in contemporary dance. It can be
performed either sitting or standing. It involves a gentle arch of the upper
spine with the head slightly lifted upwards and the front of the chest open.
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Sit on the floor with the soles of the feet together
Hands rest on the inside of the shins
Pull up from the hips to maintain a straight back and a strong core
Gently pull the lower part of the shoulder blades together
The head and the sternum lift slightly upwards
An arch forms in the upper back, creating the high release
Return to the starting position
Observations requiring correction
 Lower back relaxes into the pelvis, resulting in poor posture
 The head pokes forward
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 In the release position, the head drops back too far
 The hands pull on the shins
Spirals
A spiral is a movement of the upper body around the spine . Imagine a
cylinder encasing the spine, which then rotates around the spine, creating a
spiral effect. A spiral to the right involves the shoulders moving towards the
left, with the head looking over the right shoulder. In a spiral, the shoulders
and the hips work in tandem with one another.
Right spiral
 Sit with the soles of the feet together
 Hands rest on the inside of the shins
 Keeping shoulders and hips in alignment, pull the left shoulder back
 Head looks to the right over the opposite shoulder
 Upper chest remains open
 Unwind back to the centre and repeat on the other side
Observations requiring correction
 Poor understanding of co-ordination required results in loss of spiral
 Shoulders turn in towards one another
 Poor posture results in a slouch into pelvis
 Hands exert too much pull on the shins
Combining contractions, high release and spirals
This video shows the previous floor techniques, now performed in
combination.
 Start sitting on the floor, soles of the feet together
 Breathe out and pull the centre of the body towards the spine in a
contraction – this creates a C curve in the spine
 Recover back to start
 Repeat a further three times
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Curve forward and, initiating from the pelvis, push to a straight back
Recover back to centre and then rebound forward into a spiral to the right
Return to a curve forward and push into a straight back position
Recover back to sitting, raising arms to fifth position
Open arms through second position to finish on floor at hips
Lift the upper body into a high release
Raise arms to fifth position and open legs to second
Bring arms to rest hands on front of shins
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 Ensure the legs and feet do not rotate inwards
 Sit high on the pelvis with a straight back and strong core
 Perform a contraction with flexed feet three times, returning to starting
position each time
 Curve forward and push from the pelvis int o a straight back
 Recover and rebound forward into a spiral to the left
 Curve forward and push from the pelvis into a straight back
 Return to starting position, lift arms to fifth
 Open arms through second towards the floor
 Lift the upper body into a high release
 Return to starting position
Side fall with recovery
A side fall is an energetic but smooth and safe movement to lie sideways on
the floor. It can be performed from the knees or from standing, as shown in
the video.
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Start kneeling on the floor, sitting back on the heels
Right arm extends to the right, left arm reaches across the body to the right
Begin the fall by pushing up and lifting off the heels
Circle the arms through a sweep to the left
From the left hip, begin to initiate the fall to the le ft
Reach the left arm out, following the line of the fall
Left leg is tucked under right
Recover back to starting position, using the core to initiate
Lift hips off the heels, circling arms in a sweep to the right
From the right hip, begin to initiate the fall to the right
Reach the right arm out, following the line of the fall
Right leg is tucked under left
Recover back to starting position, using the core to initiate
Observations requiring correction
 Not lifting off the heels prior to the fall
 Falling in a jerky action rather than melting into the floor
 Not using the core of the body to recover
Combination of techniques using side falls
 From a kneeling position, perform a side fall to the left and recover
 Perform a side fall to the right and remain in th e lying position
 Roll to the left onto the back and over to the knees, to stand facing right
 Step left foot to the left, throwing right arm overhead
 Step right foot to the right, throwing left arm overhead
 Gently and safely lower body into a fall to the ri ght
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 Pull back onto one knee, facing right, lean back slightly, arms in third
position
 Return to standing position, walk to the left
 Step right foot to right, windmill arms overhead to right
 Repeat to the left
 Repeat to the right, lowering into a side fall to the left, weight on hands
4.
Movement and travelling
Moving and travelling across the floor allows the dancer to experience a
freedom of movement and, in any dance or choreography, provides interest
and variation, making effective use of physical sp ace. The videos show some
of the main techniques in contemporary dance, sometimes performed on their
own, but most often in combinations.
Triplets
A triplet is a travelling movement with a rhythmic pattern of 1, 2, 3. It should
demonstrate a smooth, flowing step pattern. Performed in turn-out, the first
step is a small plié, steps two and three are performed on demi -point (ball of
the foot). This creates a down-up-up feeling. The triplet can also turn.
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Step forward on the right foot in demi-plié
Arms are in opposition (right foot forward, left arm forward)
Step onto the left foot in demi-point, with straight leg
Maintain good posture and alignment
Step onto the right foot in demi -point, with straight leg
Repeat, leading with the left foot first
Observations requiring correction
 Turn-out of the feet not maintained
 Poor posture and alignment
 Steps performed on a flat foot
 Lack of opposition in arm movements
Runs
A run in dance is performed in turn -out and is often used as a transition
between one technique and another. The run should be smooth, not jerky, and
the arms relaxed at the sides. The video demonstrates how runs can be used to
link movements together across the floor.
 Stand in first position, perform four small jumps
 Run forward, right, left, right, left, arms at sides
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 Stop on right foot in demi-plié, lift left leg in retire (bent up towards other
knee)
 Right arm circles through right, initiating change of direction to right
 Cross-step left foot over right, step right, then left
 Stop and step back with feet together, sweeping arms in backward circle
 Step forward, feet together and turn 270 degrees
 Step forward right, left
 Step to right, throwing left arm in circle overhead
 Step to left, throwing right arm in circle overhead
 Step to right, throwing left arm in circle overhead
 Turn to face left and continue with runs
Leaps
A leap is an energetic jump from one foot to the other, where the body
remains upright and centred, and where one leg is extended forwards and the
other is extended to the back. Arms are in opposition, right leg forward, left
arm forward. The dancer should generate a feeling of effortlessness. A leap
can be performed from any number of steps leading into the take-off, for
example step leap, step leap/step, step, leap/step, step, step, leap.
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Step onto the left foot and push down to take off
Extend right leg in front in point, left arm in front, right to the side
Extend left leg to the back in point
Body remains centred with good posture and alignment
Right leg bends on landing to absorb the force
Repeat on the other side
Observations requiring correction
 Front leg is flicked rather than smoothly extended
 Back leg is bent at the knee
 Upper body and head tilt forward
 Head drops back, causing spine to arch
 Arms are not in opposition
 Landing does not absorb the force
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SUGGESTED APPROACHES TO LEARNING AND TEACHING
Suggested approaches to learning and teaching jazz
dance
Jazz dance is a popular style of dance that is portrayed in musical theatre,
films and television. It is a style of dance that epitomises modern tastes in
music. Techniques in jazz dance are more step-orientated than those in
contemporary dance, but this does not hinder the development of originality.
Both dancers and choreographers in jazz dance develop their own individual
styles, just as jazz musicians improvise within the jazz genre in music.
Jazz dance techniques depict a high level of energy, often punctuating
movements with sharp, strong isolations.
Jazz videos
1.
Posture, alignment and centre, including jazz positions, parallel second
forward stretch
Exercises – sit-ups
Push-ups
Isolations
Balance
3.
Basic techniques – pliés
Body wave
Body ripple
4.
Movement and travelling
Turns with chassés
Kick ball change
Pas de bourrée
Kicks
Pirouette
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Jazz dance videos: guidance for practitioners
These notes provide a summary description of the required features for each
technique, supporting the exemplification in the videos. The notes can be
used by practitioners to provide information to learners regarding good
practice.
1.
Posture, alignment and jazz positions
As in contemporary dance, posture and alignment are important when
developing techniques in jazz dance.
Posture and alignment in parallel
 Stand with the feet in parallel, hip width apart
 Weight should be centred over the balls of the feet
 Activate the core muscles to ensure that the back is in alignment
 Achieve a sense of lengthening the back out of the hips
 Arms are relaxed at the sides
 Head centred above the spine, eyes focussed forwards
Posture and alignment in turn-out
 Stand with the feet together, toes turned out
 Engage the muscles in the buttocks and inner thigh to maintain turn -out
 When performing a plié, ensure the knees bend over the feet
Observations requiring correction
 Knees rotate inwards, shifting weight to the inside of the fee t
 Poor upper body posture and alignment
Jazz positions
Positions of the feet
First parallel – stand with good alignment with feet in parallel
Second parallel – stand with feet apart in parallel
Fourth position parallel – stand with one leg in front of the other, both knees
bent, back heel off the floor, arms in third position, in opposition
Positions of the arms
First position – bring hands almost together in front of the chest, shoulders
relaxed
Second position – arms reach out to the sides, hands still just visible,
shoulders relaxed
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Third position – one arm stretches out at chest height in front, other arm
reaches out to the side, shoulders relaxed
Fourth position – similar to third position: front arm lifts, reaching to high
Fifth position – both arms lift high above the head, palms forward, shoulders
down
Parallel second forward stretch
This movement should only be attempted when the body is fully warmed up.
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Start in second position parallel, legs straight and with a strong core
Reach the arms up to fifth position with the palms facing inwards
Elongate the spine upwards and then lean forward
Keep the legs straight and the head in alignment between the arms
The torso creates a 90 degree angle with the legs
Perform a small plié and then stretch back into the ‘flat back’ position
Return carefully and safely to the vertical position
Observations requiring correction
 Failure to achieve the long straight back
 Head lifts up or can drop down, out of alignment
 Arms do not reach forward, continuing the stra ight body line
2.
Exercises for jazz dance
Sit-ups strengthen the abdominal muscles in the core of the body
 Lie on the back, ensuring the natural curve of spine is maintained
 Pull the knees up, placing both feet on the floor
 Place the fingertips just behind the ears for a little head support
 Breathe out and tighten the abdominal muscles, lifting shoulders and head
just off the floor
 Head should stay in alignment
 Slowly lower back to lying while breathing in
Variations include full sit-ups, hands crossed over chest, reaching one hand to
opposite knee, feet crossed off the floor.
Observations requiring correction
 Hands joined behind the head
 Elbows lead, arms not kept open
 Head drops onto chest
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Push-ups work the triceps muscles in the arms a nd strengthen the core
muscles.
Modified or half push-up
 Lie on the floor face down, placing hands under the shoulders, fingers
forward
 Keeping the knees on the floor, gradually push up
 Keep the core of the body strong and in a straight line
 Control the body back to a lying position
Full push-up
 Lie on the floor face down, body in a long line
 Hands are under the shoulders, feet flexed with the ball of the foot on the
floor
 Maintaining a strong core, push up until the arms are almost straight
 Keep the body in a straight line from toes to head
 Control the lowering back to a lying position
Observations requiring correction
 Loss of alignment in the push-up due to poor core muscles
 Dropping back to the floor rather than controlling
Isolations
An isolation is a signature movement in jazz dance. It occurs when one part
of the body moves on its own. The head, shoulders, ribs and hips are the areas
that can easily move in isolation. Bob Fosse, the choreographer, used this
movement to great effect.
Head isolations
The head can turn to the right, to the left, down with the chin on the chest and
up by just lifting the chin slightly. (Dropping the head back is not a safe
move as it compresses the upper spine.) The head can also tilt to the right and
to the left, as well as creating a circle, and also move forwards and
backwards.
Shoulder isolations
The shoulders can move together or separate ly. They can lift up and down,
invert forward, punch back and circle forwards and backwards.
Rib isolations
Learning rib isolations is easier in a sitting position, where the lower half of
the body is still. It can also help if the hands are placed at each side of the
ribs, so the dancer can feel the ribs moving in the intended direction. Ribs
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SUGGESTED APPROACHES TO LEARNING AND TEACHING
can move to the right and to the left, forwards and backwards, and also in a
circle. This isolation requires practice initially.
Hip isolations
Hip isolations only work when the legs are in a plié. Hip isolations can move
to the right and to the left, in circles and in a figure of eight.
Balance exercises
Having good balance in dance is essential. Being able to maintain alignment
and centre needs to be practised.
In parallel
 Stand in first parallel, maintaining good alignment
 Hands are relaxed at the sides
 Push up onto the balls of the feet
 Reach arms through first to high, one after the other – right, left
 Lower heels safely and lower arms
 Repeat several times
In turn-out
 Stand with feet in first position turn-out
 Hands are in jazz first position
 Push up onto the balls of the feet
 Arms reach one after the other to second position
 Lower heels safely and return arms to first position
 Repeat several times
The video gives brief examples of the same exercises in second parallel and
second turn-out. The technique is the same. Make sure that in second parallel
the arms come through first position then to a high V, and in second turn-out
the arms start in first position then move to second.
Balancing in relevé
This exercise requires concentration in order to maintain posture and
alignment above the supporting leg.
At the barre
 Face the barre, standing in first parallel, hands gently resting on the barre
 Push up onto the ball of the foot on the supporting leg
 Allow the free leg to bend up, sliding the foot parallel close to the other
knee – this is called retire
 Repeat on the other side
 Change feet to first turn-out
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SUGGESTED APPROACHES TO LEARNING AND TEACHING
 Push up onto the ball of the supporting leg
 Allow free leg to bend up, in turn-out, with the foot pointed against the
other knee, creating a retire position
 Repeat on the other side
In the centre, the same exercises can be performed away from the barre. Here
the relevé becomes more of a snatch movement. In these exercises the arm
movements compliment, in opposition, the work of the legs .
Observations requiring correction
 Losing balance due to lack of focus on the centre of gravity being between
the feet
 Not pushing up onto the balls of the feet
 Poor posture and alignment
3.
Basic techniques
Pliés can be performed as a demi-plié or as a grand plié. They can also be
performed in first positions parallel and turn-out and second positions
parallel and turn–out.
Parallel demi-pliés
 Stand with the feet in parallel, both feet directly under the hips
 Ensure good posture and alignment before moving
 Centre of gravity is between the feet
 Arms start in second position (out to the side)
 With heels on the ground, slowly bend both knees
 Bring arms into first position
 Maintain a strong core to achieve balance
 Slowly push up to return to starting position
 Return arms to second position
Demi-pliés in turn-out
 Start with the feet in first position turn-out
 Tighten the inside leg muscles, keeping legs together
 Tighten the buttock muscles to assist in maintaining turn -out
 Arms in a neutral position at the sides of the body
 Slowly bend the knees outwards over the feet
 Keep the heels on the floor
 Maintain a straight back and strong core
 Push through the legs to return to centre
Grand pliés in second position
 Stand with the feet in parallel, both feet directly under the hips
 Ensure good posture and alignment befor e moving
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SUGGESTED APPROACHES TO LEARNING AND TEACHING
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Centre of gravity is between the feet
Arms start in second position (out to the side)
Lifting heels off the floor, bend knees into full plié
Arms reach to a high V
Maintain a straight back and strong core
Push through the legs to return through a demi-plié to start
Arms return to second position
Perform the same exercise in first turn-out
Perform in second position turn-out, keeping heels on the floor
Observations requiring correction
 Knees rotate inwards, shifting weight to the inside of the fee t
 Poor upper body posture and alignment
 Body lowers too far in grand plié, creating pressure on the knees
Body wave and body ripple
These movements involve the core area of the body performin g a sequence of
small movements that create either a wave or a ripple.
Body wave
 Stand in first parallel with the knees slightly in plié
 Tilt forward as if moving to a ‘flat back’ position
 Round the lower back and gradually start the wave
 Push the hips forward, followed by the ribs then the chest
 Push through the sternum, leaving the chin on the chest until the wave
reaches the head
 Lift the chin up, tilting the head back slightly in an arch to complete the
wave
Body ripple
The body ripple is similar to the wave except that it is contained within the
upper core of the body, having initiated from the pelvis. The ripple can be
performed in an upwards rippling effect or in a downwards ripple.
Both these movements require practise until they are performed as a natural,
smooth flowing action.
Finally the video shows a combination of these techniques.
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Start in first parallel perform a body wave
Perform a downward body ripple followed by an upward body ripple
Swivel the feet into fourth position to the right
Perform the same three movements
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SUGGESTED APPROACHES TO LEARNING AND TEACHING
 Swivel the feet into fourth position to the left
 Perform the same three movements again
4.
Movement and travelling
Chassé
 Start in first position turn-out
 Slide the right foot out to the side into second position, plié
 Arms also move into second position
 Close the left foot to the right, bringing feet together in relevé
 Bring arms into first position
 Step right foot out to the side in second position again
 Close the left foot to the right, bringing feet together
 Repeat to the left
Chassé with turn
 Start in first position turn-out
 Slide the right foot out to the side into second position, plié
 Arms also move into second position
 As feet close together, complete a full 360 degree turn
 Step right foot out to the side in second position again
 Close the left foot to the right, bringing feet together
 Repeat to the left
The same technique can be performed with a small jump turn when the feet
come together, rather than a turn.
Observations requiring correction
 Body leaning off true alignment
 Feet not rising in the together position
 In the turn, hips and shoulders are not centred above the feet
 In the jump, body loses balance in the air
Kick-ball change
A kick-ball change is a frequently used step in jazz dance. It has a rhythm of
1, 2, 3. It can be performed as a single step then changing onto the other foot
or as a combination of three kick-ball changes then changing onto the other
foot, as shown in the video.
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Stand on left leg in fourth position plié
Flick the right leg forward from the knee
Take the right leg to the back, taking the weight on the ball of the foot
Arms assume third position in opposition
Transfer weight onto front foot in fourth position plié
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SUGGESTED APPROACHES TO LEARNING AND TEACHING
 Swivel through the front to the other side , arms moving to second position
in the swivel
 Stand on the right leg in fourth position plié
 Flick the left leg forward from the knee
 Take the left leg back, taking the weight on the ball of the foot
 Arms are in third position in opposition
 Return through swivel to starting position
The video shows three kick-ball changes before the swivel to the other side.
Observations requiring correction
 The flick becomes a whole leg kick
 The movement is not sharp and energetic
 The foot inverts instead of remaining in a point
Pas de bourrée
The jazz pas de bourrée is a pattern of three steps performed in a rhythm of 1,
2, 3.
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Start in first position parallel
Step behind with the right foot
Step to the side with the left
Step forward onto the right foot into fourth position
Arms move to third position in opposition
Step behind with the left foot
Step to the side with the right foot
Step forward onto the left foot into fourth position
Arms move to third position in opposition
The video shows the pas de bourrée being performed on the spot as described
above, and also travelling forward and with a turn.
Observations requiring correction
 Poor coordination of the feet and the arms
 Not maintaining a low position as the step completes
Kicks
A kick is a key technique in jazz dance. It can be used when travelling and
can be performed to the front, side and r ear. It can also be performed on a flat
foot, from a plié and in relevé. The kicking action is normally through an
extended leg but it can also be performed through a d éveloppé action then
into the extension. The video demonstrates a step kick forward and then
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SUGGESTED APPROACHES TO LEARNING AND TEACHING
shows a combination which travels forward whilst kicking to the front, to the
sides and then to the rear.
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Step onto a bent right leg into fourth position
Extend the left leg in a high kick to the front
Keep leg straight through to a pointed foot
Arms are in second position throughout
Maintain good posture and alignment
Step onto a bent left leg into fourth position
Extend the right leg into a high kick to the front
Keep leg straight through to a pointed foot
Observations requiring corrections
 Kicking leg not straight, foot not pointed
 Upper body leaning towards the kicking leg
 Poor posture and alignment
Turning kick combination
 Step forward on the left foot, arms in second position
 Kick the right leg high in front
 Turn 90 degrees to face the right as step taken onto the right foot
 Facing right, kick left leg to the side with arms in a diagonal line
 Turn 90 degrees to face the back as stepping onto the left foot
 Kick right leg behind, as arms reach in parallel to the back
 Turn to face forwards, step right, left, right
 Repeat the kick sequence
Pirouettes
A pirouette is a full 360 degree turn that can be performed in both parallel
and turn-out. The preparation for a pirouette is taught first. This can be done
in a low position (bent supporting leg) then in a high position (straight leg).
Pirouette preparation
 Start in a first parallel position, arms at the sides
 Step forward onto the balls of the feet in second position
 Arms reach to second position
 Using a ball change, move into jazz fourth position with the left leg in
front
 Arms move to third position in opposition
 The supporting leg pushes up to relevé on a bent leg
 The right leg moves to a parallel high retire
 Arms come into first position on the retire
 Repeat on the other side
 Repeat the whole exercise, this time with the supporting leg straight
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SUGGESTED APPROACHES TO LEARNING AND TEACHING
Pirouette
 Repeat the pirouette preparation up to the retire
 Complete a full 360 degree turn to the front
 Try to use spotting in the turn (this means that you focus on an object at
eye level in front, keep looking for as long as you can, then quickly turn
the head round as you turn to focus on the same spot again)
Observations requiring correction
 Poor preparation phase, resulting in poor pirouette
 Shoulders and hips are not centred over feet, losing ali gnment and balance
 Too much force, resulting in over-rotating
 Poor spotting
The following section provides a useful glossary of dance terms and
techniques to support the information in this resource.
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GLOSSARY
Glossary
Term
Definition
Adagio
Slow and sustained movement
Alignment
A balanced position creating a plumb line through
the body
Arabesque
A balance on one foot, other leg extended off the
ground
Asymmetry
Body shape differs on either side of the body
Balance
A position of stillness
Barre
A horizontal wooden fixture around a dance studio
Body ripple
Upwards or downwards sequential movement in
upper body
Body wave
A whole body movement starting from the knees
Chassé
Three step pattern: step, together, step
Centre
Denotes centre of gravity, just below the navel
Combination
Movements performed together, one after the other
Contraction
A pulling of the body centre towards the spine
Core
The torso area of the body
Demi-plié
A small bending of the knee
Demi-point
Moving onto the ball of the foot
Devant
In front
Développé
A smooth bend of one leg, often prior to extension
Derrière
To the back
Dynamic quality
The force or intensity of a movement
Extension
A stretch
Flexed
Bent upwards at a joint as in flexed foot
Grand plié
A full bend of the knees
Genre
A style
Gesture
A movement conveying meaning
High release
An arch of the upper back, head and sternum lifted
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GLOSSARY
Isolation
One part or area of the body moving
Kick-ball change
Jazz technique where lower leg flicks
Leap
A jump from one foot to the other, legs extended
Motif
A combination of movements that can be developed
Neutral position
Standing feet together, arms at the sides of the body
Opposition
Opposite arm is used to foot placed forward
Pas de bourrée
Three steps: behind, side, in front
Personal space
The reaching space around a dancer
Phrase
A complete combination of movements
Pirouette
A 360 degree turn performed on one foot
Plié
A bend of the knees
Posture
The position of the body in good alignment
Relevé
Movement onto the balls of the feet
Retire
The free leg bends up, with the foot placed against
the knee of the supporting leg
Rise
Move upwards
Rotation
A movement that turns around
Sequence
Movements performed one after the other
Spiral
A twisting movement around the spine
Stimulus
The factor initiating an idea
Succession
One after the other
Swing
A relaxed movement using the arms and body
Symmetry
Both sides in a shape or movement are equal
Tendu
Movement of the leg into a pointed foot
Transition
A link between one part or movement and another
Triple
A three-step travelling movement: down, up, up
Turn-out
Stand with the heels together, toes turned outwards
Warm-up
Exercises which prepare the body for movement
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RESOURCES
Resources
Practitioners can further develop their knowledge of dance through reading,
watching professional dance companies, attending classes and accessing
relevant video clips on YouTube. Care should be taken when sourcing
material on YouTube. It is the responsibility of the practitioner t o identify
procedures for e-safety within their own establishment and authority. It wi ll
also be important for the practitioner to filter the material into appropriate
footage that will support and develop their knowledge.
The lists below provide information that will help the practitioner to source
and identify knowledge, good practice and exemplification of both techniques
and dance.
SQA documents
The following documents provide course arrangements, support notes and
details of assessment. The practitioner will also find information on
techniques, websites, dance companies, choreographers and dance teacher’s
associations. These documents are all are available to download from the
SQA website (www.sqa.org.uk).
National 5 Dance Course Support Notes
National 5 Dance Course Assessment Specification
National Progression Award in Dance Level 5 – Arrangements
National Progression Award in Dance Level 5 – Assessment Support Pack
Higher Dance Course Support Notes
The Higher Dance course involves internal assessment by centres through the
use of technical studies created for this purpose. These studies are available
on DVD to centres delivering the Higher Dance course.
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RESOURCES
Websites
www.dancebooks.com
www.humankinetics.co.uk
Books
Dance Composition Basics
Pamela Anderson Sofras, Human Kinetics, 2006
Alvin Ailey Dance Moves
Lise Friedman and Chris Callis, Stewart, Tabori & Chang Inc., 2003
(available from www.dancebooks)
Psychology of Dance
Jim Taylor and Ceci Taylor, Human Kinetics, 1995
Photographic images of dance can also be sourced to provide visual images of
technique and inspiration, particularly in choreography .
YouTube
There is a wealth of useful and appropriate exemplification of dance on
YouTube. Access to this material is obtained by applying the right
terminology. This can be achieved by generating a search using a specific
technique, genre, choreographer’s name or name of a dance company.
Some suggestions
Lester Horton, Martha Graham, Richard Alston, Alvin Ailey, Christopher
Bruce
Robert North, Ballet Rambert, Scottish Dance Theatre
The following page shows a comparison of the current dance courses and the
new courses.
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RESOURCES
Summary comparison of dance course
Course
Technical skills
Contemporary example
Jazz example
Choreography
Techniques, internal
Techniques, internal
assessments, technical
assessments, technical
studies
studies
Final study
Final study
Units: Develop knowledge and understanding of
one dance genre, Analyse social and cultural
influences
Apply techniques in two dance genres
Course: Solo performance in two contrasting
dance genres
Theory, internal
assessment, choreography
Final choreography
NPA level 5
Technique/short phrases
Recreate repertoire
Written work
Practical learning of
choreographic skills,
application and use of
stimulus, music and design
National 5
Unit: Develop knowledge and understanding of
one dance genre, Analyse social and cultural
influences
Apply techniques in two dance genres
Original
Higher
New Higher
Technique/short
phrases/practitionerled study
Written work
Course: Solo performance in one dance genre
Create two group pieces of
choreography/one as
internal assessment, one as
final assessment
Develop knowledge and
understanding of
choreographic principles:
create two pieces, one as
internal assessment, one as
final assessment
Written work
Assessment
Written plan of action:
choreography and
personal improvement
Evaluation essay
Technical skills:
Evidence of learning
outcomes
Choreography: support
log
Internal assessment
Final assessment: technical
and choreography by
visiting assessment
Units – internal
assessment, final
assessment: technical and
choreography by visiting
assessment
Evidence of learning
outcomes
Contemporary, jazz
choreography/dance
analysis
Technical skills:
evidence of learning
outcomes
Choreography: support
log
Learning
outcomes
evidence across all areas
Units – internal
assessment, final
assessment: technical and
choreography by visiting
assessment
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