COURSE GUIDE
DNC110110 Dance the Basic Moves
DNC215110 Dance
DNC315110 Dance Choreography and Performance
This Guide must be read in conjunction with the accredited course documents. It contains advice to assist
teachers delivering the courses.
COURSE GUIDE
EXPANSION OF THE CONCEPT OF ‘TECHNIQUE’ AS APPLIED TO PERFORMANCE
Technique – ‘Mode of artistic execution in (art) music, painting etc; mechanical skill in art; means of
achieving one’s purpose, especially skilfully.’
(The Concise Oxford Dictionary, 1911, reprinted 1984)
Technique – ‘Method or way of performing the mechanical details of an art;…special method or system
used to accomplish something’
(Thorndike English Dictionary, 1948)
Technique – ‘Method of performance in an art;’…’skill required for mastery of subject.’
(The New Collins Australian Compact English Dictionary 1985)
Technique – ‘Skill in art.’
(Pitman’s English and Shorthand Dictionary)
Technique – ‘method of execution in a specific subject or art’.
(Choice English Dictionary)
Technique, defined as: ‘Artistry, skilfulness, execution, performance, proficiency, craftsmanship, facility,
art, expertise, capability, craft, style, facility, adroitness, dexterity, method, manner, approach, means,
procedure, form’ (Collins Pocket Thesaurus 1992 synonyms) (Collins Thesaurus 2006, synonyms) is
inherent and applicable to every visual, creative and performing art. Technique is the manner in which the
artist delivers or realizes his intent. In this context, it is not appropriate that technique should be omitted
from Dance, as an artform, in the Tasmanian Senior Secondary Curriculum.
Technique is a quality that a dancer brings to a performance. It is fundamentally about body alignment
and posture. It is about moving safely and efficiently, and how the dancer looks in motion and stillness.
When a dancer performs with technique the movement is efficient, aesthetic, fluent and expressive, and
the risk of injury is minimal.
When a dancer performs without technique the movement lacks efficiency, is often seen as ‘sloppy’, is
inconsistent, less expressive, and the movement can be unsafe.
In class, dancers practise technical skills, but they are encouraged to also develop technique in order to
perform them so they ‘look good’. The application of technique makes dancing look easy and effortless
‘like an optical illusion’. (Linda Ashley in Essential Guide to Dance 1996)
‘When a difficult variation is performed (with technique), the audience is aware that it is demanding and
that the dancer has the strength and power to do it...’ However, it looks easy, fluent and effortless. (Helgi
Tamasson in Dance from Magic to Art 1976) Technique facilitates personal creative expression of intent.
Technique is developed in order for the student’s potential and expressive skills to be maximised, so they
can move more safely and efficiently, and so that injury is avoided.
In the context of the Dance courses, the level of technique articulated in the revised course document is
‘non-genre or style specific’, within the natural potential of the dancer’s body, and is fully achievable within
the time frame.
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Technique is not an addition to the dance course. Technique already comprises all of the content of the
‘Performance’ component of the existing course. The revised course document has clarified this content
and applied it.
The following are examples of the level of technique, as articulated in the revised course document.
EXAMPLES OF TECHNIQUE WHICH MAY BE APPLIED TO PERFORMANCE IN THE CONTEXT OF
THE REVISED DANCE COURSE DOCUMENTS
1
Alignment of the Spine (good posture)
The student should aim to keep the spine aligned during motion and stillness – sitting, lying,
standing, travelling, falling
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2
Vital for control, safety and expression
Facilitates efficiency and ease of movement
Provides a more expressive body that ‘looks good’ whatever it is doing at any given
moment.
Proper amount of anterior and posterior curvature of the spine in motion and stillness.
Sticking the tail bone out increases the hollow of the back and should be avoided.
The ‘Plumb Line
The student should aim to maintain the ‘plumb line’ (ie the straight line from head to toe) during
movement.
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3
Provides efficiency of movement
Without this movement will be inefficient and possibly unsafe as energy is wasted pulling
certain segment of the body into line.
Alignment of Shoulders, Hips and Knees
In movement, the student should aim to keep the shoulders, hips and knees level.
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4
Shoulders
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5
More efficient, aesthetic and expressive body
Minimizes injury
Students should aim to keep the shoulders down and aligned during motion and stillness
Minimizes tension in the shoulders, is aesthetic and gives the impression of a long neck and
strong jaw.
Lifting the shoulders creates muscular tension, the dancer is more prone to injury and gives
the impression of a short neck
‘Lifting off the Waist’
Students should practice lifting the weight up from the centre of the body ‘lifting off the waist’ in
motion and stillness
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Gives a look of lightness and also enables the dancer to move, stop and change direction
easily
Facilitates extension and projection of stage presence.
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6
Creates a more aesthetic, expressive body
‘Lifting off the waist’ in plie, falls, turns and jumps – ‘the movement is performed more safely
with a lifted centre’. (Linda Ashley in Essential Guide to Dance 1996)
Extension through the Body
Some students extend through the body naturally. Others develop this through the development of
kinaesthetic (body) awareness.
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7
More aesthetic, expressive use of the body
Gives a look of lightness
Movement is more efficient, weight is more evenly balanced, and injury is minimized.
Leg Raising
When raising the leg, the pelvis naturally tilts slightly and the spine will shift slightly, but there should
be no collapse in the student’s waist or ribs. The thoracic and lumbar spine should stay long and
extended.
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6
More aesthetic, expressive use of the body
Gives the impression of effortless lightness, ease of movement
Minimizes injury.
Knees
In knee bends (plies) and landing from jumps, students should practice keeping the knee aligned
over the midline of the foot (middle toes)
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7
Alignment of the Feet
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8
More aesthetic body
Minimizes risk of injury, stabilizes the knee, minimizes strain to ligaments in the knee.
Students should keep their weight evenly spread over the feet
Poor alignment of the feet -rolling in on the arches of the feet (inversion of the feet)) or
rolling out to the border (sickle foot) looks bad and can increase the risk of stress
fracture/shin splints; can also lead to sprained ankles from incorrect landing from jumps by
damage to the lateral ligament.
Students should practice correct landing from jumps - landing ‘through the foot’ ie toe-ballheel to floor, bend knees, maintain alignment and lift from the centre on landing, and extend
knees to finish -‘for safety and protection of Achilles heels.
Lifting
If students incorporate lifting into performance work, there should display a low centre of gravity
in lifting
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The student should use the muscles of the upper legs, (not the back) for greater control
The torso and back should be strong and stable during the lift. No backward tilt in the
lumbar spine, (spine is aligned) to avoid back injury.
No forward drooping of the shoulders to avoid back strain (and looks bad)
Force should be applied close to the centre of gravity of the person to be lifted, and close to
the vertical
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Elbows and wrists of the lifter should be locked (to minimize injury) and to maximize
support
The lifted dancer should be directly above the lifter’s centre – more aesthetic and safer.
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9
Arms
Raising the arms and keeping the shoulders down is a learned technique, which student’s
should practice, because the shoulder blades naturally rise when the arms are lifted.
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Eyes
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Creates a greater aesthetic and the illusion of a long neck
Raising the arms, bending the elbows and holding the elbows up so they do not give in to
gravity, whilst lifting the torso up off the waist and avoiding forward droop of the
shoulders, is also a learned technique which can be developed with the development of
kinaesthetic (body) awareness.
Creates a stronger, cleaner line, the illusion of a long neck, and a more expressive
aesthetic.
The student should learn to focus the eyes and ‘spot’ during turns and rotational movement,
with the head and chin up and aligned. The eyes give visual cues to the brain, on the
body’s position in space.
Avoids disorientation of the body, dizziness, loss of balance and subsequent injury.
Clarity of Line and Body Actions
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Clean, unbroken parallel, symmetrical and asymmetrical lines and body actions are learned
skills, based on correct body alignment, awareness of the ‘plumb line’ and developed
through kinaesthetic (body) awareness.
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Provides a strong, clear, aesthetic and more expressive shape/line/body action in which to
interpret the intent.
Dynamic Variation
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Sustaining control over dynamic and temporal variations is a learned technique which
involves the development of kinaesthetic (body) awareness and musicality.
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Enables a more expressive interpretation of intent.
Technical Skills
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Efficient execution of technical skills with control of energy and accuracy of action can be
practiced in dance class. Students are encouraged to develop their technique in order to
perform technical skills safely so they ‘look good’. These are applied in performance within
the context of safe dance practice
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Maximises the aesthetic vitality of the performance and enables a more expressive
interpretation of intent.
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14
The Elements of Fitness
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Students are encouraged to engage in movement which reflects strength, stamina, flexibility,
co-ordination and kinaesthetic (body) awareness which should be developed in dance class,
because they are all crucial in the prevention of injury and interpretation of intent.
REFERENCES AND RESOURCES
General
Rickel-Young l., 1996. The Essential Guide to Dance. Hodder and Soughten.
Tertiary Dance Council of Australia, Further Studies in Dance: A Guide for Australian Students. Australian
Dance Council - Ausdance (published annually).
Van Ulzen (ed) Dance Australia, Yaffa Publishing, Sydney (periodical).
Dance Technique, Skills and Performance
Arnheim, D., 1991. Dance Injuries, Their Prevention and Care. 3rd ed.
Princeton, New Jersey.
Princeton Book Company,
Beall, C., 1989. Dancers Transition Project Report, AADE National, ACT.
Cohan, R., 1986. The Dance Workshop, Gaia Books, London.
Egger, T., Champion, N., and Hurst, G. The Fitness Leader's Exercise Bible, 2nd Ed.
Egger, T., Champion, N.,1990. The Fitness Leader's Handbook, 3rd Ed. Kangaroo Press. NSW.
Foley, M., 1991. A Handbook for Dance Floors. Dance UK.
Geeves T., 1990 The Safe Dance Project Report, Australian Dance Council, ACT.
Geeves, T., 1997. Safe Dance II. The Australian Dance Council, ACT.
Giordano, G., 1992. Jazz Dance Class - Beginning Thru Advanced. Princeton Book Company, New
Jersey.
Kapit and Elson, 1993. The Anatomy Colouring Book. Harper and Collins, New York.
Kostelane, 1993. Merce Cunningham: Dancing in Space and Time. Dance Books, NY.
Lewis. D., 1984. The Illustrated Dance Technique of Jose Limon. Harper and Row.
Minton, S., 1984. Modern Dance: Body and Mind. Morton, Colorado
Thomas, A., 1987. Usborne Book of Ballet and Dance. Usborne, London
Vincent, L.M., 1980. The Dancer’s Book of Health. Dance Books, London.
Watkins, A., 1990. Dancing Longer, Dancing Stronger. Princeton Book Company, New Jersey.
Weikart, Phyllis S., 1989. Teaching Movement and Dance. The High Scope Press, Michigan
Dance-Making/Composition/Choreography
Blom and Chaplin, 1982. The Intimate Act of Choreography. Uni of Pittsburgh Press.
Cheney, G., 1989. Basic Concepts in Modern Dance 3rd Ed. Dance Horizons, New Jersey.
Humphrey, D., The Art of Making Dances, Dance Books, London.
Schlaich, J., and Dupont, B., (ed), 1988. Dance, The Art of Production. 2nd Ed, Dance Horizons, New
York.
Smith, J., 1985. Dance Composition: A Practical Guide for Teachers. A and C Black, London.
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Turner M, 1971. New Dance Approaches to Nonliteral Choreography, University of Pittsburgh Press.
Whiteley, Ann. 1995. Look before you Leap. An Advice and Rights Guide for Choreographers. Dance
UK. London.
Dance Appreciation
Anderson, J., 1986. Ballet and Modern Dance, A Concise History. Princeton.
Au, S., 1988. Ballet and Modern Dance. Thames and Hudson , London.
Ausdance NSW, 1997. New Moves- A Career Development Manual for Dancers. Australian Dance
Council – Ausdance
Banes, S., 1980. Terpsichore in Sneakers. Houghton and Mifflin.
Beall C., 1993. The Art of Self Promotion. Successful Promotion by Dancers and Choreographers. Allen
and Unwin.
Challingsworth N., 1978 Dancing Down the Years, The Romantic Century in Australia Craftsman Press
Melbourne.
Cohen, S.J., 1966. The Modern Dance. Seven Statements of Belief. Wesleyan Press.
Dunlop McTavish, S., 1987. An Ecstacy of Purpose – The Life and Art of Gertrud Bodenweiser. Dunlop
McTavish and Humphrey.
Dyson, C., 1994. The Ausdance Guide to Australian Dance Companies. AGPS for Australian Dance
Council – Ausdance. ACT.
Jowitt, D., 1988. Time and the Dancing Image. Uni of California Press.
Mazo, J., 1977. Prime Movers, The Makers of Modern Dance in America, William Morrow, New York.
Morrison Brown J., 1980. The Vision of Modern Dance. Dance Books, London.
Pask E., 1979. Enter the Colonies Dancing, A History of Dance in Australia 1835-1940 Oxford University
Press, Melbourne.
Pask, E., 1982. Ballet in Australia The Second Act 1940-1980. Oxford University Press, Melbourne.
Robertson, A., Hulera, D., 1988. The Dance Handbook. Longman , London.
Thomas, T., That’s Dancing. Abrams, N.Y.
Wosien, M., 1974. Sacred Dance. Thames and Hudson, London.
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GLOSSARY
Abstraction
Changing movement from a representational context to the symbolic by manipulating it by
the elements of dance (time, space, dynamics) to create a new phrase that retains the essence of the
original phrase.
Alignment
The static and dynamic relationship of the skeleton to the line of gravity and base of
support. Alignment principles are used to develop ability to correctly align body parts in motion and
stillness, eg the integrated engagement of the muscles of the abdomen to create core stability to facilitate
safe placement of the pelvis and spine, thus enabling ease of movement and efficient use of energy
through the torso, or maintenance of the knee over the foot (to avoid hip, knee, shin and foot injuries).
Body Actions The six actions of gesture, elevation, locomotion, falling, turning, stillness.
Choreographic Devices
Tools used by the choreographer for creating and manipulating
(developing/varying) movement phrases/motifs and sequences, such as abstraction, addition,
accumulation, retrograde, embellish, canon variations, etc.
Choreography The creation and composition of dances by inventing and arranging movements and
sequences of movement into a meaningful whole.
Clarity of Line The clean placement of shapes in performance. The line of the shape is finished. The
shape looks controlled and appears to be performed effortlessly. The application of technique.
Consistency Technique and performance quality are sustained throughout the dance.
consistency is seen as differences in the ability to control skills, level of focus, and/or projection.
Lack of
Constituent Features of Dance The various constituent features that all dances of any genre possess:
the movement components, the dancers, the physical setting, the accompaniment (the aural setting).
Content
Subject matter, themes, ideas chosen by the choreographer and expressed to a viewer in
dance composition.
Contrast
An element of construction in dance composition. Introduction of new material, theme or
pattern opposite or different in nature from the original, but related to it.
Elements of Dance
Space, time and dynamics (including effort qualities). Tools used by
choreographers to manipulate and develop movement motifs.
Form The thematic arrangement of sections to give an overall shape to a dance work. Formal
compositional structures provide the dance work with an overall framework, and provide the
choreographer with different methods of linking sections into a unified whole, such as binary form (A.B.),
ternary form (A.B.A.), rondo form (A.B.A.C.A.D.A.), narrative form (A.B.C.D.E.), collage, theme and
variations, etc.
Interpretation The application of technique and individual performance quality to realize the intent.
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Kinaesthetic Awareness
Sensing through nerves to muscles, joints and tendons in motion or
stillness. Enables students to move accurately, direct and control their movements, apply tension, and
copy and recall demonstrated movements. Development of kinaesthetic awareness increases dance
technique.
Performance Quality The qualities a dancer contributes to a performance in order to fulfil the
choreographer’s intent and create a connection with the audience. Includes sustaining control and
manipulation of space, time and dynamics/energy in relation to the dance performed, clarity of execution,
projection, stage presence, quality and clarity of line, kinaesthetic awareness, consistency, focus,
concentration, commitment, and facial expression, all of which lead to a clear interpretation of a dance.
Motif A significant movement or a short movement phrase that can be used as a starting point for
further development/variation. The movement is usually repeated (usually in a different way) and is
significant to the meaning of the whole piece.
Performance Skills
Performance skills are used to communicate the expressive intention in
performance, including the application of technique, technical proficiency, knowledge and clarity of
choreographed body actions, accuracy of timing, spacing, use of energy including effort qualities,
orientation in performance space, accurate and expressive execution of group formations, projection and
extension through the whole body, eye/body focus and facial expression.
Projection
The communication of meaning through extension and focus of the whole body.
Safe Dance Practice Principles and practices that have been developed with the purpose of increasing
knowledge of dance, decreasing injury, and increasing the dancer’s life in performance.
Structure
Elements of construction (structure) are used to organize the dance: motif/s (foundation/s
of construction), repetition, contrast and variations, (including manipulation/development of motif/s,
choreographic devices, etc), climax, highlights, transition, logical development (sequencing the dance
logically), and unity, in order to create a unified whole.
Technique
The development of movement skills in order to develop an intent. A way of using the
body that is anatomically sound, allows maximum facility of use. Non-genre or style specific. Technique
includes: correctly aligned body parts in movement and stillness, sustaining control and manipulation of
space, time and dynamics/energy (including variation of effort qualities), quality and clarity of line,
projection and extension, performance quality applied to the work, commitment, kinaesthetic awareness,
proficiency of execution, all of which lead to a clear interpretation of the work.
Unity Sequencing a dance logically to form a unified whole. A unified dance composition that has a
clear beginning, middle and end, and communicates an intent.
Variation An element of construction in dance composition. Already established movement motifs in the
dance are used again in a different way – (manipulation/development of motif/s, choreographic devices).
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