Creative Ballet Teaching
Technique and Artistry for the 21st Century Ballet Dancer
Cadence Whittier
- 280 pages
- English
- ePUB (mobile friendly)
- Available on iOS & Android
Creative Ballet Teaching
Technique and Artistry for the 21st Century Ballet Dancer
Cadence Whittier
About This Book
How do teachers create a classroom environment that promotes collaborative and inquiry-based approaches to learning ballet? How do teachers impart the stylistic qualities of ballet while also supporting each dancer's artistic instincts and development of a personal style? How does ballet technique education develop the versatility and creativity needed in the contemporary dance environment?
Creative Ballet Teaching draws on the fields of Laban/Bartenieff Movement Analysis (L/BMA), dance pedagogy, and somatic education to explore these questions. Sample lesson plans, class exercises, movement explorations, and journal writing activities specifically designed for teachers bring these ideas into the studio and classroom. A complementary online manual, Creative Ballet Learning, provides students with tools for technical and artistic development, self-assessment, and reflection.
Offering a practical, exciting approach, Creative Ballet Teaching is a must-read for those teaching and learning ballet.
Frequently asked questions
Information
Part I
Rethinking creativity, community, and technique in the ballet classroom
Chapter 1
Drawing inspiration from creative movement
Teaching and planning from movement concepts
Teaching from movement concepts
Movement category | Movement concept | Skills explored |
---|---|---|
BODY | Movements of the body | ā¢ Discover singular body parts and movements ā¢ Move body regions (right, left, upper, lower) |
Relationships | ā¢ Explore how parts of the body coordinate | |
Mobile and stable | ā¢ Practice locomotive movements through space ā¢ Learn about posture, balance, and stillness | |
SHAPE | Shapes | ā¢ Explore different body shapes (round, linear, twisted, flat, big, small) |
Forming | ā¢ Practice how shapes grow and shrink, open and close | |
SPACE | Spatial pathways | ā¢ Travel along curved, straight, zigzag, and meandering pathways |
Levels | ā¢ Move in different spatial levels: high, medium, low | |
Directions | ā¢ Move in different directions: up, down, right, left, forward, back | |
ENERGY | Time | ā¢ Perform movements at different speeds: fast, slow, medium, acceleration, and deceleration |
Weight | ā¢ Explore movements that are forceful or gentle, or limp and floppy | |
Flow | ā¢ Explore movements that are controlled or uncontrolled, smooth or choppy | |
MUSICALITY | Rhythm | ā¢ Explore the rhythms of different dance steps ā¢ Learn how to move to different rhythms and musical meters |
- 1 BODYārelationships: Ballet students explore the relationship between their feet and the floor, or between the supporting and gesturing sides of the body, or between the head and the arms. The students then identify how these relationships support their execution of different movements performed in class, such as battement tendu, sautĆ©, pirouette, grand battement.3 What type of body relationships do you ask your students to explore in class?
- 2 SHAPEāforming: Ballet students explore how the balletic exercises follow rhythms of opening and closing in balletic steps and exercises. For example, my students often focus on the spreading and enclosing of the legs and arms in a port de bras, battement fondu developpĆ©, or glissade. This helps them invest in the exercises and steps as movements instead of as static positions.4 How do you teach the kinetic quality of balletic steps in your classes?
- 3 SPACEādirections: Ballet students explore directional ballet vocabulary, such as, en arriĆØre (backward), en avant (forward), en dedans (inward), en dehors (outward). They also explore the directionality of their torso and limbs in space: the forward and upward pull of the upper torso, head, and arm in first arabesque, the backward and downward reach of the leg in tendu derriĆØre, or the side-to-side counter-pull of the supporting arm and gesturing leg in developpĆ© Ć la seconde. Exploring directionality in class clarifies spatial intent and body alignment.5 How do you develop your studentsā spatial awareness during technique class?
- 4 ENERGYāforce: Ballet students explore how use of force changes the intensity of a step. For example, executi...