Modern Dance: Techniques and Teaching

MODERN DANCE Techniques and Teaching

ABOUT T H E AUTHORS GERTRUDE SHURR, concert artist and teacher, is uniquely qualified to present MODERN DANCE: Techniques and Teaching. She has been closely associated with such leaders of the dance world as Martha Graham, Doris Humphrey, Charles Weidman, and Louis Horst and from the enviable position of a participant has observed the modern dance movement develop, materialize and grow to a mature position in the world of the arts. Because of this background, her book is an invaluable contribution to the field of dance education. Her concert career includes performing with the first Humphrey-Weidman Dance Group and a ten year association with Martha Graham, as a student, a teacher, and a member ofher concert company. This varied experience gives Miss Shurr a thorough, comprehensive understanding of modern dance technique. Combined with this rare experience of performing with the great artists of modern dance has been Miss Shurr's development of the teaching science of this art through her work at Bennington School of Dance on Martha Graham's staff, the Neighborhood Playhouse School of the Theater in New York, The American Negro Theater, the University of Oregon, San Francisco State College, and Utah State University. Miss Shurr also taught special InService Teacher Education courses in modem dance for the physical education teachers of the New York City secondary schools. Miss Shurr's professional experience also includes a more than 40 year association with the O'Donnell-Shurr Studio of Modem Dance in N.Y.C. She was also instructor and Chairman ofthe Dance Department of New York City's prestigious School of Performing Arts. At present Miss Shurr is retired, but returns periodically to N.Y.C. to assist in rehearsing the May O'Donnell Concert Company prior to their New York appearances. Most recently she returned to New York City to assist the Martha Graham Company with the reconstruction of Primitive Mysteries for the season at the Metropolitan Opera House. She also rehearsed "The Furies" for the videotaping of Miss Graham's greatest epic Clytemnestra. Miss Shurr graduated from Savage School of Physical Education, and also earned a Bachelor of Science degree from San Francisco State College. She received her Masters degree from the University of Oregon following constructive research in corrective physical al personnel will be her application in education. Of particular interest to ~ h ~ s i ceducation this text of the function of the dance as a technique in this specialized field. She integrates effectively the relationship of modern dance to the overall physical education program. RACHAEL DUNAVEN YOCOM; B.A., Willamette University; M.A., University of Oregon; Ph.D., New York University; has been instructor in Physical Education in Salem High School, Director of Women's Physical Education at College of Idaho and later at Utah State University. She also served on the graduate staff of New York University. For over 20 years she served New York City's High School of Performing Arts, first as Chairman of the Dance Department and later as Teacher-In-Charge of the School. At present Dr. Yocom is retired but she continues to work in the area of dance in education. Her unusual photography and unique photocode layouts contribute immeasurably to the effectiveness of this book. Dr. Yocom is also co-author with H.B. Hunsaker oflndividual Sports for Men and Women and, with Leonard A. Larson, Measurement and Evaluation in Health, Physical and Recreation Education.

MODERN

DANCE

Techniques and Teaching

By GERTRUDE SHURR B.S.; M.S. Director, American Dance Center, New York

and

RACHAEL DUNAVEN YOCOM, B.A.; M.A.; Ph.D. Chairman, Dance Department School of Performing Arts, New York

D A N C E H O R I Z O N S , N E W Y O R K , 1980

Copyright

0 1980 by

Gertrude Shurr and Rachael Dunaven Yocom

All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without permission in writing from the Publisher. This is an unabridged republication of the first edition published in 1949 by Ronald Press Company, New York

Library of Congress Catalog Card Number 79-51363 Printed in the United States of America Dance Horizons, 1801 East 26th Street, Brooklyn, N.Y. 11229

ISBN 0-87127-269-5

FOREWORD T O THIS EDITION Although three decades have passed since MODERN DANCE: Techniques and Teaching was first published, and dance as a creative and performing art has changed with the artists of the day, the basic dance techniques used in training a dancer are constant. They have not changed. Dance students must learn to flex and extend the feet, bend and straighten the knees, develop leg extensions and stretches, jump, skip, run, leap, fall, and variations of the same. These same techniques must be practiced throughout every dancer's life. This book is primarily concerned with basic dance techniques. These fundamentals can be taught in as many different approaches as there are teachers to teach, but they must be part of the dance training. The explanations and teaching cues are as valid today as when first introduced. The book's format allows for the creativity of the teacher in planning lessons from the variety of techniques presented. These techniques are described in their most simplified forms, with some variations to allow for the advancement of the skill of the student. Throughout these many years, the dance material presented in this book has proved its worth. With the help of this text, thousands of dancers have been introduced to modern dance in professional studies, as well as in high school and college dance programs.

Dedication To our families, who made our professional training possible; to our instructors, who made it an actuality; and to the students and instructors of physical education and the dance, who may be able to use the results of this training.

Any text which bears the title MODERN DANCE, Techniques and Teachifig, forces its author to assume great personal responsiblity, not only for the compilation of the material, but also for the specific analyses, and for the use of this material in teacher education and dance curricula. This responsibility was undertaken only as the requests for it mounted to considerable numbers, and class after class, over a period of years, brought forth the same appeals: How can I remember your explanation? When I dance, I can't take notes. Should I teach this just as it was taught to me? May I simplify this material? How can I use this in a dance? I s there a text book to which I can refer? Would you consider mimeographing this material? Are photographs available? I n the face of such an onslaught of earnest entreaties, it became an impossibility to take refuge behind the old clicht: "If your muscles don't remember, don't teach the technique." The fallacy of chis statement became increasingly apparent as personal contact with, and participation in, teacher education programs in the colleges and universjties increased. This experience clearly demonstrated the necessity for the use of the text book as a guide and reference for the knowledge acquired in the activity program. Once this premise was accepted, it immediately compelled the author to consider seriously the organizational outline of the text as it should be related to specific teacher and student needs. Two major problems were presented. The first problem, concerning needs, was solved b y discussion with students and teachers, and through personal experience in secondary and college teaching, which made obvious the need for: (1) a descriptive analysis of technique; (2) a visual analysis of technique; and (3) teaching emphasis within each technique. The second problem involved the organization of years of training and experience into a set number of pages that would represent a comprehensive picture of the techniques in dance training. Space limitations make this picture far from complete; however the techniques chosen have proved applicable to large classes, small classes, and in all levels of student training, both in academic, formal, and professiocal classes. A trained reader will most certainly see the influences of the author's training in various dance techniques, from school and college instruction to training with Denishawn, Doris Humphrey, Charles Weidman, Louis Horst, and Martha Graham. A number of the techniques, although in some instances more simplified, stem directly from the author's long association as a student, dancer, and teacher with Martha Graham. This in itself is a tribute to her creative teaching. But the ultimate tribute to Miss Graham and to all who participated in this training is the final organization, use, and presentation of this training and experience in a personalized manner, which reflects the personality, philosophy, and interpretation of the individual trained. I n this same manner, the use of this text places the responsibility for the use of any suggested teaching methods upon each individual instructor. Each instructor's personal interpretation of each technique and its adaptation for specific teaching purposes, is dependent upon the study, 3

experience, and philosophy, which form a basis for an interpretation and understanding of the purposes of dance in education and culture. I t is the author's hope that this text will present valuable material for teacher education in modern dance, and will motivate dance instructors and students to use this material in dance as an art form. GERTRUDESHURR

A rather personal addition to Miss Shurr's foreword seems in order, to explain the presence of a co-author. In this instance, it has been my privilege to be the artisan, rather than the artist, in this creative endeavor. My responsibilities included snapping-the-camera-shutter at the exact moment of Miss Shurr's count of "one" or "two"; laying-out pages, although each movement sequence seemed to dictate its own design; and finally stream-lining the English language to fit characters to a line, and lines to a page. If readers find the descriptive analyses abrupt and minus adjectives, adverbs, and periods, it is hoped that they will remember the inflexibility of type. If certain teaching cues and descriptive analyses appear repetitious, it should be understood that each exercise was treated as an entity in itself, in order to allow each instructor to select those techniques needed for specific lesson plans. I am more than proud to be associated with the writing of this text, and know it will be a valuable addition to every dance library. RACHAELDUNAVENYOCOM

The authors wish to take this opportunity to express their sincere gratitude for the cooperation and assistance of the many friends who gave so freely of their time, their knowledge, and their helpful criticism. Special recognition and grateful appreciation are extended to: THE DANCERS: Miss Nancy Lang, Mr. Con Hanian, and Mr. A1 Pesso, students of Miss Shurr. Miss Lang and Mr. Hanian are members of the May O'Donnell Concert Company. MISS MAY O'DONNELL: For her interest and encouragement during the writing of this book. MISS MABEL LESLIE: Executive Director of THE ART WORKSHOP, who granted the use of the facilities of THE ART WORKSHOP Dance Studio. MISS AGNES R. TIERNEY: Head of Developing and Printing at WILLOUGHBY'S CAMERA STORES, INC., who rushed prints and supplies through in record time, and who offered the fine assistance of MISS LU INGELSON. MISS DELIA HUSSEY: Instructor in Education, New York University, for reading the manuscript and offering helpful suggestions. The Authors DANCE AUTHOR :

Gertrude Shurr

TECHNICAL AUTHOR :

Rachael Dunaven Yocom

PAGE LAY-OUT:

Gertrude Shurr and Rachael Dunaven Yocom

PHOTOGRAPHY:

Rachael Dunaven Yocom

contents PAGE

Chapter One.

Chapter Two .

Chapter Three . Chapter Four . Chapter Five .

Modern Dance in Education . . . . . . . . . . . . Introduction . . . . . . . . . . . . . . . . . . Principles . . . . . . . . . . . . . . . . . . . . Modern Dance Technique . . . . . . . . . . . . . The Creative Aspect of Modern Dance . . . . . . . Uses . . . . . . . . . . . . . . . . . . . . . . About the Book . . . . . . . . . . . . . . . . . . Purpose . . . . . . . . . . . . . . . . . . . . Divisions . . . . . . . . . . . . . . . . . . . . Page Lay-outs . . . . . . . . . . . . . . . . . Suggestions for Lesson Planning . . . . . . . . . . Dance Warm-ups . . . . . . . . . . . . . . . . . Floor . . . . . . . . . . . . . . . . . . . . . Standing . . . . . . . . . . . . . . . . . . . . Dance Exercises . . . . . . . . . . . . . . . . . . Floor . . . . . . . . . . . . . . . . . . . . . Standing . . . . . . . . . . . . . . . . . . . . Dance Techniques . . . . . . . . . . . . . . . . . Floor . . . . . . . . . . . . . . . . . . . . . Standing . . . . . . . . . . . . . . . . . . . . Space Jumps . . . . . . . . . . . . . . . . . . . . Leaps . . . . . . . . . . . . . . . . . . . . Falls . . . . . . . . . . . . . . . . . . . . .

13 13 13 15 16 17 18 18 18 18 20 21 22 42 55 56 68 95 96 124

142 160 172 Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Illustrations PAGE

Bent Knee Bounce . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Straight Leg Bounce . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bent Knee-Leg Stretch-Bent Knee-Ankle Flexion-Extension . . . . Front Extension . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Front Extension with Ankle Flexion . . . . . . . . . . . . . . . . . . . . . . . Side Extension . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Side Extension with Ankle Flexion . . . . . . . . . . . . . . . . . . . . . . . Side Leg Stretch with Bounce . . . . . . . . . . . . . . . . . . . . . . . . . Side Leg Stretch on Contraction . . . . . . . . . . . . . . . . . . . . . . . . Side Leg Stretch on Release . . . . . . . . . . . . . . . . . . . . . . . . . . Rib Stretch and Hip Bounce . . . . . . . . . . . . . . . . . . . . . . . . . . Rib Stretch-Head Up and Hip Bounce . . . . . . . . . . . . . . . . . . . . . Rib Stretch Sideward and Hip Bounce . . . . . . . . . . . . . . . . . . . . . . Heel Stretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Knee Bounce and Knee Stretch . . . . . . . . . . . . . . . . . . . . . . . . . Contraction and Release with Balance on Half Toe . . . . . . . . . . . . . . . . Foot Exercise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Extension and Flexion of Knee and Ankle Joint-Open Leg Position . Contraction and Release-Arm Pattern-Three Levels . . . . . . . . . . . . . . Contraction and Release with Bounce . . . . . . . . . . . . . . . . . . . . . . Contraction and Release on Both Knees . . . . . . . . . . . . . . . . . . . . . Hip Swing on Both Knees . . . . . . . . . . . . . . . . . . . . . . . . . . . Arm Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Arm Positions-Sideward Knee Bends-Heels Together, Heels Apart . . . . . . . . . . . . . . . . . . . . Knee Bends with Arm Pattern . . . . . . . . . . . . . . . . . . . . . . . . . Knee Bends with Leg Stretch . . . . . . . . . . . . . . . . . . . . . . . . . Forward Brushes-Three Levels . . . . . . . . . . . . . . . . . . . . . . . . Side Brushes-Three Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Front Leg Extension-Standing . . . . . . . . . . . . . . . . . . . . . . . . . Side Leg Extension-Standing Knee Bend-Standing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Prance Preparation No . 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . Prance Preparation No . 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . Prance Preparation No . 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . Contraction and Release-Knees Apart-Feet Together . . . . . . . . . . . . . . Contraction and Release-Seated on One Hip . . . . . . . . . . . . . . . . . . Contraction and Release with Side Turn . . . . . . . . . . . . . . . . . . . . . Arm Pattern-Contraction and Release-Ankles Crossed . . . . . . . . . . . . .

22 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52 56 58 60 62 64 66 68 70 72

74 76 78 80 82 84 86 88 90 92 96 98 100 102

PAGE

Arm Pattern-Contraction and Release- -Legs Straight . . . . . . . . . . . . . . 104 Arm Pattern-Contraction and Release-- Open Square . . . . . . . . . . . . . . 106 Contraction and Release Pattern-Theme, Variation I. I1 . . . . . . . . . . . . . 108 Contraction and Release Pattern-Variation 111. IV . . . . . . . . . . . . . . . 110 Leg Extension with Arm Pattern-Theme and Variation I . . . . . . . . . . . . . 112 Leg Extension with Arm Pattern-Variation 11. 111 . . . . . . . . . . . . . . . . 114 Contraction and Release with Leg Ex tension . . . . . . . . . . . . . . . . . . . 116 Arm and Leg Pattern-Theme . . . . . . . . . . . . . . . . . . . . . . . . . 118 Arm and Leg Pattern. Variation I . . . . . . . . . . . . . . . . . . . . . . . 120 Arm and Leg Pattern. Variation I1 . . . . . . . . . . . . . . . . . . . . . . . 122 Sit Preparation on Release . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Sit Preparation on Contraction . . . . . . . . . . . . . . . . . . . . . . . . . 126 Leg Swing to Side and Back . . . . . . . . . . . . . . . . . . . . . . . . . . 128 Leg Swing to Side and Back with Body Tilt . . . . . . . . . . . . . . . . . . . 130 Body Tilt on Contraction and Release-Level I . . . . . . . . . . . . . . . . . 132 Body Tilt on Contraction and Release-Level 11. I11 . . . . . . . . . . . . . . . 134 Quarter Turn on Contraction and Release . . . . . . . . . . . . . . . . . . . . 136 Half Turn with Hip Thrust . . . . . . . . . . . . . . . . . . . . . . . . . . 138 Full Turn with Hip Thrust . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 Jump Heels Together- Jump in First Position . . . . . . . . . . . . . . . ' . . . 142 Jump in Second Position-Jump from First Position to Second Position . . . . . . . 144 Jump with Quarter Turns-Jump with Half Turns-Jump with Full Turn . . . . . . 146 Running in Place . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Bent Knee Jump-Side Tilt Jump . . . . . . . . . . . . . . . . . . . . . . . 150 Open Leg Jump-Legs Straight-Hands and Feet Touching . . . . . . . . . . . . 152 Bent Knee Jumps-Slight Knee Bend-Feet Under . . . . . . . . . . . . . . . . 154 Open Leg Jump-Legs Straight-One Knee Bent-One Leg Straight . . . . . . . . 156 Bent Knee-Open Leg Jump . . . . . . . . . . . . . . . . . . . . . . . . . . 158 Foot Preparation for Walking and Running . . . . . . . . . . . . . . . . . . . 160 Run Preparation-Run . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Brush Leap and One Step Leap Preparation . . . . . . . . . . . . . . . . . . . 164 Bent Leg Leap-Straight Leg Leap-Legs Open-Straight Leg Leap-Legs at Right Angle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Straight Leg Run . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 Side Leap Preparation and Side Leap . . . . . . . . . . . . . . . . . . . . . . 170 Back Fall from Hips-Fall and Recovery . . . . . . . . . . . . . . . . . . . . 172 Back Fall from Knees-Fall and Recovery . . . . . . . . . . . . . . . . . . . . 174 Back Fall from Stand -Fall . . . . . . . . . . . . . . . . . . . . . . . . . . 176 Back Fall from Stand-Recovery . . . . . . . . . . . . . . . . . . . . . . . . 178 Back Roll from Stand-Roll and Recovery . . . . . . . . . . . . . . . . . . . . 180 Side Fall-Fall and Recovery . . . . . . . . . . . . . . . . . . . . . . . . . 182 Jump and Side Fall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Jump and Sit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

MODERN DANCE Techniques and Teaching

MODERN DANCE IN EDUCATION

Modern dance in education is a rather pretentious title for a chapter that is limited to only a few pages. A single book, entirely devoted to the subject, could not hope to discuss its many values or ramifications in education. The term modern dance, itself, is an ambiguous one, as witnessed by the range of titles in use: "Contemporary Dance," "American Concert Dance," and '(Creative Dance." This is probably due to a number of factors, among them: (1) modern dance is a living, growing, changing dance form; (2) it is a personalized medium of communicative expression through movement; and (3) its nomenclature is far from standardized. T o amplify this last factor, consider Martha Graham's expression "contraction and release"; Doris Humphrey's "fall and recovery"; and terminology such as "tension and relaxation.'' This lack of uniformity in name and nomenclature does not prevent the dance itself from offering physical, mental, social, emotional, and human relations values in education that might well be envied by other art forms and by the older and more classic of the dance forms. Its many major divisions - among them the history of the dance, philosophy and principles of the dance, techniques of dance, rhythmic fundamentals, the use of music in dance, the methods of dance presentation a t the various educational levels, the creative aspect of the dance-cut across departmental, cultural, vocational, and professional lines and offer the student a broad educational concept directly related to art forms in our modern culture. To the student who wishes to dance professionally modern dance in education offers sound dance conditioning. Differences in training are found only in the frequency, intensity, and duration of professional participation and study. A more thorough analysis of these points should be covered in theory classes in the dance. The remainder of this chapter will be devoted to a discussion of a number of principles of modern dance that appear as logical precepts for correct body education, and the relationship of this text to: (1) modern dance technique in general; (2) general and specific aspects of creative dance; and (3) its educational uses.

PRINCIPLES Active participation in modern dance is prerequisite for learning, performing, creating, and teaching. No amount of text book study, discussion, or audience participation in modern dance can take the place of the actual "doing" of the technique. These activities may result in a better understanding and appreciation of modern dance; however nothing can substitute for the physical activity which is necessary to the learning process and progression in the technique. I t is the responsibility of the instructor, and subsequently the student, to be certain that the principles oj good body mechanics are not disregarded in the performance qf technique. Proper body alignment is the basis of good body mechanics, and is also the basis for good modern dance technique. Each specific technical exercise should be carefully analyzed for possible violations. To ignore this principle of body alignment is similar to a violation of the rules of grammar when learning the technique of writing. A correct body alignment insures a structural balance which is basic to correct muscular movement. Full use of the muscles requires proper muscle elasticity. Elasticity, inherent in the muscles, may be lost through dis-use or mis-use. Dis-use results in a loss of degrees of muscle tonus and

MODERN DANCE, Techniques and Teaching elasticity, since a muscle that is not used eventually atrophies. Mis-use involves muscle strain and the breakdown of muscle tissue. Muscle strain acquired through the performance of a technical exercise is a direct result of improper body alignment. The breakdown of muscle tissue is caused by striking the muscles forcibly against the floor in executing the fall or the floor techniques. This forcible contact with the floor tends to break actual muscle fibers. Controlled muscular activity is necessary jor coordinated body movement. This refers to the continuous contraction and extension of muscles, rather than the sudden, forceful contraction followed by inert muscular activity. Whether the muscular action is a contraction or an extension, there is always a muscular activity taking place that does not, and should not, allow for a muscle collapse a t the end, or within the activity. A direct relationship exists between controlled movement, body alignment, muscle tonus, and the quality of performance. Distortion in modern dance is most properly used as a movement device for communicative expression. A technical exercise taught for a specific purpose is seldom changed or distorted in any way. I n the performance of creative dance, where dance movement is used to convey a thought or mood, distortion of movement is permissible. In fact, the creative dancer who has a tremendous amount of technical education may use extreme distortion purposely, and not suffer physical injury. Students learning the technique, or inexperienced "creative dancers" can injure themselves permanently with this same extreme distortion of movement. Adherence to this principle of proper use of distortion will insure sound technical education, and therefore greater physical safety in creative dance movement. All dance movement requires a total organismic response, whether it be an exercise that is techltique m technique that becomes a part of a creative dance. There can be no focus on isolated movement without taking into consideration the body as a whole. An exercise or technique may seem to be developing some particular part of the body; however, i t involves a total body participation. Therefore, the beginning dance student and the teacher of modern dance should be fully cognizant of this principle in order to develop and insure strong, well-balanced, coordinated movement . Skilled progression oj movement is the responsibdiky oj each instructor. Although total bodji action is the result of participation in each technical study, the teacher must be fully aware of the end result to be obtained by the use of a particular exercise. Consequently, a teacher must be able to analyze each exercise so that its presentation begins with the smallest component and proceeds gradually and logically to the final form of the technical study. This is a problem that concerns not only teaching method but also student safety. Immediate participation in the final form of the technique, without skilled progression of movement prior to that participation may result in needless, inexcusable injuries. Elevation or body lijt is basic to both technique and dance perjormance, whether sitting, standing, or moving through space. Elevation refers not only to "inches off the floorH-as in running, jumping, and leaping- but also to the body lift. Body lift, accomplished by a voluntary extension or lifting of the body structure, or the high elevation of the body posture, gives to any movement a quality of elevation which actually insures the fullest use of the body. I t may be compared to attenuation in that it is a slenderizing, although not a weakening, process. Readiness for movement creates a dynamic body posture necessary for correct execution oj any type of movement. Continued practice of the body lift or elevation leads to a body attitude that can best be defined as a readiness for movement or a muscular alertness. A static posture precludes muscular action or dynamic movement. This does not mean that the correct body attitude will necessarily produce a dancer, or that all dancers show a distinct similarity in normal body

MODERN DANCE IN EDUCATION

15

carriage. I t may be fairly said that technical education in modern dance may produce, a t least in the performance of technique or dance, a specific body attitude. This body attitude defies complete description since it is a projec!ed quality rather than a learned posture. The quality is determined by a mastery of the principles of elevation, the degree of technical performance, the amount of mental and emotional reaction to controlled, rhythmic movement, and the completeness of body awareness. Conscious awareness of muscular aclion is necessary to place the body structure in any given position. Body awareness, an important factor in body attitude, refers to the conscious knowledge of the relationships existing between every part of the body, the total body; and the body movement through space. For example, the use of the arms in movement requires a thorough knowledge of the relationships of the arms to the total movement pattern and to the total body-in the height of the arms, the position of the arms, and the distance or space encompassed by the arm movement. This holds true for every other part of the body, and the amount or completeness of the total body awareness is directly related to the degree of proficiency attained in performance. Without total body awareness, coordinated, controlled, relaxed movement is an impossibility. Relaxation is an end result, not an exercise in and of itself. The use of the term relaxed movement all too often bears the connotation of complete muscular collapse or muscle inertness. This is an erroneous conception. Relaxation is achieved through perfect coordination of body mechanics, which eliminates broken rhythm in muscular action. This coordination results in a continuous flow of seemingly effortless performance of movement and is achieved through many years of technical education, study, and practice. Once technical proficiency is attained, the performer seems to execute movement with perfect coordination, control, and relaxation, which to the spectator personifies the acme of poise and grace.

MODERN DANCE TECHNIQUE Since no written nor visual record of "a modern dance technique" exists per se, the majority of published inaterial is based upon the performances of modern dance artists. This takes into account only their ability as performers, and ignores their contribution as teachers, and contributors to a modern dance technique. I t is granted that any artist's technique is an outgrowth of personal need for expression through the medium of movement. Each concert artist's contributions are highly personalized and intuitive, and each movement colored by dance content and dramatic impact. Yet technical education which has produced a generation of excellent concert dancers has its basis in something far more stable than artistic intuition. Active participation in and study of the various techniques show a sound physiological and anatomical basis to modern dance technique. This basis includes sound principles of body mechanics and body conditioning for dance which takes logical form in movement patterns. Thus each dancer, instructor or student must learn a technical vocabulary for communicative expression, just as a language student must learn a foreign vocabulary. How the language is used and what parts of the vocabulary are selected, once they are learned, depend upon each individual. Any mode of expression reflects the total person -physical, mental, social, and emotional -and is, in general, an outcome of experience, observation, and study. The techniques in this text are offered only to increase this technical dance vocabulary, or to refresh a vocabulary already learned through active participation. The plan of classification in Chapters Three, Four, and Five may be used or disregarded, but an explanation may show more clearly the logic underlying each division.

16

MODERN DANCE, Techniques and Teaching

The divisions include dance warm-ups, dance exercises, and dance techniques. Dance warmups and dance exercises refer to the necessary fundamentals in the training process or the conditioning of the body for dance movement. Dance technique, as stated previously, refers to the vocabulary of dance which becomes the dancers medium for expression. These divisions will be discussed further in Chapter Two.

T H E CREATIVE ASPECT OF MODERN DANCE Dance technique is used solely as a means of obtaining body coordination and a larger vocabulary of dance patterns for creative dance. In dance technique the technical exercises have no particular dramatic content to ~ o i o rthe movement; however, expert performance projects a feeling or quality of creative dance that is directly related to the personality of the performer. The actual creative aspect of dance, as it concerns choreography, is the responsibility of each instructor. Choreography includes explanations and demonstrations of rhythmic patterns; sustained, suspended, and percussive movements; change of direction and levels; dance forms; dramatic or lyrical use of movement; the use of music; and many other fundamentals of creative dance. What phases are presented will depend upon the education and creative power of each instructor. The responsibility for the use of technical and choreographic education rests entirely with each individual, for student and dancer can only communicate in terms of the known vocabulary. Dance vocabulary may be changed, distorted, extended, or combined for well understood purposes and effects, but the "known" is the basis for change. I t is highly recommended that beginning students create in terms of their learned techniques and under the guidance of trained personnel. From an educational viewpoint, this creative process of extending a known vocabulary is of prime importance in developing the creative and expressive talents, and preventing a feeling of inadequacy in creative effort. This importance lies in the creative process, rather than in the finished product. Once the fundamentals of choreography are mastered, the students, like the creative artists, may deviate from the learned pattern as the content or the mood of a dance demands. The principles previously discussed and the theories reviewed under dance technique and creative dance, reflect a philosophy of the teaching and approach to modern dance technique based upon the premise that the end result should so coordinate the body that it becomes a vital instrument in communicative expression in a modern dance form. The use and interpretation of this premise become an individual problem for each instructor; however, a thorough knowledge and understanding of the logic upon which it is founded is a necessary and invaluable working basis for modern dance students and instructors. Used consistently, it insures student safety in participation, faster more thorough learning, confidence and security in personal creative processes, and a quality of teaching that promotes the instructor from artisan to artist. USES In terms of modern dance education, this is a beginning text; however it may be used a t any educational level, provided the exercises and techniques are simplified, remain a t the level illustrated, or are extended for intermediate and advanced experience levels. Elementary instructors using this text, should carefully adapt these warm-ups, exercises, and techniques to the interests and specific experiences of children. The material in this text bas been successfully taught, in some instances with adaptation, to the following groups: (1) in large physical education classes of over 200 students; (2) in professional dance classes: (3) in children's classes, ages 4 to 12 years; (4)in classes in dramatic

MODERN DANCE IN EDUCATION

17

movement for actors; ( 5 ) in conditioning exercise classes for adult recreation; and (6) in classes for postural correction. In physical education classes of 200 a d =ore the fom.a! gymnastic appreach s e n e s admirably in presenting the body conditioning and dance fundamentals necessary for the beginning students. Dance warm-ups, exercises, and techniques are selected for maximum, unison movement in a limited space. Space techniques, which require a wider range of movement, as well as the fundamentals of choreography, are practiced through group organization. The need for further participation in the creative aspect of dance is met by extracurricular membership in the modern dance club. Professional dance classes differ only in frequency, intensity, and duration. The technical approach is identical; however, instructional and practice periods are more frequent, the intensity of instruction, correction, and participation is greater, and the duration of the training period is longer. The technical proficiency required in professional dance demands this longer, more intensive, training period. Classes for children, ages 4 to 12, need a body education applicable to all types of dance. Any modern dance warm-ups, exercises, or techniques used in elementary education are carefully selected in their relationship to this need. The selections are simplified and/or adapted to the interests and experiences of each age group. In classes in movement for actors the emotional and dramatic aspect of modern dance technique is emphasized in relationship to its possible use in acting technique. Simplified modern dance technique can be used very successfully as conditioning exercises in adult recreation classes. The use of dance movement for conditioning introduces modern dance to a lay group and affords a greater understanding of modern dance, which leads to a keener audience participation in modern dance concerts. This material has also been tested for corrective features, and under the direction of personnel trained in adaptive physical education, i t is an invaluable instrument for motivation and correction. I n classes for postural correction, the techniques are carefully selected and/or adapted for specific postural conditions which may be reduced or corrected b y strengthening particular muscle groups. Facilities and budget generally dictate the accompaniment provided for modern dance instruction. The use of voice inflection rath.er than percussive equipment, piano accompaniment, or recorded music means that modern dance can be taught in schools or studios where a limited budget would otherwise prevent its inclusion. Rhythmic patterns, accents, percussion, and tempo may all be obtained through skilled use of the voice. This long list of uses presents the possible value of modern dance education. The specific outcomes depend entirely upon the instructor who uses it for educative purposes.

ABOUT THE BOOK PURPOSE This book proposes to analyze, illustrate and organize for teaching purposes some of the vocabulary (techniques) of modem dance to provide a reference and a guide for teachers and students of modern dance. DIVISIONS Dance Warm-Ups: Floor and Standing. The section on dance warm-ups includes the bounces, extensions, and stretches performed on the floor and in standing position. These are necessary flexibility exercises for all dance conditioning. Dance Exercises: Flow and Standing. The section on dance exercises contains a group of movements that relate specifically to dance education, such as arm patterns, knee bends, foot and leg exercises. Dance Techniques: Floor, Standing, Space. This section includes a group of techniques that are a part of modem dance vocabulary. The progression used attempts to present these techniques from the simple to the complex. Each technique is an entity in itself, however, those which begin with a theme and continue through a number of variations, show how a theme may be extended in different levels, directions, change of focus, or by adding arm and leg patterns. The space techniques are divided into jumps, leaps, and falls, or combinations of these three. The authors purposely classified the dance material into these three sections to enable instructors to select material from each division for the specific objectives desired in particular lesson plans. The maten'al within the Dance Warm-ups, Dance Exercises, and Dance Techniques, may be used in any continuity and in any manner desired by individual instructors. PAGE LA Y-OUTS Visual Analysis (left-hand page). Each illustration page attempts to give a title to each movement sequence. These titles are make-shift at best, since few modern dance techniques have a standardized nomenclature. Each photograph on the page represents a single movement within a total movement sequence. These single movements are lettered A, B, C, Dl and so on, and refer to the corresponding verbal descriptions on the opposite page. The movement sequences are numbered (I), (11), when two or more occur on a page. Suggested counts are written out -ONE, TWO, THREE, etc. -and the total count up to which the warm-up, exercise, or technique should be repeated, appears below the title and a t the end of the movement sequence. (Example: Page 24, Movement Sequence (I). The count is "ONE, TWO." This sequence should be performed in this manner-"ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT." The counts THREE-FOUR, FIVE-SIX, and SEVENEIGHT are simply "ONE, TWO" repeated so that Movement Sequence (I) totals eight counts.) Slow counts are designated by the use of dashes between the letters of each number-0-N-E and A-N-D. Steady, even, or accented counts do not have these dashes. These steady counts are indicated in this manner: ONE, AND, TWO, and so on. Counts in parentheses- (ONE) or (and) -signify that these counts can be employed in the slow learning of the movement. Omit counts in parentheses as the learning of the movement sequence progresses. The -Acounts (pronounced "Ah" or "Uh") usually follow an AND count and signify continuous movement through this -A- count (see page 38).

ABOUT THE BOOK

19

Suggested counts are never dogmatic teaching counts. They may be changed as desired by each instructor. The solid lines denote movement or? m e xwvement sequence; the doiied, on another; the wavy on another. Arrow heads denote slight pauses in the movement. A line that touches a figure and extends beyond i t signifies continuous movement through that point in the movement sequence. If a line by-passes a figure, omit that figure from the particular movement sequence. I n general, the solid line designates the simplest sequence, the dotted line, the more complex, and the wavy line, the most complex movement sequence (see page 102). Initial or starting positions are usually Figure A of the sequence (see page 22). If a preparation is indicated, then the preparation begins on Figure A (see page 100). The preparation merely shows how to get into the initial position. Two kinds of transitions appear: within the illustration page (see page 42); and from one page to another (see page 44 and page 42). Descriptive Analysis (right hand page). The first half of the descriptive analysis page repeats verbally the illustration page beginning with the title, initial position, and movement sequence descriptions. The figures A, B, C, D, on the left side of the page refer to the corresponding letters on the illustration page. The counts on the right side of the page refer to those same counts indicated on the illustration page; however, to save space the AND counts are represented by the ampersand (81) and the number counts (ONE, TWO) by the numerals 1, 2. Dashes and parentheses appear with these numbers just as they appear on the illustration page. Movement sequences are also referred to as (I), (11), and transitions and end of sequences are described as they occur. This half of the analysis is also useful for student reference purposes in extra-curricular practice. The analysis of the technique does not automatically release each instructor from an obligation to consider the emotional aspects of these techniques in their relationship to the total dance form. These techniques cannot be used successfully if the instructor or student ignores the fact that they are vital dance forms which have an emotional as well as a physical aspect of performance in communicative expression. The second half of the descriptive analysis page concerns the teaching emphasis within each movement sequence, teaching cues and teaching count. The list of teaching cues contains letters to the left of each cue which refer to specific figures on the illustration page. For instance, BHJ signifies Figures B, H, and J. B-J means Figures B, C, D, E, F, G, H, I , J-or B through J. The lists of teaching cues are of value only in that they suggest possible points of error, correction, motivation, conscious body awareness, and dramatic content in the performance of the technique. These cues should be used as a running commentary during instruction periods to insure correct performance, motivate better performance effort, and remind students of important points of emphasis within each movement. A series of highly personalized teaching cues is more desirable. Practice and experience develop a series of cues that reflect the personality of the instructor, and add an individual interpretation that makes teaching more satisfying in terms of student-teacher relationship. The teaching count, in so far as possible, attempts to present "word-substitutes') for the suggested number counts, and to give a word description of tempo and dynamic count. The number and word counts are merely suggested ways of counting and should in no way limit an instructor from the use of different words, counts, drum beats, piano music, or records. The last few lines of the descriptive analysis page summarize a suggested count and repeat important points of emphasis.

20

MODERN DANCE, Techniques and Teaching

SUGGESTIONS FOR LESSON PLANNING The general uses of this text are discussed in Chapter One. The remainder of this chapter will be devoted to the specific or technical application of the analyses and illustrations in the three divisions previously described: Dance Warm-ups, Dance Exercises, and Dance Techniques. Planned progressions of lesson plans are not offered, since they are too often incorrectly considered inflexible prototypes of the only possible method of presentation. The instructors and students are requested to apply the material in this text in any manner and continuity desired. This presupposes an educational background which will guarantee intelligent selection and planned progression of movement. For those who need further aid, a few suggestions for planning a lesson are listed below. Start on the poor: Movement performed on the floor eliminates the problem of maintaining a standing balance. This allows for concentration on floor exercises and techniques which condition the body and strengthen the back, leg, and thigh muscles necessary for correct balance in a standing position, and in movement through space. Begin each dass with warm-ups on the floor: Select a few warm-ups and teach them carefully. As student learning progresses, the big-muscle activities of the warm-ups can be alternated with dance exercises on the floor. Proceed to dance exercises on the floor: Select those dance exercises that apply to the floor dance techniques to be taught. Select dance techniques on the floor: Teach the simplest form of a technique. Add variations, changes of level, and more complex patterns only after each preceding form is thoroughly learned. Start the dance warm-ups in the standing position: Select a few warm-ups and teach them carefully. Intermediate and advanced classes sometimes proceed directly to the standing dance exercises. Practice the standing dance exercises: Select those dance exercises that relate to the standing dance techniques to be taught. Perform the standing dance techniques: Teach the simplest form of a technique, add variations, changes of level, and more complex patterns only after each preceding form is thoroughly learned. Begin space dance techniques: Use feet and leg warm-ups and preparations before attempting jumps in position, runs, or leaps. Teach the falls with dance technique: The simplest form of the fall should be mastered before attempting the more complex falls. The back fall from the hips should be taught first. Teach combinations of space techniques only after technical proficiency is attained. Begin creative work after the first few lessons: Improvise on known techniques in the first creative work by extending technique, changing levels, directions, tempo, accent, and focus, or by adding arm and leg patterns. Combinations of thece improvisations follow naturally and extend into creative group work. End each class on a technique or creative activity that produces student satisfaction, enthusiasm, and eagerness for more learning. The proficiency of the group dictates the emphasis and time allotment of each lesson plan. Every division should be a t least touched upon in each lesson plan by the inclusion of one or two movement sequences. The major portion of the lesson may be on the floor, standing, or space techniques according to the objectives and progression plan of the instructor. Check the glossary a t thc end of the book for definitions of any unfamiliar terms.

DANCE WARM-UPS Floor Standing

DANCE WARM-UPS: Floor

BENT KNEE BOUNCE I N I T I A L POSITION < Sit in a high release, knees bent, soles of feet touch, heels close to torso. Place the hands on the legs. Keep the elbows slightly rounded. MOVEMENT SEQUENCE Contract the torso, bend forward a t the hips, grasp the ankles firmly. Contract torso deeper, forcing head to touch heels, flex the elbows. Raise torso slightly from heels. Straighten elbows enough for bounce. Figure E repeats Figure C above. Figure F repeats Figure D above. END OF SEQUENCE Release torso, straighten hip to head, raise torso forward and upward. Return to initial position, torso upright. Move hands up on the legs. TEACHING CUES 1. Sit in high release. Check alignment of head, shoulders, and hips. 2. Keep the chest high, the abdominal muscles taut, stomach wall flat. 3. Sit high on end of the pelvic bone, not on the end of the spine. 4. Start contraction in hip, through spine, shoulders, then to the head. 5. Place the heels far enough away from the torso to enable the forward

CDEF

bounce to come from the hip joint, and not in the small of the back. 6. Use a firm grasp on instep, not on toes, to force forehead to heels. 7. On contraction, lengthen spine, round back from end of spine to crown of head, abdomen concave. Keep the elbows flexed, outside of knees. 8. On slight torso raise, do not lift too high. This causes a transfer of the bounce to the small of the back. Keep the bounce in hip joint. 9. On release, start from hip, through spine, shoulders, then to head. 10. On release, watch movement of chest and abdomen, as well as the back; abdomen flat, chest high, straighten throat. Do not allow sway back. 11. On release, stretch forward and upward, and bend a t the hip joint. 12. On return to initial position, raise the torso forward and upward to insure a wider range of body and hip movement, before sitting upright. 13. Elbows flex and extend, continuously, during this bent knee bounce.

TEACHING COUNT A-N-D, ONE, TWO, THREE, FOUR, through EIGHT. A slow A-N-D begins the initial contraction, and a fast, accented number count is used every time the lowest bounce is done. The slight raising of the torso can be a fast (and) count, in the slow learning process, but after a few performances of the exercise, eliminate this (and) count. Use a slow A-N-D for the first contraction, a slow 0-N-E to straighten the back, and a slow T-W-0 count to return to the initial position. See below: A-N-D, ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT, 0-N-E, T-W-0. Word substitutes may be used for the number count, such as: OVER, BOUNCE, BOUNCE, BOUNCE, STRAIGHTEN and SIT UP. Use in any combination.

DANCE WARM-UPS: Floor

STRAIGHT LEG BOUNCE FIGURE

A

I N I T I A L POSITION

COUNT

High release, straight legs, extend ankles, round arms, palms face in.

MOVEMENT SEQUENCE I Contract the torso, bend forward a t the hips, firm grasp on the ankles. -&1 Contract deeper, bring the head to touch the knees, the elbows flexed. Raise torso slightly from thighs, allowing elbows to straighten a bit. (&) Figure E repeats Figure C above, and Figure F repeats Figure D above. 2 (&)

MOVEMENT SEQUENCE 11 1 Repeat of C, but with the ankles and toes flexed as far as possible. Repeat of D l but wi'th the ankles and toes flexed as far as possible. (&) Figure I repeats Figure G above, and Figure J repeats Figure H above. 2 (&) Eh7D OF SEQUENCE Release, straighten back, extend ankles and elbows, move hands up leg. Return to initial position. Figure L is identical to Figure A above.

TEACHING CUES 1. Keep the back in high release, the chest high and the abdomen flat. 2. Extend knees, ankles and toes strongly. Touch floor with finger tips. 3. Keep arms rounded and armpits open. The line from shoulder, B

B-J c-J c-J c-J G-J K L

through elbow, to third finger, should be round, and the palms face the torso. 4. Start contraction from hip, through spine, shoulders, then the head. 5. Keep abdomen concave on torso forward bend. I t should not protrude. 6. Bounce is in the hip joint. Do not swing from the small of the back. 7. Use ankle hold as leverage to force torso to touch thighs. Firm grip. 8. The elbows flex and extend continuously while performing this bounce. 9. Strong flexion of ankle joint and toes should raise heels from floor. 10. Release from hip, through spine, to crown of the head. Toes extend. 11. Return to initial position. Sit tall, lift torso high, gaze forward.

TEACHING COUNT A-N-Dl ONE, TWO, THREE, FOUR, through EIGHT. A slow A-N-D begins the initial contraction, and a sharp, fast number count is used every time the lowest bounce is done. The slight raising of the torso can be a fast (and) count in the slow learning process, but after a few times, correctly performed, this (and) count should be eliminated, and only a strong, fast, number count should be used. One through eight with the ankles extended, completes movement sequence I. This is followed by sequence 11, flexing ankles on ONE and counting as in the movement sequence I. Following this, repeat eight each of I and 11; straighten back on slow O-N-E count and return to initial position on slow T-W-0. Eight counts of I , eight counts of 11, eight counts of I , and eight counts of 11. Complete straight leg bounce. Word substitutes may be used as suggested on the previous page: OVER, BOUNCE, BOUNCE.

-1-2-

DANCE WARM-UPS : Floor

27

BENT KNEE POSITIONS FIGURE

A

I N I T I A L POSITION Sit, knees to chin, heels on floor, flex ankles, palms over the toes. (I)- BENT-KIVEE LEG STRETCH Extend right leg from hip, straightening knee, heel raised from floor. Flex the right knee, and draw right leg back to the initial position. Extend left leg from hip, straightening knee, heel raised from floor. Flex the left knee, and draw the left leg back to the initial position.

A-E ACE BD BD ACE

1 (&)

2 (&)

TEACHING CUES 1. Maintain deep contraction throughout exercise, abdomen wall concave. 2. Keep chin over knee, place the palms over toes and metatarsal arch. 3. Stretch from hip to heel on extension. The elbow also extends fully. 4. On extension, lift heel. Only calf touches floor. Do not slide heel. 5. Flex elbow and knee fully, bring the thighs to chest, heel on floor. TEACHING COUNT ONE, TWO, THREE, FOUR, through EIGHT. Extend the leg on number count. T o this number count, add an (and) count on flexion, beginners only. Use a slow, even number, plus (and) count in initial learning period. After a few times, use only a fast, strong number count on extension. TRANSITION I From count 8 (and), extend the ankles, toe tips on floor, grasp legs just below knees, keep elbows out, pull on knees to straighten back. This high release position is maintained throughout the full exercise. (11) -BENT KNEE-ANKLE FLEXION-EXTENSION Flex ankles, lower heels to floor. (This places feet flat on floor). Extend the ankles, raise the heels from the floor, toe tips on floor.

AA-CC AA-CC AA-CC AA-CC

COUNT

TEACHING CUES 1. Keep torso in as high a release position as possible, back straight. 2. Sit high on the end of the pelvic bone. Do not sit on end of spine. 3. Keep elbows out to sides, not down on sides of legs. Pull on knees. 4. Flex and extend ankles strongly. Both feet move at the same time. TEACHING COUNT ONE, TWO, THREE, FOUR, through EIGHT. Use a strong, fast number count. Flex ankles, heels down, odd numbers; extend ankles, raise heels, even. One count for each movement of the feet. Slow count for all beginners. TRANSITION 11 From count 8, Figure CC, contract torso slightly. Move arms forward to grasp right ankle, fingers around back, thumbs on top of the ankle. A-N-D Movement Sequence I : ONE, TWO, T H R E E , FOUR, FIVE, SIX, SEVEN, EIGHT. Transition: A-N-D. Movement Sequence 11: ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Transition I1 proceeds to Figure A, page 26.

-&-

1 2

-&-

FRONT EXTENSION-(FLOOR) 8 COUNTS

DANCE WARM-UPS : Floor

29

FRONT EXTENSION FIGURE

A

COUNT INITIAL POSITION Sit in slight contraction position, flex knees, draw legs up close to torso, extend ankles, toe tips on floor. Place hands around ankle of right foot, thumbs on top of ankle, all four fingers a t back of ankle.

MOVEMENT SEQUENCE Begin the extension by extending the knee and raising leg out and up. Continue extension, stretching leg up as high as possible, toe pointed. Figure D repeats Figure B; however knee flexion is bringing leg down. The down movement is completed when the initial position is reached. Figure F repeats B above. Extend knee, and raise the leg out and up. Figure G repeats Figure C above. Stretch leg up as high as possible. Figure H repeats D above. Flex the knee, in order to bring leg down. Figure I repeats A and E above. Complete downward movement of leg. TEACHING CUES A A-I

CG EI A1 A1 A-I A-I A-I A-I

1. Sit in slight contraction, abdomen concave, only toe tips on floor. 2. Extend ankles and toes strongly. Keep hand grip firm during exercise. 3. Extend knee for upward stretch of leg, and pull leg close to torso. 4. Flex knee fully to bring leg down, and keep thigh close to the chest. 5. Stationary foot remains in position, ankle extended, toe tip on floor. 6. Do not allow rocking back on the spine during this exercise, sit tall.

7. Move leg smoothly and evenly, through the entire space illustrated. 8. Keep elbows flexed and out, throughout the total movement sequence. 9. The arms raise and lower as the foot and leg movementsareperformed. 10. The hand grip remains on the ankle throughout the movement sequence. TEACHING COUNT ONE, TWO, THREE, FOUR, through EIGHT. Use a strong, fast number count. Extend leg on odd numbers, flex knee and bring leg down on even count. Use a slow, steady count for beginners. In all teaching, be sure each student extends and flexes the leg continuously, pausing only on the completed extension, and upon the return to initial position.* *NOTE: The (and) counts illustrated on the opposite page, merely establish the direction of the leg in the action of extension and flexion. They are not regular counts in the movement sequence. This is also shown by lines, which appear to pass through the (and) figures, signifying that this particular movement must be performed; however no actual count is given it in the teaching count. The movement through the (and) counts to the numbered counts, is continuous. Pause only at the arrow heads. ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Use a strong, fast, even count. Repeat with the left leg, using the same counts. Word substitutes may be used in place of counts outlined : FLEX-EXTEND.

DANCE WARM-UPS : Floor

31

FRONT EXTENSION WITH ANKLE FLEXION FIGURE

A

I N I T I A L POSITION COUNT Sit in slight contraction position, knees flexed, legs drawn close to torso, ankles extended, toe tips on floor. Place hands around right ankle, the thumbs on top of ankle, all fingers at the back of ankle. MOVEMENT SEQUENCE Extend knee slightly to stretch leg upward, and raise toe from floor. Extend knee further, stretch leg higher, the knee-toe line straight. Extend knee as straight as possible, point the toe, and lift leg high. Maintain position illustrated in Figure D , and flex ankle strongly. Extend the ankle strongly, as shown in Figure D. Only the ankle moves. Flex knee in order to lower leg. Keep knee and toe in straight line. Flex knee still deeper and lower leg, toe tip is barely off the floor. Flex knee completely, toe tip on the floor as in the initial position.

A-I A-I A-I D I B-H B-H B-H B-H A-I DEF

TEACHING CUES 1. Sit in slight contraction, abdomen concave, only toe tips on floor. 2. Sit on the end of the pelvic bone. Do not rock back on the spine. 3. Extend ankles and toes strongly. Keep hand grip firm during exercise. 4. Extend knee for upward stretch of leg, and pull leg close to torso. 5. Flex knee fully to bring leg down, and keep thigh close to the chest. 6. Stationary foot remains in position, ankle extended, toe tip on floor. 7. Move the leg smoothly, evenly, and continuously through the 8 counts. 8. Keep the flexed elbows out throughout the total movement sequence. 9. The arms raise and lower as the foot and leg movements are performed. 10. The hand grip remains on the ankle throughout the movement sequence 11. On the highest extension of the leg, flex and extend ankle strongly. TEACHING COUNT ONE, TWO, THREE, FOUR, through EIGHT. One count is given to each of the positions. Keep action continuous. Use a strong, steady count for this exercise. Immediately following the count of eight on the right side, repeat this same exercise, using the same (right) leg, either two or four times. The times selected depend upon the needs of the class or the wishes of the intructor. Once this repetition is completed, place the hands on the left ankle in the same manner in which they were placed on the right ankle. Repeat this exercise the exact number of times, and in same manner, as performed on the right. T R A NSZTION* Legs forward, grasp ankles, perform straight leg bounce (Page 24). Flex knees, heels to torso, soles of feet touch, proceed to page 32. ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Repeat full eight counts two or four times. Repeat the same number of times on the left side. *The transition i s used only when use of next warm-up i s desired.

DANCE WARM-UPS : Floor

33

SIDE EXTENSION FIGURE

-A-

PREPARATION FOR I N I T I A L POSITION Sit in slight contractionj flex kneesj heels dose to torso, soles of feet face each other, ankles extend, heels off floor, hands on ankles. Keep toes pointed on floor. Lift left hand from ankle, palm to torso. Maintain this position, but turn palm down and around, toward left leg.

I N I T I A L POSITION In this position, place left hand, thumb-fingers, behind left ankle.

MOVEMENT SEQUENCE Use hand push to extend knee and elbow for side extension of left leg. Flex the knee and lower, to bring the leg back into initial position. Figure G, repeats Figure E above, and Figure H, repeats A and F above.

TEACHING CUES A-D A-H A-D DFH EG EG EG EG F-H D-H D-H D-H

1. Sit in slight contraction, flex knees to side, heels close to body. 2. Sit on end of the pelvic bone. Do not rock back on the end of spine. 3. Extend ankles, toes together on floor, heels apart and off the floor. 4. Place left hand firmly behind ankle, keep right hand on right ankle. 5. Use push of left hand to extend knee and leg out to side, point toes. 6. Turn leg in hip socket to force the inside of knee to face the front. 7. Inside muscles of the leg stretch from hip, through knee, to the heel. 8. On extension, instep and toes, lead out in a semi-circular movement. 9. Flex knee fully to bring leg in; keep thigh (knee) out to the side. 10. Stationary foot remains in position, ankle extended, toes on floor. 11. Move leg smoothly, evenly, and continuously throughout the 8 counts. 12. Knee and elbow flex and extend continuously during movement sequence.

TEACHING COUNT ONE, TWO, THREE, FOUR, through EIGHT. Use a strong, fast number count. Extend leg on odd numbers, flex knee, and bring leg in on even count. Use a slow, steady count for beginners. I n all teaching, be sure each student extends and flexes the leg continuously, pausing only on the fully completed extensions and on the return to the initial position. NOTE: the (and) counts illustrated in the front extension on page 28, established the direction of the leg in the process of extension and flexion. This is not shown on the side extensions; however it is just as necessary to perform a complete movement in this exercise. Each time the leg is pushed sideward, the toe and the instep should form a circular movement, out and around, as far to the side as possible. If such a procedure is followed, it insures a wider, smoother movement. ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Strong, fast, count. Change hand position as in preparation A,B,C. Repeat with right leg. Since the next warm-up is also a side exlension, proceed to page 34.

COUNT

DANCE WARM-UPS : Floor

35

SIDE EXTENSION WITH ANKLE FLEXION FIGURE

A

I N I T I A L POSITION COUNT Sit in slight contractiw, flex knee-,, h c d s close to torso, soles of feet face each other, toes together and pointed on floor, heels apart and above the floor, right hand on right ankle, left hand behind left ankle, as in Figure D of previous exercise. See illustration, page 32. MOVEMENT SEQUENCE Extend knee slightly to stretch leg to side, raise toe from the floor. Extend knee further, stretch leg wider, knee-toe in a straight line. Extend knee as straight as possible. Point toe and push the leg back. Maintain position illustrated in Figure D, and flex ankle strongly. Extend the ankle strongly, as in Figure D above, only the ankle moves. Flex knee slightly, in order to begin the return to initial position. Flex knee still deeper, and lower leg, toe tip barely off the floor. Flex the knee completely, toe tip on floor as in the initial position.

A1 A-I A1 A1 B-D CDEF CDEF BCD DEF DEF GHI

B-H B-H

TEACHING CUES 1. Sit in slight contraction, flex knees to side, heels close to body. 2. Sit on end of the pelvic bone. Do not rock back on end of the spine. 3. Extend ankles, toes together on floor, heels apart and off the floor. 4. Place left hand fully behind ankle, keep right hand on right ankle. 5. Use push of the left hand to extend the knee out to side, point toes. 6. Turn leg in hip socket to force the inside of the knee to face front. 7. Inside muscles of the leg stretch from hip through knee to the heel. 8. On extension, instep and toes lead out in a semicircular movement. 9. On the extreme extension of the leg, flex and extend ankle strongly. 10. On extreme extension push the leg back strongly for greater stretch. 11. Flex knee fully to bring leg in; keep thigh (knee) out to side. 12. Move leg smoothly, evenly, and continuously through eight counts. 13. Knee and elbow flex and extend continuously during movement sequence. TEACHING COUNT ONE, TWO, THREE, FOUR, through EIGHT. One count is given to each of the positions. Keep action continuous. Use a strong, steady, count for this exercise. Immediately following the count of eight, repeat on same side two or four times. Repeat this exercise on right side in the same way and the same number of times as performed on the left. Place the hands on ankles in same manner, but reverse hand positions. TRANSITION* Extend legs to side, extend ankles, sit in high release, round arms a t sides, finger tips on floor, proceed to dance warm-up page 36. ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Repeat full eight counts, two or four times. Repeat the same number of times on the right side. *The transition is used only when use of next warm-up is desired.

1 2 3 4 5

6 7 8

DANCE WARM-UPS : Floor

SIDE LEG STRETCH WITH BOUNCE FIGURE

A

I N I T I A L POSITION COUNT Sit in high re!ease, open legs out to the side, extend knees and toes, round arms a t sides of torso, finger tips on floor, palms face torso. MOVEMENT SEQUENCE Contract a t hips to bring torso forward, flex ankles, hands over toes. Contract deeper, lower torso, touch head to floor, palms over arch. Maintain contraction, raise torso slightly from hip, palms over arch. Contract deeper, touch head to floor. This repeats Figure C above. Maintain contraction, raise torso slightly. Repeat of Figure D above. END OF SEQUENCE Release torso, straighten back forward from hip, extend toes, round arms above legs, fingers above shins, upper arms level with shoulders. Raise the torso forward and upward from the hip to upright position. TEACHING CUES 1. Sit in high release. Check alignment of head, shoulders, and hips. 2. Keep the chest high, abdominal muscles taut, and stomach wall flat. 3. Sit high on ends of the pelvic bone, not on the end of the spine. 4. Extend the knees, ankles, and toes strongly, fingertips touch floor. 5. Keep arms rounded and armpits open. The line from shoulder through

B B CDEF CDEF CDEF CDEF B-F G

H

elbow to the third finger should be round, and palms face the torso. 6. Start contraction from hip, through spine, shoulders, and then head. 7. Keep abdomen concave on torso forward bend. I t should not protrude. 8. On contraction, place palms over toes, fingers over metatarsal arch. 9. Use a firm hand grip on feet for leverage in the up-and-down bounce. 10. Bounce is in the hip joint. Do not swing from the small of the back. 11. On contraction, lengthen spine, round back from end of spine to head. 12. Strong flexion of ankle joint and toes should raise heels from floor. 13. On release, stretch lorward and upward, and bend a t the hip joint, 14. On the return to initial position, raise torso forward and upward to insure a wider range of body movement, before sitting fully upright.

TEACHING COUNT A-N-Dl ONE, TWO, T H R E E , FOUR, through EIGHT. A slow A-N-D begins the initial contraction, and a fast, accented, number count is used every time the lowest bounce is done. The slight raising of the torso can be a fast (and) count in slow, learning process, but following a few performances of the exercise, eliminate this (and) count. Use a slow A-N-D for the first contraction, a slow O-N-E, to straighten the back, and a slow T-W-0 count to return to the initial position. See below. A-N-D, ONE, TWO, T H R E E , FOUR, FIVE, SIX, SEVEN, EIGHT, O-N-E, T-W-0. If desired, the warm-up found cn the next page may follow &hisone. It is very convenient for class use, since no body change is required.

-&1 (&) 2 (&)

-1-

-2-

DANCE WARM-UPS : Flom

39

SIDE LEG STRETCH ON CONTRACTION .T,",TiTIAL POSITIOK COUNT Sit in high release, open legs out to the side, extend knees and toes, round arms at sides of torso, finger tips on floor, palms face torso. MOVEMENT SEQUENCE Contract torso at hips, extend arms straight forward at shoulder level, clasp hands, chest level. Keep legs sideward, flex ankles and toes. Contract deeper, lower torso, hands touch the floor in front of torso. Swing torso to the right side, hands touch heel inside of right foot. Swing torso left to center, long contraction, arms stretched outward. Continue swing to left through center, hands touch inside of left heel. Swing torso right to center, long contraction, arms stretched outward. Continue swing to right through center, hands touch inside right heel.

B C E-H C-H C-H C-H C-H

TEACHING CUES 1. In high release position, check alignment of head, shoulders, hips. 2. In release position, keep chest high, shoulders down, abdomen flat. 3. In release position, open legs out to the sides as much as possible. 4. In contraction, start at hip, through spine, to shoulders, to arms. 5. In contraction, bring shoulders forward (not raised), arms straight forward, extend elbows, flex wrists, palms together, fingers clasped. 6. In contraction, extend knees, flex ankles, and raise heels off floor. 7. On forward torso bend, round back (spine to head), abdomen concave. 8. On swing of torso from side to side, keep the hands close to floor. 9. On swing of torso from side to side, bend of the torso is in the hip. 10. On swing of torso, torso and arms stretch outward from the center. 11. On swing of torso, keep body on one level. Do not bob up and down. 12. On swing of torso, hands describe a semi-circle, reaching out from center as far as possible, and must touch inside of heels, not above. TEACHING COUNT A-N-D, -A-, ONE, AND, TWO, AND,THREE, AND, FOUR, through EIGHT. The slow A-N-D begins the initial contraction. A slow -Acount, which actually is a second AND count, is used as the torso bends forward and hands touch the floor. Use a steady even beat emphasizing the number counts on the swings to the left and right, and the AND counts for the stretch forward to and through the center. Use a steady and smooth swinging motion. I t is necessary for this movement. The count may be speeded up when the movements are correctly and thoroughly learned. TRANSITION* After EIGHT, swing the torso, right through the center to right heel. A-N-D, -A-, ONE, AND, TWO, AND, THREE, AND, FOUR, AND, FIVE, AND, SIX, AND, SEVEN, AND, EIGHT. The -A- count, in sequence A-N-D, -A-, ONE, is pronounced A-N-D, 'UH', ONE. *Use transilion lo nexl page only if desired.

-&-

-A1 &

2 & 3

DANCE WARM-UPS : Floor

41

SIDE LEG STRETCH ON RELEASE I N i T i A L POSITION COUNT Open legs out to side, torso in high release. Round the arms fully. & Tilt body to side over right leg, right arm touching top of right leg, left arm parallel to right arm. Keep head in straight line with spine. MOVEMENT SEQUENCE Swing torso and arms to upright center position, arms rounded and open. Swing the torso to the left and lower torso to the left side, left arm touching top of left leg. The right arm is parallel to the left arm. Swing torso and arms to upright center position, arms rounded and open.

1 & 2

E N D OF SEQUENCE From center release position, arms over head, lower arms out to sides 4 - 1 and down, so that finger tips touch floor, palms to torso, arms round. A B B A-E AC AC AC AC AC AC

TEACHING CUES 1. On sideward tilt, keep torso in high release, body stretched to side. 2. In high release, raise rounded arms above the head, shoulders down. 3. In rounded arm positions, palms facing, stretch finger tips upward. 4. In the side leg stretch, the knees, ankles, and toes extend strongly. 5. On sideward tilt of body, the bend is at the hip joint, not a t waist. 6. On sideward tilt, stretch from hip through torso, arms, fingertips. 7. On sideward tilt, the throat remains stretched. Do not lower head. 8. On tilt, top ear is parallel to ceiling, lower ear, parallel to floor. 9. On tilt keep shoulders down. Do not raise shoulders on arm lift. 10. In this complete exercise, the body, the arms, and the head move as one unit, always in correct body alignment. The feet and the legs are stationary. Watch for, and correct immediately, errors in alignment. 11. Keep legs open wide. If wide stretch is not possible for beginners, allow the arms on the body tilt to lower behind the leg rather than on top of the leg, to insure correct body stretch. Check closely. 12. Circle the rounded arms out, lower to sides, finger tips over knees. TEACHING COUNT AND, ONE, AND, TWO, AND, THREE, AND, FOUR, through EIGHT. The torso tilts to the side on the AND counts, and swings up to the center on number counts. Use a strong, steady, even beat, which remains at the same steady tempo, regardless of the ability of the students or the accent of the count. The accent in this count occurs in the upright position, or the number count. I t is accomplished by voice inflection alone and not by a sharper body movement. Each movement should be smooth and continuous, and the body in correct alignment a t all times. AND, ONE, AND, TWO, AND, THREE, AND, FOUR, AND, FIVE, AND, SIX, AND, SEVEN, AND, EIGHT. This exercise completes the dance warm-ups: Floor series. Use all warm-ups, or as many as desired, in a single lesson.

DANCE WARM-UPS: Standing

RIB STRETCH AND HIP BOUNCE FIGURE

A

B C D E F G H I

J K

L A A-E A BD BD BD BD F G

c-J K

COUNT I N I T I A L POSITION Stand in upright release posit~on,stretch arms upward, round eibows. Stretch fingers upward, palms toward each other, and shoulders lowered. M O V E M E N T SEQUENCE I Stretch right side of rib cage upward, lengthening from hip to fingers. Return to initial, centered, position. Keep feet and legs stationary. Stretch left side of rib cage upward, lengthening from hip to fingers. Return to initial position. Repeat the sequence through count 8 (and). TRANSITION I Contract a t hip, lower torso to horizontal and drop the arms downward. MOVEMENT SEQUENCE 11 Contract deeper, lower head to knees, flex elbows and grasp the ankles. Move torso away from thighs, allowing the elbows to straighten a bit. Bounce forward, and lower torso, head to knees, as in Figure G above. Bounce away from thighs, elbows straighten a bit, as in Figure H above. T R A N S I T I O N 11 Release a t hip, straighten back, stretch the arms forward and upward. Raise torso to upright release position lift arms upward. (Figure A.) TEACHING CUES 1. Chest high, not forward, abdomen flat, knees straight, heels together. 2. Toes slightly outward, elbows round, shoulders down, torso in release. 3. I n initial, centered position, keep elbows and top of ears in line. 4. Lengthen the back on the stretch. Do not allow a sway back to occur. 5. Stretch upward from ankle to finger tips. Do not bend on opposite side. 6. Keep the shoulder lift to an absolute minimum. Do not lift or sway. 7. Keep arms round. Do not stiffen the arms on the upward rib stretch. 8. Contract a t hip, keep abdomen concave, lower torso, drop arms down. 9. Grasp ankles, pull torso to thighs, flex elbows, keep knees straight. 10. Keep bounce in hips in both movements, toward and away from thighs. 11. Release, and lift torso and arms, as one unit, to upright position. TEACHING COUNT Movement Sequence I : Strong count, ONE, TWO, T H R E E , FOUR through EIGHT. Transition I : Use a strong, slow count of A-N-D, or word CON-TRACT. Bounce: Strong, fast number count ONE. TWO, THREE, FOUR through EIGHT on inward torso bounce to thighs. All (and) counts, both movements, should be used only in first, slow learning process and eliminated when movement is performed u p to tempo. Transition 11: Use a slow count of A-N-D, 0-N-E, or use the word substitutes: RE-LEASE, AND-COME-UP. Sequence I : ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Transition I : A-N-D. Sequence 11: ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Transition 11: A-N-D, 0-N-E. Proceed lo next warm-up if so desired.

45

DANCE WARM-UPS : Standing

RIB STRETCH-HEAD-UP-AND FIGURE

A

B C D E

HIP BOUNCE

COUNT I N I T I A L POSITION Stand in upright release position, stretch arms upward, round elbows. Lift head upward, and raise face to ceiling, keep shoulders lowered.

MOVEMENT SEQUENCE I Stretch right side of rib cage upward, lengthening from hip to fingers. Return to initial, centered, position. Keep feet and legs stationary. Stretch left side of rib cage upward, lengthening from hip to fingers. Return to initial'position. Repeat sequence through count EIGHT (and). TRANSITION I Contract, lower the torso, drop the arms (see page 42, Figure F).

F G H I

J

K

A-E A-E A-E BD BD A-E F-I

J

K

MOVEMENT SEQUENCE 11 Contract deeper, lower head to knees, flex elbows, and grasp ankles. Move torso away from thighs, allowing the elbows to straighten a bit. Bounce forward, and lower torso, head to knees, as in Figure F, above. Bounce away from thighs, straighten the elbows a bit, as in Figure G. TRANSITION 11 Release, straighten back, arms forward and upward (page 42, Fig. K). Raise torso upright, arms upward and rounded, body in good alignment. Circle arms outward to sides, down to shoulder level, palms face front. TEACHING CUES 1. Keep throat stretched upward. Do not allow head to bend backward. 2. Keep the face quite parallel to the ceiling, not just the eyeballs. 3. Lengthen the back on the stretch. Do not allow a sway back to occur. 4. Stretch upward from ankle to finger tips. Do not bend opposite side. 5. Keep the shoulder lift to an absolute minimum. Do not lift or sway. 6. Keep arms round, elbows in line with top of ears. Do not stiffen arms. 7. Be sure and include transition figures F and K, page 42, correctly. 8. Bounce in hips, knees straight, firm pull to stretch back leg muscles. 9. Release and lift torso and arms as one unit to upright position. 10. Circle arms outward to side to shoulder level. Maintain round arms. TEACHING COUNT Movement Sequence I: Strong count, ONE, TWO, THREE, FOUR through EIGHT. Transition I : Use a strong, slow count of A-N-D, or word CON-TRACT. Bounce: Sharp, fast number count ONE, TWO, THREE, FOUR through EIGHT on inward torso bounce. All (and) counts, both movements, should be used only in first slow learning process and eliminated when movement is performed up to tempo. Transition 11: Use a slow count of A-N-D, 0-N-E, T-W-0, or the words RE-LEASE-UP, CIRCLE-ARMS-SIDEWARD. Movement Sequence I: ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Transition I: A-N-D; Sequence 11:ONE, TWO, THREE, FOUR, FIVE SIX, SEVEN, EIGHT; Transition 11: A-N-D, 0-N-E, T-W-0. Nexl page ij desired.

DANCE WARM-UPS: Standing

RIB STRETCH SIDEWARD -4ND HIP BOUNCE FIGURE

A

I N I T I A L POSITION COUNT Stand in upright release position, extend arms to side, shoulder level. M O V E M E N T SEQUENCE I Maintain body position, stretch rib cage to the right side, arms level. Maintain body position, and return to the initial, center, position. Stretch rib cage to left, fingers leading. Repeat of Figure B above. Return to the initial, center, position. Repeat of Figure C above. TRANSITION I Contract, lower the torso, drop the arms (see page 42. Figure F). MOVEMENT SEQUENCE I I Contract, deeper, lower head to knees, flex elbows, and grasp ankles. Move torso away from thighs, allowing the elbows to straighten a bit. Bounce forward, and lower torso, head to knees as in Figure F, above. Bounce away from the thighs, straighten elbows a bit, as in Figure G. T R A N S I T I O N 11 Release, straighten back, arms forward and upward (page 42, Fig. K). Raise torso upward, circle arms outward, and down to sides of torso.

A-E BD BD BD BD BD F-I F-I

J

TEACHING CUES 1. Check on high release position, high chest, flat abdomen, straight knees, heels together, toes slightly out, body in correct alignment. 2. Keep the arms a t the shoulder level, and the palms facing the front. 3. Maintain level of shoulders and arms on rib cage stretch to the side. 4. Stretch rib cage to the side. Do not bend torso over to the side. 5. Be sure to check that the rib stretch,is to the side, and not down. 6. Keep body stationary from the waist down on rib cage stretch to side. 7. Keep the back long, especially where low sway back is apt to occur. 8. Be sure and include transition figures F and K, page 42, correctly. 9. Bounce in hips. knees straight, firm pull to stretch back leg muscles. 10. All other teaching cues for bounces on page 42, and 44 apply here. 11. Circle the arms outward and down to sides of torso, upright release. TEACHING COUNT Movement sequence I: Strong count, ONE, TWO, T H R E E , FOUR through EIGHT. Transition I : Use a strong, slow count of A-N-D, or word CON-TRACT. Bounce: Strong fast, number count ONE, TWO, THREE, FOUR through EIGHT on inward torso bounce to thighs. All (and) counts, both movements, should be used only in first slow learning process, and eliminated when movement is performed up to tempo. Transition 11: Use a slow count of A-N-D, 0-N-E, or the words RELEASE and UP, CIRCLE ARMS DOWNWARD. Movement Sequence I : ONE. TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Transition I : A-N-D; to Sequence 11: ONE, TWO, T H R E E , FOUR, FIVE, SIX, SEVEN, EIGHT; Transition 11: A-N-D, 0-N-E. Check cues very carefully.

1 (&)

2

-&1 (&)

2 (&) -&-1-

D A N C E WARM-UPS : Standing

HEEL STRETCH FIGURE

A

r N l TTAr. POST T1o-N Stand in upright release position, heels together, toes pointed out. MOVEMENT SEQUENCE Contract, hip through torso, move arms forward, begin drop to floor. Fall forward on contraction, until hands touch floor, lift to half-toe. Maintain the body and hand position, and lower the heels to the floor. Maintain body position, and raise onto half-toe. Repeat of Figure C. Maintain body position, and lower heels to floor. Repeat of Figure D. T R ANSZTZON Increase contraction, bend knees, step forward to hands with left foot. Bring right foot to meet left foot, sit on heels, keep hands on floor. Raise the torso upward. Knees begin to straighten, hands leave floor. Straighten upward to initial upright release position, heels together.

A A A B-F B-F B-F CE C-F C-F C-F C-F GH I

J J

TEACHZNG C U E S 1. Check release position for alignment ear, shoulder, hip and ankle. 2. Keep heels together, toes pointed out a t a slight angle (15 degrees). 3. Keep the abdominal wall flat and taut, chest high, shoulders lowered. 4. Contract from hip, lower torso, keep abdominal wail in concave line. 5. Keep the shoulders forward, the arms straight, and elbows extended. 6. Maintain as deep a contraction as possible throughout the exercise. 7. Half-toe position; strive for straight line, metatarsal arch to heel. 8. Keep the hands on floor throughout exercise, fingers pointed outward. 9. Keep the torso position rounded, the head lowered between the arms. 10. Emphasize the extended, straight knee position throughout exercise. 11. Flex and extend tendon of heel very strongly for maximum stretch. 12. On transition, walk forward two steps toward hand position on floor. 13. From deep contraction on heels, release torso from hip to straighten. 14. Extend knees and return to upright release position, arms a t sides. 15. Check the upright release positions for the correct body alignment. TEACHZNG COUNT A-N-D, ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Use a very slow A-N-D count on the first contraction, and a strong, even count for the raising and the lowering of the heels. Stretch the backs of the legs slowly on the first learning process. Then proceed to a strong, sharp, even beat a t a fast tempo as the student performance level increases. On the transition, use a slow 0-N-E, T-W-0, T-H-R-E-E, F-0-U-R count. Step forward on left foot on 0-N-E, make second step on right foot on T-W-0, release torso on T-H-R-E-E, and raise upright on count F-0-U-R. Movement Sequence: A-N-D, ONE, TWO, T H R E E , FOUR, FIVE, SIX through EIGHT. Transition: 0-N-E, T-W-0, T-H-R-E-E, F-0-U-R. Use warm-ups as desired. Select them according lo the specz',ficneeds of each class.

COUNT

-&1

2 3 4

-1-2-3-4-

DANCE WARM-UPS: Standing

KNEE BOUNCE AND K N E E STRETCH A

INITIAL POSITION Stand in upright release position, heels together, toes pointed out.

B C D E F

MOVEMENT SEQUENCE I Contract from hips, bend knees, move arms and torso toward the floor. Contract deeper, lower hips to sit on heels, palms flat on the Aoor. Raise the hips slightly from the heels, maintain a deep contraction. Bounce the hips down to sit on the heels. Repeat of Figure C above. Bounce the hips up slightly from the heels. Repeat of Figure D above.

FIGURE

J

MOVEMENT SEQUENCE TI Bounce the hips down and sit on the heels. Repeat of Figures C and E. Straighten knees and elbows, keep the hands and feet flat on the floor. Flex the knees and elbows, bounce the hips down and sit on the heels. Straighten the knees and elbows, keep the hands and feet on the floor.

K L

TRANSZTION Release the torso forward and upward from hip, hands leave the floor. Raise torso to upright release position. Repeat of Figure A above.

G H

I

A A B C-I DF C-I

G-J HJ

c-J c-J HJ K L

TEACHING CUES 1. Check for a good postural alignment in the upright release position. 2. Keep the abdomen flat and taut, heels together, toes pointed outward. 3. Contract from hips, round the torso, pull abdomen into concave line. 4. Keep the heels off, and the hands on the floor in the knee bounces. 5 . In slight bounce of hips off the heels, maintain contraction of body. 6. In bounce tempo barely touch heels; bounce up, then down onto heels. 7. In movement sequence 11, keep hands on the floor throughout exercise. 8. Keep the feet flat on the floor on the extension of knees and elbows. 9. Maintain contraction of the torso throughout the movement sequence. 10. Keep the head down on all of the bounces, and on the knee stretch. 11. Emphasize the stretch of the back muscles of legs on knee extensions. 12. Release torso from hips, straighten body forward and up on transition. 13. Raise the torso to an upright release position in correct alignment. TEACHING COUNT A-N-D, ONE, TWO, T H R E E , FOUR, through EIGHT. Use a strong, fast beat. The (and) counts are used only in the slow learning process and should be eliminated as soon as the exercise is learned. From this movement, proceed to Movement Sequence 11, counting this as follows: ONE, TWO, THREE, FOUR through EIGHT. This count is strong, but slower than the first count because of the slight pause between the bounce and the leg stretch in movement two. End the exercise on transition A-N-D, 0-N-E. Movement Sequence I: ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Movement Sequence 11: ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Transition: A-N-D, 0-N-E. Sekct warm-ups according lo class needs.

COUNT

DANCE WARM-UPS: Standing

CONTRACTION AND RELEASEBALANCE ON HALF-TOE FIGURE

A

I N I T I A L POSITION COUNT Stand in an upright release, chest high, abdomen flat, heels together.

H

MOVEMENT SEQUENCE Contract from hip through whole torso, raise arms forward opposite hip. -&Contract deeper, shift weight to heels, continue arms shoulder level. 1 Continue contraction, move arms and head upward, flex toes slightly. -&Keep long torso contraction, raise arms and face to ceiling, flex toes. 2 Release, shift weight from heels, circle rounded arms out, head level. -&Release, circle arms to shoulder level, palms up, weight toward toes. 3 Lower arms to sides, palms front, raise to half-toe, and hold balance. -&-4

I

END OF SEQUENCE Repeat sequence 4 times, then from last release, lower heels to floor.

B C D E F G

A A B-H B B-E B-E B-E B-E B-E E F B-I

F-H H I

TEACHING CUES 1. Check for a correct body alignment in the upright release positions. 2. Keep the heels together, and point toes throughout the full exercise. 3. Shift body weight from heel-to-toe-to-heel as described above. 4. Start contraction in hips through spine, shoulders, head, and arms. 5. Maintain a concave abdominal line in all the contraction positions. 6. Extend arms completely in contractions, only shoulder angle varies. 7. Maintain alignment of hip and shoulder even in contraction positions. 8. Bring shoulders and hips forward in contractions, and round the back. 9. Shift weight to heels, and flex toes off the floor in contractions. 10. Lift head parallel to ceiling; do not drop back and constrict throat. 11. Adjust hips to center position on release, shoulders back and down. 12. Stretch and round the back as far as possible in all contractions. This lengthens the spine. Straighten back on releases, shortens spine. 13. Extend toes and shift weight from heel to ball of foot on release. 14. Lower arms slowly, simultaneously rising up to half-toe on balance. 15. Maintain release, lower heels to floor, keep weight slightly forward. TEACHING COUNT A-N-D, ONE, A-N-D, TWO, A-N-D, THREE, A-N-D-FOUR. Repeat four times, and then end the last repeat on a slow count of F-I-V-E. This exercise requires continuous movement throughout all of the A-N-D counts with slight pauses allowed only on the number counts. Pauses are designated by the arrow heads, while the A-N-D counts are placed on a continuous line which is drawn to, and proceeds through all of the A-N-D figures. The A-N-D-FOUR count is used to indicate a slow movement of lowering the arms and simultaneously raising heels to half-toe position balance. A-N-D, ONE, A-N-D, TWO, A-N-D, THREE, A-N-D-FOUR. Repeat four times, using the same count. At the end of the last repeat, end exercise on a slow F-I-V-E count. Sekct the warm-ups according to class needs.

5

DANCE EXERCISES Floor Standing

INITIAL POSITION

DANCE EXERCISES: Floor

FOOT EXERCISE FIGURE

*4

I N I T I A L PGSITION Sit in high release, hands on floor a t sides. legs extended forward.

COUNT

MOVEMENT SEQUENCE Flex ankles, until the heels come off the floor, flex toes strongly. Keep the feet flexed and turn feet sideward, the heels remain together. Extend ankles until sides of feet touch floor, soles of feet parallel. Flex the ankles and toes. Return to the position of Figure C, above. Turn flexed feet upward. Return to the position of Figure B, above. Extend the feet and toes, and return to the initial position. Fig. A.

A-G A-G A-G A-G A-G ADE BCEF B-G BCEF A-G CE D ADG CDE CDE ADG AG A--G A-C;

TEACHING CUES 1. Check for good body alignment in all of the high release positions. 2. Sit up high on the ends of the pelvic bone, not back on end of spine. 3. Place hands on floor to help keep torso in upright release position. 4. Keep abdomen flat, chest high, not forward, throughout the exercise. 5 . Keep shoulders down when push of hands is used to maintain release. 6. Extension: Stretch the feet strongly, extend toes as much as possible. 7. Flexion: Bend feet toward body, straight line, heel to ball of foot. 8. Emphasize toe flexion-extension, as well as ankle flexion-extension. 9. Maintain straight a line as possible between heels and balls of feet. 10. Keep the heels together, touching, throughout all of this exercise. 11. Touch the sides of the feet and also the little toes to the floor. 12. Keep the soles of the feet parallel to each other in the extension. 13. Keep toes slightly away from each other. Do not allow them to touch. 14. Move the feet in a fan-like motion on the floor, the heels together. 15. Make sure the legs are turned-out a t the hips, knee-caps to the side. 16. Check for a straight line from the hips to toes, in all extensions. 17. Keep big toes from touching. This is accomplished by small turn-out. 18. Use the hamds to keep an upright back during all the feet movements. 19. Watch constantly that the body does not roll back on base of spine. NOTE: this foot exercise is far more difficult than appears a t first glance. Beginners will find it hard to obtain sufficient rotation a t the hip to fan the feet out enough to get the soles of the feet parallel and the sides of the feet and the little toes on the floor. This can only be accomplished by careful practice and adherence to all teaching cues.

TEACHING COUNT ONE, TWO, THREE, FOUR, FIVE, SIX. Repeat this foot exercise four times. Use a steady, strong, even beat with equal emphasis on each movement. ONE, TWO. THREE, FOUR, FIVE, SIX. Repedt this four times. After this exercise is thoroughly learned, it may be performed with circled arms in front of the chest. Select dance exercises related to lesson plan.

1

2 3 4 5 6

DANCE EXERCISES: Floor

EXTENSION AND FLEXION OF KNEE AND ANKLE JOINT FIGURE

A

I N I T I A L POSITION I COUNT Sit in release position, extend legs sideward and outward, point toes. Round the arms, at sides of the torso, place palms flat on the floor. MOVEMENT SEQUENCE I the heels and torso in position, flex right knee, ankle, and heels and torso in position, extend right knee, ankle, and the heels and torso in position, flex left knee, ankle, and heels and torso in position, extend left knee, ankle, and

E

Keep Keep Keep Keep

F

I N I T I A L POSITION 11 Sit in release position, extend legs to side, circle the arms in front.

B C D

G

H I

J

Keep Keep Keep Keep

toes. toes. toes. toes.

MOVEMENT SEQUENCE 11 heels and torso in position, flex both knees, ankles, and toes. heels and torso in position, extend both knees, ankles, and toes. heels and torso in position, flex both knees, ankles, and toes. heels and torso in position, extend both knees, ankles, and toes. TEACHING CUES

A B-E A- J A- J B-FH J B-FH J A-J A-J B-FH J A-J

1. Check for proper postural alignment, head, shoulder, hip, on release. 2. Keep arms a t sides, palms flat on floor, to help keep back upright. 3. Sit on the ends of the pelvic bone. Do not roll back on end of spine. 4. Keep chest high, not forward, abdomen flat, "Sit Tall," good reminder. 5. In extended leg position, a straight line from the hip, through knee, through second toe, is necessary. Do not allow legs to turn outward. 6. Extend knees and toes strongly. Use the thigh muscles in this action. 7. Keep the heels in place throughout the whole exercise, do not slide. 8. Be sure that the back is strong enough to maintain an upright release before proceeding to arm position illustrated in Movement Sequence 11. 9. Extend the leg muscles strongly, do not allow the leg to slap floor. 10. Watch for, and stop immediately, any roll-back on the end of spine.

TEACHING COUNT ONE, TWO, THREE, FOUR through EIGHT. Repeat the whole eight counts. After Movement Sequence I is performed correctly a number of times, proceed to Movement Sequence 11,which is counted in the same manner as Movement Sequence I. ONE, TWO, THREE, FOUR, through EIGHT. Repeat the full eight counts. NOTE: a student who has reached enough competence in Movement I to proceed to Movement 11, will show this by not using the arms for back support in the first movement. The arms will appear as rounded in the leg flexions as in the leg extensions. Either movement may be varied by flexing alternate legs on 8 counts. Movement Sequence I : ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Repeat full eight counts. Movement Sequence 11: ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Repeat full eight counts. See teaching cues.

DANCE EXERCISES: Floor

CONTRACTION AND RELEASE-ARM FIGURE

A

PATTERN

.,

I N I T I A L POSIT_IOIV ~ 3 1v l~y xx 1 Sit in upright release, extend the legs forward, round arms a t sides. LEVEL I Contract torso from hips, straighten arms, palms on floor, flex ankles. -&-I Release torso, round arms at sides, extend ankles, repeat of Figure A. 4 - 2 TRANSITION I TO L E V E L 11 Maintain release, raise rounded arms shoulder level, palms face floor. L-I-F-T L E V E L 11 Contract torso, start arms forward, flex ankles, keep abdomen concave. Contract deeper, move arms parallel, palms facing, keep ankles flexed. Release torso forward, round arms forward shoulder level, extend toes. Raise torso upright, round arms out to shoulder level, as in Figure D.

RCEGJK

BEFJ CGHK

-&-1-&-

-2TRANSITION 11 TO L E V E L I I I Maintain release position, raise rounded arms upward above the head. L-I-F-T L E V E L 111 Contract, lift head and straighten arms upward, flex hands and ankles. &-1 &-2 Release torso, lower head, round arms above head, extend the ankles. E N D OF SEQUENCE Maintain release position, circle arms outward and downward to sides. 4 - 1 TEACHING CUES 1. Check body alignment of head, shoulders, hips in release position. 2. Sit on ends of pelvic bone. Do not roll back on end of the spine. 3. Keep the arms rounded, finger tips touch floor, palms face the torso. 4. Keep the chest high, the abdomen flat, and the legs and toes extended. 5 . Contract, hip to torso, shoulders forward, extend arms, palms on floor close to the torso, the ankles flexed and the abdominal wall concave. 6. The first impulse of the contraction and release changes are seen in the hip, then through the rest of the torso, and finally to extremities. 7. Extend the arms strongly in the contractions and flex wrist and hand. 8. Round the arms a t elbows, curve palms and fingers slightly on releases. 9. In Level I, head does not move in either the contraction or release. 10. In Level 11,head moves downward between arms on the contraction. 11. In Level 111,head moves upward parallel to ceiling on contraction. TEACHING COUNT AND-ONE, AND-TWO, through AND-EIGHT. Transition I : L-I-F-T, A-N-D, O-N-E, A-N-D, T-W-0 through A-N-D E-I-G-H-T. Transition 11: L-I-F-T, AND-ONE, AND-TWO through AND-EIGHT, ending on A-N-D ONE. The -first impulse of each contraction and release should be a slow strong count. I : AND-ONE through ANDEIGHT, slow to accented count. 11: L-I-F-T, A-N-D O-N-E through E-I-G-H-T, slow counts. 111: L-I-F-T, AND-ONE, through ANDEIGHT, accented count. End: A-N-D-ONE. See teaching cues.

DANCE EXERCISES: Floor

CONTRACTION AND RELEASE WITH BOUNCE FIGURE

A

B C D E

B C CC D E AE AE AE AE B B B B C C D E

c

>it,

I N I T I A L POSITION COUNT high release, round arms upward, palins front, exieiid legs forward.

MOVEMENT SEQUENCE I Contract, hip to torso, arms, hands, raise head, flex ankles and toes. Contract deeper to lower torso and head to knees, hands beyond toes. Release, raise torso, round arms and hands, extend ankles and toes. Raise the torso and arms upward, as one unit, to the initial position. MOVEMENT SEQUENCE I 1 Contract, raise head *and arms, flex ankles. Repeat Figure B above. Contract deeper, lower torso, hands beyond toes. Repeat Figure C. Maintain Figure C position, raise and lower torso in slight bounce. Release, raise torso and arms, extend ankles. Repeat Figure D above. Release torso, return to initial position. Repeat Figure E above. TEACHING CUES 1. Check for correct alignment of body in all of the release positions. 2. Sit on the ends of the pelvic bones. Do not roll back on the spine. 3. Round arms, lift arms from shoulder, face palms'front, curve fingers. 4. Sit with the chest high (not forward), abdomen flat, legs extended. 5 . Contract upward from the hips through torso, shoulders, arms, wrists. 6. Keep shoulder and hip in line in high contraction. Do not roll back. 7 . Pull abdomen into concave line, flex ankles and toes in contraction. 8. Keep face and palms of hands parallel to the ceiling in contraction. 9. Stretch the wrists beyond the toes in lowered contraction positions. 10. Pull the abdomen into a deeper concave line in lowered contractions. 11. On release position, straighten forward and upward in long diagonal, from hip, through torso, shoulders, and arms, extend ankles and toes. 12. Raise the torso and arms to upright release position as in Figure A. TEACHING COUNT ONE, TWO, THREE, FOUR. Use a strong, even count. Instructors will sometimes find it easier, in teaching beginning students, to use a word rather than a number count. An example of this in the above word count might be: CON-TRACT, OVER, RE-LEASE, AND-UP. Repeat this exercise four times. The second movement, except for the extra bounce, is identical to the first movement; however the teaching count begins on an AND count as follows: AND, ONE, TWO, T H R E E , FOUR. The word count is the same as in the first movement, except for the insertion of the extra word BOUNCE: CON-TRACT, OVER, BOUNCE, RE-LEASE, AND-UP. Repeat four times, strong held AND in first contraction, long count on release. ONE, TWO, T H R E E , FOUR. Repeat four times. AND, ONE, TWO, THREE, FOUR. Repeat four times. Strong held AND on first contraction, easy count on bounce, accent on release, easy count to position. See teaching cues.

DANCE EXERCISES : Floor

CONTRACTION AND RELEASE ON BOTH KNEES FIGURE

A

I N I T I A L POSITION COUNT Sit in deep contraction, on both knees, eibows and paims on the floor. MOVEMENT SEQUENCE Maintain contraction, raise torso from thighs, palms leave the floor. Maintain contraction, move torso backward, palms move to side of feet. Raise the hips to long body contraction from knee to head, palms flat on floor close to feet, extend elbows to help lift torso off the legs. Release, sit upright, shift weight from hands to thighs, lift face. Contract torso from hip, bring body and arms forward, the arms round. Contract deeper, lower the torso, flex elbows, arms parallel to floor. Lower the torso and the arms to the initial position, Figure A, above.

AH A-H A-DF-H 3

C

TEACHING C U E S 1. Lower head between shoulders, forearms on floor in deep contraction. 2. Carry the weight of the body in thighs. Do not sit on the heels. 3. Pull abdominal muscles into deep concave line in contraction position. 4. Keep the torso very rounded, and extend the arms from the shoulders. 5. Movement back, thighs carry weight, mote hands from near knees to feet. 6. Move hands past toes to lift body, but carry most of weight in thighs. 7. Use palms on floor, straighten elbows to help lift torso above legs. 8. Maintain a straight line from the knees to head in long contraction. 9. Release torso from hip, lift chest and head parallel to the ceiling. 10. In release, as in contractions, carry weight in thighs, not on heels. 11. Keep the weight off of the hands, keep arms a t the sides of torso. 12. Check for deep contraction. This rounds torso, brings arms forward, hands a t knees. Keep abdomen line concave, carry weight in thighs. 13. Bring torso and head forward, flex arms, forearms parallel to floor. 14. Lower the torso to thighs, place forearms on floor, initial position. TEACHING C O U N T ONE, TWO, THREE, FOUR, FIVE, AND-SIX. Repeat this exercise four times. Use a moderately slow, accented count for this movement, with slight pauses between each of number count figures. These are shown by the appearance of arrow heads a t the appropriate places on the illustration page. The following words, or any others desired by the instructor, may be used in place of number count to further clarify the sequence of movement: CON-TRACT, AND, BACK, RE-LEASE, CON-TRACT, AND, POSITION. Beginners will complain that this movement hurts their knees and feet. This is proof that they are holding their weight incorrectly. Strict adherence to teaching cues and strengthening thighs will correct this. ONE, TWO, THREE, FOUR, FIVE, AND-SIX. Repeat this exercise four times. Use a moderately slow, accented count. Pause slightly between counts. Select the dance exercises that relate to the techniques to be taught.

1 2 3

4 5 &

6

WtF

SWING ON BOTH K 6 COUNTS

REPEAT FULL 4 TIMES

DANCE EXERCISES: Floor

HIP SWING ON BOTH KNEES FIGURE

A

IlVITIA L POSITION COUNT Kneel in upright release position on both knees, keep arms a t sides. MOVEMELVT SEQUENCE Contract torso from hip, swing back from knees, lower torso slightly. Swing torso forward from knees to upright release position, Figure A. Contract deeper, swing back from knees, lower torso more than Figure B. Swing torso forward from knees to upright release position, Figures A-C. Contract deeper, swing back, the torso parallel as possible to ceiling. Swing torso forward from knees to upright release position, Figures ACE.

TEACHILVG C U E S ACEG ACEG ACEG BDF BDF BDF BDF BDF ACEG ACEG A-G BDF A-G BDF

1. Keep body in good postural alignment: head, shoulders, hips, knees. 2. Keep the chest high, abdomen flat, the head straight, toes pointed. 3. Keep the lower legs straight and parallel, and the ankles extended. 4. Contract, abdomen concave, and shoulders and arms slightly forward. 5 . Keep head in line with spine, not back or forward in contraction. 6. Move the body as one unit in the contraction swing from the knees. 7. Keep hips locked as thighs lower toward legs in the hip swing. 8. Move the arms slightly forward to maintain balance in back hip swing. 9. Swing the arms back to sides of torso in upright release positions. 10. Move the body as one unit in the swing forward, as well as to back. 11. Carry the weight of body in thighs on both swings, forward and back. 12. In the backward swing, contraction of the glutei and the abdominal muscles, helps carry the weight of the body. Keep weight from knees. 13. ~ a i n t a i na long line from the knees to the shoulders a t all times. 14. Keep the movement downward and backward a continuous one. Swing. 15. Lowest swing places body parallel to ceiling if correctly performed. NOTE: in the beginning practice of this exercise, the lowering of thighs, hips, and torso will be almost negligible. There will be very little difference in the three levels. This is to be expected, and can only be corrected by strengthening the thigh muscles and placing the weight properly. Only then can a proper hip swing be assured.

TEACHIlVG COUNT ONE, TWO, THREE, FOUR, FIVE, SIX. Repeat this exercise four times. Use a slow, even count, and allow each student individual variation in the degree of backswing accomplished. Continue this leniency only as long as improvement is apparent. Motivate the students to practice until the last back swing brings the torso parallel to the ceiling. ONE, TWO, THREE, FOUR, FIVE, STX. Repeat this exercise four times. Use a slow, even count and insist upon a swinging motion from knees. Select Ihe dance exercises that relate to the techniques to be taught.

1 2 3 4 5 6

------

\

n 1 'A

ARM POSIT1ON5 8 COUNTS 4 TO RAISE ARMS 4 TO LOWER ARMS

DANCE E X E R C I S E S : Standing

ARM POSITIONS FIGURE

A

I N I T I A L POSITION Stand in upright release position, circle arms low, in front of torso. MOVEMENT SEQUENCE Maintain release, lift the circled arms upward, opposite hip level. Maintain release, lift the circled arms upward, opposite chest level. Maintain release, lift circled arms upward in diagonal with forehead. Maintain the release, lift the circled arms upward, above the head. Maintain release, lower the circled arms in diagonal with forehead. Maintain the release, lower the circled arms opposite the chest level. Maintain the release, lower the circled arms opposite the hip level. Maintain release, lower the circled arms opposite the thighs, Figure A.

A-I A-I A-I A-I A-I A-I A-I A-I A-I

BH CG DF E A-I

TEACHING CUES 1. In all the upright release positions, check for good body alignment. 2. Keep the chest high, abdomen flat, knees straight, heels together. 3. Maintain the circled arm position, the inside of the palms toward the torso throughout sequence, curve palms, third fingers almost touching. 4. Use biceps and back muscles to raise arms through the various levels. 5 . Watch that the shoulders do not raise upward as the arms lift upward. 6. The wrists and hands move with arms, never alone, in raising the arms. 7. Keep armpits open. This allows the arms to hang away from the torso. 8. Strive for as wide a circle as possible in all of the arm positions. 9. Do not allow the hands to touch torso. Watch especially Figures A-I. 10. Raise the arms upward, out and away, from the torso, opposite hips. 11. Raise arms upward, out and away from torso, hands opposite chest. 12. Raise arms upward, inside of palms in diagonal line with forehead. 13. Raise arms upward above forehead, not above head or behind head, but forward of head. In this position, it should be possible to see palms. 14. Constantly remind students to raise arms by use of biceps muscles. TEACHING COUNT AND-ONE, AND-TWO, AND-THREE, AND-FOUR, AND-ONE, AND-TWO, AND-THREE, AND-FOUR. Repeat the full sequence four times. The use of the AND count before each of the number counts actually makes a two-count beat for each specific movement within the total Movement Sequence. This means thgt each specific movement receives two counts: AND, plus a number. Use a steady even beat and pause only slightly at the end of each number count. Keep the movement continuous between the AND and the number count. Check all of the teaching cues very carefully. AND-ONE, AND-TWO, ANDTHREE, AND-FOUR, AND-ONE, AND-TWO, AND-THREE, AND-FOUR. Repeat the full sequence four times. Steady, even beat. S e l ~ c tthe dclnce exercises that relate to the techniques to be taught.

COIJNT

&I &2 &3 &4 &I &2 &3 &4

A R M POSITIONS (SIDEWARD)

8 COUNTS 4 COUNTS RIGHT 4 COUNTS LEFT

INITIAL POSITION

?

I\$&

DANCE EXERCISES: Standing

ARM POSITIONS-SIDEWARD FIGURE

A

I N I T I A L POSITION Stand in upright release position, circle arms low, in front of torso.

I

MOVEMENT SEQUENCE Raise the circled arms to the chest level, the palms face the torso. Extend circle by moving right arm sideward, keep left arm stationary. Return the right arm to the chest level position as in Figure B, above. Lower both arms to the initial position, identical to Figure A, above. Raise the circled arms to the chest level, the palms face the torso. Extend circle by moving left arm sideward, keep right arm stationary. Return the left arm to the chest level position as in Figure F, above. Lower both arms to the initial position, identical to Figure A, above.

A-I A-I

1. Check carefully for good body alignment in upright release position. 2. Keep the chest high, abdomen flat, knees straight, the heels together,

A-I A-I A-I A-I A-I A-I A-I A-I BDFH C CG CG CG A-I

3. Maintain the circled arm position, the inside of palms toward torso. 4. Use biceps and back muscles to raise arms through tbe various levels. 5. Watch that the shoulders do not raise upward as the arms lift upward. 6. The wrists and hands move with arms (never alone) in raising arms. 7. Curve palms, third fingers almost touching, in circled arm position. 8. Keep armpits open. This allows the arms to hang away from the torso.

B C D E F G

H

TEACHING CUES

and the toespointed outward throughout the whole sequence of movement.

A-I

9. Strive for as wide a circle as possible in all of the arm positions. 10. Do not allow hands to touch torso. Watch especially Figures A-I. 11. Raise circled arms upward, opposite chest level and out from torso. 12. Extend the arm circle by moving the right arm forward and sideward. 13. Keep opening arm in line with shoulders, do not move it back of body. 14. Keep the shoulders and the torso stationary as the arm circle opens. 19. Maintain upright release as arm opens to side and returns to center. 16. Arm movement is continuous with only slight pauses a t number counts. 15. Constantly remind students to raise arms by-use of biceps muscles. I'EACHIiVG COULVT AND-OXE, AND-TWO, AND-THREE, AND-FOUR, AND-ONE, AND-TWO. AND-THREE, AND-FOUR. Repeat the full sequence four times. The use of the AND count before each of the number counts, actually makes a two-count beat for each specific movement within the total Movement Sequence. Use a steady, even beat, and make the pauses at the number counts so very slight that the movements appear to be continuous motion throughout the whole Movement Sequence. Check all teaching cues very carefully. AND-ONE, AND-TWO. ANDT H R E E , AND-FOUR. AND-ONE, AND-TWO, AND-THREE, AND-FOUR. Repeat the full sequence four times, steady, even beat. Select the dance exercises that relate to the techniques to be taught.

DANCE EXERCISES: Standing

K N E E BENDS FIGURE

A

I.'i71TIAL POSITIOLV Upright release, circle arms a t chest level, heels together, toes out.

:E

MOVEMENT SEQUENCE I Maintain release, heels together, toes out to side, bend knees outward. Straighten knee bend and return to initial position. Figure A, above. Repeat knee bend, maintaining initial arm and body position. Figure B. Straighten knee bend and return to initial position. Figure A, above.

AA

I N I T I A L POSITION I I Upright release, feet one step apart, toes out, round arms hip level.

BB CC DD EE F-G

MOVEMENT SEQUENCE I 1 Lower knees outward, simultaneously raise circled arms to waist level. Lower the knees deeper, raise the arms upward opposite the chest level. Straighten knees and lower arms as near as possible to Figure BB. Straighten knees and lower arms, returning to initial position, Fig. AA. Side views of Figures AA, (the initial position), and CC, (knee bend).

n C I1

A-EE A-E ACE A-EE BDBBCCDD A-EE A-EE A-EE A-EE BDBBCCDD BCBBCCDD CEEE A-EE

TEACHING CUES 1. Check carefully for good body alignment in upright release position. 2. Keep straight line toe-to-toe, heels together, point toes to side. 3. Raise the circled arms to the chest level, the palms facing torso. 4. Keep the chest high, abdomen flat, spine long throughout movements. 5'. Bend the knees outward, knee-caps directly over second toes of foot. 6. Keep weight evenly distributed, heel, toe$, and outside edge of foot. 7. Keep spine long and as straight as possible. Correct any sway back. 8. Keep longitudinal arch off floor, the ankle bone in proper alignment. 9. Watch that pelvis (hip) does not protrude in back in this exercise. 10. Lift the torso upward as knees bend, keep chest high, abdomen flat. 11. Cue words for knee bends are arches, knees, thighs, pull in abdomen. 12. Cue words straightening: arches, ankles, knees, thighs, and straight. 13. Important corrective features: knee-foot relationship, pelvis-sway back relationship, and protruding abdomen-long body line relationship.

TEACHING COUNT ONE, TWO. THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Repeat eight counts. Use a moderately fast, accented count. Step one-step, place feet apart. ONE. TWO, T H R E E , FOUR, FIVE, S I X , SEVEN, EIGHT. Repeat eight counts. Use a medium slow, accented count, pausing only as indicated by arrow heads. In the first knee bend, heels together, one count was used to bend and one count to straighten. I n the second knee bend, the heels apart, two counts are used to bend and two counts to straighten upward. ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Repeat. Transition: Step one-step to side, feet apart. 11: ONE, TWO, THREE, FOUR, FIVE, SIX. SEVEN, EIGHT. abbroDriale exercises for lesson d a n . R e ~ e a tSelect .

KNEE BENDS WITH ARM PATTERN

8 COUNTS 4 COUNTS TO BEND 4 COUNTS TO STRAIGHTEN

INITtAL

POSfTtON

' . I

,

DANCE EXERCISES : Standing

KNEE BENDS WITH ARM PATTERN IllrITiA i 7Gs"ITiOiV COUNT Stand upright, round arms hip level, feet apart 14-16 inches, toes out.

MOVEMENT SEQUENCE Bend knees outward, raise circled arms upward opposite waist level. Bend knees deeper, raise circled arms upward opposite the chest level. Bend knees deeper, raise circled arms to a diagonal opposite forehead. Bend knees to straight hip-to-knee line, raise the arms above the head. Lower arms to diagonal opposite forehead, knees to position, Fig. D. Lower circled arms to chest level, straighten knees to position, Fig. C. Lower circled arms to waist level, knees straighten to position, Fig. B. Straighten the knees completely, lower the circled arms as in Fig. A. Figure J is merely a lateral view of Figure E. A-I A1 A1 A-I A-I A-I B-H B-H A-I A-I A-I

A-I A-I

TEACHING CUES 1. Stand in upright position, feet astride 14-16 inches, toes outward. 2. Check proper alignment head to feet in this wide stance position. 3. Keep chest high, abdomen flat, legs straight, circle arms hip level. 4. Keep the heels and toes as nearly as possible in one straight line. 5 . Keep longitudinal arch off floor, ankle bone in the proper alignment. 6. Keep weight evenly distributed, heel, toes, and outside edge of feet. 7. Bend the knees outward, knee-caps directly over second toes of feet. 8. I n gradations of knee bend, check movement of arch first, then knee. 9. Bending and straightening of knee is actually a continuous movement. 10. Keep pelvis (hip) level. Do not tuck under or protrude in back. 11. Heels apart more than one foot is permissible for specific purposes. Heels together, toes to the side is first position, Figure A, page 72. Heels one foot apart, toes out is second position, Figure AA, page 72. 1 2 . Move arms and legs at same time, watch knee-arch action constantly. 13. Important corrective features: knee-foot relationship, pelvis-sway back relationship, and protruding abdomen-long body line relationship. TEACIJIXG COUNT ONE-TWO-THREE-FOUR; ONE-TWO-THREE-FOUR. Repeat this four times. Use a steady, even beat. Accent particularly the number four counts in the knee bend and in the straightening. Keep the movement continuous except for a slight pause at every four counts. This is illustrated by the "through" lines and the lack of arrow heads except a t the four counts. Check each teaching cue carefully and enforce it strictly. Knee bend exercises, when taught and performed correctly, are valuable training aids; taught and performed incorrectly, can be injurious. ONE-TWO-THREE-FOUR; ONE-TWO-THREE-FOUR. Repeat this four times. Use a steady, even beat. Check all of the teaching cues aery carejully. Select the dance exercises that relate to the techniques to be taught.

1 2 3 4 1 2 3 4

KNEE BENDS WITH

LEG

8

INiTlAL

POSITION

CONTINUE THROUGH

8;THEN REPEAT fULL 8

COUNT

STRETCH

COUNTS

DANCE EXERCISES : Standing

KNEE BENDS WITH LEG STRETCH I S ! T I A L. I ~ G S I T ~ G . ~ COUNT Stand in upright release position, extend arms out to side a t shoulder level, turn feet out, and maintain a wide stride, keep legs straight. MOVEMEST SEQUEYCE Maintain a high body and arm position, and bend both of the knees low. Maintain body-arm position, straighten right leg, keep left leg bent. Maintain body-arm position, bend right knee, keep left leg bent. Fig. B. Maintain body-arm position, straighten left leg, keep right leg bent. Maintain body-arm position, bend left knee, keep right leg bent. Fig. B. END OF SEQUE,ITCE Maintain body-arm position, straighten both knees, return to Fig. A.

A-G A-G A-G A-G A-G A-G B-F 13-F B-F B-F B-F B-F CE

B-F CE A-G

TEACHING CUES 1. Stand in upright position, feet astride 11-16 inches apart, toes out. 2. Check carefully for good body alignment in upright release position. 3. Keep chest high, abdomen flat, legs straight, arms shoulder level. 4. Keep the heels and toes as nearly as possible in one straight line. 5. Keep longitudinal arch off floor, ankle bone in the proper alignment. 6. Keep weight evenly distributed, heel, toes, and outside edge of foot. 7. Bend knees outward, knee-caps directly over second toes of feet. 8. Check for the movement of the arch first, then the knee in knee bends. 9. Bending and straightening of knee is actually a continuous movement. 10. Keep pelvis (hip) level, do not tuck under or protrude in back. 11. Keep spine long and as straight as possible. Correct any sway back. 12. Lift the torso upward as knees bend, keep chest high, abdomen flat. 13. Stretch the leg u p w u r d . This is not a swing from side to side. T h e stretching upward of the leg should in no way cause any disturbance of foot position, relationship of knee to foot, nor the high torso lift. 14. Cue words for knee bends are arches, knees, thighs, pull in abdomen. 15. Cue words for straightening: arches, ankles, knees, thighs, straight. 16. Important corrective features: knee-foot relationship, pelvis-sway back relationship, and protruding abdomen-long body line relationship. TEACHIA1'G C O U S T ONE, TWO, T H R E E , FOUR through EIGHT. Repeat two times. End on count of OXE. Use a steady, even beat. Make the pauses a t number counts so very slight that all of the movements appear to be continuous motion throughout the whole Movement Sequence. Enforce teaching cues strictly. Knee bend exercises, when taught and performed correctly, are valuable training aids; taught and performed incorrectly, can be injurious. ONE, TWO, T H R E E , FOUR, FIVE, SIX, SEVEK, EIGHT. Repeat this two times. After last repeat, end exercise on count one. Check teacltiqzg cues. Select the dance exercises that relate to the techniques to be lauglzl.

1 2 3

4 5 1

FORWARD BRUSHES

3 LEVELS

8 COUNTS EACH (11

(III

-

LEVEL ONE

----

LEVEL TWO

cm) ------ LEVEL tat -

THREE

CONTINUE THROUGH COUNT 8; THEN

REPEAT ON OPPOSITE SIDE A INITIAL

POSI Ti ON

CONTINUE THROUGH

k, INITIAL POSITION

INtTIAL POSITION

COUNT

8;

THEN REPEAT ON OPPOSITE SIDE

DANCE EXERCISES : Standing

FORWARD BRUSHES-THREE

LEVELS

A

I N I T I A L POSITION- ALL LEVELS Upright release, keep heels together, legs straight, point toes out.

B C

LEVEL I Maintain upright release position, extend foot forward, toes on floor. Keep leg straight, flex foot and bring leg back to initial position.

BB CC D

LEVEL 11 Hold upright release, extend foot forward and upward, toe off of floor. Lower foot, toe pointed, leg straight, toe touches floor, Figure 3 . Keep leg straight, flex foot and bring leg back to initial position.

BBB CCC DD E

LEVEL III Hold upright release, extend foot forward and upward as in Figure BB. Raise foot higher, pointed toe in line with waist, keep leg straight. Lower foot, toe pointed, leg straight and toe touches floor. Fig. B. Keep leg straight, flex foot and bring leg back to initial position.

FIGURE

A-E A-E B-DD B-CCC CC-DD B-E A-E

A-E A-E

A-E

TEACHING CUES 1. Check carefully for good body alignment in upright release position. 2. Keep the chest high, abdomen flat, round the arms a t sides of body. 3. Turn leg out on extension so that knee and foot point out to the side. 4. Extend the instep, knee and toe strongly in brushing the foot forward. 5. Flex ankle strongly. The heel leads in bringing foot back to position. 6. Keep the knees strongly extended and the legs straight a t all times.

7. Toe touches floor in first level; toe moves through first level in order to lift leg upward to second level. Toe returns to first level (floor) in order to return to initial position. For third level, the toe moves through positions of first and second levels in order to reach the third level, or raise leg waist high, and then returns to the initial position, moving smoothly through the second and first levels. 8. All the movements of the brushes are smooth, strong, and continuous. 9. Maintenance of a correct body alignment is necessary to the correct performance of this exercise. Watch for buckling of the torso and a bending of the knee of the standing leg as the other leg lifts upward. 10. All changes of levels, and all changes from one side to the other, should be clone smoothly, without disturbing initial body alignment.

TEACHING COUST ONE, TWO, T H R E E , FOUR through EIGHT. Repeat on opposite side. Change to Level 11: ONE, TWO T H R E E , FOUR through EIGHT. Repeat on opposite side. Change to Level 111: ONE, TWO T H R E E , FOUR through EIGHT, and repeat on opposite side. Use the (and) counts only for the beginners. Level I: ONE, TWO, T H R E E , FOUR, through EIGHT. Repeat opposite side. Level I 1 : ONE, TWO, T H R E E , FOUR, through EIGHT. Repeat opposite side. Level 111: Count and repeat as in Level I and 11. Check leaching cues.

COUNT

SIDE BRUSHES 3 LEVELS

8 COUNTS EACH

-

(I) (II)

LEVEL ONE

rE1-

LEVEL

---- LEVEL

TWO

THREE

CONTINUE TUROVGW COUNT 8; THEN REPEAT ON OPPOSITE

SIDE

INITIAL POSITION

-*

-

---*

9

--

k'. \

1

CONTINU€ THROUGH COUNT 8 ; THEN

------ONE

C

REPEAT ON

, OPPOStTE SIM

(and t ------

,

(If)

88

CC

INITIAL POSITION

-_-

^L

INITIAL POSITION

CONTINUE THRWBH COUNT 8; THEN REPEAT ON OPPOSITE StDE

81

DANCE EXERCISES : Standing

SIDE BRUSHES-THREE FIGURE A

A

TT-..:-L+

VpugllL

"-1

LEVELS

ILVITIAL POSITIOY- LEVEL I COUNT -1- -ihe arms iii first level positiori, legs straight.

lcIca>c, paLC:

LEVEL I Hold body-arm position, extend straight leg to side, toe on the floor. Hold body-arm position, flex foot, lower straight leg to touch heels.

1

I S I T I A L POSITIOS -LEVEL 11 Upright release, place arms in second level position, legs straight. LEVEL 11 Hold body-arm position, extend straight leg to side, toe off floor. Hold body-arm position, lower toe to floor, flex foot, back to Fig. AA. AAA

I S I T I A L POSI TIOAV- L EVEL 111 Upright release, place the arms in third level position, legs straight.

BBB CCC

LEVEL 111 Hold body-arm position, extend leg to side, lift the foot waist high. Hold body-arm position, lower toe to floor, flex foot, back to Fig. AA.

A-C

TEACHILVG CUES 1. Arm Position First Lezlel: Round arms a t hip level. Open arm circle

AA-CC AAA-CCC A-CCC B C-CCC B-BBB B-BBB A-CCC

A-CCC

by moving the arm that is opposite the active leg out from the side. 2. Arms Second Level: Raise arms, in same relationship, to waist level. 3. Arms Third Level: Raise arms, in same relationship, to shoulder level. 4. Keep heels together, point toes out in straight a line as possible, toe through heels to toe. This position depends on good thigh turn-out. 5 . Extend straight leg to side, foot so arched only toe touches floor. 6. Flex ankle strongly, heel leads foot in bringing foot back to position. 7 . Turn leg out from hip on extension until knee is parallel to ceiling. 8. All the movements of the brushes are smooth, strong and continuous. 9. Toe touches floor in first level; toe moves through first level in order to lift leg upward to second level; toe returns to first level (floor) in order to return to initial position. For third level, the toe moves through positions of the first and second levels in order to reach the third level, or raise leg waist high, and then returns to the initial position, moving smoothly through the second and first levels. 10. Watch for and correct hip lift and knee bend if seen in leg lift.

TEACHING COUIVT ONE, TWO, T H R E E , FOUR through E I G H T . Repeat on opposite side. Change to Level 11: ONE, TWO, T H R E E , FOUR through E I G H T . Repeat on opposite side. Change to Level 111: ONE, TWO, T H R E E , FOUR through E I G H T , and repeat on opposite side. Use the (and) counts only for the beginners. Level I: ONE, TWO, T H R E E , FOUR through EIGHT. Repeat opposite side. Level 11: ONE, TWO, T H R E E , FOUR through EIGHT. Repeat opposite side. Level 111: Count and repeat as in Level 1 and 11. Check teaching cues.

1 (&)

1

(&)

DANCE EXERCISES : Standing

FRONT LEG EXTENSION FIGURE

A

I N I T I A L POSITION Upright release, keep the heeis together, iegs straight, the toes out. MOVEMENT SEQUENCE Raise knee to side hip high, point toe to floor, round arms above head. Hold body-arm position, raise knee higher, extend leg out, point toe. Maintain body-arm-knee position, extend the leg upward, toe pointed. Maintain body-arm-knee position, extend leg completely, toe pointed. Maintain body-arm-knee position, extend leg completely, flex ankle. Maintain body-arm-ankle position, keep leg straight and lower slightly. Maintain body-arm-ankle position, lower straight leg almost to floor. Maintain body position, lower leg and bring arms to initial position.

A-I A-I A-I

B-H

B-H B C D B-H B-H F F-H F-H F-H B-H I

TEACHING CUES 1. Check carefully for good body alignment in upright release position. 2. Chest high, abdomen flat, heels together, toes slightly turned out. 3. Keep arms rounded and placed at sides of the torso, stand very tall. 4. Keep the standing leg very straight throughout the Movement Sequence. 5. Keep arms rounded and held above head throughout Movement Sequence. 6. I n first knee lift, keep straight line from hip to knee, knee to toe. 7. Raise knee higher before extending leg forward, other knee straight. 8. On highest lift of knee and thigh, begin leg extension, knee-to-toe. 9. Watch carefully for any sign of hip displacement during extension. 10. Watch carefully for any change in body alignment during extension. 11. Flex the ankle and the toes very strongly, before lowering the leg. 12. Keep leg straight, push downward with heel of the foot to lower leg. 13. Maintain complete extension of both knees, (the legs very straight). 14. Lift the torso even higher as the extended leg lowers, hold balance. 15. Keep movements of extension (out and down) smooth and continuous. 16. On change to opposite only: lower arms slowly downward on a count of four, then lift arms on sharp one count, as knee lifts to hip level. TEACHING COUNT ONE-TWO-THREE-FOUR; ONE-TWO-THREE-FOUR. Repeat this extension twice, extending the same leg. Do not lower arms after first performance; however after the last repetition on one side, lower the arms slowly to the initial position on the last count (FOUR) of the leg extension down. Following this raise the arm and opposite leg sharply on the count of ONE. Use the same count above, ONE-TWO-THREEFOUR; ONE-TWO-THREE-FOUR, for opposite side, and repeat the exercise twice. Again on the last repeat, lower the arms slowly on the last (FOUR) count. ONE-TWO-THREE-FOUR; ONE-TWO-THREEFOUR. Repeat this extension twice. Lower arms slowly, only on last count of last repeat, then change to opposite leg and extend on sharp ONE. Count as above, repeat twice.

COUNT

1 2 3. 4 1

2 3 4

DANCE EXERCISES : Standing

SIDE LEG EXTENSION FIGURE

A

ILVITIAL POSITION Stand upright, round the arms a t hip level, heels together, toes out. MOVEMENT SEQUENCE Raise arms third level, raise knee to side hip high, toe toward floor. Maintain body-arm position, raise knee higher, toe pointed to floor. Maintain body-arm-knee position, extend leg sideward, the toe pointed. Maintain body-arm-knee position, complete side extension, toe pointed. Maintain body-arm-knee-complete-extensionposition, flex the ankle. Maintain body-arm-ankle position, keep leg straight and lower slightly. Maintain body-ann-ankle position, lower straight leg almost to floor. Maintain body position, lower leg and bring arms to initial position. TEACHING CUES 1. Arm Position Third Level: Circle arms a t chest level, open circle by

A-I A-I B-H B-H B C

D B-H B-H F F-H F-H B-H F-I I

moving the arm that is opposite the active leg out from the side a t shoulder level, and leave the other arm rounded in front of the chest. 2. Check carefully for good body alignment in upright release position. 3. Chest high, abdomen flat, heels together, toes slightly turned out. 4. Keep standing leg straight throughout the Movement Sequence. 5. Keep arms raised to third level position throughout Movement Sequence. 6. In first knee lift, keep straight line from hip to knee, knee to toe. 7. Raise knee higher before extending leg sideward, other leg straight. (9. On highest lift of knee and thigh, begin leg extension knee-to-toe. 9. Watch carefully for sign of hip displacement during these extensions. 10. Watch carefully for change in body alignment during extensions. 11. Flex the ankle and the toes very strongly before lowering the leg. 12. Keep leg straight, push downward with heel of foot to lower the leg. 13. Maintain complete extension of both knees, (the legs very straight). 14. Keep movements of extension (out and down) smooth and continuous. 15. Lift the torso even higher as the extended leg lowers, ,hold balance. 16. On change to opposite side only: Lower arms slowly downward on count of FOUR, then lift on sharp ONE count, as knee lifts to hip level.

TEACHING COUNT ONE-TWO-THREE-FOUR; ONE-TWO-THREE-FOUR. Repeat this extension twice, extending the same leg. Do not lower arms after first performance; however after the last repetition on one side, lower the arms slowly to the initial position on the last count (FOUR) of leg extension down. Start opposite extension on ONE, count as above, repeat twice. On the last repeat, lower the arms slowly on the last count (FOUR). ONE-TWO-THREE-FOUR; ONE-TWO-THREE-FOUR. Repeat this extension twice. Lower arms slowly only on last count of last repeat, then change to opposite leg and extend on sharp ONE. Count as above, repeat twice.

COUNT

1

2 3

4 1

2 3 4

KNEE BEND

(STANDING)

2 MOVEMENTS 8 COUNTS

(I)

cn)

DANCE EXERCISES : Standing

87

KNEE BEND FIGURE

A

I N I T I A L POSITION CGUNT Stand in upright release, heels together, toes out, round arms a t side.

MOVEMENT SEQUENCE I Maintain release torso position, bend both knees, feet flat on floor. Straighten left leg, lift right leg, bend knee to right angle hip high, point toe, place right hand on knee, left arm out at shoulder level. Maintain the right knee-hand and left arm position, bend left knee. Maintain right knee-hand and left arm position, straighten left leg. MOVEMENT SEQUENCE I I After repeating above on left side, bend both knees to Figure D above. Straighten left, lift right leg, hand on knee, left arm out, Figure C. Bend both knees, feet flat on floor, repeat of Figures B and F above. Lift left leg in same knee-hand relationships as Figure C, on right leg. Bend both knees, feet flat on the floor, repeat of B, F , and H above. A A B-J B-J B-J

TEACHING CUES 1. Check carefully for good body alignment in upright release position. 2. Chest high, abdomen flat, heels togetherqtoes slightly turned out. 3. Maintain very high torso release position in all of the knee bends. 4. Watch that the hip does not protrude in back in knee bend positions.

5 . Watch for, and correct, any sway back which might occur in knee bends.

C-EGI C-EGI C-EGI C-EGI

F-J F-J C-EGI F-J

6. Check for strong right angle position in the lifted leg knee bend. 7. Keep a straight line from the knee to the toe throughout sequence. 8. Keep a straight line from the hip to the knee throughout sequence. 9. At first, use hand on knee as a balance; later, as balance improves, place hand lightly on knee, round arm that is out to side a t shoulder level. All changes of the arm positions should be performed smoothly. 10. I n knee bend sequence, using same leg, flexion-extension of standing leg is done smoothly and continuously, the upper torso held very high. 11. The alternate leg lifts should be performed as smoothly as possible. 12. Do not move bent knee up or down. I t holds its hip level position. 13. The changes in arm positions are performed as smoothly as possible.

TEACHING COUNT AND, ONE, AND, TWO, AND, THREE, AND, FOUR through EIGHT. Use a steady, even count on a moderately slow beat for the knee bends on the same leg. Repeat this sequence, using the same count on the opposite side. AND, ONE, AND, TWO, AND, T H R E E , AND, FOUR through EIGHT. Use a steady, even count on a moderately slow beat for the knee bends alternating legs. Check all of the foot, knee, leg, and ankle positions carefully. Movement I : AND, ONE, AND, TWO, AND, THREE, AND, FOUR, through EIGHT. Repeat on opposite side. Movement 11: AND, ONE, AND, TWO, AND, THREE, AND, FOUR through EIGHT. Watch ankle and foot alignment very carefully.

& 1 & 2

& 1 & 2 &

PRANCE PREPARATt ON 8 COUNTS

NO. 1

DAYCE EXERCISES: Standing

89

PRANCE PREPARATION No. I

T-N T T A L POSITTOAV-BOTH SEQUE-NCES Stand in upright release, heels together, toes out, arms a t the sides. -

A-EE A-EE A-EE

C AA-BB BB BB BB BB

COUNT

MOVEMENT SEQUE-VCE I 1 Maintain body position, bend knee, raise heel, only half-toe on floor. & Maintain body position, straighten knee, lower heel to Figure A, above. 2 Maintain body position, bend same knee, raise heel, half-toe on floor. Repeat above through 8, end on Figure E for CHANGE to opposite CHANGE side. MOVEMENT SEQUENCE II & From last CHANGE position, raise foot to half-toe as in Figures B, D . 1 Maintain body position, extend toes fully, only toe tip touches floor. & Lower the foot to the half-toe position as in Figures C, D , AA, above. 2 Maintain body position, extend toes fully, only toe tip touches floor. Repeat above through 8, end on Figure EE for CHANGE to opposite CHANGE side. TEACHING CUES 1. Check carefully for good body alignment in upright release position. 2. Chest high, abdomen flat, heels together, toes out, arms a t the sides. 3. Maintain high body release and keep arms rounded throughout sequence. 4. Roll up on the half-toe position without disturbing foot placement. 5. Push out on instep in half-toe position to get completely on half-toe. 6. Strive for very straight line from the heel to the ball of the foot. 7. Watch carefully that the half-toe weight is placed evenly on toes, not on outside of the foot, ankle-knee alignment must be maintained. 8. Lower heel to floor and back to the initial heels-together-position. 9. Roll off metatarsal arch from the half-toe to reach toe tip position. 10. Extend the instep very strongly in the complete toe tip extension. 11. Keep weight off from toe tip in extension, extend ankle very strongly. 12. Roll up to extended toe tip without disturbing initial foot position. 13. In fully extended toe position, a cramp may occur in longitudinal arch. This is momentary pain and shows need for flexion and extension. 14. Roll back to half-toe position without lowering the heel. Maintain a straight line from the metatarsal arch to the heel in this movement. TEACHING COUNT ONE, AND, TWO, AND, THREE, AND, FOUR, AND, through EIGHT, CHANGE, (actually initial position). Repeat on opposite side, CHANGE, AND. This AND is half-toe position. Continue same counting pattern for next development in preparation. Repeat on opposite side; CHANGE; turn to page 90. Figure A, page 90, and initial position here are identical. CHANGE, in this exercise, means to change to opposite side. ONE, AND, TWO, AND, THREE, AND, FOUR, AND, through EIGHT; CHANGE. Repeat on opposite side; CHANGE AND, ONE, AND, TWO, AND, THREE, AND, FOUR through EIGHT. Repeat on opposite side; CHANGE. (Fig.A, page 90.)

DANCE EXERCISES : Standing

PRANCE PREPARATION No. 2 FIGURE

A

A-EE A-EE A-EE BD BD BD B-E CE BBDD BBDD A-EE BDD BBDD CCEE BBB AEE

I N I T I A L POSITION-BOTH SEQUENCES Stand in upright release, heels together, toes out, arms a t the sides.

COUNT

MOVEMENT SEQUENCE I Bend knee, raise leg, toe pointed just above the floor, legs parallel. 1 Lower toe tip to floor, to half-toe, then back to initial position. & 2 Bend knee, raise leg, toe pointed just above the floor, legs parallel. Repeat above through 8, end on Figure E for CHANGE to opposite CHANGE side. MOVEMENT SEQUENCE I I Same as Figures A-El use as second change from repeat on opposite side. CHANGE Bend knee, raise knee hip high, leg forms right angle, toe pointed. 1 Lower toe tip to floor, to half-toe, straighten to initial position. & 2 Bend knee, raise knee hip high, leg forms right angle, toe pointed. Repeat above through 8, end on Figure E E for CHANGE to opposite CHANGE side. TEACHING CUES 1. Check carefully for good body alignment in upright release position. 2. Chest high, abdomen, flat, heels together, toes out, arms a t sides. Maintain high body release, keep arms rounded throughout sequence. 4. Roll foot from heel-to-toe and off the floor in upward lift of knee. 5. Maintain a straight line from knee to toe, when toe is off the floor. 6. Extend the instep and toes very strongly in the lifted leg position. 7. On lowering foot, be sure that the toe touches floor first, then heel. 8. Return the foot to the initial position from which it was lifted. 9. In knee lift, maintain a straight line from hip to knee-knee to toe. 10. Knee lift: calf of lifted leg is parallel to thigh of standing leg. 11. Correct any displacement of hip. Watch for incorrect alignment. 12. Standing leg is extremely straight, weight slightly forward on foot. 13. Right angle a t lifted knee is necessary for performance of exercise. 14. On lowering of foot, weight is slightly forward on foot, not on heel. 15. Note illustration-page inserts, emphasizing feet-leg relationship. 16. The counts for preparation for France Nos. 1 and 2, are set for 8, may be cut to 4 counts if used in a series of all 3 Prance Preparations. T E A C H I N G COUNT ONE, AND, TWO, AND, T H R E E , AND, FOUR, AND, through EIGHT; CHANGE. This count is identical to the count used on page 88, except for the end position, which is Figure H, on page 92. D o not become confused by the CHANGE positions. Actually they are merely returns to the initial position in order to change to the opposite side. All changes are a part of the exercise, and so should be performed very smoothly. ONE, AND, TWO, AND, T H R E E , AND, FOUR, AND, through EIGHT; CHANGE. Repeat on opposite side. CHANGE, AND, ONE, AND, TWO, AND T H R E E , AND, FOUR through EIGHT. Repeat on opposite side; CHANGE. Fig. A , page 92.

PRANCE PREPARATION NO. 3 8 COUNTS

IF(lT1AL

POSITION

; THEN MAIN

93

DANCE EXERCISES : Standing

PRANCE PREPARATION NO. 3 I X I T I A L POSITION

FIGURE Cton

B C

D E F G H

Raise right knee hip high, bent leg forms right angle, toe pointed. Lower right toe tip to floor, to half-toe, then to initial position. Raise left knee hip high, bent leg forms right angle, the toe pointed. Lower left toe tip to floor, to half toe, then to initial position. Raise right knee hip high, bent leg forms right angle, toe pointed. Lower right toe tip to floor, to half toe, then to initial position. Raise left knee hip high, bent leg forms right angle, toe pointed.

I

Repeat above through count 8, and end on Figure I , identical to A.

%

dLalld

COUNT

- -1 ii-i ..--.uPl;&i~ remise, heeis together, toes out, arms a t the sides.

A

A

L

MOVEMENT SEQUESCE 1 &

2 &

3 Br 4

ELVD OF SEQUELVCE POSITION

T E A C H I S G CUES A-I A-I A-I A-I BDHF BDHF CEGI CE GI BDHF

B-H B-H '4-1 A-I

1. Alternate the knee lifts for the prance in place, or across the floor. 2. Check carefully for good body alignment in upright release position. 3. Chest high, abdomen flat, heels together, toes out, arms a t the sides. 4. Maintain high body release and keep rounded arms throughout sequence. 5 . Roll foot from heel-to-toe and off the floor in upward lift of knee. 6. In knee lift, maintain a straight line from hip-to-knee, knee-to-toe. 7 . On lowering foot be sure that the toe touches floor first, then heel. 8. Return the foot to the initial position from which it was lifted. 9. In knee lift, calf of lifted leg is parallel to thigh of standing leg. 10. Correct any displacement of hip. Watch for incorrect body alignmen t . 11. Standing leg is extremely straight, weight slightly forward on foot. 12. Make alternate leg changes as smoothly and continuously as possible. 13. Emphasize right angle of lifted knee; toe tip last to leave floor; toeheel as foot returns to floor; very straight knee in stancling leg. T E A C H I S G COUlYT ONE, AND, TWO, A S D , T H R E E , AND, FOUR, A N D through E I G H T , AND. Then repeat again. I n the first learning process, this series of exercises should be performed vzry slowly and carefully. Once the series is very thoroughly learned, the count can be speeded to a fast accented count. This prance in place may also be modified by starting with one foot in the air as the initial position. Count ONE, TWO, T H R E E , FOUR through E I G H T , using a number for each change of feet. This changes the prance from a change of feet on the floor to a change of feet in the air. If errors are seen, practice Preparations 1-2-3. and then try once more. When successful, class is ready to use prance to travel across floor. O N E , ,4XD, TLVO, AXD, T H R E E , AND. FOUR, AND. FIVE. AND, SIX. AXD. SEVEN. AND, EIGHT. AND. Repeat ONE through E I G H T , AND. Use a slow, even count until thoroughly learned, then increase tempo, and also travel.

DANCE TECHNIQUES Floor Standing Space -Jumps Space - Leaps Space - Falls

CONTRACTION AND RELEASE TOGETHER)

(KNEES APART -FEET 3 COUNTS EACH

(1)

-FIRST

ENDING

(a)----- SECOND ENDING INITIAL POSlTiON

D

REPEAT FOUR TIMES EACH ENDING

"WITH GG

DANCE TECHNIQUES : Floor

CONTRACTION AND RELEASE - KNEES APART - FEET TOGETHER FIGURE

A

ILvIT I A L P o s I TIOLV COUNT Sit in high release, keep knees apart. place soles of feet together. Place the hands around the ankles, keep the elbows inside of knees. M0VEME:VT SEQUE,Z'CE Contract in Hips: round hips, pull in abdomen, lengthen arms slightly. Contract in Spine: round middle back, pull in chest, lengthen arms. Contract in Shoulders: bring shoulders forward, lengthen arms fully. Release Hips: straighten the back a t the hips, flex the arms slightly. Release Spine: straighten middle back, raise chest, elbows inside knees. XO. I ELVD OF SEQUELVCE Release Shoulders: straighten shoulders and back, repeat of Figure A. XO. I I E,VD OF SEQUE,VCE Straighten shoulders and back, pull torso forward by pull on ankles. TEACHING CUES

A A

B-D B-D B-D B-D B-D B-D B-D E-G

E-G G GG A-G

1. Check carefully for good body alignment in release sitting positions. 2. Keep chest high, abdomen flat, sit on ends of pelvis, not end spine. 3. I n contraction, tuck pelvis under, do not roll back on end of spine. 4. Lengthen the spine, round the back, and bring the shoulders forward. 5 . I n contraction position, ear-shoulder-hip relationship is maintained. 6. Pull abdomen and chest into concave line on all of the contractions.

7. In this exercise, do not disturb placement of head in the contraction. 8. Lengthen the arms quite slowly as contraction deepens, elbows extend. 9. In contraction, sit on tight glutei muscles, do not allow hip-spread. 10. On release, move the pelvis into proper alignment, straightening the spine, and lifting the front part of the torso in a long thin line. 11. Round the arms and flex the elbows on the release positions, keep the abdomen flat, the chest high, and the back and the head straight. 12. Check for good postural alignment in the forward upright release. 13. Move forward from hips on the diagonal release, eyes focus on toes. 14. All contraction and release movements should be executed smoothly and continuously. For correct performance. do not lower level of torso. TEAC'WISG COU,YT OXE-TWO-THREE; ONE-TWO-THREE. Repeat four times with each ending. Use a slow, steady count. Keep movement continuous. pausing only at the places designated by arrow heads (each T H R E E count). After technique and the two endings are thoroughly learned, the sequences should be performed only twice with each ending. Check all the teaching cues. ONE-TWO-THREE; OSE-TWO-THREE. Repeat four times with each ending. Use a slow, steady count. Possible modifications include: repeat of each ending twice instead of four times. Remember: Hip-Spine-Shoulders.

CONTRACTION AND RELEASE ( SEATED ON I HIP) (I\ HEAD STRAIGMT-

(11) HEAD UP------6 COUNTS EACH 3 COUNTS CONTRACTION 3 COUNTS RELEASE

DANCE TECHNIQUES : Floor

FIGURE

A

CONTRACTION AND RELEASE-SEATED O N ONE HIP I N I T I A L POSITION COUNT Sit in high release sr,onc hip: bend knees and sit on heeis. Siide to the right until right hip touches floor. Keep weight on right hip, knees bent, legs under, left hand on hip, right arm rounded at side. MOVEMELVT SEQUErlrCE I Contract: round hips, pull in the abdomen, move arms forward slightly. Contract: round middle spine, pull in chest, arms move forward more. Contract: bring shoulders forward, move the arms forward still more. ReZease: straighten back a t hips, arms back slightly, pull up abdomen. Release: straighten middle spine, raise chest, arms back to position. Release: straighten shoulders, pull torso upward and slightly forward. NOTE: Movement Sequence 11, except for head movement, is practically identical to Movement I ; therefore the explanation above, will apply to both. The explanation below will be largely in Teaching Cues. MOVEMENT SEQUENCE II Initial Position. Same as Figure A. Contract Hips: Start head upward. Hips move first as in B, above. Contract Spine: head upward more. Spine moves second, moves hips more. Contract Shoulders: head way up. Shoulders move last, some each count. Release Hips: pull up torso, face to ceiling: Release lengthens torso. Release Spine: start head down. Keep torso long and thin, pull upward. Release Shoulders: Figure G, above. Move torso forward, straight line.

T E A C H I N G CUES A-GG A-GG A-GG

A-GG A-GG

1. Hold initial leg position throughout both of the Movement Sequences.

2. Perform contraction and release movements smoothly and continuously. 3. When sitting on right hip, left hip will be higher and therefore will not touch the floor. In order to lower the left'hip to the floor, the hips will have to tuck under, and a contraction takes place. Then as the hips return to their upright position, the release takes place. 4. Sequence I : the head is not disturbed. Sequence 11: the head moves upward (not back) and parallel to ceiling, throat stretched upward. 5 . Keep front of torso in concave position on contraction. Keep a long pulled-up torso on all releases. Torso is always in proper alignment. TEACHING COUNT ONE-TWO-THREE; ONE-TWO-THREE. Repeat four times. The same count and the same number of repeats are used for both series; however the number of repeats may be changed from the 4, for practice purposes, to 2 when performing one series after another. Remember: HipSpine-Shoulders. Number counts and repeats given above. Word substitu tes may be used. Contract: HIP-SPINE-SHOULDER. Release: HIP-SPINE-SHOULDERS. Contract: HIP-SPINE-SHOULDERS and HEAD. Release: HIP-SPINE-SHOULDERS and HEAD.

1

2 3 1 2

3

ONT TRACTION AND RELEASE WITH SIDE TURN 6 COUNTS 3 COUNTS CONTRACTION

3 COUNTS RELEASE

DANCE TECHNIQUES : Floor

CONTRACTION AND RELEASE-WITH FIGURE Aa

A

B

SIDE TURN

I N I T I A L POSITION COUNT Prepariiti'on: Start at Fig. A, page 38, front view, right hand on floor. Leave legs in place, turn torso right, lean on hand, back is straight. (and) MOVEMENT SEQUENCE Contract at hip, turn torso left, raise head a bit, left elbow forward. Contract deeper, turn to the front, face to ceiling, weight off hand. Contract deeper, bend torso to side until ear is parallel to the heels. Release from Fig. E, hip-spine-shoulders-head, face parallel to ceiling. Maintain upright release position, and move torso forward slightly. Continue forward movement of torso until initial position is reached.

A-H A-H

TEACHING CUES 1. Preparation position : sit in upright release position, facing front. 2. Keep the weight on right hip, left hip is higher and off the floor. 3. Keep left hand on left side a t hip joint, use it to help turn torso. 4. Twist at waist so both shoulders and chest are fully turned to right. 5. Keep body in long diagonal line from hip to head, torso pulled upward. 6. Keep head in line with straight spine, but diagonal line will bring head to focus beyond finger tips of right hand, right arm is straight. 7. In lowering the left hip to the floor, a contraction takes place, the torso becomes concave and turns to front, the head is lifted upward. 8. Lift the head upward, face parallel to the ceiling, on contractions. 9. As contraction deepens, the torso bends sideward toward left heel, throat is stretched, head in line with spine, ear parallel to ceiling. 10. Right palm lifts as torso moves to left, only finger tips touching. 11. Use left hand to lift and straighten up left hip for initial release. 12. Lift the torso upward, keep the chest and the face parallel to the ceiling, move the torso and the hip foward toward the long diagonal line of the initial position. Keep right arm straight on all releases. 13. Perform contractions and releases smoothly and continuously. 14. Use the hand that remains on the hip to initiate all hip movements. TEACHING COUNT ONE-TWO-THREE; ONE-TWO-THREE. Repeat four times. Use a slow, steady count. Keep the movement continuous, and allow only a very slight pause, as indicated by the arrow heads, a t the number three counts. The number of repeats may be reduced from the 4 for practice purposes, to 2 when performing a number of contraction and release techniques from this body position. Always repeat same number on opposite side. Word substitutes may also be used for the number counts given above : CONTRACT-AND-OVER ; RELEASE-AND-UP. Another substitution using both: CONTRACT-ONE, DEEPER-TWO, OVER-THREE; RELEASE-ONE, LIFT-TWO, TURN-THREE.

1 2

3 1

2 3

DANCE TECHNIQUES : Floor

ARM PATTERN-CONTRACTION FIGURE

A

AND RELEASE-ANKLES

103

CROSSED

I N I T I A L POSITION Sit upright, knees apart, ankles crossed, arms out, fingers to floor.

COIJNT

C D E F G

MOVEMENT SEQUENCE I Maintain upright release, circle the arms above forehead, palms front. Maintain upright release, lower circled arms, chest level, palms down. Maintain release, open arms out to side shoulder level, palms down. Contract, extend arms shoulder level, start arms in, contract palms. Move arms parallel, contracted palms facing, shoulders in, head down. Maintain F above, bend elbows, raise forearms parallel, palms face in.

B -D

MOVEMENT SEQUENCE 11 Repeat Figures B-C-D-E-F-G above, pause only at Figures B, D, and G. &1&2&3

BC DD EFG

MOVEMENT SEQUENCE I I I &-ARepeat Figures B and C above, make no pause at either Figures B or C. 1 Hold release, round arms out from shoulders, face high, palms down. Repeat E-F-G above. Do not make any pause until Figure G is reached. &-A-2

B

TEACHING CUES

A A

B C D* DD EFG

G A-G

1. Check carefully for good body alignment in upright release position. 2. Chest high, abdomen flat, toes extended, little fingers touch floor. 3. Maintain release position, circle armi out to the side and up until they circle above head, palms facing front, third fingers touching. 4. Lift torso upward another inch, as circled arms lower to chest level. 5. Lift the torso up, as arm circle is extended outward and to the side. 6. Lift torso as high as possible in open arm position with head lift. 7. Contract from hip through torso-shoulders-arms-hands. Keep torso in a very deep concave line. Do not roll back on the end of the spine. 8. Maintain straight line from shoulders to elbows and elbows to hands. 9. Perform all arm movements slowly and fully, encompassing as much space as possible. Sore biceps in first learning are expected. Move the arms with the muscles of the upper back for full completion of arm movements. Keep shoulders level as the arms move. (Tendency to lift.) TEACHING C O U f l T Count this exercise on 5-3-2 as described below. Repeat each movement four times on each side in the first learning process. When these are thoroughly mastered, perform each sequence twice in succession on one, then on the other, side. Use the following for a dynamic build up of the three sequences: One side: 5-count twice, 3-count twice, 2count 4 times--3 of these fast, and last one slowly. Repeat on other side. (I) AND-ONE, AND-TWO, AND-THREE, AND-FOUR, AND-FIVE. (11) AND-ONE, AND-TWO, AND-THREE. (111) AND-A-ONE, AND-A-TWO. Perform 5-coun t very slowly : 3-coun t faster: 2-count strong and fast, &-a-1-slow; &-a-2-sharp.

&-I &-2

&-3 & 4

&-5

105

DANCE TECHNIQUES : Floor

ARM PATTERN-CONTRACTION FIGURE

'4

AND RELEASE-LEGS

STRAIGHT

I N I T I A L POSl TION

CWNT

Sit upright, legs straight, point toes, arms out, fingers to floor.

I;

MOVEMENT SEQUENCE 1 Maintain upright release, circle arms above forehead, the palms front. Maintain upright release, lower circled arms chest level, palms down. Maintain release, open left arm out to side shoulder level, palm down. Contract, flex palms and ankles, turn torso left, extend arms parallel to each other at shoulder level, head down. Keep the legs straight. Maintain E above, bend elbows, raise forearms parallel, palms face in.

B-F

MOVEMENT SEQUENCE 11 Repeal Figures B-C-D-E-F above, pause only a t the Figures B, D, & F. &1&2&3

BC DD EF

MOVEMENT SEQUENCE 111 Repent Figures B and C above, make no pause a t either Figure B or C. Hold release, open left arm out from shoulder, palm down, face upward. Repeat E-F above. Do not make any pause until Figure F is reached.

A A B

TEACHING CUES 1. Check carefully for good body alignment in upright release position. 2. Chest high, abdomen flat, toes extended, little fingers touch floor. 3. Maintain release position, circle arms out to the side and u p until

B C D

E

they circle above head, palms facing front, third fingers touching.

C D DD A-D D EF E

F A-F

4. Lift torso upward another inch, as circled arms lower to chest level. 5 . Move left arm out to side, right arm stationary, to extend arm circle. 6. Lift torso as high as possible in open arm position with head lift.

7. Keep legs straight and toes extended throughout all release positions. 8. Keep legs straight, toes flexed throughout all contraction positions. 9. Contract from hip through torso-shoulders-arms-hands. Turn n sharp quarter turn to left, torso in deep concave line. Do not roll back. 10. Maintain straight line from shoulder to elbow and elbow to the hands. 11. Perform all arm movements slowly and fully, encompassing as much space as possible. Move the arms with the n~usclesof the back for full completion of arm movements. Keep shoulders level as the arms move.

TEACHING COUNT Count this exercise on 5-3-2 as described below. Repeat each movement four times on each side in the first learning process. When these are thoroughly mastered, perform each sequence twice in succession on one side, then on the other. The AND counts denote a slow and decided body change, while the number counts are usually end positions of movement. (I) AND-ONE, AND-TWO, AND-THREE, AND-FOUR, AND-FIVE. (11) AND-ONE, AND-TWO, ANDTHREE. (111) AND-A-ONE, AND-A-TWO. Perform 5-count very slowly; 3-count slow; and 2-count strongly and very sharply.

&-I &-2 &-3 &4

&-5

&-A1 &2

REPEAT EACH SEQUENCE

4 TIMES; THEN REPEAT EACH SEQUENCE O N OPPOSITE SIDE

DANCE TECHNIQUES : Floor

ARM PATTERN-CONTRACTION FIGURE

A

AND RELEASE-OPEN

107

SQUARE POSITION

I'VITIAL POSITIOlV

COUNT

Sit in contraction, right leg bent back on the floor, bend the left knee, extend the left foot, toe tip on the floor in front of the body, center heel. Turn torso right, head down, extend arms shoulder level and parallel, bend the elbows, forearms vertical, palms toward body.

MOVEMENT SEQUENCE I Release, turn torso to front, circle arms above head, palms front, left foot flexed and half-toe "on-the-walk," as if a step could be taken. Maintain Figure B, lower the circled arms to chest level, palms down. Maintain release, open right arm out to side shoulder level, palm down. Contract, turn torso right, point toe on floor, extend arms parallel from shoulder, palms facing, head down, and then to Fig. A on count 4.

&1

83-2 &-3 & 4

MOVEMENT SEQUENCE 11 From Figure A, repeat B-C-D-E-A, pause only a t Figures B, D , and A. &1&2&3 MOVEMENT SEQUENCE I I I ABC CC EA

From Figure A, repeat B and C. Do not pause a t either Figures B or C. Hold release, open right arm to side shoulder level, palm down, head up. Repeat E-A above. Do not make any pause until the Figure A is reached.

TEACHING CUES 1. In deep contraction, turn torso to enable elbows to be opposite knee and ankle of back leg, straight line shoulder to elbow-elbow to hands.

2. Do not roll back on end of spine, turn the torso toward right thigh. 3. On release, center torso, sit on ends of pelvis, both hips on floor.

A-E

4. Flex both ankles, turn feet out as much as possible, as if to stand up on them. Keep the torso in high release, the body pulled up high. 5. Keep head lifted high, face parallel to ceiling, neck stretched long, not back. If able to speak without strain, head-neck position is good. 6. Perform all arm movements slowly and fully, encompassing as much space as possible. Move the arms with the muscles of the back for full completion of arm movements. Keep shoulders level as the arms move.

TEACHING COUNT Count this exercise 4-3-2. Repeat each movement four times on each side until thoroughly learned. For full dramatic use of this sequence follow this order: 4-counts twice; 3-counts twice; 2-counts four times fast; lower arms and change to opposite side; repeat. The exercises illustrated on pages 102-104 are simplified versions of this exercise. They are rarely performed together, except to show their relationship. (I) AND-ONE, AND-TWO, AND-THREE, AND-FOUR. (11) AND-ONE, AND-TWO. (111) AND-A-ONE, AND-TWO. 4-count slow; 3-count medium slow; 2-count fast. Pronounce AND-A-ONE, either as "and-ah-one" or "and-zch-one."

&-A1 &2

DANCE TECHNIQUES : Floor

CONTRACTION AND RELEASE PATTERN-THEME

109

AND VARIATIONS

FIGURE

A

B C D

Kneel, knees together, torso upright, extend toes, round arms a t sides. Sit on heels, slide left hip and thigh to floor, the knees face front. Contract, turn torso and arms left, head down, the left palm on floor. Bend forward until parallel forearms touch floor, the left palm down, right palm up, head down, knees front, weight on left arm and thigh.

THEME E F

J K

Release the torso, start rounded right arm upward, look into the palm. Release, circle right arm above head, head turned to look into palm. Contract the torso, start rounded right arm down, turn the head down. Contract further, bring right arm down palm up to the initial position.

JK

VARIATIO-V I Repeat E and F above. Do not make any pause a t either Figure E or F. Maintain Figure F above, straighten left arm completely, palm on floor. Repeat J and K above. Do not pause until the Figure K is completed.

EFG H I JK

V A R I A T I O N 11 Repeat E , F, and G above. Do not pause a t either Figure E, F , or G. Push hips forward, raise onto left knee, right knee out, feet together. Contract hips-spine-shoulders-head, start arms and legs to position. Repeat J and K above. Do not pause until the Figure K is completed.

EF G

D A-K G E-H I-K D-K D-K

H D-K

TEACHING CUES 1. Keep torso in deep concave line, back very round in deep contraction. 2. Keep knees to front throughout the sequence, elbows close to thighs. 3. Use palm on floor for strong support as elbow straightens on release. 4. Start all release movements in the hip to spine-head-arms, then legs. 5. Start all contraction movements in the hip to spine-head-arms-legs. 6. Contractions and releases require very strong hip and back changes. 7 . The opening and closing movements of torso are large, wide movemen ts. 8. Push hip forward and upward in order to raise up on left knee, keep right knee out and off floor, and vertical line from knee to the hip. 9. Perform all the movements slowly, smoothly, continuously and fully. T E A C H I N G COUST The AXD count is the initial impulse to the movement; the number count is always an end position within, or ending, the movement pattern. The (A) count denotes moving without pause through a specific position to an end position or number count. These pauses are shown by the arrow heads. Use a slow, steady count throughout. Repeat on opposite side. Preparation: ONE, TWO, T H R E E , into the initial position. Theme: AND, ONE, AND, TWO. Repeat Theme. Variation I : ANDA-ONE, AND, TWO. Repeat. Then to Variation 11: AND-A-A-ONE, AND-A-TWO. Repeat. See next page.

CONTRACTION AND RELEASE PATTERN

SUCCESSLON ; THEN REPEAT THEME

AND 4 VARIATIONS MICE IN SUCCESSION ON OPPOSITE StPE

111

DANCE TECHNIQUES : Floor

CONTRACTION AND RELEASE PATTERN-THEME FIGURE

A

B C D

H AB E

F G

H

AND VARIATIONS

I/A R I A TION I I I COUNT & Release, start right arm upward, extend left slightly, look into palm. Push hips forward, raise to left knee, repeat of Figure F, page 108. Raise higher on left knee, extend right leg to side, point toe on floor. Contract, start arm, torso and head down, flex left knee above floor. Contract further, bring the legs-arms-torso-head, to initial position. V ARIA TION I V Repeat A and B above. Do not pause a t Figure A, B, or E below. Push hips forward, start leg lift and extension of right leg to side. Push hips further, extend the right leg to the ceiling, toes pointed. Contract, start arm, head and torso down, flex left knee above floor. Contract further, bring the legs-arms-torso-head to initial position.

TEACIIING CUES B C C C BEF C ABCEF DGH DGH

F

GH

A-H

1. Open torso fully and strongly, keep the weight on palm of hand, hip, thigh, and in the highly lifted back. Keep weight off the bent knees. 2. Make the movement of opening the torso continuous as the leg extends. 3. Keep a long diagonal line from toe to shoulder on the leg extension. 4. Keep straight line knee-to-hip of kneeling leg as other leg extends. 5. Keep forearm close to body to enable high lift of torso on release. 6. Extend toe and knee very strongly, only toe tip touches the floor. 7. Start all release movements in the hip to spine-head-arms, then legs. 8. Start a11 contraction movements in the hip to spine-head-arms-legs. 9. In contraction, lower slowly to initial movement. Do not by-pass any one movement in the sequence in lowering torso and legs to position. 10. On thigh release with leg extended upward, lift the hip forward and upward to enable leg to extend as high as possible. Extend leg upward from the open bent-knee position, not from the extended leg on floor. 11. Be sure to contract to the open bent-knee position, toe off floor, before lowering completely to initial contracted position on the floor. 12. Perform all the movements slowly, smoothly, continuously, and fully.

TEACHING COUNT In both variations, use a strong, slow count. Pause momentarily a t number counts. Repeat Variations I11 and IV twice in succession, then repeat theme and four variations twice each on the opposite side. In the slow learning process of each movement sequence, practice four times on each side. One example of a dynamic count: Perform Theme, Variations 1-11-111 once each, and Variation IV two times, slow count up; fast, down. Variation 111: AND-A-ONE, AND-TWO; Repeat. Variation IV: AND-A-A-ONE, AND-TWO; Repeat. Then repeat theme and four variations, twice in succession on opposite side. Master each movement sequence before proceeding to the ?text.

LEG EXTENSION WITH ARM PATTERN TUEME AND 3 VARIATIONS PREPARATt ON

-

---- THEME

VARIATION (1)

8 COUNTS EACH

DANCE TECHNIQUES : Floor

LEG EXTENSION WITH ARM PATTERN-THEME FIGURE

A

B C D E

F G H I

J

K

A A B AK F E-G

I

113

AND THREE VARIATIONS

P R E P A R A TIOW COUKT Sit in contraction, k i t k g bent back on floor, lift right leg up, grasp heel in left hand, knee in right, keep elbows out, leg parallel to floor, extend toe, leg and thigh form right angle, shin to ceiling. Release the torso, pull on leg for leverage, flex the ankle and toes. Contract torso, extend the toes, and return to the Figure A position. Release the torso, pull on leg for leverage, flex the ankle and toes. I N I T I A L POSITION High release, hands lower thigh-knee-half-toe to floor, keep leg-thigh a t right angles, left thigh parallel to right leg, finger tips at knee and ankle, keep arms round, and heel off the floor, shin to the front. THEME Hold E l raise left thigh and foot from floor, parallel to right leg. Maintain Figure El lower left thigh and foot to the initial position. V A R I AT I O N I Hold El raise left thigh and foot from floor parallel to right leg. Hold H , extend left leg to side and up, knee to front, toe pointed. Flex the left knee and return to Figure E l thigh remains above floor. Lower left thigh and foot to the initial position. Check cues above. T E A C H I N G CUES 1. On contraction with knee lift, roll back on spine toward back foot. 2. Lift thigh off floor as much as possible, torso in deep concave line. 3. Lift torso high, sit up very tall, flex ankle and toes on release. 4. Flace hand over knee-cap, thumb on top of heel, fingers under heel. 5 . Place weight on thigh and flexed toes of forward foot on high release, not on knee. Lift back hip from floor in order to lift back thigh. 6. Maintain high released torso as back thigh lifts and lowers. Do not allow body to tip forward on thigh lift. Do not shift weight back as thigh lowers. Back knee barely touches floor once movement sequence begins. The finger tips barely touch leg as balance grows stronger. 7. On leg extension, do not allow hip to tuck under. This wrong movement tends to turn the leg extension upward, instead of correctly sideward. TEACHIIVC COUNT In first learning, perform each movement sequence separately, as many times as necessary for complete mastery. Change to the opposite side often enough to prevent a "side favoritism". After this is mastered, perform in sequence of eight counts each, as illustrated, page 114. Freparation: ONE through EIGHT Theme: ONE through EIGHT. Variation I : ONE through EIGHT. For a dynamic sequence, CHANGE count tempo, to accent and climax movement. Proceed to next page for Variation I I and I I I .

DANCE TECHNIQUES : Floor

LEG EXTENSION WITH ARM PATTERN-THEME FIGURE

A

115

AND THREE VARIATIONS

I N I T I A L POSITION-BOTH V ARIA TIONS COUNT From Figure K , page 112, raise left thigh and foot from floor, parallel to right leg, turn torso right, circle arms in diagonal line from head.

V ARIA T I O A ~I I Lower the rounded left arm, down and out, past the right knee to ankle. Extend left arm out shoulder level, palm down, look toward left hand. Round left arm and begin wide circle down and up to initial position. Continue roundcd left arm past ankle-knee, and up to initial position. F G

H I A A

B-E

A-I A-E A-E

A-I G A-I

V AR I A TION I I r Lower left arm and turn head as in B, begin left leg extension to side. Extend left arm as in C, extend left leg parallel to arm, point toe. Begin arm return as in D , flex left leg and start back to position. Continue left arm circle and left leg flexion to the initial position. TEACHING CUES 1. Release the upper torso to a long diagonal from the hips to the arms. 2. Circle arms upward, finger tips barely touching, palms toward face. 3. Move torso first, then lower arm to complete a half-circle downward and outward to the side, hand a t shoulder level, upper arm remains stationary. On return of arm to circle position move torso first then move the arm through same half-circle path, and end in high position. 4. Maintain the high torso release position through all arm movements. 5 . Move head in the direction of the hand in order to follow arm movement. 6. Weight is on front thigh, back thigh lifted off floor: back knee may be lowered to floor in first learning process, but should be lifted as soon as back is strong enough to maintain balance in arm movements. 7. In leg extension, be sure weight is not shifted back or hip tucked under. This causes an upward extension, instead of a side extension. 8. In arm and leg pattern, torso starts to move first, then extremities. 9. In arm-leg extension, torso turns slightly toward the extended toe. 10. Perform all the movements slowly, smoothly, continuously, and fully. TEACHING COUNT Use an AND count prior to Variation 11, to lift the arms and thigh to the initial position. Use a slow, steady count for action sequence. In Variation 11, if the back is not strong enough to hold the thigh above the floor, it may rest on the floor; however it is then necessary to use an AND count to raisc the thigh to the initial position for the last variation. Change tempo and accent as desired for dynamic count. Variation 11: AND ONE-TWO, THREE-FOUR through EIGHT to Variation 111: ONE-TWO, THREE-FOUR, Repeat through count EIGHT. Repeat theme and each variation on the opposite side. Keep thigh ofJ the jloor in Variations 11-I??.

1

2 3 4 1

2 3 4

CONTRACTION AND RELEASE WITH LEG EXTENSION 6 COUNTS 3 COUNTS CONTRACTl ON 3 COUNTS RELEASE

REPEAT 2 TIMES ; THEN REPfAT Z TIMES WITH OPPOSITE LEG CROSSEP

DANCE TECHNIQUES: Floor

CONTRACTION AND RELEASE-WITH FIGURE

A

LEG EXTENSION

I N I T I A L POSITION COUNT Sit high upright release, knees out, feet crossed a t ankles, hand over knee-caps, the arms rounded, elbows out. Keep the toes pointed. MOVEMENT SEQUENCE Contract, raise face to ceiling, extend parallel arms to ceiling, begin leg extension by sliding feet, still crossed a t ankles, out in front. Contract further, open arms shoulder level, continue leg extension. Contract lower, extend arms to side shoulder level, extend legs fully. Release and raise torso, head up, round arms a t same level, palms down. Release, flex knees, draw feet in, round arms to ceiling, palms front. Release, head up, knees to position, lower rounded arms chest level. Hold release above, lower the head, arms and hands to initial position. TEACHZNG CUES

CD D B-D A-H A-H E E E-G E-G

1. Sit in release, chest high, abdomen flat, proper ear-shoulder-hip line. 2. Contract from the hip, round the back, pull abdomen into concave line. 3. On contraction, roll back on the end of the spine and lower vertebrae. 4. Keep shoulders forward on arm extension upward, palms face each other. 5 . As the arms and legs extend, torso lowers, and concave line deepens. 6. In full contraction, lower torso until lower vertebrae touch floor. 7. Lift head upward parallel to ceiling on all contraction positions. 8. Cross ankles and extend feet and toes throughout the whole sequence. 9. Keep the movements of the arms and the legs smooth and continuous. 10. The head remains parallel to the ceiling, arms rounded on release. 11. Raise chest high, abdomen flat. Sit very tall, not on end of spine. 12. Keep the head lifted upward, the face parallel to ceiling as long as possible, while arms and legs slowly move back to initial position. 13. The arms circle backward, then upward and finally lower forward to complete a full circle before reaching knees as in initial position. 14. Leg-cross at ankle can be changed in lowest contraction position.

TEACHZNG COUNT Use a slow, steady, continuous count, pausing only slightly a t the counts of THREE. Use the ONE counts for the impulse of the movement, and use other counts for completing this Movement Sequence. Beginners find it easier to perform this movement if they are allowed to pause on the ONE counts, and arms and legs move only on TWO and T H R E E counts. The impulse of the movement refers to the first contraction and release movements, a r d the arms move simultaneously with this first movement. On contraction: ONE-TWO-THREE. Release: ONE-TWOAND-THREE. Repeat two times; then repeat the contraction (Figures B-C-D). Hold Figure D. Cross opposite legs at a~zkle,repeat E-F-G-H,and repeat sequence twice.

1

2 3 1 2 & 3

DANCE TECHNIQUES : Floor

ARM AND LEG PATTERN-THEME FIGITRE

A

AND TWO VARIATIONS

1-NTTTA L P O S I T O N COUNT Sit in high release, right leg back, leit leg in front, knee out, heel centered, half-toe on floor, "on-the-walk", left arm rounded forward shoulder level, palm down, the right arm rounded, hand a t right knee. -

THEME Hold release, turn torso left, weight on left thigh and hip, circle the rounded left arm up, simultaneously circle rounded right to left foot. Turn torso to front, circle round left arm up, right arm past left foot. Lower the hands to floor a t sides, the elbows straight, palms front. Lift torso, turn left hand palm up on floor, raise rounded right arm. Keep torso high, left hand in place and begin to lower elbow to floor. Keep torso high, lower elbow to floor, palms parallel to each other. E N D OF SEQUENCE-Sawe for T h e ~ and e All Variations Contract hips-spine-shoulder-head. Start right arm circle to front. Bend forward, left palm on floor, continue right arm circle to side. Push torso around with left hand, head down, round arms shoulder level. Release hip-spine-shoulders, round arms shoulder level, left forward. Straighten back, step left foot forward, and lower right arm to knee. A B CD E-G E-G A-G A-G B-G

H-J I K L

TEACHING CUES 1. Sit on ends of pelvic bone, both sides of hip on floor in release. 2. Shift weight from both hips to forward hip to turn torso to front. 3. Keep weight on forward hip, torso front, arm circles, lowers to side. 4. Torso lift occurs first, before arm lifts upward, to circle over head. 5. Lower the supporting arm slowly, keep elbow close to torso to insure a highly lifted back when weight is on the forearm of supporting arm. 6. Keep the front foot "on-the-walk" throughout the release sequence. 7. Keep right thigh as far back as possible, for greater torso stretch. 8. Head moves as one unit with torso, ear parallel to ceiling on bend. 9. Circle the body and arms to a deep contraction, arms shoulder level. 10. Use the hand on the floor to help torso complete contraction-circle. 11. Release from hip through spine-head-arms, torso on a diagonal slant. 12. Step forward "on-the-walk" and raise left arm to initial position. T E A C H I N G COUNT Use a slow, steady, continuous count. Ferform the Theme as many times as necessary for mastery. Change to the opposite side often enough to avoid a "side-favoritism". Keep the movement smooth. Word substitutes may be used as desired, or changes may be made in the count and tempo. Theme: ONE-TWO-THREE; ONE-TWO-THREE. Recovery: AND-A-ONE-TWO-THREE. Repeat twice. Proceed to the next Variation on the next page. The Theme should be thoroughly mast~red before proceeding to Vuriulion I .

DANCE TECHNIQUES : FZoor

ARM AND LEG PATTERN-THEME Tr A

121

AND TWO VARIATIONS

FIGURE

VIIAINILO iY Repeat Theme through Figure G, page 118.

A B C D E

Hold high release, torso lifted, raise thigh from the floor slightly. Hold high release, torso lifted, raise thigh from the floor still more. Hold high release, torso lifted, lift thigh off floor high as possible. Hold high release, torso lifted, push thigh back, touch toe to floor. Hold high release, torso lifted, toe on floor, lower knee to floor. Open chest to right and back, face, palms, chest parallel to ceiling.

F

n T A 'PT

COUNT

1 2 3 1 2 3

E N D OF SEQUENCE Repeat End of Sequence as it is described on page 119, illustrated on page 118.

&(A)123

TEACHING CUES

A-C A-F A-C F

D-F D

1. On reIease position, weight is centered on front thigh, forearm is on the floor, and the strength of the biceps muscle lifts the torso. 2. As the thigh lifts in its three levels, maintenance of a high release is most imperative, and back strength is a necessity for performance. 3. The foot is "on-the-walk" throughout all of the release positions. 4. As the thigh lifts, do not allow torso to move forward and thus lose the high released torso. Keep the chest high and the abdomen flat. 5 . On opening torso, chest to ceiling, arm moves as one unit with torso. 6. On opening, toe tauches first, then knee, and then chest opens back. 7. Circle toe as far back as possible, to insure the greatest amount of stretch from the shoulder through the torso through the thigh to toe. 8. On opening chest parallel to ceiling, do not allow arm to drop down. 9. Head moves with opening of torso, face becomes parallel to ceiling. 10. Start contraction in hips through torso, then to arms and then head. 11. Circle the torso and the arms to deep and low, contraction position. Use the hand on the floor to help torso complete contraction circle. 12. On contraction recovery, front foot extends, knee on floor, and the torso bends over the forward foot, the arms open at shoulder level. 13. Release from hip, through spine-head-arms, torso on a diagonal slant. 14. Step forward "on-the-walk," and raise left arm to initial position.

T E A C H I N G COUNT Lift the thigh slowly on ONE-TWO-THREE, pause slightly on count THREE. Lower thigh and open chest to ceiling on ONE-TWO-THREE. These counts are as follows: Toe touches floor, then knee touches floor, and then the chest opens. Words substitutes: TOE-KNEE-CHEST; and then to the recovery on the continuous AND-A-ONE-TWO-THREE count as illustrated. Repeat Theme. Then proceed to Variation I: ONETWO-THREE; ONE-TWO-THREE. Recovery: AND-A-ONE-TWOTHREE. Repeat Theme and Variation I twice. Repeat the Theme, not Recovery. Proceed lo Variation 11, ncxt page.

DANCE TECHNIQUES : Floor

ARM AND LEG PATTERN-THEME FIGURE

AND TWO VARIATIONS

VARIATION II Repeat Theme and First Variation through Figure C, page 120. Keep the torso lifted and thigh high, begin right leg extension upward. Keep the torso lifted and thigh high, extend right leg still further. Keep the torso lifted and thigh high, extend right leg, toe to ceiling. Keep torso lifted, and thigh high, extend the straight right leg back. Keep torso lifted extend straight right leg back as far as possible Keep torso lifted, flex right leg a t knee, form right angle with thigh. Hold high release, torso lifted, push thigh back, touch toe to floor. Hold high release, torso lifted, toe on floor, lower knee to floor. Open chest to right and back, face, palms, chest parallel to ceiling.

COUNT

1 2

3 1 2 3 1 2 3

E N D OF SEQUENCE Repeat End of Sequence as described and illustrated, page 118-119. &(A)123 A-C A-I C D-F D-F

F G-I

A-I

TEACHING CUES 1. In release position, lift the thigh as high as possible, then lift knee toward ceiling, and from the knee lift, extend the leg upward. 2. Keep high release position, foot "on-the-walk," throughout sequence. 3. Keep torso high. Do not allow the torso to drop down as leg extends. 4. Keep the leg extended strongly from the hip, as the leg moves back. 5. Torso moves a bit forward, shifting more weight to forearm and thigh. 6. Circle leg back, bend knee, move thigh-toe back as far as possible. 7. Maintain the high torso release, lower the toe, knee, then open chest. 8. Circle body forward in deep contraction. See teaching cues page 121. 9. Release to initial position. Check the teaching cues on page 121. 10. This Variation I1 is more difficult and requires a very strong back. The Theme and Variation I should be performed many times before any attempt is made to tcach the last variation. Careful adherence to teaching cues is urged, for better understanding of this exercise. TEACHING COUNT In the first learning process, perform this variation as many times as necessary for mastery. Change to the opposite often enough to avoid a "side-favoritism". Each four times is recommended. After the theme and the two variations are mastered, the total sequence may be performed as follows: repeat theme and each variation once or twice in succession, and then repeat again in the same manner. Change to the opposite side and repeat the full sequence in the same manner and the same number of times. Change the count, tempo, and accent as desired. As stated on last line, page 121, repeat theme, then to Variation 11: ONE-TWO-THREE; ONE-TWO-THREE; ONE-TWO-THREE. Recovery: AND-A-ONE-TWO-THREE, as illustrated in the two preceding pages. See leaching count.

DANCE TECHNIQUES : Standing

125

SIT PREPARATION ON RELEASE I Y " ~ ' ~ I A POSI L TIO?~ COUNT Stand in upright release, feet in second position, arms shoulder level.

M O V E M E N T SEQUENCE Bend right knee, bend left knee, left foot behind calf of right leg. Lower left foot to floor, cross to back and right side of right leg. Kneel on left leg in crossed position, right heel slightly off floor. Bend crossed knees, lower the hips to the floor, right heel off floor. Roll body weight to left leg, kneeling position, raise hips off floor. Lift left knee off floor, left toe tip oil floor, right heel on floor. Weight on right foot, left leg extended in the back, toe off floor. Straighten right leg, circle extended left leg to side, toe off floor

G-I A-I

TEACHING CUES 1. Check carefully for good body alignment in upright release position. 2. Chest high, abdomen flat, feet turned out, arms out a t shoulder level. 3. Maintain high release, round arms shoulder level throughout sequence. 4. Shift weight to right leg, bend right knee, right foot turned out. 5. Bend the left leg at knee, move extended left toe behind right calf. 6. Cross extended left leg to back and to the farthest side of right leg. This crossing of back leg is most important to the execution of the exercise, the wider the cross to the side the easier the sit to floor. 7. Lower left knee to floor without disturbing placement of extended toe. 8. Raise right heel off floor, flexed toes remain on floor, ankle flexed. 9. The weight of body is shifted from right foot to thighs of both legs. 10. Bend both knees, lower the hips to the floor, do not sit on left heel. 11. Roll to left leg, shift weight to left thigh, and flexed right foot. This roll onto left leg is most important in the rise from the floor, it shifts the weight onto the leg momentarily until the thighs and the flat of the right foot take the weight, then hips lift off floor. 12. Push with extended toes, rise up on right foot, straighten left leg, circle leg to the side, straighten right leg, point left toe to floor. 13. All the movements should be done slowly, smoothly, and continuously. TEACHING COUNT ONE, TWO, THREE, FOUR through EIGHT. Repeat two or four times, then repeat the same number of times on the opposite side. In the first learning process repeat four times on a side, and be sure to emphasize learning and practice equally for both right and left sides. This prevents favoring one side in performance. Use a slow, steady count. This count may be speeded up slightly, once the technique is mastered. ONE, TWO, THR-EE, FOUR, FIVE, SIX, SEVEN, EIGHT. Repeat two or four times: Then repeat on the opposite side, the same number of times. Be sure to check and follow all of the teaching cues very carefully.

SIT PREPARATION ON CONTRACTION 8 COUNTS

DANCE TECHNIQUES : Standing

SIT PREPARATION ON CONTRACTION FIGURE

A

I N I T I A L POSITIOY COUNT Stand in upright release, feet in second position, arms shouider ievei. MOVEMENT SEQUENCE Contract torso, raise arms shoulder level, bend at elbows, lift head. Bend right knee, bend left knee, left foot behind calf of right leg. Lower left foot to floor, cross to back and right side of right leg. Kneel on left leg in crossed position, right heel slightly off floor. Bend crossed knees, lower hips to floor, right heel up, lower head. Release torso, straighten head, raise rounded arms outward to sides. Roll body weight to left leg, kneeling position, raise hips off floor. Lift left knee off floor, left toe tip on floor, right heel on floor. Raise released torso and head upward, raise rounded arms shoulder level. Weight on right foot, left leg extended in the back, toe off floor. Straighten right leg, circle extended left leg to side, toe off floor. Return to initial upright position before repeating on opposite side.

B-E

TEACHING CUES 1. The teaching cues 1 and 2, page 125, apply to this initial position. 2. Keep the torso in deep concave line, head lifted and face parallel to the ceiling, lift the arms to shoulder level, bend them a t the elbows. Keep forearms vertical and parallel to each other, shoulder width apart. 3. Maintain this torso and arm position throughout contraction movements. 4. Move torso to deepest contraction on sit on floor, lower head also. 5. The release of the torso straightens the back, lifts the hip off the floor, and rolls weight on to the left leg, for next shift of weight. 6. Gradually raise rounded arms to shoulder level as torso lifts upward. 7. Gradually raise head to upright position as the torso lifts upward. 8. Strict adherence to the teaching cues on page 125, for the lowering and raising of the hips off the floor, is very imperative and applies directly to this dance technique, which adds the contraction and the use of arm and head positions as a dramatic change from the release. 9. All the movements should be done slowly, smoothly, and continuously. TEACHING COUNT A dramatic use of the teaching count calls for a special kind of voice inflection that is very difficult to describe in words. A sharp ONE should call for a quick strong change from initial position; a slow T W 0 , T H R E E FOUR, for controlled, slow movements; a slower FIVE, for a slow, strong release; and a slow, drawn out, SIX, SEVEN, EIGHT, for slow, controlled movements. Use this as a guide and practice aloud. ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Repeat two or four times; then repeat on the opposite side the same number of times. Use a strong, steady count in .first learning. Later use a dramatic count.

1

2 3 4

5 6

7 8

LEG SWING PO StDE AND BACK

F

OPPOSLTE

SIDE

DANCE TECHNIQUES : Standing

LEG SWING TO SIDE AND BACK FIGURE

A

MOVEMENT SEQUEn'CE Maintain body-arm-feet position, bend a t left knee, knee-cap over toes. Maintain body-arm position, keep right foot in place. Push with left foot to shift weight to right, push lifts left leg out and up, in a diagonal line, straight leg, toe extended to the side, leg turned out. Swing extended left leg to the back, and lower to the floor, toe out, heel in line with stationary right heel. As the left foot touches the floor, the right knee bends, knee-cap over right toe, body upright. Maintain body-arm position, keep right foot in place. Push with left foot to shift weight to right. Straighten right leg, swing extended left leg up, around and out to side just as in the Figure C, above. Maintain body-arm position, lower left leg to floor, in same position from which it was originally lifted, and bend knee, knee-cap over toe. A-F

BDF

TEACHING CUES 1. High lifted released torso is maintained throughout Movement Sequence. 2. On the extension of leg, maintain full extension of knee, ankle, toe. 3. On the swing of the leg, from the side to back, use the upper thigh muscles, and the glutei, to move the leg back. This is most important in making circle of the leg swing side and back as wide as possible. 4. When leg extends to back, lower to floor with toe-first-heel-second articulation of foot. Carry all weight in thigh of flexed front leg. 5. In the leg swing to the side from the back, use the glutei muscles to control the correct turned out position of leg. Be sure the leg is turned out from hip, knee on top toward ceiling, not facing front. 6. Shift the weight to the bent knee position each time bent knee occurs. TEAC'HILVG C'OU-VT Use a slow, steady count in the first learning process. The use of a word count aids in overcoming the Erst coordination difficulties. In place of the numbers below, use :both-legs-STRAIGHT, BEND,-to-the-FRONT, both-legs-STRAIGHT, BEND-to-the-SIDE. After this has become less difficult, use: STRAIGHT, BEND, STRAIGHT, BEND. Following this, a dance quality can be given this technique by counting as follows: on the AND counts, H-0-L-D; on the number counts, a slow T - 0 - E HEEL, or A-N-D - T O E -H-E-E-L, A-N-D-T-0-E -H-E-E-L. Once these word counts and the techniques are thoroughly mastered then number counts, or any count desired by the instructor, may be used. ONE, AND, TWO, AND, THREE. Repeat three times. Then repeat three times on the opposite side. Use a slow, steady count, or word substitutes i n the first learning process, and then later, use a fast, strong count.

1 &

2

8r

3

DANCE TECHNIQUES : Slanding

LEG SWING TO SIDE AND BACK-WITH FIGURE

A

BODY TILT

I N I T I A L POSITION COUNT uLalldin uprighi release, wide stride, toes out, arms shouider ievei.

CCO-

MOVEMENT SEQUENCE Maintain feet-leg-arm position, thrust left hip to side, tilt torso and arms as one unit to the right, arms in a straight diagonal line. Maintain feet-leg-arm position, bend left knee, knee-cap over toes. Thrust right hip to right side, shift body weight to right leg, tilt torso to left. Extended left leg lifts off floor, both legs turned out. Swing left leg out and back, lower to floor, toe-heel touches floor, toe out, heel in line with right heel, bend right knee, knee over toes. Thrust left hip to left side, torso and arms shift to right, swing extended left leg from back to side, keep off floor in diagonal line. Lower left leg to floor, toe then heel touches floor, bend left knee, left knee-cap over toes, push weight into left thigh-repeats Figure C. After complete sequence, straighten left knee, torso upright, Figure A. A-H B-G BDF BDF

E C-G

TEACHING CUES 1. Arms remain shoulder level throughout sequence, although torso tilts from side to side, tendency to move arms must be continually checked. 2. Maintain high release in all torso tilts. Do not bend torso to sides. 3. In hip thrust, use both hips as one unit in performing the movement. 4. Use the upper thigh of straight leg to help thrust the hips to the side into the knee-bend position, the thigh and both hips move as one. 5. The movement of both hips and upper thighs of extended legs is also necessary to the hip thrust that lifts the extended leg off the floor. 6. In tilt toward lifted-extended leg, maintain a diagonal line from hip to toe. In tilt away from lifted-extended leg, maintain a diagonal line from the shoulder, through torso, through hips and through legs. 7. Knee-bend with hip thrust has a diagonal line from knee through hip, to torso. Knee-bend to side forms an angle in the hip, thigh to torso. 8. In leg back position, front knee-bend moves body weight to bent leg. 9. All movements should be done with quite a lifted swing and torso tilt. TEACHING COUA7T The first AND count is taken fast, as a preparation for the initial kneebend. I t actually does not occur again, since the repetition of the exercise begins at Figure D and proceeds through E-F-G, D-E-F-G. All other AND counts are on the torso-tilt-leg-lift positions. Use a slow, swinging count. See number and word substitute counts. AND-ONE, AND-TWO, AND-THREE. Repeat through D, E, F, G, AND-FOUR, AND-FIVE, AND-SIX, AND-SEVEN, AND-EIGHT, AND-NINE, POSITION-TEN. Change to other side, repeat through NINE. TORSO-LEG-BACK; TORSO-LEG-SIDE. "llold" on leg position.

&

1 &

2 &

3

BODY TILT ON CONTRACTION E 1 3 LEVELS) ON, NE,

3 WmTS

2 COUNTS

ma.----

INITIAL

POSITION

REPEAT 4 T I M E S THEN PROCEED TO LEVEL (1)

t

I

\NIT1 AL

POSITION

4"t

EE

-

TWICE LEVEL

REPEAT

TO

;

THEN PROCEED PAGE

n , NEXT

DANCE TECHNIQUES: Standing

BODY TILT ON CONTRACTION AND RELEASE-TI1REE

133

LEVELS

INITIAL POSITION COUNT High release, feet second position, toes out, arms out shoulder level. PREPARATION Maintain initial position, thrust the left hip slightly to the side. Continue thrust into a left knee-bend, knee-cap over toes, tilt body to left, arms in slight diagonal, remain in same relationship to torso. Straighten left leg, move torso-arms as one unit to initial position. Repeat preparation four times, return to initial position, D or AA.

LEVEL I Thrust left hip to side, Figure B; tilt torso-arms as one unit to the right, this lifts the left foot, transfer weight to a straight right leg, swing left leg up and out to side, just above the floor. Keep leg straight and turned out, point toe, diagonal line shoulder to toe. Maintain body-arm position, lower left foot to floor, in same position from which it was previously lifted, and bend knee, knee-cap over toe. Contract torso, thrust right hip to side, shift weight right, tilt contracted torso to left, swing straight left leg, turned out and toe pointed, to a position just above the floor, arms on a diagonal line. Lower straight left leg, heel leading, to heel of right foot. Keep weight on right leg, right hip thrust to side, contracted torso tilted left, legs straight, arms on slight diagonal left, and shoulder level.

B-EE I

TEACHING CUES 1. In preparation hip thrust, hips-upper-thighs move as one unit to side. 2. A strong hip-thigh movement to side, causes knee-bend, torso to tilt. 3. The first hip thrust does not occur in actual technique, it becomes part of the deeper torso tilt, and the extended leg-lift from floor. 4. Hold the torso-tilt and leg-lift suspended, before lowering to floor. 5 . In knee-bend position, lower leg in a toe-heel-knee-bend sequence. 6. On release, weight in thigh of knee-bend, no weight on extended foot. 7. In contraction, weight shifts to the extended standing leg and hip. 8. In closed feet position, weight is still maintained on standing leg. 9. In release and contraction positions of torso-tilt, upper thigh of standing leg moves side to side, into knee-bend, and back to position. TEACHING COUNT All AND counts are on the torso-tilt-leg-lift positions. These are the held, or suspended movements. Word substitutes: RELEASE-andBEND, CONTRACT-and-TOGETHER, or TORSO-BEND, TORSOTOGETHER. Check cues above. Preparation: ONE, TWO, THREE. Repeat four times and proceed to Level I : AND-ONE. AND-TWO, AND-ONE, AND-TWO. Then proceed to Level 11. Use a slow, swinging count for this technique. Use as desired in lesson.

REPEAT TWICE ;

_, THEN

REPEAT

PREPARATION AND 3 LEVELS

ON opposrn ~ U Q E 90

DANCE TECHNIQUES : Standzng

BODY TILT ON CONTRACTION AND RELEASE-THREE

135

LEVELS

NOTE: Levels I1 and I11 are performed in the same manner as described for Level I; however, the body tilt is greater, the leg lift is higher, and contraction deeper. See write-up, page 133, for specific details. FIGURE

A

B C

D

LEVEL I1 Release, tilt body right, extend left leg, lift toe out a t knee level. Lower left foot to floor in wide stride, bend knee, knee-cap over toe. Contract, tilt torso left, extend left leg, the toe out a t knee level. Contract, bring straight left leg, heel leading, to heel of right foot.

COUNT

&

1 & 2

LEVEL I I I AA BB CC DD

-4

A-DD

BBB

ACAACC

DDD AA

A-DD

Release, tilt body right, Lower left foot to floor Contract, tilt torso left, Contract, bring straight

extend left leg, lift toe out a t hip level. in wide stride, bend knee, knee-cap over toe. extend the left leg, toe out a t hip level. left leg, heel leading, to heel of right foot.

TEACHING CUES 1. In torso tilt with leg up, balance is held in upper back of torso, and a strong tightening of glutei muscles of standing leg. The taut muscle line of the standing leg, through extended knee to heel, is necessary for steady balance. This balance is developed with practice. 2. The shoulder level arm position is maintained in both the release and the contraction tilt, the head moves as one unit with the torso. 3. In the release torso-tilt, the movement a t the knee bend must be done in this order: a toe-heel-knee-bend sequence of body movement. Check. 4. Hold the extended leg above the floor, as a suspended movement, before moving into the knee-bend positions, or the feet-together positions. 5. In contracted feet-together-position, keep weight on standing leg. 6. Tilt torso as far over to the side as possible in order to lift leg to hip level. Do not lift leg up without torso-tilt as in high kick. 7. All of the leg positions and changes of the torso tilts are a direct result of the hip changes; the hips, then torso, then legs. The hip change is done sharply, held a moment, then moves to its end position. TEACHING COUNT All AND counts are on the torso-tilt-leg-lift positions. These are the held or suspended movements. Use a slow, swinging count, which may be speeded up after the exercise is fully mastered. Word substitutes: RELEASE-and-BEND, CONTRACT-and-TOGETHER, or TORSOBEND, TORSO-TOGETHER. When the count is finally speeded-up, do not omit any of the suspended movements- the movements t o and from the suspension are faster. Level IT: AND-ONE, AND-TWO, AND-ONE, AND-TWO. Then proceed to Level 111:AND-ONE, ANDTWO, AND-ONE, AND-TWO. Repeat on the opposite side as follows: 4 Preparations; Level I, twice; 11, twice; and 111, twice.

1 & 2 &

DANCE TECHNIQUES : Standing

QUARTER TURN ON CONTRACTION AND RELEASE FIGURE

A

Stand in a tilted release, the feet apart, toes turned out, bend the right knee, knee-cap over toe, thrust right hip to side, and tilt the torso to the left, the arms rounded to the side a t the shoulder level.

M O V E M E N T SEQUENCE-IL1! P L A C E Contract the torso, tilt to right, circle a quarter turn to the right, left foot remains stationary and becomes the pivot foot for the quarter turn to the right, bring the right heel to left heel, legs extended. Release torso, tilt to left, extend right leg out to side, flex knee. Contract torso, tilt to right, circle a quarter turn to the right, left foot remains stationary, and becomes pivot foot for the quarter turn to the right, bring the right heel to left heel, legs extended. Release torso, tilt to left, extend right leg out to side, flex knee. Contract torso, tilt to right, circle a quarter turn to the right. Release torso, tilt to left, extend right leg out to side, flex knee. Contract torso, tilt to right, circle for last quarter turn to right. Release into a knee-bend out to side to the initial starting position. TEACHING CUES A-H

CEGA A-H BDFH CEGA A-H A-H A-H

1. In completing a full circle, using the quarter turns, the standing foot

is used for the pivot foot for all of the turns. The strong body contractions propel the turns, but the heel of the pivot foot lifts, and the turn is done on the toe of the pivot foot, the heels together. 2. All of the release positions are taken in the new line of direction. 3. Maintain the arms a t shoulder level on the releases and contractions, although torso tilts, arm-shoulder-torso relationship does not vary. 4. Contract hips-torso-shoulders-arms-hands, in quarter turn positions. 5 . Release hips-torso-shoulders-arms-hands, as knee-bend step is taken. 6. Turns are done in place on the contraction, step to side on release. 7. Turns are done very smoothly, but with strong hip and torso changes. 8. Face to the side on first quarter turn; to the back, on next quarter turn; to the opposite side on third quarter turn; and then to front.

T E A C H I N G COUNT Word substitutes are useful in learning the coordination of the turns. Several useful examples are as follows: TURN-AND-OUT, TURNAND-OUT, or CONTRACT-RELEASE, CONTRACT-RELEASE. Do not proceed to the half turns until the quarter turn is mastered; or to the full turn until the half turn is mastered. Repeat twice, then repeat on opposite side. ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Use a slow, even count. A slow A-N-D count may be used preceding each number count. This is useful in emphasizing smoothness in turns, and prevents jerky movements.

1

2 3

4 5 6 7 8

DANCE TECHNIQUES : Standing

HALF TURN WITH HIP THRUST ON CONTRACTION AND RELEASE FIGURE

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COUNT

Stand in a tilted release, the feet apart, toes turned out, bend the right knee, knee-cap over toe, thrust right hip to side, and tilt the torso to the left, the arms rounded to the side a t the shoulder level.

MOVEMENT SEQUENCE-IN PLACE Contract torso, tilt torso to right, circle a quarter turn to right, left foot remains stationary and becomes the pivot foot for the quarter turn to the right, foot is extended and out to the side, no pause here. Complete half turn as above, and bring right heel to rpeet left heel, contraction is deeper, torso tilt to right is deeper, face back. Release torso, tilt to left, extend right leg out to side, flex knee. Contract torso, tilt to right, start half turn right, no pause here. Complete half turn, bring the right heel to left heel, face the front. Release into a knee bend out to side to the initial starting position.

A-F

BCEF R

C DA CF

TEACHING C U E S 1. In completing the half turn, all teaching cues of the quarter turn are applicable to the half turn sequence of movement. Check carefully. 2. In half turn sequence, do not stop on the in-between-positions of the quarter turn. All the movements must be done, and practiced slowly in the first learning,process; therefore they are pictured for teaching checks, but in the performance of the turn, the movement is continuous, from the front position to the back half turn, and to the front again. 3. A stronger hip thrust and contraction is needed to execute half turns. 4. In the initial contraction of the turn, the moving foot is pointed to floor and begins to describe the semi-circle of the half-turn. The pivot foot remains stationary, the heel raises slightly and weight is moved to the forward part of the foot, on which the turn is executed. 5. The last part of the semi-circle, to complete the half-turn, is done with heels together, active foot flexed, heels slightly off the floor. 6. Release hips-torso-shoulders-arms-hands, as knee-bend step is taken. 7. Half turn to the back, to the front, to the back, and to front again. TEACHING COUNT Word substitutes are useful in learning the coordination of the turns. Several examples are as follows: TURN-IN-AND-OUT, TURN-INAND-OUT, CONTRACT-RELEASE, CONTRACT-RELEASE. DO not proceed to the full turns until the half turn is completely mastered. Repeat this half turn two times, and then repeat it two times on the opposite side. AND-ONE, TWO, AND-THREE, FOUR; AND-ONE, TWO, AND-THREE, FOUR. Use a medium-fast, accented count. Accent ONE, open TWO, accent THREE, open FOUR. Emphasize the smoothness of movement. Do not allow jerky turns.

FULL TURN WITH HIP THRUST

REPEAT 4 TIMES; THEN REPEAT 4 TIMES O N OPPOSITE SIDE

DANCE TECHNIQUES: Standing

141

FULL TURN WITH HIP THRUST ON CONTRACTION AND RELEASE

A

i L Y iTiA i PGSI TIGAnV COUNT Stand in a tilted release, the feet apart, toes turned out, bend the right knee, knee-cap over toe, thrust right hip to side, and tilt the torso to the left, the arms rounded to the side a t the shoulder level.

MOVEMEL3'T SEQUENCE-IN PLACE Contract torso, tilt torso to right, circle a quarter turn to right, left foot remains stationary, and becomes pivot foot for quarter turn, right leg extended out to side, pointed toe tip on floor, no pause. Continue circle past half turn, bring right heel to meet the left heel, the right foot flexed and lifted off the floor slightly, face back, and continue circle to face front, right foot on floor, torso tilted to right in deep contraction, and completing full turn on the contraction. Release into a knee-bend out to side to the initial starting position.

BCD

B B

CD

A- A

TEACHING CUES 1. In completing the whole turn, all the teaching cues of the half-turn are applicable to the full turn sequence of movement, check carefully. 2. In full turn sequence do not stop on the in-between position of the quarter and the half-turn. The movement must be done and practiced slowly in the first learning process; therefore they are pictured for teaching checks, but in the performance of the turn, these movements are continuous, from the front release, to front contraction position. 3. A very strong movement in the hip thrust, contraction, and the torso tilt is necessary for the initial impetus to execute this whole turn. 4. In the initial contraction of the turn, the moving foot is pointed o j the Joor and begins to describe the circle of the turn, the pivot foot remains stationary, the heel raises slightly, and the weight is moved to the forward part of the foot, upon which the turn is executed. 5 . The last part of the circle, to complete the whole turn, is done with torso and arms in deep contraction. This draws legs together and heels together, the active foot is flexed, the heels slightly off the floor. 6. A strong and fast movement of torso tilt is necessary to execute the full contraction turn. Release torso and arms, and step out to side. TEACHING COUNT Repeat this whole turn four times, and then repeat it four times on the opposite side. Practice each side equally in order that no side favoritism will be developed. Word substitutes: CONTRACT-HOLD-SIDE. The HOLD position is identical to the ONE in the number count below. AND-ONE, TWO; AND-ONE, TWO; AND-ONE, TWO; AND-ONE, TWO. Repeat four times on the opposite side. Use a fast, strong, accented count. For u complete sequence, perform 4 quarters, 4 halves, and 4 full turns.

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1 2

DANCE TECHNIQUES : Space-Jumps

JUMPS IN POSITION FIGURE

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NOTE: Initial position is an upright release, arms rounded at sides, heels together, toes only slightly out for normal, toes out for first. (I) J U M P , HEELS TOGETHER-In Place Stand in upright release position, round arms at sides, heels together, toes turned out slightly, flex the ankles and knees, ready for jumping. Raise torso higher as hips-knees-ankles-toes extend, and push up, from floor for first jump in air, body and legs extended in straight line. Land, toes-heels on floor, flex ankles-knees, ready for second jump. Repeat jump as in Figure B. Keep the heels together in all movements. Land, toes-heels, on floor, flex ankles-knees, ready for third jump. (11) J U M P I N FIRST POSITION-In Place Stand in upright release position, round arms a t sides, heels together, feet in first position, flex the ankles and knees ready for jumping. Jump as in B, body-legs in straight line, feet turned out, heels apart. Land, toes-heels, on floor, (AA), flex ankles-knees for second jump. Repeat jump as in Figure BB. Keep the heels together in the landing. Land, toe-heels, on floor, flex ankles-knees, ready for third jump. A-EE ACE AACCEE ACE AACCEE BDBBDD BDBBDD BDBBDD BB-DD

TEACHING CUES 1. NOTE: These jumps are done in place. Do not travel across the floor. 2. Initial knee-bend to start jump is slow, landing knee-bends become starting knee-bends for succeeding jumps, and are taken in fast tempo. 3. In all knee-bend positions, done either slow or fast, check carefully, for proper body alignment. Do not allow hips to protrude to the back. 4. In jumps, complete hip-knee-ankle-and toe extension is imperative. 5. In jumps, toe leaves floor last; in landing, toe touches floor first. 6. Strong, flexible ankle joint movement is necessary to perform jumps. 7. In first position jump, ankle extension is done outward to the side. TEACHING COUNT There is really little to say about a teaching count per se for the jumps, since any use of the voice is for the purpose of keeping the class together, and motivating all to jump well. The actual count of ONE, TWO, THREE, FOUR, includes the landing, as well as the jump. An AND count may be used before each number count, but jump and landing are so close together, that the AND is almost lost as an intelligible sound. The words UP, UP, may be used, or AND-UP, AND-UP, in first learning. AND is used for knee-bend, number counts for jump. Jump, heels together, (normal turn-out) : AND, ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Jumps in first position: ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Warm-up very carefully for all jumping.

(&)

1

2

(&) 1 2

(1) JUMP IN SECOND

!

POSITION 8 COUNTS

(II)JUMP

FROM FIRST POSITION TO SECOND POSITION, ETC.

8 COUNTS

REPEAT THROUGH COUNT 8

DANCE TECHNIQUES: Space-Jzcmps

JUMPS IN POSITION ?,'OTE: Initial pmitirzn Is an upright release, arms rounded a t sides, heels together, toes turned out, first, feet in wide stride for second. JUMP 111' SEC'OA17DPOSITI0,V-IX

PLAC'E

Stand in upright release position, round arms a t sides, feet in wide stride, toes turned out, flex the ankles and knees ready for jumping. Raise torso higher as hips-knees-ankles-toes extend, push up from floor for first jump in air, body and legs extend, the feet apart. Land, toes-heels, in second, flex ankles-knees, ready for second jump. Repeat jump as in Figure B. Keep the feet apart, and legs turned out. Land, toes-heels in second, flex ankles-knees ready for third jump.

JUMP FROM FIRST POSITIOlV TO SEC'O,1'/1 POSITIOS-I,V PLACE Stand in upright release position, round arms a t sides, heels together, feet in first position, flex the ankles and knees ready for jumping. Jump straight up, body-legs straight-line, legs turned out, feet apart. Reach peak of jump, as legs open to second position jump in the air. Land, toes-heels, in second, flex ankles-knees, ready for second jump. Jump in second, as B above. Keep the feet apart and legs turned out. Reach peak of jump, as legs close to first position jump in the air. Land, toes-heels, in first, flex ankles-knees, ready for third jump.

A-GG AB

C AA-GG

1. *VOTE:These jumps are done in place. Do not travel across the floor. 2. Apply all teaching cues for jumps on page 143 to jumps on this page. 3. In second position jump, a strong knee bend is necessary to send jump into air with complete extension of all joints, instep faces outward. 4. Heels must contact floor on every landing and must lift for jumping. 5 . In the jump from first to second, the peak of the jump, legs apart, is accented in the air, the changes from first to second, to first, to second are illustrated by both legs opening, or closing, in the air.

TEACII1,VG COUNT ONE, TWO, THREE, FOUR, etc., include the landing as well as the jump. An "AND" count may be used before each number count, but jump and landing are so close together, that the "AND" is almost lost as an intelligible sound. The words UP, UP, UP, may be used, or ANDUP, AND-UP. Jumps may be slowed down by taking more time between jumps; however the jump from first to second to first, takes an "AND" count very well. Figures BB and FF are required actions within this sequence. Jump in Second: (Feet in a Wide Stride) : AND, ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Jump from First to Second to First: (AND), AND-ONE, AND-TWO, AND-THREE, AND-FOUR, AND-FTVE, and so through EIGHT.

DANCE TECHNIQUES : Space-Jumps

JUMPS IN POSITION FIGURE

A B C

PREPARATION AND I N I T I A L POSITION-IN PLACE COUNT Initial positions: Upright release, round arms, feet normal position. Push up for first jump in air, body and legs extended in straight line. 1 Land, toes first, on floor, flex ankles-knees for next jump. 4 jumps. (to 4) ( I ) J U M P WITH QUARTER TURNS-IN PLACE Jump, fifth jump, turn in air quarter turn right, left side to front. Land, toes-heels, on floor, flex ankles-knees, ready for next jump. Jump upward, turn in air another quarter turn right, the back to front. Land, toes-heels, on floor, flex ankles-knees, ready for next jump. Jump upward, turn in air another quarter turn right, right side front. Land, toes-heels, on floor, flex ankles-knees, ready for next jump. Jump upward turn in air another quarter turn to right, face t o front. Land, toes-heels, on floor, flex ankles-knees, ready for next jump.

(&) 1 (&) 2 (&) 3 (&) 4

DFG H JA-C

(11) J U M P WITH HALF TURNS-IN PLACE Jump upward, turn in air, one-half turn right, land with back front. Jump upward, turn in air, one-half turn right, land facing the front.

(&)2

D F H JA

( I I I ) JUMP WITH FULL TURN-IN PLACE Jump upward, turn in air, one full turn right, land facing the front

(&)I

A-J A-J A-J CEGIA ABC DFHJ EGI DFHJ

TEACHING CUES 1. NOTE: These jumps are done in place. Do not travel in wide circle. 2. NOTE: Follow lines on illustration page carefully. 3. All jumps and landings are made with the feet in the normal position. 4. All landings are made in this action sequence: Toes-heels-knees-hips. 5. All teaching cues for jumps, pages 143-145 must be followed carefully. 6. Jumps in place, set momentum for the turns, and should be accented. 7. I t is recommended that the AND count in this exercise, be retained, since it is most useful for accenting the jump-turn movement in air. 8. Variation: Add a jump in place after each landing, before executing jump-turn movement in air. This adds four counts to each turn sequence. 9. A quick turn of shoulders and head, helps to propel the body through the air on the half-turns and whole turns. Repeat to opposite side. TEACHING COUNT Follow the counts as outlined in the last three lines below. The (AND) counts may be used, or eliminated from the teaching count, although the turns take enough time so that the (AND) counts are quite useful for emphasis on the jump. The word substitutes: TURN-ONE, TURNTWO, or UP-TURN-DOWN, UP-TURN-DOWN, may be used. Do not proceed to half-turn until quarter is mastered, nor full until half is mastered. Quarter Turn: 1-2-3-4, AND-ONE, AND-TWO, ANDTHREE, AND-FOUR. Half-Turn : AND-ONE, AND-TWO. Full Turn : AND-ONE. NOTE: olz the illustration page, follow only one turn line at a time. Remember, turn is i n place.

(&)I

RUNNING IN PLACE

8 COUNTS

(1)PREPARATION FOR RUNNING IN PLACE

DANCE TECHNIQUES: Space-Jirmps

RUNNING IN PLACE FIGURE

AA

I S I T I A L POSI TIOS COUNT Stand with feet in wide stride, right foot forward, flat on floor, the left foot extended on half toe on the floor, torso in release, arms shoulder level, the left arm forward, the right arm out to the side.

BB CC A

MOVEMENT SEQUENCE I-PREPARA TIOAV Maintain the initial position, and lower the left heel to the floor. Maintain the initial position, and raise the left heel from the floor. Repeat through 8, this count is initial position for running in place.

B C D E F G

MOVEMENT SEQUE,VCE I I Jump straight in air, toes pointed, start changing feet-arm positions. As the descent begins, continue the change of the feet-arm positions; and land, toes-heels, in the feet-arm reverse of the initial position. Jump straight up in air, toes pointed, start changing feet-arm positions. As the descent begins, continue the change of the feet-arm positions, and land the toes-heels, in the initial feet-arm position, Figure AA.

A- G AA-CC AA-CC AA-CC AA-CC AA-CC A-G A-D D-G A- G A- G

TEACHISG CUES 1. Keep upright released torso, good body alignment, in the leg changes. 2. On small bounce of back foot, stretch back muscle of the leg and heel. 3. On bounce of back foot, weight remains in thigh of flexed front leg. 4. Keep widest possible stride, knee at front leg to thigh of back leg. 5 . Bounce is done evenly, but strongly, as a preparation for the changes. 6. Arms are kept open, and shoulder level throughout bounce sequence. 7. Arms swing down, then up again to shoulder level, to make the change. 8. On initial push off, for change of feet, the legs extend strongly, and pass each other in the air, before lowering to complete change of legs. 9. Strive to keep as wide a stride as possible on the landing positions. 10. The changing of arms and legs takes place simultaneously, beginning at the very first count. Common error is to change legs and not arms. 11. An upward elevation in the change of feet, as well as a wide stride, is part of this technique. Good ankle articulation insures lightness. TEACHIIC7G COUNT The movements of the preparation are so fast and small that no AND counts are needed; however they are a useful emphasis for the jump, in the run in place. Word substitutes may be used as follows: AND-LEFT, AND-RIGHT, AND-LEFT, AND-RIGHT. These words give verbal reminders for the change of forward foot. Be sure this is stressed. The Cues, CHANGE, CHANGE, CHANGE, emphasize the change of both arms and legs. Freparation: ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Running in place: ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Repeat full preparation and sequence on the opposite side. Sharp, accented count.

DANCE TECHNIQUES : Space-Jumps

JUMPS IN POSITION COUNT

FIGURE

NOTE: Initid pposiiion, iiprlgiii reiease, the feet in normai position.

A B C D E

AA BB CC DD EE

A-EE ACE ACE BD BBDD AACCEE A-EE

( I ) BENT KNEE J U M P LEGS BACK-IN PLACE Stand in upright release position, round arms a t sides, heels together, toes turned out slightly, flex the ankles and knees ready for jumping. Jump straight up, legs and feet together, knees flexed back, toes up. Land, toes-heels, on floor, flex ankles-knees, ready for second jump. Jump straight up, knees flexed back, toes pointed up, far as possible. Land, toes-heels, on floor, flex ankles-knees, ready for third jump. ( I I ) SIDE T I L T JUMP-IN PLACE Rend at waist and tilt torso to right, round arms up from shoulder, feet in normal position, flex the ankles and knees, ready for jumping. Jump in air, increase body tilt to right, hips to feet straight line. Land, toes-heels, on floor, flex ankles-knees, ready for second jump. Jump in air, increase body tilt to right, hips to feet straight line. Land, toes-heels, on floor, flex ankles-knees, ready for third jump. TEACHING CUES 1. NOTE: These jumps are done in place. Do not travel across the floor. 2. Initial knee-bend to start jump is slow, landing knee-bends become starting knee-bends for succeeding jumps, and are taken in fast tempo. 3. In all knee-bend positions, done either slow or fast, check carefully for proper b9dy alignment. Do not allow hips to protrude to the back. 4. Hold released torso as straight as possible in the air in bent-knee jump. Do not allow torso to lean forward or back. The toes point up. 5 . Maintain side tilt of torso and arms, throughout the side-tilt jump. 6. Bend both knees and ankles, for push off from floor, extend sharply to leave the floor, straighten all joints, and increase the body tilt. 7. Both jumps on this page require a steady, easy bend between jumps, the toe-heel-knee-landing must be emphasized for proper performance. TEACIIING COUNT AND, ONE, AND, ONE, for four jumps in place. The AND count may be eliminated and the numbers ONE, TWO, THREE, FOUR, and the iollowing words may also be used: UP, UP, UP, UP, or AND-UP, AND-UP. Jumps may be slowed down by taking more time between jumps; however it is more difficult to perform a jump in place slowly. Allow ample time for warming up the feet and the legs prior to practicing or learning the jumps. Serious injury can result from neglecting this procedure. (I) Bent Knee Jump, Legs Back: AND-ONE, AND-ONE, AND-ONE, AND-ONE. (11) Side Tilt Jump: AND-ONE, AND-TWO, AND-THREE, AND-FOUR. Repeat each jump four times. Repeat Side Tilt four times on opposite side.

OPEN LEG JUMP

(r)

LEGS STRAIGHT (SI) HANDS AND FEET TOUCHINO A N D -ONE

COUNT

REPEAT JUMP

4 TIME5

D A N C E T E C H N I Q U E S : Space-Jumps

OPEN LEG JUMP COUNT

FIGURE

NOTE: Initial position, upright release, the feet in normai position.

E

( I ) LEGS STRAIGIIT-I,V PLACE Stand in upright release position, arms shoulder level, heels together, toes turned out slightly, flex the ankles and knees ready for jumping. Raise torso higher, as hips-knees-ankles-toes extend, and push up, from floor to start jump in air, body and legs extended in straight line. At the height of the jump, open the extended legs as far as possible. On the descent, start closing the legs to position B, described above. Land, toes-heels, to floor, flex ankles-knees, ready for second jump.

AA BB CC DD E

( I I ) HANDS A N D FEET TOUCHING-IN PLACE For initial position, assume Figure A above, and jump as in B above. On the ascent, open the extended legs out to side as far as possible. At the height of the jump, bend torso at hips, touch hands to toes. On the descent, straighten the body and legs, start closing the legs. Land, toes-heels, to floor, flex ankles-knees, ready for second jump.

A

R C D

A-DD AE AE C

CE CC CC A-DD

TEACHING CUES 1 . &VOTE:These jumps are done in place. Do not travel across the floor. 2. Apply all teaching cues for jumps on page 143, to jumps on this page. 3. Check especially the protruding hip fault in the landing on the floor. 4. Keep the toe-heel-knee-hip relationship in all the landing positions. 5. Attempt opening of legs in mid-air position, only after straight-leg jump in air is mastered. Strong back and taut abdomen aid this jump. 6. The opening of legs comes as a high accented movement, the lowering to the floor is a momentary movement, in preparation for the next jump. 7. The jump with legs apart, feet to hands, depends upon strong abdominal muscles, and a quick hip flexion in order to bend torso and raise legs. 8. This jump can be mastered with practice, start low, then try higher. 9. Flexible ankles are needed for the bounce and elevation in all jumps. TEACHING COULVT AND, ONE, AND, ONE, for four jumps in place. The AND count may be eliminated, and the numbers ONE, TWO, THREE, FOUR, and the following words may also be used: UP, UP, UP, UP, or AND-UP, ANDUP. Jump may be slowed down by taking more time between jumps; however it is more difficult to perform a jump in place slowly. Allow ample time for warming up the feet and legs prior to practicing or learning the jumps. Serious injury can result from neglecting this procedure. Open Leg Jump--Legs Straight: AND-ONE, AND-ONE, AND-ONE, AND-ONE. Open Leg Jump-Hands and Feet Touching: AND-ONE, AND-ONE, AND-ONE; as above. Repeat each jump four times. Use a sharp, accented count.

DANCE TECHNIQUES : Space-Jumps

BENT KNEE JUMPS FIGURE

A B

C D E

COUNT

( I ) SLIGHT K N E E BEND-IN PLACE Stand in upright release position, round arms a t sides, heels together, feet in first position, flex the ankles and knees, ready for jumping. Raise torso higher, as hips-knees-ankles-toes extend, push up, from floor to start jump in air, body and legs extended in straight line. At height of jump, flex and turn out knees, soles of feet parallel. On the descent, straighten and start closing legs to Figure B above. Land, toes-heels, in first, flex ankles-knees, ready for second jump. (11) FEET UNDER-IN PLACE Stand in upright release position, round arms a t sides, heels together, feet in first position, flex the ankles and knees, ready for jumping. Raise torso higher, as hips-knees-ankles-toes extend, and push up, from floor to start jump in air, body and legs extended in straight line. On the ascent, flex and turn out the knees, soles of feet parallel. At height of jump, flex and turn out knees, soles of feet together. Land, toes-heels, in first, flex ankles-knees, ready for second jump.

A-FF B-DBB-EE C DE EFF AA-DD

TEACHING C U E S I. NOTE: These jumps are done in place. Do not travel across the floor. 2. Apply all teaching cues for jumps, page 143, to jumps on this page. 3. In air, maintain high-lifted-released-torso, taut abdomen, round arms and open at sides. Hold head and throat in an easy, upright position. 4. At height of jump, flex knees, raise parallel feet toward the torso. 5 . Extend knees and descend to floor in toe-heel-knee-hip relationship. 6. A quick landing, a fast knee bend for quick jump, a high jump in air. 7. Moving through all movements of previous jump, reach height of jump with soles of feet together, heels directly under center of torso line. 8. A fast flexion of knees and ankles is necessary to perform this jump. TEACHING COUNT AND, ONE, AND, ONE, for four jumps in place. The AND count may be eliminated, and the numbers ONE, TWO, THREE, FOUR, used. The following words may also be used: UP, UP, UP, UP, or AND-UP, AND-UP. Jump may be slowed down by taking more time between jumps; however it is more difficult to perform a jump in place slowly. Allow ample time for warming up the feet and the legs, prior to practicing or lea~ningthe jumps. Serious injury can result from neglecting this procedure. Bent Knee Jump-Slight Knee-Bend: AND-ONE, AND-ONE, AND-ONE, AND-ONE. Bent Knee Jump-Feet under: AND-ONE, AND-ONE, AND-ONE, as in count above. Repeat the iumns four times. Use n shnrb. accented count.

(I1 OPEN LEG JUMP ( L E G S STRAIGHT) A N D - O N E COUNT

(Dl OPEN LEG JUMP (ONE KNEE BENT-ONE LEG STRAIGHT) A N D - O N E COUNT

DANCE TECHNIQUES : Space-Jumps

OPEN LEG JUMP-LEGS

157

STRAIGHT COUNT

FIGURE

NOTE: Initial position, upright release, the feet in first position. A

R C

n l? AA BB CC

DD EE

( I ) LEGS STRAIGHT-I;V P L A C E Stand in upright release position, round arms at sides, heels together, feet in first position, flex the ankles and knees, ready for jumping. Raise torso higher, as hips-knees-ankles-toes extend. and push up, from floor to start jump in air, body and legs extended in straight line. At height of jump, open extended legs and raise arms and head upward. On the descent, start closing the legs to position B, described above. Land, toes-heels, to floor, flex ankles-knees, ready for second jump. ( I l ) OiVE K Y E E BE-VT-OLVE LEG S T R A I G H T - I N PLACE Stand in upright release position, round arms a t sides, heels together. feet in first position, flex the ankles and knees ready for jumping. Raise torso higher, as hips-knee-ankles-toes extend, and push up, from floor to start jump in air, body and legs extended in straight line. At the height of the jump, open legs, extend right leg to side, knee to front, flex left leg toe pointed, knee to side anti thigh parallel to ceiling, arms at shoulder level, left to front, right arm to the side. On the descent, start straightening and closing the legs as in B above. Land, toes-heels, to floor, flex ankles-knees, ready for second jump.

RC

TEACHIiVG CUES 1 . 'VOTE: Thcse jumps are done ivz place. Do not travel across the floor. 2. Apply all teaching cues for jumps, page 143, to jumps on this page. 3. Move through straight-leg-jump to open-leg-jump, arms open, head

C

4. I n the air, maintain high-lifted-released-torso, flat abdomen, throat

CC

5 . The distance between the left knee and right leg should be as wide as

CC CC

possible. The knee-lift. and the opening of leg, occur simultaneously. 6. The lifting of the arms shoulder level helps to lift body in the air. 7. A strong take-off, and quick hip action are needed for these jumps.

A-EE

UP. stretched and head lifted, face parallel to ceiling, arms outstretched.

TEACHING COU.VT AND, OXE, AND, ONE, for four jumps in place. The AND count may be eliminated, and the numbers ONE. TWO, THREE. FOUR used. The following words may also be used: UP, UP. UP. UP, or AND-UP, AND-UP. Jump may he slowed down by taking more time between jumps; however it is more difficult to perform a jump in place slowly. Allow ample time for warming up the feet and the legs prior to practicing or learning the jumps. Serious injury can result from neglecting this procedure. Open Leg Jump -Legs Straight : AND-ONE, AND-ONE, AND-ONE, AND-ONE. Open Leg Jump-One Knee Bent-One Leg Straight: AND-ONE, AND-ONE, as above. Repeat each jump four times and jump to opposite side four times.

DANCE TECHNIQUES : Space-Jumps

BENT KNEE-OPEN FIGURE

A

B

C

D E

A-E C C C

C

LEG JUMP

I N I T I A L POSITI0;V Stand in upright reiease position, arms a t the sides, heeis together. MOVEME'VT S E Q U E N C E -1;V PLACE Stand in upright release position, round arms a t sides, heels together. feet in normal position, flex the ankles and knees, ready for jumping. Jump straight up in the air, swing the right arm forward, left arm out to side, a t shoulder level, open legs to front and back, bend knees a t right angles, lift toe toward the floor, right toe toward the ceiling. Land, toes first, to the floor, flex ankles-knees, ready for jumping. Repeat the above jump four times and return to the initial position. NOTE: Figures CC and CCC: These are additional illustrations of Figure C above. They are all excellent jumps. Differences may be noted in the height of the back leg. Figure CC is good ; C is better; CCC, perfect. TEACHING CUES 1 . NOTE: These jumps are done in place. Do not travel across the floor. 2. This bent knee jump requires a strong back, to prevent the torso from leaning forward, and losing the upright release position in the air. 3. The fast upward swing of the arms gives an added impetus to the jump. 4. A straight line from hips to knees, thighs parallel to floor, upper toes in line with shoulder blades, right angle in the front knee, and extended toes, is the desired position in the air, as shown in Figure CCC. 5 . A quick hip action, to open the flexed knees as body lifts in air, is necessary to the performance of the jump. The quick take-off from floor, the quick knee action, and the arm action occur simultaneously. 6. Initial knee-bend to start jump is slow, landing knee-bends become starting knee-bends for succeeding jumps, and are taken in fast tempo. 7 . I n all knee-bend positions, done either slow or fast, check carefully for proper body alignment. Do not allow hips to protrude to the back. 8. Make landing on the floor in correct toe-heel-knee-hip relationship.

TEACHING COUNT AND, ONE, AND, ONE, for four jumps in place. The AND counts may be eliminated, and numbers ONE, TWO, THREE, FOUR, used. The following words may also be used: UP, UP, UP, UP, or AND-UP, AND-UP. Jump may also be slowed down by taking more time between jumps; however it is more difficult to perform a jump in place slowly. Allow ample time for warming up the feet and the legs, prior to practicing, or learning the jumps. Serious injury can result from neglecting this procedure. Bent Knee-Open leg jump: AND-ONE, AND-ONE, AND-ONE, AND-ONE. Repeat this jump four times, and then repeat with the opposite legs forward and back. Use a sharp accented count, the accent on the jump in air.

COUNT

&

1

&

FOOT PRE PARATl ON FOR WALKING AND RUNNING 4 SEQUENCES

8 COUNTS EACH ONE

L

INITIAL

POSIT ION

fl," +

CONTINUE THR0L)GH COUNT 8 4; THEN PROCEED TO

DANCE TECHNIQUES : Space-Leaps

161

FOOT PREPARATION FOR WALKING AND RUNNING FIGURE

I-VI T I A L POSIl'IOLV

COUNT

A

Stand in upright release position, arms a t sides, weight on half toes.

B C

Maintain the initial position and step forward on the right half-toe. Maintain the initial position, and step forward on the left half-toe. Continue through count EIGHT. Hold the initial position, step forward on right heel, left foot flat. Hold the initial position, step forward on left heel, right foot flat. Continue through EIGHT. Hold the initial position, step forward on right heel, left foot flat. Hold initial position, roll-up to right half-toe, left foot off floor. Hold the initial position, step forward on left heel, right foot flat. Hold initial position, roll-up to left half-toe, right foot off floor. Continue through EIGHT. Hold the initial position, and step forward on the right half-toe.* Hold initial position, lower right heel to floor, left on half-toe. Hold the initial position, and step forward on the left half-toe.* Hold initial position, lower left heel to floor, right on the half-toe. Continue through EIGHT.

D E F G H I

J

K L M

A-C A-C DE F-I

3-M A-M

T E A CHIA7G CUES 1. Move only in ankle in this sequence. Legs straight, knees extended. 2. Use movement in ankle, to lift to half-toe, flexible ankle required. 3. Do not allow the heels to hit floor hard, stretch the heel muscles. 4. On roll from heel to toe, transfer of weight is performed by complete articulation of foot and ankle joint, movement is strongly accented. 5. Do not raise up to the half-toe* in lowering from the toe to the heel. Use the front part of foot in the toe-heel walk. Move very smoothly. 6. This particular sequence of movements can be done in circle formation, in straight or diagonal lines across the floor, make changes smooth. T E A C H I S G COU,VT This exercise may be counted as indicated below, or if preferred, word substitutes may be used for the various sequences, such as: TOE, TOE, HEEL, HEEL; HEEL-TOE, HEEL-TOE; TOE-HEEL, TOE-HEEL. Use a sharp, accented count for the toe and the heel sequences, and a "rolling" count for the heel-toe and the toe-heel sequences. Repeat each of the walking sequences through a count of EIGHT, and then proceed to the preparation for the run and the actual run found on pages 162 and 163. Half-Toe: ONE, TWO, THREE, FOUR through EIGHT. Heel: OXE, TWO. 'I'HKEE, FOUR through EIGHT. Heel-Toe : AND, ONE. AND. TWO. AND. THREE, AND. FOUR through EIGHT. Toe-Heel: A N D , ONE, AND, TWO, through EIGHT.

D A N C E TECHNIQUES : Space-Leaps

RUN ( I ) RUN P R E P A R A TIC#

S O T E : Continued from pages 160 and 161. Maintain high release, step forward with right foot, then raise the left foot to the back, point toe to ceiling, the right arm forward. Maintain high release, step forward with left foot, then raise the right foot to the back, point toe to ceiling, the left arm forward.

A

B C

D

(11) R U.V Step forward on the flexed right leg, lift the left foot back, toe to ceiling, left arm forward. Keep torso in release. Increase speed. Step forward on the flexed left leg, lift the right foot back, the toe to ceiling, right arm forward. Keep torso in release. Increase speed. Step forward on the flexed right leg, lift the left foot back, toe to ceiling, left arm forward, keep torso in release. Increase the speed. Step forward on the left foot, knee flexes. Repeat Fig. B above. Continue through EIGHT.

AABB

TEACHING CUES 1. I n lifting back leg off floor, be sure that the last thing to leave floor

AABB

2. A strong push off of the toes from floor will cause the sole of the

is the toe. This push with the toe is important to all running.

AABB

A-D

A-D

foot to raise parallel to the ceiling. Check this cue carefully. I t insures a complete articulation of the foot, as it leaves the floor. 3. I n this preparation, step on straight leg, lift back knee high enough to raise leg and sole of foot parallel to floor, knees and thighs far enough apart to make the hip and the thigh action a part of the run. 4. I n the first preparation, the run is done slowly, bending the forward knee as the back knee bends. Keep a wide space between the thighs and knees in this preparation. In the actual run, this distance between knees and thighs determines the width of the run-wide run or small run. 5 . The toes are first to touch the floor, and last to leave the floor.

TEACHING C O U N T This exercise may be counted as indicated below, or if preferred, word substitutes may be used for the various sequences, such as: RUN, RUN; or for the run preparation: STEP-LIFT, STEP-LIFT. Use a sharp, accented count for the two sequences. The illustration for the run may be used as another preparation for the actual run by performing it slowly and using the same count, or the words: STEP-LIFT-BENDBOTH-KNEES. STEP-LIFT-BEND-BOTH-KNEES. This procedure is recommended. Run Preparation: ONE, TWO, THREE, FOUR, FIVE, SIX. SEVEN. EIGHT. Run: ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN. EIGHT. Repeat each sequence, pages 160 and 162, through n count of eight. Then rcpeni wholc swies.

COUNT

J

(1)BRUSH LEAP AND ONE STEP LEAP PREPARATION 2 COUNTS

\ INITIAL pO5nlON

tXT) BRUSH LEAP

--'L

CONTINUE PREPARATION ACROSS FLOOR

DANCE TECHNIQUES : Space-Leaps

BRUSH LEAP AND ONE STEP LEAP-PREPARATION FIGURE

A, AA

BB

CC

A

B C D A, AA

COUNT 1,VITIA L POSITION*-PREPA RA TION A NU LEAP Stand in upright release, right foot, flat on floor, leg extended, the left leg extended back on half-toe, left arm forward, right at side.

( I ) LEAP PREPARATION-ACROSS FLOOR Raise up on right half-toe, leg straight, and swing the right arm and left leg forward, lower left arm to side. Keep body in high balance. Step forward and down on left foot, knee flexed, and raise the right leg back, knee bent, toe to ceiling, right arm forward shoulder level.

(11) BRUSH LEAP-ACROSS FLOOR Initial position is a repetition of Figure AA above. Swing extended left leg and right arm forward and up, and push with the right foot to propel body into the air, left arm lowers to side. At the height of jump, bend left knee back until toe points to ceiling. Land on left foot, knee flexed, right foot and arm as in Fig. C, above. TEACHING CUES *l. Prior to both of the initial positions, transfer the weight by a step onto the forward foot. This shift brings the back foot momentarily, to the half-toe, as illustrated. This first shift becomes the step in the "step-lift-over" series of the preparation, and the leap itself; however it occurs so fast in the leap that it is seldom seen per se. 2. In the preparation, brush leg up as high as possible. This is the practice for a wide and high leap. Land with a toe-heel-knee-action. 3. This landing action, fully observed and practiced, insures elasticity in landing on the floor, and in subsequent take-off from the fkmr. 4. In the leap, the push-off from back foot onto the forward foot, gives impetus to the leap. The stronger the back-foot-push, the higher the leap, and the higher the back-leg. Keep front leg extended and high. 5 . Extend leg straight out from hip for wide leap, on diagonal, for high leap. Use with a one, two, or three step preparation. See next page. TEACHING COUNT This exercise may be counted as indicated below, or if preferred, word substitutes may be used for the one step preparation and the brush leap. One Step Preparation: STEP-LIFT-OVER; STEP-LIFT-OVER; or STEP-BRUSH-BEND; STEP-BRUSH-BEND. Brush Leap: STEPLEAP-OVER; STEP-LEAP-OVER; or STEP-BRUSH-OVER; STEPBRUSH-OVER. When the Brush Leap is well learned it may be performed at a fast tempo. The increased speed makes it necessary to shorten the word count to STEP-LEAP; STEP-LEAP. One Step Preparation: AND, ONE, TWO; AND, ONE, TWO; continue across the floor. Brush Leap: AND, ONE; AND, ONE; continue across the floor. Repeat the preparation and Brush Leap with the opposite leg leading.

DANCE TECHNIQUES: Space-Leaps

LEAPS-ONE, FIGURE

A

TW'O, OR THREE STEP PREPARATION

BENT i,W LEAP COUNT Initial Position:*Stand in upright release, right foot flat on floor, left leg extended back on half-toe, left arm forward, right a t side. Leap: Swing the left leg and right arm forward and up, and push with the right foot to propel body into the air, left arm lowers to side. At height of jump, bend both knees, right toe to ceiling, left to floor. Land on left foot, knee flexed, right foot and arm in same position.

STRAIGHT LEG LEAP-LEGS OPEN Initial Position:*Stand in upright release, right foot flat on floor, left leg extended back on half-toe, left arm forward, right a t side. Leap: Swing the left leg and the right arm forward and up, push with the right foot to propel the body into the air, left arm out to side. At height of jump, extend both legs, the left to front, right to back. Land on left foot, knee flexed, right foot and arm in same position. STRAIGHT LEG LEAP-LEGS AT RIGHT ANGLE Initial Position:*Stand in upright release, left foot flat on floor, right leg extended back on half-toe, right arm forward, left a t side. Leap: Swing the right leg and the left arm forward and up, push with the right foot to propel the body into air, right arm lowers to side. At height of jump, right leg is parallel, left vertical to the floor. LAND on right foot, knee flexed, left foot and arm in same position. ABC

ABC

ABC

167

TEACHING CUES *l. Prior to each of the initial positions, transfer the weight by a step onto the forward foot. This shift brings the back foot momentarily, to the half-toe, as illustrated. This first shift becomes the step in the "Steplift-over" series of the preparation, and the leap itself. 2. The ONE, TWO, AND T H R E E Step Preparations may be used as a slow walk in the initial learning. Later they become fast running steps in the leap tempo. The faster the runs, the more accented (higher) the leap. 3. Perform all leaps with opposite leg forward to avoid side-favoritism. TEACHING COUNT The teaching count for the Brush-Leap applies equally well to the leaps described above. The word counts are identical in this; however the word "brush" should be deleted. These leaps may also be used with a two or three step preparation. The two step preparation, STEP-STEPLEAP, sends alternate feet forward on the leap, while the three step preparation, STEP-STEP-STEP-LEAP, sends the same foot forward on leap. One Step Preparation: AND-ONE; AND-ONE; or ANDLEAP, across the floor. Two Step Preparation: ONE-TWO-THREE, or ONE-TWO-LEAP, across the floor. Three Step Preparation: ONETWO-THREE-FOUR, or ONE-TWO-THREE-LEAP

DANCE TECHNIQUES: Space-Leaps

FIGURE

A

B C D

E F

G H

I

A-I

BDFH CEG CEG A-I BDFH A-I BDFH

A-I

STRAIGHT LEG RUN I N I T I A L POSITION Stand in upright release position, arms at the sides, heels together. MOVEMENT SEQUENCE Extend left foot forward, flex right knee-ankle ready for jumping. Jump straight up in air, lift right leg forward, start left leg down. Land, toe-heel on left foot, flex knee, right foot extended forward. Jump straight up in air, lift left leg forward, start right leg down. Land, toe-heel, on right foot, flex knee, left foot extended forward. Jump straight up in air, lift right leg forward, start left leg down. Land, toe-heel, on left foot, flex knee, right foot extended forward. In place: continue through EIGHT, end on initial position, A or I. Across floor; continue through FOUR, repeat the four counts as needed. TEACHING CUES 1. Maintain high body release throughout movement sequence, chest high, abdomen flat, head straight, arms rounded a t sides in an easy position. 2. In knee-bend position, check for proper body alignment, the shoulders and the hips in line. Do not allow the hips to protrude to the back. 3. Keep legs straight, point toes, when change of legs occur in the air. 4. Run in place: Strive for a high elevation, as legs change in the air. 5 . In the straight leg run across the floor, swing the arms and the legs in a wider movement and yet retain the bounce of the "run-in-place." 6. A quick landing on floor, as well as a quick take-off from the floor are required. Landing should not be heavy, nor the take-offs forced. 7. Allow the arms to swing easily from the shoulders in the "run-inplace." 8. The jump from one leg, as it is used in this run, requires the same careful checking as the jump from both legs. The take-off is made with a strong push from the floor, and the toes of the back foot are the last to leave the floor. In the landing, the toes of the forward foot land first, followed by the heel, then by the ankle, knee, and hip flexions. This action sequence requires good joint flexibility. 9. Repeat both run sequences on opposite side, the opposite leg lifted. TEACHING COUNT Use a sharp, accented count for the straight leg run in place and for the run across the floor. A fast, sharp AND count may be used before each of the number counts to emphasize the jump and the change of feet in the air. Word substitutes may be used as desired, such as: CHANGE, CHANGE, CHANGE, or AND-CHANGE, AND-CHANGE. A reminder on the run covering space is merely: straight-legs, straight-legs. Check the teaching cues carefully. Correct any faulty foot and body alignment. Run in Place: ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT, and then to the Initial Position. Straight Leg run across the floor: ONE, TWO, THREE, FOUR. Repeat as many times as Joor space permits.

169

COUNT

1

2 3

4

DANCE TECHNIQUES : Space-Leaps

171

SIDE LEAP FIGURE

A

B

F D DD

ABC CC CCC D DD

A-D D A-DD C

BDD C CC CCC DDD

COUNT ILVITIAL POSITIOY-BOTH PREPARA TION AND L E A P Stand in upright release position, feet astride, arms shoulder level.

(I) PREPARA TION Step across to left with right foot, left leg extended on half-toe, weight on flexed right leg-foot, swing left arm across chest to right. Lift left knee high-out-to-left-side, extend right leg. Keep weight on right toe, swing both arms across chest to left, torso leans to left. Lower left foot to touch floor, torso upright, arms still to left. Step on left foot, cross right foot to left, swing arms right. Repeat of Figure B. Use for repeats Figures DD, C, D ; DD, C, D, etc. (II) S I D E LEAP Repeat Figures A, B, C ; then proceed to Figure CC. Use swing of arms, knee lift, and push of right toe to propel body up in the air, widen space between left knee and right leg a t top of leap, land on left foot, lower right foot to swing over to the step-across position DD, ready for quick take-off on repeat of CC, CCC, D, DD, etc. TEACHING CUES 1. Move across the floor, both in the side leap preparation and side leap. 2. Special care should be taken in the arm-leg coordination practice, as this coordination is necessary for the execution of the side leap. 3. In slow learning process, stretch right leg to fullest, lift left knee as high as possible for widest stretch from left knee to right leg. This is important for actual leap in the air, which depends on this wide stretch between both legs for covering distance across the floor. 4. The cross-step in preparation, is first shifting of weight from back left leg to forward right leg. This cross-step is the actual take-off preparation for the wide jump in air. The push-off of right toe from the floor and the lift of arms and knee send the body into the air. 6. Preparation: right foot remains on floor, ready for cross-over-step as left foot touches floor. In the leap this does not occur. Upon landing on floor, only left foot touches floor, right foot immediately crosses over for the step, which is the initial impetus for the leap. TEACHING COUNT Preparation: ONE, TWO, THREE, or CROSS-STEP, LIFT-KNEE, UP-DOWN. Use a steady accented number count, or accent STEPKNEE-DOWN in word count. Side Leap: and-ONE, and-ONE, or step-LEAP, step-LEAP or AND-UP, etc. Use a fast, accented count. Accent number ONE, or the word LEAP or UP. Preparation: ONE, TWO, THREE. Repeat across floor, then repeat across the floor using opposite knee lift. Afier this is thorouguy mastered teach side leap on both sides, counting AND-ONE, STEP-LEAP, or OVER-UP.

DANCE TECHNIQUES : Space-Falls

BACK FALL FROM HIPS V T n r T D C

ZLUUI\LI

A

I3 C D E

F

G H

I

J

K L A-L BC

DE E F

G-J G-L

T N T T T A T pncwrnns

**.*A*.--

- - - - - - A .

Sit in high release on left hip. Bend knees, heels toward the hips.

MOVEMENT SEQUENCE Start slight contraction from hip through torso, shoulders, and arms. Deepen contraction, round torso more from end of hips to lower spine. Move arms outward and to the back, start lower-torso to floor, head up. Complete the fall on the deepest contraction, moving hips and torso onto the back, small of the back on floor, shoulders above the floor, left arm far out to side, crown of the head touches floor, chin upward. Draw extended left arm to torso, as torso releases strongly, and moves over onto left upper arm. At the same time, lift the right arm up in diagonal to the ceiling, look a t hand. Keep feet together, knees out. Contract torso from hips, bring right arm forward, bend left arm up. Deepen contraction, knees closer together, circle head and right arm to front, bend left elbow on the floor, place left palm on the floor. Push with the left hand, circle contracted torso over left thigh, keep the weight on the left leg and hand, circle the right arm to the right. Complete contraction circle, arms out shoulder level, torso centered. Release torso diagonally from hip, through spine, arms lower to sides. Straighten torso to upright position, sitting on left hip, as in Fig. A. TEACHING CUES 1. This fall requires a strong contraction of hip and abdominal muscles. 2. The action, of moving from ends of hip to end of the spine, is taken smoothly, and takes place as the body moves to the deeper contraction. 3. Arms move back, and out to sides, to catch weight of lowering torso. 4. On completed fall, contracted shoulders are forward, lifted off floor. 5 . On first release from floor, be sure hips thrust forward, forcing the torso to move onto the side, and forcing the knees open, feet together. 6. Learn each position of the contraction circle carefully, before moving through them, in order to reach end of circle. The use, and push, of the hand on floor, is most necessary to complete contraction circle. 7. The upper arm describes as wide a circle as possible, in swing from hack, around to front, and down to side, as the torso releases upward. T E A C H I N G COUllrT Use a slow four-count to lower, hold the release on ONE, a fast count of TWO for the contraction, and a slow straightening on T H R E E and FOUR. Once the fall is learned, fall on a fast count of ONE, hold on TWO, end on fast AND-THREE. or down-ONE, and up-ONE. Repeat on opposite side. Fall: ONE, TWO, T H R E E , FOUR; and Recovery: ONE, AND-TWO, T H R E E , FOUR. Fall :-ONE; and Recovery: TWO-AND -THREE. Fall: -ONE; and Recovery: -ONE -AND ONE.

D.4NCE TECHNIQUES: Space-Falls

BACK FALL FROM KNEES FIGURE

A

B C

D E

F

G

H I

J E;

A-K

B-C

DE IJK

I S I T I A L POSITT0.Y Kneel in upright release position on both knees, keep arms a t sides. MOVEMENT SEQUENCE Contract torso from hips, swing back from knees, lower torso slightly. Contract deeper, swing back, torso as parallel as possible to ceiling. Move hips off heels, lower left thigh, hips, and side of torso to the floor. Slide left arm out to side, to catch weight of lowering torso. Complete this fall on the deepest contraction, moving hips and torso onto the back, small of back is on the floor, shoulders off the floor, left arm far out to the side, crown of the head on floor, chin upward. Draw extended left arm to torso, as torso releases strongly, and moves over onto left upper arm. At the same time, lift the right arm up on a diagonal to the ceiling, look a t hand. Keep feet together, knees out. Contract torso, knees closer together, circle head and right arm, to the front, bend left elbow on the floor, place the left palm on floor. Push with the left hand, circle contracted torso over left thigh, keep the weight on the left leg and hands, circle the right arm to the right. Complete contraction circle, torso centered, arms out shoulder level. Release torso from hips, shift weight onto the legs, hips off heels. Raise torso upright to kneeling position, lower arms to sides of torso.

l'EACHI,VG CUES 1. This fall requires strong thigh muscles, plus the additional strength of hip and abdominal muscles. This fall should not be done until hip swing as described in dance exercises and fall from knees are mastered. 2. Teaching cues of back fall from knees, (page 173), apply to this fall. 3. Contract hip and abdominal muscles to hold body weight off of knees, as torso swings backward, and lowers toward heels, ready for the fall. 4. The shift of the hips from the heels to floor, must be done smoothly, without disturbing the contraction position of the hips and the torso. 5. The shift of hips from the floor, in the contraction from the knees to a release, is done smoothly. As the hip changes into this release position, straighten torso parallel to floor, then to upright position. TEAC'III,VG C'OUST Use a slow four-count to lower, hold the release on ONE, a fast count of TWO for the contraction, and a slow straightening on T H R E E and FOUR. Once this fall is learned, fall on a fast count of ONE, hold on TWO, end on a fast AND-THREE. Do not attempt this fall until the hip swing and the fall from hips are thoroughly mastered. Practice slowly a t first. Fall: ONE, TWO, T H R E E , FOUR: Recovery: ONE, AND, A, TWO, THREE, FOUR. FALL: ONE; Recovery: TWOTHREE, (AND), FOUR. Repeat fall to opposite side. Change tempo, accent, count a s desired.

COUNT

DANCE TECHNIQUES: Space-Falls

BACK FALL FROM STAND 1'1; I T I A L POSI TIO,\~

FIGURE 11 4

M O V E M E N T S E Q U E N C E - FALL Start slight contraction from hips through torso, shoulders and arms. Deepen contraction, shoulders and arms forward, bend knees slightly. Bend knees deeper, lean back slightly, arms close to body, raise heels. Lower into knees, heels off floor. Lower torso parallel to ceiling. Deepen contraction, lower torso near heels, place left hand on floor. Start to slide hips off heels, lower left thigh and hip toward floor. Lower left thigh, hips, and side of torso to floor, slide left arm out. Complete the fall on the deepest contraction, moving hips and torso onto the back, small of the back is on floor, shoulders off the floor, left arm far out to side, turn head to right, right hand at right heel.

A-I B C-I

D-F

GH G-I

A-I

COUNT

in upright reiease, heeis together, arms a t sides of the body.

~ t d..l l d

PA.-

TEACHING CUBS 1. This fall requires strong thigh muscles, and a strong contraction. 2. I n the initial contraction, tighten the hip and abdominal muscles. 3. As the knees bend, the body weight lowers into the thigh muscles, and is carried there, throughout the whole fall. The thighs, the hips and the abdominal muscles are in complete contraction throughout this fall. 4. As torso lowers, keep heels on floor as long as possible. Raise heels slowly. Do not lift up on half-toe as soon as knees bend. This puts too much strain on the muscles around the knee. The heels eventually lift to the half-toe position just before the hips lower to the floor. 5 . The side of the knee and the thigh touch the floor, not the knee-cap. 6. Take a deeper contraction at the moment the hips slide off the heels, weight on hand. As the torso lowers to floor, slide the left hand out to the side. At this moment, transfer weight from hand to left hip and lower left side of torso to the floor. Lower right hip to floor, turn torso to back, lower vertebrae on floor, shoulders lifted off floor, the crown of head on floor and turned to the right toward right hand. 7 . This fall must be practiced carefully until thigh muscles are strong enough to carry weight of the body and to keep the knee-caps from touching floor at any time. Failure to do so can cause knee injuries. TEACHING COUNT Use a slow, even count, allowing ample time to move into each position. Master the back fall from the hips and the knees before attempting the back falls from the stand. Word substitutes may be devised, and the count, tempo, and accent of these movements may be changed as desired. Back Fall From Stand: ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Repeat on opposite side. Once thisfall i s mastered on eight counts, fall on O N E , or on a n y count desired. See next page for the recovery.

1

2 3 4

5 6 7 8

D A N C E T E C H N I Q U E S : Space-Falls

BACK FALL FROM STAND I ~ C A T I P I K P ~ T T

fV1 U V f i f V l f i l V 1

@ ~ ? A T T ~ ? ~ T P P n p r n r r P ~ T 3 f i v U f i i V L f i - A l L L U V 15AI

I

Draw extended left arm to torso as torso releases strongly and moves over on to left upper arm. At the same time lift the right arm up in a diagonal to the ceiling, look a t hand. Keep feet together, knees out. Contract torso, knees closer together, circle head and right arm to the front, bend left elbow on the floor, place the left palm on floor. Push with left hand, circle contracted torso over left thigh, keep the weight on left leg and hand. Lift right leg slightly from the floor. Circle contracted torso to the center, step onto the right foot, arms shoulder level, the palms toward the floor, the left hip on left heel. Swing torso weight over to right foot, raise left hip off left foot. Keep face parallel to floor, round arms to sides, palms toward floor. Release torso, start lifting body upright, hold weight in kneeling left leg, in the bent right leg, and in the back; circle left arm up. Continue circle of left arm above head, stretch the torso, raise weight off the left knee, into the right leg, extend the left toe on floor. Circle the left arm to the back, raise the torso upward, to lift left leg from the back to a wide step forward, knee bent, straighten right leg, swing the right arm forward, arms shoulder level, heels on floor.

A

B-H

A-H

T E A C H I N G CUES 1. In initial release, thrust hips forward and upward to enable torso to roll-up on left arm, at the same time bring left arm close to torso. 2. I t is important to keep head facing back toward uplifted right arm. 3. The use of left hand, first as a pushing force to circle contracted body around, second as a force to lift released torso to a stand causes left arm to perform a complete circle. I t begins on the floor, then through a forward lift, and then to the back, as step forward is taken. 4. The torso moves from the highest release on the floor, through the deepest contraction on the knees, to the highest release in the stand. T E A C H I N G COUNT Use a slow, strong count for beginners, allowing them ample time to complete each movement. After the fall and recovery are mastered on both sides, the count may be speeded up and made dynamic. On count ONE, hold that position; on counts AND-A-TWO, perform the intermediate movements fast, and hold the position on TWO; complete the recovery on AND-A-THREE, and hold the last position. This count may be varied by performing the AND-A-THREE count, in a fast, sweeping, dramatic movement that accents, yet blends, each figure in the AND-A-THREE count. ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT. Repeat the back fall from stand and recovery, on opposite side. Use a slow, strong count for beginners. Fast count is ONE, AND-TWO, AND-THREE. Accent numbers.

COUNT

DANCE TECHNIQUES : Space-Falls

BACK ROLL FROM STAND-ROLL FIGURE

A

B C D

E

F

G H

I

J

K L

181

AND RECOVERY

iNiT l A L YOSI 'I'ION Stand in upright release position, arms a t the sides, heels together MOVEMEIVT SEQUEGCE Contract torso, bring arms and shoulders forward, flex knees, head down. Contract deeper, fingers to floor, heels off floor, head over bent knees. Hold C, extend left leg, right heel off floor, point toe, sit on heel. Move hands, back past hips, thumbs toward body. Roll back and sit on floor, left heel on floor, right foot flat on floor, knee to ceiling. The head is still lowered, chin near knee, and torso on a contraction. Release, and extend body, full length, to floor. Place palms on floor, extend arms a t sides, right knee flexed, foot on floor, face to ceiling. Roll back on shoulders, extend left leg up and over face, chin to the ceiling, right toe extended on floor, heel off floor, hands in place. Kick left leg forward, and raise body on contraction, to sit on hips. Continue roll without pause until face is parallel to floor, left leg flexed, left foot flat on floor, sit on right heel, finger-tips on floor. Release torso upward on long diagonal, hands leave floor, knees flexed. Continue release on a diagonal, straighten right leg, heel off floor. Move the right leg to left leg as torso assumes the initial position.

TEACHING CUES

B-E E

E F G-I

I-L L

1. I n deep contraction, weight is carried in thighs and hands on floor. 2. Shift weight to hands as hips roll-off right heel and lower to floor. 3. On roll-back to floor, every vertebra touches floor, as torso lowers.

4. On complete extension of body, small of back does not touch the floor. 5. The swift roll-back carries body weight onto the shoulders, and the momentum thus acquired is the impetus for the forward roll that carries the body completely over on to the right foot. Moveforward to the right foot. Do not bring the right foot in to the body for this step. 6. Do not move the right foot out of position until the step-to-position. 7. Push with right foot, and release torso to move to upright position. TEACHING COUNT Use a slow steady count in the initial learning process. Allow ample time for the performance of each movement. After this slow count is fully mastered, use a medium fast, and finally, a fast count. I n these faster counts, allow no pause between movements. Keep both the roll and the recovery, one continuous movement sequence. Repeat each count on opposite side, (other foot forward), to prevent a side-favoritism. SLOW COUNT: Lower -ONE, TWO, T H R E E , FOUR, FIVE; Up ONE, TWO, THREE, FOUR, FIVE. Faster Count: Lower-ONE, AND-TWO; Up - ONE, AND-TWO. Fast count: Lower -A-N-D ONE; Up -ONE. Do not pause in the two fast counts.

COUNT

DANCE TECHNIQUES : Space-Fulls

SIDE FALL-FALL FIGURE

A

AND RECOVERY

INITIAL POSITION Stand in upright release position, feet astride, arms shoulder level. MOVEMENT SEQUENCE Tilt the torso to the right, extend the left leg above floor, circle the left arm overhead, open the right arm to side, fingers toward floor. Hold the tilted torso position, flex the right knee and the ankle, bend the left knee, extend the left toe behind the calf of the right leg. Tilt torso to touch left toe to floor behind and right of right foot. Contract the torso, lower the left knee to the floor, swing the left arm across the chest and to the right, the right heel on the floor. Contract deeper, lower left hip to floor, swing both arms to left, left forearm on floor, right palm on floor, head lowered between arms, left thigh on floor, knees flexed and extended feet crossed a t the ankles. Keep hands in place, release torso, lift head, at same time extend legs, feet apart, point toes, weight on left hip, forearm-right palm. Contract deeply, round torso, lower head, flex knees toward the torso, bring right foot past left knee and place foot on floor, toe to front. Push weight to a bent left knee and right foot, release and start torso upward, open right arm to right, circle left arm across torso and up. Extend torso to a high release, circle left arm above head, rise off from left leg, extend toe to touch floor behind and right of right leg. Tilt body, circle extended left leg out to left side, toe above floor. Lower left foot, straighten torso, and return to the initial position.

DEF IJK B-F G G H I-K

TEACHING CUES 1. A very deep contraction will help lower the hips easily to the floor. Very high release will help balance the body on the tilt on one leg. 2. Lower hips to floor, swing arms right, then swiftly left, weight on hands and thigh. Body makes half-circle, right-through-center-left. 3. As release extends torso, do not rest on floor, only a momentary pause. 4. On release on floor, body makes half-circle, left-through-center-right. 5. Use the hands on the floor to help lift torso and hips off the floor. 6. Use circle of left arm up, to stretch torso into high tilted release. TEACHING COUNT The side fall should be performed very slowly at first, with careful attention given to each position of the eight counts. Once this slow fall is mastered, a faster count of eight should be used before trying the fall on two or one counts. Do not skip any body movement in the slow fall sequence when performing the side fall on two and one counts. Eight Counts: A-N-D, 0-N-E, T-W-0, T-H-R-E-E, A-N-D, F-0-U-R; 0-N-E, T-W-0, T-H-R-E-E, A-N-Dl F-0-U-R. Two Counts: ANDONE, AND-TWO, ONE, AND-TWO. One Count: AND-ONE, ANDONE. Check other cues, page 185.

cc

DANCE TECHNIQUES : Space-Falls

JUMP AND SIDE FALL FIGURE

A

B C D

E F

G H

I

J

A-C D EF D-J D-J

IA~ITIL A POSI TIOS COUNT Stand in upright release position, round arms a t sides, heels together, toes turned out slightly, flex the ankles and knees ready for jumping. MOVEMENT SEQUE'VC'E Raise torso higher as hips-knees-ankles-toes extend, and push up from floor for first jump in air, body and legs extended in straight line. Land, toes first on floor, flex ankles-knees, ready for second jump. Repeat jump as in B, and landing C, then start jump B for third time. Make this higher, swing rounded arms up, open legs, and flex left knee, right leg straight, toe pointed, left knee bent under. Jump in place. Land on right foot, heel on floor, lower left knee behind right foot, swing the left arm across chest and to the right, body leans to right. Swing both arms to left, release torso, raise head, extend legs, feet apart, toes pointed, weight on left hip, forearm and the right palm. Contract deeply, flex legs toward the torso, right foot past left knee, push weight to bent left knee and right foot, lower head, toe front. Push weight to a bent knee and right foot, release and start torso upward, open right arm to right, circle left arm across torso and up. Extend torso to a high release, circle left arm above head, and then tilt body, circle extended left leg out to left side, toe above floor. Lower left foot, straighten torso, and return to the initial position: TEACHING CUES 1. See side fall, D through K, 182. They are also a part of this fall. 2. Initial knee-bend to start jump is slow, landing knee-bends become starting knee-bends for succeeding jumps and are taken in fast tempo. 3. I n knee-up-and-straight-leg-jump, the torso and arms lean toward right. 4. In fall, torso circles from deep contraction right, to release left. 5 . Use full extension of body, from highest' release of jump, to release on floor, to high release in body tilt, and then to upright position. 6. Careful use of the arms is very necessary to the execution of the sequence, and helps to lower the torso, as well as to lift it upright. TEACHING COU,,VT Word substitutes for the counts below: JUMP, JUMP, JUMP-UP, CONTRACT, RELEASE, CON-TRACT, RELEASE, AND-UP. I t is most imperative that the side fall and the straight leg jumps be thoroughly mastered before the jump and side fall are attempted. Perform slowly in the first learning process. Do not allow students to try for height or speed until each movement of the side fall and jump is mastered. Warm-up carefully. Jump and Side Fall: ONE, TWO, T H R E E , AND-FOUR; and Recovery: ONE, TWO, T H R E E , AND-FOUR. Repeat this on the opposite side. Check all of the movements, D-K, and teaching cues, pages 182 and 183, for use in this exercise.

DANCE TECHNIQUES : Space-Falls

JUMP AND SIT FIGURE

A

INITIAL. POSITION

COUNT

Stand in upright release position, round arms a t sides, heels together, toes turned out slightly, flex the ankles and knees ready for jumping.

MOVEMENT SEQUENCE 1 Raise torso higher as hips-knees-ankles-toes extend, and push up, from floor for first jump in air, body and legs extended in straight line. 2 Land, toes first, on floor, flex ankles-knees ready for second jump. Repeat jump as in B, and landing C, then start jump B for third time. -AMake third jump higher, open arms and legs out to sides. Move to the -Nright. As descent begins, swing left arm across chest, left leg back. -D3 Land, weight on right foot, cross extended left foot back-and-to-right of right foot, left arm moves across chest, torso bends toward right. Flex both knees deeply, lower hips to floor, lean torso to right side. H O L D 4 Lift hips from floor, straighten knees slightly, keep extended left toe -1on floor, stretch torso and arms as far as possible to the right side. Extend right knee, weight on right foot, extend left leg, lift extended -2left toe off floor, lift torso to high upright position, head upward. Circle left leg from back to left side, toe tip touches floor, maintain high -3torso position, the head lifted high, face parallel to ceiling. HOLD4 A-H A-K

A-E

F D-H

TEACHING CUES N O T E : On jump in a r from Figures D to E move to the right. 1. The straight leg jumps are taken in place. The wide jump is taken with an added lift of right leg, and push of left, to cover distance across the floor to the right. The sit and recovery are performed in one place. Repeat jump and sit on the left side, and move to the left. 2. Jumps one and two are taken in place. From third jump with legs together, open both legs as wide as possible, move in air to the right, 3. After the PEAK of this jump, swing the left leg around to the back. 4. The third jump, the crossed leg to the back and the sit, all take place so quickly that the count THREE is started on the third jump and the HOLD-FOUR is actually the sit, plus a slight pause in the action. TEACHING COUNT Word substitutes for counts below: JUMP, JUMP, JUMP-OPEN-SIT; LIFT, CIRCLE-LEG, POINT-AND-HOLD. I t is imperative that the straight leg jumps, the sit preparation, and open leg leaps be mastered, before the jump and sit is attempted. Perform very slowly in the first learning process. Do not allow students to try for height, distance or speed until each movement of the sequence is fully mastered. Warm-up! Jump and Sit: ONE, TWO, THREE-HOLD-FOUR; and Recovery: 0-N-E, T-W-0, T-H-R-E-E-HOLD-F-0-U-R. Repeat on the opposite side. Check all of the teaching cues for other straight leg jumps and for the sit preparation.

The need for an explanation of the dance nomenclature developed in the modern dance, and also of the symbols and terms devised for this text, necessitate a glossary. Unlike Ballet, which has a foirr hundred-year background and a classic nomenclature, modern dance as it is known in America, cannot hope to have a set, classic vocabulary in its short twenty-year period. For this reason a glossary of terms reflects only the interpretation of these terms a s they are used in this text. *ACCENT: The stress or emphasis within a movement count or within a movement sequence. This can be shown through voice inflection, drum beat, music, or movement. (A) COUNT (Pronounced 'ah' or 'uh'): An incidental count that may be used or eliminated from a teaching count. I t signifies a continuous movement through a figure illustrated. ALIGNMENT: The accepted standard for proper postural balance, and refers to the equalization of structural and muscular forces to maintain body balance. AND Counts: AND counts are used in several ways: (I) as the impulse for a movement; (2) as an accent in the movement; and (3) as an incidental count between number counts. Suggested tempo and accent are listed in the teaching counts. AND usually denotes a steady, even, or accented beat. These AND counts may be changed to number counts if desired. (and) Count: An incidental AND count, usually used only in the slow learning process. A-N-D Count: A slow AND count either in a movement or count sequence. ARROW HEADS (--+) : These signify pauses in the movement within a movement sequence as recommended in the teaching count or desired by the instructor. BOUNCE: A small controlled 'springy' movement within the flexion of the hip joint. BRUSH (In place): A sweeping extension of the leg that maintains contact with the floor as long as possible. BRUSH LEAP (Across the floor): The extension of a brush into a leap in the air. CONCAVE: The body position assumed on a contraction forcing the torso into a hollow line. This takes place only on the contraction. CONTRACT: A tightening or shortening of the muscles. CONTRACTION: An anatomical body change within the postural alignment, caused by hip action which forces the hips to tuck under, the back to round, the shoulders to come forward, and the inner torso to form a concave line. COUNTS : The number of beats within a measure. This may be emphasized by the use of voice inflection, drum, music, or word substitutes. DANCE WARM-UP: Flexibility exercise for dance conditioning. DISTORTION: Movement out of normal line. (Use determined by creative need.) DYNAMIC COUNT: The use of counts and change of tempo to accent and climax a movement within a movement sequence or movement pattern. END OF PELVIC BONE: The lowermost portion of the hip-joint. Used in the upright refease positions to remind students to "sit-tall." END OF SEQUESCE: The final position ending a movement sequence. END OF SPINE: The coccyx. Unless specifically instructed to " d l - k k " on the end of the spine, sitting positions should never place the weight on the coccyx. 1 89

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END POSITION: The final completion of a movement sequence, usually the same as the initial position. (See also End of Sequence.)

FALL: The use of the floor as a momentary base in a total movement sequence of fall and recovery. FIRST POSITION: A foot position in which the feet are a s nearly as possible at a 180 degree angle, the toe-heel-heel- toe rela tionship forming a straight line. Floor: Used in connection with titles, and designates a dance warm-up, dance exercise, or dance technique performed on the floor. INITIAL POSITION: The starting position for each movement sequence. HALF-TOE POSITION: A foot position in which the toes and the ball of the foot remain in contact with the floor, the heel raised high. The heel and the ball of the foot should form as straight a line as possible. HIP-THRUST: The movement of the hips as one unit from side to side, causing an upper torso tilt to the side opposite the thrust. IMPULSE: The impetus or impelling force used to initiate a movement sequence, such as a hip contraction or a hip release. JUMP: A spring into the air, returning to the same spot from which the spring was made. LEAP: A spring into the air, covering distance across the floor. L I N E , - - - :A second, more complex, movement and count in a dance technique. . The original movement and count in a dance warm-up, dance exercise, or dance LINE, technique. (Usually the simplest form of the sequence.) The third,.and most complex, example illustrated of movement and count in a L I N E , -: dance technique. MOVEMENT SEQUENCE: A series of movements that form a dance warm-up, dance exercise, or dance technique. NORMAL POSITION: A foot position in which the heels touch and the toes turn out to form a 15 degree angle. PREPARATION: A series of movements which show the steps in assuming an initial position. This may be eliminated, once the initiaI position is learned. RECOVERY: A series of movements used in order to return to position after a fall sequence. RELAXATION: The end result achieved through perfect coordination, which eliminates broken rhythm in muscular action. RELEASE : Proper postural alignment in a sitting or standing position, or an anatomical body change from the contraction position caused by hip action, which forces the hips, back, shoulders, and head back to proper postural alignment. SECOND POSITION: A foot position in which the feet are 10-12 inches apart, the feet as nearly as possible a t a 180 degree angle, the toe-heel-heel-toe relationship forming a straight line. SIDE-FAVORITISM : A partiality to movement on a particular side, caused by over-emphasis in practice on the right or left side. Standing: Used in connection with titles, and designates dance warm ups, dance exercises, or dance techniques performed in a standing position. STRIDE POSITION: A foot position in which the feet are 16-18 inches apart, the feet as nearly as possible at a 180 degree angle, the toe-heel-heel-toe relationship, forming a straight line. -a

GLOSSARY

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TEACHING COUNT: A suggested descriptive, number, or dynamic count for each movement sequence. TEACHING CUES: Points of teaching emphasis used to show possible points of error, correction, motivation, body awareness, and dramatic content. TEMPO: The relative rate of speed of movement or degree of quickness with which a movement is to be executed. TENSION : The muscles in a stretched state. THEME: The simple, underlying movement sequence upon which variations may be formed. (See Variation.) TURN-OUT POSITION: The outward rotation of the legs a t the hip joint, which makes possible the foot positions in first, second, and the stride positions. VARIATION: The repetition of a theme with changes in level, direction, focus, and arm and leg positions, which still allow the theme itself to be seen. (See Theme.) WARM-UP: Flexibility exercise for dance conditioning, or muscle preparation for exercise. WORD SUBSTITUTE COUNT: Suggested words that may replace number counts if desired.

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