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Wednesday 29 January 2014
Fellow students,
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Happy CNY in advance!
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Its time for.....
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Tuesday 28 January 2014
Adage
The French term adage comes from the Italian phrase ad agio
meaning at ease or at leisure. In music, adagio is a term which describes the
tempo of a passage performed at a slow pace. In dance, we use it for a
combination of slow, graceful coordinated movements of the arms, feet, body and
head, performed with ease, grace and fluidity. Adage movements are combined to
demonstrate beauty of line and form as well as subtlety of expression, and to
develop the dancer’s sense of expression, and to develop the dancer’s sense of
equilibrium when the body is supported on one food. They include controlled leg
extensions at varying heights and in a variety of positions supported on the
whole foot, en demi-pointe, or en pointe, and also slow rotary movements on the
whole foot. To add contrast and interest, these lyrical actions may be
punctuated by the occasional turn or spring.
It is an Adage that true expressive artistry emerges,
affording the dancer an opportunity to display his or her unique sense of line,
balance, musicality, and feeling for quality of movement.
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
Port de Bras
Port de Bras
The dancer must breathe life into each arm action,
responding to an inner impulse to move. The use of the head and eye line is
also crucial to ports de bras. In general, the head is led by the eyes, and the
eyes lead the movement of the arms. The arms move fluidly from position to
position without tension, with the postural muscles being reengaged on each
transition. This firm control of the waist allows the chest and head to remain
freely balanced over the hips so as not to interfere with the dancer’s natural
breathing pattern.
Correct breathing patterns enhance the quality and give
expression to movement. Although breathing naturally, the dancer learns to
punctuate key moments with intentional changes in breath rhythm ; a suspended
inhalation accentuates the final stretch of an arm, and a prolonged exhalation
complements the downward flow of the arms to bras bas. Breathing gives life to
the whole movement.
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
Prepare yourself to toss the shredded ingredients into the air with chopsticks!
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Any Hello Kitty lovers out there ??!!
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Desserts !!
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唐裝- Chinese Traditional Wear
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Have you bought new clothes for CNY?
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Hello dear students!
Tomorrow will be the last day of our school !
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Chinese New Year is around the corner !!
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Saturday 25 January 2014
Motivational Penguin
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Music motivates the way we move
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Body language?
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Friday 24 January 2014
The Full Port de Bras involves raising the arms from bras
bas to 1st position to 5th position, and lowering them
through 2nd position to bras bas. The arm movement comes from the middle of the
back, never disrupting basic posture. With a slight inhalation to lengthen the
torso upward, the chest and upper arms initiate the lift of the arms as the
shoulder blades draw gently downward along the back. When the arms are raised
above shoulder height in any port de bras, this counter-pull is especially
important. There should be full control of the back: the wide muscles below the
shoulder blades are engaged to pull the shoulders down toward the centre of the
waist, with the shoulder line remaining open. The abdominal muscles are
strongly activated to stabilize the waist and counteract the tendency to throw
shoulders backward, which distorts the long, compact line of the torso and pulls
the head out of alignment.
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
Port de Bras
The study of port de bras in the centre begins with the
basics of correct posture and arm placement, after basic coordinated arm and
leg actions have been studied at the barre. In the initial stages, port de bras
is studied separately, with the legs in 1st or 5th
position. Its simplest forms are the Basic Port de Bras and the Full Port de Bras, normally
taken en croise.
The Basic Port de Bras involves raising the arms from bras
bas to 1st, opening them outward to 2nd position, and
lowering them to bras bas. This arm action is often used as a preparation at
the beginning of the exercise, especially at the barre.
.
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
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A toddler
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Hello!!
Dear parents and students,
Please be reminded that CDMA will be closed on next Thursday !
Wish everyone of you a happy holiday !!
Please be reminded that CDMA will be closed on next Thursday !
Wish everyone of you a happy holiday !!
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Good Morning !
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Port de Bras
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Port de Bras
Port de Bras
Within the conventions of classical ballet, a range of arm
movements can be performed always in balanced harmony with the movements of
each other and the rest of the body. The young dancer must appreciate the
importance of port de bras from the beginning of his or her training. Arm
movements complete and extend lines created through the use of head, torso, and
legs. In addition to complementing the dancer’s visual line, the correctly
timed and directed use of arms assists the dancer in achieving extended
balances, buoyant jumps, and multiple turns. The expressive use of the head and
arms clearly distinguishes a dramatic artist from a skilled technician.
When sensitively performed in their advanced forms, the
audience sees not merely changes in body configurations but rather an ebb and
flow of contours in space surrounding the dancer. Even the most complex ports
de bras build from the basic positions of the arms, incorporating the use of
breathing and eye line to create a series of coordinated, controlled
transitions.
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
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Height of the barre off the floor
Height of the barre off the floor
It is recommended that two heights of barre be offered to
accommodate the different heights of students in the class. The hands should
never be lower than the elbows when placed on the barre. This allows the dancer
to exert a light pressure downward through the palm, calling into play the
muscles of the back and enhancing the upward lift of the body.
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
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Sideways to the barre
Sideways to the barre
With the body at a right angle to the barre the near hand is
placed so that the elbow is slightly in front of the body and relaxed, with the
line of the wrist unbroken.
The palm should rest lightly on the top of the barre.
The dancer should be able to move slightly forward, sideways,
and backward, without displacing the hand unless a complete transfer of weight
is made.
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
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Facing the barre
Position of the body at the barre
Facing the barre
With the hips squared to the barre, both hands are placed on
the barre at a shoulder width apart with the elbows slightly in front of the
body and relaxed.
The hands are directly in front of the elbows and the line
of the wrists is unbroken.
The fingers should rest lightly on top of the barre.
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
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Stretching
Stretching
Flexibility is a prerequisite for the classical dancer.
Flexibility at a joint depends on the elasticity of muscles controlling that
joint. However ultimately, the flexibility of the joint depends on its ligamentous
restriction and the shape of the bones.
Stretching too far into ligaments is unwise as joints can be
disturbed, but the elasticity of the muscles can be improved by stretching
techniques.
All physiques are different and one rule of stretching cannot
apply to all. However, if attention is given to stretching muscles, the
condition of the muscle will improve and its length will increase.
Forms of self stretching can be started at a young age to
introduce the concept of stretching as well as specific strengthening
exercises. During adolescent periods of growth, stretching must be adapted and
certainly monitored.
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
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Cool Down
Cool down
It is most important to take time after class to cool down.
The increased circulation caused by intensive exercise must be slowed down and
then the muscles stretched out to avoid pooling of blood which can cause
delayed soreness.
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Warm Up
Warm-up
Every dancer requires a warm-up in order to be prepared
physically and mentally for the class, rehearsal, or performance. The need for
this preparation should be instilled from an early age. Muscles require an
increase in circulation of blood and therefore a rise in temperature to
contract and stretch more efficiently and with increased speed. Joints also
benefit from a rise in temperature and articulate more smoothly, the nervous
system functions more efficiently, improving coordination and speed. The
colder the climate the longer the
warm-up.
However one of the most important aspects of this
preparation is psychological, concentrating the mind. Both physically and
mentally the prior warm-up allows the body to function with ease from the first
exercise in class and is instrumental in preventing injury. The form of the
warm-up should cover each major muscle group stretching and contracting with
the joints passing through the greater part of their range of movement.
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
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Position of Arms
Positions of the Arms
In all positions, the hands follow the line of the arms and
the fingers are softly grouped. The centre finger continues the curve of the
inner arm and the thumb is in line with the index and middle fingers.
In bras bas, 1st, and 5th position,
the arms are held slightly apart so that the centre fingers do not touch.
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Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
Saturday 18 January 2014
The spine
The spine forms the central axis of the body, and is composed of two forward and two backward curves. In the dancer these are held in a lengthened position by the abdominal muscles at the front and the extensor muscles at the back. This lengthened and supported position is achieved initially by the placement and control of the pelvis. The sides of the waist are kept equally lengthened and stabilized by support from the oblique abnominal abdominal muscles already mentioned.
Whether the dancer is performing adage with high extensions or allegro, the length of the back and sides is retained as far as possible. The openess of the chest is achieved by activating the muscles of the thoracic spine. It is the training, strengthening, and strong control of the spine that advances classical ballet technique.
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
Whether the dancer is performing adage with high extensions or allegro, the length of the back and sides is retained as far as possible. The openess of the chest is achieved by activating the muscles of the thoracic spine. It is the training, strengthening, and strong control of the spine that advances classical ballet technique.
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
The shoulders and arms
Only if the thoracic spine is well placed and the shoulder girdle held directly over the pelvis can the muscles controlling the scapulae be fully engaged. The shoulder blades are held flat against the chest wall and held down by the latissimus dorsi muscles which span the back giving it support from the lumbar spine upwards. A strong base is created from which the arms can move. Fluidity of part de bras and tension-free, expressive arms and hands result from a strong, correctly placed back and shoulder girdle.
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
The Pelvis
Placement of the body must come from its centre. There must be strength within the trunk before the limbs can move with ease. The pelvis is the connection between the spine and the lower limbs and, when correctly positioned, gives strength to the back and facilities the control of the hip.
In classical technique the pelvis is kept "square". This squareness is controlled by the oblique abdominal muscles on either side of the waist which hold the pelvis in relation to the ribcage.
The pelvis is also held "in balance." This is controlled by the straight abdominal muscle pulling up at the front and the seat muscle pulling down at the back. The hamstring muscles at the back of the thigh also play an important part in holding this adjusted tilt without tucking under.
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
In classical technique the pelvis is kept "square". This squareness is controlled by the oblique abdominal muscles on either side of the waist which hold the pelvis in relation to the ribcage.
The pelvis is also held "in balance." This is controlled by the straight abdominal muscle pulling up at the front and the seat muscle pulling down at the back. The hamstring muscles at the back of the thigh also play an important part in holding this adjusted tilt without tucking under.
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
Breathing
A good breathing pattern is fundamental to the use of the upper body. Shallow breathing causes tension in the neck and pulls the shoulders up and back, disturbing general placement. The sideways expansion of the ribs allow an efficient and deeper use of the lungs without affecting postural control, and therefore discourages tension. Breathing well feeds the hardworking muscles and increases stamina in allegro. It is also used to phrase movement, and to help with the lift required to pirouettes and jumping. Controlled rhythmical breathing necessary in all forms of exercise to focus the mind and instill confidence.
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
Turnout
Source : THE FOUNDATIONS OF CLASSICAL BALLET TECHNIQUE ROYAL ACADEMY OF DANCE
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