2015-16 season dancer’s guide · dancer’s guide page 5 2015-16 hours of operation:...

2015-16 Season’s

Dancer’s Guide

Christian Performing Arts Inc.

CPA Dance Academy 20013 James Couzens Fwy.

Detroit, MI 48235 (313) 399-6065

www.cpa-inc.org [email protected]

http://www.cpa-inc.org/


CPA Dance Academy

DANCER’S GUIDE

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CPA Dance Academy

DANCER’S GUIDE

WELCOME Welcome to CPA Dance Academy!!! We are so BLESSED that you choose to “DANCE WITH US” and become part of our village. We look forward to a wonderful season. The following rules have been put in place to help our dance students get adjusted. Please review this guide and if you have questions, please ask instructors or Mrs. Malené.

CLASS RULES & ATTENDANCE POLICY Students should arrive to class at least TEN (10) minutes early to get prepped for class, dressed, use the bathroom, etc. If you arrive 20 minutes late you will not be allowed to participate in class (without prior notification).

Students are expected to conduct themselves appropriately while being open to learning at all times. NO CELL PHONES ALLOWED IN CLASS.

Students are to be in proper dance attire and their shoes are to be labels with names. Students are to have a dance bag; to keep their items in and will be held responsible for keeping up with their dance things. While in class, hair is to be pulled up off neck and away from face. No gum or food allowed in the studio. Jewelry is not to be worn in class. CPA Dance Academy is not responsible for any lost or stolen items. If a student will miss class please provide notice to CPA Dance Academy. Missed classes can be made up upon requested. It is your parent’s responsibility to call our office to make arrangements for make-up class availability. If a student is sick or injured and cannot participate in class, the student can observe class with parent notification. Class CAN BE cancelled if attendance falls below ½ of its capacity on any given day. Make-up class will be scheduled at the instructor’s discretion. Parents must drop off students inside building and come inside to retrieve students after class. For safety reasons, no student will be permitted to leave premises without parent/guardian. Students are to be picked up immediately after class. CPA Dance Academy cannot be held responsible for students outside of their scheduled class times.

HYGIENE Dance like any athletic activity involves a lot of dirt/sweat so here are some ways to maintain good dance hygiene:

Bathe daily (before and after class); it helps loosens up muscles and to relax.

Use deodorant and keep some in your dance bag.

Drink water to keep hydrated; bring water with you and stay away from pop/other sugary drinks.

Bring snacks to keep you energized.

Keep a wash towel, soap (wipes) and sweat towel in dance bag (to wipe down during and after class).

Use a mesh bag or compartment to put sweaty dancewear and shoes in so they can air out after class.

Wash dance clothes after each class.

To cure stinky feet, spray feet with unscented aerosol deodorant.

Put powder in dance shoes weekly; put them outside for an hour or two to air out (helps get rid of smells).

Put a sachet in dance bag and/or a bottle of scented lotion to help keep bag from smelling bad.

DRESS ATTIRE

Dress code will strictly be enforced and any student who does not adhere will be charged $5 per day; if same continues three (3) times, student will be excused from class that day and a meeting will be called with the student and parent to remedy violations.

Age Leotard Tight Jazz Pant Ballet Shoe Tap Shoe Jazz Shoe/Gore Boot

3-6 (Level 1) Black Pink ----- Pink Black -----

7-12 Black Pink Black Pink Black Black and/or Tan

13-18 Black Pink or Tan Black Tan Black Black and/or Tan

Dance pants, shorts and other dance apparel can be worn in class at the instructors’ discretion. Warm ups are allowed to be worn for the first 15 minutes of class ONLY. Cover-ups and excess clothing are not allowed. Students should have a dance bag to keep their items in. Students inappropriately dressed will be asked to sit out of class.


CPA Dance Academy

DANCER’S GUIDE

CODE OF CONDUCT & CLASS ETIQUETTE Students are to conduct themselves in an appropriate manner while at studio, organizational performances, competitions, recitals and events in which CPA Dance Academy is being represented. Proper respect for staff and fellow students is expected. Students will not speak negatively about one another or the instructors and disrespectful behavior/attitudes do not have a place at CPA Dance Academy. Any student who disrupts class will be dismissed immediately. Any inappropriate remarks about CPA Dance Academy or its staff personally or on any social media site are not tolerated and are grounds for immediate dismissal. If a student ever has any concern or just needs to talk please feel free to see Mrs. Malené; my door is always open.

CLASS PROMOTIONAL POLICY

Students must obtain mastery in the core technical areas to be promoted to the next level. Most levels are designed for a two year minimum participation. There is no maximum time a student should remain at any level. Mastery of class material is what is most important for any student’s success.

EMERGENCY CLOSING In the event of bad weather or mechanical breakdown, CPA Dance Academy may be closed or starting time delayed. The process used to determine closings is determined by the organization. An announcement will sent by phone call, text message, posted on website and Facebook Page as soon as possible designating that the studio will be closed. If no message is left, the studio will be open. If The Detroit Public Schools are closed due to weather, then CPA Dance Academy will follow the same schedule due to weather conditions.

COMMUNICATION

Important information is texted and emailed throughout the season; please make sure that mobile numbers and email address are updated with CPA Dance Academy. Please read all emails to stay updated on the latest news. It is your responsibility to read all emails distributed so that you can stay informed on all organizational news and information. If you do not receive text messages and emails or are unable to open the attachments, please check the studio office for hard copies. Information is also posted at either www.cpa-inc.org or www.facebook.com/CPA Dance Academy (CPA Inc.) studio internet venues and is updated frequently.

PHOTOGRAPHY & 3RD PARTY POSTINGS (FACEBOOK, TWITTER, INSTAGRAM)

To make sure our ideas and concepts are not copied, class photos & video recordings are prohibited and are not to be posted online through social medial by students or parents. Please help us continue to keep our secrets safe!

COSTUMES, PICURE DAY, RECITAL REHEARSAL AND RECITAL PERFORMANCE

CPA Dance Academy will announce the dress rehearsal and recital information as early as possible. Once recital information is announced dates cannot be changed. Costumes will be distributed at least 2 weeks before recital for picture day preparation. Picture Day will be held at the studio and forms will be distributed by a studio representative. All students are eligible for costume distribution and recital participation if fees are paid in full, they have perfect attendance 4 weeks prior to recital and attend mandatory dress rehearsal.

WITHDRAWAL CPA Dance Academy requires a 30-day prior written notification if a student is withdrawing from class during the season.


CPA Dance Academy

DANCER’S GUIDE

2015-16 Hours of Operation: Mondays-Fridays 5pm-9pm & Saturdays 9am-5pm

(Hours of Operation are subject to additions, deletions and changes)

2015-16 REGISTRATION DATES:

2015-16 Season Begins (Sept 2015-June 2016) Monday, September 14, 2015

2015-16 Cheerleader Special Start-Up (Nov 2015-June 2016) Saturday, November 7, 2015

2015-16 Late Registration Begins (January-June 2016) January 4, 2016-February 20, 2016

2015-2016 CALENDAR Saturday, August 22, 2015 Early Bird Registration 3-5p

Saturday, September 5, 2015 Open House/Registration 3-5pm

Tuesday, September 15, 2015 2015-16 Competition Workshop

Thursday, September 17, 2015 2015-16 Competition Auditions

Saturday, September 19, 2015 2015-16 CPA Dance Academy Classes Begin

Mon. Oct. 2 - Sat., Oct. 24, 2015 Cookie Dough/Popcorn Fundraiser

Monday, October 26-28, 2015 Fundraiser Item Count and Money Due

Tuesday, November 17, 2015 1p-6p Cookie Dough/Popcorn Item Pick Up

November 23-29, 2015 No Classes-Thanksgiving Break

Saturday, December 12, 2015 Winter Benefit Showcase

December 14, 2015-January 3, 2016 No Classes-Christmas/Winter Break

Monday, January 4, 2016 Classes Resume

Monday, January 18, 2016 No Class-Martin Luther King Day (Observed)

Friday, January 22, 2016 Parent Meeting 6:30pm

February 1-20, 2016 2nd Cookie Dough/Popcorn Fundraiser

February 22-24, 2016 Fundraiser Item Count and Money Due

March 2016 (1) (TBA) Competition (TBA) Participation

Tuesday, March 17, 2016 1p-6p 2nd Cookie Dough/Popcorn Item Pick Up

March 25-April 3, 2016 No Classes-Easter/Spring Break

Monday, April 4, 2016 Classes Resume

April 2016 (1) (TBA) Competition (TBA) Participation

May 17-22, 2016 Costumes Pick Up

Saturday, May 28, 2016 - 5p-9p Mandatory Picture Day

Friday, June 18, 2016 - 5p 13th Annual Spring Show Dress Rehearsal

Saturday, June 19, 2016 12th Annual Spring Show Recital 5p

June 20, 2016-August 20, 2016 Summer Break/Hiatus

*Dates subject to change & additions*

Additional Organizational Info/Contacts:

(313) 399-6065 Mrs. Malené, Executive Director

Email: [email protected] Website: www.cpa-inc.org

mailto:[email protected]

http://www.cpa-inc.org/


CPA Dance Academy

DANCER’S GUIDE

Ballet Positions Examples


CPA Dance Academy

DANCER’S GUIDE


1st Position Feet

This is the main Ballet position that most of the steps you practice as a beginner will start from. Your feet should be turned out only as far as is comfortable. It is vital that you feel completely balanced in this position and that all of the sole of your foot and toes are in contact with the floor. Check that your feet aren't rolling forwards or turned out so far that you feel you are going to fall over.

2nd Position Feet

From first position (above), slide one foot away from the other. The space in between your feet should be about one and a half lengths of your foot. Keep your feet comfortably turned out.

3rd Position Feet

Now slide your foot back to touch the other, but instead of touching heels together as in first position, bring one foot further across the other. The heel of your front foot should be touching the area of the arch of your back foot. It's from third position that you'll probably start most of your barre exercises from as a beginner, so take a little time to find and get used to this position.

4th Position Feet

From the third position (above) slide your front foot directly out in front of you. Stop when the distance between your feet is equal to about one foot's length.

5th Position Feet

Slide your front foot directly back towards you. Bring your front foot slightly further across your back foot than in third position. So when your feet are touching, your front toe should be roughly in front of your back heel. The 'ideal' of this position is to get your front foot so far across your back foot, that you can't see the one at the back. You are so turned out that you are standing front toe to back heel, and back toe to front heel.


CPA Dance Academy

DANCER’S GUIDE


1st Position

This is the main Ballet position of the arms for beginners. Keep your arms nice and relaxed, and roughly the width of your face apart. Your hands shouldn't be touching your thighs. Keep them just an inch or so in front of you.

Get from 1st to 2nd

For a smooth transition from first position arms to second, simply raise your arms until they are almost shoulder height in front of you. Keep them roughly the width of your face apart. Then, to get to second, all you have to do is open them.

2nd Position

Your arms out to the side should form a smooth line. Your elbows should be facing the back of the room. Extend your hand comfortably and keep it relaxed – no pointing!

3rd Position

This is bringing one arm only in front of you, leaving the other in second position.

4th Position

This is one arm raised and one arm in second. The arm that is raised should be opposite to the foot you have in front. So if your right foot is in front, you raise your left arm.

5th Position

Finally, raise both arms. As with all these positions, make sure that it is your arms that are raised, and NOT your shoulders. Arms should be smooth with your elbows and hands softly rounded.


CPA Dance Academy

DANCER’S GUIDE


http://www.balletdanceexperts.com/wp-content/uploads/2011/06/ballet-terms-with-pictures.jpg


CPA Dance Academy

DANCER’S GUIDE

How to Improve Turnout

Sit on the floor with legs bent. The soles of your feet should be facing each other. Your heels should be separated and raised slightly. If you need to, allow your elbows to rest on the floor behind you. Try to keep your back straight and your head up.

Raise your right leg, keeping it perfectly straight and turned out.

Move your straight leg over to the side. Keep your leg straight.

Alternately flex and point your toes. Keep your leg to the side. Try to keep your back straight. Switch legs and try flexing and pointing the toes on the other foot.

Holding your feet, try to press both knees to the floor. Concentrate on keeping your back straight. This will help increase the flexibility in your hips.


CPA Dance Academy

DANCER’S GUIDE

Ballet Dance Terms Adagio: A music term used for slow, sustained movements. The ‘adagio’ portion of ballet class may encompasses high développés above 90°, or partnering work.

Allegro: Rapid tempo movements, often includes jumping steps. Petit allegro includes smaller jumping steps. Grand allegro includes large expansive jumps such as grand jeté.

Arabesque: The gesture leg is extended behind the dancer’s body at 90° or higher, which requires hip and spine hyperextension, knee extension, and ankle-foot plantarflexion.

Arrière, en: To the back.

Assemblé: To assemble or place (the feet) together in the air (usually in fifth position) during a jump.

Attitude: The hip of the gesture leg is at 90°, the knee is bent, and the foot is pointed. Attitude croisée devant: the leg is lifted to the front. Attitude croisée derriere: the leg is lifted to the back.

Avant, en: To the front.

Balanchine: Founder, director, and principle choreographer of New York City Ballet. Trained in the Russian school, he developed a neo-classical technique known for rapid footwork and abstract choreography.

Ballón: The quality of lightness, ease in jumping.

Ballotté: “Tossed”. A light, rocking quality, jump sequence. Ex: A jump from the point tondu front to the point tondu back.

Barre: The introductory/warm up portion of the ballet class, conducted while holding onto a ballet bar. The dancer always starts with the left hand at the bar, working the right gesture leg.

Beats: To hit the legs together, moving in and out of fifth position in the air. See petite batterie. Bourrée: A step performed on pointe from fifth position. Initiated with the front foot, there is a rapid weight shift from one foot to the other, performed in place or traveling.

Brisé: A jumping beat which allows the dancer to travel in a specified direction.

Cabriole: “Caper like a goat”. A jump where one leg is kicked up into the air and the supporting leg pushes off and beats underneath the gesture leg, propelling it higher. The jump lands on the kicking leg.

Cambré: A bend of the body from the waist to the front, back, or side, with an accompanying port de bras.

Cecchetti Method: A school and style of ballet, originated by Enrico Cecchetti (1850-1928) in Italy. Emphasizes seven basic movements in dance: Plier (to bend), Étendre (to stretch), Relever (to rise), Glisser (to slide or glide), Sauter (to jump), Élancer (to dart), Tourner (to turn). Used by the Italian and Royal (English) Ballets.

Center Floor: The second portion of the ballet class, comprised of the adagio, turns, and small jumps (petit allegro).

Chaînés: “Linked like a chain”. A series of small turning steps with the feet in first position relevé. Weight is shifted rapidly from one to the other limb with each half turn. Performed continuously in rapid succession.

Changement: “Changing the feet”. A vertical jump with a change of feet in the air (from fifth position front to fifth back).

Chassé: “Chasing one foot with the other”. The leading foot slides forward into fourth (or side-ward into second), then with a spring off the floor, the stance limb draws up to it in the air, and the leading foot opens to land in fourth (or second). Used as a traveling or transition step.

Cou-de-pied: A unilateral standing posture with the pointed gesture foot held in front of, back of, or wrapped around the ankle of the stance leg.


CPA Dance Academy

DANCER’S GUIDE

Ballet Dance Terms Coupé: “To cut”. A small intermediary step, used as a link between steps, such as jeté, pas de bourré, etc., using the cou-depied position. Croix, en: “Cross”. Unilateral leg gesture carried out in three directions relative to the dancer’s front (en avant), side (a la seconde), and back (en arrière), making the shape of a cross. Typical barre exercises (tondu, dégagé, dévelopé, frappé, grand battement, etc. are performed en croix. Dedans, en: Inward. A circular movement of the gesture limb from the back to the front (as in ronde de jambe), or a turn done toward the stance limb. Dégagé: “To disengage”. Sharp brushes of the pointed foot to develop speed and precision of the feet and legs. Dehors, en: Outward. A circular movement of the gesture limb from front to back, or a turn which moves away from the stance limb. Demi: Half. As in demi-plié. Derrière: Behind. Devant: In front. Dèveloppé: A large, relatively slow leg gesture. The gesture limb begins from first or fifth position, passes through passé, to extend at 90° or higher to the front (en avant), side (a la seconde), or back (en arrière - arabesque). Elevé: A rise upward onto the toes. Échappé: “Escape”. A two-part movement from fifth position out to second (or fourth), and returning to fifth again, either with a jump or en pointe. Envelopé: A unilateral leg movement in which the gesture limb begins in a knee extended position away from the body, and ‘folds’ back into the body. (The reverse of a dèveloppé). Épaulement: Position of the shoulders in relation to the head and legs. Sets the head-neck, back, shoulder girdle, and port de bras in a codified relationship. Fifth Position: The legs are externally rotated, one foot is crossed in front of the other, with forward toe touching the back heel. First Position: The legs are externally rotated, and heels are together. Fondu: “Melted”. A slow demi-plié of the stance limb, bringing the gesture limb into cou-de-pied, followed by simultaneous extending of both knees to end in dèveloppé (battement fondu dèveloppé) or tondu (battement fondu simple) as specified. Fouetté: A “whipping’ en dehors turn, in relevé, requiring coordinated dèveloppé devant,whipping the gesture leg to second, and returning it to passé, with opening and closing port de bras. The opening and closing action of the gesture leg and arm create spin of the stance limb, allowing it to turn. Fourth Position: The legs are externally rotated, one foot is crossed in front of the other, separated by the distance of one foot. Frappé: Beginning from the cou-de-pied position, a rapid striking ricochet (off the floor) of the gesture foot, ending in a pointed position. Develops strength and precision of the gesture limb. Glissade: “Slide or glide”. A linking or preparatory step. The initiating leg slides out into dégagè, weight is transferred to it to allow the other leg to point and slide into fifth. It can be performed slow (adagio) or fast (allegro), but is always smooth and continuous. Grand: Large.


CPA Dance Academy

DANCER’S GUIDE

Ballet Dance Terms Grand Battement: A large, swift leg “kick” with the knee extended and foot pointed. Performed to the front, side, or back and from first, fifth or the point tondu.

Grand Ronde Jambe En L’aire: A unilateral, circumducted hip action where the gesturing limb describes a semi-circle in space at > 90° of hip flexion. Jeté: A “throwing step” where a leaping jump is executed from one foot to the other. The forward leg battements to the front, and the other leg follows in arabesque. (May also be executed to the side). L’aire: In the air. Pas: Step. Pas De Basque: A traveling step from fifth position plié, which includes one 1/2 ronde de jambe from front to side, weight transfer to this leg, and closure into fifth plié. Pas De Bourreé: A basic linking step which permits a change from one fifth position to another. Pas De Chat: “Step of the cat”. A jump beginning and ending in fifth position. Passé: Similar in shape to the retiré: the hip is abducted and externally rotated, the knee is bent, the foot is pointed, and the toe touches the knee of the stance limb. However, the passé is a transitional movement as the foot passes on its way to another position (such as dèveloppé). Penché: Inclined. Usually arabesque penché, in which the torso and gesture limb are tilted forward from the hip. This directs the torso and focus toward the floor. Petite: Small, little. Petite Batterie: “Beats”. During a sauté, one calf beats against the other. The number of beats have specific terms: royale (from fifth position, the front leg beats in front and closes back), entrechat quatre (from fifth position, the front leg beats in back and closes front), etc. Piqué: “Pricked”. A step in which the body moves sharply onto the pointe or demi-pointe of the opposite foot. This action can be immediately followed by a turning motion, known as a piqué turn.

Pirouette: “Whirl or spin”. A controlled turn on one leg in relevé. The gesture leg may be held in retiré (passé), seconde, attitude, cou-de-pied, etc. The turn may be performed en dedans or en dehors. Plié: A bend of the knees while the torso is held upright. The action relies on varying degrees of hip and knee flexion, with ankle and MTP dorsiflexion, depending on whether the plié is demi- or grand. Pointe, En: On pointe. Position of the foot in a pointe (or toe) shoe, in which the dancer stands on the toes. Port-de-Bras: Carriage of the arms. The codified arm positions which provide strength and balance to the trunk, and may also serve as gesture or enhancement of focus. Port-de-Corps: Carriage of the body. Basically, port-de-bras action supplemented with flexion, lateral flexion, or hyperextension movement of the spine. Promenade: A slow pivot of the body while standing on one leg. Relevé: A rise or spring onto the toes (demi- or full pointe) from plié. Retiré: A static position in which the hip of the gesturing leg is externally rotated and abducted, the knee is flexed, and the foot is pointed and touching the knee of the stance limb.


CPA Dance Academy

DANCER’S GUIDE

Ballet Dance Terms Rèvèrence: “Bow”. Traditional port-de-bras and port-de-corps showing respect and gratitude to the ballet master or audience. Ronde de Jambe: A unilateral leg action in which the gesture leg is circled from front to back of the dancer’s body, or vice versa. May be performed on the ground (a terre) or in the air (en l’aire).

Sauté: A simple jump in the vertical direction. Seconde, la: To the side (second position). Second Position: The legs are externally rotated and separated by the distance of one foot, in the frontal plane. Sissonne: A jump from two feet onto one foot in various directions. Soussus: Springing into fifth position relevé en pointe or demi-pointe from demi-plié. Soutenu: From demi-plié on the stance leg and pointe tondu with the gesture leg. Rising to demi-pointe while simultaneously drawing the gesture leg into fifth. Tendu: A “stretched” action of the gesturing limb from a stance position with flat foot to a pointed foot, with the toes keeping contact with the floor. Terre, a: On the ground. Third Position: The legs are externally rotated, and one heel is placed in front of the other. Tour: Turn of the body. Tour en l’aire: “Turns in the air”. Sauté which incorporates airborne rotations. Primarily performed by men. Tour jeté: A jeté which incorporates an angular rotation of the body and switching of the legs in mid-air. Tourant, en: Turning. Vaganova Method: A school and style of ballet developed by Agrippina Vaganova (1879-1951) in Russia. Most of the Russian ballet syllabus is based on this style.


CPA Dance Academy

DANCER’S GUIDE

Ballroom Dance Terms & Pics

Cha-Cha: The most popular Latin originated dance composed of fast rhythmic quick steps with a basic pattern of three steps and a shuffle.

Fox Trot: A formal dance in duple (double) time that includes slow walking steps and quick running steps and the step of the two-step in a 4/4 tempo.

Polka: Originated as an English folk dance; a lively couple dance of Bohemian origin in duple (double) time with a basic pattern of hop-step-close-step in a 2/4 tempo.

Swing: Evolved from the Jazz Era. There are three types: Triple, Double and Single depending on the tempo of the music. This dance uses a hold similar to the Fox Trot; it is also known as the Lindy (Hop).

Waltz: An elegant smooth dance in a 3/4 tempo, with strong accent on the first beat and a basic pattern of step-step-close (in which a couple moves in a regular series of three steps).

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CPA Dance Academy

DANCER’S GUIDE

Modern and Jazz Dance Terms Body Roll: A rolling movement through the body. Bridge: Also called a back bend. Chest Lift: With back on the floor, chest lifts off the floor. Compass Turn: Like an arabesque turn, but the toes stay in contact with the floor. Coccyx Balance: Balance on the coccyx, both knees bent with lower legs parallel to ceiling and feet pointed, torso may tilt slightly backwards, arms are parallel with lower legs. [Horton Technique]. Contraction: Tightening the abdominals, tucking the pelvis, and forming a “C” with the torso so that the shoulders are over the pelvis. [Graham technique]. Fan Kick: A high straight leg kick in which the gesture leg makes a swooping circular arc across the front of the body. Flat Back: Position in which the legs are in parallel, the back is kept flat, parallel to the floor, with the torso hinged at the hips. [Horton technique]. Flea Slide: Slide on a diagonal line in passé. Forced Arch: Weight bearing position of the foot in which the heel is lifted and the knee is bent with extreme metatarsal dorsiflexion. Graham Technique: A modern dance technique developed by Martha Graham, based on “contraction and release” as the motivation of all movement. Includes term such as spiral, tilt, and pitch turn. Used in the choreography of Graham, Ailey, and Elisa Monte companies. Isolations: Moving one part of the body, such as the head, shoulder, ribs, or hips, while the rest are immobile. Jazz Frame: Arms are crossed overhead with fingers in jazz hands. Jazz Hand: Fingers are spread. Hinge: Legs are in parallel, pelvis is pressed diagonally forward, torso tilted diagonally backward, knees are bent and approximately 3” off the floor, heels are raised to 1/4” relevé. [Horton technique]. Horton Technique: A modern dance technique which was developed from a balance study by Lester Horton. Includes terms such as flat back, primitive squat, T, table, and stag. Used within the choreography of companies such as Ailey, Philadanco and Tristler. Humphrey Technique: A modern dance technique based on the concept of “fall and recovery”, developed by Doris Humphrey. A predecessor and mentor to José Limón of Limón technique.


CPA Dance Academy

DANCER’S GUIDE

Modern and Jazz Dance Terms Knee Hinge: A tilt of the torso in which the knees are bent and at a 45° angle, the back is flat, and the heels are lifted. [Horton technique]. Lateral: A side stretch of the torso, with legs in 2nd position. [Horton technique]. Limón Technique: A modern dance technique developed by Jose Limón, which built on the concepts of Doris Humphrey and is based on the “fall, recovery, and rebound”. Used within the choreography of Limón, Falco, Muller and Lubovitch. Lunge: A large, open fourth position in which one knee is bent (usually the front), and the other is straight. Primitive Squat: Legs are in parallel, torso is straight, knees are fully bent, with heels remaining on the floor in a squat. [Horton Technique]. Release: A relaxing or arching movement. Russian: Also called a toe touch jump in second position. Shimmy: Shoulder shaking: alternating in a rapid motion. Sixth Position: Feet in parallel, and together. (Also known as parallel first). Spiral: Rotation of the torso around the pelvis. [Graham technique]. Stag: Leap in which the forward leg is in parallel passé and the backward leg is in attitude turned out. [Horton Technique]. “V” Position: Position in which the arms, legs, and body make a “V” shape. Wrist Press: Flexing the hand and pushing the palm away from the shoulder.


CPA Dance Academy

DANCER’S GUIDE

Tap Dance Terms

Ball Change: Two quick changes of weight from one ball of the foot to the other. Bells/Clicks: Clicking of the heels together while in the air. Break: Two measure movement that follows a six measure movement. A slight change in the normal rhythm of a movement pattern. Brush: Striking of the ball of the foot or the toe tap against the floor. This is usually done in a forward or sideward direction. A backward brush is called a spank. Buck/Chug: Forward movement emphasizing the heel drop with weight on the same foot. Buffalo: Step consisting of a step, shuffle, and a leap. Cincinnati: A brush, hop on the opposite foot, shuffle and a step. This step is performed traveling backwards and alternates feet. Cramp Roll: Step using toe and heel drops in a specific pattern. Dig: Digging of the heel into the floor without weight transfer. Draw: Pulling of the free foot from an open to a closed position with a sliding motion. Essence: Basic movement associated with soft shoe dancing. Flap: Brush and step with transfer of weight. Heel/Heel Drop: Forceful dropping of the heel on the floor, with the weight placed on the ball of the same foot. Hop: Jump into the air, landing on the same foot and keeping the heel lifted. Irish: Movement adopted from Irish folk dances which consists of a shuffle, hop, and a step. This can be done traveling forwards or backwards. Jump: Spring into the air from both balls of the feet and landing on the same. Leap: A spring into the air, from one foot to the other. Maxie Ford: Step named for a famous dancer. Consists of a step, shuffle, leap, tap. Nerve Roll: Series of quick, consecutive taps with heel, ball, toe, or tips. Off Beat: Unaccented beat.


CPA Dance Academy

DANCER’S GUIDE

Tap Dance Terms

Pick-Ups/Pullbacks: Hop on one foot with a back brush in the air, landing on the same foot. Can be done as singles, doubles, or alternating. Shuffles and taps can also be added. Rhythm: Pulse of the music. Rhythm dance is composed of broken rhythms, syncopation, and off beats. Riff: Movement combining a brush and a scuff on the same foot. Riffle: Riff combined with a spank. Scuff: Forward movement hitting the heel of the foot on the ground. Scuffle: Scuff followed by a spank. Shim-Sham: Name of a time step dance. Shuffle: Brush followed by a spank. Slap: Flap without weight transfer. Soft Shoe: Type of dance, originally done without shoes. Spank: A backward brush of the ball of the foot. Stamp: Step onto the entire foot with weight transfer. Step: Step onto the ball of the foot without weight transfer. Stomp: Stamp without weight transfer. Syncopation: Accenting the weak part of the beat. Tap: Striking the ball of the foot without weight transfer. Time Step: An eight measure movement, used to set the tempo. Toe Drop: Dropping the toe with weight on the foot. Toe Stand: Movement in which the dancer stand on the tips of the tap shoes: “en pointe”. Toe Tip: Striking the tip of the tap shoe against the ground. Triplet: Three sounds, usually a shuffle step. Waltz Clog: A dance in 3/4 time.

Wings: With weight on one foot, a hop into the air while scraping the edge of the tap shoe on the ground. A brush is then done before landing on the same foot.


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