all paper 1 dance flashcards (ONLY A LINHA CURVA)

What is the stimulus of A Linha Curva?

Brazilian culture, celebrating the Brazilian way of life

What is the aural setting in A Linha Curva?

Played live very loudly - samba percussion band. Repetitive drums. Vocals from dancers.

What is the dance style of A Linha Curva?

Capoeira, samba and contemporary

Who is the choreographer of A Linha Curva?

Itzik Galili

What are the costumes in A Linha Curva?

Black tops with brightly coloured neon hot pants, with matching zip on top

What is the performance environment of A Linha Curva?

End stage

What is the lighting in A Linha Curva?

Overhead. Chequerboard, bright colours, white shaft

What are the themes of A Linha Curva?

Carnival, relationships between men and women

How many dancers are there in A Linha Curva?

28 - 15 male and 13 female

What is the choreographic intention of A Linha Curva?

• Have fun

• How Brazilian men communicate with women - hunting in packs

• Men showing off / competing with eachother

What is the choreographic approach of A Linha Curva?

• Worked collaboratively with the dancers

• Motifs created using improvisation

• Dancers created a solo of their favourite moves within an allocated square

• Motifs named after the dancers, learnt by everyone to create ensemble work

What is the set of A Linha Curva?

• None: black floor and tabs

• Raised platform at the back for samba band

• Skateboards to travel stage

How does the costume contribute to A Linha Curva?

• Colours of shorts reflect the colours of Brazilian carnivals + a happy mood + lighting colours

• Tight fitted so movement can be performed to maximum, enhancing the ‘have fun’ intention

• Costumes are the same creating uniformity

• Metal collars highlight males in the opening, with slashes in the torso to highlight masculinity

How does the set contribute to A Linha Curva?

• Black set and floor to complement costumes

• Stage creates sense of live performance at a carnival

• Levels created by elevation of band, makes them part of the performance

How does the aural setting contribute to A Linha Curva?

• Samba band portrays traditional Brazilian music

• Rapid tempo + vocals creates sense of fun and ‘feel the moment’ (intention) and happy mood

• Samba style music complements carnival lighting and costumes

• Narrative section in the middle with slower notes to contrast rapid drumming of ensemble sections

How does the lighting contribute to A Linha Curva?

• Colours reflect Brazil + carnivals Tight fitted atmosphere

• Checkerboard moving quickly around stage as dancers keep up with it enhances fun + unpredictable aspect - highlights dance space

• Spotlights used in solo + duet sections to highlight each dancer

• Colours connote the colours of the Brazilian flag - green, blue, yellow

PS: Physical skills

BASIC SPEC FM

• Balance: ability to maintain steadiness in a held position

• Alignment: correct placement of body parts

• Strength: ability of the muscles to withhold or resist a force

• Isolation: manipulating one body part separately from the rest

• Coordination: ability to move body parts simultaneously

• Stamina: ability to maintain levels physical and mental energy over time

• Posture: correct way the body is held

• Extension: ability to elongate the limbs / muscles

• Control: ability to start and stop movement, change direction and hold a shape efficiently

• Flexibility: range of movement at a joint

• Mobility: range of movement in a joint; the ability to move fluently from action to action

PS: Expressive skills

• Projection: the energy the dancer uses to connect with the audience

• Focus: use of the eyes to enhance performance or interpretive qualities

• Spatial awareness: consciousness of the surrounding space and its effective use

• Facial expression: use of the face to show mood, feeling or character

• Phrasing: the way in which the energy is distributed in the execution of a movement phrase

For duet / trio performance only:

• Musicality: the ability to make the unique qualities of the accompaniment evident in performance

• Sensitivity to other dancers: awareness of and connection to other dancers

PS: Technical skills

• Action

• Space

• Dynamics

• Relationships

• Rhythm and timing: musicality, syncopation, direct correlation

• Moving in a stylistically accurate way

PS: Mental skills

DURING PERFORMANCE

• Commitment: giving maximum effort to every action

• Confidence: portraying self-belief through performance

• Concentration: focusing on your accuracy and expressive skills throughout

• Movement memory: your muscles remembering movement

PROCESSES

• Systematic repetition: repeating an action or phrase over and over to improve movement memory

• Mental rehearsal: visualising yourself performing the actions in time in your head

• Rehearsal discipline: maintaining concentration and working hard in all rehearsals

• Response to feedback: listening to and applying feedback immediately

• Planning of rehearsal

• Capacity to improve

CS: Action

• Floor work: shifting weight across your body

• Use of different body parts: only using one body part

• Stillness: no movement

• Elevation: leaving the floor

• Gesture: moving without weight to express something

• Travel: move across space

• Turn: rotating your body around its own axis

• Transfer of weight: dancing on the ground / close to it

CS: Space

• Directions: the way the body faces / moves

• Levels: height of movement

• Patterns: sequences

• Pathways: the route taken through space

• Size of movement: how big / small the movement is

• Spatial design: the spacing in a dance

CS: Dynamics

• Fast / slow: speed of movement

• Sudden / sustained: abruptness / continuity of movement

• Acceleration / deceleration: speeding up / slowing down gradually

• Strong / light: amount of force or weight used

• Direct / indirect: straight focused path vs winding flexible path

• Flowing / abrupt: continuous smooth movement vs sharp sudden stops

CS: Relationships

• Action and reaction: a movement prompts an immediate responses from another dancer

• Accumulation: movements build up, adding new elements to a sequence

• Complement and contrast: movements that enhance or complete each other without being identical vs very different movements

• Counterpoint: two dancers perform independent movements simultaneously

• Contact: physical touch between dancers e.g. lifting

• Formations: the shapes or patterns created by a group of dancers

• Lead and follow: one dancer initiates, another responds directly

• Mirroring: two dancers facing each other, performing identical movements simultaneously

CS: Structure

• Binary (AB): two different sections

• Ternary (ABA): three sections where the first section is repeated after a contrasting middle section

• Rondo (ABACA): a repeating theme with different episodes in between

• Narrative: tells a story

• Episodic: composed of a series of distinct sections that may or may not have a strong narrative connection

• Beginning / middle / end

• Unity: all parts work together to create a coherent whole

• Logical sequence: sections appear in an order that makes sense

• Transitions: linking movements between main sections

CS: Devices

• Contrast: creates impact and interest

• Climax: main message or emotion strongly conveyed

• Highlights: engage audiences and emphasise certain ideas or emotions

• Repetition: makes a movement stand out and creates a sense of pattern

• Motif and development: creates structures and shows emotional or narrative progression

• Manipulation of number: creates visual interest and builds tension or contrast

• Unison and canon: unison shows power and unity, canon creates a ripple effect and builds tension

Aural settings + impacts on choreographic outcome

• Song: structure of song for dance sections, singer’s voice inspires movement quality

• Instrument: layering of sounds inspires textures, different instruments evoke different feelings and movements

• Orchestral: grandeur may inspire dramatic movements, layering of instruments can suggest intricate group work

• Spoken word: speaker’s tone of voice may dictate emotional quality of movement, natural pauses translated into movement

• Silence: builds suspense, shapes and lines become precise, draw attention to dancer’s breathing

• Natural sound (e.g. rain, birds): provide setting for dance, creates a specific mood

• Percussion: allows for intricate rhythmic patterns, direct connection between dancers and sounds produced

What does aural setting impact?

• Mood and atmosphere

• Contrast and variety

• Structure

• Relationship to theme / idea

Choreographic intent + definitions

• Mood: the emotional atmosphere / feeling you want to create for the audience

• Meaning: a specific message or narrative you want to convey

• Idea: an exploration of a concept or abstract thought, rather than a direct story or feeling

• Theme: the broader topic that the dance revolves around, often linked to the meaning / idea

• Style: the genre of dance (e.g. ballet, jazz, etc)

• Style fusion: combining elements from multiple different dance styles

Choreographic processes + definitions

• Researching: investigating ideas, themes, music or existing dance works for inspiration

• Improvising: spontaneous movement exploration to generate raw material

• Generating: creating specific movements based on research and improvisation

• Selecting: choosing the most effective and relevant movements

• Developing: manipulating and expanding selected movements to create phrases (motif development)

• Structuring: arranging dance phrases into a form (e.g. rondo, ternary)

• Refining and synthesising: perfecting the dance, working on timing, spatial accuracy, and performance quality

Performance environments + definitions

• Proscenium Arch: traditional ‘picture frame’ stage with audience facing directly forwards, has fly tower and wings

• Site-sensitive / site-specific: non-theatre space that becomes an influential part of the performance (e.g. parks / rooftops)

• End Stage: simpler version of a PAS and often found in community theatres

• In-the-Round: audience seated 360° around the centre stage, dancers exit / enter through aisles between seating

Performance environments + impacts on dance

• Proscenium Arch: clear front-on view for all, allows for elaborate props / backdrops

• Site-sensitive / site-specific: uses the environment, unpredictable elements (e.g. weather / sounds) can become part of performance, minimal production

• End Stage: more adaptable than a fixed PAS, less hidden space such as wings, clear view for audience

• In-the-Round: choreography must be viewed from all angles, close and immersive, minimal set / props to prevent blocked view

How can a motif be developed?

Change one of the following: Action, Dynamics, Space, or Relationships (ADSR).

Other Techniques:

• Retrograde: performing a movement backwards

• Climax: building up motif

• Highlights: emphasises certain movements

Safety in the dance space

• No obstructions

• Ideal temp between 18-24°C

• Sprung floor which is clean and non-slip

Personal safety

• Short trousers to avoid slipping, no zips / buttons

• Appropriate footwear if any

• No jewellery, hair tied up

• Layers worn so dancer can add / remove as needed

Safe dance practice: warm-ups

• Should include focusing activities, mobility, pulse raising, and stretching

• Prepares dancers mentally and physically

• Improves performance + reduces injury risk

• Increases heart rate, body temp, and coordination

• Mobilises joints

Safe dance practice: cool downs

• Heart rate + respiration need to return to normal to prevent blood pooling - could cause dizziness and fainting

• Increase in waste products (e.g. lactic acid) can cause stiffness and soreness

How can dancers prevent injury?

• Making sure they’re fit for activity

• Correct technique

• Performing movements at the right level for you

• Warm-up and cool down

• No hazards in dance area

What are the common dance injuries?

• Sprains: injury to ligament at a joint. Result of sudden wrenching movement which tears the tissues surrounding the joint. Symptoms include pain, swelling and bruising.

• Fractures: open fractures are when the bone is cracked but skin undamaged, and closed fractures means the skin is damaged so the bone may stick out. Symptoms: snap sound, tenderness and pain, swelling

• Dislocations: bone pulled out it’s normal position, caused by violent twisting.

• Cramp: when muscle fibres don’t relax and their blood supply is cut off causing pain

• Strained or pulled muscle / tendon: caused by violent overstretching

What should you do after administering first aid to an injury?

• Protect injury from more damage

• Rest injury

• Ice it to reduce pain and inflammation

• Compress through a bandage to reduce swelling

• Elevate it to drain swelling

• Diagnosis by professional

What food groups do we need and why?

• Proteins: repair and growth of muscle (e.g. meat, fish, eggs, nuts, beans)

• Carbohydrates: provide energy to muscles

• Complex carbohydrates: better for dancers, contain macronutrients (e.g. pasta, rice, bread, potatoes, fruit, beans)

• Simple carbohydrates: give the body energy but lack macronutrients so not sustained (e.g. cake, chocolate, doughnuts)

• Fats: used for endurance, insulate the body, needed for vitamin absorption (e.g. olive oil, nuts, nut oils, avocados)

• Vitamins and minerals: regulate bodily function, each used for a variety of functions, eat 5-a-day for these or take supplements

Why is it important to stay hydrated when dancing?

• When you dance you sweat more, losing water + salts

• We must replace these, otherwise we can get cramps