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Term
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Definition
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Source acknowledgement
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abstraction
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A choreographic device where a literal movement is manipulated to open the associations with the movement for an audience and remove its narrative elements.
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SCSA
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accumulation
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A choreographic device where new movements are added to existing movements in a successive manner. It generally begins with move 1, then 1 + 2, then 1 + 2 + 3. The word was used by Trisha Brown in 1971 to name a solo dance work based on adding one movement gesture to another, one at a time, and repeating the growing phrase with each new movement. As Trisha Brown’s works are so widely known, this word has spread among the dance community, and it is used nowadays to talk about a way of creating choreography as a choreographic device.
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SCSA
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action
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As an element of dance, an action is the description of either locomotor or non-locomotor movement.
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Senior Secondary Provision
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aesthetics
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Exploring through performance and responses to dance, the role of human senses in making meaning and creating emotional or other experiences. Aesthetics relates to the principles and science of what engages our sensory attention and leads us to respond in particular ways.
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SCSA
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analysing dance
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This may be thought of as identifying the formal structures of dance and looking at the relationships between the elements of dance, choreographic devices and structure and/or design concepts with the choreographic intent. For example: ‘The choreographer manipulated the dancers in space to create symmetrical shapes and moments of stillness, and interspersed complex movement phrases with sections of improvisation.’
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SCSA
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artistic dance
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Dance that is performed primarily to express ideas and/or to entertain an audience. The dance often portrays and interprets aspects of life in order to challenge or confirm the values of the audience.
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SCSA
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asymmetrical
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A shape made by the body that has no line of reflection. An unbalanced proportion in the design of the shape. The larger the area of the base of support, the easier it is to achieve and maintain balance.
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SCSA
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balance
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The equal distribution of weight. Harmonious arrangement of parts.
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SCSA
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base of support
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Base of support is a two-dimensional area bounded by the points of contact of the body with the ground.
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SCSA
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binary
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A two-part choreographic structure with an A theme and a B theme (AB). The binary form consists of two distinct self-contained sections that share either a character or quality, i.e. the same tempo, movement quality or style.
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SCSA
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body
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As an element of dance, it encompasses:
- body awareness – centres on consciousness of the body in space, including body shapes, body bases, body parts, body zones, locomotor and non-locomotor movements
- body bases – the body parts that support the rest of the body; for example, when standing the feet are the body base
- body parts – legs, arms, head, torso, hands and feet
- body activity – weight transference, travelling, turning, rising and falling
- body shapes – curved, straight, open, closed, symmetrical and asymmetrical
- body zones – body areas of right side, left side (sagittal plane), front, back (frontal or coronal plane), upper half or lower half (traverse plane).
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SCSA
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canon
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A choreographic device that reflects the musical form of the same name, in which individuals and groups perform the same movement phrase beginning at different times.
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SCSA
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choreography
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The art of planning and arranging dance movements into a meaningful whole; the process of building a composition; a finished dance work.
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SCSA
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choreographic devices
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Tools of the choreographer used for the creation of dances, such as, abstraction, canon, motif, contrast, accumulation, repetition, reversal, retrograde, inversion, fragmentation and embellishment.
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SCSA
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choreographic intent
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The purpose behind the composition or performance of movement.
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SCSA
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choreographic processes
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The fundamentally accepted methods for creating dances.
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SCSA
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choreographic structure
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The preconceived plan for the arrangement of movement in a particular structure, that a choreographer uses when creating a dance. Examples of such structures include AB (binary), ABA (ternary), rondo (ABACA), theme and variation (A, A1, A2, A3) and narrative.
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SCSA
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composition devices
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Devices for the choreographer used to establish the structural form of the dance such as deciding on a theme movement or using solos, pairs, small groups, or ensembles.
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Senior Secondary Provision
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contemporary dance
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Contemporary dance is a broadly inclusive term to describe an approach to dance that draws on modern dance elements, classical ballet, release work and other forms of dance, often reflective of the creative innovations of particular dance choreographers and directors. Contemporary dance may also draw on other dance forms, including, popular dance and forms from other cultures and times. Many contemporary dance pieces reflect explorations of structure and body dynamics in space/time.
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SCSA
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contrast
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A choreographic device where dance elements are altered to create oppositions, thus making contrasts, such as, high/low or big/little.
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SCSA
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cool-down
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Following dancing, the dancer should allow the body to gradually warm down (cool-down). Abruptly stopping vigorous activity causes pooling of the blood, sluggish circulation which hampers removal of waste products, cramping, soreness and even fainting. Light activity and stretching after the dance class is recommended.
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SCSA
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culture
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The values, attitudes, customs, practices, language and conventions commonly shared by a particular group, that forms a part of their identity and contributes towards a sense of shared understanding.
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SCSA
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describing dance
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This may be thought of as seeing and identifying the elements of dance, choreographic devices, structure and/or design concepts. For example: ‘The lead dancer moved rapidly across the stage to join a trio of male dancers waiting in a tableau. The dancers then performed a canon.’
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SCSA
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design concepts
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The use of design and technologies to enhance dance. This includes lighting, music/sound, multimedia, costume, props, sets and staging. See Multimedia and Technologies.
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SCSA
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elements of dance
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The basic (key) components of dance: Body, Energy, Space, Time (BEST). These elements can be combined and manipulated to communicate and express meaning through movement. See Body, Energy, Space and Time.
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SCSA and Senior Secondary Provision
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embellishment
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A choreographic device where detail is added to the original movement sequence.
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SCSA
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energy
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As an element of dance, it focuses on the weight and force of power (dynamics) needed to produce and/or manipulate a movement.
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SCSA
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energy qualities
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Shadings in the amount of energy, intensity, power and subtle variation in the treatment of contrasts. The manner in which energy is applied, continued or arrested. Energy qualities can be described as: floating, swinging, sudden, smooth, sharp, percussive, vibratory and explosive. By manipulating the energy in a movement, the choreographer creates certain qualities; for example, a light free flowing movement may create a dream-like quality and constrained movement may create an aggressive mood.
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SCSA
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evaluating dance
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This may be thought of as making judgements about the dance, based on identified criteria. For example: ‘The contrast of movement and music from one section to the next was quite spectacular, reinforcing the theme of the damage to the changing environment. It made me feel quite disturbed.’
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SCSA
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execution
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Is part of a group of technical skills in artistry that include control, coordination, balance, strength, flexibility, alignment, timing, rhythm, extension, spatial awareness,
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Senior Secondary Provision
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experiential anatomy
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Understanding how the body reacts to movement. Applying physical skills and understandings of biomechanics and kinesiology in both experiential and theoretical contexts.
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SCSA
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fall and recovery
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The process in movement yielding to and resisting, gravity. A theory invented by modern dance pioneer Doris Humphrey.
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SCSA
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focus
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Conscious attention toward a certain point, using eyes, body parts, or the direction in which the dancer faces. Focus is not just confined to the eyes; it also involves using the whole body to project and communicate the intention of the dance.
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SCSA
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fragmentation
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A choreographic device, where only a part of the movement sequence/motif is manipulated. A movement is broken down into smaller units.
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SCSA
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genre
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A specific category of dance that has a tradition or history and is identifiable by specific characteristics and social and cultural contexts; for example: classical ballet, jazz, contemporary or tap.
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SCSA
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historical context
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The historical context focuses on when the dance was made. The relevant developments in that era may influence the dance.
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SCSA
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improvisation
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Improvisational structures permit the dancer elements of freedom and creativity in making movement and dances. The dancer can employ any number of strategies and creative responses to pursue an outcome where the result is not fully known, for example:
- a floor plan which is ‘scored’ but in which the movement is unknown; or
- where the movement is designed but the floor plan is open and the dancer is given the freedom to make the spatial decisions.
Other decisions might affect the timing, choice of music or any elements of dance (BEST).
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SCSA
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improvisation score
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A score is a map for making dance. It is a frame of ideas that shapes the dance. It can range from highly specific and detailed structures to a general and loosely defined set of options. It is like the rules of a game where the outcome is unknown and there are multiple variations of how you play/interact/respond.
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SCSA
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interpreting dance
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This may be thought of as translating, reading or making sense of the dance work. For example: ‘the shapes were sharp and awkward and although the dancers were together, they conveyed the image of pain, loneliness and isolation.’
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SCSA
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interpretive qualities
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Are expressive skills of artistry and include musicality and focus such as eyeline and concentration.
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Senior Secondary Provision
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inversion
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A choreographic device, used to create choreography that produces variations on a movement phrase. Inverting the movement phrase would mean executing it as if ‘looking in a mirror.’ For example: a forward step becomes a backward step; movement sidewards remains in a lateral plane. Ballroom dance constantly makes use of this choreographic device, when dancers are facing each other.
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SCSA
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kinesiology
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The study of the activity of muscles and the functioning, mechanics and structures of the body parts involved in movement. Mechanics refers to the effect that energy and other forces have upon the body.
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SCSA
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levels
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The altitude of a movement in relation to its distance from the floor; the height of the dance floor. There are three levels:
- low – close to the floor with the intention downwards
- medium – the level of everyday walking
- high - any movement done with elevation, not necessarily a jump. It implies a lifting of the chest and an upwards focus.
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SCSA
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locomotor movement
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Travelling movements involving a change in location of the body in space. The basic locomotor steps are walk, run, jump; irregular rhythmic combinations are skip, slide and gallop.
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SCSA
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motif
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A movement, gesture or short movement phrase which has the potential to be developed during the dance/work. A movement motif functions as choreographic device within the choreography. It can contain the essence of the completed piece and is usually repeated with integrity and manipulated throughout the dance.
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SCSA
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movement phrase
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Two or more movement ideas linked together.
A series of movements linked together to make a distinctive pattern.
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SCSA
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movement sequence
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A series of movements, longer than a phrase, but shorter than a section of a dance.
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SCSA
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multimedia
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The use of different forms of media to support and enhance dance. For example: graphics, text, digital media, audio and video (live or sampled).
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SCSA
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musicality
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The music elements of a dance performance. Attention and sensitivity to the musical ear while creating or performing.
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SCSA
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narrative
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A choreographic structure that follows a specific storyline and intends to convey specific information through that story.
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SCSA
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neutral alignment
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Reflecting the strongest and most balanced alignment of the spine, including the three curves of the spine that appear naturally in a healthy spine: at the neck, the thoracic region and the lumbar/pelvic region. Neutral alignment also reflects correct alignment of the ears, shoulders, hips, knees and ankles to create a line directly down the side of the body, from the ears down, through to the feet of the dancer. A further imaginary line, also of great assistance in achieving neutral alignment, runs down the centre of the body (looking from the front) and corresponds to the median plane which divides the body into equal right and left halves.
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SCSA
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non-locomotor movement
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Movement occurring above a stationary base; movement of the body around its own axis. Also called axial movement, it includes bending, stretching, pushing, pulling, bouncing, swinging, shaking and twisting.
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SCSA
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parallel
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Feet in anatomical position, knees in line with arches of feet and directly under hip joint and a fist width apart, ‘train tracks’.
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SCSA
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pathways
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Patterns created in the air, or on the floor by the body or body parts, as a dancer or dancers move through space.
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SCSA
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performance persona
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Being cognisant of choreographic intent and how to convey a sense of ‘character’ (including emotion, mood, tone and/ or atmosphere) through the sustained use of body, facial expression and gesture.
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SCSA
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personal style
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A distinctive or individualistic manner of expressing an idea. The dancer is capable of communicating a sense of physical and/or emotional connection to the movement material. Rather than ‘presenting’, they have a tangible sense of presence, awareness and embodiment that includes other dancers in the space and audience. This quality may be influenced by body structure, type of training, prior dance experience, personality and individual BEST preferences.
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SCSA
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physiology
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The branch of biology that deals with the normal functions of living organisms and their parts and how the parts function
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Adapted from Oxford dictionary
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placement
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A balanced alignment of the body, hips, torso, limbs, head, knees and rib cage.
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SCSA
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projection
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The communication of meaning through extension and focus of the body.
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SCSA
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repetition
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A choreographic device whereby a movement or motif are repeated exactly for emphasis or to gain interest.
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SCSA
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retrograde
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Another choreographic device used to create dance compositions that produce variations on a movement phrase. The movement phrase is performed backwards, as if rewinding a video. This can be a challenging device because of the way in which the human body is constructed and may require some physical compromises and creative decision-making on the part of the dancer.For example: rewinding video.
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SCSA
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reversal
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The performance of the movements of a motif or sequence in reverse order (but not in a backwards direction). For example: 8, 7, 6, 5, 4, 3, 2, 1.
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SCSA
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ritual dance
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Dance that is primarily performed in religious or other rites and reflects specific cultural customs.
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SCSA
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rondo
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A choreographic structure of three or more themes with an alternating return to the main theme (ABACADA).
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SCSA
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Safe dance practice
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The practice of selecting and executing movement safely. The focus is on providing dance activities and exercises which allows students to participate without risk of injury. All dance movement should be performed relevant to an individual’s body type and capabilities. Safe dance practices also include safe emotional spaces, where individuals are able to take creative risks in a supportive learning environment.
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Ausdance
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social context
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A dance work that refers to the society or culture in which it is made and reflects the dynamics within that society or culture. For example: lifestyle, socio-economic status, employment and race may influence, or be reflected in, the dance work.
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SCSA
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social dance
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Dance that is primarily performed for the enjoyment of the participants.
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Senior Secondary Provision
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space
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Where the body moves, including level, dimension (3D and 4D), direction (up, down, left, right, forward, backward, diagonal), active space (the meaning the space takes through the dance), positive space (the space the dancer occupies), negative space (space outside the positive space), pathways (creation of shapes through the space), personal (area around the dancer’s body) and performance space (the area designated for the dance performance). See Levels.
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SCSA
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style
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Within the broad categorisation of genre, it is possible to draw further distinctions between constituent groups and identify them as particular styles. For example: ballet (genre) may be identified as romantic, classical or modern in style. More specific styles may relate to the country/origin, or the company or community who performed the dance. Choreographers also have their own distinctive styles (which may change and develop over time).
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SCSA
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symmetrical
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A shape made by the body that has a line of reflection (mirror line). A balanced, even design.
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SCSA
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technical skills
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Combinations of proficiencies in control, accuracy, strength, alignment, balance and coordination. This will include the acquisition of appropriate strength, flexibility, coordination and endurance in the performance of body actions, locomotor and non-locomotor movement and developed to be performed in specific dance styles and genres.
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SCSA
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technique
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The acquisition and execution of dance skills within a dance genre or style.
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SCSA
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technologies
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Equipment used to help create, present, explain, document, view, interpret, analyse, or learn about dance works, including dance props (e.g. scarf, chair), electronic media (e.g. video, computers) and production technologies (e.g. lighting, costume, sound).
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SCSA
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ternary
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A three-part choreographic structure in which the second section contrasts with the first section (ABA). The third section is a restatement of the first section in a condensed, abbreviated, or extended form.
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SCSA
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theme and variation
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A choreographic structure, in which a dance phrase or section of a dance, is followed by subsequent phrases or sections that are variations of the original, usually for the sake of variety (A, A1, A2, A3).
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SCSA
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time
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Time refers to how long a dance takes, including metre, tempo, momentum, accent, duration, phrasing, rhythmic patterns, stillness and beat.
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SCSA
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turned out
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A term used to describe a dance position where you stand with your legs and feet facing outwards. Your feet may be either together or apart and involves the rotation of the thigh bone in the hip socket. All rotations are functional and should occur at the hip. The lower leg and foot remain aligned with the femur.
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SCSA
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unison
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Two or more people performing the same movement at the same time.
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SCSA
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warm-up
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Activities that raise the core body temperature and loosen the muscles before dancing. Movements are designed to raise the core body temperature and bring the mind into focus for the activities to follow.
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SCSA
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