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| 4828781746 | Suzanne Farrell | Ballet | 0 | |
| 4828784201 | Martha Graham | Modern | 1 | |
| 4828784202 | Luigi | Jazz | 2 | |
| 4828785503 | Bill "Bojangles" Robinson | Tap | 3 | |
| 4828785504 | Trisha Brown | Post Modern | 4 | |
| 4828786741 | European sensibilities | • Court Dance • Upright/placed form • Concert Stage/ "cultured art"* • Clear delineation of class (seating) • Frontal relationship of body (to royalty or the audience) | 5 | |
| 4828786742 | Africanist Sensibilities | • Social • Rooted/grounded • Ritual/Celebration • Often performed in the round • Blurred lines of "viewer" & "performer" | 6 | |
| 4828788009 | Best exemplifies European Sensibilities | Swan Lake, Nutcracker, Jewels | 7 | |
| 4828793238 | Classical Ballet | Pointe work • Turn-out of the legs • High extensions • Graceful, glowing, precise movements | 8 | |
| 4828793239 | Romantic Ballet | Features: • Ethereal movement • Full tutu (romantic length) • Corps de ballet as spirits/sprites • Focus on ballerina | 9 | |
| 5555910743 | Romantic Ballet | Giselle (1841 - Coralli/Perrot) • La Sylphide (1836 -Bournonville) | 10 | |
| 5555966721 | Neoclassical Ballet Teacher | George Balanchine | 11 | |
| 5556400128 | Balanchine | Started a dance school, School of American Ballet, in 1934. This school eventually became the New York City Ballet in 1948 and still exists today. • Known for "plotless" ballets, where dancers performed in plain leotards and tights. Ballet cannot specify character or plot • Musically driven, Balanchine was known for allowing the dancers' movements to be the 'main artistic medium' of the work | 12 | |
| 5556445888 | Neoclassical Ballet Features | Emphasis on technique over emotion. Non-narrative or "plotless". Still incorporates pointe shoes. Eclectic training over danse d'ecole. | 13 | |
| 5556475643 | Neoclassical Ballet Examples | Apollo (1928), Serenade (1934), Agon (1957), Jewels (1967) | 14 | |
| 5556484559 | The "Balanchine" Dancer | Legs proportionally longer than torso Leading "muse" or central principal dancer Dances created around the female prima or principle Exceptionally tall women Fit and flexible* Often, Balanchine would sacrifice natural technique for individual artistry and hard work in the studio | 15 | |
| 5556504926 | Balanchine Technique | Intense speed, Deep plie, strong accent on line, direct arm positions yet more open, less curved and often 'broken' at the wrist, arabesques often uneven, often open hip to give illusion of higher arabesque line. | 16 | |
| 5556528857 | Apollo | Choreographed in 1928 by Balanchine. Music composed by Igor Stravinsky. | 17 | |
| 5556536504 | Serenade | Choreographed in 1934. Balanchine's first American choreography. Composed by Tchaikovsky | 18 | |
| 5556544107 | Agon | Choreographed in 1957. Music composed by Igor Stravinsky. Ballet for 12 dancers. First appearance of an African American man and a Caucasian woman on stage. | 19 | |
| 5556560793 | Jewels | Three Acts: Emeralds, Rubies, Diamonds. Choreographed in 1967. Compromises classical, romantic and neoclassical ballet. | 20 | |
| 5557131469 | Vaslav Nijinksy (1889-1950) | Dancer in Ballet Russes with his sister. Known for his virtuosic, even feminine quality, and abiliity to inhabit any role. Could dance en pointe. Arguably the greatest male dancer of the early 20th century. Spectre de la Rose, l'apres-midi d'un faune which he choreographed. Choreographed the infamous Le Sacre du Printemps | 21 | |
| 5557183635 | Le Sacre du Printemps | Choreographed by Ninjinksy in 1913. Composed by Igor Stravinsky based on a dream he had about the ritual sacrifice of a young women to the gods. Considered the "lost" ballet. We reconstructed this in class based on Hodson's article. | 22 | |
| 5557189821 | Stravinsky's Scores Features | Polyrhythmic (pulsating rhythm), Showed "irreverence" to classical form. Use of sind & string instruments. Dissonant chords. | 23 | |
| 5557202564 | Sacre Technique | Flexed feet, Bent knees, Turned-in toes, Utilized the floor/ground. Jumps also showed bent knees and flexed feet. Posture Ninjinsky crafed was a way to generate movement - this quality offers a prelude to modern dance technique. | 24 | |
| 5566182200 | Isadora Duncan Modern Forerunners | Rebellious feminist - found little acceptance in her own country. Danced barefoot. Sternum as center of movement. Created the first modern dance language. Combined walking, running, and Grecian art. Ran a school for young dancers, including her daughters called "Isadorabellas" | 25 | |
| 5578183842 | Loie Fuller | More success in Europe than America. Danced holding long wooden beams, covered in silk fabric. Credited with theatrical lighting, including use of color. Founded school in 1908. Much of her work was lost but Sperling tried to preserve her legacy | 26 | |
| 5578199019 | Ruth St. Denis | Fascinated with Eastern cultures and the orient. Co-founder of Denishawn in 1915. Work mirrored philosophy of the school: expressive, eclectic, ethnic/religious themes. First American dancer to perform in a full-length dance work. Radha. Trained Martha Graham, Doris Humphrey, and Weidman | 27 | |
| 5578225731 | Ted Shawn | Married Ruth St. Denis. Carving path for men in modern dance. Taught ballet and Delsartean theories. Choreographed multiple works for Denishawn. | 28 | |
| 5578246130 | Martha Graham Modern Pioineers | "Protesting stark and American" Arguably the most well-known modern choreographer Utilized American themes and American composers, such as Copeland. Looked for emotion and expression through the movement. | 29 | |
| 5578264972 | Doris Humphrey | Created a technique which focused on Fall and Recovery. First modern dancer to codify a technique. Worked closely with Charles Weidman (Lincoln, NE) Studied at Denishawn, started choreographic career. Created 90 + dances. | 30 | |
| 5578291035 | Merce Cunningham 2nd Gen Modern Dancers | Soloist with Martha Graham Company for 6 years. Worked with John Cage. Developed choreographic form called "chance procedure". Separated dance from emotion and created abstract works with a focus on time and space. | 31 | |
| 5578331905 | Alwin Nikolais Nik | Studied Wigman school. Worked with props, masks and extreme costuming to transform the human body. utlized slides and new technology to created the mise-en-scene. | 32 | |
| 5578356667 | Paul Taylor | Danced for Martha Graham. Founded company in 1954. Twyla Tharp - emerged from company | 33 | |
| 5578363624 | Alvin Ailey | Created works based on "blood memories". Full time modern company in U.S. 79 ballets, many still performed today; Revalations | 34 | |
| 5578385659 | Laban Movement Analysis Siegel | Weight: Strong/Light Time: Quick/Slow Space: Direct/Indirect Flow: Free/Bound | 35 | |
| 5578394153 | Full Effort Qualities | Flick, Dab, Press, Wring, Slash, Punch, Float, Glide. Walking example: Rhythm/dynamic | 36 | |
| 5578399917 | Marcia Siegel | Each and every dance has its own lexicon, or terms, specific to that piece and only that piece | 37 | |
| 5578408797 | Sally Banes | Sally Banes Description, Interpretation, Evaluation, Contextualization | 38 | |
| 5578414975 | Description | Wrist rolls, looks sideways, How they do it? | 39 | |
| 5578415918 | Interpretations | More mimetic/pantomime. "aboutness" lead to deeply describe how came to conclusion. | 40 | |
| 5578454543 | Evaluation | Opinion based. Personal experience of piece is valid but look at why you feel this way which should lead to how | 41 | |
| 5578459144 | Contextualization | External factors. Costumes, lighting, Structure and design. | 42 | |
| 5578462986 | Description | What is happening? Specific. Small details are important. | 43 | |
| 5578531820 | Kinetic Jazz Elements | Use of the flat/flexed foot • Bent knee, hip and ankle joints • Articulated, inclined torso • Body part isolations • Groundedness/earthiness • Improvisation • Embellishment and elaboration • Polyrhythms/syncopation • Polycentrism • Angularity and asymmetry • Personal expression/creativity • "Aesthetic of cool" | 44 | |
| 5602247786 | Jazz | Contains cultural, kinetic and social history of African Americans | 45 | |
| 5602275219 | Jazz Social Elements | Community - the circle Individual creativity within group. Vocal encouragement Lack of separation between performer and spectator. Friendly challenges among dancers. Confrontational attitude/"in your face" Joyousness Call-and-Response. Interaction (conversation) between musicians and dancers. | 46 | |
| 5602319464 | Authentic Jazz | Developed in America. Developed alongside jazz music. focused mainly in the 1920s through 1940s: Lindy Hop Charleston Turkey Trot | 47 | |
| 5602330348 | Classical Jazz | Codified (as ballet) into a blended technique. Elements of modern ballet Includes choreographers: Jack Cole Matt Mattox Luigi Gus Giordano Bob Fosse *Horton | 48 | |
| 5602359897 | Jack Cole | Father of theatrical jazz dance. Choreographed for nightclubs, Broadway musicals, film and television. Developed training method. Considered his style "urban folk dance" or "jazz-ethnic-ballet". Fused modern/ballet with world and vernacular dance to jazz music - became known as 'theatrical jazz dance'. Early influences include Ruth, Ted, Doris Hump, Charles Weidman (modern) and Luigi Albertieri (ballet). Mosst famous choreography for Marilyn Monroe such as "Diamonds are a Girls Best Friend". | 49 | |
| 5602431206 | Matt Mattox | Commercial jazz in the 1950s and 1950s. Considered the aesthetic to be "free style" jazz dance. Influences include Loring (ballet), Cole (jazz), flamenco, East Indian ballroom. Initially his career was as a dancer and performer, not choreographer . Moved to London and started a company. | 50 | |
| 5602469950 | Luigi | Danced for Gene Kelley. Car crash - developed a series of exercises to help him regain strength, posture, and balance These exercises are known as the Luigi's Jazz Warm Up. Credited "first comprehensice jazz technique: became the "universal standard of jazz dance"* Goals for students: Train dancer to stand, balance, and move out in space. To heal and protect the dancer's body from injury To help the dancer dance to and with jazz music. | 51 | |
| 5602519037 | Gus Giordano | Longest, ongoing jazz legacy. Created Giordano Technique, Dance school and alter Giordano Dance Chicago - first jazz dance company (still exists today). Author of Anthology of American jazz dance. Considered jazz dance to be a "living art form" which is always about to do something new". Studied with modern pioneers Katherine Dunham, Hanya Holm, Alwin Nikolais. Master teacher; trained/created a generation of professional dancers. | 52 | |
| 5602559024 | Bob Fosse | Broadway's foremost choreographer in the 1960s and 1970s. Trained tap dancer. Unconventional approach to movement - add unorthodox steps to surprise and spontaneity. Frequently worked with Gwen Verdon, later his wife. Style incorporates hunched shoulders, forward thrust of the hips, turned in feet. Choreography includes: Damn Yankees Sweet Charity Pippin Chicago All That Jazz | 53 | |
| 5602611157 | Tap Dance Characteristics/Roots: | Rhythmic collisions of cultures: early slave trade in America. Communication via drums was abolished - tap dance took its place. Contemporary tap dance is a blend of cultures: African-American footwork Irish footwork British clogging. | 54 | |
| 5602628503 | Tap | Shoes made of two metal taps, toe taps, & heel taps. In some case, sounds made with materials - like sand - instead of shoes. William Henry Lane was known as Master Juba, originated form. "Juba dance" also known as "Pattin Juba," mix of European jig, Reel steps, clog and African Rhythms. Popular around 1845. Considered the creation of tap in America as a theatrical art form and American jazz dance. | 55 | |
| 5602886006 | Isadora Duncan Modern Dance | Brahms Waltz | 56 | |
| 5602934244 | Isadora Duncan and the muses among Us | 3 dancers and sheets | 57 | |
| 5602960516 | Martha Graham. Modern Dance | late 1920s vaudeville skits mentstral shows. Black dancers all around one white dancer judging her. Night Journey conceived and choreographed by her. | 58 | |
| 5603051337 | Modern Dance: Tensile Involvement | Alwin Nikolais is choreographer. Joffrey Ballet | 59 | |
| 5603069949 | Pond | Alwin Nikolais | 60 | |
| 5603077890 | Wade in the Water from Revelations | Alvin Ailey | 61 | |
| 5603084008 | Ailey II in Blue Suite | Alvin Ailey choreographer and produced in Alvin Ailey American Dance Theatre. | 62 | |
| 5628404098 | Danse Serpentine | Loie Fuller | 63 | |
| 5628417767 | "Water" section from "Dance of the Elements" | Loie Fuller | 64 | |
| 5628430197 | Cosmic Dance of Siva | Ted Shawn | 65 | |
| 5628435211 | Choeur Dance 1926 | Ted Shawn | 66 | |
| 5628453659 | Alwin Nikolais | Used odd shapes and geometry to keep audience interested. Used props | 67 | |
| 5628467826 | Crucible | Alwin Nikolais. People sitting in red and green lights looks like just torsos. | 68 | |
| 5628489882 | Appalachian Spring Ballet | Bride: Martha Graham Revivalist: Merce Cunningham | 69 | |
| 5628529501 | Night Journey | Martha Graham | 70 | |
| 5628532546 | Air for the G String | Doris Humphrey | 71 | |
| 5628540317 | Day on Earth | Doris Humphrey | 72 | |
| 5628553157 | Ratatat | Hanya Holm | 73 | |
| 5636386302 | Self Meant to Govern | William Forsythe Week One | 74 | |
| 5636390207 | "16 Millimeter Earrings" | Meredith Monk Week One | 75 | |
| 5636392214 | "Cafe Mueller" | Pina Bausch Week One | 76 | |
| 5636394271 | The Cost of Living | DV8 Week One | 77 | |
| 5636400123 | "Verge" | Bebe Miller Week One | 78 |
