Dance Mid-Term
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| 954772910 | Adagio | Any dance to slow music; also, part of the classical pas de deux in ballet. | 0 | |
| 954772911 | Allegro | A dance with fast or moderate tempo. That part of a ballet class comprised of fast turning or jumping, especially beaten steps; usually follows the adagio. | 1 | |
| 954772912 | Arabesque | A position in which the dancer stands on one leg, straight or bent, with the other extended to the back at 90 degrees. | 2 | |
| 954772913 | Assemblé | A jump from one to both feet, usually landing in fifth position. | 3 | |
| 954772914 | Attitude | A pose in which one leg is raised in back or in front with knee bent, usually with one arm raised. | 4 | |
| 954772915 | Balancé | A step that rocks from one foot to the other, usually in 3/4 time. | 5 | |
| 954772916 | Balance | Ability of the dancer to maintain an upright and controlled position of the body whether in movement or still. | 6 | |
| 954772917 | Chasse | A sliding step in which one foot "chases" and displaces the other. | 7 | |
| 954772918 | Contraction | A basic movement in the technique of Martha Graham, based on breath inhalation and exhalation. To flex from the core and add tension. | 8 | |
| 954772919 | Développé | An unfolding of the leg in the air. 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). | 9 | |
| 954772920 | First Position | Feet in a straight line, heels touching. The action of bending or the condition of being bent. | 10 | |
| 954772921 | Fifth Position | One foot in front of the other, parallel, with heel in front foot touching toe of back foot. | 11 | |
| 954772922 | Fourth Position Closed | One foot in front of the other, parallel, but apart. | 12 | |
| 954772923 | Jeté | A leap from one leg to the other in which one leg is thrown to the side, front, or back. Grand Jeté - A large leap forward. | 13 | |
| 954772924 | Mazurka | A Polish national dance in triple time with an accent on the second beat, characterized by proud bearing, clicking of heels, and holubria, a special turning step. In the Mazurka the couples follow the leader in circular formation around the room. Sometimes the woman kneels down while her partner executes a chasse around her, and then this figure is reversed. | 14 | |
| 954772925 | Pirouettes | A complete turn of the body executed on one leg; the working leg is placed with the foot drawn up to the ankle or knee of the supporting leg. | 15 | |
| 954772926 | Polka | Hop, step, step, step, 2/4. | 16 | |
| 954772927 | Port de Bras | Literally "carriage of the arms." Used in this sense, and also to denote exercise designed to develop the upper part of the body. There are positions of the arms just as there are positions of the feet -- the numbering of them varies according to the method of training. | 17 | |
| 954772928 | Relevé | In ballet, a rising with a spring movement to point or demi-point. | 18 | |
| 954772929 | Rond de Jambe | Literally "circle of the leg." May be performed on the ground or in the air, inwards or outwards, jumping or turning. | 19 | |
| 954772930 | Schottische | A dance similar to the Polka. It is characterized by the clapping of hands after having taken three hopping steps. It is written in 4/4 time. | 20 | |
| 954772931 | Second Position | Feet in a straight line, heels apart. | 21 | |
| 954772932 | Spotting | A fixing of the eyes on one spot as long as possible during turns to avoid dizziness and to keep one's orientation. | 22 | |
| 954772933 | Third Position | One foot in front of the other, parallel to it, with heel of front foot in hollow instep of back foot. | 23 | |
| 954772934 | Twist | This dance was written by an African American musician in Georgia in 1958. He and his band members made up some twisting movements for the musicians to do while playing the music. Then in 1960, Chubby Checker made his first twist record, and made the Twist famous in Philadelphia. Twist came to New York via Philadelphia and New Jersey and then spread throughout most countries. | 24 | |
| 1001802614 | Battement Tendus | An extension of the working leg away from the supporting leg, stretching from first or fifth position along the floor until reaching pointe tendu (when the toes are fully pointed) on the floor. | 25 | |
| 1001802615 | Battement Dégagés | Begins and ends the same as a battement tendu except that it leaves the floor to a height of 15 cm after reaching pointe tendu. | 26 | |
| 1001802616 | En Croix | Battement in a 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. | 27 | |
| 1001802617 | En L'Air | Battement in the air. | 28 | |
| 1001802618 | À Terre | Battement on the ground. | 29 | |
| 1001802619 | Extension | Stretching or elongating the limbs or torso. | 30 | |
| 1001802620 | Improvisation | Movements that are created spontaneously by the dancer with or without specific direction, either individually or with other dancers. | 31 | |
| 1001802621 | Parallel Position | In contemporary dance, the feet may be in parallel (i.e. not turned out) in first, second and fourth positions, and, sometimes, in fifth position. | 32 | |
| 1001802622 | En Dehors | À terre where the pointed toe of a stretched working leg traces a circular pattern, from the front of the body to the back. Outward. A circular movement of the gesture limb from front to back, or a turn which moves away from the stance limb. | 33 | |
| 1001802623 | En Dedans | À terre From back to front, passing each time through first position of the feet. 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. | 34 | |
| 1001802624 | Petit | En l'air, with the working leg raised just a few centimetres from the ground. | 35 | |
| 1001802625 | Grand Battement | En l'air, where it is raised to 90°. | 36 | |
| 1001802626 | À La Seconde | A rond de jambe en l'air may also be performed as an isolated movement with the working leg raised à la seconde (to the side) and the knee bending and straightening as the toe describes quick circular patterns in the air without moving the thigh. | 37 | |
| 1001802627 | Sauté | French, in ballet, a jump. | 38 | |
| 1001802628 | Turnout | A way of standing and using the legs that is initiated in the pelvis, where both sides of the body rotate outwards from the hips, away from the spine. | 39 | |
| 1001802629 | Upstage | When facing the audience, the area farthest away from the audience. | 40 | |
| 1001802630 | Downstage | When facing the audience, the area closest to the audience. | 41 | |
| 1016191936 | Beats | To hit the legs together, moving in and out of fifth position in the air. See petite batterie. | 42 | |
| 1016191937 | Chaînès | "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. | 43 | |
| 1016191938 | Changement | "Changing the feet". A vertical jump with a change of feet in the air (from fifth position front to fifth back). | 44 | |
| 1016191939 | Coupé | To cut, a small intermediary step, used as a link between steps, such as jeté, pas de bourré. | 45 | |
| 1016199663 | Demi Plié | Half. As in demi-plié. | 46 | |
| 1016199664 | Derrière | Behind. | 47 | |
| 1016199665 | Devant | In front. | 48 | |
| 1016440940 | En avant | Dancer's front. | 49 | |
| 1016440941 | Hop | Jump into the air, landing on the same foot and keeping the heel lifted. With a soft knee, straighten leg, rise slightly off the floor, and return to the floor on the same foot; no weight change. Often it is more gentle and elegant to power the hop not with extension of the supporting leg but with a slight lift of the free knee. Transfer of weight from 1 foot to the same foot. | 50 | |
| 1016440942 | Leap | A spring into the air, from one foot to the other. Transfer of weight from 1 foot to the other with a moment of suspension. | 51 | |
| 1016440943 | Lunge | A large, open fourth position in which one knee is bent (usually the front), and the other is straight. | 52 | |
| 1016440944 | Lateral Rotation | A side stretch of the torso, with legs in 2nd position. | 53 | |
| 1016440945 | 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. | 54 | |
| 1016440946 | Retierè | 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. | 55 | |
| 1016440947 | Sissone | A jump from two feet onto one foot in various directions. | 56 | |
| 1016440948 | 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. | 57 | |
| 1016440949 | Triplet | Three sounds, usually a shuffle step. Three steps taken evenly over two beats of music. The time value of these three steps would be 2/3, 2/3, 2/3 (in 4/4 music). | 58 | |
| 1016440950 | Rhythm Pattern | Pulse of the music. Rhythm dance is composed of broken rhythms, syncopation, and off beats. | 59 | |
| 1016491469 | Alignment | The direction of a step or figure in relation to the room (e.g., LOD). Consider alignment in contrast to foot position, which is the direction of a step in relation to the other foot (e.g., forward, side, back). The spine line, the lumbar spine. | 60 | |
| 1016491470 | Measure | A short section of music in the regularly recurring rhythm, usually marked by an initial stronger accent and then one, two, three, or more lesser accents. For instance, a waltz measure consists of one strong downbeat and two lesser beats: 1, 2, 3; 1, 2, 3; | 61 | |
| 1016491471 | Facing | To have one's front in the direction of something else, such as "man facing wall." Also, partners in front of each other, front to front. | 62 | |
| 1016491472 | Falls | Lower body with weight centered over the ball and toes of the supporting foot. Involves whole body: lower onto heel, flex knee, and compress upper body. | 63 | |
| 1016491473 | Phrase | A passage of two or more measures of music. A phrase will be perceived as a specific tune or melody. Most pieces of dance music consist of two or more different phrases, each designated by a capital letter. Any phrase can repeat within the piece, so a whole piece might be designated: lead in, intro, A, A, B, A, C, end. | 64 | |
| 1016491474 | Pivot | Usually as a couple, step and rotate on the ball of the supporting foot by turning the upper body. Stepping forward R, one would turn right. Stepping back L, one would turn right. The free leg is extended forward or back. Amount of turn can be very little or 1/2 turn or more. | 65 | |
| 1016491475 | Rise | Elevate body with weight centered over the ball and toes of the supporting foot. Involves whole body: lifting heel off floor, straightening knees, and stretching upper body. Foot rise can be distinguished and separated from body rise. | 66 | |
| 1016491476 | Run | Sometimes, a step taken on one beat of music; a quick. Transfer of weight from 1 foot to the other, with momentary loss of contact. | 67 | |
| 1016491477 | Sequence | The order in which steps, figures, or dance actions are to be performed. | 68 | |
| 1016491478 | Skip | Step forward and with a soft knee, straighten leg, rise slightly off the floor, and return to the floor on the same foot. Step and hop. | 69 | |
| 1016491479 | Slide | Move the free foot in a given direction with light contact with the floor and take weight. Same as Glide. Step and leap. | 70 | |
| 1016491480 | Stretch Reflex | The elongation of the body, generally one side more than the other. Stretch is accomplished by raising one hip and rib cage without collapsing the other side. The shoulder on the stretched side rises, but only as a consequence of stretch. One does not "lift" the shoulder. Right stretch produces left sway. | 71 | |
| 1016491481 | Swinging | In general, swing, or body swing, is any free movement around a fixed point. We can distinguish between "pendular swing" when the fixed point is at the top of the movement and "metronomic swing" when the fixed point is at the bottom. | 72 | |
| 1016491482 | Tempo | The speed at which music is played; the number of measures or bars per minute. Sometimes given as beats per minute. | 73 | |
| 1016491483 | Transition | In a figure, an extra step or one fewer steps by the man or woman. A couple transitions from opposite footwork to same footwork or from same to opposite. | 74 | |
| 1016491484 | Triple Rhythm | The portion of the standard timing of a rhythm consisting of three steps taken over two beats of music as is characteristic of Jive, Cha Cha, and other rhythms. Notice that the timing of these three steps is not even. It divides one beat evenly, leaving the second beat undivided for a time value of 1/8, 1/8, 1/4 (in 4/4 time). The "a" is a shorter interval, and the time value of a triple is 3/16, 1/16, 1/4. | 75 | |
| 1016491485 | Turns | Step and change your facing direction, specifically the direction in which your feet are pointing. | 76 | |
| 1016491486 | Walk | Sometimes, a step taken on two beats of music; a slow. Transfer of weight from 1 foot to the other. Maintaining contact with the floor. | 77 | |
| 1016491487 | Waltz | One of the Smooth Rhythms. Open, open, open, close. 3/4 | 78 | |
| 1033114496 | Abduction | The movement of a limb or other part away from the midline of the body, or from another part. | 79 | |
| 1033114497 | Accent | Stress, emphasis. | 80 | |
| 1033114498 | Adduction | Move a limb or other part of the body toward the midline of the body or toward another part. | 81 | |
| 1033114499 | Asymmetrical | Having parts that fail to correspond to one another in shape, size, or arrangement; lacking symmetry. | 82 | |
| 1033114500 | Axial Movement | Flexion, extension, rotation. | 83 | |
| 1033114501 | Agnes De Mile 1 | To dance is to be out of yourself, larger, more powerful, more beautiful. This is power, it is glory on earth it is yours for the taking. | 84 | |
| 1033114502 | Melissa Hayden | Learning to walk set you free - learning to dance gives you the greatest freedom of all: to express with your whole self, the person you are. | 85 | |
| 1033114503 | Ted Shawn 1 | Dance is the only art in which we ourselves are the stuff of which it is made. | 86 | |
| 1033114504 | Anges De Mile 2 | Many other dancers have kicked higher, balanced longer or turned faster, these are poor substitutes for passion. | 87 | |
| 1033114505 | Ted Shawn 2 | It is the body and the body alone that is the instrument we play. | 88 | |
| 1033114506 | Martha Graham | Movement never lies. Nothing is more revealing than movement. Was an American modern dancer and choreographer whose influence on dance has been compared with the influence Picasso, alcoholic, choreographed dance till her old age, developed contraction. | 89 | |
| 1033114507 | Brushes | The act and sound of the foot pointed on the floor. Either tendus, dégagés, or bevel. | 90 | |
| 1033114508 | Bevel | The foot, although pointed, will go 'off track' a bit from the straight line of the leg. Some consider it not 'pure' technique, indeed because it's not a straight line from hip to toe. Some like it because in arabesque, the line tends to go upwards into the sky (which looks like the leg is higher than it actually is). | 91 | |
| 1033114509 | Centre Of Gravity | The core that anchors your balance. | 92 | |
| 1033114510 | Cervical Spine | The top seventh vertebra of your spine. The cervical spine is the area of the vertebral column commonly referred to as the neck. | 93 | |
| 1033114511 | Circumduction | The full of rotation, of arms. A circular motion of a limb. | 94 | |
| 1033114512 | Collapse | To fall down to the floor, locomotor movement. | 95 | |
| 1033114513 | Dance Walk | To walk with your toes first. | 96 | |
| 1033114514 | Demi Bras | Demi Seconde but with palms forward. | 97 | |
| 1033114515 | Demi Pointe | Similar to rise, when you go onto the balls of your feet. | 98 | |
| 1033114516 | Dimension | Measurement of the space, taken up by the movement. | 99 | |
| 1033114517 | Directions | Movement towards a destination. | 100 | |
| 1033114518 | Direct Path | A direct line of motion to dance too. | 101 | |
| 1033114519 | Dissonance | Lacking harmony, unpleasantness, movement that does not flow or resolve. | 102 | |
| 1033114520 | Dorsiflexion | Flexing of the foot, or contraction of the foot. | 103 | |
| 1033114521 | Duple Time | A metric pulse that is divided into even sections. | 104 | |
| 1033114522 | Dynamics | Movement quality, each movement has a dynamic, large or small. | 105 | |
| 1033114523 | External Oblique | The middle sides of the torso. | 106 | |
| 1033114524 | Flexion | Contraction of the muscles. | 107 | |
| 1033114525 | En bas | Dancer's lower arms, brava. | 108 | |
| 1033114526 | En haut | Dancer's up in the air arms, fifth or fourth position. | 109 | |
| 1033114527 | Frog Position | The butterfly position, toes touching, sitting down, can do it front or on stomach. | 110 | |
| 1033114528 | Gallop | Step and leap, also a lively dance to duple metre. Step and leap. | 111 | |
| 1033114529 | Gluteals | The largest and most superficial of the three gluteal muscles. It makes up a large portion of the shape and appearance of the buttocks. | 112 | |
| 1033114530 | Grand Plie | Big bending of the knees to the floor and rising, either in first position or third. | 113 | |
| 1033114531 | Hesitate or Rubato | The temporary disregarding of strict tempo to allow an expressive quickening or slackening, usually without altering the overall pace. | 114 | |
| 1033114532 | Indirect Path | Random or improvised dance movements that follow a path and destination. | 115 | |
| 1033114533 | Internal Oblique | The inner cross of the torso, the bottom part of the torso. The core, your abdomen. | 116 | |
| 1033114534 | Latissimus Dorsi | The inner muscles near your armpits, the wings, and inner back muscles. | 117 | |
| 1033114535 | Levels | Low, medium, high. | 118 | |
| 1033114536 | Locomotor Movement | Movement in which the body travels across space. Even, rhythm. | 119 | |
| 1033114537 | Long Sitting | When the legs are extended in front, and your back up straight. | 120 | |
| 1033114538 | Lumbar Spine | The lower back, where the spine curves inward toward the abdomen. | 121 | |
| 1033114539 | Lyrical | Musical, smooth, flowing, and imaginative movement. | 122 | |
| 1033114540 | Medial Rotation | Rotation towards the center of the body. | 123 | |
| 1033114541 | Meter | The rhythm of a piece, determined by the number and length of feet in a line. | 124 | |
| 1033114542 | Movement Pattern | The pattern or sequence of your dance. | 125 | |
| 1033114543 | Note Values | Indicates the relative duration of a note in music. | 126 | |
| 1033114544 | Organic | Isa Dora Duncan's movement, natural movement, abstract. | 127 | |
| 1033114545 | Over Curve | The upper curve of a swing. | 128 | |
| 1033114546 | Passeé | Used as a transitional step and retierè. | 129 | |
| 1033114547 | Patella | The knee cap and knee pan. | 130 | |
| 1033114548 | Pattern | Repeated design and sequence in dance. | 131 | |
| 1033114549 | Pectoralis Major | The chest muscle that is connected to the shoulder which allows you to rotate your arms. | 132 | |
| 1033114550 | Percussive | Punctuated movement, stop, and start movement. | 133 | |
| 1033114551 | Placement | The placement of your body in a dance or the preparation of dance. Parallel or turned out. Parallel hips placed over the feet. Placement will differ due to the positioning. | 134 | |
| 1033114552 | Planes Of Action | The surface on where you dance or move you move your body. | 135 | |
| 1033114553 | Plantar Flexion | The act of pointing your toes. | 136 | |
| 1033114554 | Prance | Pointed legs in front attitude, changing from one foot to the other. | 137 | |
| 1033114555 | Primary Accent | Accent on the first beat. | 138 | |
| 1033114556 | Pronation | Inward rotation of the ankles. | 139 | |
| 1033114557 | Quadriceps Fermoris | A large muscle group that includes the four prevailing muscles on the front of the thigh. | 140 | |
| 1033114558 | Supination | Outward rotation of the ankles. | 141 | |
| 1033114559 | Quality Of Movement | The excellence of movement that requires emotion and technique. | 142 | |
| 1033114560 | Quality | General excellence of standard or level. | 143 | |
| 1033114561 | Range | Related to dimension, upper and lower movements. | 144 | |
| 1033114562 | Rectus Abdominis | The middle section of your inner abs, the v of your torso. | 145 | |
| 1033114563 | Rhythmic Pattern | Musical, the pulse of music to dance t0. The use of drums to keep the pulse of movement. | 146 | |
| 1033114564 | Rotation | The act of turning. | 147 | |
| 1033114565 | Rump Sprung | Over extension or flexibility. | 148 | |
| 1033114566 | Sartorius | The longest muscle in the human body, is a long thin muscle that runs down the length of the thigh and connects to the hip bone. | 149 | |
| 1033114567 | Scaupla | The shoulder blade. | 150 | |
| 1033114568 | Secondary Accent | Accent on the second strongest beat. | 151 | |
| 1033114569 | Sequential Relaxation | Relax from the ground up, rag doll position. | 152 | |
| 1033114570 | Shin Splints | Impact injury, inflammation of the shins and knees. | 153 | |
| 1033114571 | Sickle | Pointed toes taken too far, sometimes used in modern dance for emotion and contraction. | 154 | |
| 1033114572 | Sits Bones | Bones in the bottom of your pelvis. | 155 | |
| 1033114573 | Step Pattern | The dance steps that make up a sequence or pattern. | 156 | |
| 1033114574 | Sternum | Breast bone, a flat bone that lies in the middle front part of the rib cage. | 157 | |
| 1033114575 | Straddle Position | Seated with your legs straight apart. | 158 | |
| 1033114576 | Stylization | Adding style, facial expression, or emotions to your dancing. | 159 | |
| 1033114577 | Style | Your manner of dancing, ballet, modern, etc. | 160 | |
| 1033114578 | Supporting Leg | Stationary leg, by the bar. | 161 | |
| 1033114579 | Suspended | Moment before collapse, to hold a position at an angle. | 162 | |
| 1033114580 | Sustain | Controlled or paused movement, to hold a dance movement. | 163 | |
| 1033114581 | Symmetrical | Made up of exactly similar parts facing each other or around an axis. | 164 | |
| 1033114582 | Tension | Stretch tight, offering resistant, tense, muscle movement. | 165 | |
| 1033114583 | Temps Levé | A hop, in ballet terms. | 166 | |
| 1033114584 | Time Signature | When music is divided into beats per measure. | 167 | |
| 1033114586 | Thoracic Spine | The middle segment of the vertebral column, between the cervical vertebrae and the lumbar vertebrae. | 168 | |
| 1033114587 | Under Curve | Bottom half of a swing. | 169 | |
| 1033114588 | Underlyining Beat | The underlying pulse of a dance or music. | 170 | |
| 1033114589 | Vertabra | A single piece of the spine. | 171 | |
| 1033114590 | Vibratory | Shaking or trembling a part of the body for dance purposes. | 172 | |
| 1033114591 | Working Leg | The leg that is moving opposite to the supporting leg. | 173 | |
| 1033303791 | Axis | An imaginary line about which a body rotates. | 174 | |
| 1033348798 | Hamstrings | A group of tendons contracted by three posterior thigh muscles. | 175 | |
| 1033393374 | Floor Pattern | Locomotor movements that make a pathway on the floor. | 176 | |
| 1033393375 | Focus | Hard and soft dancing, to concentrate on particular movements with the use of dynamics. | 177 | |
| 1033393376 | Fourth Position Open | The heels are aligned and spread apart. | 178 | |
| 1033393377 | Half Toe | A ballet jump, similar to a relevé. | 179 | |
| 1033401872 | Jump | Transfer of weight from 2 feet to 2 feet. | 180 | |
| 1033407079 | Primary | Swing: Fluid, circular, pivot, momentum. Sustain: Pause, continuous time, enduring, flow. Percussive: Isolated, levels, bold, beat. | 181 | |
| 1033407080 | Secondary | Collapse: Release, heavy, fall, crumple. Suspend: Hold, positional strength, lift, seize. Vibratory: Rhythm, tremble, pulse, anger. | 182 | |
| 1033427192 | Loie Fuller | A pioneer of both modern dance and theatrical lighting techniques. The Serpentine Dance. | 183 | |
| 1033427193 | Isaclora Duncan | Philosophy of dance moved away from rigid ballet technique and towards what she perceived as natural movement. To restore dance to a high art form instead of entertainment, she sought the connection between emotions and movement. (May 27, 1877 - September 14, 1927) was an American dancer. | 184 | |
| 1033427194 | Ruth St. Denis | Was a modern dance pioneer, introducing eastern ideas into the art. She was the co-founder of the American Denishawn School of Dance and the teacher of several notable performers. | 185 | |
| 1033427195 | Ted Shawn | One of the first notable male pioneers of American modern dance, he is also responsible for the creation of the well known all-male company Ted Shawn and His Men Dancers. | 186 | |
| 1033427196 | Doris Humphrey | Was a dancer and choreographer of the early twentieth century, the second generation modern dance pioneers who followed their forerunners, in exploring the use of breath and developing techniques still taught today. | 187 | |
| 1033427197 | Merce Cunningham | As an American dancer and choreographer who was at the forefront of the American avant-garde for more than 50 years. Throughout much of his life, Cunningham was considered one of the greatest creative forces in American dance. | 188 | |
| 1033427198 | Alvin Ailey | Was an African-American choreographer and activist who founded the Alvin Ailey American Dance Theater in New York City. Ailey is credited with popularizing modern dance and revolutionizing African-American participation in 20th century concert dance. | 189 | |
| 1033427199 | Twyla Tharp | Since graduating from Barnard College in 1963, Ms. Tharp has choreographed more than one hundred sixty works: one hundred twenty-nine dances, twelve television specials, six Hollywood movies, four full-length ballets, four Broadway shows and two figure skating routines. Her dances are known for creativity, wit and technical precision coupled with a streetwise nonchalance. | 190 |
