Universo

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1

ESCOBILLA

TI CO TI CO PAM - - TA TI CO PAM
TI CO TI CO PAM - - TA TI CO PAM - - TA TI CO PAM - - TA TI CO PAM


TI CO TI CO PAM - - - TI CO PAM
TI CO TI CO PAM - - - TI CO PAM - - - TI CO PAM - - - TI CO PAM


TI CO TI CO TI CO TI CO TI CO PA PAM PAM
TI CO TI CO TI CO TI CO TI CO TI CO TI CO TI CO TI CO TI CO TI CO PA PAM PAM

TI CO TI CO PAM TA TI CO TI CO PAM
TI CO TI CO PAM TA TI CO TI CO PAM TA TI CO TI CO PAM TA TI CO TI CO PAM


SHORT(D) SHORT(I) LONG(D) SHORT(I) SHORT(D) LONG(I)



- 1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 - 10 - 11 - 12


- 1 TATATA - 4 TATATA - 7 - TA - 9 - TA - 11 - TA


- TATATA - 4 TATATA - 7 TATA - 9 TATA - TA - TA

TECHNIQUE ASSESSMENT CRITERIA

GRAHAM

1. Continuing development in the understanding and execution of stylistics principles
2. Development of strength and execution of the Graham-Based floor work
3. Clear demonstration of the use of gravity
4. Clear understanding of the shift of weight
5. Clear articulation of the movement initiating from the centre, leading to cohesion between the upper and lower extremities of the body
6. Clear use of the back
7. Development of performance skills

HUMPHREY

1. Continuing development in the understanding and execution of the fall and recovery principles
2. Clear and consistent awareness of placement and alignment in relation to the pelvic connection
3. Sustained development of physical and rhythmic coordination, strength and stamina
4. Deepening sense of musicality and dynamics
5. Consistent awareness and application of the use of the breath as it relates to the central principles
6. Level of continuous commitment in class (concentration, application of corrections and general application)
7. Quality of execution and performance of assessment material

CUNNINGHAM

1. Clear consistent awareness of placement and alignment
2. Good use of the torso; clear demonstration of upper, middle and lower back curves/arches/twists/tilts, shown separately and in combination
3. Clear articulation of legs and feet
4. Cohesion between upper and lower extremities of the body
5. Fluidity and ease when executing multi-directional sequences of movement
6. Clear demonstration of a range of movement dynamics
7. Good elevation and landings
8. Strong use of interpretative skills

RELEASE

1. Ability to experience multi-directional dynamic patterns of alignment, which in turn give the greatest freedom and coordination in movement
2. Capacity to experience autonomy of skull, limbs and torso
3. Economy of movement, moving through space minimising unnecessary strain
   
4. An awareness of breath and ability to allow breath to move freely
   
5. Receptivity to a partner
6. The ability to be open to experience "merging" with an image
   
7. Openness to change
8. Openness to engage in a process of cultivating kinaesthetic awareness

BALLET

1. Understanding of the specific stylistic principles of the Ballet technique
2. Good placement and alignment throughout barre and centre work
3. Commitment to the learning process (concentration and application of corrections)
4. Musicality and developing of performance skills
   

ELEMENTS of CONSTRUCTION

1. MOTIF or Foundation of Construction

• Without repetition motifs could be forgotten.
• Without variation and contrast repetition of motifs would be dull.
• Lacking of climax or highlights motifs would lack content
• Without proportion and balance of the whole work each of the motifs could become almost eliminated or too dominant.
• Without transitions, motifs would be isolated movement statements. Transitions within the motif and between motifs are important in defining the phrase and section shaping of the dance.
• Without logical development from motif to motif, the them of the dance would be blurred

2. REPETITION

It must be recognise as a main device of the dance composition, and it should be clear in the form of development and variation. See repetition notes.

3. VARIATION & CONTRAST

Variation is to use the same content in different ways.
Contrast is to add new material within motif on repetition or variation. Sometimes this provides the climax or highlight in a dance

4. PROPORTION & BALANCE

They are complementary elements of construction.
Proportion is the size and magnitude of each part in relation to the whole.
Balance is the equilibrium of content within each of these proportionate parts of the whole.
Equal proportions may become :boring:

5. TRANSITION and Organic Form

Is a link between phrases, sections or motifs. If the transition is too long or becomes too important, it transforms on a phrase, not being a transition any more.
Logical, clear, easily performed could give a flavour of what is next as an introduction. Hesitation between phrases or an anticipation of movement to follow.
Organic means something that evolves naturally to another.

6. LOGICAL DEVELOPMENT

Is the natural growth from beginning to end of a dance piece. Beginning is a movement interpretation of the motivation or idea behind the dance. This movement is the identity to develop by actions, space, relationships and qualities with variation, repetition and contrasts. By giving identity, all movement appear relevant to the piece ensuring unification.

7. UNITY

If one part is missing meaning or doesn't fit, then the whole never becomes a whole, loosing sense and interest.