WGU-Dance & Critical Thinking
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| Choreography | Formal composition of dance into a meaningful whole, expressing a theme, narrative, or emotion
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| Ritual Dance | Possessing spiritual, religious, ceremonial, symbolic, or magical value
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| Social Dance | Dance with communal, recreational, & social function
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| Theatre Dance | Conceived purely as art & intended to be performed before an audience
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| Force | Amount of energy exerted as dancers perform; movements performed with different amount of force evokes different moods & feelings
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| Dynamics | Describes variety of force & energy expended over time & increases the variety & interest of a dance
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| Movement Quality | Percussive movements: start & stop abruptly, giving sharp definition between positions; sustaining movements: fluid, organic motions as they move from one pose to another
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| Positive/Negative | Audience visualizes the dancer as "positive" space carving through "negative" space of the dancers setting
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| Focus | Choreography directs viewers focus to focal points
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| Levels | Refers to dancers body's relationship to the floor
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| Symmetry/Asymmetry | Principle governing placement of dancers bodies; symmetry: stability & security, asymmetry: stimulation & excitement
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| Relationships | Human: reciprocal actions that mirror human interactions; movement: based on visual qualities
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| Measurement | Mechanical: clocks, metronome, rhythm; natural: heartbeats, breathing, muscle contractions
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| Tempo/Duration | Tempo is speed of dance or speed at which timing is set to measure beats; duration is length of time it takes to perform an action
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| Compositional Elements | Movement, phrase, combination, performance; choreography makes up composition
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| Compositional Forms | “AB” is simple 2 part form, "ABA" form adds complexity; “narrative” form arranges movements & props to tell a story, abstract” form evokes emotional response from the viewer
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| Positioning | Dancers position on stage & in relation to each other is important in contributing to meaning & mood
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| Improvisation | Dancers personal expression
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| Content | Literal: dancers use recognizable movements; non-literal: abstract movements for visual impact rather than narrative
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| Lighting | Used more intensely to show mood than in theatre; directs audience to certain stage areas
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| Theatrical Elements | Costumes & props that do not take away form the dance movements
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| Music & Sound | Sets rhythm & establishes mood; also ambient noises
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| Folk Dance | Ritual dance, transmitted to each succeeding generation by demonstration; source of ethnic & national pride
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| Court Dance | Embraced by the aristocracy of Europe, refined, less robust or active, strictly prescribed & highly stylized
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| Ballet | Classical form, features staged presentation of group or solo dancing with music, costumes, scenery, & narrative story
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| Modern Dance | Movement with out inhibition; natural, spontaneous & free, performed barefooted
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| Jazz Dance | Movements & gestures inspired by jazz
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| Jazz Dance | Tap Dance
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| Jazz Dance | Swing Dance
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| Jazz Dance | Boogie-Woogie
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| Jazz Dance | Cakewalk
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| Jazz Dance | Charleston
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| Jazz Dance | Jitterbug
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| Jazz Dance | Break Dancing
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| Jazz Dance | Hip Hop
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| Court Dance | Allemande
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| Court Dance | Courante
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| Court Dance | Sarabande
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| Court Dance | Gigue (Jig)
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| Court Dance | Passepied
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| Court Dance | Bourree
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| Court Dance | Pavane
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| Court Dance | Gavatte
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| Court Dance | Galliard
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| Court Dance | Muneut
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| Arabesque | Classical ballet pose in which the body is supported on one leg & other leg is extended behind with knee straight
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| Virtuoso | Display of impressive technique or skill
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| Mise en scene | Elements of ballet production: sets, scenery, props, costumes, makeup lighting, & special effects
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| En pointe | Ballet skill of dancing on tip toes
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| Pirouette | Ballet; a slow turn on one leg, standing en pointe
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| Fouette | Ballet; a fast spin on one leg, driven by the whipping motion of the other leg
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| Entrechat | Ballet; a jump straight upward, changing the position of the feet while airborne
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| Jeté | Ballet; a leap, pushing off from one leg and landing on the other
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| Arabesque | Ballet; a position, standing on one leg with the other leg extended straight backward
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| Attitude | Ballet; a position, standing on one leg with the other leg extended backward with the knee bent
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| Tour | Ballet; a turn
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| Saute | Ballet; a jump
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| Battement | Ballet; a kick
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| Pas | Ballet; a step, or a dance
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| Pas de deux | Ballet; a "dance for two," or duet
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| Pas seul | Ballet; a "dance alone," or solo
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| Formal Criticism | Only looks at the things you see (or hear) in the work of art or music; the "elements" that make up the piece
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| Contextual Criticism | Looks at the facts and information about the artist, the culture and history involved, the response to the artwork, and also considers an artist's cultural experiences
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| Structuralism | Looks for the underlying myths and symbols that occur in artworks from various periods and tries to make connections with how artists use these symbols to communicate ideas; the relationship of these elements within the artwork to one another
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| Deconstruction | Looks to take apart the underlying structure in an artwork and states that no single meaning or absolute truth can be derived from the artwork
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| Normative Value | Set forth as norms or ideals or what ought to be
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| Intrinsic Value | Value of an activity or object involving the immediacy of feeling; belonging to its essential nature or constitution
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| Extrinsic Value | Applies to what is distinctly outside an activity or object; or is not contained in or derived from its essential nature
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Created by:
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