Rotational Interia

always been known for the risky and powerful movements which are often why dancers retire from the company. The dancer’s movements were often very intense and emotive, such as the “throws” across the stage in which the dancers would, almost violently, launch themselves across the stage in different forms (leaps, falls and flips to name a few). Another section where the movements were emotive is where the dancers were thrusting their hips in different positions to perhaps show sexuality in “self”.

Another common feature of all the dances is that the music is an irregular rhythm, creating suspense and standing out as individual. Kylian’s choreography uses the ability to isolate and coordinate different body parts as well as the use of hands to communicate meaning in all of his dances. Humor is often created as a result in over the top facial expressions like in ‘six dances’. Kylian as a contemporary choreographer uses stillness as a choreographic device in all of his dances. Another unique element to his dance style is the entrances and exits of the performers. He explores space’s limitations and capabilities making the entrances and exits part of the dance. In all of Jiri Kylian’s dances, the dancers enter and exit the stage into darkness rather than through wings. The dancers in all Jiri Kylian’s Black and white ballets, dance predominately in a large group, with individuals or pairs breaking off to do their individual movements before soon joining back in with the group.

As the steady beat helped travel the dancer to the center of the stage, the musicians then switched to syncopated rhythms. As the syncopated rhythms would play, the performer would become more rigid in his movements. The dancer would use his wrists in sharp motions as if jerking his hands to the new beat. Also, the dancer would start off by rolling his neck in circles and this motion would transition into quick turns. The turns would start off in the squatting position and end up all

Dance began as a form of communication and storytelling. Thousands of years ago dancing served as a way for people to tell a story and helped distract themselves of the hardships they faced. Furthermore, dance was a form of storytelling through communication, which then turned into using storytelling through dance as entertainment. According to the History World, many dancers during the BC time danced in front of only a few people to get a story across. That later turned into hundreds of thousands of people as dance was used by many. Today, dance is also a form of entertainment and storytelling, but in a modern sense. However, today perfection and technique are stressed more than they were in the past. Yet, the passion for dance has not changed. Many dancers who share this passion also have many of the same qualities. Among a discourse community of trained dancers, one expects to find individuals who are healthy and active athletes, expect perfection from themselves through competition, and religiously attend dance performances.

There are some dance poles that are designed with multiple parts, a few models with dual capabilities, and there’s also one type that spins freely while secured in a high-quality mount. The latter is known in the industry as the rotating type of pole, and gives you that spinning action, even you don’t pull off a spinning move. Using this type of dance pole can be daunting at first since the unit will feature a faster spin, especially if the dance moves requires you to take a few spins. While the spins can be faster and appears to be complex, this type of dance pole works for certain dancers who want to show off their fancy tricks and dance poses. If you use this type of pole to showcase the dance moves, your audience will enjoy the performances

Dance demands the same physical skills that are required in other sports. Flexibility, strength, and endurance are key characteristics that most dancers need to posses. As with other “athletes,” most dancers are not born with these abilities but must establish them through practice and repetitive training. Similar to traditional sports practices, dance rehearsals are extensive and require diligence, dedication, and patience from the dancers as they will have to repeat exercises and stretches to perfect their technique and stay on

a) Many ask, “How can dance be a sport? You can't judge on time and the scoring is subjective!” Just like figure skaters, competitive dancers are judged on many criteria: technique, posture, timing, line, hold, poise, togetherness, expression, presentation, power, and foot or leg action. Dancers have a lot on their minds while performing. They are constantly asking themselves, am I extending correctly? Is my technique right? Is my head facing the right direction?

Dancing is a recreational activity that has been enjoyed by millions of people for centuries. There have been countless styles of dance and thousands of memorized steps that have been performed in front of people or even just simply enjoyed alone without and audience. When a handful those thousands of steps come together, it creates a routine. Even though there are countless dancers that are breathtaking when they perform the routine in front of and audience, most dancers cannot be proficient without someone to assemble those countless steps together to create something awe inspiring, beautiful, and entertaining to watch. Dance is a world of constant change due to the want of awe, the need to produce something unique, and the necessity to catch the audience’s attention. Although many people believe some dance styles have not changed for centuries, innovative choreographers flip dance styles upside down with their unique approaches.

A lone performer begins a phrase facing left in a standing position with legs apart, head toward the ceiling, and the left arm extended to the sky. She swings the lone arm with her torso in a circle (clockwise to the observer, counter-clockwise to her); touching the ground and coming back up and around, like the swing of a heavy elephant trunk. The momentum of the swing causes her body to spin clockwise in place with her right leg extended to the rear, but quickly pulled in to a pirouette position as she finishes the turn (an eighth of turn short of facing the audience). The ballet posture quickly disappears as she crouches down, facing the floor with both arms hanging down between her legs. Her head pops up like she’s alerted to danger, followed by a sudden turn of the torso to her left (our right) in a dipping motion. Her right leg is lifted (bent) forward as her arms windmills backwards (like a swimmer’s backstroke) with elbows bent; it looks like a port de bras pinwheel. Her arms pause as her lifted foot lands. She repeats the short torso dip and arm pinwheel motion, but this time her right foot kicks forward to spin her 180 degrees (now facing our left). With her right arm hanging down emulating an elephant trunk again, she turns on the ball of her right foot 3/4 of a turn clockwise (now facing the audience) to swing her “trunk” above her head. This performer was clearly channeling a baby elephant.

1.1.1 Before starting this chapter it might be useful for you to write out your definition of dance. Let’s pretend for a moment that aliens landed on earth looking for intelligent life. Obviously they ended up at your apartment and asked

The directors endlessly drilled their individual pieces down to the very move in order to make sure that every dancer picked up the essentials. Like engine components, everybody was required to work together seamlessly and undergo maintenance in order to produce the greatest visual effect. To achieve the desired image, our directors casted us into their designed formations, deciding which part of the machine we would be. From there, it was a matter of repetition in order to ensure that the overall choreographic set kept its fluidity and would not rust over

Dancers must have strong core muscles, strong arms, strong legs, and so on. Dr. McNitt-Gray said, “Dancers are some of the toughest athletes in the world.”

The body systems that I saw on the dance show which was muscles, bones, organs, breath, balance, and reflexes. The inner on this dance was senses, emotions, though and intentions. Therefore, the elements of actions that I saw during the dance show which was the movement pauses, and movements of relative stillness. In other words, I also think that from the elements of action it shows their doing the same movements and the rhythm.

Alese and I are on the ground in between the windows given by the other dancers. We incorporate a contemporary style to start off with by doing a spin and extending the leg. During studio days we learned the sparkle, step-touch, swing dancing, improvisation and hip hop. We applied each of these movements into our dance. We had many level changes, from rolling on the floor to jumping into our sparkles. Our rhythmic changes varied from medium tempos in the beginning of the song to fast tempos towards the end. Space was an issue with our group because we had to have enough room to do our spins and roll on the ground while still staying in

Also, injuries are less common. Therefore, dance should not be considered a sport. "Dance is not a sport because there are no winners or losers, also there are no limitations or rules" (Guarino). These people are mistaken because, dance competition judges score each performance based on Technique (1-25 points), Style and Execution (1-25 points), Showmanship (1-20 points), Costume (1-10 points), Choreography (1-10 points), Degree of Difficulty (1-5 points) and Age Appropriate Performance (1-5 points) for a maximum possible 100 points. A final adjudicated score is determined by an average of all judges scores. After this all dancers are put on stage and awarded with trophies 1st-10th place depending on the 1-100 average scoring from the judges. Therefore, dancers do have a set of rules and scoring just like any other athlete. Regarding injuries, they do occur. Most dance injuries are long-term because of the physical stress constantly being put on a dancers body. There are also instant injuries that happen while dancing, most commonly occurring in the knees, ankles, back, neck or hips. "The physical ability and discipline expected of a dancer can be easily related to those of an athlete and increasingly, dance critics are describing dancers as athletes" (Ailey). Ultimately, dancers are consistently proving, even to the critics, that they obtain the skill needed to be considered an