The sense of the location of body parts in relation to the ground and each other is called the
Definitions of key terms used in our GCSE Dance specification (8236). Students should be familiar with and gain understanding of these terms. Show
AccessoryAn additional item of costume, for example gloves. ActionsWhat a dancer does eg travelling, turning, elevation, gesture, stillness, use of body parts, floor-work and the transference of weight. AccelerationSpeeding up the movement. AccompanimentThe sound that you hear during a dance. For example, percussion. AccumulationWhen a dancer performs a series of movements and others join in at different times until all perform in unison. Air patternA design that is traced in the air by part of the body. AlignmentCorrect placement of body parts in relation to each other. AppreciationRecognition and understanding of the qualities of dance. Artistic intentionThe aim of a dance; what the choreographer aims to communicate. ArtistryCreative skill. AuditoryRelating to sound. Aural settingAn audible accompaniment to the dance such as music, words, song and natural sound (or silence). BalanceA steady or held position achieved by an even distribution of weight. BinaryA composition in two parts or sections. CanonWhen the same movements overlap in time. Choreographic approachThe way in which a choreographer makes the dance. Choreographic devicesMethods used to develop and vary material. Choreographic intentionThe aim of the dance; what the choreographer aims to communicate. Choreographic processesActivities involved in creating dance such as improvisation, selection and development. ChoreographyThe art of creating dance. ClimaxThe most significant moment of the dance. ComplementaryPerform actions or shapes that are similar to but not exactly the same as another dancer’s. Constituent featuresCharacteristics of choreography such as style, stimulus, subject matter, number/gender of dancers, action content, choreographic principles, form and structure, physical and aural settings. ContrastMovements or shapes that have nothing in common. ControlThe ability to start and stop movement, change direction and hold a shape efficiently. CoordinationThe efficient combination of body parts. CostumeClothing worn by dancers in performance. CounterpointWhen dancers perform different phrases simultaneously. Critical appreciationEvaluation of dance based upon knowledge and understanding, including original insights. Dance filmWhere dance and film are both integral to a work; this includes documentary, animation, dance for camera and a screen adaption of a stage work. Dance for cameraWhere the choreographer collaborates with (or is) the film-maker; where the intention is to produce a dance work in a multi-media form that cannot be achieved in live performance. DancewearWhat the dancer wears for class and rehearsal. DecelerationSlowing down the movement. DevelopmentThe way in which movement material is manipulated. DirectionThe facing of a movement. DuetTwo performers. DynamicsThe qualities of movement based upon variations in speed, strength and flow. Elements of danceActions, space, dynamics and relationships. ElevationThe action of ‘going up’ without support, such as in a jump. End-stageA performance space with the audience on one side; also known as ‘end-on’. EpisodicA choreography with several sections, linked by a theme. ExecutionCarrying out actions with the required intention. Expressive skillsAspects that contribute to performance artistry and that engage the audience, such as focus and musicality. ExtensionLengthening one or more muscles or limbs. Facial expressionUse of the face to show mood, feeling or character. Features of productionLighting, set, properties, costume and aural setting. FlexibilityThe range of movement in the joints (involving muscles, tendons and ligaments). Focus (use of)Use of the eyes to enhance performance or interpretative qualities. FormThe overall shape and structure of a dance. FormationsShapes or patterns created in space by dancers. FragmentationUse of parts of a phrase or motif. HighlightsImportant moments of a dance. IdeationalRelating to ideas or concepts. ImprovisationExploration or generation of movements without planning. In-the-roundA performing area with the audience seated on all sides. IntentionAim or desired outcome. InterpretationFinding the meaning that is in the movement or finding the movement that is in the idea. IsolationAn independent movement of part of the body. KinaestheticSensory perception (or awareness) of movement and position. LevelsDistance from the ground: low, medium or high. LightingThe illumination of the performance area. Logical sequenceThe flow of phrases or sections of a dance. Manipulation of numberHow the number of dancers in a group is used. Mental rehearsalThinking through or visualising the dance. Mental skillsThese include commitment, concentration, confidence, movement memory, systematic repetition, mental rehearsal, rehearsal discipline, planning of rehearsal, response to feedback and capacity to improve. MobilityThe range of movement in a joint; the ability to move fluently from action to action. MotifA movement phrase encapsulating an idea that is repeated and developed throughout the dance. Motif developmentWays in which a movement phrase can be varied. Movement materialThe matter of dance: actions, space, dynamics and relationships. Movement memoryThe automatic recall of learned movement material, without conscious thought. MusicalityThe ability to make the unique qualities of the accompaniment evident in performance. NarrativeDance that tells a story. PathwaysDesigns traced in space (on the floor or in the air). Patterns (spatial)A repeated design traced in space (on the floor or in the air). PerformanceThe presentation of dance to an audience. Performance (personal)Acquisition and development of physical and expressive skills. Performance environmentsDifferent settings for dance such as in-the-round, proscenium and site-sensitive. PhraseA short sequence of linked movements. PhrasingThe way in which the energy is distributed in the execution of a movement phrase. Physical skillsAspects enabling effective performance such as posture, alignment, balance, coordination, control, flexibility, mobility, strength, stamina, extension and isolation. PostureThe way the body is held. Professional workOriginal choreography by an individual or company that is recognised nationally or internationally. ProjectionThe energy the dancer uses to connect with and draw in the audience. Prop/propertyA portable object that is used in a dance, for example a suitcase. ProsceniumThe arch or opening that creates the effect of a picture frame and separates the stage from the auditorium. Rehearsal disciplineAttributes and skills required for refining performance such as commitment, systematic repetition, teamwork, responsibility and effective use of time. RelationshipsThe ways in which dancers interact; the connections between dancers. RepetitionPerforming the same action or phrase again. RetrogradeReversing a movement phrase. Rhythmic contentRepeated patterns of sound or movement. RondoA music or dance form with alternating and repeating sections eg verse and chorus. Safe executionCarrying out actions safely. Safe working practicePersonal care, respect for others, safe execution and preparation and recovery from dancing. Sensitivity to other dancersAwareness of and connection to other dancers. Site sensitiveDances that are designed for (or relate to) non-theatre spaces. SoloOne performer. SpaceThe ‘where’ of movement such as levels, directions, pathways, shapes, designs and patterns. Spatial awarenessConsciousness of the surrounding space and its effective use. Spatial designThe way that elements of space have been considered, utilised and designed (can be personal space and general space). Staging/setThe presentation of dance in the performing space including set, furniture, props, projection and backdrop. StaminaAbility to maintain physical and mental energy over periods of time. Stimulus/stimuliInspiration for an idea or movement. StrengthMuscular power. StructureThe way in which material is organised to create the whole. Structuring devicesThe ways in which a dance is made, built, ordered or organised. StyleCharacteristic way of dancing. Style fusionThe combination of features of two or more styles. Systematic repetitionRepeating something in an arranged or ordered way. TactileRelating to the sense of touch. Technical skillsThese include accuracy of action, timing, dynamic, rhythmic and spatial content and the reproduction of movement in a stylistically accurate way. TernaryA composition in three parts. TimingThe use of time or counts when matching movements to sound and/or other dancers. TransitionsLinks between dance phrases or sections. UnisonTwo or more dancers performing the same movement at the same time. UnityA sense of ‘wholeness’ or harmony. VisualRelating to sight. What is the sense of body position called?Proprioception, otherwise known as kinesthesia, is your body's ability to sense movement, action, and location. It's present in every muscle movement you have.
What is the sense of proprioception?Proprioception is the body awareness sense. It tells us where our body parts are without having to look for them. This helps to know where body parts are relative to each other, which strengthens our coordination skills. It also tells us how much force to use when we're holding, pushing, pulling, or lifting objects.
What is the sense of the relative positioning of Neighbouring body parts called?4.5.
Proprioception from Latin proprius meaning “one's own,” “individual,” and “perception” is the sense of the relative position of neighboring parts of the body and the strength being employed in movement.
What is kinesthetic sense?The term 'kinaesthesia' was coined by Bastian (1888) and refers to the ability to sense the position and movement of our limbs and trunk. It is a mysterious sense since, by comparison with our other senses such as vision and hearing, we are largely unaware of it in our daily activities.
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