GYMNASTIC DANCE THEORY QUESTIONS FOR GRADES 1 TO 5
1.Clap and Count 4 bars of ¾.
2. What part of the head do you use in a forward roll?
Answer – Top of the back / spine.
3. Do you use your shoulders or back in a circle roll?
Answer – The shoulders.
4. Do we place the hands in a Cartwheel one at a time or at the same time?
Answer – One at a time.
1. Clap and Count 2 bars of 4/4.
2. Where do you place your hands in a Bridge?
Answer – They face in towards the feet, placed under the shoulders.
3. What position are your head and hands in a Headstand?
Answer – They make a triangle shape, head at the top of the triangle hands either side.
4. Is the back leg straight or bent in a Split Leap?
Answer – Straight.
1. What do we use to help us Turn?
Answer – We must use the eyes, head and arms.
2. Explain why we do a warm up?
Answer – The warm up should gently prepare the body for exercises by gradually increasing the heart rate and circulation.
3. What must you be careful of in a handstand into a forward Roll?
Answer – Not to go to high up in a handstand.
4. What must you do in a backward roll to help you go over?
Answer – We must push strongly on the arms.
1. Explain some Various Cartwheels?
Answer – 2 handed, one handed, second one handed, Ariel.
2. What part of the back do you bend in a Handstand to Bridge?
Answer – You bend the middle of the back?
3. Are the legs straight in a hitch kick?
Answer – Yes.
4. When recovering from a bridge, what must you do?
Answer – Tuck chin into chest, push up through the pelvis and bring your arms above your head.
5. Explain a Back Catch?
Answer – Holding the leg with both hands behind the body and pulling the leg towards the head.
1. Where do we place our hands in a Backward Walkover to make it easier?
Answer – As close as possible to the feet
2. Where do we place the arms in an elbow balance to sustain the balance?
Answer – Equal distance apart, underneath the shoulders.
3. Does the Toe touch the Floor in a Tick Tock?
Answer -Yes it does.
4. Explain the difference between a back drop and a back bend?
Answer – You go straight back in a back bend and you spiral the body in a back drop.
5. What is a Tail Spin?
Answer – Spin on the bottom completing one turn.
GLOSSARY OF TERMS
THEORY FOR THE GRADED MODERN EXAMINATIONS
Theoretical questions will be marked in the section entitled ‘Responses and Knowledge of Syllabus’. The candidate may be asked one or two questions in any one examination. The answers do not have to be an exact repetition of those written but should convey the same meaning.
1. Each candidate to show an example of any of the following arm lines.
There are several of each at differing heights.
2. Q. On the side stretch do the hips move?
A. No, the hips are still.
3. Q. When lying on the floor on your back what must you be careful to do?
A. Press the spine into the floor so that there is no space between the floor and your back.
4. Q. In the preparation for turns what must you be sure to use?
A. The head and eye line.
Questions may be asked from grade one which are relevant to this grade.
1. Q. On the forward body stretch what must we be careful not to do?
A. We must not push our hips backwards.
2. Q. On the back bend what must we be careful not to do?
A. We must not push our hips forward.
3. Q. On the controlled thigh exercises which part of our body do we use to stand up?
A. Our thighs not our backs.
4. Q. When contracting in the preparatory exercise for contraction where is the head held.
A. Chin tucked down towards the chest.
5. Q. When kicking forwards is the supporting leg bent or straight?
A. It is straight.
6. Q. When leaping is the back leg bent or straight?
A . It is straight.
Questions may be asked from previous grades which are relevant to this grade.
1. Q. What is an isolation?
A. When we use only one part of the body.
2. Q. In the general conditioning exercise at the barre what position do we place the feet on the lunge and foot pushes?
A. The feet are straight to maximise the stretch.
3. Q. When lifting the head and shoulder blades in the abdominal and contraction exercise where do we hold the head?
A. Chin tucked into the chest so that we don`t strain the neck.
4. Q. What does contraction mean?
A. To shorten.
5. Q. Is the leg turned out in 2nd in the side extension and side kick exercises?
A. Yes, to maximise the movement in the hip socket.
Questions may be asked from previous grades which are relevant to this grade.
1. Q. Define the word rhythm.
A. The regular occurrence of an accented beat or beats in a bar of music.
2. Q. Why do we use a variety of arm lines whilst dancing?
A. To develop style and presentation and to aid balance.
3. Q. Describe the position of the body as you bend the knees in the body roll exercise?
A. The back is held upright with the knees parallel over the toes.
4.Q. In the exercise for turns where do we place the chasse?
A. Sideways to keep us travelling in a straight line to the corner.
5.Q. An awareness of all stage directions should be shown. Questions may be asked on all alignments. (U.S, D.S. Stage R. etc).
Questions may be asked from previous grades which are relevant to this grade.
1. Q. Why do we start class with a warm up?
A. Warm up increases circulation to carry more oxygen and nutrients to all parts of the body, helping to prevent injury.
2. Q. Define syncopation.
A. Displacing the natural accent.
3. Q. What do we mean by lyrical arm lines?
A. Soft and flowing with a balletic quality.
4. Q. Describe and demonstrate the position of the body in a forward body stretch.
A. The body bends from the hips showing a flat back (like a table top) with the weight over the legs avoiding pushing the hips back.
5, Q. In the abdominal and stretch exercise when stretching sideways in straddle position what must we take care to do?
A. Keep both hips on the floor to maintain turn out.
6. Q. On inward and outward round kicks what must we be careful to do?
A. Ensure the working leg is turned out in 2nd position.
Theory is marked under the section entitled ‘Responses and Knowledge of Syllabus’.
Each candidate maybe asked up to 2 questions in any one examination. Questions from previous grades may be asked.
1) Demonstrate and announce the 5 positions of the feet (taught in class)
2) Demonstrate and announce the 5 positions of the arms and demi-seconde (taught in class)
3) Demonstrate the direction and announce each fixed point of the stage from 1 to 8 (taught in class)
4) Why is the 1st position of arms sometimes known as ‘the gateway’?
Response: Because all other arm positions may be approached by going through this position
5) How much distance should be between the 2 hands when the arms are in bras bas, 1st or 5th position?
Response: About the width of the face
1) Explain the meaning of the following terms and demonstrate the appropriate movements.
Plier = To bend
Sauter = To jump
Relever = To rise
Retirer = To withdraw
Frapper = To strike
2) Describe the meaning of pointe tendue en avant .
Response: A fully stretched foot and pointed toe extended forwards; the toe to the ground.
3) Describe the meaning of ‘pointe tendue à la seconde’.
Response: A fully stretched foot and pointed toe extended to the second position; the toe to the ground.
4) Describe the meaning of ‘pointe tendue en arrière’.
Response: A fully stretched foot and pointed toe extended backwards; the toe to the ground.
5) Starting from 1st , 3rd or 5th position, which part of the foot leads the way when executing a pointe tendue en avant?
Response: The heel.
6) Starting from 1st or 3rd or 5th position, which part of the foot leads the way when executing a pointe tendue en arrière?
Response: The toe.
7) Describe the meaning of ‘rond de jambe à terre’.
Response: A circular movement of the leg with the toe to the ground.
1) Explain the meaning of the following terms and demonstrate the appropriate movements
Derrière = Behind
Glisser = To slide or glide
Etendre = To extend or stretch
En Arrière = Backwards
Tourner = To turn
En Avant = Forwards
Elancer = To dart (demonstrating a soubresaut en avant)
2) In développé en avant and in développé en arrière, the working foot passes through 4 main positions. Which positions are these?
Response: The cou de pied, the retiré passé, attitude en l’air, (devant or derrière) before extending to a fully stretched 4th position en l’air.
3) In the cou de pied position for développés and for petits battements, the muscles of the buttocks must be tightly pulled up – Why is this this?
•To establish and to facilitate the turn–out from the hip joint.
•To prevent “sitting on the supporting hip”.
•To help with the balance
4) When the leg passes through the attitude position in développés, which parts of the body should be very strongly held and which parts should be relaxed?
§ The upper back should be very strongly held with the shoulders down and relaxed.
§ The neck remains erect, but is also relaxed, enabling the head to turn with ease when necessary.
§ In attitude devant, the raised foot should be pressed strongly upwards. In attitude derrière, the raised knee should be pressed strongly upwards.
Explain the meaning and demonstrate the concept of the following terms:
1) En face
Response: Facing (the audience or Point 1)
When the dancer faces Point 2 or Point 8 with the downstage leg placed forward, it is perceived by the audience to have crossed the upstage leg.
Response: Effaced or erased.
When the dancer faces Point 2 or Point 8 with the upstage leg placed forward, it is perceived by the audience to be in an open (no longer crossed) position in relation to the downstage leg.
Response: Literally: spread wide apart.
When the dancer stands en diagonale (in relation to the audience) in a pointe tendue à la seconde position with the head strictly in profile, either in line with the downstage or with the upstage shoulder , he/she is in the écarté alignment. The entire pose should express a maximum breadth of movement.
Response: To close.
This usually refers to the closing of a foot from an open position to either 1st, 3rd or 5th position.
6) What is the meaning of épaulement ?
Response: Epaulement is a term used in classical ballet which refers to the positioning of the head and shoulders within the range of the 5 positions of the legs and feet and in relation to the 8 Points of the stage. All rotary movements from the waist upwards involve the use of épaulement.
7) In 1st or 2nd position of feet en face, in what position is the head?
Response: En face to Point 1.
8) In 3rd, 4th or 5th positions of the feet en face, in what position is the head?
Response: 1/8 turned to the side of the front foot.
9) In the croisé or the effacé alignment, where is the position of the head?
Response: To the side of the front shoulder, facing Point 1.
1) Explain the meaning of and demonstrate the movements that exemplify the following terms :
Fondu = MeltedAssemblé Assembled or drawn together
En dehors = Outwards
En dedans = Inwards
Raccourci = Shortened
Grand = Large
Petit = Small
Balancer = To swing, sway or rock
Battu = Beaten
Cou de pied = Ankle (Literally : neck of foot)
En premier = In 1st position
En quatrième = In 4th position
En cinquième = In 5th position
2) In rond de jambe en l’air en dehors, what pattern of movement is formed by the fully stretched foot of the raised leg?
Response: The pattern of movement resembles the shape of a bow, (as in a bow & arrow).
3) In rond de jambe en l’air en dedans, what pattern of movement is formed by the fully stretched foot of the raised leg and wherein lies the difference between en dehors and en dedans?
Response: The same pattern as in rond de jambe en dehors, with the difference that the movement is traced in a reversed direction.
Straight Tap: Hit the ground with the ball of the foot, finishing in the air, using the ankle only.
Forward Tap: Hit the ground with the ball of the foot, finishing forward and in the air, using the ankle only.
Backward Tap: Hit the ground with the ball of the foot, finishing behind and in the air, using the ankle only.
Stamp: A heavy downward movement onto the flat of the foot. The weight can be on the working or supporting foot.
Hop: Stand on one foot, bend knee and lift into the air, landing on the ball of the same foot.
Spring: Stand on one foot, bend knee and lift into the air, landing lightly on the ball of the other foot.
Drop: Stand on one foot, bend knee and lift into the air, landing heavily onto the ball or flat of the other foot.
Jump: Stand feet together, bend knees and spring into the air, landing on the balls of the feet in any direction.
Heel Tap: Bend knee, hit the ground with the heel, finishing in the air.
Can be done in three ways: Standing on one foot, with ball of working foot on ground, or as a sharp dig.
Heel Beat: As in heel tap, but the heel finishes on the ground and is heavier.
Toe Tap: Stand on one leg the other knee bent behind, hit the ground with the toe, finishing in the air.
Toe Beat: As in toe tap, but the toe finishes on the ground and is heavier.
Ball Tap: Hit the ground with the ball of the foot, finishing in the air. Can be done in three ways: Standing on one foot, with heel of working foot on ground, or as a sharp dig.
Ball Beat: As in ball tap, but the ball finishes down and is heavier.
Shuffle: A forward and backward tap, counted &1 or less (&a or &&).
Ball Change: A transfer of weight from the ball of one foot to the ball or flat of the other foot, counted &1 or less
Ball tap – strike ground with ball of foot and up sharply, can be taken 3 ways: standing on one foot, with heel of working foot on ground or as a sharp dig.
Ball beat – As in BALL TAP but ball finishes down and the movement is heavier in tone.
Heel tap – flex knee, strike ground with ball of foot and up sharply. Can be taken 3 ways: standing on one foot, with ball of working foot on ground or as a sharp dig.
Toe beat – Flex knee, strike ground with toe finishing down and with heavier tone than toe tap Forward brush – broader movement than FORWARD TAP with swing coming from the knee and hip
Backward brush – broader movement than BACKWARD TAP with swing coming from the knee and hip Stomp – stand on the ball of one foot, push foot forward ending with a heavy heel beat
Scuff – a flat stamp carried forward and off the ground, supporting knee flexed
Tap spring – a forward tap followed immediately by a spring. Travelled or on one spot and very lightly executed.
Pick up – stand with feel slightly apart. Turn up the toe of one foot. Slap the foot backwards, hitting the ground with the ball and removing the heel. Cannot be repeated as both feet must be down for a pick – up.
Pick up step – a pick – up followed immediately by a step. Can be repeated on alternate feet.
4 beat cramp roll – spring onto RF, ball dig LF, heel beat RF, heel beat LF
5 beat cramp roll – tap spring onto RF, ball dig LF, heel beat RF, heel beat LF
Pick up spring– a pick – up follwed immediately by a spring. Cannot be repeated as both feet must be down for a pick – up
Pick – up hop – a pick – up follwed immediately by a hop. Cannot be repeated as both feet must be down for a pick – up
Flap – a forward tap followed immediately by a stamp. Weight on suppporting or working foot.
Opposition arms – the most natural movement, based on the law of balance with both arms swinging in opposite directions. The direction of opposition is determined by the head.
Parallel arms – both arms make 2 straight lines which move in the same direction and are always an equal distance apart.
Co ordinated arms – both arms move in the same direction at the same time. The lines may be low, medium, or high.
Horizontal arms – the arm line forms a right – angle to the body an arm line forming a right angle to the body
Pick up on one foot – stand on one foot, flex knee, turn up the toe of the same foot, slap the foot back with elevation, hitting the ground with the ball and removing the heel before landing on the ball of the same foot.
Pick up change – stand on one foot, flex knee, turn up the toe of the same foot, slap the foot back with elevation, hitting the ground with the ball and removing the heel before landing on the ball of the other foot.
Pull back – pick – up RF, pick – up change LF onto RF, ball dig LF
6 beat cramp roll – tap spring RF, tap spring LF, heel beat Rf, heel beat LF
3 beat ripple – stand on one foot: pick – up change preceded by forward tap
3 beat riff – stand on one foot: forward brush RF, heel dig RF, ball beat RF
Toe clip – stand with feet slightly apart. Lift the balls of both feet; clip toes together and finish with ball beat RF & LF
Heel clip – stand with feet slightly apart. Lift the heels of both feet; clip heels together and finish with heel beat RF & LF
Wing preparation – Stand with feet together. Using the ankle, slide RF out to the side by scraping the outside edge of the foot along the ground, finishing off the floor. Tap ball of RF inwards towards LF, ending with RF replaced beside LF.
3 beat wing from both feet – Feet together. Flex knees. Use ankles to shoot both feet outwards by scraping outside edges of feet along the ground, finishing off the floor. Tap balls of feet inwards and land on balls of both feet.
3 beat wing from one foot – Stand on one foot. Flex knee. Use ankle to shoot supporting foot outwards by scraping outside edge of foot along the ground, finishing off the floor. Tap ball of foot inwards and land on ball of same foot.
3 beat wing change – Stand on one foot. Flex knee. Use ankle to shoot supporting foot outwards by scraping outside edge of foot along the ground, finishing off the floor. Tap ball of foot inwards and land on ball of other foot.
Syllabus steps: All steps from previous grades
Candidates will be asked to demonstrate certain steps from the Tap Glossary and define them.The answers do not have to be an exact repetitionof those written but should convey the same meaning. Alternatively, questions may be asked arising from the definitions:-
eg. Q. Where does the wing action come from in the wing?
A. The wing action comes from using the actions.
A Candidate may be asked a maximum of three questions in any one examination taken from this Grade and the previous Grades.
4 Beat wing from one foot with toe tap or heel beat
5 Beat wing from one foot
Questions will be asked from any previous grade.
Contemporary choreography, including the selection of appropriate music, is the responsibility of the candidate. The teacher will observe and comment on each student’s choreography at least once BUT time will generally NOT be available during scheduled classes to work on individual choreographic pieces.
Candidates must prepare a short piece to their selection of appropriate music (WITHOUT LYRICS) containing the following moves connected with any appropriate linking movements:
Candidates must prepare their own short piece of original choreography to their selection of appropriate music (WITHOUT LYRICS), approximately 1 minute long. This piece should be based on a stimulus and candidates will be expected to discuss their choreographic ideas and approach with the examiner.
Uniform is required for arrival at and departure from all classes, shows and examinations. We allow a period of 4 weeks before this becomes compulsory. Our arrival / departure uniform is:
- Black uniform leggings / uniform printed joggers. (Failing this in the first 4 weeks please wear black plain trousers, leggings, harem pants or tracksuit bottoms)
- black dance trainers, plain black trainers (no flashes or logos) or black plimsolls
- uniform T – shirt / uniform hoodie / uniform jacket / uniform fleece
- bag carrying the school’s logo available in a variety of styles
All items carrying the school’s glittery logo or our embroidered logo are available to order from the school. Personalised hoodies / bespoke garments are payable in advance.
All items carrying the school’s glittery logo or our embroidered logo are available to order from the school. A full uniform list showing the requirements for each grade is available on the parent area.
THE GRAND OLD DUKE OF YORK
The grand old Duke of York, he had 10,000 men. He marched them up to the top of the hill and he marched them down again. And when they were up they were up. And when they were down they were down. And when they were only halfway up they were neither up nor down.
CASTLE ON A CLOUD
There is a castle on a cloud. I like to go there in my sleep. Aren’t any floors for me to sweep, not in my castle on a cloud. There is a room that’s full of toys. There are a hundred boys and girls. Nobody shouts or talks too loud, not in my castle on a cloud. There is a lady all in white, holds me and sings a lullaby. She’s nice to see and she’s soft to touch. She says,’Cosette, I love you very much.’ I know a place where no- one’s lost. I know a place where no – one cries. Crying at all is not allowed, not in my castle on a cloud.
Tell me, princess, now when did You last let your heart decide!
Over sideways and under On a magic carpet ride
No one to tell us no, Or where to go, Or say we’re only dreaming
It’s crystal clear, That now I’m in a whole new world with you
Through an endless diamond sky
A whole new world (Don’t you dare close your eyes)
A hundred thousand things to see (Hold your breath it gets better)
I’m like a shooting star, I’ve come so far
THE GOOD SHIP LOLLIPOP
I want to make some noise with real live aeroplanes
Some day I’m going to fly, I’ll be a pilot, too
And when I do, how would you like to be my crew?
Where bon-bons play , On the sunny beach of Peppermint Bay
And there you are , Happy landing on a chocolate bar
If you eat too much, ooh-ooh, You’ll awake with a tummy ache
And dream away, On The Good Ship Lollipop
Where bon-bons play On the…