Relevant bibliographies by topics / Ballet teacher

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Ballet teacher'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Ballet teacher"

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Schleunes, Amy. "The Ballet Teacher." Fourth Genre: Explorations in Nonfiction 14, no. 2 (2012): 33–34. http://dx.doi.org/10.1353/fge.2012.0042.

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Garafola, Lynn. "In Search of Eden." Experiment 20, no. 1 (2014): 260–96. http://dx.doi.org/10.1163/2211730x-12341265.

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Bronislava Nijinska spent the last thirty-two years of her life in Southern California. Beginning with her first visit to Hollywood in 1934 to choreograph the dances in A Midsummer Night’s Dream, this essay examines her activities in California both as a teacher and a choreographer. It looks closely at her Hollywood bowl season of 1940, when she staged three of her ballets, all new to the United States; the dancers she trained who went on to distinguished professional careers, and her approach to teaching. It briefly summarizes her activities in the 1940s, when she choreographed for Ballet The
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Fiskvik, Anne Margrete. "Tracing the Achievements of Augusta Johannesén, 1880–1895." Nordic Journal of Dance 5, no. 2 (2014): 4–21. http://dx.doi.org/10.2478/njd-2014-0007.

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Abstract Dancer, choreographer and teacher Augusta Johannesén was an important figure in several capacities for Nordic theatrical dance. She danced, taught and choreographed in Sweden, Finland as well as in Russia. Between 1860-1878 she was a member of the so-called Johannensénske Balletselskab, which toured extensively in the Nordic countries. The Johannesénske family settled in the Norwegian capital Kristiania in 1880, and Augusta Johannesén slowly established herself as a professional dance artist at the most important theatres in Kristiania. Over the years she became a dancer, choreographe
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Shybut, George, and Clay Miller. "Trigger Toe in a Ballet Dancer." Medical Problems of Performing Artists 20, no. 2 (2005): 99–102. http://dx.doi.org/10.21091/mppa.2005.2018.

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ALM is a 36-year-old, white, female ballet teacher who presented with pain and swelling in the right ankle and with flexor weakness in the right great toe. She reports that she has been unable to demonstrate an en pointe position to her class for the past 6 months. She has had pain, weakness, and catching with flexion of the right great toe for the past year.
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Scheff, Helene. "Stages in the Development and Life of a Ballet Teacher." Dance Education in Practice 1, no. 2 (2015): 28–32. http://dx.doi.org/10.1080/23734833.2015.1035563.

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Wootten, Claire F. "Navigating Liminal Space in the Feminist Ballet Class." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 122–29. http://dx.doi.org/10.1017/s204912550000100x.

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The historically autocratic teaching model of Western concert dance provides both student and teacher with the comfort of expected ritual and outcomes. That comfort is greatly disrupted, however, in employing a pedagogy that has student empowerment at its center—feminist pedagogy. This paper will focus on the conditions of the liminal space created in shifting to a process-based educational approach from a traditionally product-driven training model.
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Price, Heulwen. "Pedagogy in Ballet Studies at the Undergraduate Level in the United Kingdom." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 80–85. http://dx.doi.org/10.1017/s2049125500000947.

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This paper explores the intricacies of ballet pedagogy delivered at U.K. higher education (HE) institutions; the enquiry identifies and explores the tensions between vocational training to a professional level and achieving the educational requirements of HE. This paper queries the potential incompatibility of education and traditional training, suggesting that for dancers to meet the requirements of today's dance industry, students need skills to “deal with reality” rather than “getting it right.” A social interactionist perspective positions the role of the teacher as a facilitator; ballet p
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Берлова, Мария. "Деятельность Жан-Батиста Ланде в Скандинавии." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА 2 (2019): 86–104. http://dx.doi.org/10.35852/2588-0144-2019-2-86-104.

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Статья посвящена скандинавскому периоду деятельности основателя русского балета Жан-Батиста Ланде. С 1721 по 1728 годы Ланде работал в Стокгольме, в 1726 г. гастролировал в Копенгагене и с 1728 до начала 1730 х гг. работал там. Автор рассматривает достижения Ланде в Скандинавии — его педагогическую деятельность и формирование собственного хореографического стиля с уклоном на «серьезные» и «комические балеты» и приходит к выводу, что рождение русского балета нужно рассматривать не как отдельное явление, а как логичное завершение творческого пути французского педагога и хореографа, выработавшего
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Chua, Joey. "The influences of an exemplary ballet teacher on students’ motivation: ‘The Finnish Way’." Research in Dance Education 18, no. 1 (2016): 3–22. http://dx.doi.org/10.1080/14647893.2016.1178715.

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Кравчук, Т. М., and О. С. Курочка. "Use of body-ballet in high school physical education." Teorìâ ta Metodika Fìzičnogo Vihovannâ, no. 4 (December 26, 2013): 40–47. http://dx.doi.org/10.17309/tmfv.2013.4.1035.

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Objective: to develop a method of physical education high school age girls body mass Ballet and verify its effectiveness.Methods. To solve the problems raised in the paper, we used the following methods: study and analysis of educational, scientific and methodological literature; interviews with experts and questionnaires; pedagogical supervision; teacher testing; methods of mathematical statistics. The experiment was conducted at the high school school № 167 m. Kharkiv and lasted from September 2012 to April 2013. As researched by a pupil of high school of 15 people - and 15 control group - e
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Dissertations / Theses on the topic "Ballet teacher"

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Čiškauskaitė, Živilė. "Baleto pedagogo kompetencijų raiška profesionalių baleto artistų ugdymo procese." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120801_105543-85413.

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Šiame darbe yra nagrinėjama baleto pedagogo, siekiančio išugdyti profesionalų baleto artistą, kompetencijų raiška. Pastebima, kad tik nedidelė dalis baleto mokyklas baigusių mokinių yra puikūs vedantieji balete, sugebantys savo šokiu perteikti dvasines vertybes ir taip įprasminti šokį kaip meno kūrinį. Pagrindiniu tikslu mokymo procese dažniausiai tampa geras pačios išraiškos priemonės pažinimas (šiuo atveju šokio technika), pamirštant, koks svarbus yra ir asmenybės meninės brandos puoselėjimas, skatinantis kūrinio visumos, jo turinio, dvasinių vertybių sistemos suvokimą bei pajautimą, kurio
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Carvalho, Karina Aparecida Pinto Silva. "Bastão em punho : o relacionamento professor-aluno no ensino de ballet." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253069.

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Orientador: Marcia Maria Strazzacappa Hernandez<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação<br>Made available in DSpace on 2018-08-04T06:59:57Z (GMT). No. of bitstreams: 1 Carvalho_KarinaAparecidaPintoSilva_M.pdf: 583023 bytes, checksum: e8cde3715e4983fa0769fd6e8c735b47 (MD5) Previous issue date: 2005<br>Resumo: A interação professor - aluno e suas conseqüências na formação de crianças, jovens e adultos, têm sido objeto de diversos estudos na área da Educação. Na área do ensino da dança, mais especificamente, do ensino do ballet clássico, esta discuss
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Bottamini, Gina L. "Ballet teachers, a source of perceived weight loss pressure in female ballet students." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ57088.pdf.

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Cairns, Carolyn Jane. "In pursuit of excellence: uncovering the knowledge, philosophies, and expert practice of the classical ballet master." Thesis, University of Canterbury. School of Educational Studies and Human Development, 2010. http://hdl.handle.net/10092/4052.

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This thesis explores the professional practice of two highly accomplished expert teachers, ‘masters’ of classical ballet, with the aim of providing an understanding of their expertise. A qualitative case study methodology was used to illuminate the masters’ knowledge acquisition and teaching practices. Data collection comprised interviews with the masters and a sample of their students, and teaching observations of the masters at work. A metaphoric conceptual framework of a three-act ballet performance has been used to present the thesis. This dance-related metaphor was chosen: firstly, becau
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Zeller, Jessica Rachel. "Shapes of American Ballet: Classical Traditions, Teachers, and Training in New York City, 1909-1934." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1336152425.

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Tulecke, Kari. "Adin Ballou, Teacher of Peace." Wright State University / OhioLINK, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=wright1418647041.

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Freed, Calyn. "Autism and the Performing Arts: Using BST to Teach Dance to Children with ASD." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/7025.

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Behavioral skills training (BST) has been proven effective in helping children with autism spectrum disorder (ASD) acquire new skills. Little research had been done to evaluate the effect of BST on the acquisition of sport skills within this population, and no research exists in regards to using BST to teach dance skills to individuals with ASD. The purpose of this study was to evaluate the effectiveness of BST for teaching dance steps to children diagnosed with ASD. This study used a multiple baseline across behaviors design. The dance movements that were targeted consiste
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BRANCO, Rita Francis Gonzalez Y. Rodrigues. "Capacitação de professores de Classe Hospitalar em relação professor-aluno/paciente na perspectiva balintiana." Universidade Federal de Goiás, 2008. http://repositorio.bc.ufg.br/tede/handle/tde/1082.

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Made available in DSpace on 2014-07-29T15:13:37Z (GMT). No. of bitstreams: 1 dissertacaoritafrancis.pdf: 1760020 bytes, checksum: 21394265efdc02901822915352182fda (MD5) Previous issue date: 2008-08-22<br>Search line: Culture and Educational Processes. Search object: Balint theory/Balint groups in the qualification of hospital classes teachers. Objective: study the qualification through Balint theory/Balint groups. Existential action search with the teachers of Projeto Hoje from SEE/GO. The analysis of the results shows 5 groups for discussion: identity of the hospital classes teachers; act
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Senate, University of Arizona Faculty. "Faculty Senate Minutes May 1, 2017." University of Arizona Faculty Senate (Tucson, AZ), 2017. http://hdl.handle.net/10150/625406.

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Ho, Yu-Wen, and 何郁玟. "Research on Ballet Teacher’s Teaching Ideology." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/54842210184540207231.

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碩士<br>中國文化大學<br>舞蹈研究所<br>89<br>Research on Ballet Teacher’s Teaching Ideology Supervisors：Yu-Wen Ho Investigstor：Man-Li Wu Abstract Teachers are the key component to influencing a student’s learning behavior. Other than exploring teaching behavior, understanding the underlying teaching ideology and concept is also worth looking into. Researchers are highly interested in understanding a ballet teacher’s teaching ideology and concept, and understand that a teacher’s teaching ideology and its teaching behavior are
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Books on the topic "Ballet teacher"

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Collusion: Memoir of a young girl and her ballet master. HarperFlamingo, 1999.

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Alexander Pushkin: Master teacher of dance. New York Public Library, 2001.

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author, Sustrin Letty, and Boné Thomas H. illustrator, eds. The teacher who would not retire loses her ballet slippers. Blue Marlin Publications, 2014.

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Pagels, Jurgen. Class variations in classical ballet: 100 different classes for the advanced student, professional dancer, and teacher. J. Pagels, 1989.

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Una, Kai, ed. Balanchine the teacher: Fundamentals that shaped the first generation of New York City Ballet dancers. University Press of Florida, 2008.

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Sustrin, Sheila. The teacher who would not retire goes to camp. Blue Marlin Publications, 2005.

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Spencer, Sybil. Love for ballet. Triplegate, 1985.

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Windreich, Leland. June Roper: Ballet starmaker. Dance Collection Danse Press/es, 1999.

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Farley, Robin. Mia dances back to school! HarperFestival, 2013.

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Francine, Pascal, ed. Teacher's pet. Bantam Skylark, 1986.

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Book chapters on the topic "Ballet teacher"

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Whittier, Cadence Joy, and Kim Cooper Geigerich. "Drawing inspiration from dance teachers." In Creative Ballet Teaching. Routledge, 2017. http://dx.doi.org/10.4324/9781315618067-4.

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"Fundamentals for the Ballet Teacher." In Ballet. Routledge, 2013. http://dx.doi.org/10.4324/9780203462317-8.

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Klapper, Melissa R. "Up a Steep and Very Narrow Stairway." In Ballet Class. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190908683.003.0005.

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There is wide variety among dance studios in the United States, but ballet has been fundamental to most of them over the twentieth century. Ballet teachers come from a variety of backgrounds, including both professional dance careers and many kinds of teacher training. Good ballet teachers offer a progressive sequence and think about how to interact with students in the studio, whether they are teaching purely recreational or pre-professional classes. Good training can take place in less than ideal physical facilities, though the type of flooring is particularly important. Teachers should be knowledgeable about both ballet pedagogy and the business skills necessary to run dance studios. There is no one group overseeing the quality of ballet classes or the qualifications of teachers, though dance teacher organizations have tried to provide teacher training since the early twentieth century. Dance teacher organizations have also represented their members’ legal and professional interests.
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Skeel, Sharon. "“There is going to be a permanent ballet company in Philadelphia.”." In Catherine Littlefield. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190654542.003.0009.

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Catherine tries to make ballet more appealing to Americans by recruiting and training “manly” men with no prior dance experience. She hires Alexis Dolinoff as her partner, répétiteur, and men’s teacher. The Littlefield Ballet gives its first performance on October 25, 1935. The Littlefield School moves into unassuming quarters at 1815 Ludlow Street. By the end of 1935, Catherine has changed the company’s name to the Philadelphia Ballet and premiered The Snow Queen at the Academy of Music. Karen Conrad and Joan McCracken emerge as leading soloists. Catherine choreographs new ballets of her own in 1936 and presents modernist works by Russian-Jewish choreographer Lasar Galpern. Jimmie Littlefield elopes with a Philadelphia widow and moves with her and her young son to a farm she owns called Zacata on the Potomac River in northern Virginia. Catherine eventually buys a bungalow nearby in Montross and the Littlefields use the area as a family retreat.
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Meisner, Nadine. "Russian Debut." In Marius Petipa. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190659295.003.0004.

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This chapter begins with Petipa’s arrival in St Petersburg and his first roles and productions there. It examines the structures of the Imperial Ballet and the directorate of the Imperial Theatres, especially the incumbent director Alexander Gedeonov. It describes the influence of the visits of Marie Taglioni, icon of the Romantic Ballet, and sketches the career of St Petersburg’s own ballerina, Elena Andreianova, who was often partnered by Petipa. It covers the appointment of Jules Perrot, choreographer of Giselle, as first ballet master, and of Jean Petipa, Marius’s father, as a teacher at the school. The arrivals of the celebrity ballerinas Fanny Elssler, Carlotta Grisi, and Fanny Cerrito are also covered, as is the effect of the Crimean War. There is also a lengthy section focusing on the subject of Petipa as a performer, outstanding in character (national) dance and mime.
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Meisner, Nadine. "Looking Back, Moving Forward." In Marius Petipa. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190659295.003.0005.

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After Petipa’s marriage to his first muse, Maria Surovshchikova, and the death in Russia of his father, Jean, chapter 4 travels back in time to trace Jean’s career as a ballet master in Marseilles and in Brussels at the Théâtre de la Monnaie. It describes Marius’s early family life, his siblings, and the impact of the Belgian Revolution. Returning to Russia, it looks at Petipa’s impact as a teacher and his choreographic beginnings in St Petersburg, which included the one-act Parisian Market. This is the ballet the Petipas took with them to show at the Paris Opera with Maria Petipa dancing, a season which triggered two law-suits, one of them involving Petipa’s old friend Perrot. There then follows an account of the circumstances around The Pharaoh’s Daughter, the big ballet that brought Petipa to prominence.
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Skeel, Sharon. "“For Broadway one must be clever and Catherine Littlefield is very clever.”." In Catherine Littlefield. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190654542.003.0014.

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Catherine earns Sonja Henie’s trust and helps make her skating more balletic. She also adapts ballets to ice for the Center Theatre shows. She moves to Manhattan and dates barrel jumper Jimmy Caesar for several years. She choreographs more Broadway shows, including Follow the Girls, a musical comedy starring Jackie Gleason and Russian ballerina Irina Baronova. Follow the Girls is a hit, but its revue-like formula will soon be eclipsed in popularity by the musical play genre as represented by Agnes de Mille’s Oklahoma! In 1944, Ballet Theatre revives Barn Dance. It is not successful, as the vogue for ballet Americana has begun to fade. The Littlefields open a studio in New York, where Dorothie teaches. Carl flies seventy combat missions as a pilot in World War II and receives medals for his heroism.
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Polson, Donene. "Setting the Scene: Coordinating a Classroom Community." In Learning Together. Oxford University Press, 2001. http://dx.doi.org/10.1093/oso/9780195097535.003.0011.

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Throughout my years at the OC, first as a parent and then also as a teacher, I have given a lot of thought to the structure and coordination of the classroom, which supports parents, children, and teachers in creating a community of learners. I had enrolled my children in the OC because I liked the idea of students, teachers, and parents all working together as a community to help children learn. After spending a great deal of time as a co-oper, I returned to the university to earn a degree in elementary education and then added the role of teacher to my established parent role in the OC. In a community of learners, a tremendous amount of work is done behind the scenes—extensive coordination, planning, and structure allow the daily learning and activities to flow smoothly. It is like a ballet, where the performers move so gracefully, flowing to their positions and cooperating with such beauty that it looks deceptively simple. Yet we know it is preparation, planning, refining, and cooperation that allow the production to run so smoothly. In the OC, the coordination is based on backstage efforts among the adults of each classroom, teamwork among children and adults, and daily and weekly routines around which children’s, co-opers’, and teachers’ activities are organized. Although the teacher plays a unique role, coordination and planning are shared among all participants and extend beyond individual classrooms to the OC program as a whole. . . . Backstage Coordinating among Adults in the Classroom . . . A key support for coordinating the classroom community is the collaboration among adults. Before the school year begins, parents and the teacher hold a meeting at a family’s home to prepare for the upcoming year, getting acquainted and establishing weekly co-oper schedules and curriculum areas for the parents’ contributions to the classroom teaching. As teacher, I figure out how to coordinate the co-opers’ schedules, interests, and talents from their work, hobbies, and outside activities to create a balanced weekly structure that becomes the framework for the children’s activities.
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Klapper, Melissa R. "The Russians Are Coming." In Ballet Class. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190908683.003.0003.

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European teachers had a tremendous influence on the development of ballet in the United States through at least the mid-twentieth century. They had to adapt to the commercial American environment in which ballet class was a commodity, available to anyone to buy, regardless of talent. Still, they handed down the Italian or British or Russian technique in a traditional master-apprentice relationship. These classical modes of ballet pedagogy did alter to some degree in response to conditions in the United States. The cachet of taking ballet class with European teachers who could claim a direct link to the lineage of ballet pedagogy persisted well into the twentieth century.
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Klapper, Melissa R. "Brought to You by the Ford Foundation." In Ballet Class. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190908683.003.0004.

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The post–World War II era saw an explosion in ballet class as more young people than ever engaged in extracurricular activities. George Balanchine, founder of the School of American Ballet (1934) and the New York City Ballet (1948), exerted an outsize impact on the expansion of ballet in the United States, training teachers and investigating ballet class across the country. The Ford Foundation grants of 1963 cemented Balanchine’s centrality to American ballet by providing extraordinary funding to a number of ballet schools and companies within his orbit. These grants, while opposed by some cultural critics and members of the modern dance community, raised the standard of ballet class in America and also set the tone for the dance boom of the 1960s and 1970s. During the dance boom the number of ballet studios and companies grew sharply, capitalizing on great public interest in dance classes and performances.
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Conference papers on the topic "Ballet teacher"

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Libusha, Azwidowi Emmanuel. "USING EVERYDAY LANGUAGE TO SUPPORT LEARNERS’ ACCESS TO MATHEMATICAL CONTENT KNOWLEDGE." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end013.

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The language of mathematics can hinder the development of some learners’ conceptual understanding of mathematics. Language as a whole plays a crucial role in the teaching and learning of mathematics as it serves as the medium in which the teachers and learners think and communicate in the classroom. Ball, Thames and Phelps (2008) argue that the demands of teaching mathematics require specialized mathematical knowledge that only pertains to mathematics teaching and is not required in other mathematics professions. The role of the teacher is to use resources available to them to support learners
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Khosrowjerdi, M., and Richard B. Mindek. "Using PC-Based Data Acquisition to Teach Data Analysis and Statistical Process Control." In ASME 2003 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/detc2003/cie-48205.

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An undergraduate laboratory has recently been developed to expose junior mechanical engineering students to the concept, components and operation of data acquisition boards, PC-based data acquisition, analysis and control. The laboratory, which has been taught during the last two fall semesters, consists of the compression testing of golf ball cores using a Riehle compression tester, and analysis of the collected data using digital signal processing techniques and statistical process control (SPC). Student feedback to date suggests the labs have had a positive impact on student learning and un
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Rogers, John, and Robert Rabb. "Control Theory in Practice: Magnetic Levitation." In ASME 2010 10th Biennial Conference on Engineering Systems Design and Analysis. ASMEDC, 2010. http://dx.doi.org/10.1115/esda2010-24827.

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A device that levitates a steel ball beneath an electromagnet is used for educational purposes at the United States Military Academy, West Point, New York. Students in the course “Mechatronics” engage in a set of laboratory exercises with the device to reinforce classroom learning. Mechatronics is a senior-level course that introduces the interdisciplinary design of smart systems. Students in the electrical engineering and mechanical engineering programs take the course together, and the material is taught by a team of instructors from both academic departments. The Magnetic Levitation experim
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Barbero, Silvia. "Opportunities and challenges in teaching Systemic Design. The evoluation of the Open Systems master courses at Politecnico di Torino." In Systems & Design: Beyond Processes and Thinking. Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3353.

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The contamination between design and theory of systems as a field of development of new design processes is nowadays consolidated. However, the issue concerning the methodology to apply in teaching systemic design remains an open question. The approach adopted in the Master Degree in Systemic Design at Politecnico di Torino is based on the assumption that the teaching method must itself be systemic. Alongside designers, the degree course has involved from the very beginning experts of different disciplines (i.e. chemistry, physics, mechanics, history, economy and management) as teachers, in or
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