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Journal articles on the topic 'Ballet teacher'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

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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Busenbarrick, Haley, and Kathleen L. Davenport. "Music to Our Ears: Are Dancers at Risk for High Sound Level Exposure?" Medical Problems of Performing Artists 35, no. 4 (2020): 227–32. http://dx.doi.org/10.21091/mppa.2020.4033.

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Enduring exposure to high sound pressure levels (SPLs) can lead to noise-induced hearing loss (NIHL). In the performing arts population, NIHL has been studied primarily in the context of sound exposure experienced by musicians and less so by dancers. This research aimed to identify sound exposure that dancers may experience in some dance classes. Decibel levels were recorded in 12 dance classes (6 ballet, 4 modern, and 1 soft and 1 hard shoe Irish dance) at 8 different studios using the NIOSH SLM app on an iOS smartphone with external microphone. A minimum of five recordings of each class was

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Lanszki, Anita, Adrienn Papp-Danka, and Eszter Szabó. "Impact Assessment of a Methodological Program in Dance in Hungarian Public Education." Tánc és Nevelés 2, no. 1 (2021): 73–89. http://dx.doi.org/10.46819/tn.2.1.73-89.

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In the EFOP-3.2.6-16 Tender framework to Facilitate the Development of Student’ Skills in the Public Education System, the Hungarian Dance University developed a program with methodological guides and teacher training programs for ballroom dance, classical ballet, commercial dance, folk dance, and modern dance education. The training, held in 2018 and 2019, was attended by 126 graduate dance teachers from 57 public education institutions, mainly primary art schools. In this research, those teachers’ experiences are examined who included the methodological program in the 2019/2020 school year.

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Melovatskaya, Anna E. "Author’s course in acting in choreography: issues and development prospect." Problems of Modern Education (Problemy Sovremennogo Obrazovaniya), no. 3, 2020 (2020): 216–27. http://dx.doi.org/10.31862/2218-8711-2020-3-216-227.

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The article explores the issue of teaching acting in choreography; the author analyzes the relationship between the acting in the drama and ballet theaters, as well as their fundamental differences; the specifics of teaching the discipline “Theory and Practice of Acting in Ballet” and a number of requirements for those who teach this course are considered; in the article, acting in choreography is considered, on the one hand, as a separate area of dramatic art, on the other hand, it is inextricably linked with the dance itself and with the process of training professional dancers. The paper ra

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.Ergasheva, Yulduz A., and Zilola Safarovna Safarova. "GREAT AND BEAUTIFUL WOMAN OF THE EAST." JOURNAL OF LOOK TO THE PAST 4, no. 3 (2021): 4–10. http://dx.doi.org/10.26739/2181-9599-2021-3-1.

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This article analyzes the activities of two of the greatest women of the East, Tamara Khanum and Rosa Karimova, their life and work, heroic and selfless work during the Second World War. The article also highlights their difficult life path, provides information about how Tamara Khanum was called “Eastern Isadora Duncan”, how the Queen of Great Britain personally presented the outstanding artist with a high award for her contribution to art. And also, about Roziya Karimova – an Uzbek ballet dancer, choreographer, teacher, art critic, connoisseur and founder of the theory of Uzbek dance.

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Hatipova, I. A. "Mikhail Vasilyevich Sechkin – Pianist, Conductor, Teacher." Aspects of Historical Musicology 18, no. 18 (2019): 155–70. http://dx.doi.org/10.34064/khnum2-18.09.

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Target setting. In the modern musical culture of the Republic of Moldova M. V. Sechkin stands out as one of the key figures. He proved to be a multi skilled musician: piano player, conductor, and pedagogue. The scientific challenge disclosed in the article touches on creation of a coherent reflection of the work conducted by M. Sechkin in musical and artistic institutions of the Republic of Moldova during 1988–2015. Thus, notably contributing to the theoretical perception of the process of musical art development in the Republic of Moldova at the turn of the 21st century while filling up the g

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Warner, Mary Jane. "Anne Fairbrother Hill: 'A Chaste and Elegant Dancer'." Theatre Research in Canada 12, no. 2 (1991): 169–91. http://dx.doi.org/10.3138/tric.12.2.169.

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Anne Fairbrother Hill was a member of a popular 19th-century family of theatrical entertainers. Following a successful career as a dancer and ingénue in London and the provinces she came to America in the 1840s with her actor/manager husband, Charles Hill, and their three children. The Hills toured widely, but they also spent considerable time in Montreal and Toronto. Anne Hill was instrumental in introducing Canadian audiences to the rich repertoire of the Romantic ballet. A talented teacher, she opened very successful dance schools in both Toronto and Montreal, assisting amateurs in both cit

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Pace, Ian. "The Panorama of Michael Finnissy (II)." Tempo, no. 201 (July 1997): 7–16. http://dx.doi.org/10.1017/s0040298200005775.

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A large body of Michael Finnissy's work refers to music, texts and other aspects of culture outside the mainstream European tradition. As a child he met Polish and Hungarian friends of the family, and was further attracted to aspects of Eastern European music when asked to transcribe Yugoslav music from a record, for a ballet teacher. Study of anthropological and other literature led him to a conviction that folk music lay at the roots of most other music, and related quite directly to the defining nature of man's interaction with his environment. Finnissy went on to explore the widest range o

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Ribić, Romana. "Contemporary music of Iceland in the post-romantic period: Jôrunn Viđar (Jôrunn Vidar, Reykjavik, Iceland, 1918-)." New Sound, no. 46 (2015): 141–54. http://dx.doi.org/10.5937/newso1546141r.

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This paper presents a brief overview of the development of Icelandic music through historical and artistic circumstances. We shall also point to the specific social attitude towards the female population and we shall deal with the few Icelandic women composers. Among them Jorunn Vidar particularly stands out, as a pianist, accompanist and music teacher. For over two decades, she was the only woman composer to be a member of the Society of Icelandic Composers. She wrote the music for the first Icelandic ballet suite and the first Icelandic film ever, arranging the old narrative songs called the

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Robinson, Anne. "Penelope Spencer (1901–93) Dancer and Choreographer: A Chronicle." Dance Research 28, no. 1 (2010): 36–89. http://dx.doi.org/10.3366/drs.2010.0004.

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The career of the English dancer, choreographer, teacher and dance writer, Penelope Spencer (1901–93), primarily spanned the twenty-year period between the First and Second World Wars (1919–39). Spencer's versatile dance training and career encompassed diverse British theatre genres of the period, including ballet, drama, mime, modern dance, musical comedy, opera, pantomime and revue. It was common practice during the inter-war period for English dancers to disguise their British origins by ‘Russianising’ their names. Spencer, however, maintained her English name throughout her career. She pra

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Gargano, Cara. "The Starfish and the Strange Attractor: Myth, Science, and Theatre as Laboratory in Maria Irene Fornes' ‘Mud’." New Theatre Quarterly 13, no. 51 (1997): 214–20. http://dx.doi.org/10.1017/s0266464x00011222.

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Cara Gargano sees the plays of Maria Irene Fornes as reflecting ‘nucleate disorder in a system far from equilibrium’ – a theatrical response to the overturning by the new science of the Aristotelian as of the Newtonian paradigm. Comparing the wildly divergent critical interpretations of Fornes' Mud since its premiere in 1983, she suggests that in this overtly simple dramatization of a far from simple triangular relationship, Fornes ‘uses the theatrical space as her laboratory – a place to explore the interface between our society's construction of the world and our evolving artistic and scient

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Morgan, Nigel. "Eric Wolfensohn: Pioneer of Twentieth-Century British Theatre Lighting Design." New Theatre Quarterly 24, no. 4 (2008): 355–62. http://dx.doi.org/10.1017/s0266464x08000493.

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Eric Wolfensohn was one of a small group of British lighting designers to emerge in the 1940s. In this article, Nigel Morgan records how, as he plied his trade, Wolfensohn established a blueprint for the working pattern of the modern freelance lighting designer. Starting as a technician and operator, he progressed to designer and consultant, crossing between the genres of ballet, opera, and plays, and moving seamlessly into shop display, exhibition, film and television, borrowing techniques from each particular form and fusing styles in a quest for aesthetic satisfaction. Nigel Morgan qualifie

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Maslennikova, Anzhela. "Opera and Choral Performance in Mykhailo Krechko’s Work." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 131–42. http://dx.doi.org/10.31318/2522-4190.2021.130.231220.

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The article considers some aspects of opera and choral performance on the example of analysis of the theatrical period of creativity of one of the prominent figures of Ukrainian choral culture, founder of the choir of the State Children’s Musical Theater — People’s Artist of Ukraine, Professor Mykhailo Krechko (1925–1996). M. Krechko as the first chief choirmaster of the theater built his individual principles of work and theatrical traditions inherent in such a unique opera choir. SCMT is the second in the world and the only professional opera and ballet theater in Ukraine for children and yo

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Brown, Ryan, and Nanci Weinberger. "Anything He Can Do, She Can Do Better: Children’s Attitudes About Gender and Occupations." Psi Chi Journal of Psychological Research 26, no. 1 (2021): 2–13. http://dx.doi.org/10.24839/2325-7342.jn26.1.2.

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Children’s career aspirations are affected by cultural stereotypes about gender. We investigated rudimentary implicit associations and explicit gender attitudes about occupations with a diverse sample of fifty-eight (29 girls, 29 boys) 10-year-old children. We tested implicit gender associations using an adapted auditory Stroop task and tested explicit gender attitudes using the Gender-Stereotyped Attitude Scale for Children (GASC). We also modified a version of the GASC to assess children’s attitudes about a female and a male firefighter-paramedic seen in a brief video. Children also judged t

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Parent Mathias, Veronica, Jerónimo García Romero, Maria José Campoy Sanchez, and José Ramón Alvero Cruz. "Análisis de los criterios de selección en las pruebas de aptitud en el acceso a los estudios oficiales de danza (Analysis of selection criteria in the access tests to official Dance studies)." Retos, no. 29 (December 18, 2015): 79–85. http://dx.doi.org/10.47197/retos.v0i29.34231.

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El acceso a los estudios oficiales de Danza, se realizan mediante pruebas de aptitud en los Conservatorios Profesionales de Danza de España y realizadas por profesores de Danza que evalúan aptitudes rítmicas, expresivas y psicomotrices y por otra parte, médicos que realizan una evaluación de las características físicas. La selección de los alumnos se realiza en función de los resultados de estas pruebas. Se analiza en este documento cuales son las características principales que rigen las calificaciones. El tribunal evaluador está formado por profesionales de danza, y se quiere averiguar si ex

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Karas, Hanna. "USE OF INTERDISCIPLINARITY AS AN INNOVATIVE APPROACH IN THE EDUCATIONAL PROCESS OF ART INSTITUTIONS OF HIGHER EDUCATION." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 18–22. http://dx.doi.org/10.36550/2415-7988-2021-1-195-18-22.

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The article is devoted to the use of interdisciplinarity as an innovative approach in the educational process of art institutions of higher education on the example of studying the discipline «Evolution of artistic styles in art» included in educational master's programs. This discipline is based on the theory and practice of professional development of a teacher-musician, who provides the Master of Arts education process, shapes their professional development necessary for their future musical and pedagogical creativity, skills, and pedagogical culture. The content of the discipline consists

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Lee, Mun Woo. "‘Becoming a Teacher’ of Rookie English Teachers: Their Stressors and Coping Strategies." British and American Language and Literature Association of Korea 130 (September 30, 2018): 189–210. http://dx.doi.org/10.21297/ballak.2018.130.189.

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Rant, Tjaša. "Ballet and Russian Women Artists in Ljubljana after 1920." Monitor ISH 18, no. 1 (2016): 69–86. http://dx.doi.org/10.33700/1580-7118.18.1.69-86(2016).

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The article presents selected Russian women artists in the field of ballet, who worked in Ljubljana’s theatre from 1920 to 1925. They include Russian ballet dancers, choreographers, and teachers, whose work planted the skills of the 200-year-old Russian ballet tradition in the Slovenian soil. In addition to outlining their contributions, the article highlights the role of Russian artists in consolidating the unstable beginnings of Slovenian ballet and influencing the subsequent ballet development in Slovenia.

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Balarabe, Safiya. "A SURVEY ON TEACHER’S VARIABLES RESPONSIBLE FOR STUDENT POOR ACADEMIC PERFORMANCE IN BIOLOGY. A CASE STUDY OF ZARIA EDUCATIONAL ZONE OF KADUNA STATE, NIGERIA." International Journal for Innovation Education and Research 7, no. 7 (2019): 513–27. http://dx.doi.org/10.31686/ijier.vol7.iss7.1630.

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This research work was undertaken to find out the teacher variables responsible for student poor academic performance in Biology (such variables are teacher qualification and teacher years of experience) in zaria educational zone of kaduna state, Nigeria. It was a survey research work and population for the study consisted of all the Science Teachers in Secondary Schools in Zaria Educational Zone where student performance was obtained from school records. The sample of the population was achieved by simple random (paper ballot) method. The instrument used for data collection was a questionnair

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Conraths-Lange, Nicola. "Pas de Deux: Daughters, Mothers, and Dance Talk." Medical Problems of Performing Artists 18, no. 2 (2003): 52–58. http://dx.doi.org/10.21091/mppa.2003.2011.

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This study offers a qualitative analysis of the perceived communication emphasis between female adolescent dancers and their mothers. The following research questions were the basis of this investigation: (1) Do daughters talk about dance with their mothers? (2) What is the daughter’s perception level of dance-related communication? (3) Is their communication directed to core or peripheral topics? (4) What kind of implication would a high or low communication frequency index suggest, and how could it be enhanced? Six core and six peripheral communication areas were identified and analyzed usin

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Jin, Yina. "The Significance of Ballet Teaching Method to Ballet Basic Training and Arrangement." Lifelong Education 9, no. 5 (2020): 132. http://dx.doi.org/10.18282/le.v9i5.1228.

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As a dance form known as elegant art, ballet not only requires high basic skills for students, but also has a variety of arrangements and combinations. Therefore, in order to ensure the smooth progress of the ballet classroom teaching, teachers need to pay attention to the standardization and scientificity of the ballet teaching method, in order to ensure the smooth progress of the ballet basic training teaching and the more creative process of the composition of the composition, so that students can pass the classroom Knowledge learning, to get better development.

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Papaefstathiou, Maria, Daniel Rhind, and Celia Brackenridge. "Child Protection in Ballet: Experiences and Views of Teachers, Administrators and Ballet Students." Child Abuse Review 22, no. 2 (2012): 127–41. http://dx.doi.org/10.1002/car.2228.

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Lauer, Meryl. "Dancing for the Nation: Ballet Diplomacy and Transnational Politics in Post-Apartheid South Africa." Dance Research Journal 50, no. 3 (2018): 85–98. http://dx.doi.org/10.1017/s0149767718000384.

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This article argues that nationalism and international diplomacy are embodied practices, as evidenced through the movement of international ballet dancers in South Africa. Under the apartheid regime, South African professional ballet received generous support from governmental sources. Since the transition to democracy, professional ballet companies have utilized creative strategies to court new sources of support including that of the ruling African National Congress. A key move in this campaign has been “ballet diplomacy” with Cuba—the transnational circulation of dancers, teachers, techniqu

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Fürst, Charlotte. "The Possibilities of Ballet and Floor-barre in Expanding Dancers’ Potential." Nordic Journal of Dance 4, no. 1 (2013): 4–15. http://dx.doi.org/10.2478/njd-2013-0002.

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Abstract With proper and helpful anatomical alignment, ballet could be of use to many more dancers. Applying the principles in Zena Rommett and Maggie Black’s teachings of many years could help dancers of all styles with their growth and development. Many dancers suffer from tension and injuries and do not have enough awareness of their personal anatomical structures. Ballet can be of use to anyone if properly taught, especially with regard to placement of the pelvis. One focus here is on tucking the pelvis under. It is commonly taught in ballet, but prevents the natural movement of the body.

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Rant, Tjaša. "Russian artists in Slovenia after the October revolution." Russian-Slovenian relations in the twentieth century, no. IV (2018): 276–91. http://dx.doi.org/10.31168/2618-8562.2018.4.3.5.

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This article presents selected Russian artists in theater, opera and ballet, which have been working in Ljubljana Theater since 1920. In the article are presented Russian actors, dancers, singers, choreographers and teachers who brought to the Slovenian land two hundred years old traditions of Russian culture and contributed to the success of Slovenian theater, opera and ballet.

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Kholodova, M. V., and M. M. Chikhacheva. "OUTSTANDING FIGURES OF OPERA ART OF KRASNOYARSK: LARISA VLADIMIROVNA MARZOEVA." Northern Archives and Expeditions 5, no. 2 (2021): 159–67. http://dx.doi.org/10.31806/2542-1158-2021-5-2-159-167.

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The study of the culture of various regions of Russia, including the musical culture of Siberia, is one of the intensively developing areas of modern russian art history and cultural studies. The history of the formation and development of the musical culture of Krasnoyarsk - one of the largest siberian centers — is a multi-faceted picture, already meaningful in a number of fundamental works, a series of scientific publications. At the same time, not all aspects of the musical life of Krasnoyarsk received comprehensive coverage, many of its pages are waiting for their researcher. The article p

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Pluzhnikov, Victor. "«Forgotten name... Yakov A. Rosenstein»." Aspects of Historical Musicology 16, no. 16 (2019): 90–105. http://dx.doi.org/10.34064/khnum2-16.05.

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Problem statement. Conductor is considered to be one of the most prestigious occupation in musical field, so there has always been a certain interest to its history. But, despite a large amount of literature, there are no musicologist’s scientific works, with the systematized and generalized materials on training conducting staff in Ukraine in the 1920s – 1940s. This is partly due to a shortage of primary documents at a difficult historical period: most of them were destroyed by the employees of state institutions before being evacuated behind the lines during the Second World War; the other p

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Iannone, Alejandra Emilia. "Ballet Education for the Web 2.0 Generation." International Journal of Technoethics 10, no. 1 (2019): 37–48. http://dx.doi.org/10.4018/ijt.2019010104.

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Today's elementary-school-aged ballet students were born in the era of Web 2.0. Their everyday lives are significantly engaged with digital technology. Though scholars have addressed related topics, no one has looked at how ballet can be taught to the Web 2.0 generation using twenty-first-century technologies. The purpose of this article is to help fill that gap in the literature. This author first, calls for a shift in the pedagogical approach to teaching elementary-school-aged students ballet; next, suggests incorporating student-generated time-lapse, tutorial, fan review and commentary, and

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Johnson, Lorin. "Degrees of Separation: Lester Horton’s." Experiment 20, no. 1 (2014): 48–85. http://dx.doi.org/10.1163/2211730x-12341259.

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This essay examines Lester Horton’s 1937 production of Le Sacre du printemps (The Rite of Spring) at the Hollywood Bowl. In particular, the genesis of the work and the transference of Russian modernism in 1930s Los Angeles is explored. The essay focuses on Horton’s professional relationships with two artists in Los Angeles, Adolph Bolm and Michio Ito, both of whom were in his proximity as teachers, mentors and colleagues when he created Le Sacre. The Russian émigré Bolm, a former dancer with the Ballets Russes during the period Nijinsky choreographed The Rite of Spring in 1913, was a well-esta

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Parkhomenko, Oleksandr. "Methodological Support for Ballet Master Training of Future Choreography Teachers." Research Notes, no. 1 (March 30, 2017): 111–14. http://dx.doi.org/10.31654/2663-4902-2017-pp-1-111-114.

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Pullum, Amanda. "Social Movements, Strategic Choice, and Recourse to the Polls*." Mobilization: An International Quarterly 21, no. 2 (2016): 177–92. http://dx.doi.org/10.17813/1086-671x-21-2-177.

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In 2011, twenty-one state legislatures held floor votes on one or more bills seeking to limit teachers' collective bargaining rights, tenure protections, or both. In eighteen states, these bills became law. Teachers' unions took varying approaches to fighting against these pieces of legislation, but only in a few states did they turn to the ballot box, despite widespread availability of electoral tactics. In this study, I use fuzzy-set qualitative comparative analysis (fsQCA) to determine why most teachers' unions did not turn to the ballot. I find two causal “pathways”: one in which political

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Spinul, Igor, and Elena Spinul. "THEORETICAL AND METHODOLOGICAL FUNDAMENTALS OF TRAINING OF FUTURE SPECIALISTS OF MODERN BALLOT DANCES." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 128–33. http://dx.doi.org/10.36550/2415-7988-2021-1-195-128-133.

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In recent decades, modern ballroom dancing as an artistic phenomenon is spreading around the world. During the twentieth century, the society formed a clear idea of ballroom dancing as a folk dance (waltz, tango, etc.) and sports competitions of ten standardized ballroom dances. However, in recent times, modern ballroom dancing is increasingly fighting for the right to recognize it as an independent phenomenon of choreographic culture, given the original system of means of expression, which distinguishes it from other types of ballroom choreography (sports and household) and stage forms of f

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Fomkin, Alexey Viktorovitch. "Peculiarities of using the demonstration principle in ballet pedagogy." Samara Journal of Science 5, no. 1 (2016): 192–96. http://dx.doi.org/10.17816/snv20161314.

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Demonstration is one of the most important teaching principles. The foundation for the scientific study of this principle was laid by the outstanding pedagogue Ya.A. Komensky, who called it the golden rule of didactics. Later, Komenskys ideas were developed by J.H. Pestalozzi, K.D. Ushinsky, and other pedagogues. A special role in clarifying and specifying the functions of demonstration belongs to Russian pedagogues and psychologists developing the ideas of the unity of consciousness and activity (S.L. Rubinstein), the theory of activity (A.N. Leontyev), and the theory of gradual formation of

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Hung, You-Jou, Jenna Boehm, Morgan Reynolds, Kallee Whitehead, and Kaylyn Leland. "Do Single-Leg Balance Control and Lower Extremity Muscle Strength Correlate with Ankle Instability and Leg Injuries in Young Ballet Dancers?" Journal of Dance Medicine & Science 25, no. 2 (2021): 110–16. http://dx.doi.org/10.12678/1089-313x.061521f.

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Ankle injuries are common among young ballet dancers. These injuries may be attributed to ankle instability, insufficient lower extremity strength, and poor balance control. The purpose of this study was to explore whether these dancers exhibit functional ankle instability and if their single-leg balance control and lower extremity muscle strength correlate with functional ankle instability and leg injuries. Twenty-one ballet dancers (aged 10 to 17 years) participated in the study. The Cumberland Ankle Instability Tool (CAIT) questionnaire was used to examine functional ankle stability. Isomet

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Mykhailova, O. V. "Woman in art: a breath of beauty in the men’s world." Aspects of Historical Musicology 17, no. 17 (2019): 163–80. http://dx.doi.org/10.34064/khnum2-17.11.

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Background. А history of the development of the human community is at the same time a history of the relationship between men and women, their role in society, in formation of mindset, development of science, technology and art. A woman’s path to the recognition of her merits is a struggle for equality and inclusion in all sectors of public life. Originated with particular urgency in the twentieth century, this set of problems gave impetus to the study of the female phenomenon in the sociocultural space. In this context, the disclosure of the direct contribution of talented women to art and th

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Still, Jonathan. "How Down is a Downbeat? Feeling Meter and Gravity in Music and Dance." Empirical Musicology Review 10, no. 1-2 (2015): 121. http://dx.doi.org/10.18061/emr.v10i1-2.4577.

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<p>The idea that metrical accent might be related to an embodied sense of &ldquo;up&rdquo; and &ldquo;down&rdquo; is implied by the terms &ldquo;upbeat&rdquo; and &ldquo;downbeat,&rdquo; and is central to theories of meter as gravitational field, such as those evolved by Robert Hatten and Steve Larson. Yet as Hatten himself notes, upbeats and downbeats do not always map conveniently on to upward or downward movements in dance. Drawing on ethnographic research among trainee ballet teachers and recent theories of musical meter, this article discusses some pr

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Aalten, Anna. "In the Presence of the Body: Theorizing Training, Injuries and Pain in Ballet." Dance Research Journal 37, no. 2 (2005): 55–72. http://dx.doi.org/10.1017/s0149767700008561.

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After an injury; a dancer learns, at least for a short time, to heed his [sic] body if only because pain speaks a language almost anyone can understand. This heightened awareness should not disappear once the dancer returns to form; rather it should help him continue to learn about the ways his body moves and reacts (Ashley 1984, 217–218).In this statement the American dancer Merrill Ashley, who had a memorable 30-year career with the New York City Ballet, expresses a view on injuries that goes against the grain of dominant thinking within the world of ballet. According to Ashley, who suffered

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Escobar Álvarez, Juan Antonio, Pedro Jiménez Reyes, Miguel Ángel Pérez Sousa, Filipe Conceição, and Juan Pedro Fuentes García. "Analysis of the Force-Velocity Profile in Female Ballet Dancers." Journal of Dance Medicine & Science 24, no. 2 (2020): 59–65. http://dx.doi.org/10.12678/1089-313x.24.2.59.

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Jumping ability has been identified as one of the best predictors of dance performance. The latest findings in strength and conditioning research suggest that the relationship between force and velocity mechanical capabilities, known as the force-velocity profile, is a relevant parameter for the assessment of jumping ability. In addition, previous investigations have suggested the existence of an optimal force-velocity profile for each individual that maximizes jump performance. Given the abundance of ballistic actions in ballet (e.g., jumps and changes of direction), quantification of the mec

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Sanches, S. B., G. M. Oliveira, F. L. Osório, J. A. S. Crippa, and R. Martín-Santos. "Hypermobility and joint hypermobility syndrome in Brazilian students and teachers of ballet dance." Rheumatology International 35, no. 4 (2014): 741–47. http://dx.doi.org/10.1007/s00296-014-3127-7.

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Ryzlovsky, Pavel. "Prevalence of Disorders Among Student Musicians." Medical Problems of Performing Artists 23, no. 4 (2008): 196. http://dx.doi.org/10.21091/mppa.2008.4039.

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Your editorial in the September issue suggested undertaking new research on the prevalence of disorders among music students in colleges. This research could bring us still more tangible data on their incidence in performing artists (even though it would not be representative of the most numerous, also affected, but research-wise quite neglected part of the music-making and ballet-dancing population: the beginner students). I wholeheartedly welcome your suggestion, as I welcome any effort which could influence a major shift in attitude among my fellow teachers.

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Birk, Karena. "Pre-Professional Ballet Training: Toward Making It Fit for Human Consumption." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 166–70. http://dx.doi.org/10.1017/s2049125500001059.

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Professional ballet is often problematized, as is the training that leads up to it. Even when ballet's training model is not being held up as an example of outright abuse, its “old school” methods are generally considered authoritarian, outdated, and oppressive. However, pre-professional training is not always so dire, and more importantly, it does not have to be. The dance profession and training are changing: to reflect and strengthen emerging “new school” methods, teachers reworking the traditional model should be more active in sharing and asserting their ideas, and there should be greater

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