Interview Questions for Advanced Knowledge of Dance Terminology

‘En dehors’ and ‘en dedans’ are fundamental French terms in ballet describing the direction of movement. ‘En dehors’ means ‘outward,’ referring to a turn or movement that originates from the center and extends outward, away from the body’s midline. Imagine rotating your leg outwards from the hip, like opening a door. ‘En dedans’ means ‘inward,’ signifying a movement that begins from the outside and circles inward, towards the center. Think of drawing a circle with your leg, bringing it back towards your body.

Their importance lies in shaping the dancer’s lines and creating fluidity of movement. Proper execution of ‘en dehors’ and ‘en dedans’ is crucial for achieving correct turnout, a cornerstone of ballet technique that helps prevent injury and allows for a greater range of motion. For example, a correctly executed fouetté turn relies heavily on the control and precision of en dehors rotation. A dancer who lacks this control will appear unbalanced and risk injury.

While both ‘port de bras’ and ‘épaulement’ relate to arm and shoulder movements in ballet, they are distinct. ‘Port de bras’ refers to the carriage and movement of the arms themselves. It’s about the graceful, controlled shaping and flowing of the arms, often described as ‘sculpting the air.’ It encompasses a vast range of positions and transitions, all emphasizing elegance and precision.

‘Épaulement,’ on the other hand, focuses on the placement and movement of the shoulders and upper torso. It’s about using the shoulders to create an aesthetically pleasing line and to support and enhance the expression and fluidity of the whole body. Think of it as subtly turning the torso – the shoulders, neck, and head – to create a beautiful profile while maintaining balance and poise. A dancer might employ épaulement to create a dramatic contrast between the direction of their upper body and the position of their legs in an arabesque.

In essence, port de bras is about the arms, while épaulement is about the upper body’s orientation and its interplay with the arms and legs. Both are essential for creating the overall aesthetic of ballet.

Pliés are bending movements of the knees, fundamental in ballet and many other dance styles. There are primarily two main types: demi-plié (half-bend) and grand plié (full-bend).

• Demi-plié: A slight bending of the knees, maintaining a straight back and upright posture. It’s a preparatory movement for many steps and jumps, ensuring proper alignment and generating power efficiently. In jazz, a demi-plié might be used to add a subtle bounce or rhythmic emphasis to a step.
• Grand plié: A deep bend of the knees, extending down until the thighs are almost parallel to the floor (or fully parallel, depending on the dancer’s flexibility and the style). In ballet, it is performed in both first and fifth positions. In modern dance, grand pliés might be used expressively, as a way to show emotional release or power.

Variations exist depending on the position of the feet (e.g., first, second, fourth, fifth positions) and the style of dance. The impact on different dance styles varies: ballet relies on precise form and control in pliés, while contemporary dance may emphasize dynamic and expressive use of the plié.

Spotting is a crucial technique in pirouettes (turns) that helps maintain balance and visual focus. It involves selecting a fixed point in space (the ‘spot’) and focusing your eyes on it throughout the turn. As you rotate, you quickly whip your head around to refocus on the spot, maintaining visual orientation and preventing dizziness.

The significance lies in its role in preventing disorientation and ensuring a smooth, controlled turn. Without spotting, a dancer would likely become disoriented, lose balance, and their turns would be uncontrolled and less aesthetically pleasing. The quick head movements synchronize with the body’s rotation, allowing for the eyes to stay fixed on the spot, creating the illusion of a stable and balanced turn for the audience.

Both arabesque and attitude are balancing positions in ballet, but they differ significantly in their posture and leg placement.

Arabesque: The dancer stands on one leg, with the other leg extended straight behind, creating a long, flowing line from head to toe. The supporting leg is straight, and the body is held in an elegant, elongated position. The extended leg can be at various heights and angles. Think of it as a graceful, flowing extension.

Attitude: Similar to an arabesque, the dancer balances on one leg with the other leg lifted behind. However, in an attitude, the lifted leg is bent at the knee, creating a more dynamic and expressive pose. It can be turned both en dehors and en dedans. It’s less linear and more active-looking than an arabesque.

Essentially, the key difference is the position of the raised leg: straight in arabesque and bent in attitude.

Chassé (chase) and sissonne (scissor) are both traveling steps in ballet, but their execution is quite different.

Chassé: A gliding step where one foot ‘chases’ the other, resulting in a smooth transition between steps. It can be executed in different directions, and often forms part of larger sequences. Imagine smoothly sliding one foot to meet the other, creating a continuous flow.

Sissonne: A jump from two feet to one foot, often followed by a landing on two feet. There are many variations: sissonne ouverte (legs open in the air), sissonne fermée (legs close together in the air), and sissonne simple (a basic jump). It’s a more dynamic, leaping step than a chassé.

In summary, a chassé is a gliding step, while a sissonne is a jump.

A grand jeté (large throw) is a spectacular jump in ballet where the dancer leaps from one foot to the other, extending both legs fully in the air in a split. The key elements include:

• Powerful Développé: A strong preparation with a développé (leg extension to the side or front) is essential to generate the height and distance of the jump.
• Precise Timing and Extension: Achieving the split fully and with straight legs requires immense strength, flexibility and control.
• Balanced Landing: The landing needs to be controlled and graceful, demonstrating balance and control on one foot.
• Épaulement: Often the dancer will use épaulement during the jump to create a more expressive and dramatic look.

The grand jeté is a visually stunning step that requires both technical proficiency and artistic expression. The appearance of effortless flight is deceiving; it demands rigorous training and control.

Both cou-de-pied and retiré are preparatory positions in ballet, involving the lifting of one leg. However, they differ significantly in the placement of the foot.

Cou-de-pied (literally ‘kick of the foot’) involves brushing the foot against the ankle, either front (cou-de-pied devant) or back (cou-de-pied derriére). The working leg is bent at the knee and the foot is lightly placed against the ankle, maintaining the straight line of the supporting leg. Think of it as a gentle ‘tap’ against the ankle.

Retiré, on the other hand, means ‘withdrawn’. The working leg is lifted to the side, front, or back, with the knee bent and the foot pointed, forming a straight line from knee to toes. The foot never touches the ankle. Imagine a graceful lifting of the leg; a smooth, elegant position.

In essence: Cou-de-pied is a brief touch, while retiré is a sustained, raised position.

Fondu, French for ‘to melt’, is a bending of the supporting knee. It’s a graceful lowering and rising of the body, often used to transition between positions or to create a sense of fluidity and weight shift.

Imagine a candle slowly melting; that gentle sinking and re-emerging is analogous to fondu. The dancer lowers their body by bending the knee of their supporting leg, keeping the other leg extended in a specific position (e.g., retiré, à la seconde). The movement is controlled and smooth, never jarring or abrupt. The weight remains evenly balanced, avoiding any loss of posture or control. The dancer then rises back up, extending the knee.

Fondu is frequently used in ballet adagio sections and is crucial for developing strength, balance, and control.

Turnout is the outward rotation of the legs from the hip joints, achieved by rotating the legs outward in the hip sockets. It is a fundamental aspect of ballet and other dance forms, affecting posture, alignment, and the overall aesthetic of movement.

Technical Aspects:

• Origin: The rotation originates from the hip joints, not the knees or ankles. Forcing rotation from the knees can lead to injury.
• Range: The optimal range of turnout varies among dancers due to individual anatomical differences, but a 180-degree turnout is rarely fully achieved and generally not sought after due to risk of injury. The emphasis is always on healthy rotation from the hip.
• Alignment: Proper turnout maintains the alignment of the legs, hips, and spine, ensuring stability and elegance.
• Muscle Engagement: Turnout requires the engagement of various muscles in the legs, hips, and core for proper support and control.

Incorrect turnout can lead to strain, injury, and an aesthetically less pleasing line. It’s essential to develop turnout gradually, under the guidance of a qualified instructor, to avoid injury.

Sous-sus (pronounced ‘soo-sus’) is a French term meaning ‘under-over’. In ballet, it refers to a specific movement where the dancer’s arms move in a continuous, flowing motion from a low position (sous) to a high position (sus) and back again. It often accompanies a port de bras (carriage of the arms).

The movement is elegant and lyrical. Imagine a wave flowing seamlessly from low to high. The arms are kept rounded and never fully straight, maintaining a soft curve throughout the movement. Sous-sus helps to add fluidity and expressiveness to the dance, contributing to the overall artistic quality of the performance. It showcases the dancer’s control and grace.

Both balancé and glissade are gliding steps in ballet, but they differ in their execution and effect.

A balancé (French for ‘rocking’) involves a rocking action, shifting weight from one leg to the other, often ending in a pose. Imagine a gentle rocking motion like a seesaw; it’s a subtle shifting of the weight across the feet. It’s typically a graceful, flowing transition, rather than a quick step.

A glissade (French for ‘to glide’) is a gliding step where the working leg slides along the floor to meet the supporting leg, forming a fifth position. Think of it as a quick, smooth slide from one foot to the other. It’s a more dynamic and often faster movement than the balancé.

In short: Balancé is a rocking action, while glissade is a gliding step.

Modern dance embraces a wide variety of jumps, often characterized by their dynamic and expressive qualities. There’s less emphasis on strict technique compared to ballet. Types of jumps can vary greatly based on the choreographer’s style and intent but some common categories include:

• Simple Jumps: Basic vertical jumps, often with variations in height and direction.
• Traveling Jumps: Jumps that propel the dancer across the stage, like a sissone but with more freedom of style and landing.
• Turns in the Air: Jumps incorporating turns, showcasing the dancer’s control and aerial awareness.
• Multiple Jumps: Sequences of jumps linked together, creating a dynamic and fluid phrase.
• Expressive Jumps: Jumps designed to convey emotion or narrative, emphasizing the qualitative aspects of movement.

The specific names for these jumps are often less formalized in modern dance than in ballet, leaving more room for choreographic interpretation.

Musicality is paramount in dance. It’s not merely keeping time but interpreting and expressing the music through movement. It’s the essence of bringing a dance to life. Dance terminology often reflects this musicality.

For example, terms like rallentando (slowing down) and accelerando (speeding up) are directly borrowed from musical notation, indicating how a dancer’s movement should adjust in tempo. The phrasing of steps, dynamics (power and softness), and accents all correspond to the musical structure. A dancer who truly understands musicality can articulate the nuances of the music through their physical expression. It’s this connection that elevates a technically proficient dancer to an artistic performer.

A lack of musicality results in a disjointed performance where the movements are not synchronized with the music’s feeling or intention. A masterful dancer uses musicality to tell a story, creating an emotionally resonant experience for the audience.

Dance notation acts as a vital lifeline for choreography, ensuring its preservation across time and geographical boundaries. Imagine trying to remember a complex piece of music without sheet music – nearly impossible! Similarly, without notation, intricate dance sequences, stylistic nuances, and the choreographer’s artistic vision risk being lost or significantly altered through oral transmission or memory alone. Notation provides a permanent record, allowing future generations of dancers and researchers to access and reconstruct the work with accuracy and fidelity. This is particularly crucial for preserving traditional dances from various cultures, where oral tradition might be less reliable over time.

Think of it as a blueprint for movement. A well-notated piece allows for faithful reproduction, facilitating the revival of forgotten works or enabling the study and comparison of different choreographic styles.

Labanotation, a widely used system, employs a series of symbols to represent movement qualities. It’s not just about recording steps but captures the essence of the movement itself – its effort and dynamics.

• x: Indicates a vertical movement, like a jump.
• >: Represents movement in a forward direction.
• <: Shows movement in a backward direction.
• ^: Indicates an upward movement, a lift.
• v: Represents a downward movement, a lowering.
• Circles: These show sustained movement, the flow.
• Different line weights: These denote varying degrees of force or energy.

For example, a quick, sharp jump could be notated as x with a bold, short line, whereas a slow, gentle lift might be represented by ^ with a thin, elongated line. The system's complexity lies in its ability to nuance these movements, capturing subtle differences in quality and intention.

The Benesh notation system is renowned for its precision and visual clarity. Unlike some systems that rely solely on symbols, Benesh uses a combination of symbols and a specially designed musical stave. This stave, with its vertical and horizontal axes, allows the notation of precise body positions and movements in space and time. Each limb, even fingers and head, can be recorded, giving a detailed, almost anatomical account of the choreography.

Advantages:

• Exceptional detail: It provides the most comprehensive record of movement compared to other systems.
• Visual clarity: The stave-based system renders the movement visually accessible, facilitating interpretation.
• Wide applications: Used for various dance styles, from ballet to contemporary.

Think of it like a highly detailed architectural plan, not just showing the overall shape of a building but also intricate details like window placement and the precise angle of each wall. This level of detail allows for almost perfect reconstruction of the choreography.

Several dance notation styles cater to different needs and dance forms. Each has its strengths and weaknesses:

• Labanotation: As discussed, it excels in capturing effort and dynamics, making it suitable for contemporary and modern dance styles.
• Benesh: Its strength lies in its detailed anatomical accuracy, making it a favourite for ballet and other technically demanding forms.
• Eshkol-Wachmann Movement Notation (EWM): This system uses a mathematical approach, specifying movements through angles and positions, offering objectivity and suitability for scientific analysis of movement.
• Step-by-step notations: These simpler methods, often used for social dances or folk dances, primarily record the steps and rhythms, without focusing on nuanced effort qualities.

The choice of notation often depends on the complexity of the choreography and the specific information the choreographer wishes to preserve. A simple folk dance might only need a step-by-step notation, while a complex ballet would benefit from the detailed capabilities of Benesh.

Interpreting dance notation requires a blend of skills. It's not simply reading symbols but understanding the underlying principles of movement analysis. For instance, if interpreting Benesh, you'd need to understand the anatomy and kinesiology to visualize the described positions and transitions. With Labanotation, you need a deep grasp of effort qualities.

The process generally involves:

1. Familiarizing oneself with the notation system: This includes understanding the symbols and their meanings.
2. Analyzing the score systematically: Breaking down the sequence of movements, noting body positions, transitions, and dynamic shifts.
3. Visualizing the movements: Mentally rehearsing the choreography based on the notation, paying close attention to timing and spatial relationships.
4. Reconstructing the movements: Physically performing the dance based on the interpreted notation. This process often involves refinement and adjustment based on one's own body and the dance style.

This analytical process requires a trained eye and a keen understanding of movement principles. It is akin to reading a complex musical score – you don't just read the notes but must interpret their rhythm, dynamics, and expressive intent.

Anatomical understanding is fundamental to accurate execution and injury prevention in dance. Dancers must understand how their bodies work – how muscles interact, how joints function, and how movement affects the entire musculoskeletal system. For example, understanding the biomechanics of a plié in ballet necessitates knowing how the muscles of the legs and core engage to support the posture and range of motion. Without this knowledge, a dancer might compensate by using incorrect muscles, increasing the risk of injury.

It is comparable to building a house – a solid foundation (anatomical understanding) is crucial for a strong, stable structure (dance movement). Ignoring the anatomical considerations can lead to structural weaknesses and ultimately, collapse (injury).

Specific dance techniques carry inherent injury risks. For example:

• Ballet: Common injuries include stress fractures in the feet and ankles (from repetitive pointe work), knee injuries (from hyperextension), and hamstring strains (from rapid changes in direction and extension). Prevention involves proper training, gradual progression, and strength conditioning of supporting muscles.
• Contemporary: Injuries often include back problems (due to floor work and spinal hyperextension), ankle sprains (from quick changes in direction), and shoulder impingements (from repetitive arm movements). Strengthening core muscles, warming up adequately, and employing correct technique are crucial preventative measures.
• Hip-Hop: Knee injuries (from forceful jumps and landings), ankle sprains (from quick changes in direction), and wrist injuries (from falls) are prevalent. Focusing on proper landing techniques and incorporating exercises to enhance joint stability can help mitigate these risks.

Prevention strategies often include proper warm-up and cool-down routines, strength training to support joints, injury-prevention exercises, and mindful attention to technique. Regular professional guidance and listening to one's body are crucial to minimizing injury risks.

Dance terminology isn't just a set of fancy words; it's directly linked to the body's mechanics. Each term describes a specific movement, which in turn activates particular muscle groups. Understanding this connection is crucial for efficient training, injury prevention, and achieving stylistic precision.

For example, a grand battement (a large, high leg extension) requires powerful engagement of the gluteus maximus, hamstrings, and quadriceps. The terminology itself – grand battement – inherently suggests the scale and muscular exertion involved. Similarly, a pirouette (a turn on one leg) relies on core strength (transverse abdominis, obliques), precise foot placement, and controlled rotation. The anatomical intricacies are embedded within the descriptive language.

Conversely, improper technique, often reflected in flawed terminology, can lead to strain or injury. For instance, using the term 'passe' (a position where one leg is placed against the knee of the supporting leg) while neglecting to emphasize the core engagement could lead to instability and potential knee damage. The vocabulary guides the dancer towards proper anatomical engagement.

Adapting my explanations depends entirely on the dancer's level of experience and their specific dance background. Beginners require a foundation of fundamental movements and anatomical terminology, explaining concepts through simple analogies and visual aids.

• Beginners: I focus on basic movements like plié (bending the knees), tendu (stretching the leg along the floor), and développé (unfolding the leg). I use clear, concise language and relatable metaphors, such as explaining port de bras (movements of the arms) as 'painting a picture in the air'.
• Intermediate: I introduce more complex vocabulary and technical nuances, explaining the subtle differences between related terms. For example, differentiating between various types of turns (pirouette en dehors, pirouette en dedans). I encourage them to explore the feeling of muscular engagement.
• Advanced: I delve into nuanced vocabulary specific to different styles, exploring the precise muscular activation required for advanced variations. For instance, discussing the subtle differences in weight distribution between a fouetté (whipping action of the leg) in classical ballet versus contemporary dance. At this level, discussions are more collaborative, and the dancer's personal technique informs the discussion.

My experience in teaching advanced dance terminology has spanned over fifteen years, working with professional dancers across diverse styles – ballet, modern, contemporary, and jazz. I've developed workshops and masterclasses that focus not only on vocabulary but also on its practical application to refining technique and understanding choreography.

A memorable experience involved working with a company grappling with consistency in their interpretation of a complex Balanchine piece. By meticulously dissecting the choreography using precise terminology, we were able to achieve a unified and technically superior performance. It reinforced the importance of shared understanding in a professional setting.

The most rewarding aspect is seeing students not just memorize terms, but internalize the anatomical and artistic implications behind them. This results in improved clarity of movement and expressive potential.

Explaining a complex movement to a beginner requires a systematic breakdown. Let's say we want to teach a chassé (a gliding step). I would:

1. Start with the basics: Define each component: 'Chassé involves a glide, starting with one foot and ending with the other.' This avoids jargon.
2. Demonstrate and deconstruct: Perform the chassé slowly, emphasizing the weight transfer and leg extension.
3. Use simple analogies: 'Imagine you're sliding on ice, smoothly transitioning from one foot to the next.' This makes the movement relatable.
4. Break it down into smaller units: Focus on each leg's movement individually before combining them. This reduces cognitive overload.
5. Provide tactile feedback: Gently guide the student's legs, feeling the correct positions.
6. Repeat and refine: Encourage repetition and observe for common mistakes. This develops kinesthetic understanding.

This approach transforms a potentially intimidating movement into a manageable and achievable goal.

Staying current in dance terminology involves continuous engagement with various resources:

• Professional Dance Journals and Publications: These journals offer in-depth analysis of innovative techniques and evolving terminology.
• Attendance at Conferences and Workshops: Engaging with leading choreographers and teachers allows for firsthand exposure to new approaches and evolving vocabulary.
• Online Resources and Databases: Many online platforms provide updated glossaries and discussions of contemporary dance styles.
• Collaboration with Colleagues: Sharing insights and experiences with other teachers and professionals keeps the terminology fresh and relevant.

Staying updated is critical, as the dance world is constantly evolving, with new techniques and vocabulary emerging to accommodate stylistic innovations.

Ensuring clarity and accuracy in professional settings relies on several strategies:

• Thorough understanding of the terminology: I always ensure I possess a deep understanding of the terminology before employing it. This allows me to explain concepts with precision.
• Contextual usage: I use terminology appropriately depending on the style of dance and the level of the dancers.
• Consistent application: I apply the same terminology consistently to avoid confusion.
• Seeking clarification: If unsure about the exact meaning of a term, I always double-check with reliable sources or colleagues before using it.
• Feedback mechanisms: I encourage feedback from colleagues and students. This helps to refine my usage and identify any ambiguities in my explanations.

Precision is paramount in dance. Accurate terminology enhances communication, clarifies instructions, and ensures the safety and artistic excellence of the dancers.

Dance terminology has evolved significantly over time, reflecting changes in technique, style, and cultural influences. Here are a few examples:

• Ballet: Terms like fouetté and arabesque, originally French, have become internationally recognized, yet their precise execution and interpretation have subtly evolved across different ballet schools. The emphasis on turnout and precise foot placement has shaped the specific meaning behind these words.
• Modern Dance: The development of modern dance in the early 20th century led to a new vocabulary reflecting its unique movement qualities. Terms like contraction and release, which emphasize core work and fluidity, didn't exist in the traditional ballet lexicon.
• Contemporary Dance: This style, drawing inspiration from various forms, has seen the constant emergence of new terms. The vocabulary reflects the innovative movement qualities, often borrowing terminology from other fields or creating unique expressions to capture the essence of movements.

The evolution of dance terminology reflects the dance world's dynamism and adaptation, reflecting the continuous innovation and growth within the field.