Hostname: page-component-cd9895bd7-dk4vv Total loading time: 0 Render date: 2024-12-23T23:11:47.238Z Has data issue: false hasContentIssue false
  • English
  • Français

The Grand Jeté En Tournant Entrelacé (Tour Jeté): An Analysis Through Motion Photography

Published online by Cambridge University Press:  22 July 2014

Marilyn Hinson ,
Susan Buckman ,
Judith Tate  and
Claudine Sherrill
Get access Rights & Permissions [Opens in a new window]

Extract

The medium of dance can refine its own instrument; the dancer gains fuller possession and utility of the body, of sensibilities, the uniqueness of total self. The rational and intuitive begin to flow freely into each other; the equipment becomes more subtle. Dance can thus be one more way, and a potent one, of enabling a human being to command more fully his powers.

Philosophical statements such as this exemplify the emphasis the dancer must put upon the ideal as well as upon the practical application of the real. Dance technique, how-ever, exhibits the gap between fact and theory. Today, the dance instructor has available literature related to kinesiology and research methods that could be of help to improve the theory underlying dance technique; but it appears that full advantage has not been taken of these resources to correct existing errors in technique.

Type
Articles
Information
Dance Research Journal , Volume 10 , Issue 1 , Fall/Winter 1977 , pp. 9 - 13
Copyright
Copyright © Congress on Research in Dance 1977

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1. Smith, Nancy W. “A Statement of Philosophy”. Designs for Dance. Edited by Murray, Ruth L.. Washington, D.C.: American Association for Health, Physical Education and Recreation, 1968, 9.Google Scholar
2. Hinson, Marilyn. Kinesiology. Dubuque, Iowa: W. C. Brown, 1977.Google Scholar
3. Hinson, Marilyn and Lawton, Terry. “Motion Photography: A Tool for the Analysis of Movement Patterns in the Creative Arts”. Creative Arts for the Severely Handicapped. Edited by Sherrill, Claudine. Forth Worth: Perko Printing, 1977, 101–112.Google Scholar
4. Hawkins, Alma M. “Dance as a Discipline”. Focus on Dance IV. Edited by Smith, Nancy W.. Washington, D.C.: American Association for Health, Physical Education and Recreation, 1967, 13.Google Scholar
5. Hawkins, Erick. “The Body is a Clear Place”. Focus on Dance V. Edited by Gray, Miriam. Washington, D.C.: American Association for Health, Physical Education and Recreation, 1969, 34–35.Google Scholar
6. Humphrey, Doris, The Art of Making Dances. New York: Grove Press, Incorporated, 1959.Google Scholar
7. Widdop, James H. “Effects of a Ballet Training Program Upon Physical Performance of College Freshmen”. Research Quarterly. XXXIX, No. 1 (1968), 752–758.Google Scholar
8. Vaganova, Agrippina. Basic Principles of Classical Ballet. New York: Dover Publication, Incorporated, 1966.Google Scholar
9. Eaves, G. “Biomechanical Problems in Swimming and Diving”. Biomechanics. Baltimore: University Park Press, 1968, 33.Google Scholar
10. Jensen, C. R. and Schultz, G. W.Applied Kinesiology. 2nd ed. New York: McGraw-Hill Book Company, 1977, pp. 314–16.Google Scholar