Advanced Ballroom Dancing - The Revised Theory and Technique , livre ebook

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312 pages

English

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This vintage book is a complete handbook on ballroom dancing. With theoretical expositions, step-by-step instructions, historical information, and much more, this is a volume that will be of considerable utility to those with a serious interest in learning a range of ballroom dances from the swing waltz to the tango. Contents Include: “Foreword”, “Preface”, “Introduction”, “Glossary of Abbreviations”, “Technical Terms”, “Description and Outline of 'The Commonly Known Variations'”, “Waltz (Associate)”, “Waltz (Member and Fellow)”, “Foxtrot (Associate)”, “Foxtrot (Member and Fellow)”, “Quickstep (Associate)”, etc. Many vintage books such as this are increasingly scarce and expensive. It is with this in mind that we are republishing this volume now in an affordable, modern edition complete with a specially commissioned new introduction on dance.

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Publié par	Read Books Ltd.
Date de parution	06 août 2020
Nombre de lectures	0
EAN13	9781528762687
Langue	English
Poids de l'ouvrage	2 Mo

Informations légales : prix de location à la page 0,0500€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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ADVANCED BALLROOM DANCING
THE REVISED THEORY AND TECHNIQUE
BY CARL BRYANT
Examiner and Fellow of the National Association of Teachers of Dancing, Chairman Ballroom Committee N.A.T.D. (1948-49; 1949-50). Technical Lecturer to the N.A.T.D.
Copyright 2013 Read Books Ltd. This book is copyright and may not be reproduced or copied in any way without the express permission of the publisher in writing
British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library
A Short Introduction to Dance
Dance is a type of art that generally involves movement of the body, often in a rhythmic fashion and to music. It is performed in almost all cultures around the globe as a form of emotional expression, social interaction or exercise, in a spiritual or performance setting, and is sometimes used to express ideas or tell a story. Definitions of what constitutes dance are extremely difficult to form - and can depend on social and cultural norms, as well as aesthetic, artistic and moral sensibilities. Definitions may range from functional movement (such as folk dance) to virtuoso techniques such as ballet. Martial arts Kata (choreographed patterns of movements) are often compared to dances and sports such as gymnastics, figure skating and synchronized swimming are generally thought to incorporate dance.
There are many styles and genre of dance; African dance is generally interpretative , ballet, ballroom and tango are examples of classical dance styles , square dance and electric slide are forms of step dance and break-dancing is a type of street dance. Any of these dances can be either participatory, social or performed for an audience. Due to the nature of dancing itself however, it is very difficult to trace a history of the genre. Dance does not leave behind clearly identifiable physical artefacts such as stone tools, hunting implements or cave paintings. It is thus simply not possible to say when dance became part of human culture. Archaeological evidence (in the forms of statues and decorations on vases) indicates that dance has been an important part of ceremony, ritual, celebration and entertainment since the earliest civilisations though.
Examples of the evidence we do have includes 9,000-year-old paintings in India at the Rock Shelters of Bhimbetka (Raisen District, Madhya Pradesh) and Egyptian tomb paintings depicting dancing figures, dated c. 3300 BC. One of the earliest structured uses of dances may have been the telling of myths. Before the invention of written languages, dance was one of the methods of passing stories down from generation to generation. Another early use of dance may have been as a precursor to ecstatic trance states in healing rituals - and it is still used for this purpose today by many cultures from the Brazilian rainforest to the Kalahari Desert. Most contemporary dance forms can actually be traced to such traditional, ceremonial or ethnic dances. For example, some Sri Lankan dances are related to aboriginal, mythical devils known as yakkas and according to local legend, Kandyah dance (originating in a hilly region of Sri Lanka) began as a ritual that broke the magic spell on a bewitched king.
Concert or performance dance is primarily related to Europe and North America. One of its most famous forms - ballet - originated first in Italy and then in France from lavish court spectacles that combined music, drama, poetry, song, costumes and dance. During the reign of Louis XIV, himself a dancer, dance became more codified. Professional dancers began to take the place of court amateurs and ballet masters were licensed by the French government. The first ballet dance academy was the Acad mie Royale de Danse (Royal Dance Academy), opened in Paris in 1661. Shortly thereafter the first institutionalized ballet troupe, associated with the Academy, was formed; this troupe began as an all-male ensemble but by 1681 opened to include women as well.
At the beginning of the twentieth century, there was an explosion of innovation in dance style characterised by an exploration of freer technique. Early pioneers of what became known as modern dance include Loie Fuller, Isadora Duncan, Mary Wigman and Ruth St. Denis. Other more modern dances, including tap dance, disco, jazz dance, swing dance, hip hop and break-dance developed in everyday spaces, rather than in dance studios, schools or companies. Most of these forms of movement originated with African American communities, often living under considerable hardship and racial prejudice - left with little alternative other than to create dance for themselves.
Today, dancing has become fully professionalized and there are many occupations surrounding its performance, including dancers, dance teachers, costume designers, producers and choreographers. Dance competitions are frequent, especially in classical as well as street styles and there are many schools specifically dedicated to educating people in the academic discipline of dance. It is hoped that the current reader is inspired by this book to try some dancing of their own! Enjoy.

Frontispiece
CARL BRYANT
CONTENTS
Foreword
Preface
Introduction
Glossary of Abbreviations
Technical Terms
Description and Outline of The Commonly Known Variations :
Waltz (Associate)
Waltz (Member and Fellow)
Foxtrot (Associate)
Foxtrot (Member and Fellow)
Quickstep (Associate)
Quickstep (Member and Fellow)
Tango (Introduction)
Tango (Associate)
Tango (Member and Fellow)
FOREWORD
It is both a privilege and a pleasure for me to write this Foreword. A privilege because of the high-grade quality of this book; a pleasure because of my long-standing association with the author.
Carl Bryant has been an accepted technical expert for a long time. I have personally known him for some fifteen years or so; originally, as an exponent of considerable ability, and more recently as a most active member of the Executive Council of the National Association of Teachers of Dancing. As Chairman of the Ballroom Branch of this Association he has played a prominent part in the application of the Revised Technique and its ultimate usage in the examination room. His considerable experience on technical committees plus an easy practical approach to the theory of dancing has enabled him to specialise in the training of the student teacher.
In writing this book Carl Bryant has supplied two immediate needs of the dancing profession. Firstly, a comprehensive analysis of the Revised Technique with the fundamental principles fully explained and, secondly, a self-explanatory Textbook for the student training for professional examinations. In the latter respect I believe this edition will really score. The sectioning of the book is designed to assist the student and guide him in an orderly manner through the material he must learn. To my mind a most valuable factor of this work is that the author has purposely refrained from introducing specific individual ideas. He has dealt with his subject from the technical viewpoint, so that the student can be assured that the answers given are not only correct, but that they will be accepted by any of the recognised Societies of Dancing.
There is so much valuable information given that it is unfair to stress any particular point. Nevertheless, certain features of a publication either improve it or have the adverse effect. In this case, absolute accuracy has been allied to simplicity of description and presentation. Diagrams explain some of the fundamental principles so very easily. The descriptions of each figure in accordance with the revised technique are the first of their kind and few, if any, previous books have included full explanations of the musical counts that all teachers must know.
I have no doubt whatsoever that this work will prove to be of great value to all connected with the art of ballroom dancing, particularly those engaged in the teaching of it. I am most happy to introduce Carl Bryant s Advanced Ballroom Dancing.

Star and British Open Professional Ballroom Champion, 1950.
British Professional Ballroom Champion, 1951-1952.
London.
PREFACE
This book is intended as a Textbook and Reference for Students, Teachers, and all who desire a deeper knowledge of the Art. Care has been taken in the preparation of this work to include any differences which have occurred in the revision of the technique of ballroom dancing. In order to make full use of the book, THE INTRODUCTION SHOULD BE READ AND THOROUGHLY UNDERSTOOD BEFORE TRYING TO MASTER EACH SEPARATE FIGURE. Once the general principles, together with the exceptions, are known, then the mastering of individual figures will become much easier.
I recommend, as the best method to study with the use of this book, dealing with the figures in the following order:-
1. Learn General Principles and Exceptions in the Introduction.
2. Practise pattern and rhythm of the figures.
3. Position of Feet and Alignment.
4. Footwork.
5. Rise and Fall.
6. Become used to dealing with Amounts of Turn.
7. Description of a figure.
8. Understand and use C.B.M. and Sway.
9. Count figures in Beats and Beats and Bars.
10. Learn the figures which will precede and follow the one being dealt with.
IT SHOULD BE FULLY UNDERSTOOD THAT IN AN EXAMINATION FOR MEMBER OR FELLOW the examiner will expect the candidate, in addition to having a knowledge of the Associate work and the extra figures included on their respective Syllabuses, to be able to explain methods of teaching, both to Private Pupils and Classes.
I have divided the dances into Associate, and Member and Fellow, but since the various