MATSEC SEC Dance flashcards

33 cards. Read the term and the definition here. The deck at the top of this page is optional.

Locomotor movement

Movement that travels through space from one point to another, such as walking, running, jumping, hopping, leaping, skipping, sliding and galloping. It contrasts with axial movement performed in place.

Non-locomotor movement

Axial movement performed around the body's own base of support without travelling, including bending, stretching, twisting, swinging, rising, falling and turning. It can be combined with locomotor actions.

Gesture

Movement of a body part, especially the arms and hands, that may be functional (such as waving or pointing) or expressive (used to convey meaning or emotion within a dance phrase).

Personal space

The immediate area around a dancer's own body, sometimes called the kinesphere, which the dancer can reach without travelling. It is distinguished from general space shared with other dancers.

General space

The shared area of the performance space through which dancers travel, in contrast to the dancer's own kinesphere. Safe use requires spatial awareness of other dancers' pathways.

Levels

The height at which movement occurs: low (near the floor), middle (standing/normal height) and high (reaching or jumping upward). Varying levels changes the visual interest of a phrase.

Pathway

The route a dancer or body part traces through space, described as straight, curved or zigzag. Floor pathways and aerial pathways (of limbs) can both be identified in a phrase.

Dynamics

The quality or effort with which movement is performed, including sustained, percussive, swinging, suspended, collapsing and vibratory qualities. Dynamics strongly affect the expressive character of a dance.

Motif

A short, recognisable movement phrase that carries the identity of a dance and is used as raw material for development. It is usually repeated or varied within the composition.

Motif development

The process of varying a motif using devices such as repetition, retrograde, inversion, augmentation, diminution, fragmentation, embellishment and changes of level, direction or dynamic quality.

Retrograde

A choreographic device in which a movement phrase is performed backwards, from its final action to its first. The order of movements is reversed while the individual actions stay the same.

Inversion

A development device where a movement is turned upside down or reversed in its spatial orientation, for example an arm reaching upward becoming a downward reach.

Augmentation

A choreographic device that enlarges a movement or phrase, for example by making actions bigger, longer or more exaggerated. Its opposite device is diminution, which reduces or condenses material.

Canon

A compositional device in which dancers perform the same movement phrase one after another, entering at staggered times. It creates overlapping texture and is common in group choreography.

Unison

A compositional device in which two or more dancers perform the same movement at the same time. It emphasises clarity of shape and can contrast strongly with canon or counterpoint.

Ternary form

A three-part structure summarised as ABA, in which an opening section is followed by contrasting material and then a return to the first section. It gives a clear sense of departure and return.

Binary form

A two-part structure summarised as AB, consisting of two contrasting sections without a return to the opening material. It is one of the simplest compositional forms used at SEC level.

Rondo form

A structure in which a main theme returns between contrasting episodes, summarised as ABACA. The recurring A section provides unity while the episodes supply contrast and development.

Choreographic intent

The purpose or meaning a choreographer intends to communicate through a dance, including the stimulus, theme and desired audience response. It guides all movement and structural choices.

Stimulus

The starting point that inspires a dance, such as an image, poem, piece of music, personal experience, social issue or observed movement. It informs the choreographic intent and movement choices.

Improvisation

Spontaneous movement created in the moment, often guided by a task or stimulus. In choreography it is used to explore and generate movement material that is later selected and refined.

Safe dance practice

Practices that reduce injury risk, including warming up, cooling down, maintaining correct alignment, using suitable flooring and footwear, hydrating and respecting personal physical limits.

Warm-up purpose

A warm-up raises body temperature and blood flow, mobilises joints and prepares muscles and the nervous system for activity, reducing injury risk. It typically progresses from gentle mobility to more vigorous movement.

Cool-down purpose

A cool-down gradually lowers heart rate and body temperature and includes stretching to help muscles relax after exertion. It supports recovery and reduces stiffness following a dance class or performance.

Alignment

The correct stacking of body segments, particularly the head, shoulders, ribcage, pelvis and knees, so that weight is efficiently supported. Good alignment improves balance and reduces strain.

Turnout

The outward rotation of the legs from the hip joint, used especially in ballet. It must originate at the hip, not the knee or ankle, to avoid joint injury.

Musicality

The dancer's sensitivity to and expression of the music, including phrasing, timing, accent and stillness. It is a recognised assessment criterion in practical dance performance.

Projection

The performer's communication of energy, focus and intention to the audience, extending beyond the body's edges. It is assessed alongside technical control in practical examinations.

Movement memory

The dancer's ability to recall and reproduce a sequence of movements accurately. It underpins reliable performance and is usually assessed for accuracy in practical work.

Dance appreciation framework

An analytical approach to viewing dance that uses the elements - action, space, dynamics and relationships - to describe and interpret what is seen, supported by specific movement evidence.

Programme note

A short written statement accompanying a dance that states the stimulus, choreographic intent, key devices and form. It helps the audience understand the work's purpose and structure.

Contrast

A compositional principle created by opposing elements, such as fast versus slow, high versus low, or group versus solo. Contrast highlights sections and maintains audience interest.

Transition

The linking movement that connects one phrase or section to the next. Smooth, intentional transitions make a dance coherent and are commonly evaluated in composition work.