MTEL Dance key terms

A system for describing and observing movement using four categories: Body, Effort, Shape, and Space. Dancers and teachers use it to name what the body does and how it does it, making analysis and feedback concrete.

In Laban theory, the dynamic quality of movement, described through four factors: Weight (light to strong), Time (sustained to sudden), Space (indirect to direct), and Flow (free to bound). Combinations produce qualities such as punch, glide, or float.

The personal bubble of space surrounding a dancer, reachable by extending the limbs without traveling. Movement can be explored in low, middle, and high levels within it, and it shifts as the dancer moves through general space.

The shared area of a room through which dancers travel, as opposed to the personal space immediately around each body. Safe use requires spatial awareness and the ability to avoid collisions while moving.

The routes a dancer traces through space, such as straight, curved, zigzag, or spiral lines. Pathways may be floor patterns made by the whole body or air patterns traced by a single limb.

The vertical positioning of movement, usually described as low, middle, and high. Varying levels creates visual interest and can suggest qualities such as weight, flight, or groundedness in choreography.

In Laban theory, how the body forms itself in space, including curved, angular, wide, narrow, rising, and sinking shapes. Shape may be explored as a personal form or in relation to other dancers and objects.

The continuity of movement, ranging from bound (controlled, stoppable) to free (released, ongoing). Flow is one of the Effort factors and is central to phrasing, momentum, and expressive contrast.

The range of energy and force in movement, including variations in speed, accent, weight, and tension. Dancers manipulate dynamics to create expressive contrast and to communicate mood or intention.

Movement that travels the body from one place to another, such as walking, running, leaping, hopping, jumping, skipping, galloping, and sliding. It contrasts with axial or non-traveling movement performed in place.

Movement organized around a fixed base or axis, performed in place rather than traveling. Examples include bending, twisting, stretching, swinging, and turning, often used in warm-ups and center-floor combinations.

Moving one body part independently while the rest of the body remains still or stable. Common in jazz and hip-hop styles, isolation builds body control and coordination and is often practiced in warm-ups.

The arrangement of body segments relative to one another and to gravity so that movement is efficient and safe. Good alignment supports balance, reduces strain, and underlies most technique training.

Engagement of the deep muscles of the trunk and pelvis to stabilize the spine and transfer force between the upper and lower body. It underlies balance, safe lifting, and controlled extensions in many dance forms.

The outward rotation of the legs from the hip joints, fundamental to ballet technique. Correct turnout originates at the hips rather than the knees or feet, and forced turnout risks injury.

A bending of the knees performed with the legs turned out, used to build strength and to cushion jumps. In demi-plié the heels stay down; in grand plié the heels rise in most positions.

A ballet jump in which the dancer springs from one foot and lands on the other, often with the working leg thrown outward. Grand jeté is a large split leap that suggests flight across the stage.

A turn on one leg in which the body rotates around a vertical axis, usually with the working leg in a retiré position. Success depends on a strong preparation, spot, and balanced finish.

A technique for turning in which the dancer fixes the eyes on a point, then snaps the head around ahead of the body. It prevents dizziness and keeps the turn oriented and controlled.

The ability to maintain the body's center of gravity over its base of support, whether still or moving. It depends on alignment, core strength, and sensory feedback from the eyes and inner ear.

The height achieved by the body or a body part above the floor, especially in jumps and leaps. Dancers build elevation through leg strength, plié, and coordinated use of the arms.

The art of composing and arranging dance movement into a structured work. It involves selecting and sequencing movement, shaping space and time, and making choices that serve an artistic intent.

A short, memorable movement idea that can be repeated, varied, and developed within a dance. Motifs give a work unity and are useful tools for teaching composition and improvisation.

The overall structure or organization of a dance, such as binary (AB), ternary (ABA), rondo, or theme and variation. Form helps audiences perceive order, contrast, and development over time.

The shaping of movement in time so that it has a beginning, development, and resolution, much like a musical phrase. Dancers use breath, accent, and suspension to make phrasing feel musical and expressive.

A stress or emphasis placed on a particular movement or beat, making it stand out. Accents can fall on or off the beat and are a primary means of creating rhythm and energy.

Performing a movement sequence backward, from the last action to the first. Choreographers use it as a compositional device to create variation and to help dancers see familiar material anew.

A compositional device in which dancers perform the same movement sequence starting at different times, creating overlapping layers. It is common in both music and dance and builds density and visual interest.

When two or more dancers perform the same movement at the same time. Unison creates clarity and impact and is often contrasted with canon or other layered groupings.

Spontaneous movement created in the moment rather than set in advance. It develops creativity and responsiveness and is often used as a source of material that is later shaped into choreography.

A partnering form in which dancers share weight and follow points of physical contact, often rolling and lifting without predetermined steps. It emphasizes listening, momentum, and mutual support.

The practice of giving and receiving body weight between dancers, as in partnering and lifts. It requires trust, clear communication, and sound alignment to keep both dancers safe.

Any system for writing down movement so it can be preserved and reproduced, such as Labanotation or Benesh Movement Notation. Notation supports restaging, archival research, and accurate reconstruction of works.

A structured written or spoken response to a dance that describes what happened, analyzes how elements were used, interprets meaning, and evaluates effectiveness. It uses evidence from the performance rather than personal taste alone.

The standards used to judge a dance work, including craft, originality, coherence, expressiveness, and technical execution. Criteria vary across styles and cultures, so evaluation should account for context and intent.

The social, historical, and geographic circumstances in which a dance form developed, which shape its meaning, steps, and presentation. Understanding context helps students interpret works respectfully rather than treating them as generic movement.

Traditional dance of a community or region, passed down informally and often tied to celebrations, work, or courtship. Examples include Irish step dance, Mexican folklórico, and Appalachian square dance, each with distinct regional roots.

Dance performed primarily for enjoyment and interaction among participants rather than for an audience. Forms such as swing, salsa, and waltz emphasize partnering, lead-and-follow, and community participation.

Dance performed as part of a ceremony or spiritual practice, often to mark transitions, honor deities, or strengthen community bonds. Meaning and rules of participation are usually set by cultural tradition.