I85PREP
⌘ K
OAE Dance (011) study materials
OAE Dance (011) study resources

OAE Dance (011) practice questions

One question at a time. Build your OAE Dance (011) understanding.

First 50 of 200 questions. Each one lists the choices, the correct answer, and an explanation. The checker at the top of this page saves progress in this browser when it is available.

Continue in the practice tool above to load more questions, 50 at a time.

Question 1Dance Techniques and Performance

In ballet, which term describes a movement in which the working leg passes through the tendu position and then brushes quickly off the floor?

  1. Battement tendu jeté Correct answer.
  2. Plié soutenu
  3. Rond de jambe à terre
  4. Battement fondu

Explanation

A battement tendu jeté (also called a dégagé or jeté) brushes the working foot through tendu and then throws it quickly off the floor at about 45 degrees before returning. The defining feature is the sharp brush and quick release of the foot from the floor.

Question 2Dance Techniques and Performance

A dancer repeatedly performs a series of turns while traveling diagonally across the stage. Which element of dance is being most directly demonstrated by the travel?

  1. Energy
  2. Space Correct answer.
  3. Form
  4. Time

Explanation

Space describes how a dancer uses level, direction, pathway, and size, including traveling versus staying in place. Moving diagonally across the floor is a direct use of spatial pathway.

Question 3Dance Techniques and Performance

In jazz dance, which term refers to a sharp, isolated contraction of the torso that pulls the ribcage toward the pelvis and is often used for rhythmic accent?

  1. Contraction Correct answer.
  2. Hip isolations
  3. Layout
  4. Jazz walk

Explanation

A contraction is a controlled shortening of the torso in which the abdominal muscles engage and the ribcage draws toward the pelvis. In jazz it is often sharpened to create a rhythmic accent, distinguishing it from a smooth modern-dance contraction.

Question 4Dance Techniques and Performance

Which of the following best describes the correct alignment of the pelvis in a neutral standing position for most concert dance techniques?

  1. The pelvis is tucked under strongly so the lower back flattens completely.
  2. The pelvis is tilted forward so the lower back arches and the tailbone lifts.
  3. The pelvis is level, with the tailbone released down and the abdominal wall lightly engaged. Correct answer.
  4. The pelvis is shifted forward of the ankles with the knees locked.

Explanation

Neutral pelvic alignment keeps the hip bones level and the natural lumbar curve intact while the tailbone releases downward. Light abdominal engagement supports the spine without forcing it into an exaggerated tuck or arch.

Question 5Dance Techniques and Performance

A choreographer wants a phrase to feel suspended and weightless, with the dancers momentarily pausing at the peak of each jump. Which use of time and energy best achieves this?

  1. Sustained energy with a brief hold at the apex of the movement Correct answer.
  2. Vibratory energy throughout the phrase
  3. Collapsing energy that releases into the floor
  4. Percussive energy with sharp accents on the landing

Explanation

Suspension is created by sustained energy and a momentary hold at the height of a movement before the descent. This gives the illusion of floating and weightlessness rather than impact.

Question 6Dance Techniques and Performance

Which of the following is the safest practice for a dancer beginning a class or rehearsal that includes grand allegro?

  1. Stretch the hamstrings into a deep static split and hold for several minutes before jumping.
  2. Complete a progressive warm-up that raises body temperature and mobilizes the joints before jumping. Correct answer.
  3. Skip the warm-up and begin with a full-out run of the choreography.
  4. Perform the jumps immediately to raise the heart rate.

Explanation

A progressive warm-up gradually raises core temperature and prepares the joints and muscles for the demands of allegro. Jumping cold or beginning with maximal effort increases injury risk.

Question 7Dance Techniques and Performance

In tap dance, which term describes a rapid series of taps produced by alternating the heel and toe of the same foot?

  1. Flap
  2. Cramp roll Correct answer.
  3. Pullback
  4. Shuffle

Explanation

A cramp roll is a four-sound combination in which the ball of the foot and then the heel of one foot sound, followed by the ball and heel of the other foot, creating a rolling rhythm. It is built from alternating ball-heel sounds.

Question 8Dance Techniques and Performance

A dancer must hold a single-leg balance while extending the other leg behind in arabesque. Which adjustment most improves stability?

  1. Lifting the supporting heel off the floor
  2. Releasing the abdominal muscles to allow more extension
  3. Focusing the gaze on a fixed point and engaging the supporting leg's muscles Correct answer.
  4. Holding the breath to tighten the torso

Explanation

A fixed gaze provides a stable reference point, and engaging the supporting leg creates a firm base of support. Together these improve balance during a single-leg extension.

Question 9Dance Techniques and Performance

In Graham technique, which action is characterized by an active contraction of the pelvis and abdomen followed by a release of that tension?

  1. Contraction and release Correct answer.
  2. Fall and recovery
  3. Percussive rebound
  4. Suspend and sustain

Explanation

Graham technique is built on the cycle of contraction, an active engagement of the pelvis and abdomen, and release, the subsequent letting go of that tension. This cycle expresses the body's response to emotional impulse.

Question 10Dance Techniques and Performance

A dancer performing a pirouette en dehors from fourth position should spot by

  1. turning the head in the same direction as the body without refocusing.
  2. closing the eyes during the turn to reduce dizziness.
  3. looking down at the floor throughout the turn.
  4. keeping the eyes fixed on a point at eye level and whipping the head around to refocus. Correct answer.

Explanation

Spotting keeps the gaze fixed on one point for as long as possible, then whips the head around to return to that point before the body completes the turn. This reduces dizziness and helps maintain orientation.

Question 11Dance Techniques and Performance

During a grand jeté, which action of the legs creates the appearance of a split in the air?

  1. Both legs remain together throughout the leap.
  2. The back leg bends sharply at the knee while the front leg stays straight.
  3. Both legs tuck under the body at the height of the leap.
  4. The front leg brushes forward as the back leg extends behind, opening the legs into a split. Correct answer.

Explanation

A grand jeté is a split leap in which the front leg brushes forward and the back leg extends behind, opening the legs into a wide split at the peak of the jump. The split shape in the air is what defines the step.

Question 12Dance Techniques and Performance

A choreographer sets a phrase in 6/8 time with a strong accent on beats one and four. Which description best captures the resulting feel?

  1. A lilting, compound-meter pulse with a strong emphasis on the first and fourth beats Correct answer.
  2. A free, unmetered flow with no recurring pulse
  3. A syncopated pattern that accents only the offbeats
  4. A steady duple pulse with equal accents on every beat

Explanation

6/8 is a compound meter with two main beats, each divided into three eighth notes, giving a lilting quality. Accenting beats one and four reinforces those two main pulses.

Question 13Dance Techniques and Performance

Which of the following is an example of a locomotor movement?

  1. A standing contraction of the torso
  2. A gesture of the arm while standing still
  3. A leap traveling forward across the floor Correct answer.
  4. A balance on one leg in place

Explanation

Locomotor movements carry the body from one place to another, such as walking, running, leaping, and skipping. A traveling leap is therefore locomotor.

Question 14Dance Techniques and Performance

A dancer repeatedly lands heavily from jumps with knees collapsing inward. Which correction best addresses this technique fault?

  1. Increase jump height to build power
  2. Land with straight, locked knees to absorb force
  3. Shift weight onto the toes and point the feet on landing
  4. Strengthen hip abductors and cue the knees to track over the toes on landing Correct answer.

Explanation

Knees collapsing inward on landing, sometimes called valgus collapse, is often linked to weak hip abductors and poor tracking. Strengthening those muscles and cueing the knees to align over the toes improves landing mechanics and reduces injury risk.

Question 15Dance Techniques and Performance

In Cunningham technique, which principle most distinguishes the style's approach to the body and space?

  1. The body is trained mainly for percussive tap rhythms.
  2. The body is treated as an object moving through space, with chance procedures sometimes determining the choreography. Correct answer.
  3. The body is used primarily to express intense personal emotion through contraction and release.
  4. The body follows a fixed classical vocabulary with codified positions of the arms and feet.

Explanation

Cunningham technique emphasizes clarity of line and the body moving through space, and Cunningham often used chance procedures to generate choreographic structure. This separates it from emotionally driven modern styles and from classical ballet's codified vocabulary.

Question 16Dance Techniques and Performance

A dancer performing a series of piqué turns should ideally

  1. allow the working leg to drop below the knee during the turn.
  2. turn on the heel of the supporting foot.
  3. sink into a deep plié on each step before turning.
  4. step onto a straight supporting leg and turn on a high demi-pointe. Correct answer.

Explanation

In piqué turns the dancer steps onto a straight supporting leg and rises to a high demi-pointe, which provides the vertical axis for the turn. A deep plié or a lowered working leg disrupts the turn's momentum and line.

Question 17Dance Techniques and Performance

Which of the following describes a contraction in the Humphrey-Limón tradition?

  1. A rapid heel-toe rhythm pattern
  2. A sustained balance on the ball of one foot
  3. A fall into gravity followed by a recovery that uses weight to rebound Correct answer.
  4. A sharp inward pull of the abdomen held without release

Explanation

Humphrey-Limón technique is built on fall and recovery, in which the dancer yields to gravity and then uses the rebound of weight to recover. This principle expresses the body's relationship to gravity rather than a held abdominal contraction.

Question 18Dance Techniques and Performance

A dancer is learning a phrase that alternates between sharp, staccato accents and smooth, sustained movement. Which musical element is most important for the dancer to internalize to perform this contrast clearly?

  1. The rhythmic structure and accent pattern of the music Correct answer.
  2. The instrumentation of the orchestra
  3. The tempo marking alone
  4. The key signature of the music

Explanation

Contrasting staccato and sustained movement depends on the dancer's sense of rhythm and where accents fall. Internalizing the rhythmic structure allows the dancer to place sharp accents precisely against smooth passages.

Question 19Dance Techniques and Performance

Which statement best describes the use of the plumb line in assessing a dancer's alignment?

  1. It is a diagonal reference from the shoulder to the opposite hip.
  2. It is a reference used only when the dancer is seated.
  3. It is a horizontal reference passing through the shoulders.
  4. It is an imaginary vertical reference passing through the ear, shoulder, hip, knee, and ankle. Correct answer.

Explanation

The plumb line is an imaginary vertical line used to check that key landmarks, such as the ear, shoulder, hip, knee, and ankle, stack over one another. When these points align vertically, the body's weight is efficiently balanced.

Question 20Dance Techniques and Performance

A dancer performs a développé à la seconde. Which description best captures the movement?

  1. The dancer jumps and splits the legs in the air.
  2. The working leg brushes quickly off the floor to the front.
  3. The working leg traces a circle on the floor.
  4. The working leg draws up through passé and unfolds slowly to the side. Correct answer.

Explanation

A développé unfolds the working leg slowly from a bent position, often passing through passé, until it extends fully. À la seconde means the leg unfolds to the side.

Question 21Dance Techniques and Performance

A choreographer wants a phrase to convey instability and unease. Which combination of spatial and dynamic choices best supports that intent?

  1. Straight lines, identical timing, and uniform spacing
  2. Centered balance, circular pathways, and steady tempo
  3. Symmetrical formations, even rhythms, and sustained energy
  4. Off-balance tilts, asymmetrical pathways, and sudden changes of direction Correct answer.

Explanation

Off-balance tilts and asymmetrical, unpredictable pathways disrupt the viewer's sense of stability. Sudden changes of direction reinforce a feeling of unease and instability.

Question 22Dance Techniques and Performance

A dancer repeatedly performs a turn that travels slightly away from the starting point with each rotation. Which technical correction most directly addresses the drift?

  1. Establishing a consistent spot and centering the weight over the supporting leg throughout the turn Correct answer.
  2. Lowering the arms to the sides during the turn
  3. Increasing the speed of the turn's rotation
  4. Rising onto the toes of the supporting foot more abruptly

Explanation

Traveling during a turn usually results from an inconsistent spot or the weight drifting off the supporting leg. Fixing the spot and keeping the body centered over the supporting leg corrects the axis and prevents drift.

Question 23Dance Techniques and Performance

In a contact improvisation duet, a dancer follows the point of contact and yields weight to a partner. Which principle is being applied?

  1. Performing a codified step sequence in unison
  2. Leading exclusively with verbal cues
  3. Maintaining a fixed shape regardless of the partner's movement
  4. Sharing weight and following the momentum of the point of contact Correct answer.

Explanation

Contact improvisation is organized around the shared point of contact, through which partners exchange weight and follow momentum. The dance emerges from that negotiation rather than from preset shapes or verbal direction.

Question 24Dance Techniques and Performance

A dancer notices that a repeated grand battement devant causes the pelvis to tilt posteriorly and the supporting knee to hyperextend on each kick. Which analysis best explains the underlying issue?

  1. The dancer's turnout is excessive and should be reduced to zero.
  2. The dancer's arms are placed too low during the battement.
  3. Insufficient core control and hamstring flexibility are forcing compensations in the pelvis and supporting leg. Correct answer.
  4. The dancer is breathing too slowly during the combination.

Explanation

When a high kick causes the pelvis to tuck and the supporting knee to lock, the body is compensating for limited hamstring flexibility and insufficient core control. Addressing mobility and trunk stability allows the leg to lift without distorting the pelvis or knee.

Question 25Dance Techniques and Performance

A dance work alternates a repeated movement motif with sections of entirely new material, and the motif returns transformed each time. Which structural device is primarily at work?

  1. Unison
  2. Canon
  3. Retrograde
  4. Thematic development through repetition and variation Correct answer.

Explanation

Returning a motif in altered form is thematic development through repetition and variation. The repeated idea gives coherence while the transformations create interest and progression.

Question 26Dance Techniques and Performance

In classical ballet, which term names a jump that takes off from one foot and lands on the same foot?

  1. Jeté
  2. Temps levé
  3. Sissonne Correct answer.
  4. Changement

Explanation

A sissonne is classified by its takeoff and landing pattern. The dancer pushes off one foot and lands on the same foot, often closing in various directions. This distinguishes it from jumps that transfer weight between feet.

Question 27Dance Techniques and Performance

Which element of dance most directly refers to the use of energy and how movement is performed over time?

  1. Level
  2. Form
  3. Space
  4. Dynamics Correct answer.

Explanation

Dynamics describes the qualitative energy of movement, including qualities such as sharp, sustained, percussive, or swinging. Space and level describe where movement occurs. Form refers to the overall structure of a dance.

Question 28Dance Techniques and Performance

In jazz dance, which term describes a sharp, isolated movement of the ribcage away from and back to center?

  1. Isolation Correct answer.
  2. Roll
  3. Wave
  4. Contraction

Explanation

An isolation moves one body part while the rest of the body remains relatively still. A ribcage isolation is a staple of jazz technique and can be performed in multiple directions. It differs from a roll, which moves sequentially through the spine.

Question 29Dance Techniques and Performance

Which of the following best describes the purpose of a plié in preparation for a jump?

  1. It relaxes the legs so the dancer can land more softly.
  2. It increases the height of the jump by lengthening the legs before takeoff.
  3. It rotates the legs outward to improve turn-out during flight.
  4. It allows the dancer to store energy and push off the floor more efficiently. Correct answer.

Explanation

A plié loads the muscles and tendons like a spring, allowing the dancer to push against the floor and generate upward force. The depth and timing of the plié affect the efficiency of the takeoff. It does not lengthen the legs or create rotation.

Question 30Dance Techniques and Performance

In tap dance, which term refers to the sound made by striking the ball of the foot while the heel remains on the floor?

  1. Stomp
  2. Stamp
  3. Tap Correct answer.
  4. Scuff

Explanation

A tap is produced by the ball of the foot striking the floor while the heel stays down. This is a foundational tap sound. A stamp uses the whole foot with weight, and a stomp is a heavy flat-footed strike.

Question 31Dance Techniques and Performance

Which term describes the quality of movement that is smooth, continuous, and flowing?

  1. Vibratory
  2. Percussive
  3. Sustained Correct answer.
  4. Staccato

Explanation

Sustained movement is smooth and continuous, often associated with a flowing quality. Staccato and percussive qualities are sharp and separated. Vibratory quality involves rapid, small oscillations.

Question 32Dance Techniques and Performance

Which of the following describes the correct alignment of the pelvis in a neutral standing position?

  1. The pelvis is level, with the front and back of the hips aligned vertically. Correct answer.
  2. The pelvis is tilted forward with the tailbone lifted.
  3. The pelvis is rotated to one side to increase turn-out.
  4. The pelvis is tucked under with the lower back flattened.

Explanation

In neutral alignment, the pelvis sits level with the anterior and posterior iliac spines roughly vertical. This allows the spine to maintain its natural curves. Tilting or tucking the pelvis alters the alignment of the lower back and legs.

Question 33Dance Techniques and Performance

Which of the following is the primary reason dancers warm up before a technique class?

  1. To increase blood flow and prepare muscles and joints for movement Correct answer.
  2. To lengthen the legs for higher extensions
  3. To reduce the need for a cool-down at the end of class
  4. To improve turn-out permanently before class begins

Explanation

Warming up raises body temperature and increases blood flow to the muscles, which improves flexibility and reduces injury risk. It prepares the body for the demands of class. Warm-up does not permanently change turn-out or leg length.

Question 34Dance Techniques and Performance

A dancer is learning a new phrase in a modern class and must reproduce the movement sequence accurately after watching it once. Which approach best supports this?

  1. Break the phrase into short segments and link them in order. Correct answer.
  2. Focus on the music and rely on the rhythm to cue each movement.
  3. Perform the phrase at full speed immediately to test memory.
  4. Watch the teacher's feet only and ignore the upper body.

Explanation

Chunking the phrase into smaller segments makes the sequence easier to encode and recall. Linking segments in order supports accurate reproduction. Watching only one body part or relying solely on music may leave gaps in the memory of the movement.

Question 35Dance Techniques and Performance

A dancer performing a series of turns keeps drifting toward the back of the room. Which correction is most likely to address the cause?

  1. Lower the arms to reduce momentum.
  2. Strengthen the core and maintain a consistent spot with each turn. Correct answer.
  3. Increase the speed of the head spot.
  4. Widen the base of support in the preparation.

Explanation

Traveling during turns often results from inconsistent spotting and a loss of core control. A consistent spot and strong center help keep the turns in place. Speeding up the spot or lowering the arms does not directly correct the drift.

Question 36Dance Techniques and Performance

A dancer wants to improve the height of a grand battement devant. Which action contributes most to a higher leg?

  1. Tilting the pelvis posteriorly as the leg lifts
  2. Leaning the torso backward during the kick
  3. Maintaining a lifted, level pelvis and strong supporting leg Correct answer.
  4. Relaxing the abdominal muscles on the working side

Explanation

A level, lifted pelvis with a strong supporting leg allows the working leg to swing higher without collapsing the torso. Posterior tilt or leaning back reduces the range and control of the battement. Core engagement supports the movement.

Question 37Dance Techniques and Performance

In a modern dance class, a dancer is asked to perform a fall and recovery sequence. Which principle is most central to this movement?

  1. Holding the breath to maintain balance throughout the fall
  2. Keeping the torso rigid to protect the spine
  3. Landing on a straight leg to absorb the impact
  4. Using gravity to initiate the fall and the body's momentum to recover Correct answer.

Explanation

Fall and recovery explores the body's relationship with gravity, using weight to initiate the fall and momentum to rebound. Breath and soft joints support safe execution. Rigidity and straight-leg landings increase impact and reduce control.

Question 38Dance Techniques and Performance

A dancer is asked to perform a movement phrase with a heavy, grounded quality. Which choice best supports this quality?

  1. Lowering the center of gravity and pressing into the floor Correct answer.
  2. Rising onto the balls of the feet and moving quickly
  3. Keeping the arms lifted and the torso elongated
  4. Using small, light steps with minimal contact

Explanation

A heavy, grounded quality comes from lowering the center of gravity and maintaining strong contact with the floor. Pressing into the floor creates a sense of weight. Rising onto the toes or using light steps produces a lighter quality.

Question 39Dance Techniques and Performance

During a partnering sequence, a dancer must support a partner's weight. Which action best protects both dancers?

  1. Locking the elbows to create a rigid frame
  2. Holding the breath while lifting
  3. Bending the knees and engaging the core to absorb the weight Correct answer.
  4. Leaning backward to counterbalance the partner

Explanation

Bending the knees and engaging the core allows the dancer to absorb and redirect the partner's weight safely. A rigid frame or leaning back reduces control. Breathing supports sustained effort.

Question 40Dance Techniques and Performance

A choreographer wants a phrase to feel suspended and weightless. Which combination best achieves this?

  1. Fast, sharp accents with low levels and heavy contact
  2. Vibratory movement with quick direction changes
  3. Sustained movement with lifted levels and light contact Correct answer.
  4. Percussive movement with a low center of gravity

Explanation

Sustained movement, lifted levels, and light contact with the floor create a suspended, weightless quality. Sharp accents, low levels, and heavy contact produce a grounded feeling. Percussive and vibratory qualities add sharpness or agitation.

Question 41Dance Techniques and Performance

A dancer is preparing for a performance and notices tension in the neck and shoulders. Which strategy best supports efficient performance?

  1. Increasing muscular tension to maintain stability
  2. Releasing unnecessary tension while maintaining core support Correct answer.
  3. Dropping the arms to relax the shoulders completely
  4. Focusing only on the feet during the performance

Explanation

Efficient performance relies on releasing unnecessary tension while maintaining support through the core. Excess tension in the neck and shoulders wastes energy and restricts movement. Dropping the arms or focusing only on the feet disrupts the whole-body coordination.

Question 42Dance Techniques and Performance

A dancer is working on a phrase that requires quick changes of direction. Which skill is most important for maintaining control?

  1. Shifting weight efficiently and keeping the center of gravity over the support Correct answer.
  2. Increasing the length of the preparation
  3. Avoiding the use of the arms
  4. Keeping the feet parallel at all times

Explanation

Quick direction changes require efficient weight shifts and keeping the center of gravity over the supporting foot. This allows the dancer to redirect momentum safely. A longer preparation slows the change, and parallel feet or unused arms are not universally required.

Question 43Dance Techniques and Performance

In Graham technique, which action is characterized by an active contraction of the pelvis and abdomen followed by a release?

  1. Contraction and release Correct answer.
  2. Fall
  3. Spiral
  4. Tilt

Explanation

Graham technique is built on the contraction and release of the torso, driven by the pelvis and abdomen. The contraction initiates the movement and the release allows the torso to expand. Spiral, tilt, and fall are related but distinct concepts.

Question 44Dance Techniques and Performance

A dancer notices that a repeated grand battement devant causes the pelvis to tilt posteriorly and the supporting knee to hyperextend. Which correction is most appropriate?

  1. Relax the supporting leg to allow more movement
  2. Shift the weight to the working leg during the kick
  3. Increase the height of the battement to strengthen the hip flexors
  4. Engage the abdominals and maintain a soft, supportive supporting knee Correct answer.

Explanation

Pelvic tilt and knee hyperextension during grand battement indicate a loss of support. Engaging the abdominals stabilizes the pelvis, and keeping the supporting knee soft protects the joint. Increasing height or shifting weight worsens the problem.

Question 45Dance Techniques and Performance

A dance work alternates a repeated movement motif with sections of entirely new material, and the motif returns transformed. Which compositional device is being used?

  1. Theme and variation Correct answer.
  2. Accumulation
  3. Canon
  4. Chance procedure

Explanation

Theme and variation presents a core motif and then develops it through changes in dynamics, space, or timing. The return of a transformed motif is characteristic of this device. Chance procedure, canon, and accumulation organize material differently.

Question 46Dance Techniques and Performance

A choreographer wants a phrase to convey instability and unease. Which combination of spatial and dynamic choices best supports this?

  1. Straight pathways, steady tempo, and balanced weight
  2. Circular pathways, even rhythm, and a low center of gravity
  3. Asymmetrical shapes, off-balance tilts, and uneven timing Correct answer.
  4. Symmetrical shapes, sustained timing, and high levels

Explanation

Asymmetry, off-balance tilts, and uneven timing disrupt stability and create tension. These choices work together to convey unease. Symmetrical shapes, even rhythm, and balanced weight tend to produce a sense of stability.

Question 47Dance Techniques and Performance

A dancer is analyzing a phrase in which the torso spirals while the legs move in a counter-rhythm. Which concept best describes this coordination?

  1. Opposition Correct answer.
  2. Polyrhythm
  3. Counterbalance
  4. Isolation

Explanation

Opposition describes movement in which different parts of the body move in contrasting or opposing directions, creating dynamic tension. A spiraling torso against counter-moving legs is an example. Polyrhythm refers to simultaneous contrasting rhythms, not body coordination.

Question 48Dance Techniques and Performance

A dancer repeatedly lands heavily from jumps with the knees collapsing inward. Which correction best addresses this technique issue?

  1. Land on straight legs to absorb the impact
  2. Turn the feet inward to match the knee direction
  3. Increase the height of the jumps to build strength
  4. Strengthen the hip abductors and cue the knees to track over the toes Correct answer.

Explanation

Knee valgus during landings often reflects weak hip abductors. Strengthening these muscles and cueing the knees to track over the toes improves alignment and reduces injury risk. Increasing jump height or landing on straight legs increases stress on the knees.

Question 49Dance Techniques and Performance

A dancer is preparing a solo and must choose a focal point for the opening moment. Which consideration is most important for establishing the performance intent?

  1. The gaze should always be directed at the audience.
  2. The direction of the gaze should support the meaning of the phrase. Correct answer.
  3. The gaze should remain fixed on one point throughout.
  4. The gaze should follow the movement of the hands.

Explanation

Focal point and gaze are performance choices that support the intent of a phrase. Directing the gaze to reinforce meaning is more effective than a fixed rule. Always facing the audience or following the hands may not serve the choreography.

Question 50Dance Techniques and Performance

A ballet teacher asks a student to perform a tendu à la seconde. Which description best identifies the movement the student should execute?

  1. The working leg lifts quickly off the floor to hip height with a bent knee before snapping straight in the air
  2. The working leg slides along the floor to a fully pointed position directly to the side of the body, with both legs remaining turned out and the weight on the supporting leg Correct answer.
  3. The working leg brushes forward along the floor and returns with a flexed ankle and lifted heel
  4. The working leg extends behind the body while the torso tips forward and the arms open to the sides

Explanation

A tendu is a stretched brushing action in which the working foot slides along the floor until the instep and toes are fully pointed, with the leg turned out from the hip. À la seconde places that extension directly to the side of the body while the supporting leg stays turned out and bears the weight. The movement stays grounded rather than lifting into the air.