Dance technique for children

Improve the flexibility and physical health of your child by enrolling him or her in a ballet or tap dance class at West London Dance Academy. Ballet , Tap and Modern Jazz dance to children and adults in Chiswick and Ealing, London. Natalie Parnell is an FIDTA-, FISTD- and MBATD-recognised ballet principal and lecturer. She completed a Performing Dance technique for children course at WK College in Kent and trained at the Squires School of Dance.

She went on to perform with various dance companies and choreographers, including Wayne Sleep and Roy Castle, while teaching part-time at Pineapple Studios. She ran her own dance school in Kent for 15 years. Natalie intensively trained many students and professional instructors to teacher status in ballet, tap and modern jazz. She taught dance during the summer holidays in a Hungarian ballet company.

In addition to teaching Hungarian students, she is also a successful choreographer and adjudicator, and was lucky enough to adjudicate alongside Len Goodman. As a lecturer at Bromley College, Natalie taught contemporary dance and ballet to students 16-19 years old, and prepared them for their Dance and Performing Arts diplomas. She became a Fellow of the IDTA and ISTD after qualifying with distinctions and honours. Currently, Natalie is training to be an examiner. In 2011, Natalie joined the West London Dance Academy as a teacher in both Chiswick and Ealing locations. By 2016, she had been given the exciting opportunity of taking over the role of principal from Judith Townsend.

Prior to that, the academy has been running for 11 years already. Our main objective is to conduct small classes with unmatched expertise and affordable tuition. We want to inspire good technique and progression in a safe, lively and fun environment. In every class, we make sure all students understand the enjoyment, passion and fitness that all forms of dance can bring. Please forward this error screen to sharedip-16015359100. Dance is a performing art form consisting of purposefully selected sequences of human movement.

Theatrical dance, also called performance or concert dance, is intended primarily as a spectacle, usually a performance upon a stage by virtuoso dancers. Archeological evidence for early dance includes 9,000-year-old paintings in India at the Rock Shelters of Bhimbetka, and Egyptian tomb paintings depicting dancing figures, dated c. Greek bronze statuette of a veiled and masked dancer, 3rd-2nd century BC, Alexandria, Egypt. During the first millennium BCE in India, many texts were composed which attempted to codify aspects of daily life. Dance is generally, though not exclusively, performed with the accompaniment of music and may or may not be performed in time to such music. Many early forms of music and dance were created for each other and are frequently performed together.

Rhythm and dance are deeply linked in history and practice. The conception of rhythm which underlies all studies of the dance is something about which we could talk forever, and still not finish. Dances generally have a characteristic tempo and rhythmic pattern. The basic forward and backward walk of the dance is so counted – “slow-slow” – while many additional figures are counted “slow – quick-quick.

Just as musical rhythms are defined by a pattern of strong and weak beats, so repetitive body movements often depends on alternating “strong” and “weak” muscular movements. And thought is a form of divinity. The very act of dancing, the steps themselves, generate an “initial skeleton of rhythmic beats” that must have preceded any separate musical accompaniment, while dance itself, as much as music, requires time-keeping just as utilitarian repetitive movements such as walking, hauling and digging take on, as they become refined, something of the quality of dance. Musical accompaniment therefore arose in the earliest dance, so that ancient Egyptians attributed the origin of the dance to the divine Athotus, who was said to have observed that music accompanying religious rituals caused participants to move rhythmically and to have brought these movements into proportional measure. I can not dance unless thou leadest.

Thoinot Arbeau’s celebrated 16th century dance-treatise Orch├ęsographie, indeed, begins with definitions of over eighty distinct drum-rhythms. As has been shown above, dance has been represented through the ages as having emerged as a response to music yet, as Lincoln Kirstein implied, it is at least as likely that primitive music arose from dance. Scholes, not a dancer but a musician, offers support for this view, stating that the steady measures of music, of two, three or four beats to the bar, its equal and balanced phrases, regular cadences, contrasts and repetitions, may all be attributed to the “incalculable” influence of dance upon music. Hence, though doubtless, as Shawn asserts, “it is quite possible to develop the dance without music and music is perfectly capable of standing on its own feet without any assistance from the dance”, nevertheless the “two arts will always be related and the relationship can be profitable both to the dance and to music”, the precedence of one art over the other being a moot point. Shawn nevertheless points out that the system of musical time is a “man-made, artificial thing. The early-20th-century American dancer Helen Moller stated simply that “it is rhythm and form more than harmony and color which, from the beginning, has bound music, poetry and dancing together in a union that is indissoluble. Concert dance, like opera, generally depends for its large-scale form upon a narrative dramatic structure.

The ballet developed out of courtly dramatic productions of 16th- and 17th-century France and Italy and for some time dancers performed dances developed from those familiar from the musical suite, all of which were defined by definite rhythms closely identified with each dance. Ballet reached widespread vogue in the romantic era, accompanied by a larger orchestra and grander musical conceptions that did not lend themselves easily to rhythmic clarity and by dance that emphasised dramatic mime. Indian classical dance styles, like ballet, are often in dramatic form, so that there is a similar complementarity between narrative expression and “pure” dance. In this case, however, the two are separately defined, though not always separately performed. The rhythmic elements, which are abstract and technical, are known as nritta.