El objetivo del presente trabajo fue comparar las variables mecánicas del perfil fuerza-velocidad durante el salto partiendo de una posición en dehors frente a una posición en paralelo en estudiantes ...del grado universitario en Danza. La muestra estuvo compuesta por 22 bailarinas con 10,7±5,96 años de experiencia. Se realizó un test de salto vertical en el que cada participante ejecutó ocho saltos con incrementos progresivos de carga, alternando las posiciones de pies en dehors y en paralelo. Todos los saltos fueron grabados con un iPad a 240 Hz, y posteriormente analizados con la aplicación para iOS MyJump2. Se analizaron las variables: altura del salto, fuerza teórica máxima, velocidad teórica máxima, potencia máxima, perfil fuera-velocidad. Los resultados mostraron una diferencia entre la altura del salto partiendo de la posición en dehors frente a la posición de paralelo (en dehors: 18,8±3,44 vs paralelo: 20,3±3,57 cm; p=0,002). El análisis del perfil fuerza-velocidad mostró un déficit fuerza en ambas situaciones, siendo más acentuado cuando el salto se ejecutada desde una posición de partida en dehors (en dehors: 43,0±46,24 % vs paralelo: 70,9±21,21%; p=0,022). La individualización de los programas de entrenamiento centrados en reducir el desequilibrio de cada bailarina y en cada posición, podría ayudar a las bailarinas a mejorar la altura del salto y, por tanto, el rendimiento de la danza.
Nurses were treated to a night at the ballet to see English National Ballet’s new production, inspired by the pioneering spirit of Florence Nightingale.
En 1945 nació el Ballet Nacional Chileno, hoy también conocido como BANCH. En 2020 se celebra el 75 aniversario de ese instituto, con cuya fundación se iniciaba una época dorada para el ballet ...nacional, cuyo prestigio llegaría a los Estados Unidos, Argentina y Canadá. Muy pocos saben que en la historia del BANCH tuvo un papel importante una húngara, Lola Botka que nació en el año 1910 en Budapest y que junto a su esposo Ernst Uthoff, fue fundadora del Ballet Nacional Chileno. El presente estudio tiene como objetivo principal, contar la historia de la famosa bailarina que tuvo una gran influencia en el ballet profesional de Chile.
For centuries before the 1789 revolution, ballet was a source of great cultural pride for France, but by the twentieth century the art form had deteriorated along with France's international ...standing. It was not until Serge Diaghilev's Ballets Russes found success in Paris during the first decade of the new century that France embraced the opportunity to restore ballet to its former glory and transform it into a hallmark of the nation. In When Ballet Became French, Ilyana Karthas explores the revitalization of ballet and its crucial significance to French culture during a period of momentous transnational cultural exchange and shifting attitudes towards gender and the body. Uniting the disciplines of cultural history, gender and women's studies, aesthetics, and dance history, Karthas examines the ways in which discussions of ballet intersect with French concerns about the nation, modernity, and gender identities, demonstrating how ballet served as an important tool for France's project of national renewal. Relating ballet commentary to themes of transnationalism, nationalism, aesthetics, gender, and body politics, she examines the process by which critics, artists, and intellectuals turned ballet back into a symbol of French culture. The first book to study the correlation between ballet and French nationalism, When Ballet Became French demonstrates how dance can transform a nation's cultural and political history.
Early Days, Early Dancers documents the first decade of the National Ballet, focusing on the dancers of the 1950s, especially principal dancers Lois Smith, David Adams, Angela Leigh, Donald Mahler, ...and Celia Franca, herself a dancer and later the Company's Artistic Director. With an enthusiastic foreword by Karen Kain, and a moving afterword by Veronica Tennant, the book includes pieces by twenty-two dancers, plus memorial tributes to dancers who have passed away. Contributions explore the dancer's journey through St. Lawrence Hall, summer school, rehearsal, and life on tour, as well as life after a career in dance. Portraits includes comments by the dancers on such figures as Celia Franca, Betty Oliphant, and Kay Ambrose among others, and memorial tributes to those dance figures who have died are written by well-known writers contemporaries such as Michael Crabbe, John Fraser, Vanessa Harwood, and Veronica Tennant. These memories of the Company's early dancers provide a unique impression of the origins of the National Ballet, and the history of dance in Canada, and highlight the way the present dances on the shoulders of those who have gone before.
A talented young dancer and his brilliant teacherIn this long-awaited memoir, dancer and choreographer John Clifford offers a highly personal look inside the day-to-day operations of the New York ...City Ballet and its creative mastermind, George Balanchine. Balanchine's Apprentice is the story of Clifford—an exceptionally talented artist—and the guiding inspiration for his life's work in dance.Growing up in Hollywood with parents in show business, Clifford acted in television productions such as The Danny Kaye Show, The Dinah Shore Show, and Death Valley Days. He recalls the beginning of his obsession with ballet: At age 11 he was cast as the Prince in a touring production of The Nutcracker. The director was none other than the legendary Balanchine, who would eventually invite Clifford to New York City and shape his career as both a mentor and artistic example.During his dazzling tenure with the New York City Ballet, Clifford danced the lead in 47 works, several created for him by Balanchine, Jerome Robbins, and others. He partnered famous ballerinas including Gelsey Kirkland and Allegra Kent. He choreographed eight ballets for the company, his first at age 20. He performed in Russia, Germany, France, and Canada. Afterward, he returned to the West Coast to found the Los Angeles Ballet, where he continued to innovate based on the Balanchine technique.In this book, Clifford provides firsthand insight into Balanchine's relationships with his dancers, including Suzanne Farrell. Examining his own attachment to his charismatic teacher, Clifford explores questions of creative influence and integrity. His memoir is a portrait of a young dancer who learned and worked at lightning speed, who pursued the calls of art and genius on both coasts of America and around the world.
Black Dancers and White Ballet: Case of Cuba Nikiforova, Larisa; Vasileva, Anastasiia; de Miasnikov, Mayumi Sakamoto
Arts (Basel),
04/2023, Letnik:
12, Številka:
2
Journal Article
Recenzirano
Odprti dostop
Throughout the XX century, the hard-fought battle of blacks and dark-skinned dancers to perform the classical repertoire on professional stages (including “white ballets”) was a part of the struggle ...for citizens’ equality. Cuba is a clear example of creating a national ballet school in a country where the fight for social equality was closely connected with overcoming racial segregation. But some researchers have noted that the majority of dancers in the Ballet Nacional de Cuba belong to the Caucasoid phenotype, which means they do not represent the Cuban nation which includes a large variety of phenotypes. We pose the question in what way is the history of Cuban ballet and the artistic experience of its founders connected with the struggle of blacks to have professional dancing careers, and is there actually racial discrimination in Cuban ballet? We demonstrate that the Alonso triumvirate was a good indicator of the problem: Alicia and Fernando as performers, and Alberto Alonso as a choreographer, participated in a cultural movement directed at the rebirth of Cuban identity, they performed African American dances, and they worked together with George Balanchine, who adapted black dance and invited black dancers into his company. However, due to various reasons and circumstances, Alicia Alonso, first for herself and then for the Nacional ballet school and theatre, took a different path, that of entering, on equal footing, the domain of classical ballet, of European art in its essence, in which the white aesthetic is inherent. We would like to demonstrate that the main explanation of the paradox of Cuban ballet became the aesthetic dictatorship of the classics, the dictatorship within “white ballet” which is accepted voluntarily. Classical ballet is an art of subordination to rules and images that are thought of as absolute pinnacles.
Introdução: Os exercícios de alongamento têm sido frequentemente utilizados no contexto esportivo, a fim de aumentar a flexibilidade durante os treinos e atividades visando a estiramento global e ...reeducação postural. Objetivos: Comparar os efeitos de diferentes tempos de alongamento na flexibilidade de bailarinas. Métodos: Vinte bailarinas foram divididas em três grupos: grupo controle (GC), apenas avaliado; grupo 30 segundos (G30) e grupo três minutos (G3) analisados após duas repetições de alongamentos isquiotibiais e adutores de coxa. Para avaliações, coletaram-se dados antropométricos e índices de flexibilidade por goniometria e caixa de sentar e alcançar de Weels. Resultados: Não houve diferença significativa entre os grupos em relação às avaliações de flexibilidade. Conclusão: Entre os tempos de alongamento não houve diferença significativa. Os dados sugerem que, em ensaios e espetáculos, o tempo menor de alongamento poderá ser utilizado como parte integrante do preparo da bailarina.
The ballet Coppelia is an adaptation of the short story «The sandman» (1816) by the German writer E.T.A. Hoffmann. This paper aims to show the relationship between two artistic disciplines —ballet ...and literature— and, more specifically, between Hoffmann’s literary work and Petipa's choreographic work. We will try to explain the process through which the literary text becomes one of the most internationally recognized and prominent ballets, exposing as clearly as possible the convergences and divergences between these two works, which come from different artistic disciplines.
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