Knowledge Base

Historical retrospective on models in classical ballet

About ballet models turned ballet teachers and theorists

  • The 17th century – The beginnings of classical ballet
  • The 18th century: Jean-Georges Noverre and the action ballet / Famous dancers, creators of style or school
  • The 19th century and the romantic ballet: Famous Dancers / Carlo Blasis (1797-1878) /August Bournonville (1805-1879) and the Danish Ballet School / 
  • The 20th century: Enrico Cecchetti / The Russian School

The 21st-century ballet community

The model, values, and thinking of the ballet community

Social connotation of the model

  • The physical model in ballet
  • The theoretical model in ballet

The classical ballet, system of systems

  • Ballet as a theoretical and practical system

The act of knowledge through art

Symbol, allegory, and metaphor in dance and ballet

General considerations about the human body as creator of art

The dancer’s body subject and object of art

  • The human body as object and subject of art in primitive times
  • The human body as object and subject of art in antiquity and pre-Renaissance
  • The human body as object and subject of art in the Renaissance
  • The human body in ballet, generator of knowledge

Ballet performance at the syncretic confluence of the arts

Ballet, embodied knowledge

Spatiality and rhythm in ballet

Dance and rhythm, a brief historical incursion

Dance – rhythm relationship

Approaching classical ballet through field theory

Relating the ballet system to movement concepts

The confluence of perspectives on ballet

The cognitive neuroscience perspective

  • Cognitive neuroscience and dance
  • Cognitive-perceptual perspective in dance learning
  • Ballet as a specific movement repertoire
  • Entrainment

The sport perspective

  • Wrist mobilization and warm-up and cool-down exercises – swing gymnastics; wrist mobility exercises play an important role not only in stimulating metabolism, perception but are also the dancer’s morning routine. They should take place before the muscle warm-up. Relaxation exercises can take place during and at the end of the dance activity.
  • Coordination games are practiced to stimulate coordination, and sometimes also to de-stress the working atmosphere.
  • Centering of hips, knees, ankles, and soles after Pallesits + theoretical bio-mechanical knowledge
  • Centering of shoulder blades and shoulders after Pallesits + theoretical bio-mechanical knowledge
  • Methodical developmental squats + technical connection points – alignment of the body axis on two legs / one foot
  • Functional exercises to strengthen muscle strength (asymmetrical abdominal training)
  • Sensorimotor training on mats, with emphasis on foot axis and ball (gymnastics)
  • Long/short muscle stretching (stretching to warm up, relax and improve muscle amplitude)
  • Strength exercises without apparatus
  • Coordination training (coordination with balls, strings, and hoops)
  • Strength exercises with theraband (elastic band)
  • Circle training
  • Resistance and accommodation training to increase sports performance (by resistance to fatigue, rapid regeneration,
    better health, reducing injuries,
    increasing resistance to stress, increased concentration power)
  • Training for muscle building (repetitions, intensity, sets, breaks, number of exercises)
  • Exercises to increase movement speed
  • Muscle chain
  • Aspects of muscle fascia training
  • Stretching the joint capsules
  • Intermittent training (cardio stimulation, strengthening)
  • Stabilization training
  • Increasing speed power, explosive jumping strength
  • Plyometrics – a specific type of training to increase speed, based on the elastic strength of muscles and ligaments

The somatic perspective

  • Theories of movement analysis: LMA (Laban Movement Analysis) and BF (Bartenieff Fundamentals)
  • BMC (Body-Mind Centering, by Bonnie Bainbridge Cohen)

The artistic perspective: ballet, canonized system of dance

The philosophical perspective

  • Ballet and the phenomenology
  • The ballet perceived as a whole

The pedagogical perspective

  • Acquiring skills for the 21st century
  • Transforming and applying skills into competences
  • Skills and competences in ballet education of sec. XXI

The concept of threshold and transformational learning in ballet

  • Threshold concept and non-formal education
  • The specific thresholds of ballet movement: physical, neuropsychological and neurocognitive 
  • Threshold of rhythmic and musical skills

Subject-centered learning in ballet

About the daily classical ballet class & the well-being model applied to ballet class