| Description |
Although classical ballet is often associated with words like "conservative" and "exclusive," I argue that, while ballet has a distinct technique, discipline, rigor, and integrity, its pedagogy is continuously evolving. In this thesis, I analyze the methods of one of the most famous ballet teachers in history, Agrippina Vaganova, and then show how her methods can be combined with research into music and rhythmic structure to create effective approaches to training dancers today. Music plays a significant role in dance, including its influence on the quality of a dancer's movement, as well as on the dancer's technical precision and muscle development. In my own teaching, and following the pedagogy of Vaganova, I focus on a dancer's jump, allegro, and emphasize how rhythmic structure and meter influence a student's performance. Allegro is one of the most difficult movements to perfect in ballet training. In classical ballet, the ability to jump well is directly correlated to a dancer's strength. In order to master a jump--allegro--dancers must have significant strength and coordination, plus an understanding of their entire body. By incorporating music- rhythm and meter- into their pedagogical perspectives, teachers can train technically proficient and artistically strong dancers, as well as cognitively engaged individuals. |
