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Slide1
Ballet Folklorico critiques
How to critique like a star!Slide2
Perdon la falta de
accentos
Este
programa
no me
deja
poner
accentos
mientras
escribo
directamente
en
las
hojas
de PowerPoint. Slide3
Why Critiques? Por Que Criticas?
Critiques allow you to prove that you understand the regions and what is unique about them. Knowing that you will have to write them, force the dancer to pay closer attention and develop a “critical eye” for dance, which will in turn help you improve your own dancing.
Las
criticas
permite
a
uno
probar
que
entienda
las regions y
sus
caracteristicas
unicas
. Saber que
uno
tiene
que
escribirlas
, oblige al
balerin
a
prestar
atencion
mas a
cerca
a
los
de
detalles
y
desarrollar
un “
ojo
critico
” para la
danza
que
en
turno
lo
ayuda
a
mejorar
su
proprio
tecnica
.Slide4
And…Y…
Critiques are worth 50% of your final exam grade each semester.
Las
criticas
valen
50% de
su
examen
final
cada
semestre
.Slide5
Watch your Number Grades! Cuidado con
sus
calaficaciones
!
If your director tells you flat out there ARE NO FIVES in this show and there will be only a few in May, do NOT give FIVES! / Si
tu
directora
te
dice
claramente
que
NO HAY CINCOS en
esta
presentacion
y
que
solamente
habran
unos
pocos
en mayo, NO DE CINCOS!
If you make only good commentary in your justification, you need to give a high score. If you say only negative things you need to give a negative score./Si
haces
solamente
comentarios
buenos
en
su
justificacion
, hay
que
dar
una
calificacion
alta.
Si
haces
solamente
comentarios
negativos
, hay
que
dar
una
calificacion
baja
.Slide6
Notes and directions!/Apuntes y direcciones
The directions and the ideas listed to help you on the front of the critique are always the same. Learn them!
Las
dirrecciones
y ideas
apuntadas
en
la
frente
de la
critica
son
siempre
las
mismas
.
Aprendanlas
!Slide7
Notes and directions!/Apuntes y direcciones
All ratings must be fully justified. Please be as specific as possible. There should be
very few
fives. Whatever number you circle, I should be able to understand your choice by the comments underneath.
When we critique work, we are not being nice nor are we being mean. We are being objective and finding ways to improve. This is business. Only honesty is helpful here.
Your critique should demonstrate that you understand what you watched and/or what you danced. Footwork, posture, skirt work and other elements are NOT the same from one region to another. What is acceptable in one region may not be in the next.
Your critique should be specific.
Do not
say things like: good, pretty, bad or beautiful without very specific support. Examples of positive words that actually something are: confident, joyful, graceful, energetic, accurate, clean and synchronized…. Examples of negative words that mean something are tentative, disorganized, nervous, inaccurate, chaotic, messy….
Footwork:
When you analyze footwork, you need to think about everything from the sound to the point of the toes or the flex of the toes. Think about the heel work. Think about leg height on kicks. Address individual dancers and the synchronization of the whole.
Choreography:
Was it well executed? Did dancers look confident in it? Were lines straight? Were circles really circles? Was proper spacing and center maintained?
Body position:
Consider posture, movement or lack of movement of the hips, shoulders and so forth. Think about the arch in the back for the girls in many regions. Arm positions are important in some regions. Look for SPOTTING
on turns.
Skirt work
: This should be done specifically to the region. Think, too, about individual dancers as compared to the whole. Was everyone synchronized? Did everyone have the same energy and/or grace in the skirt?
Prop work
: Look for consistency and correct use of fans, sombreros, machetes,
palicates
or
rebosos
.
Energy Level and Character
: Was the energy sustained throughout the dance? Did some dancers have more energy than others? Did all the dancers maintain the character of the dance? Did they seem to understand their role and portray that?
How were the facial expressions and smiles?
Overall impression
: How did all the elements come together? Any additional points-- positive or negative—can be addressed here? If you noticed gum, weird faces or anything that distracted your attention—it can also be addressed here.Slide8
Choreography/coreografia
DO critique how well we executed/performed the choreography— DO NOT critique the original design.
You don’t have to like the ideas. You need to recognize if we made the right shapes correctly at the right time and if our spacing was correct.
Critique
como
conseguimos
hacer
la
coreografia
—NO el
diseno
del
coreografia
original.
No
importa
si
te
gustan
las
ideas.
Necesitas
reconocer
si
hicimos
las
formas
correctas
al
tiempo
cierto
y
si
manteniamos
los
espacios
correctos
.Slide9
Excellent choreography Critiques/criticas
excelentes
de
coreografia
Hidalgo: 2:
The circle made was very small and transitions from one place to another were sloppy and choppy and not smooth at all. Lines were no always straight and spacing was off at times.
Hidalgo: 2:
El
circulo
hecho
era
demasiado
pequeno
y
las
transiciones
de un
lugar
a
otro
no
eran
limpios
y
faltaba
fluidez
. Las
lineas
no
eran
siempre
rectas
y los
espacios
no
eran
siempre
iguales
. Slide10
Excellent choreography Critiques/criticas
excelentes de
coreografia
2
Veracruz
Jarocho
: 2:
The beginning of Colas was good and the diagonal was good, but afterwards, spacing was off. The shapes were off center for Colas and Coco.
Bamba
—spacing was okay.
Veracruz
Jarocho
: 2:
En el principio de Colas
estaba
bien
y el diagonal se
formo
bien
,
pero
despues
habian
problemas
con el
uso
de
espacio
. Las
formas
no
estaba
centradas
en Colas
ni
Coco. En
Bamba
no
habia
problemas
con el
espacio
. Slide11
Excellent choreography Critiques/criticas excelentes
de
coreografia
3
Jalisco: 3:
The strongest choreography among the corps was “
Guaco
”. They had good lines and the messiest thing was the diagonal in the beginning. Overall, the Jalisco region was good especially w/ having so many beginners. Things to fix are spacing and cleaner lines/shapes. We must move as a unit.
Jalisco: 3:
La
coreografia
mas
fuerte
entre
las
bandas
era la de “
Guaco
”.
Tenian
buenas
lineas
y la
cosa
menos
limpio
era el diagonal al principio.
Por
lo general, la region de Jalisco era
buena
por
tener
tantos
principiantes
. Las
cosas
que
tenemos
que
mejorar
son los
espacios
y
lineas
/
formas
mas
limpias
.
Tenemos
movernos
como
una
unidad
. Slide12
Excellent Footwork critique examples--Zapateado
Hidalgo:3:
No
ibamos
al
ritmo
de la
cancion
y no
habia
sincronizacion
entre
todos
los
que
estaban
bailando
y
mejorar
los
pasos
al
cambio
de
ritmo
.
Hidalgo: 3:
We were matching the rhythm of the song and we were not synchronized between ourselves. And improve the steps at the rhythm changes. Slide13
Excellent Footwork critique examples—Zapateado
2
Jalisco: 3:
The footwork in the corps dances was very minimal and it could barely be heard. Footwork was clear in
Negra
, but the
tornillo
step was not executed properly. In
Jarabe
, kicks needed to be higher and more evident.
Jalisco: 3:
El
zapateado
en los
bailes
de
las
bandas
era
minimo
y no se
escuchaba
bien
. El
zapateado
era
muy
limpio
en “la
Negra
”
pero
el
paso
de
tornillo
no era
correcto
. En
Jarabe
,
las
apatadas
tienen
que
ser
mas
altas
y mas
evidentes
. Slide14
Excellent Footwork critique examples—Zapateado 3
Jalisco: 3:
Los
pasos
de
tornillo
tienen
que
verse mucho mas y
las
vueltas
con mas
personalidad
y
escuchar
la
musica
para
el
cambio
de
step.
Jalisco:3:
The
tornillo
steps have to be more obvious and more “personality” (
energy)
in the turns and listen to the music for the step change.Slide15
Excellent examples of Body Position Critiques: Posicion de
Cuerpo
Hidalgo: 2:
The guys looked timid and kind of hunched over. The girls’ arm height and movement was not together at all times, girls were not doing arm movement and looked rigid.
Hidalgo: 2:
Los hombres
parecian
timidos
y
medio
encorvados
. La
altura
y el
movimiento
de los
brazos
de
las
chicas
no
eran
siempre
igual
,
las
chicas
no
hacian
el
movimiento
de
brazos
y
parecian
rigidas
. Slide16
Excellent examples of Body Position Critiques: Posicion de Cuerpo
2
Nuevo Leon:3-4:
Stood tall, but shoulders for girls could have been rolled back move their shoulders more. At times we looked down and we must always look up/forward.
Nuevo Leon:3-4:
Rectos,
pero
los
hombros
de
las
chicas
debian
estar
mas
atras
,
deben
mover los
hombros
mas. A
veces
miramos
al
suelo
y
debemos
siempre
mirar
para
arriba
/
frente
.Slide17
Excellent examples of Body Position Critiques: Posicion de Cuerpo
3
Jalisco:3:
Dudes
tienen
que
sacar
mas el
pecho
y
abrir
un
poco
las
piernas
.
Mujeres
con la
falda
—
levantada
y al final
las
ninas
un
poco
mas…
que
se note
que
se
doblan
.
Jalisco: 3:
Dudes have to put their chest out more and open their legs some. Ladies with your skirts raised and at the and ladies, a little more… you notice they are folded.Slide18
Excellent examples of Body Position Critiques: Posicion de Cuerpo
Jalisco:3:
Need to roll shoulders back and look up. Girls arms should extend outwards when doing skirt work and firmly planted in fist on your hips when not doing skirt work. Boys also must keep the
charro
stance, which is a strong form, chest out and hands placed firmly on your back. If not, you look small on stage.
Jalisco:3:
Necesitan
poner
los
hombros
mas
atras
y
mirar
para
arriba
.
Chicas
los
brazos
deben
extenderse
al
hacer
el
faldeo
y
plantarse
en
punos
en
las
caderas
cuando
no.
Chicos
deben
mantener
la
postura
del
charro
, lo
que
es
fuerte
con el
pecho
adelante
y
las
manos
fuertemente
puestos
atras
. Si no, se
miran
pequenos
en el
escenario
. Slide19
Excellent examples of Skirt Work Critiques: Faldeo
Veracruz Jarocho:2:
Skirts were held well at the beginning such as in Colas and Coco, but at times when the girls were supposed to hold their skirt straight they were slightly moving (this was evident in
Bamba
, as well.) Also in
Bamba
, not all the skirts were together and looked choppy. Also girls were, at times, just holding their skirt, and weren’t flipping it up.
Veracruz Jarocho:2:
Las
faldas
fueron
agarradas
correctamente
al principio de Colas y de Coco
pero
a
veces
las
chicas
debieron
haber
mantenido
la
falda
recta
pero
se
movian
un
poco
(
tambien
en
Bamba
).
Tambien
en
Bamba
, no
todas
las
faldas
estaban
juntas y
faltaban
fluidez
.
Tambien
, a
veces
,
las
chicas
simplesmente
agarraron
las
faldas
en
vez
de
enrollarlas
.Slide20
Excellent examples of Skirt Work Critiques: Faldeo
2
Jalisco:3:
For beginners skirt work was good for the little amount of time they had to practice. The skirt work was off time and speeds were different among dancers. Needs to be “
flowy
” and it should be more shoulders and wrists that move, not just elbows b/c then it looks small and not “
flowy
.
Jalisco:3:
Por
ser
principiantes
con
poco
tiempo
para
practicar
el
faldeo
era
bueno
. El
faldeo
no era a
tiempo
y la
velocidad
varia
entre
bailarinas
.
Debe
ser
mas
fluido
y
usar
mas los
hombros
y
munecas
, no
solamente
los
codo
p/q se
mira
pequena
y sin
fluidez
. Slide21
Excellent examples of Prop Work Critiques: Accesoria
Veracruz Jarocho:2:
The use of the fans was not always together, as some girls were fanning too fast, too slow or not at all. What happened to one of the bows?
Veracruz Jarocho:2:
El
uso
de los
abanicos
no
iba
siempre
junto
,
unas
los
usaban
demasiado
rapido
,
demasiado
lento o
ni
los
usaban
.
Que
paso
a
uno
de los
monos
?Slide22
Excellent examples of Prop Work Critiques: Accesoria 2
Jalisco:3:
Hats went down at same time even though Jose threw his. Boys in
culebra
were not together. Making the basket was kind of sloppy and we looked as if we panicked to get it done quickly.
Jalisco:3:
Los sombreros se
cayeron
al
mismo
tiempo
aunque
Jose
tiro
el
suyo
. Los
chicos
en
culebra
no
iban
juntos
. La
formacion
de la canasta era un
poco
feo
y
pareciamos
en
panico
para
hacerlo
rapidamente
. Slide23
Excellent examples of Character and energy Critiques:
Personaje
y
energia
Nuevo Leon:3-4:
Girls needed to have more sass, roll shoulders back for boys and girls. There was chemistry among dancers shown by
gritos
, clapping and cheering each other on. It did look like we had fun doing it, yet in the end we did look tired.
Nuevo Leon:3-4:
Las
chicas
necesitaban
tener
mas “
actitud
”,
poner
los
hombros
atras
para
chicos
y
chicas
.
Habia
quimica
entre los
bailarines
—
evidente
en los
gritos
y
aplausos
para
animarse
.
Parecia
que
nos
divertimos
pero
al final
pareciamos
cansados
.Slide24
Excellent examples of Character and energy Critiques: Personaje
y
energia
2
Veracruz
Jarocho:1:
There was ver
y low energy and girls and guys did not look nor dance very confidently. There was no character and boys did not have much energy in
Bamba
. They did not look very happy to be married and movements were mechanical.
Veracruz Jarocho:1:
Habia
muy
baja
energia
y
ni
las
chica
s
ni
los
chicos
se
miraban
ni
bailaban
con
confianza
. No
habia
un “
personaje
” y
los
chicos
no se
miraban
felices
de
casarse
y
los
movimientos
eran
mecanicos
.Slide25
Excellent examples of Comparison of dances: Comparacion
de
bailes
Nuevo Leon:
I think
Pavido
was stronger because it was more clean and we knew the choreography.
Nuevo Leon:
Pienso
que
Pavido
era mas
fuerte
porque
era mas
limpio
y
sabiamos
la
coreografia
.Slide26
Excellent examples of Comparison of dances: Comparacion de bailes
2
Nuevo Leon:
Both Lucero and
Pavido
Navido
seem to be equal in quality.
Pavido
Navido
had the cleanest footwork while Lucero had a lot of energy with a lot of yells. Both dances could have stronger characters. For example, the changing of parts is to show off and see who is the best. Nuevo Leon is the rich, fancy cowboy!
Nuevo Leon:
Lucero y
Pavido
Navido
parecian
de la
misma
calidad
.
Pavido
Navido
tenia el
zapateado
mas
limpio
pero
Lucero tenia
mucha
energia
y
muchos
gritos
. Los dos
pudieran
haber
tenido
caracter
mas
fuerte
. Por
ejemplo
, el
cambio
de “
papeles
”
es
para
presumir
y
ver
quien
baila
major. Nuevo Leon
es
del vaquero
rico
y
adornado
.Slide27
Excellent examples of Comparison of dances: Comparacion de bailes
3
Jalisco:
I think
Jarabe
was the strongest. There was a lot of good energy and skirts were together most of the time. Choreography was well executed and footwork could be heard more than in the others.
Jalisco:
Pienso
que
Jarabe
era lo mas
fuerte
.
Habia
muy
Buena
energia
y las
faldas
se
movian
juntas
casi
siempre
. La
coreografia
salio
correctamente
y se
escuchaba
el
zapateado
mas que el
los
demas
bailes
. Slide28
Excellent examples of Overall impression: impresion General
Hidalgo:2:
There was very low energy in both boys and girls and footwork was ahead of the music and everyone had different arm positions and some were holding their skirts while other weren’t.
Hidalgo:2:
Habia
energia
muy
baja
en
los
chicos
y
en
las
chicas
y el
zapateado
iba
mas
rapido
que la
musica
y
todos
tenian
posiciones
de
brazos
diferentes
y
unas
seguraban
sus
faldas
mientras
otras
no. Slide29
Excellent examples of Overall impression: impresion General 2
Veracruz Jarocho:2:
Choreography overall was messy and not clean. Footwork was sloppy and there was too much bouncing in this region. There was barely energy and no character, at all, so this region in total appeared dull and sad.
Veracruz Jarocho:2:
La
coreografia
por lo general era
confusa
y no
limpia
. El
zapateado
era
confuso
y
los
bailarines
brincaban
demasiado
.
Casi
no
habia
energia
y
faltaba
“
personalidad
”.
Entonces
esta region por lo general
parecia
aburrida
y triste.