Highland Dance Theory - Matching PDF

First position feet The heels are together with the weight of the body equally distributed on both feet. The feet are turned out to form an angle of 90° each foot is 45° from the line of direction. Feet maybe flat on the ground or on the balls of both feet. Examples: bow introduction of all highlan...

First position feet The heels are together with the weight of the body equally distributed on both feet. The feet are turned out to form an angle of 90° each foot is 45° from the line of direction. Feet maybe flat on the ground or on the balls of both feet. Examples: bow introduction of all highland dances. Second position feet The working leg is extended to the side at a 90° angle from the line of direction. The toe and heel of the working foot are in line with the heel of the supporting foot. The working foot can be placed on the halfpoint ball heel or flat. Examples: Toe: last step of the fling/shedding or toe heels. Heel: toe heels or heel toe and shedding step in the S.T. Half point: pas de basque or open pas de basque in the 8^th^ step of the sword. Ball: Side travel in the 2^nd^ step of the S.T. Flat: stepping intro of the S.T. Third position feet the working foot is in contact with the arch of the supporting foot. Your foot can be placed on the toe half point ball or heel. When placed on the toe half point or heel the working foot is turned out at an angle of 90° from the line of direction. When on the balls of both feet in third position the weight is equally distributed over both feet and the feet are turned out no less than 45° from the line direction. Examples: Toe: rocks and toe heels Halfpoint: pas de basque or shuffles Ball: Assemble and leap. Heel: Toe and heels. Third aeriel position feet The outside edge of the working foot is in contact with the front of the supporting leg. The knee of the working leg is held well back. There are three 3 levels: Normal-the heel is just below the knee of the supporting leg. Low-the toe is in line with the ankle of the supporting leg. Very low-the working foot is just off the floor above third position. Examples: Normal- count 3 of a shedding movement. Low- hop-brush-beat-beat. Very low- outwards brushes start. Third rear aerial position feet The inside edge of the working foot is in contact with the calf of the supporting leg. The working foot is at the same height as third aerial position at normal level. The knee of the working leg is held well back. No part of the working foot should be seen from the front. Examples: highcuts and count 2 and 4 of a shedding movement. Fourth position feet the working leg is extended to the front with both heels in line with the line of direction. The working foot can be placed on the toe or half point. When on the half point the foot is turned out at 90° from the line of direction. When on the toe the foot is turned out 45° from the line of direction. Fourth position on the half point is only used in the sword. Examples: Toe-spring points in the hulican. Half point-Open pas de basque in the eighth step of the sword. Fifth position feet The working foot is in contact with the big toe joint of the supporting foot. The working foot can be placed on the toe half point ball or heel. When placed on the toe half point or heel the working foot turned out 90° from the line of direction. When on the balls of both feet the sole of the front foot is over the toes of the rear foot both feet turned out not less than 45°. 5^th^ or 3^rd^ position are interchangeable meaning that any steps or basic movements using third position can also be done using fifth position. Toe: rocks and toe heels Halfpoint: pas de basque or shuffles Ball: Assemble and leap. Heel: Toe and heels. Hop A movement of elevation beginning on the ball of one foot and finished by landing on the ball of the same foot. Examples: Counts 2 3 and 4 of a shedding movement and count 2 of toe and heel movement. Spring A movement of elevation beginning on the ball of 1 foot and finishing on the ball of the other foot. Examples: Spring points in fourth position a series of high cuts or a series of shuffles. First position arms Both hands rest on the hips. The back of the hands face the front and the knuckles face the body. The wrists are straight. The elbows point directly to the side. Examples: bow or pas de basque. Grouping of the fingers the fingers are lightly grouped. The thumb is in contact with the first joint of the middle finger. Used In all arm positions except first. Shedding Starting with a hop spring or disassemble point the working foot in second position on count 1. Hop taking the working foot to 3rd rear aerial position on count 2. Hop and with a round the leg movement bring the working foot to 3rd aerial position on count 3. Hop and with around the leg movement bring the working foot back to 3rd rear aerial position on count 4. This movement uses a total of 4 counts of music or one bar of music. Example: Shedding first step in the fling. Toe and heel Start with a hop or a spring. Place the toe without weight in third position on count 1. Hop placing the heel without weight in third position on count 2. Uses 2 counts of music and danced with single beat rhythm. Can also be used in 2nd 5th and 4th opposite fifth position. Uses a 90° turn out from the line of direction. Examples: Toe and heel in the third step of both the fling and the sword dance. Second: Toe heel and rock step in the S.T. Third: Toe heels in the third step of the fling. 4^th^ opposite 5^th^: The 3rd step of the sword. 5^th^: toe heels in the third step of the fling. Spring points in fourth position. Spring and point the working foot in fourth position. Both the working and supporting foot land on the ground at the same time. Spring points are danced with a single beat rhythm. Examples: Toe and heel in the third step of the sword or high cuts and spring points in the 5th step of the reel. The correct stance The body should be held in a natural easy manner without stiffness strain or exaggeration. The back should be straight and not arched. Placing the working foot on the toe When the toe is in contact with the ground there is no weight. In an open position the working foot and ankle are fully pointed. In a closed position the foot is held vertical. In an open position the knee is kept straight except when placed in 4th opposite fifth position in the sword dance. Second position arms One arm is in first position. The other arm is raised at the side. The arm and wrist are slightly curved. The hand is slightly above and forwards from the head line with the palm turned inwards. The raised arm is always opposite of the working leg except in a propelled pivot turn movement. Examples: Shedding or hop brush beat beat. 3^rd^ position arms Both arms are raised like the raised arm in second position. The palms face inwards. Examples: high cuts back steps or rocks. Fourth position arms A closer and higher version of third position with the hands almost touching. Examples: introduction of the S.T. or pivot turn. 5th position arms The arms are in front of the body. The arms are gently curved with the hands close together and the little fingers almost touching the kilt. Examples: Shake in the second step of the S.T. or brushing in the first step of the S.T. Bow Stand with the feet and head in first position. Arms are in first or at the sides of the body. Bow by bending forward slowly then returning to the starting position. If arms are by sides of the body they are placed in first position on the 1st count following the bow. The counting varies with each dance. A bow should not be exaggerated. Examples: Highland fling- 6 counts. Sword dance- either 4 or 6 counts depending on which method is used. The line of direction The line of direction is an imaginary line that runs on the ground front to back through the heels of a dancer standing in first position. The angles of basic foot positions and degrees of turnout are measured from this line. Introduction to the Highland Fling Stand for 8 counts with the feet arms (which can also be by your side) and head in first position (1 2 3 4 5 6 7 8- bars 1 & 2). Bow for 6 counts (1 2 3 4 5 6). You may rise on the balls of the feet in first position (7). You do not have to rise and instead you may stay flat in first position (7). If you bow with your arms by your side you take them to first on count 7 the first count following the bow. Pause (8 bars-3 & 4). Uses 4 bars of music. 2nd aerial position The working foot is extended to the side like in second position but is raised off the ground to the required level. There are three levels: Low-the toe is in line with the ankle of the supporting leg. Normal-the toe is in line with the center of the calf of the supporting leg. High-the toe is in line with the center of the kneecap of the supporting leg. Examples: Low level-Pas de basque in the first step of the sword. Normal level-shake shake down movement in the fourth step of the S.T. High level-shakes in the second step of the S.T. Fourth opposite fifth position The working foot is extended forwards with the toe of the working foot in line with the heel of the supporting foot. The kneecap of the working leg is flexed. The working foot can be placed on the toe, half point or heel. When placed on the heel the heel is in line with the toe of the supporting foot. This position is only used in the sword dance. Examples: Toe-toe and heels in the third step of the sword. Half point-open pas de basque in the second step of the sword. Heel-toe and heels in the third step of the sword. Backstepping Start with one foot in 3rd aerial position. Spring and during the elevation execute around the leg movement to 3rd year aerial position and slide it down the back of the supporting leg bringing the other foot up to the third aerial position. Repeat as required making sure the working foot passes through both third aerial and 3rd rear aerial position each time. Uses 1 count of the music and is danced in single beat rhythm. You may also start or finish in 3^rd^ rear aerial position. Back stepping should be a smooth continuous and flowing movement. In a series of four the last back step may finish in 3rd aerial or third rear aerial position. Each series must be consistent within the step the exception is the last count of the step which can finish in either third aerial or third rear aerial position. Pas de basque Start with the working foot in second aerial position low. Spring to that side bringing the new working foot to 3rd or 5th on the half point. Then beat the rear foot in 3rd or 5th rear position no higher than the heel of the supporting foot. The front foot may be extended to start the next movement. When doing a turn using two pas de basque there is no extension after the first pas de basque. Pas de basque may also travel forward (like in the reel). Counting- Sword(1& 2 3& 4) Reel (1 & 2 3 & 4). Open pas de basque in fourth opposite fifth As for pas de basque except the working foot is taken to 4th opposite fifth position on the half point. Open pas de basque can also be danced in fourth position, second position and 4th intermediate position. Open pas de basque in fourth opposite 5^th^ are danced only in the sword. Examples: 4th opposite fifth position- open pas de basque in the second step of the sword bars 2 & 3. 4th and second position- crossing and pointing quick step (eighth step of the sword dance). 4th intermediate position: diagonal points (5th step of the sword dance). Shake for highland fling Shake actions come from the knee and are controlled by the thigh. A shake is always danced with a hop. Start by pointing the working foot in 3rd or 5th position. The actual shake has two shake actions, the first one finishing in fourth intermediate aerial position low and the second finishing in fourth intermediate aerial position normal. The second shake should finish at the same time as the dancer lands the hop. Counting: 1 and (and) a 2 or 1 (and) and a 2. Note for counting: when an "and" Is shown in brackets as above, (and), There is no action by the dancer. You should also not say the (and) When counting aloud. Rocks spring from third or fifth position to 3rd rear position or vice versa with the working foot on the toe. The working foot and supporting foot land at the same time. Rocks are usually danced in a series. The rear foot is always pointed first. Uses 1 count of music. Examples: rocking (4 step) of the highland fling High cut Spring, hop or disassemble and take the working foot to 3rd rear aerial position. Working from the knee joint only extend the working foot towards second aerial position and return it too third rear aerial position. During the elevation one or both legs may be extended to 2nd aerial position. Unless otherwise stated (like the side travel on the 1st high cut in the toe and heel (3^rd^ step) in the sword) there is no travel) Counting: sword and S.T- ( 1& 2& 3& 4&) Reel: (1 & 2 & 3 & 4 &) Note one: In a series high cuts can be danced with or without extensions. Note two: In the sword dance and the first basic reel step when dancing high cuts with extensions the high cut danced with the disassemble must be extended. Note three: In the sword dance and the first basic reel step when dancing high cuts without extensions the high cut danced with the disassemble may or may not be extended. Note four: In the other basic real steps the first high cut can be danced without extensions even when followed by extended high cuts. Placing the working foot on the half point The underneath pads of the first two or three toes are in contact with the ground. The ball of the foot is off the ground. In an open position the instep should be arched with the knee either stretched or slightly flexed. A closed position the working foot should be vertical with the knee flexed. Partial weight may be applied to the half point but the main weight is kept on the other foot which allows for slight elevation or travel of the supporting foot. First position head The head faces the front with the eyes level. Generally used when arms are in first third fourth or fifth position. Examples: Introduction of highland fling or rocks. Note for the sword dance - while dancing over or across the swords the head may be inclined slightly forwards allowing the dancer to see the swords. Second position head The head is turned diagonally to the right or left with the chin slightly raised. Generally used when the arms are in second position. The head is turned away from the raised arm in second position except when otherwise stated. Introduction to the sword dance Bars 1 and 2: Stand as for bow (1 2 3 4 5 6 7 8). Bars 3 and 4: Bow (1 2 3 4) step to 1d with the left foot and point the right foot in 3rd or 5th position (5 6 7) Then pause (8) Note: The dancer may rise on the ball of the left foot on count 8.