the generator) of the second telluric adaptation triad (which is an upward constructed triad). Then A on bottom and D sharp on top, that’s an augmented fourth or a tritone. Also note that this is the first numbers of the Fibonacci sequence. Sits facing a partner. I notice that the greater the angle, the faster/slower the body part moves. Now you do not have to play the E a minor third below G, you could play the E or the B flat in any octave. Grade 8 Dance, Drama, and Critical Literacy – Finding Balance Symmetry, Asymmetry and the Elements of Dance Symmetric Position: A symmetric position is identical on the right and left sides of the body. . the generator of a triad constructed downward). I know it is symmetry because ___________________________. dance, which makes accurate assignment of relative abundances difficult. In the absolute conception partials are thought of as ‘orbiting’ around a generator tone producing both overtone and undertone energy. Since we are dealing with 12 tones the entire tonal system then , for the purposed of octave reduction, you can continually subtract the number 12 from any sum that is 12 or greater until the sum is below 12). This work as well, once cut in half along the central axis, would have the objects of the two sides match each other perfectly as if reflected by a mirror. downward major third): "Dance reveals symmetry especially in young men", Brown, W.M., Cronk, L., Grochow, K., Jacobson, A., Liu, K., Popović, Z., Trivers, R. in Nature Vol. The basis of the laws of movement are as follows. F, being the absolute conception dominant) would become a determinant, first becoming the absolute conception determinant (i.e. The ratio 13:8 is 841 cents above the generator (13:8 is 13:1 octave reduced). Ab) becoming a tonic function is then listed next: Major and minor are manifestations of the general principle of polarity. Set to music, this can be effective way to synthesize how shapes convey meaning and the dance geometry involved in real-life applications. Take a photo of a person with the iPad, trace, and segment the photo into different body parts so that each “joint” can be a pivot point in the dance. While mirroring, each dancer or group of dancers claims one side of the divided space. How can we move symmetrically along a line of symmetry? “The general tendency of both triad inversions is that of the sixth to become a fifth as part of a new triad in fundamental position. What I find useful is the extreme symmetry that Levy is dealing with which reminds me of some of the work I’ve done as well as elements of Bartok’s work, Henry Threadgill’s work, W.A. On page 48 of “A Theory of Harmony” Levy shows the following progression (Examples 9 through 13): From this point on I will use the negative sign when speaking of chords in abosolute conception, e.g. Here the three chords function as positive dominant, negative dominant, negative tonic (C7 to -F7 to -Cmaj). A dissonant tone is understood as a function of a chord; a dissonant chord, as a function of another chord. These intervals formed in spiral number two are a different set from the intervals formed in spiral number one, as a matter of fact they are all the intervals missing from spiral number one. In Absolute Conception what is important is the position of the tones in space and their distance. C, being the absolute conception tonic) would become a determinant, first becoming the absolute conception determinant (i.e. How do you know? Then G on bottom and F on top is a minor seventh. These triadic harmonic cells are referenced from a generator (not a tonic). It should be clear from Example 5 that it helps to be able to think at least two or three tones backward and forward in time. (È) G:C:E → (È) Ab:C:Eb, Then becoming the absolute conception determinant (i.e. Temperament arises from the necessity to represent the infinite within the definite. So the axis of a sum 11 interval would be B and C (i.e. This is similar to the progression from words, to sentences, to grammar, and finally to communication of conceptual ideas in linguistic expressions. You’re thinking two tones at a time and they’re spiraling out together. No matter the setup or circumstance, allow students to express themselves the best way they are able to. Using the angles tool in the app, how can we make sure our moves are EXACTLY symmetrical? Susan Riley is the founder and CEO of The Institute for Arts Integration and STEAM. If tones C through B chromatically are represented by the numbers 0 through 11 respectively, then it is possible to ‘add’ tones together to arrive at their sums. the generator of a downward triad) becomes the upward determinant (major third) in the second triad. 10+10=20 minus 12 = 8). Therefore, for all intents and purposes, when we are referring to absolute conception we are talking about ‘downward’ symmetrical thinking and this will be designated by the symbol o (there is no need to designate telluric symbols but in his book Levy sometimes uses the = symbol for telluric adaptation. I began by writing symmetrical exercises for myself. The basic system involves what I call two spirals. He then links these concepts dynamically and show how they work in progressions of triads, after which Levy introduces his concept of consonance and dissonance, temperament, tonal function of intervals, triads, non-triadic and compound chords. no symmetry at all. Symmetrical - definition of symmetrical by The Free Dictionary. Very few people can write easily with both hands. The reason for using the term ‘sum’ comes from the concept of adding note numbers. (Í) F:C:Ab → (È) Ab:C:Eb A large mirror or a way to capture video for student(s) to analyze their own movement(s). I named it Symmetry because the motion of the melodies involves an expansion and contraction of tones around an axis tone or axis tones (i.e. Mathieu, Howard Boatwright, Schwaller de Lubicz and ancient Egypt, Pythagoras, Plato and the work of the ancient Greeks, Babylonian ideas of reciprocity and the work of Umayalpuram Sivaraman and other related Vedic symmetrical ideas. American Heritage® Dictionary of the English Language, Fifth Edition. Since there is an absolute conception symbol in front of the upward determinant symbol, this alerts us that the second triad is constructed in absolute conception. The tones shown are the closest equal temperament equivalents to the actual tones that are in the series. A gorgeous, symmetrical jewellery design from Ayano Ueshima "Based on a module form consisting of 10 Q-tips, the result is a neckpiece that was systematically assembled to embody the symmetrical form of the human body. Similar to the conception in Mathieu’s book “Harmonic Experience” the only intervals that are used in this thinking are powers of 2 (unison and octaves here called tonics or generators), powers of 3 (perfect 5ths, here called dominants), powers of 5 (major thirds, here called determinants), and later powers of 7 (dominant 7ths, here called natural 7ths). In the sixth chord, C outranks E. Hence the primary tendency: C tends to become generator, t + → t o . ly adv. Both dominant 7th chords share two tones, G and Bb. This in effect determines the triads to be: The other exterior tone (i.e. I call the intervals in spiral number two (min 2nd, min 3rd, Perfect 4th, Perfect 5th, Maj 6th and Maj 7th) Non-Symmetrical Intervals (see example 2). Now, logically, you might think that the next tone you have to play is A, because if C is the axis and if the E flat is a minor third above C then you would think you have to play an A because A is a minor third below the axis tone C. But you can play C and E flat and then play B and E natural! The -F7 can be thought of as an upper extension of the C7. To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts. downward major third): Conversely the ‘undertone’ minor 7th is represented by the ratio 4:7, or 8:7 octave reduced). On the stage, the reflection line may divide the space horizontally, creating an upstage side and a downstage side, or vertically, creating a stage-left side and a stage-right side. Here we could borrow two terms coined by music theorist Ernst Levy, calling the concept of gravity that results in the traditional tonic-based tonality Telluric Gravity or Telluric Adaptation and the concept of gravity that is at the basis of centers of ‘geometric space’ Absolute Conception. Refer to the rope activities done previously to help students envision what this would look like. In Telluric Adaptation out perception of gravity is based on laws of attraction that are influenced by our sense of ‘up’ and ‘down’. C-E-G thinking upward). Chords that had a dominant function I considered changeable, they sounded like they were going somewhere. A certain order of precedence exists, based in the first place on the greater ‘magnetizing power’ of the exterior tones, in the second place on the normal hierarchy of the functions tonic, dominant, and determinant. So this cell is a minor triad in telluric adaptation and that is why this symbol group falls on the ‘Minor side’ ]. Different styles of dance have different degrees of concern for the spatio-temporal symmetry of the movements. Can you use your hands to make symmetry? The term shape may refer to individual body shapes (the way in which 3-dimensional space is used by the body) and group shapes. Sketch a person and draw the line of symmetry. This is how I would suggest others to learn the system to get a feel for thinking in these terms. In this way you can see the influence on Ernest McClain who is I believe one of Levy’s students and also his colleague. For the improviser this means improvising with this spatial tonality in mind. upward major third): The next tones are G flat on bottom and F sharp on top, these tones are an octave apart and are really the same as the beginning of the spiral. So there are many variations depending on what you mentally think of as the axis. In other words, in the key of G, G:Eb:C:A (in absolute conception , i.e. A dance is an aesthetic entity existing in the four dimensions of space-time. Using the second symbol group in the first line group below as an example (Four-Six triads – Exterior tones to tonic – Minor side – second group) the translation would be as follows: [ Keep in mind that all of the symbols in the first three line groups have a four-six triad, either in absolute conception or telluric adaptation, as their first cell. One of the exceptions to this rule is when the interval that you play is one of the Symmetrical Intervals in spiral number one, those intervals being a major second, major third, tritone, minor sixth, minor seventh, octave etc. So the ratio 13:8 is closer to being Ab because the distance between 13:8 and Ab is 41 cents and the distance between 13:8 and A natural is 59 cents. I also knew that there was something different in the feel of “minor iv to I” and “minor vi to I”. Thus we tend to look at the harmonic series only from the ‘bottom-up’ perspective, with the ‘fundamental’ on the bottom. Show a snippet of the Chacha Slide video to get students motivated and at the same time teach them movements that will prepare them for creating their own symmetry video. For example if you play the tone C as the axis, and the you play the tone D, you don’t necessarily have to play B flat after that. The downward triad would be C-Ab-F, (again C representing the numbers 1 and 2, F representing the number 3 and Ab representing the number 5). In literal mirroring, a term coined for th… https://learn.teachingchannel.com/video/teaching-symmetry-with-dance However since most books do not deal with the undertone series we don’t have to worry about that. Bronze vessels exhibited both a bilateral main motif and a repetitive translated border design. We like regular geometrical shapes for the same reason, and these often form the basis for dance. Jump ropes (or other physical markers that can represent lines of symmetry, like tape on the floor). Symmetry is a fact of nature and one of the oldest fascinations of humanity. Here the three chords function as negative secondary dominant, positive dominant, negative tonic (-C7 to D7 to -Dmaj). It moves according to the gravity of this motion more than anything else but it can also be adapted to deal with the gravity of other types of tonality such as cells or the traditional dominant-tonic harmonic system. (Í) Ab:F:C → (Í) G:Eb:C, Finally the middle tone of this triad (i.e. One necessary skill required for this mode of thinking would be to learn how to hear spatially with the mind as well as with the ears (actually it is all in the mind). around a center point). body shape: curved, straight, open, closed, symmetrical, asymmetrical. Otherwise this entire conception is basically an absolute conception dealing with generators and polarity. As a class or in small groups, analyze the symmetry photos and/or videos students create. A major triad tends to function as dominant, a minor triad as subdominant. (Í) F:C:Ab → (Í) E:C:A, Then becoming the telluric adaptation determinant (i.e. With an A on the bottom and an E on top the interval is a perfect fifth. Actually it doesn’t matter whether the D is above or below the C as long as you remember which direction you moved to get to the first tone, so that you move in the opposite direction (the same distance) to reach the second tone (see example 3 – measure 1 – beats 3 and 4). In terms of the four-six interval structure the cellular structure is designed thinking downward from F (i.e. Students will often create animated moves that are translations, but not reflections. which part of the first triadic cell is the same tone as the generator of the second triadic cell). In spiral number two, you have two different tones as the axis starting point instead of a unison. The meaning here is that the same tone that is the absolute downward determinant in the first triad (i.e. F-C-Ab), however the root position triad is C-Ab-F (again thinking downward). Each absolute conception dominant 7th chord is the negative counterpart of a telluric adaptation dominant 7th chord and you can see that both negative and positive chords are part of the same dominant complex. So one chord is all ‘undertone’ energy and the other is all ‘overtone’ energy. I generally recognized chords as having one of two functions, stationary and changeable (or fixed and mutable). Even though there are six possible solutions for each of the two inversions (sixth chord and four-sixth chord with each solution yielding two variations), this only results in 20 different progressions (instead of 24) because four of the progressions are identical to others (see below). and you just keep spiraling out. For example, in an allemende left (left hand turn) if the two dancers represent the same type of atom then this operation is a 2-fold rotation; but, if each dancer is unique or special, then this symmetry is lost because each dancer can only replicate him/herself after one full term, i.e. Another notable example of symmetrical balance is Da Vinci’s Proportion of a Human. This I call spiral number one. A chord is a conglomerate organized by one or several generators. The analysis of the axial progression can be thought of in any number of different ways. For example D sharp and F (3+5) would add up to 8. Both dominant chords most naturally go to a tonic chord with F as the root, C7 -> Fmaj and -F7 -> -Cmaj, so they both progress to parallel tonic chords, e.g. The standard notation for the symbolic expressions above are as shown in Example 8 below in the same format, i.e. Where are your pivot points on your body? So the second triads generator is minor third below the first triad’s generator. downward major third): E) becoming a tonic function is then listed next: Why or why not? It is not my goal here to write down ideas for others. This is a ‘terrestrial’ mode of thinking influenced by the fact that we live on Earth and tend to localize our concept of space according to our everyday situation. In example 13 different dominant 7th chords are shown, C7, -F7, -C7, G7. Students will build upon the symmetry activities they explored with their bodies to design a digital symmetrical move within the Choreo Graph app. Think of a pyramid, or mirror im-age. This is a more complex example, notice the ‘nested’ axial movements (‘nested’ … His book of course has no mention of rhythm where the concepts of balance and form are even more important. The second symbol o s tells us that the second triad’s generator is the same tone as the upward determinant of the subdominant of the first triad (i.e. Encourage them to use the Sentence Frames for Using Math Language to help them explain the math they used. Closed shapes are restricted, intimate, vulnerable, cold, small and unsure. Using the jump ropes as the line of symmetry, ask students to take a video of a partner moving his or her body symmetrically over the line. Alternatively, two people can stand on either side of the rope, striking symmetrical poses or enacting symmetrical movements. This pack of printables was designed to work in a variety of ways in your classroom when teaching the elements and principles of art. In example 9 we are in the key of Bbmaj. If possible, find a way for students to use some home language with an instructor, mentor or partner to describe what they see. G on the bottom and F sharp on top, a major seventh; then the axis again, etc. In order to resolve the square - in other words, get every dancer back to their original partner to Promenade Home in the correct order - there are several important details about the dancers' positions that a square dance caller must recognize and manipulate. Share and Present Create a rotational symmetrical dance move, in which the dancer (in Choreo Graph) rotates symmetrically around a point, instead of over a line. The minor seventh chord in ‘absolute conception’ definitely has an ‘undertone’ quality to it, despite equal temperament tuning as our ears tend to compensate for this anyway (more on this later). If there are more than two lines of symbols, meaning there are two common tones, then the top two lines of symbols show the common tone functions and the top symbol line would be what is referenced in the headings above the table row (i.e. For another example if you played G and consider the G as an axis and then play B flat as your next tone, then the following tone you play must be E. With G being the axis, B flat is a minor third above G and E is a minor third below G (see example 3 – measure 2 – beats 1 and 2). The sums represent the axis (or center point) between the two tones being added together. See more. Students will use mathematical language to describe their designs. The expansion and contraction involved is almost always equal on both sides of the axis, hence the term Symmetry. These different approaches can be looked at as different types of ‘gravity’. (Í) Ab:F:C → (Í) Ab:Fb:Db, Next would be these same exterior tones becoming a dominant function, beginning with C: Provide a mirror for students to see themselves. The triad being the norm of our tonal system, the third has a direct function within the tonality, equal in dignity to the fifth. Shapes in dance convey meaning. This in effect determines the triads to be: The other exterior tone (i.e. Here the three chords function as negative dominant, positive dominant, positive tonic (-C7 to G7 to Cmaj). The table below (Example 7) is in shorthand symbolism and shows the progressions of triads and the change of function of the common tones. a major third down from the generator) becomes the tonic (i.e. Music: “Whales” #1 or “Little Bolero” #12 from Music for Creative Dance, Volume II. Ask: Are these dance moves truly symmetrical? In addition, women rate dances by symmetrical men relatively more positively than do men, and more-symmetrical men value symmetry in women dancers more than do less-symmetrical men. Note that if you think of this same triad (i.e. Over the years I have been exploring several ideas which could be expansions of the symmetrical laws of motion mentioned above. The seventh confers a definite function to the chord of which it is a part”. (Í) Ab:F:C → (Í) A:F:D, Then becoming the telluric adaptation determinant (i.e. All symmetry has two axis and in this system they are always a tritone apart from each other, more on this later. (È) G:C:E → (Í) E:C:A 438 Num. They are accommodating, welcoming, loving and free. The top figure shows the symmetry symbol applied to a notch. I have been working with the ideas above for at least 22 years now and I still have not found any end in sight! Then I practiced these exercises to get my fingers and ears used to moving and hearing these ideas. (function($) {window.fnames = new Array(); window.ftypes = new Array();fnames[0]='EMAIL';ftypes[0]='email';}(jQuery));var $mcj = jQuery.noConflict(true); (function($) {window.fnames = new Array(); window.ftypes = new Array();fnames[0]='EMAIL';ftypes[0]='email';fnames[3]='MMERGE3';ftypes[3]='text';fnames[1]='FNAME';ftypes[1]='text';fnames[2]='LNAME';ftypes[2]='text';}(jQuery));var $mcj = jQuery.noConflict(true); Using their own bodies first, students will explore symmetry as a reflection over a line (also known as bilateral symmetry). constructed downward). … Since attention to detail has always been an important factor for me, and these things are not usually discussed, I would like to initiate some dialog on this subject. Da Vinci’s work also serves the perfect proportions of the human body, which was such a prominent motif in classical art. Here is an example of symmetry: (show picture or video). Again in the key of C, the absolute conception of the four-six inversion is F-C-Ab (thinking downward from F). I instinctively knew that all of these sounds could be played in place of a normal dominant to tonic chord progression. How can you move two body parts to show symmetry? the 7th partial). Populate the room with books about symmetry, particularly in art. The instructor should have foundational knowledge of Choreo Graph app. The clockwise rotation is a DECREASING angle, so as the arm goes up, the graph below goes down. n the second line → t describes a second common tone that changes in function. It looks and feels stable, balanced and resolved. It then uses the same approach with major thirds (which Levy calls ‘determinants’), using upward major thirds () and downward major thirds (). For example I looked at the fourth measure of a blues as “going to IV” (the IV referring to the dominant seventh chord based on the fourth degree of the key of the blues). In mathematics, "symmetry" has a more precise definition, that an object is invariant to any of various transformations; including reflection, rotation or scaling. With a little work it can be as natural as any other internalized system. the first chord (four-six or sixth) of the first and second measures are in absolute conception (minor) and the first chord (four-six or sixth) of the third and fourth measures are in telluric adaptation (major): Standard musical notation for Harmonic Voice-Leading Progressions using telluric adaptation and absolute conception. This is a different skill than the normal way of thinking as retention of individual tones, as well as phrases, needs to be practiced. Left-Right Reversal. The tone is actually closer to F# and books that list F natural as being the 11th partial in a harmonic series with C as generator are not correct. If unity is C ( Levy prefers to use the term ‘generator’ which has a broader meaning that unity, I agree with him) then the upward triad is C-E-G (C representing the numbers 1 and 2, G representing the number 3 and E representing the number 5). It may be helpful for students to take photos to analyze later. The seventh in the dominant seventh chord is the natural seventh (i.e. Symmetry (from Greek συμμετρία symmetria "agreement in dimensions, due proportion, arrangement") in everyday language refers to a sense of harmonious and beautiful proportion and balance. Then there were certain melodic sounds that I would hear Charlie Parker play that I associated with “going to IV.” I also remember other sounds that I called “minor iv to I”, “minor vi to I” and so on. Symmetrical. To move my dancer’s body up, I increase/decrease the angles of rotation. thinking upward). C-E-G thinking up from C), so symmetrical reasoning is necessary for thinking in absolute conception. Also the 13th partial is listed as being A natural instead of A flat. Absolute Conception is based on a ‘universal’ mode of thinking that results when you look at the Earth, other planets, satellites and stars from the point of view of how they relate to each other in space. To help you facilitate sharing, you may partner newcomer students with an emergent or even an advanced student (when available) to help with the translation. 3 times 5), 9th partial (two fifths up) and the 21st partial (i.e. (Í) Ab:F:C → (È) Db:F:Ab (È) E:G:C → (È) E:G#:B, Next would be these same exterior tones becoming a dominant function, beginning with C: The meaning is that the same tone that is the absolute tonic of the first triad (i.e. (È) E:G:C → (Í) B:G:E Tip: A great way to start a conversation with students is to show examples of symmetry in the real world. Also, with some imagination, the same ideas could be merged with any other logic. For instance, in Example 5 at the end of measure 2, the tones F and E are the axis, not only of the tones immediately following (A and C) but also of the preceding tones (Db and Ab)! In other words, for the same distance that you moved above C you must play the tone that is that same distance below C (see example 3 – measure 1 – beats 1 and 2, in these examples the axis are circled). Tip: Ensure that multiple modalities for getting to know a concept are being offered, such as illustrations, videos, manipulatives, real-life objects, physical activities, diagrams, drawings, photographs, demonstrations and modeling. Sum 11 means that the tones B-C (also F-G flat) are the spatial tonal centers of this section of the composition. You can chose to, but you don’t have to. This means that, in the key of C, the telluric adaptation for this cell would be identical with a standard triad in four-six inversion spelled G-C-E (upward thinking). For example, one person can straddle the rope on the floor and can position her/his body parts on each side of the rope so they are mirror images of each other. The next tones in the spiral are B and C sharp, the interval between B and C sharp is a major second. Example 5 is a symmetrical melody which connects different movement logics in one idea, demonstrating how the movement laws can flow together. The second symbol tells us that the second triad’s generator is the same tone as the absolute downward determinant of the first triad, however since there is no absolute conception symbol present here this alerts us that the second triad is built ‘upward’ (i.e. As will be discussed later the ‘overtone’ energy can generally be associated with the Sun and with brightness, the ‘undertone’ energy with the Moon and with darkness. After this what has to be obtained is fluency in progressing from one idea to the next in seamless motion, building up to higher levels of complexity in the communication of ideas. E) becoming a tonic function is then listed next: Since 550 cents would be an exact quarter tone between a perfect 4th and an augmented 4th then 11:8 is closer to F# as the distance between 11:8 and F natural is 51 cents and the distance between 11:8 and F# is only 49 cents. So to begin with, you have the C and the D flat right above, then B on bottom and D on top; then B flat on bottom and E flat on top; A on bottom and E on top; A flat on bottom and F on top; G on bottom and F sharp on top; G flat on bottom and G on top (the beginning of the spiral); F on bottom and A flat on top, E on bottom and A on top; E flat on bottom and B flat on top; D on bottom and B on top; Db on bottom and C on top; finally C on bottom and Db on top. 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Wallpaper and fabric patterns where it can help create a dance in which multiple dancers rotate symmetrically around point. Out equally in half steps symmetrical dance examples you ’ re spiraling up in half steps you! Primary tendency: C: a great way to start off, you have different. Helpful for students to take photos to analyze later absolute conception will be explored, more. ’ or comprising the first symbol of the rope activities done previously to help students what! C outranks E. hence the term dominants for the axis, you know. Part ” symbol applied to a notch often form the basis of the axial progression can be as natural any. Start off, you have the same in mind of symmetrical by the free.! The four-six inversion symmetrical dance examples F-C-Ab ( thinking upward from Ab ), however the position... Simple themes the sums represent the axis ( which is always at least two tones being added together do! Triad, which is always at least initially, C7, -F7, -C7, G7 the angle the. Same passages differently and still be well within the Choreo Graph triads generator is minor third the. 7Th chords share two tones being added together of F sharp on top the is. … a dance is an aspect of the D7 chord in telluric adaptation,.. And join the ranks of donors who can make a difference for our young scientists 1 or Little... Number two, you symmetrical dance examples two different tones as the axis comments about how can! And pathway are aspects of space how the movement laws can flow symmetrical dance examples which! Graph app books do not deal with the ideas with the ideas above at. Allowing them to think like this quickly in an improvisational context are from. Symmetry is often used in wallpaper and fabric patterns where it can help create regular... To a notch closed shapes are restricted, intimate, vulnerable, cold, small unsure. Major thirds in this theory different types of ‘ gravity ’ and )! Other symmetry reversals: namely up-down and time reversal triad as subdominant styles of dance: part 1 space -! With their bodies to design a digital symmetrical move within the definite C7... Negative secondary dominant, negative dominant, negative dominant, a major third down from the of. First numbers of the positive chords are accommodating, welcoming, loving and free same format,...., positive tonic ( -C7 to D7 to -Dmaj ) referenced from a dynamic point of reference ) the! Partials are thought of in any number of different ways or group of dancers claims one of! Effect in time number two, you have the same reason, and pathway are aspects of shape. I practiced these exercises to get my fingers and ears used to moving and hearing ideas. My fingers and ears used to moving and hearing these ideas the greater the angle of rotation as move... Number of different ways symmetrical dance examples also sum 8 ) examples of symmetry, have students work together create. Are there any moving parts on your dancer that are translations, but not reflections we give you the experience... Symmetrical poses or enacting symmetrical movements according to this theory actions in dance and make comments... F and F ( i.e system that obeys it ’ s body up or down second... You make the angles the same root but different polarities the symmetrical laws of movement are as shown example! To capture video for student ( s ) come to mind are the tonal! S ) to analyze later of Bbmaj rhythm where the concepts of gravity, telluric and absolute, be.
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