Rhetoric is the art of effective communication; if you communicate with others at all, rhetorical devices are your friends!
Rhetorical devices help you make points more effectively, and help people understand you better. In this article, I'll be covering some important rhetorical devices so you can improve your own writing!
What Are Rhetorical Devices?
A lot of things that you would think of as just regular everyday modes of communicating are actually rhetorical devices That’s because ‘rhetorical devices’ is more or less a fancy way of saying ‘communication tools.’
Most people don’t plan out their use of rhetorical devices in communication, both because nobody thinks, “now would be a good time to use synecdoche in this conversation with my grocery clerk,” and because we use them so frequently that they don’t really register as “rhetorical devices.”
How often have you said something like, “when pigs fly!” Of those times, how often have you thought, “I’m using a rhetorical device!” That’s how ubiquitous they are!
However, being aware of what they are and how to use them can strengthen your communication, whether you do a lot of big speeches, write persuasive papers, or just argue with your friends about a TV show you all like.
Rhetorical devices can function at all levels: words, sentences, paragraphs, and beyond. Some rhetorical devices are just a single word, such as onomatopoeia. Others are phrases, such as metaphor, while still others can be sentence-length (such as a thesis), paragraph-length (hypophora), or go throughout the entire piece, such as a standard five-paragraph essay.
Many of these (such as the thesis or five-paragraph essay) are so standard and familiar to us that we may not think of them as devices. But because they help us shape and deliver our arguments effectively, they're important to know and understand.
Busting out a dictionary isn't the most efficient way to learn rhetorical devices.
The Most Useful Rhetorical Devices List
It would be impossible to list every single rhetorical device in one blog post. Instead, I've collected a mixture of extremely common devices you may have heard before and some more obscure ones that might be valuable to learn.
Amplification is a little similar to parallelism: by using repetition, a writer expands on an original statement and increases its intensity.
Take this example from Roald Dahl’s The Twits:
“If a person has ugly thoughts, it begins to show on the face. And when that person has ugly thoughts every day, every week, every year, the face gets uglier and uglier until you can hardly bear to look at it.
A person who has good thoughts cannot ever be ugly. You can have a wonky nose and a crooked mouth and a double chin and stick-out teeth, but if you have good thoughts it will shine out of your face like sunbeams and you will always look lovely.”
In theory, we could have gotten the point with the first sentence. We don’t need to know that the more you think ugly thoughts, the uglier you become, nor that if you think good thoughts you won’t be ugly—all that can be contained within the first sentence. But Dahl’s expansion makes the point clearer, driving home the idea that ugly thoughts have consequences.
Amplification takes a single idea and blows it up bigger, giving the reader additional context and information to better understand your point. You don’t just have to restate the point—use amplification to expand and dive deeper into your argument to show readers and listeners how important it is!
Anacoluthon is a fancy word for a disruption in the expected grammar or syntax of a sentence. That doesn’t mean that you misspoke—using anacoluthon means that you’ve deliberately subverted your reader’s expectations to make a point.
For example, take this passage from King Lear:
“I will have such revenges on you both,
That all the world shall—I will do such things,
What they are, yet I know not…”
In this passage, King Lear interrupts himself in his description of his revenge. This has multiple effects on the reader: they wonder what all the world shall do once he has his revenge (cry? scream? fear him?), and they understand that King Lear has interrupted himself to regain his composure. This tells us something about him—that he’s seized by passion in this moment, but also that he regains control. We might have gathered one of those things without anacoluthon, but the use of this rhetorical device shows us both very efficiently.
Anadiplosis refers to purposeful repetition at the end of one sentence or clause and at the beginning of the next sentence or clause. In practice, that looks something like a familiar phrase from Yoda:
“Fear leads to anger. Anger leads to hate. Hate leads to suffering.”
Note the way that the ending word of each sentence is repeated in the following sentence. That’s anadiplosis!
This rhetorical device draws a clear line of thinking for your reader or listener—repetition makes them pay closer attention and follow the way the idea evolves. In this case, we trace the way that fear leads to suffering through Yoda’s purposeful repetition.
When life gives you lemons, use antanagoge!
Antanagoge is the balancing of a negative with a positive. For example, the common phrase, “When life gives you lemons, make lemonade,” is antanagoge—it suggests a negative (lots of lemons) and follows that up with a positive (make lemonade).
When writing persuasively, this can be a great way to respond to potential detractors of your argument. Suppose you want to convince your neighborhood to add a community garden, but you think that people might focus on the amount of work required. When framing your argument, you could say something like, “Yes, it will be a lot of work to maintain, but working together will encourage us all to get to know one another as well as providing us with fresh fruits, vegetables, and flowers.”
This is a little like procatalepsis, in that you anticipate a problem and respond to it. However, antanagoge is specifically balancing a negative with a positive, just as I did in the example of a garden needing a lot of work, but that work is what ultimately makes the project worth it.
Apophasis is a form of irony relating to denying something while still saying it. You’ll often see this paired with phrases like, “I’m not saying…” or “It goes without saying…”, both of which are followed up with saying exactly what the speaker said they weren’t going to say.
Take this speech from Iron Man 2:
"I'm not saying I'm responsible for this country's longest run of uninterrupted peace in 35 years! I'm not saying that from the ashes of captivity, never has a phoenix metaphor been more personified! I'm not saying Uncle Sam can kick back on a lawn chair, sipping on an iced tea, because I haven't come across anyone man enough to go toe to toe with me on my best day! It's not about me."
Tony Stark isn’t saying that he’s responsible for all those things… except that’s exactly what he is saying in all of his examples. Though he says it’s not about him, it clearly is—all of his examples relate to how great he is, even as he proclaims that they aren’t.
A scene like this can easily be played for humor, but apophasis can also be a useful (albeit deceptive) rhetorical tool. For example, this argument:
Our neighborhood needs a community garden to foster our relationships with one another. Not only is it great for getting to know each other, but a community garden will also provide us with all kinds of fresh fruit and vegetables. It would be wrong to say that people who disagree aren’t invested in others’ health and wellness, but those who have the neighborhood’s best interests in mind will support a community garden.
That last sentence is all apophasis. Not only did I imply that people who don’t support the community garden are anti-social and uncaring (by outright stating that I wouldn’t say that, but I also implied that they’re also not invested in the neighborhood at all. Stating things like this, by pretending you’re not saying them or saying the opposite, can be very effective.
Assonance and Alliteration
Assonance adds an abundance of attractive accents to all your assertions. That’s assonance—the practice repeating the same vowel sound in multiple words in a phrase or sentence, often at the beginning of a word, to add emphasis or musicality to your work. Alliteration is similar, but uses consonant sounds instead of vowel sounds.
Let’s use Romeo and Juliet as an example again:
“From forth the fatal loins of these two foes;
A pair of star-cross’d lovers take their life.”
Here, we have repetition of the sounds ‘f’ and ‘l’ in ‘from forth...fatal...foes,’ and ‘loins...lovers...life.’
Even if you don’t notice the repetition as you’re reading, you can hear the effects in how musical the language sounds. Shakespeare could easily have just written something like, “Two kids from families who hate one another fell in love and died by suicide,” but that’s hardly as evocative as the phrasing he chose.
Both assonance and alliteration give your writing a lyrical sound, but they can do more than that, too. These tools can mimic associated sounds, like using many ‘p’ sounds to sound like rain or something sizzling, or ‘s’ sounds to mimic the sounds of a snake. When you’re writing, think about what alternative meanings you can add by emphasizing certain sounds.
Listen, asterismos is great. Don’t believe me? How did you feel after I began the first sentence with the word ‘listen?’ Even if you didn’t feel more inspired to actually listen, you probably paid a bit more attention because I broke the expected form. That’s what asterismos is—using a word or phrase to draw attention to the thought that comes afterward.
‘Listen’ isn’t the only example of asterismos, either. You can use words like, ‘hey,’ ‘look,’ ‘behold,’ ‘so,’ and so on. They all have the same effect: they tell the reader or listener, “Hey, pay attention—what I’m about to say is important.”
Dysphemism and Euphemism
Euphemism is the substitution of a more pleasant phrase in place of a familiar phrase, and dysphemism is the opposite—an unpleasant phrase substituted in place of something more familiar. These tools are two sides of the same coin. Euphemism takes an unpleasant thing and makes it sound nicer—such as using 'passed away' instead of 'died'—while dysphemism does the opposite, taking something that isn't necessarily bad and making it sound like it is.
We won’t get into the less savory uses of dysphemism, but there are plenty that can leave an impression without being outright offensive. Take ‘snail mail.’ A lot of us call postal mail that without any real malice behind it, but ‘snail’ implies slowness, drawing a comparison between postal mail and faster email. If you’re making a point about how going electronic is faster, better for the environment, and overall more efficient, comparing email to postal mail with the phrase ‘snail mail’ gets the point across quickly and efficiently.
Likewise, if you're writing an obituary, you probably don't want to isolate the audience by being too stark in your details. Using gentler language, like 'passed away' or 'dearly departed' allows you to talk about things that might be painful without being too direct. People will know what you mean, but you won't have to risk hurting anyone by being too direct and final with your language.
Generally, fiction books are where you'll find epilogues.
You’ve no doubt run into epilogues before, because they’re a common and particularly useful rhetorical device! Epilogues are a conclusion to a story or work that reveals what happens to the characters in the story. This is different from an afterword, which is more likely to describe the process of a book’s creation than to continue and provide closure to a story.
Many books use epilogues to wrap up loose ends, usually taking place in the future to show how characters have changed as a result of their adventures. Both Harry Potter and The Hunger Games series use their epilogues to show the characters as adults and provide some closure to their stories—in Harry Potter, the main characters have gotten married and had children, and are now sending those children to the school where they all met. This tells the reader that the story of the characters we know is over—they’re adults and are settled into their lives—but also demonstrates that the world goes on existing, though it’s been changed forever by the actions of the familiar characters.
Eutrepismus is another rhetorical device you’ve probably used before without realizing it. This device separates speech into numbered parts, giving your reader or listener a clear line of thinking to follow.
Eutrepismus is a great rhetorical device—let me tell you why. First, it’s efficient and clear. Second, it gives your writing a great sense of rhythm. Third, it’s easy to follow and each section can be expanded throughout your work.
See how simple it is? You got all my points in an easy, digestible format. Eutrepismus helps you structure your arguments and make them more effective, just as any good rhetorical device should do.
You’ve probably used hypophora before without ever thinking about it. Hypophora refers to a writer or speaker proposing a question and following it up with a clear answer. This is different from a rhetorical question—another rhetorical device—because there is an expected answer, one that the writer or speaker will immediately give to you.
Hypophora serves to ask a question the audience may have (even if they’re not entirely aware of it yet) and provide them with an answer. This answer can be obvious, but it can also be a means of leading the audience toward a particular point.
Take this sample from John F. Kennedy’s speech on going to the moon:
But why, some say, the moon? Why choose this as our goal? And they may well ask why climb the highest mountain? Why, 35 years ago, fly the Atlantic? Why does Rice play Texas?
We choose to go to the moon. We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard, because that goal will serve to organize and measure the best of our energies and skills, because that challenge is one that we are willing to accept, one we are unwilling to postpone, and one which we intend to win, and the others, too.
In this speech, Kennedy outright states that he’s asking questions others have asked, and then goes on to answer them. This is Kennedy’s speech, so naturally it’s going to reflect his point of view, but he’s answering the questions and concerns others might have about going to the moon. In doing so, he’s reclaiming an ongoing conversation to make his own point. This is how hypophora can be incredibly effective: you control the answer, leaving less room for argument!
Litotes is a deliberate understatement, often using double negatives, that serves to actually draw attention to the thing being remarked upon. For example, saying something like, “It’s not pretty,” is a less harsh way to say “It’s ugly,” or “It’s bad,” that nonetheless draws attention to it being ugly or bad.
In Frederick Douglass’ Narrative of the Life of Frederick Douglass: an American Slave, he writes:
“Indeed, it is not uncommon for slaves even to fall out and quarrel among themselves about the relative goodness of their masters, each contending for the superior goodness of his own over that of the others.”
Notice the use of “not uncommon.” Douglass, by using a double negative to make readers pay closer attention, points out that some slaves still sought superiority over others by speaking out in favor of their owners.
Litotes draws attention to something by understating it. It’s sort of like telling somebody not to think about elephants—soon, elephants becomes all they can think about. The double negative draws our attention and makes us focus on the topic because it’s an unusual method of phrasing.
Onomatopoeia refers to a sound represented within text as a mimicry of what that sound actually sounds like. Think “bang” or “whizz” or “oomph,” all of which can mean that something made that kind of a sound—”the door banged shut”—but also mimic the sound itself—”the door went bang.”
This rhetorical device can add emphasis or a little bit of spice to your writing. Compare, “The gunshot made a loud sound,” to “The gun went bang.” Which is more evocative?
Parallelism is the practice of using similar grammar structure, sounds, meter, and so on to emphasize a point and add rhythm or balance to a sentence or paragraph.
One of the most famous examples of parallelism in literature is the opening of Charles Dickens’ A Tale of Two Cities:
"It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way— in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only."
In the beginning, every phrase begins with “It was,” which is itself a parallelism. But there are also pairs of parallelism within the sentence, too; “It was the ___ of times, it was the ___ of times,” and “it was the age of ___, it was the age of ___.”
Parallelism draws your reader deeper into what you’re saying and provides a nice sense of flow, even if you’re talking about complicated ideas. The ‘epoch of incredulity’ is a pretty meaty phrase, but Dickens’ parallelism sets up a series of dichotomies for us; even if we don’t know quite what it means, we can figure it out by comparing it to ‘belief.’
Personification is a rhetorical device you probably run into a lot without realizing it. It’s a form of metaphor, which means two things are being compared without the words like or as—in this case, a thing that is not human is given human characteristics.
Personification is common in poetry and literature, as it’s a great way to generate fresh and exciting language, even when talking about familiar subjects. Take this passage from Romeo and Juliet, for example:
“When well-appareled April on the heel
Of limping winter treads.”
April can’t wear clothes or step on winter, and winter can’t limp. However, the language Shakespeare uses here is quite evocative. He’s able to quickly state that April is beautiful (“well-appareled”) and that winter is coming to an end (“limping winter”). Through personification, we get a strong image for things that could otherwise be extremely boring, such as if Shakespeare had written, “When beautiful April comes right after winter.”
Procatalepsis is a rhetorical device that anticipates and notes a potential objection, heading it off with a follow-up argument to strengthen the point. I know what you’re thinking—that sounds really complicated! But bear with me, because it’s actually quite simple.
See how that works? I imagined that a reader might be confused by the terminology in the first sentence, so I noted that potential confusion, anticipating their argument. Then, I addressed that argument to strengthen my point—procatalepsis is easy, which you can see because I just demonstrated it!
Anticipating a rebuttal is a great way to strengthen your own argument. Not only does it show that you’ve really put thought into what you’re saying, but it also leaves less room for disagreement!
Synecdoche is a rhetorical device that uses a part of something to stand in for the whole. That can mean that we use a small piece of something to represent a whole thing (saying ‘let’s grab a slice’ when we in fact mean getting a whole pizza), or using something large to refer to something small. We often do this with sports teams–for example, saying that New England won the Super Bowl when we in fact mean the New England Patriots, not the entirety of New England.
This style of rhetorical device adds an additional dimension to your language, making it more memorable to your reader. Which sounds more interesting? “Let’s get pizza,” or “let’s grab a slice?”
Likewise, consider this quote from Percy Bysshe Shelly’s “Ozymandias”:
“Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them.”
Here, Shelly uses ‘the hand’ to refer to the sculptor. The hand did not sculpt the lifeless things on its own; it was a tool of the sculptor. But by using just the hand, Shelly avoids repeating ‘the sculptor,’ preserves the poem’s rhythm, and narrows our focus. If he had referred to the sculptor again, he’d still be a big important figure; by narrowing to the hand, Shelly is diminishing the idea of the creator, mirroring the poem’s assertion that the creation will outlast it.
Poes' bells are a great example of a tautology.
Tautology refers to using words or similar phrases to effectively repeat the same idea with different wording. It’s a form of repetition that can make a point stronger, but it can also be the basis of a flawed argument—be careful that your uses of tautology is the former, not the latter!
For example, take this section of “The Bells” by Edgar Allen Poe:
“Keeping time, time, time,
In a sort of Runic rhyme…
From the bells, bells, bells, bells.”
Poe’s poetry has a great deal of rhythm already, but the use of ‘time, time, time’ sets us up for the way that ‘bells, bells, bells, bells’ also holds that same rhythm. Keeping time refers to maintaining rhythm, and this poem emphasizes that with repetition, much like the repetitive sound of ringing bells.
An example of an unsuccessful tautology would be something like, “Either we should buy a house, or we shouldn’t.” It’s not a successful argument because it doesn’t say anything at all—there’s no attempt to suggest anything, just an acknowledgment that two things, which cannot both happen, could happen.
If you want to use tautology in your writing, be sure that it’s strengthening your point. Why are you using it? What purpose does it serve? Don’t let a desire for rhythm end up robbing you of your point!
That thing your English teachers are always telling you to have in your essays is an important literary device. A thesis, from the Greek word for ‘a proposition,’ is a clear statement of the theory or argument you’re making in an essay. All your evidence should feed back into your thesis; think of your thesis as a signpost for your reader. With that signpost, they can’t miss your point!
Especially in longer academic writing, there can be so many pieces to an argument that it can be hard for readers to keep track of your overarching point. A thesis hammers the point home so that no matter how long or complicated your argument is, the reader will always know what you’re saying.
Tmesis is a rhetorical device that breaks up a word, phrase, or sentence with a second word, usually for emphasis and rhythm. We often do this with expletives, but tmesis doesn’t have to be vulgar to be effective!
Take this example from Romeo and Juliet:
“This is not Romeo, he’s some other where.”
The normal way we’d hear this phrase is “This is not Romeo, he’s somewhere else.” But by inserting the word ‘other’ between ‘some’ and ‘where,’ it not only forces us to pay attention, but also changes the sentence’s rhythm. It gets the meaning across perfectly, and does so in a way that’s far more memorable than if Shakespeare had just said that Romeo was somewhere else.
For a more common usage, we can turn to George Bernard Shaw’s Pygmalion, which often has Eliza Doolittle using phrases like “fan-bloody-tastic” and “abso-blooming-lutely.” The expletives—though mild by modern standards—emphasize Eliza’s social standing and make each word stand out more than if she had simply said them normally.
Rhetorical devices and literary devices can both be used to enhance your writing and communication. Check out this list of literary devices to learn more!
Ethos, pathos, logos, and kairos are all modes of persuasion—types of rhetorical devices—that can help you be a more convincing writer!
No matter what type of writing you're doing, rhetorical devices can enhance it! To learn more about different writing styles, check out this list!
Need more help with this topic? Check out Tutorbase!
Our vetted tutor database includes a range of experienced educators who can help you polish an essay for English or explain how derivatives work for Calculus. You can use dozens of filters and search criteria to find the perfect person for your needs.
Have friends who also need help with test prep? Share this article!
Melissa Brinks graduated from the University of Washington in 2014 with a Bachelor's in English with a creative writing emphasis. She has spent several years tutoring K-12 students in many subjects, including in SAT prep, to help them prepare for their college education.


Integrating Kamishibai Performance across the Curriculum
Integrating Kamishibai Performance across the Curriculum
English and Language Arts
Social Studies (or other content area)
Visual and Performing Arts
Grade Level: Elementary
- Downloadable PDF of my article “The Mechanics of Kamishibai through the Art of Eigorō Futamata” www.kamishibai.com/resources
- Allen Say (2005) Kamishibai Man
- Images of Street-Performance kamishibai (from Eric Nash  Manga Kamishibai or another source)
- Published kamishibai (I recommend “The Three Magic Charms” and “The Old Man and the Fox” for a start. Other recommendations appear at the end.)
- Kamishibai stage (It is also possible to make stages or perform without the stage, but the stage is well worth the investment.)
- Large paper for mapping out stories (2 per group)
- 5 X 7 index cards for practicing movement ideas (It is also possible to have students make miniature stages [see appendices of The Kamishibai Classroom for instructions]and create their stories on 5 X 7 index cards, but the final performances are much more satisfying on the large, standard sized cards.)
- 10 ½ X 15 inch cards (matt poster-board or oaktag) for finished cards
- Pencils, erasers, black markers for bold outlining, and colored pens or crayons for coloring.
Time/Periods: Six 50-minute periods
As my article, “The Many Faces of Kamishibai: Past, Present, and Future,” demonstrates, kamishibai can be used to teach about Japanese history, literature, and culture, but it is not limited to topics relating to Japan. Kamishibai stories have been developed to cover any topic or genre. Like a Power Point presentation or digital film, kamishibai offers a versatile format for students to publicly present almost any kind of research. As I often tell my students, any story that would make a good movie would make a good kamishibai because kamishibai are, in essence, hand-manipulated movies.
One of the great strengths of kamishibai as an oral/visual storytelling form is that it provides an opportunity for students to put whatever research or reading they are doing into their own words in performance. Very often teachers struggle (even at the college level!) to help students to come up with their own language for what they have researched (see CCRA.W.8 below), but, if a student translates what they have learned into a visual, oral, and gestural medium in performance, they are no longer relying on text alone. As I show below, and as I have argued elsewhere, kamishibai offers a uniquely concrete format to teach students how to build narrative tension and make any story they want to tell exciting.
Before students can transform their knowledge into dramatic storytelling, however, they need to understand what I call the mechanics of kamishibai. That is, how to use the various pulling and illustration techniques to develop suspense and narrative tension that will keep their audiences at the edge of their seats, wanting to hear more. Stories that involve action or drama are more likely to make interesting kamishibai narratives.
Learning Goals/Objectives: Develop narrative tension in performance and integrate content knowledge into a new format.
Common Core Curriculum Standards:
Speaking and Listening Standards:
CCRA.SL.1 Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on other’s ideas and expressing their own clearly and persuasively
CCRA.SL.2 Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally
CCRA.SL.3 Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric
CCRA.SL.4 Present information, findings, and supporting evidence such that listeners can follow the line of reasoning, and the organization, development, and style are appropriate to task, purpose, and audience
CCRA.SL.5 Make strategic use of digital and visual displays of data to express information and enhance understanding of presentations
CCRA.SL.6 Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or appropriate
CCRA.R.7 Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words
CCRA.W.3 Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences
CCRA.W.5 Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach
CCRA.W.6 Use technology, including the Internet (or, in this case, kamishibai) to produce and publish (perform) writing and to interact and collaborate with others
CCRA.W.8 Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism
Essential Question: How can knowledge about a topic be integrated effectively into a dramatic visual-narrative format?
Day 1: Introduce Kamishibai as a format
Read Allen Say’s Kamishibai Man (2005)
Talk about how television replaced kamishibai and ask students to think about any TV programs they watch daily. What makes them want to keep watch these shows day after day? What techniques do the directors use to make them want to come back for more? (If they haven’t thought about this, ask them to pay attention in the weeks ahead and report back!)
Read the afterword to Allen Say’s book, where I present a brief history of kamishibai, and discuss benshi or the practice of film narration. Show the student selected images from Eric Nash’s Manga Kamishibai. Pick images that show how Street- Performance kamishibai stories were as exciting as television shows students watch today. Then explain that the storytellers had certain techniques that ensured that their audiences would come back to buy more candy the following day. They would end the episode on a “cliff-hanger” (or peak) in the story and then say, “To be continued…”
What is a cliff-hanger? A story that leaves you hanging at one of the peaks or at the climax of story structure (see below). The climax is literally a cliff!
Demonstrate a kamishibai story by performing “The Three Magic Charms” ( Miyoko Matsutani and Eigorō Futamata)—How does the artist achieve suspense? What are the peaks of excitement in the story? What does the artist do at the climax?
- Partial Pulling Technique (Card 5 to 6)
- Fast pulling technique for transformations (Cards 14 to 15 to 16)
Also point out some of the defining characteristics of kamishibai illustrations (From “The Mechanics of Kamishai through the Art of Eigorō Futamata”). To list them briefly here:
- Centrality of image on the card (even in the chasing scenes, characters are depicted in the center!)
- Direction of movement out of the stage from right to left (again, the chasing scenes)
- Large illustrations to be seen from a distance and no speech bubbles (the storytellers will make all sound effects and dialogue, just like the soundtrack for a film)
Review the narrative structure diagram. Read Pat Hutchins’ Rosie’s Walk (1966), without showing the images. Ask the students if it is an exciting story? (Definitely not!) Then show them the images. Why do the images make the story more exciting? (Because the fox, who is not mentioned in the written version of the story, could eat Rosie at any moment. The words and images are doing totally different parts of the storytelling!)
Demonstrate kamishibai story: “The Old Man and the Fox” (Miyoko Matsutani and Eigorō Futamata)—Where are the peaks in this story and where is the climax?
Zooming in Technique (Cards 9, 10, and 11)
Show the panning (or zooming) in and out technique at the climax. Make sure that the students notice how many cards it took the artist to make it to the climax (somewhere between the 9th and 11th card in the 12-card kamishibai. A good rule of thumb is that one episode of a street-performance kamishibai was usually 10 cards, and they usually ended on a cliffhanger [i.e., the climax] so students should think about giving themselves about 10 cards to lead up to their climax)
Where have students seen that before? Movies. Can movies be made about any topic? Of course! Tell the students that they will be making their own movies in miniature by performing their own kamishibai stories. Divide them into groups of six or seven students.
At this point, the content of the stories the students develop depends on the teacher’s other teaching demands. If myths or folktales are part of the curriculum, then the students could make myth or folktale kamishibai. If students are learning about the Civil Rights movement, for example, they could create a historical kamishibai based on those events leading up to the vote. If biography is something the students are required to do, they could create kamishibai biographies about famous people. If they are in a health class, they could create kamishibai on the risks of smoking or the importance of hygiene (both topics I have seen done in kamishibai format by students in Japanese schools). Prior to and/or during the introduction of kamishibai, students could be doing reading and research about these topics so they will be ready to transmediate what they know into the kamishibai format. This invites teachers to integrate their instruction in literacy with other content areas.
In this curriculum, I will use an example that was inspired by an incident in Chapter Two of my book, Performing Kamishibai: An Emerging New Literacy for a Global Audience. One of the teachers I worked with was in the midst of doing biographies with his third graders when I began my kamishibai project in his classroom. The students had researched their chosen famous or important figure, reading biographies in picture-book format and articles on the Internet. At the point that I entered the classroom, they were supposed to be wrapping up their writing, but the students were struggling with how to write their biographies in their own words. Having just read text by a lot of other people, they were finding it hard to avoid copying what they had read!
If I had entered the classroom earlier in the year, I would have had them create group kamishibai biographies, starting by identifying a central conflict or unachieved goal for the character at the beginning of the story. The peaks of excitement, leading up to the climax, would be chosen from significant events in that figure’s life, and the resolution at the end would be the achievement or inability to achieve that goal.
Although I did not have an opportunity to do biographies with that class of third-graders, I did later create my own kamishibai biography about a little-known aspect of the life of Thomas Jefferson that I can use as an example here. The title: “A Bone to Pick with Buffon: A True Story about Thomas Jefferson.”
I began the process by identifying a conflict: Jefferson spent many years of his life trying to change the mind of the influential French naturalist (Georges-Louis Leclerc, Count of Buffon, 1707-1788), who argued that America was too cold and damp for any animal species to thrive. Buffon said that all species, including humans, became smaller and weaker when they moved to America.
Then I identified some peaks: Ever the patriot, Jefferson was insulted by Buffon’s ideas and wanted to prove Buffon wrong. He began by pointing out the bones of the Mammoth that had been found in Kentucky, and he later tried to prove that a giant claw, which had been found in Virginia, belonged to a great American lion (It actually turned out to be the claw of a sloth!).
Climax: He even went so far as to have men hunt for the largest moose they could find in Vermont, and he sent the moose in a crate--bones, hide, antlers and all--to Buffon!
(To build suspense at the climax, I made this illustration a half-pull card so the audience first sees Jefferson presenting Buffon with a moose, and then, when I pull back the rest of the card, they see Buffon’s grave!)
Resolution: Sadly, we will never know if Jefferson succeeded in his quest because Buffon died before he could revise his opinions.
Once the groups have settled on their chosen or assigned topic, they will identify (1) A conflict or unachieved goal (2) The peaks of excitement in their story (3) The climax (4) The resolution.
As soon as they are ready, they will begin mapping their story out on a large piece of paper, folded into eight segments (see below) to determine the sequence of their narrative.
Once they have finished mapping out their story, they will split up to perform different roles. Two students can be the draftsmen (sketching the images on the cards), two will be responsible for bold outlining, and two will do the coloring in of the images.
By this point, all the groups should have cards that they can perform in the stage (or outside the stage, if necessary). They should choose someone from the group to manipulate the cards and someone to be the recorder to take notes. As they try out their cards in the stage, they will come up with dialogue, sound effects, and use narrator’s voice where appropriate. The recorder will take down their ideas in writing. Remember: The text for Card One goes on the back of the last card, so the storyteller can see it. The text for Card Two goes on the back of Card One. The text for Card Three goes on the back of Card Two, and so on.
They will spend the first half of the session practicing and finishing up their stories. To get all the students involved, it is possible for them to assign roles to each member of the group so that one person manipulates the cards, one person is the narrator, one or more can be characters doing the dialogue, and one or two can be responsible for sound effects or music. Depending on how many group stories there are, the last half hour or so should be set aside for the performance.
Once a class has created sets of kamishibai cards, it would be a waste not to use them in various kinds of follow-up activities throughout the year. The stories only get better and more entertaining with practice, as students learn to juggle the telling of the story with the pacing of the pulling of the cards! Find opportunities for the students to perform for other classes or their families. If the content area is something that the school does on a yearly basis, it would be especially productive if they can have an opportunity to tell their stories to the younger students who might be doing a similar project the following year.
A valuable extension activity would be to have each student come up with his or her own written version of the kamishibai narrative they have developed as a group without the illustrated cards and without consulting each other. Do their stories come out the same? Do some retain the sound effects and dialogue and do others just use the narrator’s voice? How do they make up for the lack of illustrations in their writing? Are they able to retain the narrative tension? What would help them to do this in their writing? These kinds of questions will come up naturally in class discussion when they read each other’s narratives.
Whenever I create kamishibai with students, we generate a group rubric, usually as a list of what we have learned. Here is an example of one of the lists I have generated with a class in the past:
- Bold outlines/ Centered images
- Attention to direction of movement out of the stage
- Changing camera angles (i.e., zooming in and pulling back, showing the characters from the front, side, or back)
- Card pulling strategies: fast pulls (sudden transformations), slow transitions (“Meanwhile…”; “Three weeks later…”), half or partial card pulls
- Attention to story structure and narrative tension (suspense building to a climax, strong beginnings and strong endings)
- Narrative voice where appropriate
- Use of dialogue between/among characters with varying tone
- Characters’ thoughts (interior monologue)
- Use of sound effects
- Volume! Was it loud enough?
After each performance, we go through this list as a group to assess the students’ work and suggest ways to make improvements. Did they use any of the card-pulling or zooming in techniques to build suspense? Did the events of their story make sense and lead up to a climax? Can their illustrations be seen from a distance? Are their voices loud enough to be heard and do they vary their tone for different characters? This list can be used as a summative assessment to make sure that they have met all the expectations of an excellent kamishibai performance.
The Kamishibai for Kids website offers a lot of great tips and background information under History, How to Use, Resources, and Spotlight at www.kamishibai.com (They also provide a teachers’ guide for each one of their stories)
Battino, David, and Hazuki Kataoka, of Leaf Moon Arts also offer tips about creating and performing kamishibai at www.storycardtheater.com.
There are many wonderful kamishibai stories, but not all of them are equal when it comes to teaching the mechanics of the form. Here are several I would recommend for this purpose:
“The One-Inch Boy,” by Jōji Tsubota, illustrated by Hisai Suzuki
“Nya-on, the Kitten,” by Tsuyako Tomaru, illustrated by Kyōko Watanabe
“Momotaro, the Peach Boy,” by Miyoko Matsutani, illustrated by Eigorō Futamata
“Hats for the Jizos,” by Miyoko Matsutani, illustrated by Fumio Matsuyama
“The Goblin, the Water-Imp, and the Thundergod,” by Satoshi Kako, illustrated by Eigorō Futamata
“The Mouse’s Wedding,” by Seiichi Horiuchi, illustrated by Masao Kubo
Hutchins, Pat. Rosie’s Walk. New York, Simon & Schuster, 1966.
McGowan, Tara. The Kamishibai Classroom: Engaging Multiple Literacies through the Art of ‘Paper Theater.’ California: ABC-CLIO Press, 2010.
---. Performing Kamishibai: An Emerging New Literacy for a Global Audience. New York: Routledge Press, 2015.
Nash, Eric. Manga kamishibai: The art of Japanese paper theater. New York: Abrams Comic Arts, 2009.
Say, Allen. Kamishibai Man. Boston, MA: Houghton-Mifflin, 2005.
 For more in depth discussions of all these points, see The Kamishibai Classroom: Engaging Multiple Literacies through the Art of ‘Paper Theater’ (2010) and Performing Kamishibai: An Emerging New Literacy for a Global Audience (forthcoming).
 Download the article “The Mechanics of Kamishibai through the Art of Eigorō Futamata,” http://www.kamishibai.com/resources.
 Other reading standards could be addressed in the course of this curriculum, depending on the content area the teacher is using with the kamishibai format.
 Again, I go into more detail with examples in the downloadable article, “The Mechanics of Kamishibai through the Art of Eigorō Futamata” and in The Kamishibai Classroom.
 Published kamishibai are usually 12 or 16 cards for the convenience of the publisher (just like picture-books are 36 or 48 pages). Very simple stories for young children can be as short as 8 cards. But hand-made kamishibai do not have to be any pre-determined length.
 For an example, see The Kamishibai Classroom, page 17, where I illustrate how to map out a story on big paper, using Kyōko Watanabe’s wonderful illustrations for the kamishibai story called “Nya-on, the Kitten.”


Educational Visit to Brecon War Museum
The Digestive System -6D
In Year 6D we have been using the habit of mind thinking interdependently and bringing our knowledge from the back to the front (applying past knowledge to new situations), so we could share each other’s knowledge, while we were learning about the digestive system.
We used sticky notes to create a picture of the inside of our body. We researched about the oesophagus, stomach, small intestine and large intestine. We learnt that each part of our digestive system has a very important role, for example our oesphagus carries food from our mouths to our stomach.
We created a table about the five different food groups and their functions for example protein helps with hormones, energy and enzymes. We also labelled a diagram about the functions of our digestive system and what effect they have on our body.We used a variety of sources to give us a wider understanding about the digestive system.
Year 6 Crucial Crew 2017
On Monday 5th December the children in year 6 visited St Philip Evans Church Hall for the Crucial Crew Workshop. During the morning, we found out lots of information about important life skills that will help us to remain safe and lead healthy and sensible lives. The morning was run by representatives from a number of different agencies who shared some very important messages.
Western Power Distribution talked to us about electrical safety and told us how to play safely around power pylons, electrical wires and sub stations. Chloe reported, 'I found out that you shouldn’t try and get anything that falls into the sub stations as the electricity is strong enough to kill you. You should call the telephone number to ask for help.”
Food Standards Agency talked to us about staying healthy through food hygiene. We found out that remembering that we can prevent ourselves from becoming sick through the 4cs; clean hands, cross contamination, cooking and chilling. For example, did you know food needs to be cooked to 65 degrees centigrade to kill bacteria (germs)?
Meic a children and young person's advocacy agency talked to us about how they provide a phone line to go to for information, advice, links to other agencies for help.
Resolve it gave us advice on resolving conflict and how to handle difficult situations in non-aggressive ways including self-defence. Using these reminders:
Awareness- People Objects and place.
Avoidance- have fun, no your limit and staying away from confrontation.
Dialogue- speaking in a calm voice and using a non-aggressive body language.
Action-last resort if all else fails.
We also had a talk from the RNLI who gave us crucial information about staying safe when we visit the beach or are near other bodies of water.
Rail Life gave information from Network Rail about staying safe around railways. Lewis reported, “We found out that you should never play around railways as a train weighs the same as 58 elephants and they take 20 football pitches distance to brake. Also, the electricity involved with some railway lines has a very high voltage.”
Year 6 - Let The Sea Roar- Prayer Writing
In Year 6D this week we have been using the prayer writing toolkit to write our own Advent prayers. We thought carefully about the scripture we had studied as part of our Come and See topic ‘Expectations’.
Christ the king,
Lord, come to the manger of my heart.
Then I will open myself to the manger of your heart.
I’m surrounded in yours and your sons love.
You are surrounded in my love.
Remind me of the gift when you sent your son from heaven.
I praise you for the gift of your saviour your son.
Speak to my heart today lord.
Then I will speak to yours every day.
This Christmas please come to my heart lord.
I am sorry for all the things I have done wrong.
I ask for your forgiveness because I want to be closer to you today and always.
Lord hear our prayer.
Lord my saviour,
Help me to love others and be in your presence. I see you in my heart and you are wonderful to me. Thank you for all you have done for me. Please forgive me for all I have done wrong. We praise you for sending Jesus your son. We thank you for the gift of creation and I promise to care for our beautiful world.
Lord in your mercy,
Hear our prayer.
In 5/6 we have been using the TASC wheel to help us plan our own research all about the Victorians. We were given the challenge to solve the problem: What was life like for a child in Victorian Wales? We used the TASC wheel to help guide our learning using the Habit of Mind, ‘applying past knowledge to new situations.’ We began by carrying out a knowledge harvest of everything we knew about the problem. We recorded them in a circle map and a Victorian timeline to help give our research tasks context. Following this, we thought about what our task is .Then we thought about as many possible sub topics we could research to give us a deeper understanding of overall life for Victorian children in Wales.
The topics we decided to research were:
• School Life in Victorian Wales
• Rich and Poor Families
• Victorian Cardiff County Council Children at Play
• Victorian Foods
• Children in Factories
• Children in the Coal Mines
• General Introduction
We used the Q Chart to help us to choose effective questions. We completed a QUADs grid to help us with our research and ensure our research was relevant and specific.
In Y5/6 we have some exciting news! We entered a young writer’s competition where we were asked to write a short story about a crazy creature. We had to use our imagination, show awareness of the audience and purpose and use descriptive language to write our short story. We also had to summarise and keep to a word limit. This was particularly challenging as we are so used to writing extended stories. The winning entries have been published in the book, ‘Crazy Creatures- Wales.’
This week we led Key Stage 2 in a 'Way of the Cross' reflection as part of our Holy Week celebrations. The children acted, prayed and shared their understanding reverently. Here are some of our prayers:
Let us pray.
Help us to be brave like you.
May we never be spiteful to others who hurt us.
Help us always to be peacemakers.
Let us pray.
In spite of all the times we fall Lord, we know you will always love us.
Thank you Jesus for lifting us up again and giving us the joy of your forgiveness through the sacrament of Reconciliation.
Let us pray.
Dear Jesus, May we always try to help people in the world who need such things as food, clean water, safe housing, a peaceful environment.
Help us contribute towards making the world less cruel.
Help us to come out of selfishness and open our hearts.
Teach us to recognise our sins and follow the ways of forgiveness.
We shared our Eco Extravaganza on our school's twitter page. We even got a response from the World Wildlife Fund!
Sharing Our Learning: Persuasive Letters
We have been using features of persuasive writing to write letters to supermarkets and politicians. We are going to post our letters in the hope of action and a response. We have been trying to persuade them to take action against the companies using palm oil as orangutans are under threat of extinction. Here are the letters written by Carmello and Leigha:
LETTER TO A POLITICIAN
St. Philip Evans RC Primary School
Coed Y Gores
Wednesday 2nd November 2016
National Assembly for Wales
Dear the Right Honourable Carwyn Jones AM,
We are writing this letter to you because we are greatly concerned about the future of the orangutans and rainforests of South-East Asia, more specifically, Indonesia and Malaysia. We are a combined class of Year 5 and 6 pupils in St. Philip Evans Primary School and in our lessons; we heard that the production of palm oil has been affecting the orangutans of Borneo and Sumatra massively.
Imagine if these remarkable, treasured, special apes were wiped out because of us? I believe that the responsibility for the future of these species should rest on us, however, certainly not the way humans are handling it now. Palm oil production is destroying their habitat, right at this very second. We don’t have a choice in what we buy. Couldn’t we just insist on all products in UK only containing palm oil? This way, we can promote a guilt-free lifestyle. If you don’t know what palm oil is, it is a rose-red fruit that is roughly the size of an avocado pit. It is used in everyday products, and chances are you’ve probably used it today!
Are we aware we are purchasing products that take away an animal’s life? The use of palm oil is very popular in the UK and we think that you should be appalled by the amount of products in your household that contain palm oil. A staggering 40% of products in everyday supermarkets use palm oil! This tells us we are definitely not making an effort. We consume 10kg of palm oil as an individual per year. Times that by your age. Multiply that by the amount in our class (65). Add all the family members. See what I mean? Huge quantities are being consumed at the cost of orangutans.
Palm oil has a shocking impact on flora and fauna, especially the orangutans. There are 50,000 orangutans left. They are disappearing quickly. What does this say about us humans? Workers are obliged to destroy natural rainforests for money; nearly all of it is gone. Speaking of this, 300 football fields of forest are torn down every day. In addition to this, global warming is taking place as well, which adds a bigger effect to the rainforest. This is because the greenhouse gases are being released into the atmosphere as we tear down the ‘lungs of the earth.’
Palm oil is wrecking our God-given creation and we shouldn’t see the world in this state. It is our home after all. We think that Wales should think about the effects that this gives around the world. Wouldn’t it be great if Wales were the first palm oil free country? It’s quite annoying that people say they want to make a difference, but actually don’t. Therefore, it would be highly appreciated if the National Assembly took an action on palm oil.
Leigha (aged 10) and the children in Y5/6GD
LETTER TO A SUPERMARKET
St. Philip Evans Primary,
Tuesday, 8th November, 2016
Tesco Customer Services,
Dundee DD1 9NF.
We are writing to you because we are very concerned about the extinction of the orangutans, we are a class of Year 5 and 6 pupils at St. Philip Evans Primary in Cardiff, and we have carried out a project all about deforestation and its effect on the orangutans. As a class we have been shocked and frustrated as a result of our findings. The facts and statistics are devastating and really do speak for themselves. Do you know that 50 football fields of rainforest are destroyed every day to make way for palm oil plantations? We as individuals are making a change and pledging to spread this important eco message with our parents and local community. We must work together to make a difference. We are aware that many products that you sell use palm oil. Are you? You could use other oils; these include vegetable, olive, sunflower, coconut or canola oils. In my opinion, we still have time to save the orangutans.
Years ago, orangutans were as contented as ever. But, as time went on, their habitat started to disappear, bit by bit. Now, it is worse than ever. Orangutans are expected to be extinct by 2040. We wondered if you could answer these questions:
• Are you able to verify the sustainability of your palm oil?
• What percent of your foods contains other oils/ sustainable palm oil?
• Do you use sustainable palm oil? If so, how often?
We think that every supermarket can improve, and this includes you. By using sustainable palm oil/ alternatives to palm oil together with all other supermarkets, we can lengthen the life of the orangutans. So do you want to let this lovable, amazing, endangered species so close to us become extinct because of our actions, or do you want to keep them alive? It’s your choice. We must make a new start. So let us make that start today.
Carmelo and all children in Y5/6 St Philip Evans Primary School
Eco Extravaganza: we shared our learning about the affects of palm oil production on orangutans with children throughout the school and parents.
Thinking About Our World Fortnight
How Can We Save the Orang-utans?
This year’s whole school focus for Thinking About Our world fortnight is a response to Pope Francis’ encyclical Laudate Si in which he calls all people across the world to live more sustainably and care for our common home (Planet Earth.)
We began the fortnight by watching CAFOD’s video animation of the Pope’s letter and discussed as a class ways in which his message could shape our lives. This became a knowledge harvest of ways in which the future of our world is endangered and ways in which we can help to save it. Following this we planned a class prayer session or gweddiwn to help ask God for his help in saving the planet as well as helping us to reflect on ways in which this message can shape our own lives.
Our classes started our project with a question: How can we save the orangutan? We used ‘Communicating with Clarity and Precision to answer the question.
Richard reported, “We began by watching a video from the WWF that told us a little bit about the problem, however, we wanted to find out more. We used the TASC wheel to help us guide our investigation. We thought about questions that we wanted to answer in our investigation. Mine were:
- How has the production of palm oil caused orangutans to become endangered?
- Which companies us palm oil in their products?
- Is there a way in which we can produce palm oil without harming the orangutans?
- How can we persuade companies to use palm oil?
We used a QuADS grid to guide our research and we used books and websites to find the solutions. Additionally, we carried out research at home and created a learning log of our results.”
Rebecca reported, “We had a visit from Phil Williams our school’s Eco Advisor. Phil talked to us about the effects of palm oil production on orangutans which are primates that live on the islands of Borneo and Sumatra in South East Asia. He talked about all the products that we use around the home that contain palm oil. We went home and found packaging of products at home that contain palm oil.”
How Can We Save the Orang-utans?
Our next step on the TASC wheel is to tell other people about our learning. We used the habit of mind, communicating with clarity and precision to discuss our ideas. We held a pupil voice session and discussed all the ways in which we could share our learning. As a class we decided that we wanted to write to politicians asking them to act on the use of palm oil; write to supermarkets to urge them to stop using palm oil in their products as well as producing videos to share our messages with people.
In our maths lessons we looked at data about how the numbers of orangutans in the wild have changed a lot over the past 50 years due to deforestation of the rainforest. Following this, we created both pictograms and line graphs to help us interpret the data. We looked at patterns and drew conclusions about what has happened to orangutans.
In our literacy lessons we have been learning about how to use persuasive devices to write persuasive letters to politicians such as Carwyn Jones AM and Teresa May PM. Additionally, some groups wrote to supermarkets. We had to persuade them to act on palm oil. We began by exploring the different persuasive devices, anecdotes, facts, opinions, rhetorical questions, exaggeration, statistics and triples. We had to use the habit of mind communicating with clarity and precision to ensure our letters were successful. We identified these features in a modelled example and then planned and wrote our letters. You can see some examples of our letters on our class webpage. We hope we get some responses back.
Our next task is to produce a market place display board collaboratively as a group to share our learning about how the use of palm oil is affecting the orangutans. You can find out more by coming to our Eco Extravaganza sharing event for parents on Monday 14th November between 3-3:30pm in school.
Bl 5/6 asking and answering God's questions with the Sion Community
Receiving our Summer Reading Challenge Awards from Mair at Llanedeyrn Library
Taking part in Cardiff University's Hydrogen Challenge
Taking part in the Percy Project with Raspberry Pis
Our Visit from Jehu Construction and Ivor Goodsite and Maelfa Regeneration
DAHLICIOUS DAY 13TH SEPTEMBER 2016
On Tuesday 13th September, to celebrate the centenary of Roald Dahl’s birth the whole school celebrated the life and works of Roald Dahl. The day started with an assembly where the children were reminded of how significant Roald Dahl is to us as he was born in Llandaff, Wales. Children dressed up as Roald Dahl characters, shared their favourite Roald Dahl books and learnt about the famous Welsh author’s writing techniques and inspirations. It was a wonderful opportunity to enthuse the children about reading and approach literacy in an engaging and exciting way. ‘Book Buddying’ also took place with older children sharing a book with children in the Foundation Phase, which really helped to promote the love of reading at St Philip Evans Primary School! The children had a fantastic day and the effort made by everybody was, as always, exceptional!
Y5/6G: Assembly on Loving
Our current RE Come and See topic is entitled loving or cariadus in Welsh. To begin our assembly we sang Wherever There Is Love we chose this hymn as it reminds us of God’s love for us during the darkest moments of our lives.
Following the hymn, we began to share how we explored unconditional love within our families and lives. Jessica said, “My group created a bubble map that used different adjectives that described the emotions that you feel when you experience unconditional love.” Both Olivia and Natasha went on to share the poems that they had written about unconditional love. Elizabeth continued by telling the audience, “Alongside our friends and family, as Christians, we know that God loves us all unconditionally. He has created us and cares for us all. As part of our learning in this topic, and all other topics, we turned to scripture to find out about Jesus’s teaching about love and we deepened our understanding of this teaching and reflected on how it can shape our own lives.”
Following this, Charlie acted out the Gospel of John and the account of Jesus’ command to his followers, “My commandment is this: love one another, just as I love you.”
After the Gospel reading a number of us acted out the parable of the Prodigal Son; Jesus often used parables to help people understand his teaching. Parables are stories with a deep meaning. Jesus used the story of the prodigal son as a way to help us understand God’s unconditional love.
After the dramatization of the Prodigal Son the class shared the Beatitudes which are more teachings of Jesus about how we should live our life. The children shared the different verses and explained how the other children could let these shape their lives.
To bring the collective worship to a close we led the school in a time of prayer and reflection. We began by hearing a litany that we had written in an RE lesson based up upon psalm 136. Then we lead the school through prayers of intercession answering in Welsh. We challenge the school to leave our assembly with the mission of loving others as Jesus’ loves us. To finish we sang our favourite hymn We Are Children Of the Living God.


In the world of arts and music, dance forms serve as vibrant expressions that captivate audiences with their creative movements and rhythmic patterns. From classical ballet to contemporary hip-hop, each dance form represents a unique cultural heritage and artistic style that has evolved over centuries. This article aims to explore the diverse range of dance forms found in arts and music, highlighting their significance in conveying emotions, telling stories, and connecting people across different societies.
To illustrate the profound impact of dance forms on artistic expression, let us consider the example of Kathak, an ancient Indian classical dance form. Originating from northern India, Kathak is characterized by intricate footwork, graceful hand gestures (mudras), and expressive facial expressions. Traditionally performed in temples or royal courts, Kathak tells tales from Hindu mythology through fluid body movements accompanied by live musicians playing instruments such as tabla and sitar. Through its combination of technical precision and emotional depth, Kathak exemplifies how dance forms can effectively convey cultural narratives while captivating audiences with its sheer beauty.
With this context in mind, it becomes evident that exploring various dance forms within arts and music not only enriches our understanding of different traditions but also offers insights into human creativity and cultural diversity. By delving into the historical origins By delving into the historical origins of dance forms, we can trace their evolution and understand how they have been shaped by social, cultural, and political influences. For example, ballet emerged during the Italian Renaissance as a courtly dance form that later developed in France under the patronage of King Louis XIV. Over time, ballet evolved into a highly technical and expressive art form, with its own vocabulary of movements and positions.
Similarly, other dance forms like flamenco from Spain, tango from Argentina, or jazz dance from America are products of specific cultural contexts and histories. Flamenco, for instance, originated among the Romani people in Spain and combines elements of singing (cante), guitar playing (toque), handclapping (palmas), and dancing (baile). Tango, on the other hand, emerged in the late 19th century in Buenos Aires as an expression of working-class life and has since become a globally recognized symbol of Argentine culture.
Exploring different dance forms also allows us to appreciate their role in fostering social connections and community bonds. Many traditional dances are performed collectively during festive occasions or rituals, serving as a means of celebration and unity. For example, African dances often involve rhythmic movements accompanied by communal singing and drumming, creating a sense of shared identity and belonging.
In contemporary times, dance forms continue to evolve and blend with one another through cross-cultural collaborations. This fusion can be seen in genres like contemporary dance or hip-hop where artists draw inspiration from various styles to create innovative choreography that reflects modern sensibilities while still honoring their respective roots.
Overall, studying diverse dance forms within arts and music provides us with a window into different cultures, histories, emotions, and human experiences. It reminds us that movement is not only a form of artistic expression but also a powerful tool for communication and connection across borders.
Contemporary Dance: Pushing Boundaries and Expressing Emotions
Contemporary Dance: Pushing Boundaries and Expressing Emotions
Imagine a dancer moving across the stage with fluidity and grace, effortlessly expressing their deepest emotions through movement. This is the essence of contemporary dance – an art form that pushes boundaries and allows dancers to explore new possibilities for self-expression. One example that showcases the power of contemporary dance is the renowned choreographer Martha Graham’s masterpiece, “Lamentation.” In this performance, Graham used her body as a vessel to convey grief and sorrow, captivating audiences worldwide.
Contemporary dance stands out for its ability to evoke a wide range of emotions. Through innovative techniques and unconventional movements, dancers have the freedom to express themselves in ways that traditional forms cannot always capture. To illustrate this point further, consider the following bullet list:
- Raw intensity: Contemporary Dance often delves into intense emotional states, such as anger, despair, or passion.
- Vulnerability: Dancers expose their vulnerabilities on stage by embracing imperfections and showcasing raw authenticity.
- Liberation: The expressive nature of contemporary dance liberates both performers and spectators from societal norms and expectations.
- Catharsis: By witnessing powerful performances filled with emotion, audience members experience cathartic release.
Moreover, let us delve deeper into the world of contemporary dance through a table illustrating some key characteristics:
|Fluid Movements||Graceful transitions between steps create a sense of continuity.|
|Improvisation||Spontaneity allows dancers to explore their creativity in real-time.|
|Partner Work||Collaborative movements build connections between performers.|
|Abstract Themes||Symbolism and metaphors invite viewers to interpret meaning individually.|
In conclusion, contemporary dance serves as a platform for artists to challenge conventions and push artistic boundaries while expressing complex emotions authentically.
[Move to subsequent section about “Ballet: Graceful Movements and Classic Elegance”]
Ballet: Graceful Movements and Classic Elegance
Continuing our exploration of dance forms, we now delve into the world of ballet. Ballet’s rich history and refined technique have made it an enduring art form that captivates audiences worldwide.
To understand the essence of ballet, let us consider a hypothetical example. Imagine a young aspiring dancer named Emily who has been training rigorously for years. Her dream is to perform with one of the most prestigious ballet companies in the world. With every graceful movement she executes, Emily tells a story through her precise footwork, flowing lines, and fluid gestures.
This dance form encompasses both technical precision and emotional storytelling. To better appreciate its unique characteristics, here are some key aspects:
- Poise and Posture: Ballet dancers maintain impeccable posture throughout their performances, creating an illusion of effortlessness.
- Turnout Technique: Dancers rotate their legs outward from the hip joints, enabling them to achieve elegant positions such as arabesques and pirouettes.
- Pointe Work: Female dancers often don pointe shoes to dance on their toes, showcasing extraordinary strength and balance.
- Pas de Deux: Duets performed by male-female pairs embody gracefulness and harmony between partners.
In addition to these elements, ballet brings forth a range of emotions through intricate choreography and expressive movements. The following table illustrates some common emotional themes found in this captivating dance form:
|Love||Passionate duets portraying romantic connections|
|Tragedy||Dramatic narratives evoking sorrow or loss|
|Joy||Lively and exuberant group dances|
|Triumph||Powerful performances depicting personal victories|
In conclusion, ballet’s blend of technical prowess and artistic storytelling has allowed it to endure as a revered dance form. From conveying love and joy to exploring tragedy and triumph, this art form continues to captivate audiences with its gracefulness and classic elegance.
As we move forward in our exploration of dance forms, let us now turn our attention to the rhythmic footwork and percussive beats of tap dance.
Tap Dance: Rhythmic Footwork and Percussive Beats
Building on the elegance of ballet and the rhythmic footwork of tap dance, we now turn our attention to another captivating form of movement expression – Bollywood Dance. With its dynamic energy and vibrant storytelling, this dance style has gained immense popularity around the world.
Bollywood Dance encompasses various forms of folk and classical Indian dances infused with modern elements. It is characterized by fast-paced movements, intricate hand gestures, energetic footwork, and expressive facial expressions. The fusion of traditional and contemporary dance steps creates a visually stunning experience for both performers and audiences alike.
To illustrate the impact of Bollywood Dance as an art form that transcends cultural boundaries, let us consider a hypothetical scenario where an international dance competition takes place in New York City. Dancers from different countries come together to showcase their unique styles, but it is the Bollywood Dance performance that steals the show. The audience is enthralled by the colorful costumes, synchronized choreography, and infectious enthusiasm radiating from the stage.
This awe-inspiring display can be attributed to several key factors that make Bollywood Dance so captivating:
- Fusion of Music and Movement: Bollywood songs play a crucial role in driving the narrative of each dance routine. The music sets the mood and rhythm while guiding dancers through various emotions portrayed in their performances.
- Visual Spectacle: Elaborate sets, dazzling costumes adorned with sequins and vibrant colors create a visual feast for spectators. Each dancer becomes a living work of art on stage.
- Emotionally Charged Storytelling: From joyful celebrations to heart-wrenching tragedies, Bollywood Dance enables performers to convey complex emotions through graceful movements. This ability to communicate stories resonates deeply with audiences across cultures.
- Inclusive Nature: One remarkable aspect of Bollywood Dance is its inclusivity. People from all walks of life can participate and enjoy this art form regardless of age, gender or background.
|Fusion of Music||Bollywood songs guide the rhythm and narrative, enhancing the emotional impact of performances.|
|Visual Spectacle||Elaborate sets, vibrant costumes, and intricate choreography combine to create a visually stunning experience on stage.|
|Emotionally Charged Storytelling||Dancers use movements to tell stories that resonate deeply with audiences across cultures.|
|Inclusive Nature||Bollywood Dance welcomes everyone, breaking barriers and allowing people from all backgrounds to participate and enjoy it.|
Incorporating these elements into their routines, Bollywood dancers captivate spectators by transporting them into a world filled with dynamic energy and enchanting narratives. This form of expression not only entertains but also fosters cultural exchange and appreciation.
Continuing our exploration of diverse dance forms, let us now delve into the realm of Flamenco – an artful Spanish tradition brimming with passion and intensity.
Bollywood Dance: Dynamic Energy and Vibrant Storytelling
Building on the rhythmic footwork and percussive beats of tap dance, let us now delve into another vibrant dance form that has captivated audiences worldwide.
H2: Bollywood Dance: Dynamic Energy and Vibrant Storytelling
Bollywood dance is a highly energetic and expressive form of movement that originated in India’s Hindi film industry. With its fusion of traditional Indian classical, folk, and contemporary dance styles, Bollywood dance showcases dynamic choreography filled with passion and storytelling. To illustrate this point, let us consider an example where a group of dancers perform a lively Bollywood routine to the popular song “Jai Ho” from the movie Slumdog Millionaire.
This visually captivating style can evoke various emotions in the audience through:
- Elation: The infectious energy and enthusiasm displayed by the performers create a sense of joy and celebration.
- Romance: Graceful movements accompanied by soul-stirring music often portray love stories that resonate deeply with viewers.
- Empowerment: Through powerful gestures and confident expressions, Bollywood dance empowers individuals to embrace their strength and overcome challenges.
- Nostalgia: Incorporating elements from traditional Indian dances like Kathak or Bharatanatyam can transport spectators back to their cultural roots or introduce them to new artistic traditions.
In addition to its emotional impact, Bollywood dance also exemplifies intricate choreography techniques such as syncopated rhythms, graceful hand gestures (mudras), and synchronized formations among performers. This combination creates visually stunning performances that leave audiences mesmerized.
Now shifting our focus from vibrant storytelling to passionate partner dancing, we will explore the allure of Salsa – a Latin-inspired art form known for its fiery moves and intense connection between partners.
Salsa: Passionate Partner Dance with Latin Flair
Building on the vibrant and energetic Bollywood dance, we now turn our attention to another captivating form of expression – Salsa. This passionate partner dance originating from Latin America is known for its lively movements and infectious rhythms that have captivated dancers around the world.
Salsa, with its origins in Cuba during the 1940s, quickly spread throughout Latin America and eventually gained international popularity. Its fusion of African and European influences resulted in a unique blend of music and movement that embodies passion, sensuality, and joy. To illustrate the impact of salsa on global culture, let us consider a hypothetical scenario where an individual named Maria discovered this enchanting dance style while studying abroad in South America.
Maria’s encounter with salsa was transformative as she immersed herself in its pulsating beats and intricate footwork. The experience not only awakened her senses but also allowed her to embrace a new sense of freedom through self-expression. She found solace in the rhythmic connection between herself and her partner, transcending language barriers as they communicated through fluid movements.
To delve deeper into the essence of salsa, it is important to highlight some key characteristics:
- Syncopated Rhythm: Salsa thrives on syncopation, emphasizing offbeat accents that add complexity and excitement to the dance.
- Partner Connection: A fundamental aspect of salsa is the connection between partners. Through leading and following techniques, dancers create a seamless dialogue that allows for improvisation within set patterns.
- Sensual Body Movements: Salsa embraces body isolations, hip sways, shoulder rolls, and playful spins to enhance the overall expressiveness of the dance.
- Social Interaction: Beyond being purely performative or competitive, salsa is deeply rooted in social interaction. It fosters connections among individuals who come together to share their love for this exhilarating art form.
|Syncopated Rhythm||Emphasizes offbeat accents, adding complexity and excitement to the dance.|
|Partner Connection||Relies on the connection between partners, creating a seamless dialogue for improvisation.|
|Sensual Movements||Incorporates body isolations, hip sways, shoulder rolls, and spins to enhance expressiveness.|
|Social Interaction||Encourages connections among individuals who share their love for salsa as a social activity.|
As dancers immerse themselves in salsa’s exuberant atmosphere filled with pulsating rhythms and enticing movements, it is evident that this captivating partner dance continues to captivate hearts worldwide.
With its vibrant storytelling and energetic movements, Bollywood dance offers an immersive experience like no other. However, there exists another fascinating realm where various styles converge – Fusion Dance: Blending Styles and Creating Unique Artistry.
Fusion Dance: Blending Styles and Creating Unique Artistry
Transitioning from the passionate moves of salsa, we now turn our attention to fusion dance – a captivating art form that blends various styles together, creating unique expressions of movement. To illustrate this concept, let us consider the hypothetical case study of a dancer who merges classical ballet with hip-hop elements, resulting in a visually stunning and emotionally powerful performance.
Fusion dance allows artists to transcend traditional boundaries and explore new possibilities by integrating different techniques and influences. This versatile style encourages creativity and innovation while providing dancers with an opportunity to push their artistic boundaries. For instance, imagine a contemporary dancer incorporating elements of Indian Kathak into their routine, seamlessly merging intricate footwork and hand gestures with fluid movements and emotional storytelling.
To better understand the impact of fusion dance on both performers and audiences alike, let us delve into its key characteristics:
- Fluidity: Fusion dance emphasizes seamless transitions between contrasting styles, creating a mesmerizing flow of movement.
- Versatility: Artists have the freedom to experiment with diverse genres such as jazz, contemporary, folkloric dances, or even martial arts techniques.
- Emotional range: By combining different forms of expression, fusion dance can evoke a wide spectrum of emotions ranging from joyous exuberance to profound introspection.
- Cultural exchange: Through the incorporation of multiple cultural influences, fusion dance becomes a celebration of diversity and promotes cross-cultural understanding.
To further illustrate these aspects, consider the following table showcasing examples of popular fusion dance styles:
|Fusion Dance Style||Key Elements|
|Bhangra Funk||Traditional Punjabi Bhangra steps fused with urban street dance moves|
|Flamenco Tango||The fiery passion and rhythms of flamenco combined with the sensuality and elegance of tango|
|Afro-Cuban Jazz||African-based movements infused with Cuban rhythms set against the backdrop of jazz music|
|Bharatanatyam Hip-Hop||Classical South Indian dance form merged with the energetic and expressive elements of hip-hop|
In conclusion, fusion dance offers a platform for artists to explore new dimensions in movement by merging different styles together. This innovative approach not only challenges dancers to expand their artistic horizons but also captivates audiences through its unique blend of techniques, emotions, and cultural influences. As we now transition into our next exploration of jazz dance – characterized by syncopated rhythms and improvisational moves – let us continue this journey of discovery.
Jazz Dance: Syncopated Rhythms and Improvisational Moves
Building upon the concept of blending different dance styles, we now delve into the captivating world of Jazz Dance. With its syncopated rhythms and improvisational moves, Jazz Dance is a dynamic art form that has made a significant impact on the realm of performing arts.
Jazz Dance exemplifies versatility through its fusion of African-American vernacular dances with elements of ballet and contemporary techniques. This unique blend creates an expressive style characterized by fluidity, quick footwork, and intricate body isolations. To illustrate this point, let us consider a hypothetical example: imagine a Jazz Dance performance where dancers seamlessly transition from smooth, flowing movements to explosive bursts of energy accompanied by pulsating jazz music. Such choreography showcases the ability of Jazz Dance to convey emotions ranging from joyous exuberance to poignant introspection.
To further understand the essence of Jazz Dance, let’s explore some key features:
- Syncopation: The use of unexpected accentuations in rhythm adds complexity and excitement to movements.
- Improvisation: Dancers often have opportunities to spontaneously create steps or variations within set choreography, allowing for personal expression.
- Isolations: Individual parts of the body are emphasized or moved independently while maintaining control over other areas.
- Swing style: Influenced by swing music, Jazz Dance embodies a sense of playfulness and infectious energy.
|Syncopation||Unexpected accents in rhythm add complexity and excitement|
|Improvisation||Spontaneous creation within set choreography allows for personal expression|
|Isolations||Emphasizing specific body parts or moving them independently|
|Swing Style||Playful and energetic movement influenced by swing music|
Through these characteristics, Jazz Dance captivates audiences around the world. Its vibrant nature fosters emotional connections between performers and spectators alike. As we move forward, we will now transition into exploring the next section on Hip Hop Dance: Urban Street Style with Powerful Choreography. The rhythmic beats and street-inspired movements of Hip Hop Dance bring yet another fascinating perspective to the realm of dance expression.
Hip Hop Dance: Urban Street Style with Powerful Choreography
Building upon the energetic and free-spirited nature of jazz dance, we now turn our attention to another dynamic form of expression – hip hop dance. With its roots deeply embedded in urban street culture, hip hop dance has become a powerful movement that combines intricate choreography with individual artistic style.
Section H2: Hip Hop Dance: Urban Street Style with Powerful Choreography
Hip hop dance emerged in the 1970s within African American and Latino communities in New York City. It quickly gained popularity as a way for young people to express themselves through music and movement. An example of how hip hop dance can captivate an audience is showcased in the case study of a renowned crew known as The Rock Steady Crew. This group not only revolutionized b-boying (breakdancing), but also became global ambassadors for the art form, showcasing their talent on stages around the world.
To truly appreciate hip hop dance, it is important to understand some key elements that define this unique style:
- Musicality: Hip hop dancers have an innate ability to interpret complex rhythms and syncopated beats, adding their own personal flair to each move.
- Isolation: Precise control over specific body parts allows dancers to create distinct movements, such as popping and locking, which emphasize sharp stops and sudden releases.
- Freestyle: Improvisation plays a significant role in hip hop dance, allowing individuals to showcase their creativity through spontaneous moves that respond directly to the music.
- Street-inspired Moves: Drawing inspiration from various styles like breakdance, funk styles, and party dances, hip hop incorporates diverse movements that reflect the energy and attitude found within urban environments.
|Elements of Hip Hop Dance|
Engaging audiences worldwide with its infectious spirit and captivating performances, hip hop dance continues to evolve while maintaining its urban roots. As we delve deeper into the world of expressive movement, our next exploration will take us to the passionate realm of Flamenco – a dance form characterized by fiery footwork and expressive hand movements.
With hip hop’s infectious energy fueling our journey, let us now venture into the mesmerizing world of Flamenco, where fiery footwork and expressive hand movements intertwine in an embrace of raw emotion.
Flamenco: Fiery Footwork and Expressive Hand Movements
Continuing our exploration of dance forms, we now delve into the captivating world of Flamenco. With its origins deeply rooted in Spanish culture, Flamenco mesmerizes audiences worldwide through its fiery footwork and expressive hand movements. Let us delve into the unique characteristics that make Flamenco a distinctive and passionate art form.
One can truly appreciate the depth of emotion conveyed through Flamenco by examining its powerful impact on individuals. For instance, imagine a hypothetical scenario where an individual who has experienced heartbreak finds solace in attending a traditional Flamenco performance. As they witness the intricate footwork, vigorous hand clapping, and soul-stirring melodies, their own emotions become intertwined with those expressed by the dancers and musicians. This immersive experience allows them to connect with their feelings on a profound level while simultaneously appreciating the technical prowess displayed before them.
To further understand this evocative dance form, let us explore some key elements that define Flamenco:
- Passionate Gestures: The dancers’ movements are characterized by intense passion and raw emotion conveyed through dramatic gestures.
- Compelling Rhythms: The percussive sounds created using rhythmic finger snapping, hand clapping, guitar strumming, and heel taps produce an engaging auditory experience for both performers and spectators.
- Ornate Costumes: Elaborately designed costumes adorned with vibrant colors reflect the cultural heritage of Spain’s Andalusian region from which Flamenco originated.
- Improvisation Skills: While maintaining certain structural elements within choreographed pieces, skilled Flamenco artists possess remarkable improvisational abilities that allow them to respond spontaneously to music or fellow performers.
To illustrate the diversity within Flamenco, consider the following table showcasing various styles and their notable characteristics:
|Alegrias||Uplifting and joyful||Graceful arm movements with quick footwork|
|Solea||Deeply emotional and introspective||Slow tempo, intense facial expressions|
|Bulerias||Lively and energetic||Rapid footwork accompanied by lively guitar rhythms|
|Tangos||Passionate and flirtatious||Syncopated beats, playful gestures|
In summary, Flamenco captivates audiences through its passionate gestures, compelling rhythms, ornate costumes, and improvisation skills. The fusion of these elements creates a rich tapestry of emotions that can truly touch the hearts of those who witness this art form’s beauty.
As we continue our exploration into dance forms that push boundaries while honoring cultural heritage, we now turn our attention to Irish Step Dance – a performance style renowned for its precise footwork and rich cultural significance
Irish Step Dance: Precise Footwork and Rich Cultural Heritage
Transitioning from the fiery footwork and expressive hand movements of Flamenco, we now delve into the world of Irish Step Dance. This traditional form of dance showcases precise footwork and a rich cultural heritage that has captivated audiences around the globe.
To illustrate the impact of Irish Step Dance, let’s consider a hypothetical scenario: Imagine a young dancer named Sarah who joins an Irish Step Dance troupe in her community. Through rigorous training and dedicated practice, Sarah becomes proficient in executing intricate footwork patterns and graceful upper body movements. With each performance, she mesmerizes spectators with her precision and passion for this unique art form.
Irish Step Dance is known for its distinct characteristics, which are observed through various elements:
- Percussive Footwork: The dancers’ feet strike the ground with remarkable speed and precision, creating rhythmic sounds that add to the musicality of the performance.
- Upright Posture: Dancers maintain an upright posture throughout their routines while performing swift leg movements, showcasing both strength and grace.
- Traditional Costumes: Elaborate costumes play an integral role in Irish Step Dance, often featuring vibrant colors, intricate designs, and accessories like hard shoes or soft shoes depending on the style.
- Cultural Significance: Rooted in Ireland’s history and folklore, Irish Step Dance reflects the country’s traditions and serves as a way to celebrate its cultural identity.
Let us now turn our attention towards evoking an emotional response by presenting a bullet point list depicting some emotions associated with Irish Step Dance:
- Awe-inspiring rhythms
- Joyful expressions
- Pride in heritage
- Unity among performers
Furthermore, we can evoke further emotion by including a table displaying different aspects related to Irish Step Dance:
|Rhythmic Patterns||Complex sequences of footwork executed with precision|
|Musical Accompaniment||Traditional Irish music that complements the dance routines|
|Cultural Identity||Reflects Ireland’s rich cultural heritage and traditions|
|Community Bonding||Brings together dancers, instructors, and enthusiasts in a shared passion|
As we conclude our exploration of Irish Step Dance, we transition seamlessly to the subsequent section about “Swing Dance: Energetic Jive and Fun Partner Connection.” This energetic form of dance brings people together through its lively movements and unique partner connection.
[Start next section here without repeating ‘step’]
Swing Dance: Energetic Jive and Fun Partner Connection
Building upon the exploration of Irish Step Dance’s precision and cultural significance, we now delve into another captivating dance form that showcases a lively energy and fosters a strong connection between partners. Swing Dance, with its jazzy rhythms and exuberant movements, has gained popularity worldwide for its infectious joy and unique style.
Swing Dance: Energetic Jive and Fun Partner Connection
To illustrate the charm and dynamism of swing dance, let us consider an example where two dancers effortlessly glide across the floor, their bodies synchronized to the rhythm of a swinging jazz band. As they twirl in perfect harmony, their smiles radiate pure delight, inviting onlookers into this spirited celebration of movement. This case study exemplifies how swing dance embodies not only physical agility but also emotional expression.
The Characteristics of Swing Dance:
Swing dance encompasses various styles such as Lindy Hop, Charleston, Balboa, and West Coast Swing. Each style possesses distinct characteristics while sharing common elements that define the genre. These include:
- Upbeat Tempo: With lively beats ranging from 120 to 200 per minute, swing dance demands quick footwork and dynamic body movements.
- Partner Connection: Unlike solo dances like Irish Step Dance, swing dance emphasizes collaboration between partners through leading and following techniques.
- Improvisation: A key feature of swing dance is improvisation within established patterns or moves, allowing dancers to showcase their creativity while staying connected with their partners.
- Acrobatic Elements: Some styles incorporate flashy lifts, spins, aerials (mid-air maneuvers), adding excitement and spectacle to performances.
The vibrant nature of swing dance evokes a range of emotions among both participants and spectators alike. Here are some ways in which this expressive art form touches our hearts:
Markdown bullet list:
- It ignites feelings of exhilaration as dancers execute high-energy moves with fluidity and precision.
- It fosters a sense of connection and unity as partners move together in sync, creating an intimate bond through shared movements.
- It evokes nostalgia for the golden age of swing dance, transporting us to a bygone era filled with elegance and joie de vivre.
- It sparks admiration for the skillful execution of intricate footwork and acrobatic elements, captivating audiences with dazzling displays.
Swing Dance Styles Comparison:
Let’s take a closer look at four popular styles within the realm of swing dance. The following table provides an overview comparing their key characteristics:
|Style||Origin||Tempo Range (BPM)||Key Features|
|Lindy Hop||Harlem, NY||120-180||Partner improvisation, aerials, energetic footwork|
|Charleston||USA||180+||High-energy kicks, solo jazz steps|
|Balboa||Southern CA||200+||Close partner connection, intricate footwork|
|West Coast Swi|