Subjects

Curriculum in:

Classical Ballet

Tapping Technique

Al Gilbert (Hollywood style tap)

Jazz Technique

Modern Contemporary

Spanish Dance

Drama in Motion

Sragecraft and Musical Theatre

Classical Ballet

Classical ballet technique is of the utmost importance from the very first lesson. The student will learn the correct posture and deportment and is given an understanding of the discipline required as the basis to all styles of dance. The syllabus is carefully graded to provide the student with correct execution of steps and guidance for the teacher to develop safe technique as they progress through the various levels. Dance quality will develop as the student progresses through the DMPA classical ballet syllabus. 

Tapping Technique

Dance in Motion and Performing Arts offers two tap styles; DMPA and Al Gilbert (Hollywood style).

DMPA syllabus is set to teach the student different timing in each of the levels including 4/4, 3/4, lilt waltz, slow waltz, military tap, spanish tap and speed tap. The tap syllabus has different techniques introducing rolls 2 to 16, with the student learning to count beats, use light and shade and gain an awareness of musicality. From Tiny Tots to Licentiate, students are taught to use their arms and head in their style and presentation. 

Al Gilbert (Hollywood style)

Al Gilbert and Daphne MacDonald travelled Australia in 1981 presenting workshops and seminars. He assigned exclusive rights to Daphne MacDonald in 1982 to use his work and music to establish graded examinations for a new syllabus.

Using these steps and music Daphne MacDonald created an examination syllabus in the Holllywood style accenting strong technique. Although both styles are quite different, they compliment each other asking the student to present good musical quality, timing, style and presentation.

Jazz Technique

As Jazz can frequently change style, Daphne MacDonald set up a structure where teachers can use the work adding their own style to the steps. The teacher can choose their own music choreographing with free choice of arms, pattern and direction. Providing the structure of the step/s is recognisable the student may eg., double hop it, skip it, walk it or run with it. Emphasis is to have fun and enjoy this work. An examiiner would be looking for: energy, good use of stage/ floor space, pattern and direction, dynamics, style and presentation, well extended lines, relaxed arms, good use of head, free jazz style, light and shade and variety in choreography. In a duo the performers should be interacting with each other. Group performances should have good use of pattern and direction.

Modern Contemporary

Modern dance follows the classical ballet training allowing freedom to flow in every move. It represents many styles of choreography and dance drama. It can represent any emotion. The music and the mood will be the catalyst for the choreographer and the performer to share each others feelings which may include something abstract, love, whatever the music may suggest. The steps allow more freedom with the music setting the scene. The music or maybe silence can tell a story or set the emotions flowing. Work is often choreographed on the floor. In group work lots of patterns can be used making good use of space. The syllabus involves Barre, Centre and Performance with good use of light and shade. Hand props may be used if required. Usually performed without shoes.Modern dance is pleasing to the eye and a wonderful experience for the performer and their audience especially if the performer is absorbed and lost in their own space and time.

Spanish Dance

Updated in 2011 by Daphne MacDonald, the Spanish syllabus demands a set and very controlled posture with very defined arms. The expression of body language is slightly arrogant and proud. When executing the combination of beats, both knees stay relaxed to give a strong accent. Combinations of beats are made up from stamps, steps, heel and toes crossing front of back. When executing the Spanish footwork and beats they can be travelled or stay on the spot. In most of the work there is no elevation, the student is working into the floor. There can also be folk-style where the student will spring lightly and use elevation. Ms MacDonald would like to acknowledge special thanks to her friend Elizabeth Russell who studied Spanish and Indian dance. They co-wrote the original syllabus in 1974.

Drama in Motion

Daphne MacDonald produced DMPA Drama in Action syllabus in 2010. The syllabus covers a unique style of speech and drama skills aiming to develop the student's acting ability as well as their voice  training. The student becomes very versatile as they gain confidence in the build up of the stages of drama to diploma and graduation. Drama in Action follows the natural flow of everyday life and concentrates on clarity of voice, projection, action, emotion, body language, working with others, breathing techniques through monologues, prepared readings, poems, speech exercises, inspirational words, duologues, moods and action. The syllabus is a great experience for all concerned. It reflects life itself.

Stagecraft and Musical Theatre

Stagecraft and Musical Theatre incorporates nine selections. The students must choose four from the list. Examinations can be taken as a solo, duo or group. Teachers can arrange to represent recital work, a theme, a storyline, dance studies or a musical play. This can be of great value to the teacher as they can use the groups for their annual recital. Students must be involved in the whole presentation eg. if you have a singer in the group the dancers would be working behind the singer or the singer would be at the side while the group are performing. 

If taken as an examination group, no more than eight students may be involved, as each student is marked separately during the examination performance.

If the teacher is using a group for open competition, there is no restriction on the number of students performing.