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Unit 2. Have fun with dance.

1. Vocabulary. Name of
1. Ths dance gves peope a good aerobic workout.
2. Ths dance nvoves a ot of hip movement.
3. Ths dance strengthens the stomach musces.
4. Ths dance heps peope break the ce.
5. Ths dance nvoves physical daring.
6. Peope do ths dance on festive occasons.
2. Read the text Have fun with dance. (Extra text 1)
3. Before you read.
Check ( ) the types of dance that you thnk are good forms of exercse.
__________ 1. Afrcan
__________ 2. Tap
__________ 3. Sasa
__________ 4. Swng
__________ 5. Baroom
4. After you read.
A. With the etra tet !etra tet 2" from a new#$a$er. %hec&
the other information you thin& i# in the article.
______ 1. Other exercses that s good for your heart.
______ 2. Other fun ways you can meet peope.
______ 3. Paces where you can take dance casses.
B. 'ind the word# in italic# in the (eadin). *hen com$lete the
Ultimately (par.1) full blast (par.4) waltz (par.6)
Melody (par.2) swivel (par.4) samba (par.6)
Cardiovascular(par.3) foxtrot (par.6) solo (par.6)
1. If you ______ Swve________ your hps, you turn them from sde to
2. A __________________________ actvty s one that you do aone.
3. ____________ , ______________ , and _________________ are the names of
4. ______________________ exercse strengthens your heart and ungs.
5. A _____________________ s a tune that often forms part of a onger
pece of musc.
6. ______________________ , you dont have to be abe to dance we to
stay n shape.
7. When the ar condtoner s set on maxmum, t s at
%. An#wer the#e +ue#tion#.
1. Whch of these dances have you tred? Whch woud you ke to
earn? Why?
2. What knd of dancng do you prefer, partner dancng or soo
dancng? Why?
3. Where s the best pace to go dancng where you ve? Why?
,riental -ance
1. Before you read.
Look at the pcture on the opposte page and the words and phrases beow.
Fnd out the meanngs of any words you dont know. Then check those you
thnk you w read n the text.
______ 1 . a dance by women. ________5. estive occasions.
______ 2 . male audience ________ ! .costume
______3. Middle "astern society ________ #. $ good form of exercise
______ 4 . a modern dance ________ 8. Peope of a ages
2. .can the tet. (extra text 3)
In a word document write the words that you dont know the meaning to improve your vocabulary.
3. After you Read.
A. Mark the sentences true (T), and fase (!), or does not "ive the infor#ation.
____ 1. !riental dance began in the "iddle East.
_____ 2. The wnter s a bey dancer.
_____ 3. Orenta dance s no onger common n the Mdde East.
_____ 4. Orenta dance began as a dance by women for women.
_____ 5. Nowadays fames ony do Orenta dancng at weddngs.
_____ 6. In Mdde Eastern socety there are professona Orenta dancers.
_____ 7. It s easer for some peope to do Orenta dancng than t s for others.
_____ 8. For peope from the Mdde East, Orenta dancng s a way to have fun.

B. $o#%are the #eanin" of each %air of sentences. &rite sa#e (') or different (().
__S__ 1. After the seventh century, peope began to ve n segregated
After the seventh century, maes and femaes ved n separate parts of
the home.
______ 2. Hstorcay, the two genders dd not mx.
______ 3. Ths was one way that the mother of marrageabe young men coud
get to know
The egbe young women of the communty.
Ths was one way for a mother to meet a possbe wfe for her son.
$. Read the extra %ara"ra%h a)out the *rienta ti%s to dance. (extra text +)
-. $heck the differences )etween the *rienta dresses, in the %ictures. (extra material 1)
/. An#wer# the#e +ue#tion#. In their own words explain the answers in the #uestions
presented in a word document.
1. In what ways s Orenta dance smar to fok dancng n your country? In
what ways s t dfferent?
2. What woud you te a foregn vstor who wanted to earn about fok dancng
n your country?
3. What do you prefer to do at partes: dance, tak, or eat? Why?
/N0,12N3 BA44/*.
1. $ead the article En%oying &allet' and take apart the main ideas about the &allet. and (write the
answers in a word document and upload them to the virtual classroom) (extra text ()
2. Before you read.
)heck the statements you agree with. ( about article).
_____ 1. &allet is not popular with my *riends.
_____ +. I would need a *ew years o* training to become a ballet dancer.
_____ ,. &allet is similar to sports in some ways.
3. After you read
A. $heck the state#ents that )est descri)es the writer,s o%inion.
____ 1. Everyone can en%oy ballet.
____ +. -ou can only en%oy ballet i* you understand it.
____ ,. !nly educated people can en%oy ballet.
-. $irce the #ain idea of each %ara"ra%h.
.aragraph 1 a. /ome people like dancing' but not ballet.
b. people don0t like ballet i* they don0t come *rom a big city.
c. people have pre%udices against ballet *or several reasons.
.aragraph + a. people appreciate sports more than they appreciate ballet.
b. people understand sports' but they don0t understand ballet.
c. people will en%oy ballet more i* they see it as a sport.
.aragraph , a. you don0t have to understand ballet to en%oy it.
b. the best parts o* ballet are the dancers0 bodies and movements.
c. people learn to understand ballet a*ter watching a *ew per*ormances.
$. !ind the words in .taics in the readin". Then #atch each word with its #eanin".
__b__ 1. %re&udice (par.1) a. dea successfuy wth
_____ 2. Msconcepton (par.1) b. an unreasonabe dske
_____ 3. 'iven (par.1) c. a wrong dea that peope contnue to
_____ 4. (tylized (par.1) d. usng artstc forms for speca effect
_____ 5. )vercome (par.2) e. f there s
-. &rite in a word docu#ent a %ara"ra%h that ex%ain your own ideas a)out -aet dance,
and u%oad to the virtua cassroo#.
/. Answers these 0uestions.
1. 1hy do some people think ballet is more *or *emales than *or males2
+. I* you met a pro*essional ballet dancer' what would you ask him or her2
,. 3ave you ever taken ballet lessons2 I* so' when did you take them2 I* not' would you like to2
1hy or why not2
Have fun with dance.
1. Here goes the new exercse phosophy: If ts fun, t can be good for you. But
the attracton of dance goes we beyond ftness. Theres the socazaton ---
you need not go t aone --- and the satsfacton of earnng somethng new.
Utmatey, t doesnt reay matter whch type of dance you pck ----- Afrcan,
tap, sasa, swng, and baroom, or other knds of dance ---- as ong as you ke
t and as ong as you keep movng.
2. n Afrcan dance, whch s accompaned by drums rather than meody, short
bursts of energy aternate wth ong perods of movement. Dfferent parts of
the body move at dfferent tempos, so musces everywhere are strengthened.
3. Lke other types of dance, tap can be aerobc f ts done contnuousy or
wthout much of a pause. For most of us, though, tap s ess of a cardovascuar
workout. Tap aso teaches baance and coordnaton and, f you do t ong
enough, t w strengthen your stomach musces.
4. ceng fans are set on fu bast and sasa musc fs the ar as dance
nstructor Mara Torres stands n the center of the room, keepng tme for the
40 hp-swveng (and persprng) coupes that move around her. "Peope dont
reaze theyre workng out, because theyre havng so much fun", sad Maras
husband, Edde. "When you get to the ntermedate eves, thats when you
reay stat sweatng", he sad "You need a change of shrt, towe, and water
5. Swng dancng can be an entertanng way to get n shape. "Its not soatng
or repettous, ke rdng a bke or runnng", says Bronwen Carson, drector of a
dance schoo. "Swng has so many dfferent moves, you cant get bored".
Bruno Bernardo, a dance nstructor, adds that asde from the exercse benefts,
"partner dancng s a way for peope to meet others. Its a nce way to break
the ce".
6. There are so many dfferent types of baroom dancng that amost anyone
can beneft from one of them. A foxtrot or sow watz, for nstance, may be |ust
the thng f you cant move we because of an n|ury or years of watchng TV. A
samba, on the other hand, s a good workout even for an athete. And because
baroom dancng nvoves a partner, t works the arms --- soo dancng usuay
ony works the egs.
Extra Text (1)
Frampton and the Ballet: Dancing, Singing, Playing on
the Edge
&- 456IE "566I7/ 8 9.$I6 +,$:' +;1, 8 :97)E
Photo: Sarah Laubacher
1 Comment

Tags: Dance, Cincinnati Ballet, Peter Frampton
<ew things good ever come easily' or without stepping outside one0s com*ort =one. &ut persistence paid o** in
)incinnati &allet0s pursuit o* .eter <rampton' the >rammy?winning guitar hero with a career spanning decades.
9nd he0s still touring and making new music' including some original compositions written especially
*or Frampton & Cincinnati Ballet Live.
/peaking by telephone *rom 7ashville' enn.' his new home base' <rampton plays up a little &ritish charm.
3e0s a**able' %okey and #uick to chuckle.
9*ter )incinnati &allet 9rtistic :irector and )E! @ictoria "organ *irst suggested to <rampton a *ull evening
program o* his well?known music' his response was' A9re you sure2B 3e laughs. hen he said yes.
&eing commissioned to write music *or dance was something <rampton had never done be*ore. It was his own
suggestion' and an exciting prospect *or both him and "organ. 6ittle did he reali=e he was also going to be
asked to play live onstage' with a *ull band' alongside the &allet0s dancers. 9nd this became another thrill.
AC"organD said we0d do three +;?minute sections' with two intermissions' and I *igured I0d be in the audience
watching all this'B <rampton says. A9nd she said' E7o' no' noF 1e0d want you to play it with the band live
onstage.0 9nd I said' E!hhF0 "y stomach turned on that one. I thought' E3ow excitingG but how scary at the
same point.0 B
3ow did this seemingly unlikely pairing come about2 It0s not so *ar?*etched when considering a *ollow?up to the
&allet0s +;11 hot?ticket Infamous Love Songs production' *eaturing beloved local 9ltH<olk band !ver he $hine
playing live onstage with the company.
9nother local pointI <rampton had lived in the )incinnati area *or a number o* years with his *ormer spouse
until *airly recently.
-et getting in touch with him took some time and e**ort' between <rampton touring extensively and the &allet0s
various commitments and pursuits to reach him. "organ says she and <rampton *inally connected through a
local attorney (who wishes to remain anonymous).
A1hen he got to the C&allet0sD studio' he saw the caliber and the #uality' and I think we looked really legit'B says
<rampton was Asuitably ama=ed and impressedB by the dancing he sawI rehearsals *or Carmen during the
+;11?+;1+ season. 3e also watched a :@: o* a New Works piece the &allet0s 9ssociate 9rtistic :irector
:evon )arney had choreographed in +;;J set to music *rom <rampton0s +;;K album'Fingerprints. 3e says he
was *loored by how moving it was. <rampton says he doesn0t generally listen to his own music' but' A1here
another art *orm has been latched on in a huge way' and turned Cmy musicD *rom %ust audio to this incredible
visual emotion' it0s rather wonder*ul'B he says.
he three +;?minute sections o* the production *eature wildly diverse interpretations o* <rampton tunes' thanks
to brand?new choreography *rom the top?notch talents o* )arney' "issy 6ay Limmer and 9ndrew 3ubbard o*
the local Exhale :ance ribe' and the &allet0s $esident )horeographer 9dam 3ougland.
"organ describes <rampton0s new music *or this production as sounding Aso smoothly' greatly .eter
<rampton says' A!bviously' it0s going to be my musicG It0s not going to be Nutcracker M la <rampton.B
AIt0s so interesting that in some ways' we %ust are who we are'B "organ says.
)learly' part o* the appeal *or <rampton was stepping outside his com*ort =one' even i* it made him a little
nervous at *irst.
AI think it was %ust' to start with' writing *or dance' with dance in mind' but still being me'B he says. A&ut I think
the actual *ear was whether I could do it.B
9nd now2
AI0m not nervous about anything except *or the *act that I' the band' has to play exactly what they are dancing
to right now' what I have sent them on the tapes'B he says. A1e cannot alter or change the tempo or the length
by one beat. !therwise there will be a complete )incinnati &allet company lying down on the stage on top o*
each other and that will all be my *ault.B 3e laughs. A7ot their *ault' my *ault' that I0ve caused it. I0ve caused a
train wreck.B
"organ speaks o* the &allet moving beyond its boundaries into increasingly modern' or even riskier territory.
Ahere might have been a time when we couldn0t have done Ca production likeD this' because we0re so ballet'B
she says. A&ut now our ballet is so not ballet. It is ballet G but it0s something else altogether.B
<rampton and )incinnati &allet live' sharing a stage2 /ounds like something else indeed.
!RAM1T*2 3 $.2$.22AT. -A44/T 4.5/ takes place at the 9rono** )enter <riday?/aturday. icketsI (1,?
K+1?9$/ or
(extra text 2)
,riental dance5
A dance for the whole family.
1. Athough many westerners thnk of bey dancng as a dance performed by a
woman for a mae audence, ths s not the case. Orenta dance, the correct
name for bey dancng, dd not actuay orgnate as a dance by women for
2. For centures, the roe of Orenta dance n Mdde Eastern socety has been
that of a fok dance that peope woud do at |oyous occasons such as
weddngs, the brth of a chd, communty festvas, and other events that brng
peope together to ceebrate. It was a dance that men, women, and chdren
dd for fun, not a "performance" done to entertan an audence.
3. After the seventh century, peope began to ve n segregated househods.
The men ved on one sde of the house, and the women ved wth the chdren
on the other sde.
4. Even when there were festve occasons, the women woud ceebrate wth
other women, and the men woud have a separate party wth other men. Woud
have a separate party wth other men. Hstorcay, the two genders dd not
mx. In fact, n some countres, ths s st true today.
5. On speca occasons, the women woud meet n the afternoon, after feedng
the men the bg mea of the day. The women gathered to en|oy some tme
together n the homes of ther ssters, aunts, cousns, frends, or grandmothers.
At these nforma get- togethers, they mght take turns gettng up and dancng
for each other. Ths was one way that the mother of marrageabe young men
coud get to know the egbe young women of the communty.
6. There was generay no speca dance "costume" to wear --- peope smpy
danced n ther party cothes, |ust as we mght dress up a tte for our own
frends weddngs. Dance was not seen as somethng to be "performed" by a
professona --- t was |ust somethng peope got up and dd spontaneousy.
7. Today professona dancers perform at nghtcubs and are often hred to
entertan at weddngs and other speca occasons. However, for Mdde Eastern
peope, the dance remans somethng that peope of a ages do for fun when
they get together wth frends and famy.
(extra text 3)
Observng mysef and the TIPS that fowed out of
my hearts mouth between a choreography or a
technca expanaton,
here are some of the PRINCIPLES of ths NEW MENTALITY that are the BASE of everythng I am
and teach n the Orenta Dance Word*:

1. Orenta Dance s not about vanty, ego trps, desre to pease others or serve ther
fantases. It s a about persona growth and eterna sef-exporaton and reconstructon.
2. Lovng yoursef - as we as others - s a MUST for whoever wshes to go deep nto
Orenta Dance. Wthout sef-ove and respect we cannot be FREE, CREATIVE, DARING,
CHARISMATIC accordng to our own energy and stand n Lfe. Wthout LOVE we cannot shne -
not n dance, nether n Lfe.
3. Its essenta do see other peope and Lfe - n genera - as co-creators of our own path n
Dance. Stop ookng at others as competton and envy matera. They are human bengs - |ust
ke you - wth ther own mtatons, taents, tras and trbuatons. Be com-passonate towards
others and LEARN from them, nstead of assumng a defensve and sma mnded atttude. A
great dancer s aways a great observer and a over of LIFE (remember Lfe s the matera of
whch Dance s made of).
4. Be curous. About other dancers, art forms, traveng, Lterature - you name t.
Inspratons are everywhere; nspraton trggers are everywhere; answers to your questons are
everywhere. LOOK out for a of them n the most expected AND unexpected paces.
5. Work hard; party hard. Never assume that ntuton and natura taents make up for ack
of work study and serous commtment n the dance study. They dont. Take casses, practce as
much as possbe, see good dance vdeos and documentares, read about dance, research: then
agan: BE CURIOUS. Taent fourshes wth constant and perseverant work.
6. Dont take yoursef too serous and be patent wth your own mnd, heart, body and sou
rythms of earnng. Each sde of your Beng has ts own tme of dgeston and you cannot rush
them nto earnng as fast and effcenty as you woud wsh for. Tme s a Master; Patence and
acceptance towards yoursef are too.
7. Deveop Character and backbone. Great dancers are strong, wse, perseverant, humbe
and sef-confdent and they earn and nsst on wnnng over obstaces/dffcutes/chaenges
when most peope woud qut. CHARACTER and nner strength s as mportant as a the
technque and more down to earth data you can gather; t w aow you to grow consstenty and
never set up for |ust average.
8. Reaze that Dance and Lfe are deepy nterconnected so what you are as a PERSON w
refect n your dance (and who you become n your dance w refect who you become n your
fe). A the nsde matera you use to nterpret musc (your personaty, fe experences,
thoughts, feengs, sou, sensatons, vew on fe - hghs and ows) w be ceary shown once you
start to dance, specay when youre mprovsng. So make sure your nner word s rch,
beautfu, honest, as cean as possbe from a the thoughts, feengs and tendences that dont
brng LIGHT and |OY to yoursef and/or others.
9. See Orenta Dance as a |ourney where the arrva s not the most mportant thng. Yep: t
sounds ke a cch but ts true: Dance and Lfe are a about the PATH, the |OURNEY and ess
about the arrva.
10. Do not compete wth your dance coeagues. If you observe them, do so wth the curous
eyes of ove and earn from them. No one can take your pace n dance or n the word. Every
person s UNIOUE and rrepaceabe n hs/her own way. Trust yoursef and your unque gfts - no
one can stea and effcenty copy who you are and the speca way you fee and nterpret the
11. Say No to the Cone machne factory. Copes are aways a second best sad attempt at
success and they never go far. Ths tendency may serve the ego of many teachers who wsh to
create cones of themseves n order to perpetuate ther name, franchsng busness and ego but
they do not serve the HIGHER purpose of ART: BEING YOURSELF - CREATING YOURSELF -
DIGGING n the GIFTS you have nsde and sharng them through dance.
12. En|oy, fee peasure, be HAPPY whe youre studyng dance, practcng, choreographng,
teachng or performng. Thnk about t: t s a prvege to be abe to move your heathy body (so
many peope cannot do t) and earn an ancent dance that has survved throughout centures of
persecutons, gnorance and bannng.
13. Support other dancers as you wsh they woud support you. It may seem strange at frst
but you w fnd out that supportng others s supportng yoursef. We are nothng but an ebb of
tte connected dots who w meet - somehow, someway - when we east expect t. What you do
for others w return to you ke a far boomerang - so make sure what you throw s what you
wsh to receve (thats the magc of ths Unverses mathematcs).
14. Chersh ALL your teachers wth respect, tenderness and grattude. They are the doors
that aow you to dscover new words nsde and outsde yoursef.
15. Dare to be DIFFERENT, out of the reguar pattern. Be creatve n ways that aow you to
fa, make mstakes and then some more. The more you fa the more chances you have of
succeedng. Fear of faure s the n 1 cause of frustrated dreams.
16. Aow the Insde |ob of your Beng to be done. Orenta Dance s about RE-CONNECTING
( religare =regon). Aow and re|oce n the process of coordnatng your mnd wth your
heart; your body wth your sou.
17. Breathe deepy and conscousy as many tmes as you can. A reconnecton starts there:
nsprng and exprng wth ntentona ove-awareness.
18. LISTEN. Take tme to earn smpy to LISTEN - even before MOVING a fnger. Dance starts
n SILENCE, then MUSIC, THEN MOVEMENT. Dancng wthout LISTENING s ke tryng to fy
wthout wngs.
19. Honour past dancers and a the references that contrbuted to your dance educaton and
nspraton. Acknowedge everyone and everythng that feeds you creatvey so that food for the
sou expands and mutpes.
20. Never sette for what you aready know. Ask, search, be humbe to know how much you
dont know yet. Ths w keep you growng endessy. Remember: arrogance s the terrtory of
the sma mnded, nsecure and weak.
21. Be THANKFUL. For beng yoursef, for beng ALIVE; for beng abe to dance; for your
Teacher and a the treasures he/she unraves for you; for breathng and feeng the sun on your
face on any gven mornng. Those are not thngs we shoud take for granted: those are gfts ony
Read more: http://www.|
(extra text 4)
/n6oyin) ballet.
1. t s very odd that no one s afrad of the word "dance" and no one woud
ob|ect to the phrase "ets go dancng", but menton "baet" and peope start
companng. These soca pre|udces come from severa msconceptons and
from certan hstorc facts. Baet s the Western theatrca dance form that
deveoped over a perod of four centures. It has aways depended upon
government or roya support for ts fe. In more modern tmes, ths support
came from weathy peope who attend the baet n beautfu theatres n some
of the words great ctes.
Peope have therefore come to see baet as a cutura form, unfamar to
anyone who does not come from a partcuar cass. Over tme , baet has
deveoped ts own anguage, one that many ordnary peope do not
understand. Beng a baet dancer nvoves seven years of very dffcut tranng
from an eary age, yet anyone can dance at a soca gatherng, gven a certan
amount of effort and desre. The physca mage of both mae and femae
dancers s very styzed, and costumng s so unnatura n many cases, wth ts
tghts, sppers, and tutus. For these reasons, t s not possbe for the genera
pubc to have the knd of dentfcaton wth a baet dancer that they often fee
for an actor, fm star, or athete.
2. t s aso strange that a vsua art that speaks drecty to the eye, n the same
way a soccer match or an Oympc gymnastc contest does, st makes peope
apprehensve. Too often peope stay away from baet because they thnk they
w not "understand" t. However, they never seem to fnd ths probem when
they watch popuar ce dance champonshp on teevson. Nor are they afrad
to express ther opnons and sometmes dsagree wth the |udges decsons.
Peope en|oy watchng sports because they en|oy ts physca darng. They
apprecate athetes superby condtoned bodes workng at maxmum
effcency. If peope ony ooked at dancng ---- any form of dancng --- n the
same way they apprecate sports, there woud be fewer pre|udces to
3. t s better to ook at dancng wth a competey untraned eye. If you ask
questons and ook for meanngs, you w ose the great deght n seeng
beautfu bodes, beautfuy traned, performng beautfu movement.
Understandng w come wth experence, but your understandng w be of
tte vaue f you do not en|oy what you are watchng.
(extra text 5)
(extra matera 1)