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  • Hip Hop dance can be performed solo or in a group. Dancers alternate between unison and solo phases. The solo dancer steps forward and performs rapid leg movements reminiscent of boxer Muhammad Ali. This is called toprock, during which the dancer warms up and frees up his or her dance space. He executes figures called footwork, or passpass, i.e. while his hands are on the floor, his legs run around his body. The approach to Hip Hop Dance at university emphasizes the "creative process". Approaching the fundamentals of dance: space, time and energy through the language of Hip Hop dance, which has a strong cultural connotation. But the logic of Hip Hop culture is respected in the construction of the choreography.
  • The most widespread rock dance in France is six-beat rock, and it's this version that you'll discover with Service des Sport, as it's derived from a typically French practice: Be-Bop. This version is made up of more or less complex passes. Each dancer knows a greater or lesser number of passes, depending on his or her level. The rider guides the dance and decides which passes to perform. The investigation of additional Rock dances, such as Madison, completes the enrichment of the activity. The Rock Dance approach at university emphasizes the "relational process": approaching the fundamentals of couples dancing: Rhythm, Communication, Energy through a performance between two.
  • Salsa is a dance of many influences: Cuban salsa, being the most practiced in our latitudes, is the version you'll discover with the Sports Department. This version is made up of passes of varying degrees of complexity. Each dancer knows a greater or lesser number of passes, depending on his or her level. The rider guides the dance and decides which passes to perform. The Salsa Dance approach at university emphasizes the "relational process": approaching the fundamentals of couples dancing: Rhythm, Communication, Energy through a performance between two.
  • Modern'Jazz: Influenced by several African and European cultures, shaped over 3 centuries in the United States by the descendants of slaves and American colonists (notably through tap, charleston, lindy-hop and musicals), modern'jazz dance emerged on Broadway in the middle of the 20th century. Through constant exchange, appropriation and reappropriation between "black" and "white" cultures, it has been enriched by various techniques, notably those of modern dance (Leister Horton, Martha Graham...). This mixed aesthetic develops body polyrhythm, improvisation, coordination and spinal mobility. An energetic, dynamic, explosive and expressive dance in rhythmic dialogue with varied music.

Dance room with mirrors and wood floors.
12 classes of 1H30 effective

- Hip-hop dance: present a pair of clean shoes, free of stones and dirt, to gain access to the hall.
- Rock dance: registration as a couple preferred, but a partner can be assigned on site.
Please bring a pair of clean shoes, free of stones and dirt, to gain access to the hall.
- Salsa dancing: registration as a couple preferred, but you may be assigned a partner on site.
Please bring a clean pair of shoes, free of stones and dirt, to gain access to the hall.

As part of the distancing measures, and to respect the barrier gestures linked to the current context, you will only be able to attend the couple's dance class under the following conditions:
- Wearing a personal protective mask
- You must be in perfect health and symptom-free.

Hip-hop:
- Body control and ability to "appropriate" the proposals: use of a rich, controlled vocabulary (dissociation, isolation, coordination: amplitude: arms, legs, spine).
- Construct a choreography by adopting personalized strategies, taking into account the people involved in the project.
- Mastery of execution with the notion of space: "taking space", variety of trajectories, occupation of varied stage space, "aura" of body space.
- Relation to the notion of time and energy (gesture + sequence), variety of rhythms, different speeds, musicality of stops in relation to the music.
Rock:
- Body control and ability to "appropriate" different figures in a given role.
- Build a style by adopting personalized strategies, taking into account your dance partner.
- Mastery of execution with the notion of expression and communication: orienting oneself in relation to one's partner, or to an audience, entering into a relationship with the other, beyond guidance.
Salsa:
- Body control and the ability to "appropriate" different figures in a given role.
- Build a style by adopting personalized strategies, taking into account your dance partner.
- Mastery of execution with the notion of expression and communication: orienting oneself in relation to one's partner, or to an audience, entering into a relationship with the other, beyond guidance.
- Relation to the notion of time and energy (gesture + sequence), variety of rhythms, different speeds, musicality of stops in relation to the music.

- Hip hop: All dance students are assessed in class and on stage at the end of the semester, with performance and choreography grades awarded according to the semester of practice.
Assessment takes place in class and on stage at the end-of-semester show in Amphi 11000, in the form of a 2min30-4min performance in duo, trio or quartet.
The student's commitment to class and overall attitude to learning is taken into account.

- Rock dance: All students who have been validated in couple dance are assessed during and at the end of the semester, with a dance performance grade awarded according to the semester of practice.
Assessment is based on continuous assessment of all figures learned during the semester, and on a performance of several dances, with different partners, at the end of the semester.

-Salsa dance: All students who have been validated in couple dance are assessed during and at the end of the semester, with a dance performance grade awarded according to the semester of practice.
Assessment is based on continuous assessment of all figures learned during the semester, and on a performance of several dances, with different partners, at the end of the semester.

Gwen MASSON SCHAEFFER: gmass@univ-smb.fr