AIR PATHWAY TASK
Create a dance sequence using your full name. You must complete this task only using your arms and no travelling.
FLOOR PATHWAY
Using the same sequence above you then introduce travelling to it. This being the floor pathway. The sequence below is a combination of the Air pathway and the Floor pathway. You're also thinking about the type of energy you want to use in your sequence.
Thursday 2 April 2009
VIDEO (PART 2): LESSON 8: RELATIONSHIPS & CONNECTIONS
TIME TECHNIQUES IN DANCE
Rebecca and Gillian's Contact Improvisation duet using ACCELERATION.
Rebecca and Gillian's Contact Improvisation duet using ACCELERATION.
LESSON 8 - TIME TECHNIQUES IN DANCE
Timing techniques used in dance are:
Accelaration
Gradually moving faster
Retard
Gradually getting slower
Double Time
Dance the movement faster.
Half Time
Dance the movement slower.
Beat
Regular time
Pulse
A number of impulses (one move to one beat)
Accelaration
Gradually moving faster
Retard
Gradually getting slower
Double Time
Dance the movement faster.
Half Time
Dance the movement slower.
Beat
Regular time
Pulse
A number of impulses (one move to one beat)
VIDEO (PART 1): LESSON 8: RELATIONSHIP & CONNECTIONS
CONTACT IMPROVISATION (TUTOR TAUGHT DUET)
REBECCA & GILLIAN'S OWN CONTACT IMPROVISATION DUET USING: WEIGHT SHARING, WEIGHT BEARING, LIFTS & COUNTER BALANCE.
REBECCA & GILLIAN'S OWN CONTACT IMPROVISATION DUET USING: WEIGHT SHARING, WEIGHT BEARING, LIFTS & COUNTER BALANCE.
LESSON 8: RELATIONSHIPS & CONNECTIONS - CONTACT IMPROVISATION
CONTACT IMPROVISATION
What is contact Improvisation? Contact Improvisation is a dance form in which the point of contact with another dancer provides the starting point for a movement exploration. It is most frequently performed as a duet, but can be danced by more people. There can be music or it can happen in silence. It is about sharing weight, rolling, suspending, falling, passive and active, energy and awareness.Movement In Contact Improvisation
Weight Sharing:
When both dancers are giving equal weight/force in the movement.
Weight Bearing:
When one dancer is giving their full weight/force onto the other dancer in the movement.
Lifts:
When one dancer takes the other dancers weight off the ground.
Counter Balance:
When both dancers are using equal weight to balance each other in a held position.
(www.contactimprovisation.co.uk)
Book Contact Improvisation - By Thomas Kaltenbrunner
Videos On YouTube.com showing examples of contact improvisation Weight Sharing:
When both dancers are giving equal weight/force in the movement.
Weight Bearing:
When one dancer is giving their full weight/force onto the other dancer in the movement.
Lifts:
When one dancer takes the other dancers weight off the ground.
Counter Balance:
When both dancers are using equal weight to balance each other in a held position.
(www.contactimprovisation.co.uk)
Book Contact Improvisation - By Thomas Kaltenbrunner
DV8 Physical Theatre
http://www.youtube.com/watch?v=gCaAvb3iCPg
Jacob Cino and Ali Robson
http://www.youtube.com/watch?v=sBU9Oernv50
Jacob Cino and Ali Robson
http://www.youtube.com/watch?v=0B5uGE7TwG8
Jacob Cino and Ali Robson
http://www.youtube.com/watch?v=2cLzD4TBd9A
(Students post your comments regarding this part of the lesson on this blog entry. Click on 'comments).
Sunday 15 March 2009
VIDEO (PART 3): LESSON 7: SYMMETRY ASYMMETRY CONTRAST COMPLIMENT TECHNIQUES
SYMMETRY - ASYMMETRY - COMPLIMENT & CONTRAST DANCE TECHNIQUES
LESSON 7: USING RELATIONSHIPS & CONNECTIONS
MIRRORING: Movement performed exactly like that of a partner, like an image in a mirror. Dancers move in exactly the same way and at the same time, as if only one person were moving.
LITERAL MIRRORING: When dancers dance the same movements, as if looking at each other in a mirror. You use the opposite limbs or sides of the body (eg. dancer A curves to her left; dancer B mirrors by curving his body to the right).
LATERAL MIRRORING: Each dancer does the same movement as the partner but uses the same arms and legs (eg. dancer A curves to her right; dancer B also curves to his right).
SYMMETRY: Beauty or form arising from balanced proportions. Both sides of an object or image are the same in size, shape, when divided in half.
ASYMMETRY: Form that is not the same on both sides when divided in half; however the form may be balanced and visually pleasing because of the tensions or imbalance.
COMPLIMENT: When a particular movement allows another movement to look more aesthetically pleasing.
CONTRAST: A slight difference between movements.
(Students post your comments regarding this part of the lesson on this blog entry. Click on 'comments).
LITERAL MIRRORING: When dancers dance the same movements, as if looking at each other in a mirror. You use the opposite limbs or sides of the body (eg. dancer A curves to her left; dancer B mirrors by curving his body to the right).
LATERAL MIRRORING: Each dancer does the same movement as the partner but uses the same arms and legs (eg. dancer A curves to her right; dancer B also curves to his right).
SYMMETRY: Beauty or form arising from balanced proportions. Both sides of an object or image are the same in size, shape, when divided in half.
ASYMMETRY: Form that is not the same on both sides when divided in half; however the form may be balanced and visually pleasing because of the tensions or imbalance.
COMPLIMENT: When a particular movement allows another movement to look more aesthetically pleasing.
CONTRAST: A slight difference between movements.
(Students post your comments regarding this part of the lesson on this blog entry. Click on 'comments).
LESSON 7: USING A STIMULUS & DYNAMICS
CHOREOGRAPHY TASK: Create a traveling dance sequence using this diagram. The lines represent traveling moves, and when you come to one of the shapes you must create a movement which represents these shapes. You must travel in the direction that the lines are moving in. The top left star is the left front corner of the dance studio.
Create a sequence which has at last 5 shapes in it. You are allowed to choose your own pathway but must follow the lines. You can not come off the lines.
DYNAMICS Change the dynamics of the above sequence to: Sustained & Percussive movement.
(Students post your comments regarding this part of the lesson on this blog entry. Click on 'comments).
DYNAMICS Change the dynamics of the above sequence to: Sustained & Percussive movement.
(Students post your comments regarding this part of the lesson on this blog entry. Click on 'comments).
Tuesday 3 March 2009
VIDEO (PART 2): LESSON 6: STIMULUS , RELATIONSHIPS & DYNAMICS
USING THE PHONE NUMBER SEQUENCE & DIFFERENT RELATIONSHIPS TO CREATE A PIECE OF DANCE CHOREOGRAPHY.
Solo With Trio
Duet
Quartet
Group
Solo With Trio
Duet
Quartet
Group
VIDEO (PART 1): LESSON 6: STIMULUS , RELATIONSHIPS & DYNAMICS
PHONE NUMBER SEQUENCE
Original Phone Number Motif
Phone Number Motif changing the dynamics to Swinging & Vibratory.
Original Phone Number Motif
Phone Number Motif changing the dynamics to Swinging & Vibratory.
LESSON 6: MOTIF, RELATIONSHIPS & DYNAMICS
PHONE NUMBER MOTIF
Each number has an action dance move next to it (see below). Using your own phone number create a dance motif. You are allowed to put in a linking dance movement before you move onto your next number.
0 - Arm movement
1 - Swing
2 - Elevation
3 - Falling
4 - Roll
5 - Travel
6 - Stillness
7 - Leg movement
8 - Gesture (Isolation)
9 - Turning
Example of task:
If your mobile number was: 0794 545 6193 Your motif would be: arm movement - leg movement - turning - roll - travel - roll - travel - stillness - swing - turning - falling.
RELATIONSHIPS Using the above motif create solos, duets, trios, quartets & large group sections of dance. Try out different spacings, directions, timings, and motifs together to see what works best.
DYNAMICS Using the phone number motif, change the dynamics of the motif to 'Swinging & Vibratory' movement qualities.
(Students post your comments regarding this lesson on this blog entry. Click on 'comment's).
Each number has an action dance move next to it (see below). Using your own phone number create a dance motif. You are allowed to put in a linking dance movement before you move onto your next number.
0 - Arm movement
1 - Swing
2 - Elevation
3 - Falling
4 - Roll
5 - Travel
6 - Stillness
7 - Leg movement
8 - Gesture (Isolation)
9 - Turning
Example of task:
If your mobile number was: 0794 545 6193 Your motif would be: arm movement - leg movement - turning - roll - travel - roll - travel - stillness - swing - turning - falling.
RELATIONSHIPS Using the above motif create solos, duets, trios, quartets & large group sections of dance. Try out different spacings, directions, timings, and motifs together to see what works best.
DYNAMICS Using the phone number motif, change the dynamics of the motif to 'Swinging & Vibratory' movement qualities.
(Students post your comments regarding this lesson on this blog entry. Click on 'comment's).
Wednesday 25 February 2009
VIDEO (PART 4): LESSON 5: LOOSE CANON USING A MOTIF
Loose Canons offer more opportunity for the manipulation of a motif. There may be a use of different levels, facings or placements in the stage space. Adding stillness is also very effective, as may be varying the dynamic or rhythmic elements.
Tuesday 24 February 2009
VIDEO (PART3): LESSON 5: SIMULTANEOUS CANON USING A MOTIF
Simultaneous Canon using the original motif.
A simultaneous Canon involves dancers doing the same motif at the same time but starting from different points in the phrase. So Dancer 1 may do counts 1 to 8; Dancer 2 may start at count 6, dancing 6-7-8-1-2-3-4-5, and another dancer may start at 4, dancing 4-5-6-7-8-1-2-3; and so on. This creates a dense, logical and interesting look.
A simultaneous Canon involves dancers doing the same motif at the same time but starting from different points in the phrase. So Dancer 1 may do counts 1 to 8; Dancer 2 may start at count 6, dancing 6-7-8-1-2-3-4-5, and another dancer may start at 4, dancing 4-5-6-7-8-1-2-3; and so on. This creates a dense, logical and interesting look.
Monday 23 February 2009
VIDEO (PART2): LESSON 5: MOTIF - CANON - DEVELOPMENT OF MOTIF
Rebecca: Reversing the motif.
Kris: Making the motif faster.
Kimberley: Doing the motif on the spot.
Lisa Marie: Changing the levels of the motif.
VIDEO (PART1): LESSON 5: MOTIF - CANON - DEVELOPMENT OF MOTIF
The stimulus for today's lesson was this abstract painting. I focused on the outline of the black shape to create the motif which you would then develop. The original motif is below. The motif starts at the top of the black outline and then makes its way round the shape clockwise.
Joan: Original Motif.
DEVELOPMENT OF MOTIF TO CREATE MORE SEQUENCES.
Nancy: making the motif smaller.
Louise: Making the motif bigger.
Gillian: Changing direction of the motif.
Sunday 22 February 2009
HANDOUT: DYNAMICS - QUALITIES OF MOVEMENT (lesson 5)
DYNAMICS (QUALITIES OF MOVEMENT)
There are 6 dynamics of quality in dance:
Suspended – stillness, balance, high point
Collapsed – fall, release, relax
Swinging – sway, to and fro, pendulum, under curve
Vibratory – shake, tremble, wiggle
Sustained – slow, smooth, continuous, even
Percussive – sudden, sharp, choppy, jagged
LESSON 5: MOTIF, UNISON, CANON & DYNAMICS
CHOREOGRAPHY TASK USING A STIMULUS (ABSTRACT PAINTING)
Once the sequence is learned, dance the sequence using unison and canon techniques.
Develop the motif using different techniques: faster, reverse, change of levels, smaller, bigger, different direction, and on the spot.
Dynamics Task: Using Suspension & Collapsing qualities.
Using the abstract painting sequence manipulate the movement by introducing both suspending & collapsing qualities to it.
(Students post your comments regarding this lesson on this blog entry. Click on 'comment's).
Once the sequence is learned, dance the sequence using unison and canon techniques.
Develop the motif using different techniques: faster, reverse, change of levels, smaller, bigger, different direction, and on the spot.
Dynamics Task: Using Suspension & Collapsing qualities.
Using the abstract painting sequence manipulate the movement by introducing both suspending & collapsing qualities to it.
(Students post your comments regarding this lesson on this blog entry. Click on 'comment's).
HANDOUT: MOTIF, UNISON & CANON (lesson 5)
What is a MOTIF?
Motifs are a single movement or a short phrase of movement which expresses the style and intention of the dance. They are repeated, varied & developed by manipulating the movement. These manipulations usually involve some change in the movement parts of action, space, time or dynamics.
Below is a list of ways in which motifs can be developed
• Use different parts of the body.
• Alter the basic body posture, say from standing to lying, to sitting, to upside-down or twisted.
• Add or change the action
• Change the size
• Change the level
• Alter the focus
• Change the direction, dimension or plane
• Increase or decrease the tempo (make faster or slower)
• Vary the pattern of the beats of the rhythm.
• Change the accents.
• Retrograde – reverse the order of the movements.
• Change the dynamic or the quality.
• Fragment the motif – use only one part repeatedly or some parts only, or change the order of the parts.
• Alter any aspects of the physical setting.
• Mix bits from different motifs together.
• Combine any of the above.
Motif development is a way of producing a lot from a little, while also avoiding too much repetition – which may be boring for the audience. The phrases involved will also tend to lengthen into whole sections & organically provide logical development, contrasts and unity.
UNISON & CANON
Dancers moving in unison may do one of the following:
• The same movement at the same time
• Similar or complimentary movements at the same time
• Contrasting movements at the same time
Similarly, there are different types of canons:
A Simple Canon
Will be in strict order. Each dancer dances an entire motif, then keeps still while another dancer takes over. This is the simplest type of canon, and it may be made more interesting by allowing the dancer’s timings to overlap so that the dancers are always a few counts behind each other. This places demands on the dancers’ skill at dancing in groups, for it requires sensitive timing with, and an awareness of others.
A Simultaneous Canon
Involves dancers doing the same motif at the same time but starting from different points in the phrase. So Dancer 1 may do counts 1 to 8; Dancer 2 may start at count 6, dancing 6-7-8-1-2-3-4-5, and another dancer may start at 4, dancing 4-5-6-7-8-1-2-3; and so on. This creates a dense, logical and interesting look.
A Cumulative Canon
Is when each dancer joins in with the lead dancer at various stages during the dancing of a motif, and they all finish at the same time. This gives a look of an increase in force or power through an increase in emphasis on the movement.
Loose Canons
Offer more opportunity for the manipulation of a motif. There may be a use of different levels, facings or placements in the stage space. Adding stillness is also very effective, as may be varying the dynamic or rhythmic elements.
Motifs are a single movement or a short phrase of movement which expresses the style and intention of the dance. They are repeated, varied & developed by manipulating the movement. These manipulations usually involve some change in the movement parts of action, space, time or dynamics.
Below is a list of ways in which motifs can be developed
• Use different parts of the body.
• Alter the basic body posture, say from standing to lying, to sitting, to upside-down or twisted.
• Add or change the action
• Change the size
• Change the level
• Alter the focus
• Change the direction, dimension or plane
• Increase or decrease the tempo (make faster or slower)
• Vary the pattern of the beats of the rhythm.
• Change the accents.
• Retrograde – reverse the order of the movements.
• Change the dynamic or the quality.
• Fragment the motif – use only one part repeatedly or some parts only, or change the order of the parts.
• Alter any aspects of the physical setting.
• Mix bits from different motifs together.
• Combine any of the above.
Motif development is a way of producing a lot from a little, while also avoiding too much repetition – which may be boring for the audience. The phrases involved will also tend to lengthen into whole sections & organically provide logical development, contrasts and unity.
UNISON & CANON
Dancers moving in unison may do one of the following:
• The same movement at the same time
• Similar or complimentary movements at the same time
• Contrasting movements at the same time
Similarly, there are different types of canons:
A Simple Canon
Will be in strict order. Each dancer dances an entire motif, then keeps still while another dancer takes over. This is the simplest type of canon, and it may be made more interesting by allowing the dancer’s timings to overlap so that the dancers are always a few counts behind each other. This places demands on the dancers’ skill at dancing in groups, for it requires sensitive timing with, and an awareness of others.
A Simultaneous Canon
Involves dancers doing the same motif at the same time but starting from different points in the phrase. So Dancer 1 may do counts 1 to 8; Dancer 2 may start at count 6, dancing 6-7-8-1-2-3-4-5, and another dancer may start at 4, dancing 4-5-6-7-8-1-2-3; and so on. This creates a dense, logical and interesting look.
A Cumulative Canon
Is when each dancer joins in with the lead dancer at various stages during the dancing of a motif, and they all finish at the same time. This gives a look of an increase in force or power through an increase in emphasis on the movement.
Loose Canons
Offer more opportunity for the manipulation of a motif. There may be a use of different levels, facings or placements in the stage space. Adding stillness is also very effective, as may be varying the dynamic or rhythmic elements.
LESSON 4: AURAL TASK - RELATING MUSIC TO THEMES
Students small group task:
Listen to 11 pieces of instrumental music (chosen by the lecturer). After each piece of music write down what themes, thoughts & feelings came to you after you heard the piece of music.
Come back together as one group and share your results with the class to see if there were any similarities & differences.
HANDOUT: DANCE: AURAL SETTING, MUSIC, COSTUME & PROPS (lesson 4)
Dance: The Aural Setting
Silence
The voice
Sound (both natural & found sound)
Music
Choosing music
1. Balance – a piece of music which has large numbers of instruments or a rich production quality may not be best suited to a solo dance. On the other hand some music is sparse in its style and so may not be ideal for a large group dance.
2. Avoiding the obvious – music from the top ten or old favourites which you enjoy listening to, are not always the best for dance. Similarly, some well-known classical music or hits from West End shows can also prove difficult because people already know them so well that they already have their own set ideas about them, and this may mean that your choreography will be over powered by their preconceptions.
It’s your responsibility as the choreographer to research the availability of music. There is no excuse for not finding the perfect piece of music for your work. There’s a difference between music that works with dance in harmony & music that you listen to at home/club or on you mp3 player.
3. Quality – Make sure your copy of the music is of top-quality. If you’re using a cd have one copy to use during rehearsals, and then another copy for the performance/assessment.
4. Style – Explore different styles of music to see what would best fit you’re theme/stimulus/choreography/ideas. Eg. African, Spanish, Jazz, Medieval, Electronic, Classical, Folk, World, Latin etc.
5. Live Music – you may know other students who play an instrument/sing that would be willing to play live for your performance. You can get them to record their playing for rehearsals. You could even get them to compose a specific piece of music for your performance. You could work together to come up with something that fits your theme perfectly.
Using Music
There are a number of ways that a dance may be formed with music:
1. dance & music composed together
2. dance created first, then music composed for it
3. compose music first, then dance to it
4. a dance sketched in, then music composed for it or suitable music is found
5. music and dance composed separately, only to come together in the performance (Merce Cunningham did this a lot)
If you choose a piece of music first, you need to do a number of things to prepare for the creation of the dance:
1. Listen to it over and over again, carefully
2. Improvise to it
3. Develop an understanding of its feel, form, tempo, instrumentation etc (use written notes to help remember your thoughts & ideas).
Costume
Shape, colour & material are important in choosing costume.
Use Of Props Can:
Enhance the character
Have symbolic meaning
Add to the movement itself
In the case of very large props, become almost the set itself as well
Silence
The voice
Sound (both natural & found sound)
Music
Choosing music
1. Balance – a piece of music which has large numbers of instruments or a rich production quality may not be best suited to a solo dance. On the other hand some music is sparse in its style and so may not be ideal for a large group dance.
2. Avoiding the obvious – music from the top ten or old favourites which you enjoy listening to, are not always the best for dance. Similarly, some well-known classical music or hits from West End shows can also prove difficult because people already know them so well that they already have their own set ideas about them, and this may mean that your choreography will be over powered by their preconceptions.
It’s your responsibility as the choreographer to research the availability of music. There is no excuse for not finding the perfect piece of music for your work. There’s a difference between music that works with dance in harmony & music that you listen to at home/club or on you mp3 player.
3. Quality – Make sure your copy of the music is of top-quality. If you’re using a cd have one copy to use during rehearsals, and then another copy for the performance/assessment.
4. Style – Explore different styles of music to see what would best fit you’re theme/stimulus/choreography/ideas. Eg. African, Spanish, Jazz, Medieval, Electronic, Classical, Folk, World, Latin etc.
5. Live Music – you may know other students who play an instrument/sing that would be willing to play live for your performance. You can get them to record their playing for rehearsals. You could even get them to compose a specific piece of music for your performance. You could work together to come up with something that fits your theme perfectly.
Using Music
There are a number of ways that a dance may be formed with music:
1. dance & music composed together
2. dance created first, then music composed for it
3. compose music first, then dance to it
4. a dance sketched in, then music composed for it or suitable music is found
5. music and dance composed separately, only to come together in the performance (Merce Cunningham did this a lot)
If you choose a piece of music first, you need to do a number of things to prepare for the creation of the dance:
1. Listen to it over and over again, carefully
2. Improvise to it
3. Develop an understanding of its feel, form, tempo, instrumentation etc (use written notes to help remember your thoughts & ideas).
Costume
Shape, colour & material are important in choosing costume.
Use Of Props Can:
Enhance the character
Have symbolic meaning
Add to the movement itself
In the case of very large props, become almost the set itself as well
HANDOUT: PREPARATION FOR CREATING A DANCE PIECE (lesson 4)
Creativity is a cycle that includes varying levels of energy. The brain produces energy, and the process begins slowly, with an idea that germinates in the mind. You have to then research the idea and collect information and images. One idea stimulates another until more ideas flow in and the decision is made to try and create the work. Generally there’s a flurry of activity, trial & error at the heightened energy until the creative problem is solved and the work is finished. Then the stepping back occurs and you reflect on and edit the creation until it is a quality piece of dance.
PROCESS OF COMPOSING A DANCE
IDEA
(Theme/Stimulus/Content)
|
RESEARCH
Experiment with putting ideas into movement
Improvisation
|
SELECT
the most appropriate movements
|
REFINE & ORGANISE
the structure & form a cohesive whole
|
REHEARSE, PERFORM
and evaluate the success
IDEA
(Theme/Stimulus/Content)
|
RESEARCH
Experiment with putting ideas into movement
Improvisation
|
SELECT
the most appropriate movements
|
REFINE & ORGANISE
the structure & form a cohesive whole
|
REHEARSE, PERFORM
and evaluate the success
HANDOUT: LEARNING OUTCOMES FOR ASSESSMENT (lesson 4)
CHOREOGRAPHY (HIGHER) UNIT CODE: D646 12
1. Demonstrate the ability to use the imagination to create and effect dance movement and sequences.
2. Demonstrate the inter-relationship of timing when two or more dancers are used, to explore varied and complex permutations.
3. Demonstrate understanding of how space is subjectively altered with the use of forms and movement placed within it.
4. Demonstrate appropriate selection of music and design elements for choreographic work.
5. Demonstrate co-operation and leadership in undertaking choreographic projects.
6. Evaluate the choreographic process and make recommendations for future work.
1. Demonstrate the ability to use the imagination to create and effect dance movement and sequences.
2. Demonstrate the inter-relationship of timing when two or more dancers are used, to explore varied and complex permutations.
3. Demonstrate understanding of how space is subjectively altered with the use of forms and movement placed within it.
4. Demonstrate appropriate selection of music and design elements for choreographic work.
5. Demonstrate co-operation and leadership in undertaking choreographic projects.
6. Evaluate the choreographic process and make recommendations for future work.
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