Changing of the movement

Change the space

• Levels
• The size of the movement
• Directions 
• Shape / Body design 
• Pathways air and floor
• Change from near to far proximity
• Dance in different areas of the stage

Change the action

• Add in action and add another action e.g a jump and turn together 
• Take out actions 
• Instrumentation - different body parts (do on R then on L)
• Repetition - repeat the motif or action 

Change the Dynamics

• The speed - faster / slower 
• The quality - stronger, softer, sharper, more direct, more flowing etc

The performance

• Change the focus 
• Embellishment / ornamentation - make a movement look more elaborate or complicated. 
• Alter the rhythm 
•  Alter the accent - where the points of energy and impulse are. 
• Change the expression - change from expressing calm to now express panic.  

   

Unit 40 Developing My Own Choreography (Inez's Class)

In class today we had to get at least two of our motifs done and developed and I did but still working on the third one.

This is motif one and developed

 

This is motif two and developed

Unit 40 Developing My Own Choreography (Inez's Class)

Making Dance Arts Alive 

Form & Structure

Once the choreographer has conceived key movement phrases, he or she can combine, manipulate and organize them into longer sequences, paying attention to:

1. Form

The form of a dance determines the way it is organized. This is similar to the way musical forms like the suite, symphony or concerto shape their overall contour or identity.

Three basic dance forms are:

A) ABA

ABA form begins with an opening theme, leads into a contrasting theme that complements the first, and concludes with a return to the opening theme. This conclusion is recognizable but somehow changed in order to bring the piece to its resolution. There is a cyclic feel, a sense of continuity, order and inevitability.


The rondo (ABACADA) is an expansion of ABA form. It uses a recurring theme (like a musical chorus or refrain) to which the choreographer returns, interspersed with contrasting themes, all building to a conclusion.


Theme and variation (A, A 1, A 2, etc.) is a form in which a basic movement theme is stated and then altered in various ways. To inject visual and dramatic variety, choreographers use devices similar to those in music composition (for example, inversion, retrograde and transposition).


A ballet solo is referred to as a variation when the choreographer selects and varies a movement theme to reflect the qualities of a particular character.

2. Structure

The structure of a dance is how the total work is put together. All elements combine to produce a whole work of art, with three main sections:

To convey the overall mood, atmosphere and message, the choreographer sequences movement sections in a variety of ways.

A) BEGINNING

Traditional 19th-century story ballets proceed in chronological order, following the classical dramatic structure used in plays. The opening introduces the main characters and sets the scene for the action to follow.
Some 20th-century works, like those by Martha Graham, do not follow a strict chronology, but use cinematic devices like the flashback to open the action. In plotless works, the opening may introduce the movement theme.
To open a work or a section of a work, the dancer or dancers may begin onstage, or they may enter from the wings, flies, traps or back of the stage.

B) MIDDLE

This is where the choreographer develops his or her material, bridging the opening and closing sections. Characters, plot, mood and movement themes are explored and embellished.

C) END

In works with a storyline, the plot builds to a high point or climax and culminates in a satisfying conclusion where dramatic tensions are resolved. Or they may intentionally be left open.
To end, the dancer or dancers may remain onstage or they may exit through the wings, flies, traps or back of the stage.
To pace these sections, the choreographer may put the climax nearer the beginning, middle or end for dramatic effect. Pacing determines how long each section is and affects the rhythm of the whole piece.
Even abstract works with no storyline have a carefully crafted beginning, middle and end. To build to the movement climax of a plotless dance work, George Balanchine sometimes started by setting the end of the ballet. He then worked on earlier sections, logically introducing elements to culminate in a spectacular finish.
In contrast, choreographer Merce Cunningham uses chance methods to determine the order of parts in a work: the opening section becomes the one performed first rather than the one whose content introduces the work.

Unit 40 Developing My Own Choreography (Inez's Class)

In class we all got an image of graffiti by Banksy and we had to write about what was going on in the picture so I wrote a story of  Women who was living her day to day life until something shocking happens. 

It was 2015 and the News was on in the Kitchen going on about an Isis attack, Rachel enters the kitchen deciding what too cook for dinner, because her family was coming over, so she finally knew what she was cooking, but then realized she didn't have the ingredients. So Rachel now pops out to the sopping market to get the stuff not knowing that while she was busy thinking about what to cook for dinner,  the news was about Isis bombing is getting closer to home. Rachel gets to the supermarket, she grabs a trolley then goes to the fruit and veg section and picks up a bag of apples and pears. Then she goes on to getting the other stuff she needs on her list, Rachel now reaches the drink section but as she picks up a bottle and puts it in the trolley a bomb goes off, and she was taken off her feet while one of her shoes fly's off onto the ground, and her trolley and shopping went with her. 

After we wrote about the story we had pick three words and chose Eruption, Shattered and Dispossession. 

Here are three videos of those words:

Eruption 

Shattered 

 Dispossession

Now here is a video with all three motifs put together: 

     

Unit 40 Developing My Own Choreography with Contemporary Dance

In class we had to draw ourselves as who we wanted to be or who we are. The we had to write down words to describe us by, then we had to pick three of them and make three to four movements for that word. Once we have are three motifs for the three word, we then put them together and make a bit of a dance piece. 

The three word I chosen where strong, very approachable and creative.

Here is a video of theses three movements linked together:

BTEC Performing Arts Dance Evaluation

BTEC Performing Arts Dance

UNIT 46 Applying Contemporary Dance

The technical requirements needed for the first dance piece the Graham Technique – Acts of Light is to have good technique, to be relaxed, to have good control and balance. In every movement there should be contraction, should always use the breath and keep control of it in every movement. You should always have strong and extended legs and arms. Always have good coordination with the arms and legs, having control of the breath as you contract, having a strong core so that you are able to keep your legs off the floor. Keeping an arched back when doing the release positions.

The technical requirements needed for the second dance piece the Steve Pofret release technique  – Madagascar is to have control and balance as well, having good timing, always finishing your moves off. You should always have facial in this technique as it represents small African children who have nothing, so are faces must represent what they go through day to day life.

My strengths in the Madagascar piece was my focus when I had to hit each position correctly and in time, my timing with each movement when keeping in time with everyone else and my movements making sure each movement was strong and clear when on stage and kept in time with the music and pictures in the back ground. My strengths in the Graham Technique piece my memory of the movements not forgetting any little detail, making sure my movements are clear and full out when on stage, keeping my focus when doing each movement making sure my technique is shown to the audience especially showing the contraction in each movement and my extension in my legs and arms in each movement when I’m doing the balances and when I’m doing the kicks.

My weaknesses in the Madagascar piece was my extension in my arms because when I looked back at the video I saw that my arms where a bit weak during the beginning of the piece, when doing the stick section. My weaknesses in the Graham Technique piece is my timing in the beginning when we were doing our kick jumps, I was a bit out of time so I noticed when watching back the video I started walking a bit then went straight into it. Keeping my balance because I wasn’t using my core enough for me to keep my balance on control.

My improvements in my technique in the Madagascar piece was my core strength when balancing and making I finish off the balance and movement strongly and my timing with the whole piece put together. My improvements in my technique in the Graham Technique piece was my contraction within the movements I showed that I could control my breath and show how I can take control of my breath.  

My relevant targets for next term that will improve your technique and performance is to work on my balance control, timing in some movements and keeping the extension in my arms because sometimes I leave my arms loose.        

Rehearsals Dance The Madagascar Piece

This the Madagascar piece where its about children in Africa who have nothing and our dance represents their lively hood. This style is African Contemporary. I found this dance really interesting because it was based on real people and real photos that where taken in the same year performed the piece 2015. My strengths in this dance piece was my facial because we had to represent the children in the photos so i used that as an opportunity to make me feel the part so when I'm dancing people can see I'm that part this is what this piece means to me. My memory of the movement, even though I missed some lessons I caught up in time to remember the moves when I come back into the next lesson. My weaknesses in this dance piece was my timing because sometimes I would be out time with others in my group, My footwork was all over the place in some movements for example in the stick section in the beginning I turned but landed with the wrong foot crossing the other foot which made it harder for to get into the next movement. What I need to work on to improve for next time s my timing making sure I hit each movement correctly with each beat in the music and follow the beat as well, and I also need to improve on my footwork and coordination so that I don't make it harder for to move into the next movement.      

The release technique in dance (warm up)

The release technique where you have to relax your body and just flow with the music, its all about using the core most of the time as it helps you with having strong balances and getting up from certain positions, you  always have to have a strong core. You always have to be in time with the music, each movement has to hit each beat. You have to have good coordination with the arms and legs and have good body strength so your able to lift your self and hold yourself up. This exercise normally make you very tired so you need to be able to control your breath within each movement because it takes alot of energy. 

Rehearsals The Martha Graham Technique

My strengths are memory of the movements, knowing the technique and what is expected, have good stage presence when coming stage. My weaknesses is keeping control of my balances because I'm not using my core enough, I need to work on having contraction in all my movements so  I need to keep control of my breathing and I need to work on my timing so that im not out of time with the others because it is noticeable to the audience.  

Rehearsals in dance The Martha Graham Technique

In dance you should always engage in what your doing and always be truthful with our performance because that's when the audience see the story, because it comes to life as we perform it. 

Rehearsals for the Scratch Show The Martha Graham Technique

Dance Technique 

Having straight arms when swinging, always bend your knees and legs, point the feet, twisting your body which means always have attitude and when breathing always contract in each movement. Always have coordination with the arms and legs and always have control of the body and your breathing. When your doing your breathing contractions always take control of your breath as you contract. You should always use the core because when doing contractions the core gets stronger which will help with you being able to hold your balance just using the core. 

When your contracting you can notice it when your back moves with the ribs for example in the turnouts, and when your in the high release positions you should always arch the back.