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Dance Composition: An Interrelated Arts Approach helps students investigate dance movement from a multidisciplinary perspective—something that no other dance text or package does.
This interactive package contains a book, music CD, and companion Web site with these features:
- 28 improvisational exercises that provide perspective on the shared characteristics among the arts for inspiration and motivation for dance making
- 6 in-depth interviews and 24 arts connections that highlight artists from disciplines and cultures around the world
- 3 independent dance projects that encompass numerous elements: music, composition, story adaptation, costumes and props, artist's statements, and reflections on the creative process
The exercises examine traditional and contemporary art forms from around the world and explore ways to physically interpret what is heard, seen, spoken, and emoted through movement experimentation. Through these exercises, students observe a concept, explore it by working independently and watching others, and reflect on it with others. They then create and present a choreographic work based on their explorations and reflections. The choreography is discussed in a final group reflection and personal journal entries in which students can document their findings for future use. The interviews and arts connections will expand students' vision and appreciation of artistic commonalities that exist among dance, music, theater, visual arts, and literary arts.
The music CD, which is bound into the book, contains original compositions that enrich dance exercises and movement exploration assignments. Created by percussionist and electroacoustic composer Barry Prophet, the selections cover a range of styles and dynamics, including rhythmic percussion, jazz, world music, minimalist soundscapes, and textural atmospheres.
The illustrations and photographs in the book provide a starting point for artistic awareness of elements common among the arts. Many of these visual images are available on the companion Web site. To help students and teachers incorporate technology in their creative process, this Web site also provides access to music software, instructions on creating computer-assisted music, a journal entry handout for each activity, self-assessment handouts, and rubrics.
No other art form interacts so pervasively with the other arts than dance. Dance Composition: An Interrelated Arts Approach will help students from secondary school through university levels create artistic work that inspires and empowers both performers and viewers.
Preface
Part I. Dance and the Visual Arts
Chapter 1. Shapes
ￜ ￜ ￜ Exercise 1.1 Traveling Patterns
ￜ ￜ ￜ Exercise 1.2 Symmetrical Motifs
ￜ ￜ ￜ Exercise 1.3 Mosaics
ￜ ￜ ￜ Exercise 1.4 Weaving and Unweaving Shapes
ￜ ￜ ￜ Exercise 1.5 Traditional Brush Painting
ￜ ￜ ￜ Exercise 1.6 Modern Painting Techniques
Chapter 2. New Spaces
ￜ ￜ ￜ Exercise 2.1 Landmarks
ￜ ￜ ￜ Exercise 2.2 Dancing Shadows
ￜ ￜ ￜ Exercise 2.3 Conceptual Dance for Alternative Spaces
Culminating Exercise for Dance and the Visual Arts
Part II. Dance and Music
Chapter 3. Rhythm and Tempo
ￜ ￜ ￜ Exercise 3.1 Heartbeats and Drumbeats
ￜ ￜ ￜ Exercise 3.2 Clap Hands
ￜ ￜ ￜ Exercise 3.3 Variations on a Theme
ￜ ￜ ￜ Exercise 3.4 Playing With Time
Chapter 4. Texture and Tone Color
ￜ ￜ ￜ Exercise 4.1 Textural Exploration
ￜ ￜ ￜ Exercise 4.2 Tonal Exploration
ￜ ￜ ￜ Exercise 4.3 Found Sound
ￜ ￜ ￜ Exercise 4.4 Turn Your Radio On
Culminating Exercise for Dance and Music
Part III. Dance and the Dramatic and Literary Arts
Chapter 5. Emotions and Character
ￜ ￜ ￜ Exercise 5.1 Emotional Exploration
ￜ ￜ ￜ Exercise 5.2 Character Discovery
ￜ ￜ ￜ Exercise 5.3 Clowning
Chapter 6. Words, Thoughts, and Actions
ￜ ￜ ￜ Exercise 6.1 Alliterations
ￜ ￜ ￜ Exercise 6.2 Vowels and Syllabic Phrases
ￜ ￜ ￜ Exercise 6.3 Soliloquy
ￜ ￜ ￜ Exercise 6.4 Monologue
ￜ ￜ ￜ Exercise 6.5 Dialogue
Culminating Exercise for Dance and the Dramatic and Literary Arts
General Arts Glossary
Music Glossary
About the Author
Music Finder
Janice Pomer has been performing and teaching in the fields of dance, music, and theater since 1976. Her performance work explores the ways in which modern dance can be integrated with other art forms. In 1983, Janice began collaborating with Barry Prophet; together they have created numerous touring productions incorporating modern dance, text, experimental music, found sound, and Barry's kinetic percussion sculptures.
Janice teaches in schools, universities, dance studios, art spaces, and community centers in Canada, offering a variety of movement-based programs and workshops for dancers of all ages and abilities, from beginning youngsters to professional dancers as well as educators. She writes and designs educational programs and dance material for school boards and dance organizations, offering movement education for children and youth. In 2002, Human Kinetics released her first book, Perpetual Motion: Creative Movement Exercises for Dance and Dramatic Arts.
About the Composer
Barry Prophet is a composer, percussionist, instrument maker, and visual artist who has been creating unique sounds since 1979. His work has appeared in galleries, theaters, and concert halls in Canada, the United States, and Europe. Barry teaches experimental percussion and computer-assisted music programs to learners of all ages and creates sonically charged indoor and outdoor site-specific art.
Students explore commonalities among arts through a new approach to learning
This new text uses an innovative approach to help students explore the commonalities among arts.
Translating Traditional Border Patterns Into Movement
This exercise uses border patterns from traditional ceramics, jewelry, and fabric as inspiration for creating traveling combinations.
Observation
Lines have shape. If a line isn't perfectly straight, it's curved or angular. When two straight lines intersect, they create an angle. A single line can be used in delineating the finished edge on a piece of fabric or run along the circumference of a bowl, but more decorative border patterns are composed of curved and angular lines. Look at the images in figure 1.1. Do the angles and curves convey movement? Do they have a sense of direction? Do the shapes travel in distinct ways, as the arrow and the wheel do?
Internal Exploration
Use track 1 to explore curved, circular, and spiraling shapes and traveling movements, then track 2 to explore angular, pointed shapes and traveling patterns. It's a simple exploration that warms up the body and mind. Have fun, be playful, try not to repeat, keep moving, and keep discovering.
1. Start in parallel, or neutral, position (shoulders over hips, hips over knees, knees over feet, feet hip-width apart, toes forward).
2. When the music begins (track 1), curve, wiggle, weave, and twist on the spot and travel throughout the room. Over the course of the music, be sure that you use every part of the body to explore curves.
3. Repeat the process, this time exploring angles. Start standing in parallel position; when the music begins (track 2), find as many ways as possible to be angular.
External Exploration
Apply the movement vocabulary from the internal exploration to an external exploration focusing on angular shapes in the air and curved shapes on the floor.
Line up one behind the other in three or four straight lines at one end of the room, as you would do in a technique class. The structure isn't meant to impose conformity; it's simply the safest way to use the space when several people are running and leaping at the same time. It also provides those not moving with a good view of those who are.
Variation 1: Curves
After 4 beats of introductory music (or call out 4 if working in silence), the first person in each line performs a variation on the following:
- Do a forward traveling movement of your choice for 2 to 6 beats.
- Freeze in a curved shape.
- Increase (deepen) the curve (such as rounding the spine, arms, or hands) for a minimum of 4 beats.
- Release it and move forward for 2 to 6 beats.
- Freeze in a different curved shape and deepen it for several more beats for a minimum of 4 beats.
- Release the shape and continue to the far side of the room.
Though the first person in each line starts at the same time, they probably won't finish at the same time. Wait until everyone is finished before the next group begins. Repeat that sequence at least two times, each time employing different circular shapes and move-freeze relationships.
Variation 2: Angles
After 4 beats of introductory music (or count 4 out loud if working in silence), the first person in each line performs the following:
- Run forward (or other quick traveling step).
- Create an angular shape in the air.
- Land and run (or other quick traveling step).
- Create another angular shape in the air.
- Continue running to the far side of the room.
Repeat the sequence at least two times, each time employing different traveling patterns and angular airborne shapes.
Variation 3: Angles and Curves
1. After 4 beats of introductory music (or count 4 out loud if working in silence), the first person in each line performs the following:
- Run forward (or other quick traveling step).
- Create an angular shape in the air.
- Land and travel forward.
- Freeze in a curved shape.
- Increase (tighten) the curve.
- Move (roll, ripple, spin) to the end of the room while maintaining the integrity of the curved shape.
2. Repeat this sequence across the floor twice, each time exploring new relationships. Change the timing, the angular shape, and the curved shape; find new ways of traveling in the curved shape.
Safety Note
While performing, use peripheral vision and avoid interfering with others' movements.
Group Reflection
All of the traveling patterns moved forward, but the curves and angles added inward and outward direction and dynamics.
- Did the internal exploration prepare you for the external exploration? If yes, explain how.
- Did you employ emotional energy or performance dynamics to animate the contrasting shapes? If yes, explain how.
- Did you feel yourself or others become an arrow or a wheel?
Which traveling combinations were the most eye catching? Identify who performed each one, and discuss the elements that made the combination exceptional.
Creation and Presentation
The line drawings in figure 1.2 are examples of patterns used in traditional ceramics, textiles, and jewelry from around the world. The first two designs can be translated into basic traveling steps by employing simple side, front, side, back footwork. For pattern a, the footwork could move in straight lines creating right angles with each direction change. To translate pattern b, the footwork could follow a curved or scalloped line. As a class, try translating patterns a and b and see how many variations you can come up with. (It's interesting to notice that even though pattern b uses curved lines, an angle appears at the frontmost and backmost connections to form points.)
Work in pairs and translate one of the more complicated patterns. Work in silence and explore internal rhythmic patterns to help highlight the angles and curves.
- Look at border patterns c, d, e, and f. Each has unique qualities that translate into movement through creative use of line, shape, spatial relationships, timing, levels, and energy.
- Select a pattern and create a traveling sequence inspired by that border design.
- Just because the patterns are flat doesn't mean the movement pattern should be. Leap, kick, wiggle, and roll. Apply physical and emotional experiences from the previous explorations.
- Take 5 to 10 minutes to work, then sit down in the audience area. One by one, each pair will present their work.
- Before presenting, always announce the border pattern being interpreted.
Final Group Reflection
Use the following questions to initiate a class dialogue.
- Was one pattern a more popular choice than the others? If yes, identify which pattern it was and ask those who selected it to explain why it was more appealing than the others.
- Was one pattern the least popular? If yes, discuss why. (Was it too difficult or uninteresting?) Get everyone's opinion if there was a pattern that no one used and, time permitting, have everyone translate it into movement. Were the results surprising? Did the pattern turn out to be more interesting or less difficult than originally thought?
This is an excerpt from Dance Composition: An Interrelated Arts Approach.
Students explore commonalities among arts through a new approach to learning
This new text uses an innovative approach to help students explore the commonalities among arts.
Translating Traditional Border Patterns Into Movement
This exercise uses border patterns from traditional ceramics, jewelry, and fabric as inspiration for creating traveling combinations.
Observation
Lines have shape. If a line isn't perfectly straight, it's curved or angular. When two straight lines intersect, they create an angle. A single line can be used in delineating the finished edge on a piece of fabric or run along the circumference of a bowl, but more decorative border patterns are composed of curved and angular lines. Look at the images in figure 1.1. Do the angles and curves convey movement? Do they have a sense of direction? Do the shapes travel in distinct ways, as the arrow and the wheel do?
Internal Exploration
Use track 1 to explore curved, circular, and spiraling shapes and traveling movements, then track 2 to explore angular, pointed shapes and traveling patterns. It's a simple exploration that warms up the body and mind. Have fun, be playful, try not to repeat, keep moving, and keep discovering.
1. Start in parallel, or neutral, position (shoulders over hips, hips over knees, knees over feet, feet hip-width apart, toes forward).
2. When the music begins (track 1), curve, wiggle, weave, and twist on the spot and travel throughout the room. Over the course of the music, be sure that you use every part of the body to explore curves.
3. Repeat the process, this time exploring angles. Start standing in parallel position; when the music begins (track 2), find as many ways as possible to be angular.
External Exploration
Apply the movement vocabulary from the internal exploration to an external exploration focusing on angular shapes in the air and curved shapes on the floor.
Line up one behind the other in three or four straight lines at one end of the room, as you would do in a technique class. The structure isn't meant to impose conformity; it's simply the safest way to use the space when several people are running and leaping at the same time. It also provides those not moving with a good view of those who are.
Variation 1: Curves
After 4 beats of introductory music (or call out 4 if working in silence), the first person in each line performs a variation on the following:
- Do a forward traveling movement of your choice for 2 to 6 beats.
- Freeze in a curved shape.
- Increase (deepen) the curve (such as rounding the spine, arms, or hands) for a minimum of 4 beats.
- Release it and move forward for 2 to 6 beats.
- Freeze in a different curved shape and deepen it for several more beats for a minimum of 4 beats.
- Release the shape and continue to the far side of the room.
Though the first person in each line starts at the same time, they probably won't finish at the same time. Wait until everyone is finished before the next group begins. Repeat that sequence at least two times, each time employing different circular shapes and move-freeze relationships.
Variation 2: Angles
After 4 beats of introductory music (or count 4 out loud if working in silence), the first person in each line performs the following:
- Run forward (or other quick traveling step).
- Create an angular shape in the air.
- Land and run (or other quick traveling step).
- Create another angular shape in the air.
- Continue running to the far side of the room.
Repeat the sequence at least two times, each time employing different traveling patterns and angular airborne shapes.
Variation 3: Angles and Curves
1. After 4 beats of introductory music (or count 4 out loud if working in silence), the first person in each line performs the following:
- Run forward (or other quick traveling step).
- Create an angular shape in the air.
- Land and travel forward.
- Freeze in a curved shape.
- Increase (tighten) the curve.
- Move (roll, ripple, spin) to the end of the room while maintaining the integrity of the curved shape.
2. Repeat this sequence across the floor twice, each time exploring new relationships. Change the timing, the angular shape, and the curved shape; find new ways of traveling in the curved shape.
Safety Note
While performing, use peripheral vision and avoid interfering with others' movements.
Group Reflection
All of the traveling patterns moved forward, but the curves and angles added inward and outward direction and dynamics.
- Did the internal exploration prepare you for the external exploration? If yes, explain how.
- Did you employ emotional energy or performance dynamics to animate the contrasting shapes? If yes, explain how.
- Did you feel yourself or others become an arrow or a wheel?
Which traveling combinations were the most eye catching? Identify who performed each one, and discuss the elements that made the combination exceptional.
Creation and Presentation
The line drawings in figure 1.2 are examples of patterns used in traditional ceramics, textiles, and jewelry from around the world. The first two designs can be translated into basic traveling steps by employing simple side, front, side, back footwork. For pattern a, the footwork could move in straight lines creating right angles with each direction change. To translate pattern b, the footwork could follow a curved or scalloped line. As a class, try translating patterns a and b and see how many variations you can come up with. (It's interesting to notice that even though pattern b uses curved lines, an angle appears at the frontmost and backmost connections to form points.)
Work in pairs and translate one of the more complicated patterns. Work in silence and explore internal rhythmic patterns to help highlight the angles and curves.
- Look at border patterns c, d, e, and f. Each has unique qualities that translate into movement through creative use of line, shape, spatial relationships, timing, levels, and energy.
- Select a pattern and create a traveling sequence inspired by that border design.
- Just because the patterns are flat doesn't mean the movement pattern should be. Leap, kick, wiggle, and roll. Apply physical and emotional experiences from the previous explorations.
- Take 5 to 10 minutes to work, then sit down in the audience area. One by one, each pair will present their work.
- Before presenting, always announce the border pattern being interpreted.
Final Group Reflection
Use the following questions to initiate a class dialogue.
- Was one pattern a more popular choice than the others? If yes, identify which pattern it was and ask those who selected it to explain why it was more appealing than the others.
- Was one pattern the least popular? If yes, discuss why. (Was it too difficult or uninteresting?) Get everyone's opinion if there was a pattern that no one used and, time permitting, have everyone translate it into movement. Were the results surprising? Did the pattern turn out to be more interesting or less difficult than originally thought?
This is an excerpt from Dance Composition: An Interrelated Arts Approach.
Students explore commonalities among arts through a new approach to learning
This new text uses an innovative approach to help students explore the commonalities among arts.
Translating Traditional Border Patterns Into Movement
This exercise uses border patterns from traditional ceramics, jewelry, and fabric as inspiration for creating traveling combinations.
Observation
Lines have shape. If a line isn't perfectly straight, it's curved or angular. When two straight lines intersect, they create an angle. A single line can be used in delineating the finished edge on a piece of fabric or run along the circumference of a bowl, but more decorative border patterns are composed of curved and angular lines. Look at the images in figure 1.1. Do the angles and curves convey movement? Do they have a sense of direction? Do the shapes travel in distinct ways, as the arrow and the wheel do?
Internal Exploration
Use track 1 to explore curved, circular, and spiraling shapes and traveling movements, then track 2 to explore angular, pointed shapes and traveling patterns. It's a simple exploration that warms up the body and mind. Have fun, be playful, try not to repeat, keep moving, and keep discovering.
1. Start in parallel, or neutral, position (shoulders over hips, hips over knees, knees over feet, feet hip-width apart, toes forward).
2. When the music begins (track 1), curve, wiggle, weave, and twist on the spot and travel throughout the room. Over the course of the music, be sure that you use every part of the body to explore curves.
3. Repeat the process, this time exploring angles. Start standing in parallel position; when the music begins (track 2), find as many ways as possible to be angular.
External Exploration
Apply the movement vocabulary from the internal exploration to an external exploration focusing on angular shapes in the air and curved shapes on the floor.
Line up one behind the other in three or four straight lines at one end of the room, as you would do in a technique class. The structure isn't meant to impose conformity; it's simply the safest way to use the space when several people are running and leaping at the same time. It also provides those not moving with a good view of those who are.
Variation 1: Curves
After 4 beats of introductory music (or call out 4 if working in silence), the first person in each line performs a variation on the following:
- Do a forward traveling movement of your choice for 2 to 6 beats.
- Freeze in a curved shape.
- Increase (deepen) the curve (such as rounding the spine, arms, or hands) for a minimum of 4 beats.
- Release it and move forward for 2 to 6 beats.
- Freeze in a different curved shape and deepen it for several more beats for a minimum of 4 beats.
- Release the shape and continue to the far side of the room.
Though the first person in each line starts at the same time, they probably won't finish at the same time. Wait until everyone is finished before the next group begins. Repeat that sequence at least two times, each time employing different circular shapes and move-freeze relationships.
Variation 2: Angles
After 4 beats of introductory music (or count 4 out loud if working in silence), the first person in each line performs the following:
- Run forward (or other quick traveling step).
- Create an angular shape in the air.
- Land and run (or other quick traveling step).
- Create another angular shape in the air.
- Continue running to the far side of the room.
Repeat the sequence at least two times, each time employing different traveling patterns and angular airborne shapes.
Variation 3: Angles and Curves
1. After 4 beats of introductory music (or count 4 out loud if working in silence), the first person in each line performs the following:
- Run forward (or other quick traveling step).
- Create an angular shape in the air.
- Land and travel forward.
- Freeze in a curved shape.
- Increase (tighten) the curve.
- Move (roll, ripple, spin) to the end of the room while maintaining the integrity of the curved shape.
2. Repeat this sequence across the floor twice, each time exploring new relationships. Change the timing, the angular shape, and the curved shape; find new ways of traveling in the curved shape.
Safety Note
While performing, use peripheral vision and avoid interfering with others' movements.
Group Reflection
All of the traveling patterns moved forward, but the curves and angles added inward and outward direction and dynamics.
- Did the internal exploration prepare you for the external exploration? If yes, explain how.
- Did you employ emotional energy or performance dynamics to animate the contrasting shapes? If yes, explain how.
- Did you feel yourself or others become an arrow or a wheel?
Which traveling combinations were the most eye catching? Identify who performed each one, and discuss the elements that made the combination exceptional.
Creation and Presentation
The line drawings in figure 1.2 are examples of patterns used in traditional ceramics, textiles, and jewelry from around the world. The first two designs can be translated into basic traveling steps by employing simple side, front, side, back footwork. For pattern a, the footwork could move in straight lines creating right angles with each direction change. To translate pattern b, the footwork could follow a curved or scalloped line. As a class, try translating patterns a and b and see how many variations you can come up with. (It's interesting to notice that even though pattern b uses curved lines, an angle appears at the frontmost and backmost connections to form points.)
Work in pairs and translate one of the more complicated patterns. Work in silence and explore internal rhythmic patterns to help highlight the angles and curves.
- Look at border patterns c, d, e, and f. Each has unique qualities that translate into movement through creative use of line, shape, spatial relationships, timing, levels, and energy.
- Select a pattern and create a traveling sequence inspired by that border design.
- Just because the patterns are flat doesn't mean the movement pattern should be. Leap, kick, wiggle, and roll. Apply physical and emotional experiences from the previous explorations.
- Take 5 to 10 minutes to work, then sit down in the audience area. One by one, each pair will present their work.
- Before presenting, always announce the border pattern being interpreted.
Final Group Reflection
Use the following questions to initiate a class dialogue.
- Was one pattern a more popular choice than the others? If yes, identify which pattern it was and ask those who selected it to explain why it was more appealing than the others.
- Was one pattern the least popular? If yes, discuss why. (Was it too difficult or uninteresting?) Get everyone's opinion if there was a pattern that no one used and, time permitting, have everyone translate it into movement. Were the results surprising? Did the pattern turn out to be more interesting or less difficult than originally thought?
This is an excerpt from Dance Composition: An Interrelated Arts Approach.
Students explore commonalities among arts through a new approach to learning
This new text uses an innovative approach to help students explore the commonalities among arts.
Translating Traditional Border Patterns Into Movement
This exercise uses border patterns from traditional ceramics, jewelry, and fabric as inspiration for creating traveling combinations.
Observation
Lines have shape. If a line isn't perfectly straight, it's curved or angular. When two straight lines intersect, they create an angle. A single line can be used in delineating the finished edge on a piece of fabric or run along the circumference of a bowl, but more decorative border patterns are composed of curved and angular lines. Look at the images in figure 1.1. Do the angles and curves convey movement? Do they have a sense of direction? Do the shapes travel in distinct ways, as the arrow and the wheel do?
Internal Exploration
Use track 1 to explore curved, circular, and spiraling shapes and traveling movements, then track 2 to explore angular, pointed shapes and traveling patterns. It's a simple exploration that warms up the body and mind. Have fun, be playful, try not to repeat, keep moving, and keep discovering.
1. Start in parallel, or neutral, position (shoulders over hips, hips over knees, knees over feet, feet hip-width apart, toes forward).
2. When the music begins (track 1), curve, wiggle, weave, and twist on the spot and travel throughout the room. Over the course of the music, be sure that you use every part of the body to explore curves.
3. Repeat the process, this time exploring angles. Start standing in parallel position; when the music begins (track 2), find as many ways as possible to be angular.
External Exploration
Apply the movement vocabulary from the internal exploration to an external exploration focusing on angular shapes in the air and curved shapes on the floor.
Line up one behind the other in three or four straight lines at one end of the room, as you would do in a technique class. The structure isn't meant to impose conformity; it's simply the safest way to use the space when several people are running and leaping at the same time. It also provides those not moving with a good view of those who are.
Variation 1: Curves
After 4 beats of introductory music (or call out 4 if working in silence), the first person in each line performs a variation on the following:
- Do a forward traveling movement of your choice for 2 to 6 beats.
- Freeze in a curved shape.
- Increase (deepen) the curve (such as rounding the spine, arms, or hands) for a minimum of 4 beats.
- Release it and move forward for 2 to 6 beats.
- Freeze in a different curved shape and deepen it for several more beats for a minimum of 4 beats.
- Release the shape and continue to the far side of the room.
Though the first person in each line starts at the same time, they probably won't finish at the same time. Wait until everyone is finished before the next group begins. Repeat that sequence at least two times, each time employing different circular shapes and move-freeze relationships.
Variation 2: Angles
After 4 beats of introductory music (or count 4 out loud if working in silence), the first person in each line performs the following:
- Run forward (or other quick traveling step).
- Create an angular shape in the air.
- Land and run (or other quick traveling step).
- Create another angular shape in the air.
- Continue running to the far side of the room.
Repeat the sequence at least two times, each time employing different traveling patterns and angular airborne shapes.
Variation 3: Angles and Curves
1. After 4 beats of introductory music (or count 4 out loud if working in silence), the first person in each line performs the following:
- Run forward (or other quick traveling step).
- Create an angular shape in the air.
- Land and travel forward.
- Freeze in a curved shape.
- Increase (tighten) the curve.
- Move (roll, ripple, spin) to the end of the room while maintaining the integrity of the curved shape.
2. Repeat this sequence across the floor twice, each time exploring new relationships. Change the timing, the angular shape, and the curved shape; find new ways of traveling in the curved shape.
Safety Note
While performing, use peripheral vision and avoid interfering with others' movements.
Group Reflection
All of the traveling patterns moved forward, but the curves and angles added inward and outward direction and dynamics.
- Did the internal exploration prepare you for the external exploration? If yes, explain how.
- Did you employ emotional energy or performance dynamics to animate the contrasting shapes? If yes, explain how.
- Did you feel yourself or others become an arrow or a wheel?
Which traveling combinations were the most eye catching? Identify who performed each one, and discuss the elements that made the combination exceptional.
Creation and Presentation
The line drawings in figure 1.2 are examples of patterns used in traditional ceramics, textiles, and jewelry from around the world. The first two designs can be translated into basic traveling steps by employing simple side, front, side, back footwork. For pattern a, the footwork could move in straight lines creating right angles with each direction change. To translate pattern b, the footwork could follow a curved or scalloped line. As a class, try translating patterns a and b and see how many variations you can come up with. (It's interesting to notice that even though pattern b uses curved lines, an angle appears at the frontmost and backmost connections to form points.)
Work in pairs and translate one of the more complicated patterns. Work in silence and explore internal rhythmic patterns to help highlight the angles and curves.
- Look at border patterns c, d, e, and f. Each has unique qualities that translate into movement through creative use of line, shape, spatial relationships, timing, levels, and energy.
- Select a pattern and create a traveling sequence inspired by that border design.
- Just because the patterns are flat doesn't mean the movement pattern should be. Leap, kick, wiggle, and roll. Apply physical and emotional experiences from the previous explorations.
- Take 5 to 10 minutes to work, then sit down in the audience area. One by one, each pair will present their work.
- Before presenting, always announce the border pattern being interpreted.
Final Group Reflection
Use the following questions to initiate a class dialogue.
- Was one pattern a more popular choice than the others? If yes, identify which pattern it was and ask those who selected it to explain why it was more appealing than the others.
- Was one pattern the least popular? If yes, discuss why. (Was it too difficult or uninteresting?) Get everyone's opinion if there was a pattern that no one used and, time permitting, have everyone translate it into movement. Were the results surprising? Did the pattern turn out to be more interesting or less difficult than originally thought?
This is an excerpt from Dance Composition: An Interrelated Arts Approach.
Students explore commonalities among arts through a new approach to learning
This new text uses an innovative approach to help students explore the commonalities among arts.
Translating Traditional Border Patterns Into Movement
This exercise uses border patterns from traditional ceramics, jewelry, and fabric as inspiration for creating traveling combinations.
Observation
Lines have shape. If a line isn't perfectly straight, it's curved or angular. When two straight lines intersect, they create an angle. A single line can be used in delineating the finished edge on a piece of fabric or run along the circumference of a bowl, but more decorative border patterns are composed of curved and angular lines. Look at the images in figure 1.1. Do the angles and curves convey movement? Do they have a sense of direction? Do the shapes travel in distinct ways, as the arrow and the wheel do?
Internal Exploration
Use track 1 to explore curved, circular, and spiraling shapes and traveling movements, then track 2 to explore angular, pointed shapes and traveling patterns. It's a simple exploration that warms up the body and mind. Have fun, be playful, try not to repeat, keep moving, and keep discovering.
1. Start in parallel, or neutral, position (shoulders over hips, hips over knees, knees over feet, feet hip-width apart, toes forward).
2. When the music begins (track 1), curve, wiggle, weave, and twist on the spot and travel throughout the room. Over the course of the music, be sure that you use every part of the body to explore curves.
3. Repeat the process, this time exploring angles. Start standing in parallel position; when the music begins (track 2), find as many ways as possible to be angular.
External Exploration
Apply the movement vocabulary from the internal exploration to an external exploration focusing on angular shapes in the air and curved shapes on the floor.
Line up one behind the other in three or four straight lines at one end of the room, as you would do in a technique class. The structure isn't meant to impose conformity; it's simply the safest way to use the space when several people are running and leaping at the same time. It also provides those not moving with a good view of those who are.
Variation 1: Curves
After 4 beats of introductory music (or call out 4 if working in silence), the first person in each line performs a variation on the following:
- Do a forward traveling movement of your choice for 2 to 6 beats.
- Freeze in a curved shape.
- Increase (deepen) the curve (such as rounding the spine, arms, or hands) for a minimum of 4 beats.
- Release it and move forward for 2 to 6 beats.
- Freeze in a different curved shape and deepen it for several more beats for a minimum of 4 beats.
- Release the shape and continue to the far side of the room.
Though the first person in each line starts at the same time, they probably won't finish at the same time. Wait until everyone is finished before the next group begins. Repeat that sequence at least two times, each time employing different circular shapes and move-freeze relationships.
Variation 2: Angles
After 4 beats of introductory music (or count 4 out loud if working in silence), the first person in each line performs the following:
- Run forward (or other quick traveling step).
- Create an angular shape in the air.
- Land and run (or other quick traveling step).
- Create another angular shape in the air.
- Continue running to the far side of the room.
Repeat the sequence at least two times, each time employing different traveling patterns and angular airborne shapes.
Variation 3: Angles and Curves
1. After 4 beats of introductory music (or count 4 out loud if working in silence), the first person in each line performs the following:
- Run forward (or other quick traveling step).
- Create an angular shape in the air.
- Land and travel forward.
- Freeze in a curved shape.
- Increase (tighten) the curve.
- Move (roll, ripple, spin) to the end of the room while maintaining the integrity of the curved shape.
2. Repeat this sequence across the floor twice, each time exploring new relationships. Change the timing, the angular shape, and the curved shape; find new ways of traveling in the curved shape.
Safety Note
While performing, use peripheral vision and avoid interfering with others' movements.
Group Reflection
All of the traveling patterns moved forward, but the curves and angles added inward and outward direction and dynamics.
- Did the internal exploration prepare you for the external exploration? If yes, explain how.
- Did you employ emotional energy or performance dynamics to animate the contrasting shapes? If yes, explain how.
- Did you feel yourself or others become an arrow or a wheel?
Which traveling combinations were the most eye catching? Identify who performed each one, and discuss the elements that made the combination exceptional.
Creation and Presentation
The line drawings in figure 1.2 are examples of patterns used in traditional ceramics, textiles, and jewelry from around the world. The first two designs can be translated into basic traveling steps by employing simple side, front, side, back footwork. For pattern a, the footwork could move in straight lines creating right angles with each direction change. To translate pattern b, the footwork could follow a curved or scalloped line. As a class, try translating patterns a and b and see how many variations you can come up with. (It's interesting to notice that even though pattern b uses curved lines, an angle appears at the frontmost and backmost connections to form points.)
Work in pairs and translate one of the more complicated patterns. Work in silence and explore internal rhythmic patterns to help highlight the angles and curves.
- Look at border patterns c, d, e, and f. Each has unique qualities that translate into movement through creative use of line, shape, spatial relationships, timing, levels, and energy.
- Select a pattern and create a traveling sequence inspired by that border design.
- Just because the patterns are flat doesn't mean the movement pattern should be. Leap, kick, wiggle, and roll. Apply physical and emotional experiences from the previous explorations.
- Take 5 to 10 minutes to work, then sit down in the audience area. One by one, each pair will present their work.
- Before presenting, always announce the border pattern being interpreted.
Final Group Reflection
Use the following questions to initiate a class dialogue.
- Was one pattern a more popular choice than the others? If yes, identify which pattern it was and ask those who selected it to explain why it was more appealing than the others.
- Was one pattern the least popular? If yes, discuss why. (Was it too difficult or uninteresting?) Get everyone's opinion if there was a pattern that no one used and, time permitting, have everyone translate it into movement. Were the results surprising? Did the pattern turn out to be more interesting or less difficult than originally thought?
This is an excerpt from Dance Composition: An Interrelated Arts Approach.
Students explore commonalities among arts through a new approach to learning
This new text uses an innovative approach to help students explore the commonalities among arts.
Translating Traditional Border Patterns Into Movement
This exercise uses border patterns from traditional ceramics, jewelry, and fabric as inspiration for creating traveling combinations.
Observation
Lines have shape. If a line isn't perfectly straight, it's curved or angular. When two straight lines intersect, they create an angle. A single line can be used in delineating the finished edge on a piece of fabric or run along the circumference of a bowl, but more decorative border patterns are composed of curved and angular lines. Look at the images in figure 1.1. Do the angles and curves convey movement? Do they have a sense of direction? Do the shapes travel in distinct ways, as the arrow and the wheel do?
Internal Exploration
Use track 1 to explore curved, circular, and spiraling shapes and traveling movements, then track 2 to explore angular, pointed shapes and traveling patterns. It's a simple exploration that warms up the body and mind. Have fun, be playful, try not to repeat, keep moving, and keep discovering.
1. Start in parallel, or neutral, position (shoulders over hips, hips over knees, knees over feet, feet hip-width apart, toes forward).
2. When the music begins (track 1), curve, wiggle, weave, and twist on the spot and travel throughout the room. Over the course of the music, be sure that you use every part of the body to explore curves.
3. Repeat the process, this time exploring angles. Start standing in parallel position; when the music begins (track 2), find as many ways as possible to be angular.
External Exploration
Apply the movement vocabulary from the internal exploration to an external exploration focusing on angular shapes in the air and curved shapes on the floor.
Line up one behind the other in three or four straight lines at one end of the room, as you would do in a technique class. The structure isn't meant to impose conformity; it's simply the safest way to use the space when several people are running and leaping at the same time. It also provides those not moving with a good view of those who are.
Variation 1: Curves
After 4 beats of introductory music (or call out 4 if working in silence), the first person in each line performs a variation on the following:
- Do a forward traveling movement of your choice for 2 to 6 beats.
- Freeze in a curved shape.
- Increase (deepen) the curve (such as rounding the spine, arms, or hands) for a minimum of 4 beats.
- Release it and move forward for 2 to 6 beats.
- Freeze in a different curved shape and deepen it for several more beats for a minimum of 4 beats.
- Release the shape and continue to the far side of the room.
Though the first person in each line starts at the same time, they probably won't finish at the same time. Wait until everyone is finished before the next group begins. Repeat that sequence at least two times, each time employing different circular shapes and move-freeze relationships.
Variation 2: Angles
After 4 beats of introductory music (or count 4 out loud if working in silence), the first person in each line performs the following:
- Run forward (or other quick traveling step).
- Create an angular shape in the air.
- Land and run (or other quick traveling step).
- Create another angular shape in the air.
- Continue running to the far side of the room.
Repeat the sequence at least two times, each time employing different traveling patterns and angular airborne shapes.
Variation 3: Angles and Curves
1. After 4 beats of introductory music (or count 4 out loud if working in silence), the first person in each line performs the following:
- Run forward (or other quick traveling step).
- Create an angular shape in the air.
- Land and travel forward.
- Freeze in a curved shape.
- Increase (tighten) the curve.
- Move (roll, ripple, spin) to the end of the room while maintaining the integrity of the curved shape.
2. Repeat this sequence across the floor twice, each time exploring new relationships. Change the timing, the angular shape, and the curved shape; find new ways of traveling in the curved shape.
Safety Note
While performing, use peripheral vision and avoid interfering with others' movements.
Group Reflection
All of the traveling patterns moved forward, but the curves and angles added inward and outward direction and dynamics.
- Did the internal exploration prepare you for the external exploration? If yes, explain how.
- Did you employ emotional energy or performance dynamics to animate the contrasting shapes? If yes, explain how.
- Did you feel yourself or others become an arrow or a wheel?
Which traveling combinations were the most eye catching? Identify who performed each one, and discuss the elements that made the combination exceptional.
Creation and Presentation
The line drawings in figure 1.2 are examples of patterns used in traditional ceramics, textiles, and jewelry from around the world. The first two designs can be translated into basic traveling steps by employing simple side, front, side, back footwork. For pattern a, the footwork could move in straight lines creating right angles with each direction change. To translate pattern b, the footwork could follow a curved or scalloped line. As a class, try translating patterns a and b and see how many variations you can come up with. (It's interesting to notice that even though pattern b uses curved lines, an angle appears at the frontmost and backmost connections to form points.)
Work in pairs and translate one of the more complicated patterns. Work in silence and explore internal rhythmic patterns to help highlight the angles and curves.
- Look at border patterns c, d, e, and f. Each has unique qualities that translate into movement through creative use of line, shape, spatial relationships, timing, levels, and energy.
- Select a pattern and create a traveling sequence inspired by that border design.
- Just because the patterns are flat doesn't mean the movement pattern should be. Leap, kick, wiggle, and roll. Apply physical and emotional experiences from the previous explorations.
- Take 5 to 10 minutes to work, then sit down in the audience area. One by one, each pair will present their work.
- Before presenting, always announce the border pattern being interpreted.
Final Group Reflection
Use the following questions to initiate a class dialogue.
- Was one pattern a more popular choice than the others? If yes, identify which pattern it was and ask those who selected it to explain why it was more appealing than the others.
- Was one pattern the least popular? If yes, discuss why. (Was it too difficult or uninteresting?) Get everyone's opinion if there was a pattern that no one used and, time permitting, have everyone translate it into movement. Were the results surprising? Did the pattern turn out to be more interesting or less difficult than originally thought?
This is an excerpt from Dance Composition: An Interrelated Arts Approach.
Students explore commonalities among arts through a new approach to learning
This new text uses an innovative approach to help students explore the commonalities among arts.
Translating Traditional Border Patterns Into Movement
This exercise uses border patterns from traditional ceramics, jewelry, and fabric as inspiration for creating traveling combinations.
Observation
Lines have shape. If a line isn't perfectly straight, it's curved or angular. When two straight lines intersect, they create an angle. A single line can be used in delineating the finished edge on a piece of fabric or run along the circumference of a bowl, but more decorative border patterns are composed of curved and angular lines. Look at the images in figure 1.1. Do the angles and curves convey movement? Do they have a sense of direction? Do the shapes travel in distinct ways, as the arrow and the wheel do?
Internal Exploration
Use track 1 to explore curved, circular, and spiraling shapes and traveling movements, then track 2 to explore angular, pointed shapes and traveling patterns. It's a simple exploration that warms up the body and mind. Have fun, be playful, try not to repeat, keep moving, and keep discovering.
1. Start in parallel, or neutral, position (shoulders over hips, hips over knees, knees over feet, feet hip-width apart, toes forward).
2. When the music begins (track 1), curve, wiggle, weave, and twist on the spot and travel throughout the room. Over the course of the music, be sure that you use every part of the body to explore curves.
3. Repeat the process, this time exploring angles. Start standing in parallel position; when the music begins (track 2), find as many ways as possible to be angular.
External Exploration
Apply the movement vocabulary from the internal exploration to an external exploration focusing on angular shapes in the air and curved shapes on the floor.
Line up one behind the other in three or four straight lines at one end of the room, as you would do in a technique class. The structure isn't meant to impose conformity; it's simply the safest way to use the space when several people are running and leaping at the same time. It also provides those not moving with a good view of those who are.
Variation 1: Curves
After 4 beats of introductory music (or call out 4 if working in silence), the first person in each line performs a variation on the following:
- Do a forward traveling movement of your choice for 2 to 6 beats.
- Freeze in a curved shape.
- Increase (deepen) the curve (such as rounding the spine, arms, or hands) for a minimum of 4 beats.
- Release it and move forward for 2 to 6 beats.
- Freeze in a different curved shape and deepen it for several more beats for a minimum of 4 beats.
- Release the shape and continue to the far side of the room.
Though the first person in each line starts at the same time, they probably won't finish at the same time. Wait until everyone is finished before the next group begins. Repeat that sequence at least two times, each time employing different circular shapes and move-freeze relationships.
Variation 2: Angles
After 4 beats of introductory music (or count 4 out loud if working in silence), the first person in each line performs the following:
- Run forward (or other quick traveling step).
- Create an angular shape in the air.
- Land and run (or other quick traveling step).
- Create another angular shape in the air.
- Continue running to the far side of the room.
Repeat the sequence at least two times, each time employing different traveling patterns and angular airborne shapes.
Variation 3: Angles and Curves
1. After 4 beats of introductory music (or count 4 out loud if working in silence), the first person in each line performs the following:
- Run forward (or other quick traveling step).
- Create an angular shape in the air.
- Land and travel forward.
- Freeze in a curved shape.
- Increase (tighten) the curve.
- Move (roll, ripple, spin) to the end of the room while maintaining the integrity of the curved shape.
2. Repeat this sequence across the floor twice, each time exploring new relationships. Change the timing, the angular shape, and the curved shape; find new ways of traveling in the curved shape.
Safety Note
While performing, use peripheral vision and avoid interfering with others' movements.
Group Reflection
All of the traveling patterns moved forward, but the curves and angles added inward and outward direction and dynamics.
- Did the internal exploration prepare you for the external exploration? If yes, explain how.
- Did you employ emotional energy or performance dynamics to animate the contrasting shapes? If yes, explain how.
- Did you feel yourself or others become an arrow or a wheel?
Which traveling combinations were the most eye catching? Identify who performed each one, and discuss the elements that made the combination exceptional.
Creation and Presentation
The line drawings in figure 1.2 are examples of patterns used in traditional ceramics, textiles, and jewelry from around the world. The first two designs can be translated into basic traveling steps by employing simple side, front, side, back footwork. For pattern a, the footwork could move in straight lines creating right angles with each direction change. To translate pattern b, the footwork could follow a curved or scalloped line. As a class, try translating patterns a and b and see how many variations you can come up with. (It's interesting to notice that even though pattern b uses curved lines, an angle appears at the frontmost and backmost connections to form points.)
Work in pairs and translate one of the more complicated patterns. Work in silence and explore internal rhythmic patterns to help highlight the angles and curves.
- Look at border patterns c, d, e, and f. Each has unique qualities that translate into movement through creative use of line, shape, spatial relationships, timing, levels, and energy.
- Select a pattern and create a traveling sequence inspired by that border design.
- Just because the patterns are flat doesn't mean the movement pattern should be. Leap, kick, wiggle, and roll. Apply physical and emotional experiences from the previous explorations.
- Take 5 to 10 minutes to work, then sit down in the audience area. One by one, each pair will present their work.
- Before presenting, always announce the border pattern being interpreted.
Final Group Reflection
Use the following questions to initiate a class dialogue.
- Was one pattern a more popular choice than the others? If yes, identify which pattern it was and ask those who selected it to explain why it was more appealing than the others.
- Was one pattern the least popular? If yes, discuss why. (Was it too difficult or uninteresting?) Get everyone's opinion if there was a pattern that no one used and, time permitting, have everyone translate it into movement. Were the results surprising? Did the pattern turn out to be more interesting or less difficult than originally thought?
This is an excerpt from Dance Composition: An Interrelated Arts Approach.
Students explore commonalities among arts through a new approach to learning
This new text uses an innovative approach to help students explore the commonalities among arts.
Translating Traditional Border Patterns Into Movement
This exercise uses border patterns from traditional ceramics, jewelry, and fabric as inspiration for creating traveling combinations.
Observation
Lines have shape. If a line isn't perfectly straight, it's curved or angular. When two straight lines intersect, they create an angle. A single line can be used in delineating the finished edge on a piece of fabric or run along the circumference of a bowl, but more decorative border patterns are composed of curved and angular lines. Look at the images in figure 1.1. Do the angles and curves convey movement? Do they have a sense of direction? Do the shapes travel in distinct ways, as the arrow and the wheel do?
Internal Exploration
Use track 1 to explore curved, circular, and spiraling shapes and traveling movements, then track 2 to explore angular, pointed shapes and traveling patterns. It's a simple exploration that warms up the body and mind. Have fun, be playful, try not to repeat, keep moving, and keep discovering.
1. Start in parallel, or neutral, position (shoulders over hips, hips over knees, knees over feet, feet hip-width apart, toes forward).
2. When the music begins (track 1), curve, wiggle, weave, and twist on the spot and travel throughout the room. Over the course of the music, be sure that you use every part of the body to explore curves.
3. Repeat the process, this time exploring angles. Start standing in parallel position; when the music begins (track 2), find as many ways as possible to be angular.
External Exploration
Apply the movement vocabulary from the internal exploration to an external exploration focusing on angular shapes in the air and curved shapes on the floor.
Line up one behind the other in three or four straight lines at one end of the room, as you would do in a technique class. The structure isn't meant to impose conformity; it's simply the safest way to use the space when several people are running and leaping at the same time. It also provides those not moving with a good view of those who are.
Variation 1: Curves
After 4 beats of introductory music (or call out 4 if working in silence), the first person in each line performs a variation on the following:
- Do a forward traveling movement of your choice for 2 to 6 beats.
- Freeze in a curved shape.
- Increase (deepen) the curve (such as rounding the spine, arms, or hands) for a minimum of 4 beats.
- Release it and move forward for 2 to 6 beats.
- Freeze in a different curved shape and deepen it for several more beats for a minimum of 4 beats.
- Release the shape and continue to the far side of the room.
Though the first person in each line starts at the same time, they probably won't finish at the same time. Wait until everyone is finished before the next group begins. Repeat that sequence at least two times, each time employing different circular shapes and move-freeze relationships.
Variation 2: Angles
After 4 beats of introductory music (or count 4 out loud if working in silence), the first person in each line performs the following:
- Run forward (or other quick traveling step).
- Create an angular shape in the air.
- Land and run (or other quick traveling step).
- Create another angular shape in the air.
- Continue running to the far side of the room.
Repeat the sequence at least two times, each time employing different traveling patterns and angular airborne shapes.
Variation 3: Angles and Curves
1. After 4 beats of introductory music (or count 4 out loud if working in silence), the first person in each line performs the following:
- Run forward (or other quick traveling step).
- Create an angular shape in the air.
- Land and travel forward.
- Freeze in a curved shape.
- Increase (tighten) the curve.
- Move (roll, ripple, spin) to the end of the room while maintaining the integrity of the curved shape.
2. Repeat this sequence across the floor twice, each time exploring new relationships. Change the timing, the angular shape, and the curved shape; find new ways of traveling in the curved shape.
Safety Note
While performing, use peripheral vision and avoid interfering with others' movements.
Group Reflection
All of the traveling patterns moved forward, but the curves and angles added inward and outward direction and dynamics.
- Did the internal exploration prepare you for the external exploration? If yes, explain how.
- Did you employ emotional energy or performance dynamics to animate the contrasting shapes? If yes, explain how.
- Did you feel yourself or others become an arrow or a wheel?
Which traveling combinations were the most eye catching? Identify who performed each one, and discuss the elements that made the combination exceptional.
Creation and Presentation
The line drawings in figure 1.2 are examples of patterns used in traditional ceramics, textiles, and jewelry from around the world. The first two designs can be translated into basic traveling steps by employing simple side, front, side, back footwork. For pattern a, the footwork could move in straight lines creating right angles with each direction change. To translate pattern b, the footwork could follow a curved or scalloped line. As a class, try translating patterns a and b and see how many variations you can come up with. (It's interesting to notice that even though pattern b uses curved lines, an angle appears at the frontmost and backmost connections to form points.)
Work in pairs and translate one of the more complicated patterns. Work in silence and explore internal rhythmic patterns to help highlight the angles and curves.
- Look at border patterns c, d, e, and f. Each has unique qualities that translate into movement through creative use of line, shape, spatial relationships, timing, levels, and energy.
- Select a pattern and create a traveling sequence inspired by that border design.
- Just because the patterns are flat doesn't mean the movement pattern should be. Leap, kick, wiggle, and roll. Apply physical and emotional experiences from the previous explorations.
- Take 5 to 10 minutes to work, then sit down in the audience area. One by one, each pair will present their work.
- Before presenting, always announce the border pattern being interpreted.
Final Group Reflection
Use the following questions to initiate a class dialogue.
- Was one pattern a more popular choice than the others? If yes, identify which pattern it was and ask those who selected it to explain why it was more appealing than the others.
- Was one pattern the least popular? If yes, discuss why. (Was it too difficult or uninteresting?) Get everyone's opinion if there was a pattern that no one used and, time permitting, have everyone translate it into movement. Were the results surprising? Did the pattern turn out to be more interesting or less difficult than originally thought?
This is an excerpt from Dance Composition: An Interrelated Arts Approach.
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