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Dance Composition Basics-2nd Edition
176 Pages
Dance Composition Basics, Second Edition, doesn’t just feature the works and brilliance of dance and choreographic legends Alonzo King and Dwight Rhoden—it is completely based on the choreographic operations and forms in three of their original works: Chants and Dreamer by King and Verge by Rhoden. All compositional exercises in the book are based on those three works, and the book itself is expertly crafted by Pamela Anderson Sofras, who has 34 years of experience teaching dance at the university level.
Dance Composition Basics, designed for beginning dance composition courses, introduces dancers to choreography through a series of problem-solving activities. The activities are starting points for novice dancers to embark on their own attempts at choreography.
Useful Tools
The book offers several useful tools for instructors:
- 27 lesson plans that draw from and highlight selected portions of original compositions by King and Rhoden
- 33 reproducible assessment and self-evaluation forms
- An instructor guide that includes a sample course syllabus plus written exams for each chapter
- PowerPoint presentations to guide students through each lesson
- A web resource featuring online videos that are closely tied to the lesson plans and provide a richer learning experience for students; students can access this resource inside or outside of class
The videos give students access to Alonzo King and Dwight Rhoden, highly successful and respected choreographers, who share their processes and techniques. Many video clips show the choreographers working on the same movement concepts featured in the corresponding lesson. Students will see the choreographers in action with professional dancers as they develop the movement material for each dance. Because students get to see the choreographers and dancers struggling with the same creative concepts they have been assigned, these clips add tremendous value to Dance Composition.
Book and Web Resource Organization
The text is split into five chapters, each of which features several lessons based on that chapter’s choreographic concept. Each lesson contains the following:
- An introductory statement and a vocabulary list
- A warm-up to prepare the body and focus the mind
- Structured improvisations that help dancers understand the movement concepts of the lesson
- Problem-solving activities that allow dancers to apply the concepts presented in the improvisations
- Discussion questions to engage dancers and promote understanding
- Assessment rubrics to guide evaluation of each dancer’s learning
The main menu of the web resource corresponds with the five chapters in the book. To guide students’ use of the videos, icons have been placed throughout the book, referring readers to additional information in the web resource. Reviewing the videos will provide further insight into the choreographic assignment. The web resource also contains all the discussion questions, assessments, and evaluations found in the book. Instructors can distribute these to students electronically or print them out. Instructors can also adapt the forms to meet their specific needs.
The Learning Process
Dance Composition takes students through a systematic learning process: reading about a concept, discussing the concept, seeing the concept played out on video with professional choreographers and dancers, and exploring the concept through their own movement ideas. Through this process, which includes structured improvisations, students discover a movement vocabulary and original dance phrases. They then more fully develop their movement ideas, with specific movement assignments, and are given feedback by their peers and the instructor.
Invaluable Resource
Dance Composition Basics, Second Edition, is an invaluable resource for dancers of all styles, from ballet to modern jazz, as it introduces them to some of the compositional structures used by professional choreographers. Through the carefully designed lessons in the book and the expert examples on the video clips, students can use this resource to take their first confident and exhilarating steps into the craft of choreography.
Lesson 1 Impulse: Origins of Movement
Lesson 2 Phrase: Linking Movements
Lesson 3 Gesture: Personal Vocabulary of Movement
Lesson 4 Shape: Body Design
Lesson 5 Problem Solving: Creating a Solo
Chapter 2. Space: Exploring the Expanse We Move In
Lesson 1 Air and Floor Pathways: Mapping the Route
Lesson 2 Diagonals: From Corner to Corner
Lesson 3 Symmetry: Balancing Shapes
Lesson 4 Positive and Negative Space: Sharing a Shape
Lesson 5 Balance: Supporting Each Other
Lesson 6 Imitation: Reflecting Each Other
Lesson 7 Problem Solving: Creating a Duet
Chapter 3. Time: Exploring Tempo
Lesson 1 Slow Motion: Dancing in Reverie
Lesson 2 Speed: Learning to Dance Quickly
Lesson 3 Pacing: Combining Different Pulses
Lesson 4 Accelerating: How Fast Can It Go?
Lesson 5 Problem Solving: Creating a Trio
Chapter 4. Energy: Force Generating Movement
Lesson 1 Inertia: Readiness to Move
Lesson 2 Opposites: Contrasting Energies
Lesson 3 Dynamics: Qualities of Movement
Lesson 4 Intensity: Increasing and Decreasing Force
Lesson 5 Problem Solving: Creating a Small-Group Composition
Chapter 5. Choreographic Devices: Creating Finished Compositions
Lesson 1 Call and Response: Antiphonal Movement
Lesson 2 Canon: Dancing in Unison a Few Counts Apart
Lesson 3 Directional Mirroring: Parallel Reflecting and Reverse Reflecting
Lesson 4 Variation: Interweaving and Varying Patterns
Lesson 5 Problem Solving: Creating a Movement Suite
Pamela Anderson Sofras, MEd, is a professor emerita of dance and dance education and was the first chair of the dance department in the College of Arts and Architecture at the University of North Carolina (UNC) at Charlotte. She has 34 years of experience teaching dance at the university level and has taught and developed courses in modern dance technique, composition, and dance education methods. From 1978 to 1990, she was affiliated with the American Dance Festival as a faculty member. She served as assistant, associate dean, and founding director of the American Dance Festival’s School for Young Dancers.
Sofras was part of a team of educators who wrote dance education guidelines for training K-12 dance teachers for North Carolina public schools. She has also developed curriculum materials, supported by state and national grants, for professional arts organizations in New Jersey, North Carolina, Tennessee, and New York. Sofras has been the recipient of six North Carolina Arts Council grant awards to study the choreographic processes of five choreographers as they created works for a professional dance company. The processes were documented and translated into curriculum materials for teachers and for university classes.
A charter member of the National Dance Education Organization (NDEO), Sofras has also been curriculum consultant for North Carolina Dance Theatre (currently the Charlotte Ballet) and a site evaluator for the North Carolina Arts Council grant activities. She has received numerous awards for her contributions to the field of dance education, including the NDEO’s Vision Award; the American Alliance for Health, Physical Education, Recreation and Dance (AAHPERD) College/University Educator of the Year; and the North Carolina Dance Alliance Award. In addition, she received the UNC Service Award in 2002 for her sustained service to public schools. Sofras regularly presents professional development workshops in dance pedagogy for teaching artists and teachers working in public and private schools. Most recently, she has worked with Ballet Met in Columbus, Ohio, and the Alabama Institute for Education in the Arts. She serves as a member of the education committee of the Charlotte Ballet in Charlotte, North Carolina.
Phrase: Linking Movements
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction.
Vocabulary
action word
dance phrase
deconstruction
direct space
energy
flexible space
retrograde
sequence
space
time
transition
Alonzo King demonstrates a movement from a dance phrase to North Carolina Dance Theatre dancers Hernan Justo and Benjamin Westafer.
© Richard Kumery
Introductory Statement
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction. Implicit in action words are the dance elements of time (fast to slow), space (flexible, i.e., curved and indirect, or direct, i.e., straight lines and angles), and energy (strong to light). Words that describe actions provide a base from which to create original dance phrases.
A dance phrase or sequence can be likened to a sentence formed when speaking. Sometimes we refer to dance phrases as movement sequences. For the purpose of this lesson either term is acceptable. Each phrase has a beginning, middle, and end. Movements selected in a dance phrase may flow one to the other naturally or may be connected by a transition movement. Evolving dance sequences from action words is another way to demystify the creative process. Action words lead to the formation of individual dance phrases and provide the framework for further developing those phrases into larger compositional forms. In this lesson, the action words are common terms used in contemporary dance.
Warm-Up and Action-Word Discovery
- Create a warm-up sequence that includes pliés, full-torso movements, leg swings, foot exercises, arm sequences, and small jumps. The warm-up can consist of movement from any style of dance. Name all movements and list them on a chart or blackboard. You may create new words for the actions or use familiar terms such as knee bend or plié.
- Make a list of favorite dance terms and movements, including those from the warm-up, and display the words on a wall chart or blackboard. Brainstorm to come up with as many terms and movements as possible.
- Select 10 words from the list that will become the foundation phrase for this lesson. Write each word on a separate piece of paper and post them in order on the wall.
Structured Improvisations
Improvisation 1: Words Become Action
Create individual phrases based on the 10 action words you selected in the warm-up. All 10 words must be used. Make sure the transitions between words and their associated movements are smooth. Experiment with different levels, directions, and energy as you dance each word movement. Try to interpret each action word in several different ways. For instance does roll always mean to lie on the floor and roll like a log? What other ways can you roll? Make original interpretations for each word.
Example: Chapter 1, Lesson 2A: Building a Phrase
In this video excerpt, Alonzo King introduces his thoughts about learning movement and then demonstrates his process for shaping dance phrases. Dancers from North Carolina Dance Theatre are challenged to interpret the actions that King gives them.
- Assign counts to the separate movements in the phrase so that the phrase is clear. It is especially challenging to make the 10-movement phrase fit into 8 counts.
- Try performing the phrase twice from beginning to end. As you will see in the next improvisation, it is important to be able to repeat selected movement phrases so that you can play with the movement phrase.
Improvisation 2: Retrograde
Example: Chapter 1, Lesson 2B: Can the Phrase Go Backward?
While creating the men's section from Chants, Alonzo King used the process of retrograde (doing a phrase in reverse order) to further develop his choreography. Watch how challenging this process was for the dancers to interpret but how interesting it was compositionally.
- Perform the phrase once more, but this time, start at the end and perform the phrase backward until you end in the beginning shape or movement. Start from the end and go backward through all the words, using the individual cards to help. Post the retrograde version on the wall for reference. Discuss changes that might have to be made in the transitions between the movements.
- Assign counts to this new phrase. Will you use choose 8 counts again?
- Attach this phrase to the previous phrase you created in improvisation 1, Words Become Action.
- Try dancing the original phrase forward, followed immediately by its retrograde.
Improvisation 3: Deconstruction
- Take each of the selected action words from improvisation 1, Words Become Action, and write each one on a separate piece of paper. In a random fashion, perhaps by picking them out of a hat or drawing them like cards, make a new order for the phrase. Each word has a movement previously designed for it, but now each word has moved to another position in the phrase. By changing the movements around, you have deconstructed the phrase and reordered it. Reordering uses the same movements in a different and unexpected way.
- Discuss this process with classmates and the movement choices dancers made in order to reform the phrase.
Problem Solving
Following the Blueprint
- Create an original movement study from the three phrases generated in the previous exercises (see the sidebar for an example).
- Each study will include a core phrase (A), its retrograde (B), and its deconstruction (C). For example:
Core Phrase (A)
Lunge
Roll
Rise
Symmetrical shape
Turn
Hop
Asymmetrical shape
Gallop
Leap
Balance on one leg
Retrograde (B)
Balance on one leg
Leap
Gallop
Asymmetrical shape
Hop
Turn
Symmetrical shape
Rise
Roll
Lunge
Deconstructed (Reordered) (C)
Hop
Lunge
Balance on one leg
Roll
Asymmetrical shape
Leap
Rise
Gallop
Turn
Symmetrical shape
- Make sure the dance study has a clear beginning and ending shape or entrance and exit to and from the stage space.
- Select music for the study. The teacher or dance accompanist may offer suggestions and assistance.
- Perform your studies for your classmates. Audience members should provide feedback. Each dancer will have been working with the same words so the individual transitions and movement choices should be especially interesting to observe.
Two Blueprint Examples1. The form of the study may be a rondo:
A core phrase
B retrograde
A core phrase
C deconstructed phrase
A core phrase
2. The form may be a theme and variations:
Original phrase (A)
Retrograde variation
Deconstructed variation
Original phrase (A)
Example: Chapter 1, Lesson 2C: Men's Dance From Chants
This selection features the men of North Carolina Dance Theatre in a group excerpt from Chants. The excerpt opens with an individual dancer presenting the movement phrase that will be developed throughout the section. He is followed by three dancers performing the same movement but reordered. The trio is followed by another soloist who performs the original movement phrase and inserts one or two new extensions to the movement material. Last, the group dances the phrase, with insertions, together.
Discussion Questions
- How would you define a dance phrase? What does a series of movements need to have in order to be a phrase?
- Is there a difference between a dance phrase and a movement sequence? Explain.
- What other art forms create phrases?
- What did you find challenging about composing a retrograde for a phrase?
Symmetry: Balancing Shapes
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts.
Vocabulary
asymmetry
balance
interpersonal space
mirroring
reflection
reflection line
reverse
symmetry
visual balance
Uri Sands and Edgar Vardanian dance a mirroring sequence in the center of the stage while Nicholle Rochelle dances a solo around them in this section from Verge.
© Rolland Elliott
Introductory Statement
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts. On the stage, the reflection line may divide the space horizontally, creating an upstage side and a downstage side, or vertically, creating a stage-left side and a stage-right side.
Dance movements producing a reflection are called mirroring movements. While mirroring, each dancer or group of dancers claims one side of the divided space. In literal mirroring, a term coined for these lessons, dancers always dance the same movements, as if looking at each other in a mirror. In this case, the dancers face one another with one dancer following the lead of the other using opposite limbs or sides of the body (e.g., dancer A curves to her left; dancer B mirrors by curving his body to his right). Dancers move in exactly the same way and at the same time, as if only one person were moving. When dancers move both sides of their bodies together to create symmetrical shapes, they balance each other in space and produce visual symmetry. If they choose to move only one side of the body, the audience will see asymmetry because the body shape of both dancers is delineated on one side of the body only.
Dancers facing each other may also create lateral mirroring, another term coined for these lessons. In this case, each dancer does the same movement as the partner but uses the same arms and legs (e.g., dancer A curves to her right; dancer B curves to his right). When the dancers move the same side of the body, the audience will see a balanced, symmetrical shape made out of the two sides of the mirror figure. Each dancer becomes one side of the observed shape. In this kind of mirroring, symmetry is always observed.
Both types of mirroring provide a satisfying visual balance and use of space. Observers become aware of the concept of interpersonal space, or the space and spatial relationships activated between two or more people. In this lesson, dancers will explore literal as well as lateral mirroring.
Warm-Up: Mirroring
- Select one dancer as leader to improvise a literal mirroring warm-up that may include material from the previous lessons: successions, isolations, body-part leading, and inward and outward rotation with gestures. The other dancers or followers should try to mirror the leader in terms of time, space, and energy. Music to complement the exercise should be in a tempo that will allow maximum dancer focus on the selected movements.
- In pairs, explore literal mirroring with one leader and one follower. Dancers remain in one place but vary levels and speeds and find several still shapes. Music to accompany the exercise should now be varied. Try the improvisation with four different types of music. Both partner A and partner B should have a chance to lead.
Structured Improvisations
Improvisation 1: Drawing a Mirrored Shape
- Study the sample graph reflection (see figure 2.5). Take a piece of graph paper, a pencil, and a ruler and draw a reflecting line down the center of the paper vertically. Draw a geometric figure on one side of the line and then draw its exact reflection on the other side using line segments, points, perpendicular lines, parallel lines, and diagonals. Study the symmetry of the figures. Turn the paper so that the reflecting line is horizontal. Compare how the figure looks from this vantage point with the original facing.
FIGURE 2.5 Sample graph reflection. - Share your graphs with the rest of the class. How might mirrored movement phrases be perceived by an audience? How do we as dancers perceive symmetry while moving? What makes something symmetrical?
Improvisation 2: Reflection Sequence
- Individually, develop a 16-count sequence of movement that uses material from a previous lesson. For example, the gesture sequence from chapter 1, lesson 3, would be fun to use. Find your mirroring partner. Teach each other the 16-count phrases so that when finished, each pair has a 32-count phrase (16 counts from each partner). Partners should begin with the same arm and leg so that they are always using the same side of the body. Practice the 32-count phrase to make sure both dancers can perform it from memory.
- Face each other and perform the 32-count sequence in a lateral mirroring fashion. Both partners will perform the phrase as they learned it, starting on the same side of the body. This time the movement will seem different because the partners are now facing each other. Symmetry is produced because movement on both sides of the figure is seen simultaneously when viewed front to back. Discuss the ease or difficulty of this exercise.
Example: Chapter 2, Lesson 3A: Mirroring
In Verge, Dwight Rhoden created two lead characters: the Impulse, whom we met in chapter 1, and the Alter Ego. In this example the Impulse and the Alter Ego demonstrate lateral mirroring. The dancers are doing the same movement facing each other but are using the same arms and legs so that the shapes they make in space are symmetrical. Note the small and full body gestures.
- Present each lateral mirroring sequence to the class. First, place the reflection line horizontally, dividing the stage space into upstage and downstage. Each dancer should stand on one side of the line facing each other. The audience will see the back of one dancer and the front of the other. Next, place the reflecting line vertically so that the stage is divided into stage right and stage left and each dancer faces a side wall. The audience will see the sides of the dancers. In the first instance the audience will see the movement from the front and the second instance from the side. Discuss with the audience how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 3: Looking in the Mirror
- Create a variation of the lateral mirroring sequence with literal mirroring. In this variation, both partners will use the same arms and legs while doing the movement phrase facing each other (horizontal reflection line). The dancer who is following will have to reverse beginning sides when starting each movement. Practice your 32-count sequence from the lateral mirroring exercise in this manner. Each partner must do the movement with the opposite arm and leg. This process will produce spatial asymmetry because only one side of a figure in space will be observed.
- Present each literal mirroring sequence to the class. Next, place the reflecting line vertically so that each dancer faces a side wall. Dance the same literal mirroring movements just danced with the horizontal reflecting line. In the first instance the audience saw the movement from the front, in the second instance from the side. Discuss how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 4: Side by Side
Using the same 32-count movement phrase created for improvisation 3, dance it standing side by side, both dancers facing the audience or front. To achieve symmetry, each dancer must begin with the opposite side or limbs of the body. The reflection line is vertical, dividing the stage in two halves, left and right. In this relationship, the dancer on stage left will begin with the left foot and the dancer on stage right will begin with the right foot. Is it easier or harder to remain in unison? How does this exercise relate to the graphed forms drawn earlier?
Example: Chapter 2, Lesson 3B: Opening and Closing Duet
Alonzo King uses the compositional device of mirroring in his work Dreamer. In this example, we can see lateral mirroring front to back, side by side, and back to back. The reflection line is always horizontal, however. Watch how the relationship between dancers evolves as facings change.
Improvisation 5: Back to Back
Using the same 32-count movement phrase previously explored, dance it while standing back to back. First, perform it as a literal mirroring sequence using the opposite arms and legs, then try a lateral mirroring sequence using same arms and legs. Perform your sequences for the class. Place the reflection line horizontally, dividing the stage into upstage and downstage halves. One dancer will face the front, the other will face the back wall. Discuss with classmates which of the two types of mirroring, literal or lateral, is most interesting visually. How might a choreographer use this type of back-to-back mirroring?
Example: Chapter 2, Lesson 3C: Back to Back
In this example from Verge, watch the two dancers in the center dance the same movement with the same arms and legs but starting back to back. The reflection line is horizontal and the dancers face away from each other. This relationship gives the illusion that the dancers are moving away from and toward the center of the stage. One dancer moves toward the audience as the other moves away.
- Perform the different mirroring variations from improvisations 2 through 5. Each pair should choose one or more of the variations to perform. With your partner, decide how to place the reflection line to divide the stage. Discuss with classmates which of the mirroring variations is most interesting and why.
Problem Solving
Example: Chapter 2, Lesson 3D: At the Bull's-Eye
In Verge, the Alter Ego mimics the movements of the Impulse, especially as he enters the center of the target. In this example, we see both characters performing a mirroring sequence that begins with symmetrical arm, leg, and body movement followed by literal and lateral mirroring gestures. The stage is bisected by a horizontal reflection line so that we see one dancer from the back and the other from the front. They are standing as if looking in a mirror.
Reflection Duets
- In partners, design a Reflection duet inspired by the movement material explored in improvisations 2 through 5, which can serve as a starting point for a new series of 32 counts.
- Design the sequence using literal mirroring (section A). Repeat the sequence using lateral mirroring (section B). Perform the phrase a third time, mixing and matching literal and lateral mirroring (section C). Try the sequences facing each other, back to back, or side by side. Decide which facing is appropriate for each sequence. Also decide where the reflection line should be for each group of 32 counts so that the material will appear the most interesting to the audience. At least one section should show the stage space divided horizontally, one vertically, and one a combination of the two. The study should be at least 1 minute long.
Sample Phrase
A = Literal mirroring, 32 counts, horizontal reflection line, dancers are face to face
B = Lateral mirroring, 32 counts, vertical reflection line, dancers are face to face
C = Lateral mirroring back to back and side to side, 32 counts, horizontal reflection line
Discussion Questions
- When we look in a mirror, do we see ourselves as others see us or are we reversed?
- To mirror someone, what must we do?
- What happens when mirroring partners do the same movement starting with the same-side arms and legs? How is this different from traditional mirroring?
- Are some kinds of movements easier or harder to do with a mirroring partner?
- Is it possible to make mirroring shapes?
- How is symmetry achieved in mirroring?
Dynamics: Qualities of Movement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement.
Vocabulary
collapsed
dynamic
qualities
dynamics
energy
percussive
suspended
sustained
swinging
vibratory
Uri Sands, the Impulse, is suspended high above the ground after executing a strong percussive jump. The other dancers collapse and sink under him in curved shapes.
© Rolland Elliott
Introductory Statement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement. Specifically, in dance we identify six dynamic qualities: sustained, percussive, swinging, suspended, collapsed, and vibratory.
Sustained = slow, smooth, continuous, even
Percussive = sudden, sharp, choppy, jagged
Swinging = sway, to and fro, pendulum, undercurve
Suspended = stillness, balance, high point
Collapsed = fall, release, relax
Vibratory = shake, tremble, wiggle
Warm-Up and Quality Definitions
Example: Chapter 4, Lesson 3A: Describing a Quality
Alonzo King wanted specific dynamic qualities expressed in movement while choreographing Dreamer. In this example, watch King describe and demonstrate a percussive movement phrase and the dancers show percussiveness in their bodies.
Warm up by moving within each quality:
Swinging (using legs, then arms, then whole body)
Collapsed (swing a leg up, then collapse the body over it; repeat, alternating legs)
Sustained (melt gradually all the way to the floor until finishing in a stretched shape)
Percussive (rise quickly and begin a rhythmic step-clap-stamp phrase)
Suspended (rise to relevé on both feet and allow arms to follow; find a point of balance, balance on one foot)
Vibratory (begin a soft beating of the feet on the floor and allow the vibration to move up through the body like a volcano until it erupts out through the fingers)
Structured Improvisations
Improvisation 1: Moving Energy
Using a simple walk, explore moving through space using the dynamic qualities (see list). Discuss how the walk changes when a specific dynamic motivates the movement. How does the tempo alter with each quality? Which qualities can be performed with light energy? Which ones require strength?
Sample Locomotor and Nonlocomotor Sequence
Swinging legs with forward steps
Sustained arm stretch
Percussive jumps
Vibratory beating
Collapsing low walk
Suspended breathing
Example: Chapter 4, Lesson 3B: Sustained Movement
In this excerpt, Alonzo King works with dancer Amy Earnest to create slow, sustained movement for a section of Dreamer.
Improvisation 2: Sharing Qualities
- Divide into two groups. Half will dance, half will be the audience. One member of the audience will call out a dynamic quality. The dancers will move in general space in the quality that is called out. Continue in one quality until another is called out randomly. Call out in unexpected ways, slowly and quickly. Explore each quality with both nonlocomotor and locomotor movement.
- Exchange roles until everyone has improvised movement phrases in each quality, quickly changing qualities as they are called out.
- Discuss feelings or emotions that are implied by the different movement qualities and list them on a chart (an example follows).
Movement Qualities
Swinging legs—regularity, evenness
Sustained, stretched arms—laziness, calm
Percussive jumps—happiness, joy, excitement
Vibratory beating—anger, resentment
Collapsing walks—defeat, failure, grief
Suspended breath—anticipation, surprise
Problem Solving
- In a hat, place slips of paper with one dynamic quality written on each piece. Draw one slip of paper from the hat and find two other partners to make a trio. Together look at the three slips of paper. The problem is to create a Dynamic Quality study using only the three qualities selected. The challenge is to find a way to transition between the qualities in a convincing way so that the study is cohesive. The study should be at least 1 minute long. The study should have a clear beginning and ending shape and use both locomotor and nonlocomotor movements.
- Perform the Dynamic Quality studies for each other. Audience members should identify the dynamic qualities chosen. Discuss how it feels to spend a specific amount of time in only one movement quality. Do we do this in natural movement?
Discussion Questions
- In your own words, define energy. Find your own definitions for each of the dynamic qualities.
- When might you move naturally in a percussive way?
- Do emotional states affect how we use energy in movement?
- List different action words that could describe each of the six qualities.
Problem Solving: Creating a Movement Suite
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key.
During the five chapters of this book, dancers have been challenged to reach toward the target of dance composition. In this final assignment, dancers will meet their target like Uri Sands meets the target in Verge, with energy and grace, knowing that the end of this journey is near.
Vocabulary
allemande
contrast
courante
duple meter
galliard
gigue
optional dance
pavane
saraband
suite
tempo
theme
triple meter
Uri Sands confronting the target from Dwight Rhoden's Verge.
© Rolland Elliott
Introductory Statement
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key. For the sake of variety, suites followed this pattern: a slow dance (in the Renaissance and earlier times it was called basse danse) followed by a faster, jumpy dance (haute danse). In the early 17th century, the dances that fitted that mold were the pavane, in slow duple meter, and the galliard, in fast triple meter. By the end of the 17th century, the suite followed this highly stylized schema:
Allemande (moderate tempo, in 4/4)
Courante (moderately fast, in 6/4)
Saraband (very slow, in 3/4)
Gigue (very fast, in 6/8, compound time)
Often different dances, also called optional dances, were included between the four basic dances. Such dances included the minuet (3/4), gavotte (2/4), and bourree (2/4), among others.
The convention for presenting the overall form of each dance was as follows: A (the first section of the piece, presenting the theme) followed by B (the second section, which developed in a contrasting way to theme A). Therefore, the scheme read as AB. Often each section was repeated as AABB. Sections A and B might have the same number of musical measures, or B could have a few more musical measures.Throughout the lessons in this book, dancers have used AB form and contrasting movement materials to build their studies, such as in chapter 2, lesson 2; chapter 3, lesson 4; and chapter 4, lesson 2.
After 1750 the traditional Baroque suite became extinct. It was absorbed by common classical forms such as the divertimento, cassation, and sonata. Revivals of the suite as a musical form occurred in the late 19th century and even reappeared in the 20th century. In dance, suites are often used by contemporary choreographers who wish to create abstract, sectional dance works. Alonzo King's Chants is an example of a work in suite form. The work is accompanied by different African songs and chants. The order of the songs and the dance sections were chosen by King and reflect contrasting tempos and qualities. The sections are quite different from each other and they feature anything from large-group dances with many voices accompanying the movement, to solos and duets with only one or two singers.
Following the form of the dance suite and inspired by Chants, dancers will create group works that are made up of two to four independent contrasting sections, alternating slow and fast. Each section should use movement phrases and dynamics and groupings that are different from the previous section.
The work should have a central theme to guide movement choices, but the theme can be abstract or nonliteral, such as colors, environments, animals, birds, or creatures in the sea.
Problem Solving
Example: Chapter 5, Lesson 5A: Suite From Chants (Excerpts)
Included in this example are four sections from Alonzo King's Chants. The sections are not in the order of the original dance but have been placed in this order to provide a model for the creative problem that follows. Alonzo King's original suite included 10 different dance sections.
The selected sections are as follows:
- “N'Diouk Tabala Wolof”—A quick men's dance in varied rhythms
- “Yofo Yo”—A weight-sharing, counterbalanced duet for two women
- “N'terole”—A solo featuring acceleration in music and dance
- “Women of Butela”—A quick dance for women, alternating solo with group
- One choreographer will choose a cast of four to six dancers to create a suite of four separate sections. All of the class members should have a role as either choreographer or dancer. If necessary, dancers from outside the class may be used so that all choreographers have four to six dancers as a cast. A movement theme should guide the development of the movement ideas and the choice of music. Each choreographer should use movement material or choreographic operations developed in previous chapters of this book.
Section 1. Quick; full-group dance; duple in 4s.
AB form with two separate types of movement. Choreographers may wish to construct movement sentences of different action words to assure variety.
Section 2. Slow; duet; triple in 3s.
Theme and variations (A, A1, A2, A3, A).
Shapes and sharing weight.
Section 3. Trio; combination of different pulses; duple using half time and double time.
Locomotor and nonlocomotor movement should be designed for each dancer but each dancer should dance to a different beat (pulse, half time, double time).
Section 4. Full group dancing, accelerating and retarding movement; phrases are duple or triple. This is followed by (A) selected gestures evolving into movement phrases showing different movement qualities, and (B) creating an AB form with two types of movement. The theme of the B subsection should take a longer amount of time to complete in order to create a closing for the work. There may be a retard at the end of the work to allow for an ending.
- Assess the process by making a video recording of the work. Watch and critique the work, discussing compositional choices.
Phrase: Linking Movements
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction.
Vocabulary
action word
dance phrase
deconstruction
direct space
energy
flexible space
retrograde
sequence
space
time
transition
Alonzo King demonstrates a movement from a dance phrase to North Carolina Dance Theatre dancers Hernan Justo and Benjamin Westafer.
© Richard Kumery
Introductory Statement
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction. Implicit in action words are the dance elements of time (fast to slow), space (flexible, i.e., curved and indirect, or direct, i.e., straight lines and angles), and energy (strong to light). Words that describe actions provide a base from which to create original dance phrases.
A dance phrase or sequence can be likened to a sentence formed when speaking. Sometimes we refer to dance phrases as movement sequences. For the purpose of this lesson either term is acceptable. Each phrase has a beginning, middle, and end. Movements selected in a dance phrase may flow one to the other naturally or may be connected by a transition movement. Evolving dance sequences from action words is another way to demystify the creative process. Action words lead to the formation of individual dance phrases and provide the framework for further developing those phrases into larger compositional forms. In this lesson, the action words are common terms used in contemporary dance.
Warm-Up and Action-Word Discovery
- Create a warm-up sequence that includes pliés, full-torso movements, leg swings, foot exercises, arm sequences, and small jumps. The warm-up can consist of movement from any style of dance. Name all movements and list them on a chart or blackboard. You may create new words for the actions or use familiar terms such as knee bend or plié.
- Make a list of favorite dance terms and movements, including those from the warm-up, and display the words on a wall chart or blackboard. Brainstorm to come up with as many terms and movements as possible.
- Select 10 words from the list that will become the foundation phrase for this lesson. Write each word on a separate piece of paper and post them in order on the wall.
Structured Improvisations
Improvisation 1: Words Become Action
Create individual phrases based on the 10 action words you selected in the warm-up. All 10 words must be used. Make sure the transitions between words and their associated movements are smooth. Experiment with different levels, directions, and energy as you dance each word movement. Try to interpret each action word in several different ways. For instance does roll always mean to lie on the floor and roll like a log? What other ways can you roll? Make original interpretations for each word.
Example: Chapter 1, Lesson 2A: Building a Phrase
In this video excerpt, Alonzo King introduces his thoughts about learning movement and then demonstrates his process for shaping dance phrases. Dancers from North Carolina Dance Theatre are challenged to interpret the actions that King gives them.
- Assign counts to the separate movements in the phrase so that the phrase is clear. It is especially challenging to make the 10-movement phrase fit into 8 counts.
- Try performing the phrase twice from beginning to end. As you will see in the next improvisation, it is important to be able to repeat selected movement phrases so that you can play with the movement phrase.
Improvisation 2: Retrograde
Example: Chapter 1, Lesson 2B: Can the Phrase Go Backward?
While creating the men's section from Chants, Alonzo King used the process of retrograde (doing a phrase in reverse order) to further develop his choreography. Watch how challenging this process was for the dancers to interpret but how interesting it was compositionally.
- Perform the phrase once more, but this time, start at the end and perform the phrase backward until you end in the beginning shape or movement. Start from the end and go backward through all the words, using the individual cards to help. Post the retrograde version on the wall for reference. Discuss changes that might have to be made in the transitions between the movements.
- Assign counts to this new phrase. Will you use choose 8 counts again?
- Attach this phrase to the previous phrase you created in improvisation 1, Words Become Action.
- Try dancing the original phrase forward, followed immediately by its retrograde.
Improvisation 3: Deconstruction
- Take each of the selected action words from improvisation 1, Words Become Action, and write each one on a separate piece of paper. In a random fashion, perhaps by picking them out of a hat or drawing them like cards, make a new order for the phrase. Each word has a movement previously designed for it, but now each word has moved to another position in the phrase. By changing the movements around, you have deconstructed the phrase and reordered it. Reordering uses the same movements in a different and unexpected way.
- Discuss this process with classmates and the movement choices dancers made in order to reform the phrase.
Problem Solving
Following the Blueprint
- Create an original movement study from the three phrases generated in the previous exercises (see the sidebar for an example).
- Each study will include a core phrase (A), its retrograde (B), and its deconstruction (C). For example:
Core Phrase (A)
Lunge
Roll
Rise
Symmetrical shape
Turn
Hop
Asymmetrical shape
Gallop
Leap
Balance on one leg
Retrograde (B)
Balance on one leg
Leap
Gallop
Asymmetrical shape
Hop
Turn
Symmetrical shape
Rise
Roll
Lunge
Deconstructed (Reordered) (C)
Hop
Lunge
Balance on one leg
Roll
Asymmetrical shape
Leap
Rise
Gallop
Turn
Symmetrical shape
- Make sure the dance study has a clear beginning and ending shape or entrance and exit to and from the stage space.
- Select music for the study. The teacher or dance accompanist may offer suggestions and assistance.
- Perform your studies for your classmates. Audience members should provide feedback. Each dancer will have been working with the same words so the individual transitions and movement choices should be especially interesting to observe.
Two Blueprint Examples1. The form of the study may be a rondo:
A core phrase
B retrograde
A core phrase
C deconstructed phrase
A core phrase
2. The form may be a theme and variations:
Original phrase (A)
Retrograde variation
Deconstructed variation
Original phrase (A)
Example: Chapter 1, Lesson 2C: Men's Dance From Chants
This selection features the men of North Carolina Dance Theatre in a group excerpt from Chants. The excerpt opens with an individual dancer presenting the movement phrase that will be developed throughout the section. He is followed by three dancers performing the same movement but reordered. The trio is followed by another soloist who performs the original movement phrase and inserts one or two new extensions to the movement material. Last, the group dances the phrase, with insertions, together.
Discussion Questions
- How would you define a dance phrase? What does a series of movements need to have in order to be a phrase?
- Is there a difference between a dance phrase and a movement sequence? Explain.
- What other art forms create phrases?
- What did you find challenging about composing a retrograde for a phrase?
Symmetry: Balancing Shapes
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts.
Vocabulary
asymmetry
balance
interpersonal space
mirroring
reflection
reflection line
reverse
symmetry
visual balance
Uri Sands and Edgar Vardanian dance a mirroring sequence in the center of the stage while Nicholle Rochelle dances a solo around them in this section from Verge.
© Rolland Elliott
Introductory Statement
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts. On the stage, the reflection line may divide the space horizontally, creating an upstage side and a downstage side, or vertically, creating a stage-left side and a stage-right side.
Dance movements producing a reflection are called mirroring movements. While mirroring, each dancer or group of dancers claims one side of the divided space. In literal mirroring, a term coined for these lessons, dancers always dance the same movements, as if looking at each other in a mirror. In this case, the dancers face one another with one dancer following the lead of the other using opposite limbs or sides of the body (e.g., dancer A curves to her left; dancer B mirrors by curving his body to his right). Dancers move in exactly the same way and at the same time, as if only one person were moving. When dancers move both sides of their bodies together to create symmetrical shapes, they balance each other in space and produce visual symmetry. If they choose to move only one side of the body, the audience will see asymmetry because the body shape of both dancers is delineated on one side of the body only.
Dancers facing each other may also create lateral mirroring, another term coined for these lessons. In this case, each dancer does the same movement as the partner but uses the same arms and legs (e.g., dancer A curves to her right; dancer B curves to his right). When the dancers move the same side of the body, the audience will see a balanced, symmetrical shape made out of the two sides of the mirror figure. Each dancer becomes one side of the observed shape. In this kind of mirroring, symmetry is always observed.
Both types of mirroring provide a satisfying visual balance and use of space. Observers become aware of the concept of interpersonal space, or the space and spatial relationships activated between two or more people. In this lesson, dancers will explore literal as well as lateral mirroring.
Warm-Up: Mirroring
- Select one dancer as leader to improvise a literal mirroring warm-up that may include material from the previous lessons: successions, isolations, body-part leading, and inward and outward rotation with gestures. The other dancers or followers should try to mirror the leader in terms of time, space, and energy. Music to complement the exercise should be in a tempo that will allow maximum dancer focus on the selected movements.
- In pairs, explore literal mirroring with one leader and one follower. Dancers remain in one place but vary levels and speeds and find several still shapes. Music to accompany the exercise should now be varied. Try the improvisation with four different types of music. Both partner A and partner B should have a chance to lead.
Structured Improvisations
Improvisation 1: Drawing a Mirrored Shape
- Study the sample graph reflection (see figure 2.5). Take a piece of graph paper, a pencil, and a ruler and draw a reflecting line down the center of the paper vertically. Draw a geometric figure on one side of the line and then draw its exact reflection on the other side using line segments, points, perpendicular lines, parallel lines, and diagonals. Study the symmetry of the figures. Turn the paper so that the reflecting line is horizontal. Compare how the figure looks from this vantage point with the original facing.
FIGURE 2.5 Sample graph reflection. - Share your graphs with the rest of the class. How might mirrored movement phrases be perceived by an audience? How do we as dancers perceive symmetry while moving? What makes something symmetrical?
Improvisation 2: Reflection Sequence
- Individually, develop a 16-count sequence of movement that uses material from a previous lesson. For example, the gesture sequence from chapter 1, lesson 3, would be fun to use. Find your mirroring partner. Teach each other the 16-count phrases so that when finished, each pair has a 32-count phrase (16 counts from each partner). Partners should begin with the same arm and leg so that they are always using the same side of the body. Practice the 32-count phrase to make sure both dancers can perform it from memory.
- Face each other and perform the 32-count sequence in a lateral mirroring fashion. Both partners will perform the phrase as they learned it, starting on the same side of the body. This time the movement will seem different because the partners are now facing each other. Symmetry is produced because movement on both sides of the figure is seen simultaneously when viewed front to back. Discuss the ease or difficulty of this exercise.
Example: Chapter 2, Lesson 3A: Mirroring
In Verge, Dwight Rhoden created two lead characters: the Impulse, whom we met in chapter 1, and the Alter Ego. In this example the Impulse and the Alter Ego demonstrate lateral mirroring. The dancers are doing the same movement facing each other but are using the same arms and legs so that the shapes they make in space are symmetrical. Note the small and full body gestures.
- Present each lateral mirroring sequence to the class. First, place the reflection line horizontally, dividing the stage space into upstage and downstage. Each dancer should stand on one side of the line facing each other. The audience will see the back of one dancer and the front of the other. Next, place the reflecting line vertically so that the stage is divided into stage right and stage left and each dancer faces a side wall. The audience will see the sides of the dancers. In the first instance the audience will see the movement from the front and the second instance from the side. Discuss with the audience how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 3: Looking in the Mirror
- Create a variation of the lateral mirroring sequence with literal mirroring. In this variation, both partners will use the same arms and legs while doing the movement phrase facing each other (horizontal reflection line). The dancer who is following will have to reverse beginning sides when starting each movement. Practice your 32-count sequence from the lateral mirroring exercise in this manner. Each partner must do the movement with the opposite arm and leg. This process will produce spatial asymmetry because only one side of a figure in space will be observed.
- Present each literal mirroring sequence to the class. Next, place the reflecting line vertically so that each dancer faces a side wall. Dance the same literal mirroring movements just danced with the horizontal reflecting line. In the first instance the audience saw the movement from the front, in the second instance from the side. Discuss how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 4: Side by Side
Using the same 32-count movement phrase created for improvisation 3, dance it standing side by side, both dancers facing the audience or front. To achieve symmetry, each dancer must begin with the opposite side or limbs of the body. The reflection line is vertical, dividing the stage in two halves, left and right. In this relationship, the dancer on stage left will begin with the left foot and the dancer on stage right will begin with the right foot. Is it easier or harder to remain in unison? How does this exercise relate to the graphed forms drawn earlier?
Example: Chapter 2, Lesson 3B: Opening and Closing Duet
Alonzo King uses the compositional device of mirroring in his work Dreamer. In this example, we can see lateral mirroring front to back, side by side, and back to back. The reflection line is always horizontal, however. Watch how the relationship between dancers evolves as facings change.
Improvisation 5: Back to Back
Using the same 32-count movement phrase previously explored, dance it while standing back to back. First, perform it as a literal mirroring sequence using the opposite arms and legs, then try a lateral mirroring sequence using same arms and legs. Perform your sequences for the class. Place the reflection line horizontally, dividing the stage into upstage and downstage halves. One dancer will face the front, the other will face the back wall. Discuss with classmates which of the two types of mirroring, literal or lateral, is most interesting visually. How might a choreographer use this type of back-to-back mirroring?
Example: Chapter 2, Lesson 3C: Back to Back
In this example from Verge, watch the two dancers in the center dance the same movement with the same arms and legs but starting back to back. The reflection line is horizontal and the dancers face away from each other. This relationship gives the illusion that the dancers are moving away from and toward the center of the stage. One dancer moves toward the audience as the other moves away.
- Perform the different mirroring variations from improvisations 2 through 5. Each pair should choose one or more of the variations to perform. With your partner, decide how to place the reflection line to divide the stage. Discuss with classmates which of the mirroring variations is most interesting and why.
Problem Solving
Example: Chapter 2, Lesson 3D: At the Bull's-Eye
In Verge, the Alter Ego mimics the movements of the Impulse, especially as he enters the center of the target. In this example, we see both characters performing a mirroring sequence that begins with symmetrical arm, leg, and body movement followed by literal and lateral mirroring gestures. The stage is bisected by a horizontal reflection line so that we see one dancer from the back and the other from the front. They are standing as if looking in a mirror.
Reflection Duets
- In partners, design a Reflection duet inspired by the movement material explored in improvisations 2 through 5, which can serve as a starting point for a new series of 32 counts.
- Design the sequence using literal mirroring (section A). Repeat the sequence using lateral mirroring (section B). Perform the phrase a third time, mixing and matching literal and lateral mirroring (section C). Try the sequences facing each other, back to back, or side by side. Decide which facing is appropriate for each sequence. Also decide where the reflection line should be for each group of 32 counts so that the material will appear the most interesting to the audience. At least one section should show the stage space divided horizontally, one vertically, and one a combination of the two. The study should be at least 1 minute long.
Sample Phrase
A = Literal mirroring, 32 counts, horizontal reflection line, dancers are face to face
B = Lateral mirroring, 32 counts, vertical reflection line, dancers are face to face
C = Lateral mirroring back to back and side to side, 32 counts, horizontal reflection line
Discussion Questions
- When we look in a mirror, do we see ourselves as others see us or are we reversed?
- To mirror someone, what must we do?
- What happens when mirroring partners do the same movement starting with the same-side arms and legs? How is this different from traditional mirroring?
- Are some kinds of movements easier or harder to do with a mirroring partner?
- Is it possible to make mirroring shapes?
- How is symmetry achieved in mirroring?
Dynamics: Qualities of Movement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement.
Vocabulary
collapsed
dynamic
qualities
dynamics
energy
percussive
suspended
sustained
swinging
vibratory
Uri Sands, the Impulse, is suspended high above the ground after executing a strong percussive jump. The other dancers collapse and sink under him in curved shapes.
© Rolland Elliott
Introductory Statement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement. Specifically, in dance we identify six dynamic qualities: sustained, percussive, swinging, suspended, collapsed, and vibratory.
Sustained = slow, smooth, continuous, even
Percussive = sudden, sharp, choppy, jagged
Swinging = sway, to and fro, pendulum, undercurve
Suspended = stillness, balance, high point
Collapsed = fall, release, relax
Vibratory = shake, tremble, wiggle
Warm-Up and Quality Definitions
Example: Chapter 4, Lesson 3A: Describing a Quality
Alonzo King wanted specific dynamic qualities expressed in movement while choreographing Dreamer. In this example, watch King describe and demonstrate a percussive movement phrase and the dancers show percussiveness in their bodies.
Warm up by moving within each quality:
Swinging (using legs, then arms, then whole body)
Collapsed (swing a leg up, then collapse the body over it; repeat, alternating legs)
Sustained (melt gradually all the way to the floor until finishing in a stretched shape)
Percussive (rise quickly and begin a rhythmic step-clap-stamp phrase)
Suspended (rise to relevé on both feet and allow arms to follow; find a point of balance, balance on one foot)
Vibratory (begin a soft beating of the feet on the floor and allow the vibration to move up through the body like a volcano until it erupts out through the fingers)
Structured Improvisations
Improvisation 1: Moving Energy
Using a simple walk, explore moving through space using the dynamic qualities (see list). Discuss how the walk changes when a specific dynamic motivates the movement. How does the tempo alter with each quality? Which qualities can be performed with light energy? Which ones require strength?
Sample Locomotor and Nonlocomotor Sequence
Swinging legs with forward steps
Sustained arm stretch
Percussive jumps
Vibratory beating
Collapsing low walk
Suspended breathing
Example: Chapter 4, Lesson 3B: Sustained Movement
In this excerpt, Alonzo King works with dancer Amy Earnest to create slow, sustained movement for a section of Dreamer.
Improvisation 2: Sharing Qualities
- Divide into two groups. Half will dance, half will be the audience. One member of the audience will call out a dynamic quality. The dancers will move in general space in the quality that is called out. Continue in one quality until another is called out randomly. Call out in unexpected ways, slowly and quickly. Explore each quality with both nonlocomotor and locomotor movement.
- Exchange roles until everyone has improvised movement phrases in each quality, quickly changing qualities as they are called out.
- Discuss feelings or emotions that are implied by the different movement qualities and list them on a chart (an example follows).
Movement Qualities
Swinging legs—regularity, evenness
Sustained, stretched arms—laziness, calm
Percussive jumps—happiness, joy, excitement
Vibratory beating—anger, resentment
Collapsing walks—defeat, failure, grief
Suspended breath—anticipation, surprise
Problem Solving
- In a hat, place slips of paper with one dynamic quality written on each piece. Draw one slip of paper from the hat and find two other partners to make a trio. Together look at the three slips of paper. The problem is to create a Dynamic Quality study using only the three qualities selected. The challenge is to find a way to transition between the qualities in a convincing way so that the study is cohesive. The study should be at least 1 minute long. The study should have a clear beginning and ending shape and use both locomotor and nonlocomotor movements.
- Perform the Dynamic Quality studies for each other. Audience members should identify the dynamic qualities chosen. Discuss how it feels to spend a specific amount of time in only one movement quality. Do we do this in natural movement?
Discussion Questions
- In your own words, define energy. Find your own definitions for each of the dynamic qualities.
- When might you move naturally in a percussive way?
- Do emotional states affect how we use energy in movement?
- List different action words that could describe each of the six qualities.
Problem Solving: Creating a Movement Suite
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key.
During the five chapters of this book, dancers have been challenged to reach toward the target of dance composition. In this final assignment, dancers will meet their target like Uri Sands meets the target in Verge, with energy and grace, knowing that the end of this journey is near.
Vocabulary
allemande
contrast
courante
duple meter
galliard
gigue
optional dance
pavane
saraband
suite
tempo
theme
triple meter
Uri Sands confronting the target from Dwight Rhoden's Verge.
© Rolland Elliott
Introductory Statement
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key. For the sake of variety, suites followed this pattern: a slow dance (in the Renaissance and earlier times it was called basse danse) followed by a faster, jumpy dance (haute danse). In the early 17th century, the dances that fitted that mold were the pavane, in slow duple meter, and the galliard, in fast triple meter. By the end of the 17th century, the suite followed this highly stylized schema:
Allemande (moderate tempo, in 4/4)
Courante (moderately fast, in 6/4)
Saraband (very slow, in 3/4)
Gigue (very fast, in 6/8, compound time)
Often different dances, also called optional dances, were included between the four basic dances. Such dances included the minuet (3/4), gavotte (2/4), and bourree (2/4), among others.
The convention for presenting the overall form of each dance was as follows: A (the first section of the piece, presenting the theme) followed by B (the second section, which developed in a contrasting way to theme A). Therefore, the scheme read as AB. Often each section was repeated as AABB. Sections A and B might have the same number of musical measures, or B could have a few more musical measures.Throughout the lessons in this book, dancers have used AB form and contrasting movement materials to build their studies, such as in chapter 2, lesson 2; chapter 3, lesson 4; and chapter 4, lesson 2.
After 1750 the traditional Baroque suite became extinct. It was absorbed by common classical forms such as the divertimento, cassation, and sonata. Revivals of the suite as a musical form occurred in the late 19th century and even reappeared in the 20th century. In dance, suites are often used by contemporary choreographers who wish to create abstract, sectional dance works. Alonzo King's Chants is an example of a work in suite form. The work is accompanied by different African songs and chants. The order of the songs and the dance sections were chosen by King and reflect contrasting tempos and qualities. The sections are quite different from each other and they feature anything from large-group dances with many voices accompanying the movement, to solos and duets with only one or two singers.
Following the form of the dance suite and inspired by Chants, dancers will create group works that are made up of two to four independent contrasting sections, alternating slow and fast. Each section should use movement phrases and dynamics and groupings that are different from the previous section.
The work should have a central theme to guide movement choices, but the theme can be abstract or nonliteral, such as colors, environments, animals, birds, or creatures in the sea.
Problem Solving
Example: Chapter 5, Lesson 5A: Suite From Chants (Excerpts)
Included in this example are four sections from Alonzo King's Chants. The sections are not in the order of the original dance but have been placed in this order to provide a model for the creative problem that follows. Alonzo King's original suite included 10 different dance sections.
The selected sections are as follows:
- “N'Diouk Tabala Wolof”—A quick men's dance in varied rhythms
- “Yofo Yo”—A weight-sharing, counterbalanced duet for two women
- “N'terole”—A solo featuring acceleration in music and dance
- “Women of Butela”—A quick dance for women, alternating solo with group
- One choreographer will choose a cast of four to six dancers to create a suite of four separate sections. All of the class members should have a role as either choreographer or dancer. If necessary, dancers from outside the class may be used so that all choreographers have four to six dancers as a cast. A movement theme should guide the development of the movement ideas and the choice of music. Each choreographer should use movement material or choreographic operations developed in previous chapters of this book.
Section 1. Quick; full-group dance; duple in 4s.
AB form with two separate types of movement. Choreographers may wish to construct movement sentences of different action words to assure variety.
Section 2. Slow; duet; triple in 3s.
Theme and variations (A, A1, A2, A3, A).
Shapes and sharing weight.
Section 3. Trio; combination of different pulses; duple using half time and double time.
Locomotor and nonlocomotor movement should be designed for each dancer but each dancer should dance to a different beat (pulse, half time, double time).
Section 4. Full group dancing, accelerating and retarding movement; phrases are duple or triple. This is followed by (A) selected gestures evolving into movement phrases showing different movement qualities, and (B) creating an AB form with two types of movement. The theme of the B subsection should take a longer amount of time to complete in order to create a closing for the work. There may be a retard at the end of the work to allow for an ending.
- Assess the process by making a video recording of the work. Watch and critique the work, discussing compositional choices.
- Instructor guide. Includes a sample course syllabus plus written exams for each chapter.
- Presentation package. Features PowerPoint presentations to guide students through each chapter.
- Web resource. Features online videos that are closely tied to the lesson plan text and provide a richer learning experience for students, who can access this resource inside or outside of class.
Phrase: Linking Movements
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction.
Vocabulary
action word
dance phrase
deconstruction
direct space
energy
flexible space
retrograde
sequence
space
time
transition
Alonzo King demonstrates a movement from a dance phrase to North Carolina Dance Theatre dancers Hernan Justo and Benjamin Westafer.
© Richard Kumery
Introductory Statement
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction. Implicit in action words are the dance elements of time (fast to slow), space (flexible, i.e., curved and indirect, or direct, i.e., straight lines and angles), and energy (strong to light). Words that describe actions provide a base from which to create original dance phrases.
A dance phrase or sequence can be likened to a sentence formed when speaking. Sometimes we refer to dance phrases as movement sequences. For the purpose of this lesson either term is acceptable. Each phrase has a beginning, middle, and end. Movements selected in a dance phrase may flow one to the other naturally or may be connected by a transition movement. Evolving dance sequences from action words is another way to demystify the creative process. Action words lead to the formation of individual dance phrases and provide the framework for further developing those phrases into larger compositional forms. In this lesson, the action words are common terms used in contemporary dance.
Warm-Up and Action-Word Discovery
- Create a warm-up sequence that includes pliés, full-torso movements, leg swings, foot exercises, arm sequences, and small jumps. The warm-up can consist of movement from any style of dance. Name all movements and list them on a chart or blackboard. You may create new words for the actions or use familiar terms such as knee bend or plié.
- Make a list of favorite dance terms and movements, including those from the warm-up, and display the words on a wall chart or blackboard. Brainstorm to come up with as many terms and movements as possible.
- Select 10 words from the list that will become the foundation phrase for this lesson. Write each word on a separate piece of paper and post them in order on the wall.
Structured Improvisations
Improvisation 1: Words Become Action
Create individual phrases based on the 10 action words you selected in the warm-up. All 10 words must be used. Make sure the transitions between words and their associated movements are smooth. Experiment with different levels, directions, and energy as you dance each word movement. Try to interpret each action word in several different ways. For instance does roll always mean to lie on the floor and roll like a log? What other ways can you roll? Make original interpretations for each word.
Example: Chapter 1, Lesson 2A: Building a Phrase
In this video excerpt, Alonzo King introduces his thoughts about learning movement and then demonstrates his process for shaping dance phrases. Dancers from North Carolina Dance Theatre are challenged to interpret the actions that King gives them.
- Assign counts to the separate movements in the phrase so that the phrase is clear. It is especially challenging to make the 10-movement phrase fit into 8 counts.
- Try performing the phrase twice from beginning to end. As you will see in the next improvisation, it is important to be able to repeat selected movement phrases so that you can play with the movement phrase.
Improvisation 2: Retrograde
Example: Chapter 1, Lesson 2B: Can the Phrase Go Backward?
While creating the men's section from Chants, Alonzo King used the process of retrograde (doing a phrase in reverse order) to further develop his choreography. Watch how challenging this process was for the dancers to interpret but how interesting it was compositionally.
- Perform the phrase once more, but this time, start at the end and perform the phrase backward until you end in the beginning shape or movement. Start from the end and go backward through all the words, using the individual cards to help. Post the retrograde version on the wall for reference. Discuss changes that might have to be made in the transitions between the movements.
- Assign counts to this new phrase. Will you use choose 8 counts again?
- Attach this phrase to the previous phrase you created in improvisation 1, Words Become Action.
- Try dancing the original phrase forward, followed immediately by its retrograde.
Improvisation 3: Deconstruction
- Take each of the selected action words from improvisation 1, Words Become Action, and write each one on a separate piece of paper. In a random fashion, perhaps by picking them out of a hat or drawing them like cards, make a new order for the phrase. Each word has a movement previously designed for it, but now each word has moved to another position in the phrase. By changing the movements around, you have deconstructed the phrase and reordered it. Reordering uses the same movements in a different and unexpected way.
- Discuss this process with classmates and the movement choices dancers made in order to reform the phrase.
Problem Solving
Following the Blueprint
- Create an original movement study from the three phrases generated in the previous exercises (see the sidebar for an example).
- Each study will include a core phrase (A), its retrograde (B), and its deconstruction (C). For example:
Core Phrase (A)
Lunge
Roll
Rise
Symmetrical shape
Turn
Hop
Asymmetrical shape
Gallop
Leap
Balance on one leg
Retrograde (B)
Balance on one leg
Leap
Gallop
Asymmetrical shape
Hop
Turn
Symmetrical shape
Rise
Roll
Lunge
Deconstructed (Reordered) (C)
Hop
Lunge
Balance on one leg
Roll
Asymmetrical shape
Leap
Rise
Gallop
Turn
Symmetrical shape
- Make sure the dance study has a clear beginning and ending shape or entrance and exit to and from the stage space.
- Select music for the study. The teacher or dance accompanist may offer suggestions and assistance.
- Perform your studies for your classmates. Audience members should provide feedback. Each dancer will have been working with the same words so the individual transitions and movement choices should be especially interesting to observe.
Two Blueprint Examples1. The form of the study may be a rondo:
A core phrase
B retrograde
A core phrase
C deconstructed phrase
A core phrase
2. The form may be a theme and variations:
Original phrase (A)
Retrograde variation
Deconstructed variation
Original phrase (A)
Example: Chapter 1, Lesson 2C: Men's Dance From Chants
This selection features the men of North Carolina Dance Theatre in a group excerpt from Chants. The excerpt opens with an individual dancer presenting the movement phrase that will be developed throughout the section. He is followed by three dancers performing the same movement but reordered. The trio is followed by another soloist who performs the original movement phrase and inserts one or two new extensions to the movement material. Last, the group dances the phrase, with insertions, together.
Discussion Questions
- How would you define a dance phrase? What does a series of movements need to have in order to be a phrase?
- Is there a difference between a dance phrase and a movement sequence? Explain.
- What other art forms create phrases?
- What did you find challenging about composing a retrograde for a phrase?
Symmetry: Balancing Shapes
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts.
Vocabulary
asymmetry
balance
interpersonal space
mirroring
reflection
reflection line
reverse
symmetry
visual balance
Uri Sands and Edgar Vardanian dance a mirroring sequence in the center of the stage while Nicholle Rochelle dances a solo around them in this section from Verge.
© Rolland Elliott
Introductory Statement
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts. On the stage, the reflection line may divide the space horizontally, creating an upstage side and a downstage side, or vertically, creating a stage-left side and a stage-right side.
Dance movements producing a reflection are called mirroring movements. While mirroring, each dancer or group of dancers claims one side of the divided space. In literal mirroring, a term coined for these lessons, dancers always dance the same movements, as if looking at each other in a mirror. In this case, the dancers face one another with one dancer following the lead of the other using opposite limbs or sides of the body (e.g., dancer A curves to her left; dancer B mirrors by curving his body to his right). Dancers move in exactly the same way and at the same time, as if only one person were moving. When dancers move both sides of their bodies together to create symmetrical shapes, they balance each other in space and produce visual symmetry. If they choose to move only one side of the body, the audience will see asymmetry because the body shape of both dancers is delineated on one side of the body only.
Dancers facing each other may also create lateral mirroring, another term coined for these lessons. In this case, each dancer does the same movement as the partner but uses the same arms and legs (e.g., dancer A curves to her right; dancer B curves to his right). When the dancers move the same side of the body, the audience will see a balanced, symmetrical shape made out of the two sides of the mirror figure. Each dancer becomes one side of the observed shape. In this kind of mirroring, symmetry is always observed.
Both types of mirroring provide a satisfying visual balance and use of space. Observers become aware of the concept of interpersonal space, or the space and spatial relationships activated between two or more people. In this lesson, dancers will explore literal as well as lateral mirroring.
Warm-Up: Mirroring
- Select one dancer as leader to improvise a literal mirroring warm-up that may include material from the previous lessons: successions, isolations, body-part leading, and inward and outward rotation with gestures. The other dancers or followers should try to mirror the leader in terms of time, space, and energy. Music to complement the exercise should be in a tempo that will allow maximum dancer focus on the selected movements.
- In pairs, explore literal mirroring with one leader and one follower. Dancers remain in one place but vary levels and speeds and find several still shapes. Music to accompany the exercise should now be varied. Try the improvisation with four different types of music. Both partner A and partner B should have a chance to lead.
Structured Improvisations
Improvisation 1: Drawing a Mirrored Shape
- Study the sample graph reflection (see figure 2.5). Take a piece of graph paper, a pencil, and a ruler and draw a reflecting line down the center of the paper vertically. Draw a geometric figure on one side of the line and then draw its exact reflection on the other side using line segments, points, perpendicular lines, parallel lines, and diagonals. Study the symmetry of the figures. Turn the paper so that the reflecting line is horizontal. Compare how the figure looks from this vantage point with the original facing.
FIGURE 2.5 Sample graph reflection. - Share your graphs with the rest of the class. How might mirrored movement phrases be perceived by an audience? How do we as dancers perceive symmetry while moving? What makes something symmetrical?
Improvisation 2: Reflection Sequence
- Individually, develop a 16-count sequence of movement that uses material from a previous lesson. For example, the gesture sequence from chapter 1, lesson 3, would be fun to use. Find your mirroring partner. Teach each other the 16-count phrases so that when finished, each pair has a 32-count phrase (16 counts from each partner). Partners should begin with the same arm and leg so that they are always using the same side of the body. Practice the 32-count phrase to make sure both dancers can perform it from memory.
- Face each other and perform the 32-count sequence in a lateral mirroring fashion. Both partners will perform the phrase as they learned it, starting on the same side of the body. This time the movement will seem different because the partners are now facing each other. Symmetry is produced because movement on both sides of the figure is seen simultaneously when viewed front to back. Discuss the ease or difficulty of this exercise.
Example: Chapter 2, Lesson 3A: Mirroring
In Verge, Dwight Rhoden created two lead characters: the Impulse, whom we met in chapter 1, and the Alter Ego. In this example the Impulse and the Alter Ego demonstrate lateral mirroring. The dancers are doing the same movement facing each other but are using the same arms and legs so that the shapes they make in space are symmetrical. Note the small and full body gestures.
- Present each lateral mirroring sequence to the class. First, place the reflection line horizontally, dividing the stage space into upstage and downstage. Each dancer should stand on one side of the line facing each other. The audience will see the back of one dancer and the front of the other. Next, place the reflecting line vertically so that the stage is divided into stage right and stage left and each dancer faces a side wall. The audience will see the sides of the dancers. In the first instance the audience will see the movement from the front and the second instance from the side. Discuss with the audience how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 3: Looking in the Mirror
- Create a variation of the lateral mirroring sequence with literal mirroring. In this variation, both partners will use the same arms and legs while doing the movement phrase facing each other (horizontal reflection line). The dancer who is following will have to reverse beginning sides when starting each movement. Practice your 32-count sequence from the lateral mirroring exercise in this manner. Each partner must do the movement with the opposite arm and leg. This process will produce spatial asymmetry because only one side of a figure in space will be observed.
- Present each literal mirroring sequence to the class. Next, place the reflecting line vertically so that each dancer faces a side wall. Dance the same literal mirroring movements just danced with the horizontal reflecting line. In the first instance the audience saw the movement from the front, in the second instance from the side. Discuss how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 4: Side by Side
Using the same 32-count movement phrase created for improvisation 3, dance it standing side by side, both dancers facing the audience or front. To achieve symmetry, each dancer must begin with the opposite side or limbs of the body. The reflection line is vertical, dividing the stage in two halves, left and right. In this relationship, the dancer on stage left will begin with the left foot and the dancer on stage right will begin with the right foot. Is it easier or harder to remain in unison? How does this exercise relate to the graphed forms drawn earlier?
Example: Chapter 2, Lesson 3B: Opening and Closing Duet
Alonzo King uses the compositional device of mirroring in his work Dreamer. In this example, we can see lateral mirroring front to back, side by side, and back to back. The reflection line is always horizontal, however. Watch how the relationship between dancers evolves as facings change.
Improvisation 5: Back to Back
Using the same 32-count movement phrase previously explored, dance it while standing back to back. First, perform it as a literal mirroring sequence using the opposite arms and legs, then try a lateral mirroring sequence using same arms and legs. Perform your sequences for the class. Place the reflection line horizontally, dividing the stage into upstage and downstage halves. One dancer will face the front, the other will face the back wall. Discuss with classmates which of the two types of mirroring, literal or lateral, is most interesting visually. How might a choreographer use this type of back-to-back mirroring?
Example: Chapter 2, Lesson 3C: Back to Back
In this example from Verge, watch the two dancers in the center dance the same movement with the same arms and legs but starting back to back. The reflection line is horizontal and the dancers face away from each other. This relationship gives the illusion that the dancers are moving away from and toward the center of the stage. One dancer moves toward the audience as the other moves away.
- Perform the different mirroring variations from improvisations 2 through 5. Each pair should choose one or more of the variations to perform. With your partner, decide how to place the reflection line to divide the stage. Discuss with classmates which of the mirroring variations is most interesting and why.
Problem Solving
Example: Chapter 2, Lesson 3D: At the Bull's-Eye
In Verge, the Alter Ego mimics the movements of the Impulse, especially as he enters the center of the target. In this example, we see both characters performing a mirroring sequence that begins with symmetrical arm, leg, and body movement followed by literal and lateral mirroring gestures. The stage is bisected by a horizontal reflection line so that we see one dancer from the back and the other from the front. They are standing as if looking in a mirror.
Reflection Duets
- In partners, design a Reflection duet inspired by the movement material explored in improvisations 2 through 5, which can serve as a starting point for a new series of 32 counts.
- Design the sequence using literal mirroring (section A). Repeat the sequence using lateral mirroring (section B). Perform the phrase a third time, mixing and matching literal and lateral mirroring (section C). Try the sequences facing each other, back to back, or side by side. Decide which facing is appropriate for each sequence. Also decide where the reflection line should be for each group of 32 counts so that the material will appear the most interesting to the audience. At least one section should show the stage space divided horizontally, one vertically, and one a combination of the two. The study should be at least 1 minute long.
Sample Phrase
A = Literal mirroring, 32 counts, horizontal reflection line, dancers are face to face
B = Lateral mirroring, 32 counts, vertical reflection line, dancers are face to face
C = Lateral mirroring back to back and side to side, 32 counts, horizontal reflection line
Discussion Questions
- When we look in a mirror, do we see ourselves as others see us or are we reversed?
- To mirror someone, what must we do?
- What happens when mirroring partners do the same movement starting with the same-side arms and legs? How is this different from traditional mirroring?
- Are some kinds of movements easier or harder to do with a mirroring partner?
- Is it possible to make mirroring shapes?
- How is symmetry achieved in mirroring?
Dynamics: Qualities of Movement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement.
Vocabulary
collapsed
dynamic
qualities
dynamics
energy
percussive
suspended
sustained
swinging
vibratory
Uri Sands, the Impulse, is suspended high above the ground after executing a strong percussive jump. The other dancers collapse and sink under him in curved shapes.
© Rolland Elliott
Introductory Statement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement. Specifically, in dance we identify six dynamic qualities: sustained, percussive, swinging, suspended, collapsed, and vibratory.
Sustained = slow, smooth, continuous, even
Percussive = sudden, sharp, choppy, jagged
Swinging = sway, to and fro, pendulum, undercurve
Suspended = stillness, balance, high point
Collapsed = fall, release, relax
Vibratory = shake, tremble, wiggle
Warm-Up and Quality Definitions
Example: Chapter 4, Lesson 3A: Describing a Quality
Alonzo King wanted specific dynamic qualities expressed in movement while choreographing Dreamer. In this example, watch King describe and demonstrate a percussive movement phrase and the dancers show percussiveness in their bodies.
Warm up by moving within each quality:
Swinging (using legs, then arms, then whole body)
Collapsed (swing a leg up, then collapse the body over it; repeat, alternating legs)
Sustained (melt gradually all the way to the floor until finishing in a stretched shape)
Percussive (rise quickly and begin a rhythmic step-clap-stamp phrase)
Suspended (rise to relevé on both feet and allow arms to follow; find a point of balance, balance on one foot)
Vibratory (begin a soft beating of the feet on the floor and allow the vibration to move up through the body like a volcano until it erupts out through the fingers)
Structured Improvisations
Improvisation 1: Moving Energy
Using a simple walk, explore moving through space using the dynamic qualities (see list). Discuss how the walk changes when a specific dynamic motivates the movement. How does the tempo alter with each quality? Which qualities can be performed with light energy? Which ones require strength?
Sample Locomotor and Nonlocomotor Sequence
Swinging legs with forward steps
Sustained arm stretch
Percussive jumps
Vibratory beating
Collapsing low walk
Suspended breathing
Example: Chapter 4, Lesson 3B: Sustained Movement
In this excerpt, Alonzo King works with dancer Amy Earnest to create slow, sustained movement for a section of Dreamer.
Improvisation 2: Sharing Qualities
- Divide into two groups. Half will dance, half will be the audience. One member of the audience will call out a dynamic quality. The dancers will move in general space in the quality that is called out. Continue in one quality until another is called out randomly. Call out in unexpected ways, slowly and quickly. Explore each quality with both nonlocomotor and locomotor movement.
- Exchange roles until everyone has improvised movement phrases in each quality, quickly changing qualities as they are called out.
- Discuss feelings or emotions that are implied by the different movement qualities and list them on a chart (an example follows).
Movement Qualities
Swinging legs—regularity, evenness
Sustained, stretched arms—laziness, calm
Percussive jumps—happiness, joy, excitement
Vibratory beating—anger, resentment
Collapsing walks—defeat, failure, grief
Suspended breath—anticipation, surprise
Problem Solving
- In a hat, place slips of paper with one dynamic quality written on each piece. Draw one slip of paper from the hat and find two other partners to make a trio. Together look at the three slips of paper. The problem is to create a Dynamic Quality study using only the three qualities selected. The challenge is to find a way to transition between the qualities in a convincing way so that the study is cohesive. The study should be at least 1 minute long. The study should have a clear beginning and ending shape and use both locomotor and nonlocomotor movements.
- Perform the Dynamic Quality studies for each other. Audience members should identify the dynamic qualities chosen. Discuss how it feels to spend a specific amount of time in only one movement quality. Do we do this in natural movement?
Discussion Questions
- In your own words, define energy. Find your own definitions for each of the dynamic qualities.
- When might you move naturally in a percussive way?
- Do emotional states affect how we use energy in movement?
- List different action words that could describe each of the six qualities.
Problem Solving: Creating a Movement Suite
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key.
During the five chapters of this book, dancers have been challenged to reach toward the target of dance composition. In this final assignment, dancers will meet their target like Uri Sands meets the target in Verge, with energy and grace, knowing that the end of this journey is near.
Vocabulary
allemande
contrast
courante
duple meter
galliard
gigue
optional dance
pavane
saraband
suite
tempo
theme
triple meter
Uri Sands confronting the target from Dwight Rhoden's Verge.
© Rolland Elliott
Introductory Statement
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key. For the sake of variety, suites followed this pattern: a slow dance (in the Renaissance and earlier times it was called basse danse) followed by a faster, jumpy dance (haute danse). In the early 17th century, the dances that fitted that mold were the pavane, in slow duple meter, and the galliard, in fast triple meter. By the end of the 17th century, the suite followed this highly stylized schema:
Allemande (moderate tempo, in 4/4)
Courante (moderately fast, in 6/4)
Saraband (very slow, in 3/4)
Gigue (very fast, in 6/8, compound time)
Often different dances, also called optional dances, were included between the four basic dances. Such dances included the minuet (3/4), gavotte (2/4), and bourree (2/4), among others.
The convention for presenting the overall form of each dance was as follows: A (the first section of the piece, presenting the theme) followed by B (the second section, which developed in a contrasting way to theme A). Therefore, the scheme read as AB. Often each section was repeated as AABB. Sections A and B might have the same number of musical measures, or B could have a few more musical measures.Throughout the lessons in this book, dancers have used AB form and contrasting movement materials to build their studies, such as in chapter 2, lesson 2; chapter 3, lesson 4; and chapter 4, lesson 2.
After 1750 the traditional Baroque suite became extinct. It was absorbed by common classical forms such as the divertimento, cassation, and sonata. Revivals of the suite as a musical form occurred in the late 19th century and even reappeared in the 20th century. In dance, suites are often used by contemporary choreographers who wish to create abstract, sectional dance works. Alonzo King's Chants is an example of a work in suite form. The work is accompanied by different African songs and chants. The order of the songs and the dance sections were chosen by King and reflect contrasting tempos and qualities. The sections are quite different from each other and they feature anything from large-group dances with many voices accompanying the movement, to solos and duets with only one or two singers.
Following the form of the dance suite and inspired by Chants, dancers will create group works that are made up of two to four independent contrasting sections, alternating slow and fast. Each section should use movement phrases and dynamics and groupings that are different from the previous section.
The work should have a central theme to guide movement choices, but the theme can be abstract or nonliteral, such as colors, environments, animals, birds, or creatures in the sea.
Problem Solving
Example: Chapter 5, Lesson 5A: Suite From Chants (Excerpts)
Included in this example are four sections from Alonzo King's Chants. The sections are not in the order of the original dance but have been placed in this order to provide a model for the creative problem that follows. Alonzo King's original suite included 10 different dance sections.
The selected sections are as follows:
- “N'Diouk Tabala Wolof”—A quick men's dance in varied rhythms
- “Yofo Yo”—A weight-sharing, counterbalanced duet for two women
- “N'terole”—A solo featuring acceleration in music and dance
- “Women of Butela”—A quick dance for women, alternating solo with group
- One choreographer will choose a cast of four to six dancers to create a suite of four separate sections. All of the class members should have a role as either choreographer or dancer. If necessary, dancers from outside the class may be used so that all choreographers have four to six dancers as a cast. A movement theme should guide the development of the movement ideas and the choice of music. Each choreographer should use movement material or choreographic operations developed in previous chapters of this book.
Section 1. Quick; full-group dance; duple in 4s.
AB form with two separate types of movement. Choreographers may wish to construct movement sentences of different action words to assure variety.
Section 2. Slow; duet; triple in 3s.
Theme and variations (A, A1, A2, A3, A).
Shapes and sharing weight.
Section 3. Trio; combination of different pulses; duple using half time and double time.
Locomotor and nonlocomotor movement should be designed for each dancer but each dancer should dance to a different beat (pulse, half time, double time).
Section 4. Full group dancing, accelerating and retarding movement; phrases are duple or triple. This is followed by (A) selected gestures evolving into movement phrases showing different movement qualities, and (B) creating an AB form with two types of movement. The theme of the B subsection should take a longer amount of time to complete in order to create a closing for the work. There may be a retard at the end of the work to allow for an ending.
- Assess the process by making a video recording of the work. Watch and critique the work, discussing compositional choices.
Phrase: Linking Movements
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction.
Vocabulary
action word
dance phrase
deconstruction
direct space
energy
flexible space
retrograde
sequence
space
time
transition
Alonzo King demonstrates a movement from a dance phrase to North Carolina Dance Theatre dancers Hernan Justo and Benjamin Westafer.
© Richard Kumery
Introductory Statement
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction. Implicit in action words are the dance elements of time (fast to slow), space (flexible, i.e., curved and indirect, or direct, i.e., straight lines and angles), and energy (strong to light). Words that describe actions provide a base from which to create original dance phrases.
A dance phrase or sequence can be likened to a sentence formed when speaking. Sometimes we refer to dance phrases as movement sequences. For the purpose of this lesson either term is acceptable. Each phrase has a beginning, middle, and end. Movements selected in a dance phrase may flow one to the other naturally or may be connected by a transition movement. Evolving dance sequences from action words is another way to demystify the creative process. Action words lead to the formation of individual dance phrases and provide the framework for further developing those phrases into larger compositional forms. In this lesson, the action words are common terms used in contemporary dance.
Warm-Up and Action-Word Discovery
- Create a warm-up sequence that includes pliés, full-torso movements, leg swings, foot exercises, arm sequences, and small jumps. The warm-up can consist of movement from any style of dance. Name all movements and list them on a chart or blackboard. You may create new words for the actions or use familiar terms such as knee bend or plié.
- Make a list of favorite dance terms and movements, including those from the warm-up, and display the words on a wall chart or blackboard. Brainstorm to come up with as many terms and movements as possible.
- Select 10 words from the list that will become the foundation phrase for this lesson. Write each word on a separate piece of paper and post them in order on the wall.
Structured Improvisations
Improvisation 1: Words Become Action
Create individual phrases based on the 10 action words you selected in the warm-up. All 10 words must be used. Make sure the transitions between words and their associated movements are smooth. Experiment with different levels, directions, and energy as you dance each word movement. Try to interpret each action word in several different ways. For instance does roll always mean to lie on the floor and roll like a log? What other ways can you roll? Make original interpretations for each word.
Example: Chapter 1, Lesson 2A: Building a Phrase
In this video excerpt, Alonzo King introduces his thoughts about learning movement and then demonstrates his process for shaping dance phrases. Dancers from North Carolina Dance Theatre are challenged to interpret the actions that King gives them.
- Assign counts to the separate movements in the phrase so that the phrase is clear. It is especially challenging to make the 10-movement phrase fit into 8 counts.
- Try performing the phrase twice from beginning to end. As you will see in the next improvisation, it is important to be able to repeat selected movement phrases so that you can play with the movement phrase.
Improvisation 2: Retrograde
Example: Chapter 1, Lesson 2B: Can the Phrase Go Backward?
While creating the men's section from Chants, Alonzo King used the process of retrograde (doing a phrase in reverse order) to further develop his choreography. Watch how challenging this process was for the dancers to interpret but how interesting it was compositionally.
- Perform the phrase once more, but this time, start at the end and perform the phrase backward until you end in the beginning shape or movement. Start from the end and go backward through all the words, using the individual cards to help. Post the retrograde version on the wall for reference. Discuss changes that might have to be made in the transitions between the movements.
- Assign counts to this new phrase. Will you use choose 8 counts again?
- Attach this phrase to the previous phrase you created in improvisation 1, Words Become Action.
- Try dancing the original phrase forward, followed immediately by its retrograde.
Improvisation 3: Deconstruction
- Take each of the selected action words from improvisation 1, Words Become Action, and write each one on a separate piece of paper. In a random fashion, perhaps by picking them out of a hat or drawing them like cards, make a new order for the phrase. Each word has a movement previously designed for it, but now each word has moved to another position in the phrase. By changing the movements around, you have deconstructed the phrase and reordered it. Reordering uses the same movements in a different and unexpected way.
- Discuss this process with classmates and the movement choices dancers made in order to reform the phrase.
Problem Solving
Following the Blueprint
- Create an original movement study from the three phrases generated in the previous exercises (see the sidebar for an example).
- Each study will include a core phrase (A), its retrograde (B), and its deconstruction (C). For example:
Core Phrase (A)
Lunge
Roll
Rise
Symmetrical shape
Turn
Hop
Asymmetrical shape
Gallop
Leap
Balance on one leg
Retrograde (B)
Balance on one leg
Leap
Gallop
Asymmetrical shape
Hop
Turn
Symmetrical shape
Rise
Roll
Lunge
Deconstructed (Reordered) (C)
Hop
Lunge
Balance on one leg
Roll
Asymmetrical shape
Leap
Rise
Gallop
Turn
Symmetrical shape
- Make sure the dance study has a clear beginning and ending shape or entrance and exit to and from the stage space.
- Select music for the study. The teacher or dance accompanist may offer suggestions and assistance.
- Perform your studies for your classmates. Audience members should provide feedback. Each dancer will have been working with the same words so the individual transitions and movement choices should be especially interesting to observe.
Two Blueprint Examples1. The form of the study may be a rondo:
A core phrase
B retrograde
A core phrase
C deconstructed phrase
A core phrase
2. The form may be a theme and variations:
Original phrase (A)
Retrograde variation
Deconstructed variation
Original phrase (A)
Example: Chapter 1, Lesson 2C: Men's Dance From Chants
This selection features the men of North Carolina Dance Theatre in a group excerpt from Chants. The excerpt opens with an individual dancer presenting the movement phrase that will be developed throughout the section. He is followed by three dancers performing the same movement but reordered. The trio is followed by another soloist who performs the original movement phrase and inserts one or two new extensions to the movement material. Last, the group dances the phrase, with insertions, together.
Discussion Questions
- How would you define a dance phrase? What does a series of movements need to have in order to be a phrase?
- Is there a difference between a dance phrase and a movement sequence? Explain.
- What other art forms create phrases?
- What did you find challenging about composing a retrograde for a phrase?
Symmetry: Balancing Shapes
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts.
Vocabulary
asymmetry
balance
interpersonal space
mirroring
reflection
reflection line
reverse
symmetry
visual balance
Uri Sands and Edgar Vardanian dance a mirroring sequence in the center of the stage while Nicholle Rochelle dances a solo around them in this section from Verge.
© Rolland Elliott
Introductory Statement
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts. On the stage, the reflection line may divide the space horizontally, creating an upstage side and a downstage side, or vertically, creating a stage-left side and a stage-right side.
Dance movements producing a reflection are called mirroring movements. While mirroring, each dancer or group of dancers claims one side of the divided space. In literal mirroring, a term coined for these lessons, dancers always dance the same movements, as if looking at each other in a mirror. In this case, the dancers face one another with one dancer following the lead of the other using opposite limbs or sides of the body (e.g., dancer A curves to her left; dancer B mirrors by curving his body to his right). Dancers move in exactly the same way and at the same time, as if only one person were moving. When dancers move both sides of their bodies together to create symmetrical shapes, they balance each other in space and produce visual symmetry. If they choose to move only one side of the body, the audience will see asymmetry because the body shape of both dancers is delineated on one side of the body only.
Dancers facing each other may also create lateral mirroring, another term coined for these lessons. In this case, each dancer does the same movement as the partner but uses the same arms and legs (e.g., dancer A curves to her right; dancer B curves to his right). When the dancers move the same side of the body, the audience will see a balanced, symmetrical shape made out of the two sides of the mirror figure. Each dancer becomes one side of the observed shape. In this kind of mirroring, symmetry is always observed.
Both types of mirroring provide a satisfying visual balance and use of space. Observers become aware of the concept of interpersonal space, or the space and spatial relationships activated between two or more people. In this lesson, dancers will explore literal as well as lateral mirroring.
Warm-Up: Mirroring
- Select one dancer as leader to improvise a literal mirroring warm-up that may include material from the previous lessons: successions, isolations, body-part leading, and inward and outward rotation with gestures. The other dancers or followers should try to mirror the leader in terms of time, space, and energy. Music to complement the exercise should be in a tempo that will allow maximum dancer focus on the selected movements.
- In pairs, explore literal mirroring with one leader and one follower. Dancers remain in one place but vary levels and speeds and find several still shapes. Music to accompany the exercise should now be varied. Try the improvisation with four different types of music. Both partner A and partner B should have a chance to lead.
Structured Improvisations
Improvisation 1: Drawing a Mirrored Shape
- Study the sample graph reflection (see figure 2.5). Take a piece of graph paper, a pencil, and a ruler and draw a reflecting line down the center of the paper vertically. Draw a geometric figure on one side of the line and then draw its exact reflection on the other side using line segments, points, perpendicular lines, parallel lines, and diagonals. Study the symmetry of the figures. Turn the paper so that the reflecting line is horizontal. Compare how the figure looks from this vantage point with the original facing.
FIGURE 2.5 Sample graph reflection. - Share your graphs with the rest of the class. How might mirrored movement phrases be perceived by an audience? How do we as dancers perceive symmetry while moving? What makes something symmetrical?
Improvisation 2: Reflection Sequence
- Individually, develop a 16-count sequence of movement that uses material from a previous lesson. For example, the gesture sequence from chapter 1, lesson 3, would be fun to use. Find your mirroring partner. Teach each other the 16-count phrases so that when finished, each pair has a 32-count phrase (16 counts from each partner). Partners should begin with the same arm and leg so that they are always using the same side of the body. Practice the 32-count phrase to make sure both dancers can perform it from memory.
- Face each other and perform the 32-count sequence in a lateral mirroring fashion. Both partners will perform the phrase as they learned it, starting on the same side of the body. This time the movement will seem different because the partners are now facing each other. Symmetry is produced because movement on both sides of the figure is seen simultaneously when viewed front to back. Discuss the ease or difficulty of this exercise.
Example: Chapter 2, Lesson 3A: Mirroring
In Verge, Dwight Rhoden created two lead characters: the Impulse, whom we met in chapter 1, and the Alter Ego. In this example the Impulse and the Alter Ego demonstrate lateral mirroring. The dancers are doing the same movement facing each other but are using the same arms and legs so that the shapes they make in space are symmetrical. Note the small and full body gestures.
- Present each lateral mirroring sequence to the class. First, place the reflection line horizontally, dividing the stage space into upstage and downstage. Each dancer should stand on one side of the line facing each other. The audience will see the back of one dancer and the front of the other. Next, place the reflecting line vertically so that the stage is divided into stage right and stage left and each dancer faces a side wall. The audience will see the sides of the dancers. In the first instance the audience will see the movement from the front and the second instance from the side. Discuss with the audience how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 3: Looking in the Mirror
- Create a variation of the lateral mirroring sequence with literal mirroring. In this variation, both partners will use the same arms and legs while doing the movement phrase facing each other (horizontal reflection line). The dancer who is following will have to reverse beginning sides when starting each movement. Practice your 32-count sequence from the lateral mirroring exercise in this manner. Each partner must do the movement with the opposite arm and leg. This process will produce spatial asymmetry because only one side of a figure in space will be observed.
- Present each literal mirroring sequence to the class. Next, place the reflecting line vertically so that each dancer faces a side wall. Dance the same literal mirroring movements just danced with the horizontal reflecting line. In the first instance the audience saw the movement from the front, in the second instance from the side. Discuss how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 4: Side by Side
Using the same 32-count movement phrase created for improvisation 3, dance it standing side by side, both dancers facing the audience or front. To achieve symmetry, each dancer must begin with the opposite side or limbs of the body. The reflection line is vertical, dividing the stage in two halves, left and right. In this relationship, the dancer on stage left will begin with the left foot and the dancer on stage right will begin with the right foot. Is it easier or harder to remain in unison? How does this exercise relate to the graphed forms drawn earlier?
Example: Chapter 2, Lesson 3B: Opening and Closing Duet
Alonzo King uses the compositional device of mirroring in his work Dreamer. In this example, we can see lateral mirroring front to back, side by side, and back to back. The reflection line is always horizontal, however. Watch how the relationship between dancers evolves as facings change.
Improvisation 5: Back to Back
Using the same 32-count movement phrase previously explored, dance it while standing back to back. First, perform it as a literal mirroring sequence using the opposite arms and legs, then try a lateral mirroring sequence using same arms and legs. Perform your sequences for the class. Place the reflection line horizontally, dividing the stage into upstage and downstage halves. One dancer will face the front, the other will face the back wall. Discuss with classmates which of the two types of mirroring, literal or lateral, is most interesting visually. How might a choreographer use this type of back-to-back mirroring?
Example: Chapter 2, Lesson 3C: Back to Back
In this example from Verge, watch the two dancers in the center dance the same movement with the same arms and legs but starting back to back. The reflection line is horizontal and the dancers face away from each other. This relationship gives the illusion that the dancers are moving away from and toward the center of the stage. One dancer moves toward the audience as the other moves away.
- Perform the different mirroring variations from improvisations 2 through 5. Each pair should choose one or more of the variations to perform. With your partner, decide how to place the reflection line to divide the stage. Discuss with classmates which of the mirroring variations is most interesting and why.
Problem Solving
Example: Chapter 2, Lesson 3D: At the Bull's-Eye
In Verge, the Alter Ego mimics the movements of the Impulse, especially as he enters the center of the target. In this example, we see both characters performing a mirroring sequence that begins with symmetrical arm, leg, and body movement followed by literal and lateral mirroring gestures. The stage is bisected by a horizontal reflection line so that we see one dancer from the back and the other from the front. They are standing as if looking in a mirror.
Reflection Duets
- In partners, design a Reflection duet inspired by the movement material explored in improvisations 2 through 5, which can serve as a starting point for a new series of 32 counts.
- Design the sequence using literal mirroring (section A). Repeat the sequence using lateral mirroring (section B). Perform the phrase a third time, mixing and matching literal and lateral mirroring (section C). Try the sequences facing each other, back to back, or side by side. Decide which facing is appropriate for each sequence. Also decide where the reflection line should be for each group of 32 counts so that the material will appear the most interesting to the audience. At least one section should show the stage space divided horizontally, one vertically, and one a combination of the two. The study should be at least 1 minute long.
Sample Phrase
A = Literal mirroring, 32 counts, horizontal reflection line, dancers are face to face
B = Lateral mirroring, 32 counts, vertical reflection line, dancers are face to face
C = Lateral mirroring back to back and side to side, 32 counts, horizontal reflection line
Discussion Questions
- When we look in a mirror, do we see ourselves as others see us or are we reversed?
- To mirror someone, what must we do?
- What happens when mirroring partners do the same movement starting with the same-side arms and legs? How is this different from traditional mirroring?
- Are some kinds of movements easier or harder to do with a mirroring partner?
- Is it possible to make mirroring shapes?
- How is symmetry achieved in mirroring?
Dynamics: Qualities of Movement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement.
Vocabulary
collapsed
dynamic
qualities
dynamics
energy
percussive
suspended
sustained
swinging
vibratory
Uri Sands, the Impulse, is suspended high above the ground after executing a strong percussive jump. The other dancers collapse and sink under him in curved shapes.
© Rolland Elliott
Introductory Statement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement. Specifically, in dance we identify six dynamic qualities: sustained, percussive, swinging, suspended, collapsed, and vibratory.
Sustained = slow, smooth, continuous, even
Percussive = sudden, sharp, choppy, jagged
Swinging = sway, to and fro, pendulum, undercurve
Suspended = stillness, balance, high point
Collapsed = fall, release, relax
Vibratory = shake, tremble, wiggle
Warm-Up and Quality Definitions
Example: Chapter 4, Lesson 3A: Describing a Quality
Alonzo King wanted specific dynamic qualities expressed in movement while choreographing Dreamer. In this example, watch King describe and demonstrate a percussive movement phrase and the dancers show percussiveness in their bodies.
Warm up by moving within each quality:
Swinging (using legs, then arms, then whole body)
Collapsed (swing a leg up, then collapse the body over it; repeat, alternating legs)
Sustained (melt gradually all the way to the floor until finishing in a stretched shape)
Percussive (rise quickly and begin a rhythmic step-clap-stamp phrase)
Suspended (rise to relevé on both feet and allow arms to follow; find a point of balance, balance on one foot)
Vibratory (begin a soft beating of the feet on the floor and allow the vibration to move up through the body like a volcano until it erupts out through the fingers)
Structured Improvisations
Improvisation 1: Moving Energy
Using a simple walk, explore moving through space using the dynamic qualities (see list). Discuss how the walk changes when a specific dynamic motivates the movement. How does the tempo alter with each quality? Which qualities can be performed with light energy? Which ones require strength?
Sample Locomotor and Nonlocomotor Sequence
Swinging legs with forward steps
Sustained arm stretch
Percussive jumps
Vibratory beating
Collapsing low walk
Suspended breathing
Example: Chapter 4, Lesson 3B: Sustained Movement
In this excerpt, Alonzo King works with dancer Amy Earnest to create slow, sustained movement for a section of Dreamer.
Improvisation 2: Sharing Qualities
- Divide into two groups. Half will dance, half will be the audience. One member of the audience will call out a dynamic quality. The dancers will move in general space in the quality that is called out. Continue in one quality until another is called out randomly. Call out in unexpected ways, slowly and quickly. Explore each quality with both nonlocomotor and locomotor movement.
- Exchange roles until everyone has improvised movement phrases in each quality, quickly changing qualities as they are called out.
- Discuss feelings or emotions that are implied by the different movement qualities and list them on a chart (an example follows).
Movement Qualities
Swinging legs—regularity, evenness
Sustained, stretched arms—laziness, calm
Percussive jumps—happiness, joy, excitement
Vibratory beating—anger, resentment
Collapsing walks—defeat, failure, grief
Suspended breath—anticipation, surprise
Problem Solving
- In a hat, place slips of paper with one dynamic quality written on each piece. Draw one slip of paper from the hat and find two other partners to make a trio. Together look at the three slips of paper. The problem is to create a Dynamic Quality study using only the three qualities selected. The challenge is to find a way to transition between the qualities in a convincing way so that the study is cohesive. The study should be at least 1 minute long. The study should have a clear beginning and ending shape and use both locomotor and nonlocomotor movements.
- Perform the Dynamic Quality studies for each other. Audience members should identify the dynamic qualities chosen. Discuss how it feels to spend a specific amount of time in only one movement quality. Do we do this in natural movement?
Discussion Questions
- In your own words, define energy. Find your own definitions for each of the dynamic qualities.
- When might you move naturally in a percussive way?
- Do emotional states affect how we use energy in movement?
- List different action words that could describe each of the six qualities.
Problem Solving: Creating a Movement Suite
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key.
During the five chapters of this book, dancers have been challenged to reach toward the target of dance composition. In this final assignment, dancers will meet their target like Uri Sands meets the target in Verge, with energy and grace, knowing that the end of this journey is near.
Vocabulary
allemande
contrast
courante
duple meter
galliard
gigue
optional dance
pavane
saraband
suite
tempo
theme
triple meter
Uri Sands confronting the target from Dwight Rhoden's Verge.
© Rolland Elliott
Introductory Statement
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key. For the sake of variety, suites followed this pattern: a slow dance (in the Renaissance and earlier times it was called basse danse) followed by a faster, jumpy dance (haute danse). In the early 17th century, the dances that fitted that mold were the pavane, in slow duple meter, and the galliard, in fast triple meter. By the end of the 17th century, the suite followed this highly stylized schema:
Allemande (moderate tempo, in 4/4)
Courante (moderately fast, in 6/4)
Saraband (very slow, in 3/4)
Gigue (very fast, in 6/8, compound time)
Often different dances, also called optional dances, were included between the four basic dances. Such dances included the minuet (3/4), gavotte (2/4), and bourree (2/4), among others.
The convention for presenting the overall form of each dance was as follows: A (the first section of the piece, presenting the theme) followed by B (the second section, which developed in a contrasting way to theme A). Therefore, the scheme read as AB. Often each section was repeated as AABB. Sections A and B might have the same number of musical measures, or B could have a few more musical measures.Throughout the lessons in this book, dancers have used AB form and contrasting movement materials to build their studies, such as in chapter 2, lesson 2; chapter 3, lesson 4; and chapter 4, lesson 2.
After 1750 the traditional Baroque suite became extinct. It was absorbed by common classical forms such as the divertimento, cassation, and sonata. Revivals of the suite as a musical form occurred in the late 19th century and even reappeared in the 20th century. In dance, suites are often used by contemporary choreographers who wish to create abstract, sectional dance works. Alonzo King's Chants is an example of a work in suite form. The work is accompanied by different African songs and chants. The order of the songs and the dance sections were chosen by King and reflect contrasting tempos and qualities. The sections are quite different from each other and they feature anything from large-group dances with many voices accompanying the movement, to solos and duets with only one or two singers.
Following the form of the dance suite and inspired by Chants, dancers will create group works that are made up of two to four independent contrasting sections, alternating slow and fast. Each section should use movement phrases and dynamics and groupings that are different from the previous section.
The work should have a central theme to guide movement choices, but the theme can be abstract or nonliteral, such as colors, environments, animals, birds, or creatures in the sea.
Problem Solving
Example: Chapter 5, Lesson 5A: Suite From Chants (Excerpts)
Included in this example are four sections from Alonzo King's Chants. The sections are not in the order of the original dance but have been placed in this order to provide a model for the creative problem that follows. Alonzo King's original suite included 10 different dance sections.
The selected sections are as follows:
- “N'Diouk Tabala Wolof”—A quick men's dance in varied rhythms
- “Yofo Yo”—A weight-sharing, counterbalanced duet for two women
- “N'terole”—A solo featuring acceleration in music and dance
- “Women of Butela”—A quick dance for women, alternating solo with group
- One choreographer will choose a cast of four to six dancers to create a suite of four separate sections. All of the class members should have a role as either choreographer or dancer. If necessary, dancers from outside the class may be used so that all choreographers have four to six dancers as a cast. A movement theme should guide the development of the movement ideas and the choice of music. Each choreographer should use movement material or choreographic operations developed in previous chapters of this book.
Section 1. Quick; full-group dance; duple in 4s.
AB form with two separate types of movement. Choreographers may wish to construct movement sentences of different action words to assure variety.
Section 2. Slow; duet; triple in 3s.
Theme and variations (A, A1, A2, A3, A).
Shapes and sharing weight.
Section 3. Trio; combination of different pulses; duple using half time and double time.
Locomotor and nonlocomotor movement should be designed for each dancer but each dancer should dance to a different beat (pulse, half time, double time).
Section 4. Full group dancing, accelerating and retarding movement; phrases are duple or triple. This is followed by (A) selected gestures evolving into movement phrases showing different movement qualities, and (B) creating an AB form with two types of movement. The theme of the B subsection should take a longer amount of time to complete in order to create a closing for the work. There may be a retard at the end of the work to allow for an ending.
- Assess the process by making a video recording of the work. Watch and critique the work, discussing compositional choices.
Phrase: Linking Movements
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction.
Vocabulary
action word
dance phrase
deconstruction
direct space
energy
flexible space
retrograde
sequence
space
time
transition
Alonzo King demonstrates a movement from a dance phrase to North Carolina Dance Theatre dancers Hernan Justo and Benjamin Westafer.
© Richard Kumery
Introductory Statement
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction. Implicit in action words are the dance elements of time (fast to slow), space (flexible, i.e., curved and indirect, or direct, i.e., straight lines and angles), and energy (strong to light). Words that describe actions provide a base from which to create original dance phrases.
A dance phrase or sequence can be likened to a sentence formed when speaking. Sometimes we refer to dance phrases as movement sequences. For the purpose of this lesson either term is acceptable. Each phrase has a beginning, middle, and end. Movements selected in a dance phrase may flow one to the other naturally or may be connected by a transition movement. Evolving dance sequences from action words is another way to demystify the creative process. Action words lead to the formation of individual dance phrases and provide the framework for further developing those phrases into larger compositional forms. In this lesson, the action words are common terms used in contemporary dance.
Warm-Up and Action-Word Discovery
- Create a warm-up sequence that includes pliés, full-torso movements, leg swings, foot exercises, arm sequences, and small jumps. The warm-up can consist of movement from any style of dance. Name all movements and list them on a chart or blackboard. You may create new words for the actions or use familiar terms such as knee bend or plié.
- Make a list of favorite dance terms and movements, including those from the warm-up, and display the words on a wall chart or blackboard. Brainstorm to come up with as many terms and movements as possible.
- Select 10 words from the list that will become the foundation phrase for this lesson. Write each word on a separate piece of paper and post them in order on the wall.
Structured Improvisations
Improvisation 1: Words Become Action
Create individual phrases based on the 10 action words you selected in the warm-up. All 10 words must be used. Make sure the transitions between words and their associated movements are smooth. Experiment with different levels, directions, and energy as you dance each word movement. Try to interpret each action word in several different ways. For instance does roll always mean to lie on the floor and roll like a log? What other ways can you roll? Make original interpretations for each word.
Example: Chapter 1, Lesson 2A: Building a Phrase
In this video excerpt, Alonzo King introduces his thoughts about learning movement and then demonstrates his process for shaping dance phrases. Dancers from North Carolina Dance Theatre are challenged to interpret the actions that King gives them.
- Assign counts to the separate movements in the phrase so that the phrase is clear. It is especially challenging to make the 10-movement phrase fit into 8 counts.
- Try performing the phrase twice from beginning to end. As you will see in the next improvisation, it is important to be able to repeat selected movement phrases so that you can play with the movement phrase.
Improvisation 2: Retrograde
Example: Chapter 1, Lesson 2B: Can the Phrase Go Backward?
While creating the men's section from Chants, Alonzo King used the process of retrograde (doing a phrase in reverse order) to further develop his choreography. Watch how challenging this process was for the dancers to interpret but how interesting it was compositionally.
- Perform the phrase once more, but this time, start at the end and perform the phrase backward until you end in the beginning shape or movement. Start from the end and go backward through all the words, using the individual cards to help. Post the retrograde version on the wall for reference. Discuss changes that might have to be made in the transitions between the movements.
- Assign counts to this new phrase. Will you use choose 8 counts again?
- Attach this phrase to the previous phrase you created in improvisation 1, Words Become Action.
- Try dancing the original phrase forward, followed immediately by its retrograde.
Improvisation 3: Deconstruction
- Take each of the selected action words from improvisation 1, Words Become Action, and write each one on a separate piece of paper. In a random fashion, perhaps by picking them out of a hat or drawing them like cards, make a new order for the phrase. Each word has a movement previously designed for it, but now each word has moved to another position in the phrase. By changing the movements around, you have deconstructed the phrase and reordered it. Reordering uses the same movements in a different and unexpected way.
- Discuss this process with classmates and the movement choices dancers made in order to reform the phrase.
Problem Solving
Following the Blueprint
- Create an original movement study from the three phrases generated in the previous exercises (see the sidebar for an example).
- Each study will include a core phrase (A), its retrograde (B), and its deconstruction (C). For example:
Core Phrase (A)
Lunge
Roll
Rise
Symmetrical shape
Turn
Hop
Asymmetrical shape
Gallop
Leap
Balance on one leg
Retrograde (B)
Balance on one leg
Leap
Gallop
Asymmetrical shape
Hop
Turn
Symmetrical shape
Rise
Roll
Lunge
Deconstructed (Reordered) (C)
Hop
Lunge
Balance on one leg
Roll
Asymmetrical shape
Leap
Rise
Gallop
Turn
Symmetrical shape
- Make sure the dance study has a clear beginning and ending shape or entrance and exit to and from the stage space.
- Select music for the study. The teacher or dance accompanist may offer suggestions and assistance.
- Perform your studies for your classmates. Audience members should provide feedback. Each dancer will have been working with the same words so the individual transitions and movement choices should be especially interesting to observe.
Two Blueprint Examples1. The form of the study may be a rondo:
A core phrase
B retrograde
A core phrase
C deconstructed phrase
A core phrase
2. The form may be a theme and variations:
Original phrase (A)
Retrograde variation
Deconstructed variation
Original phrase (A)
Example: Chapter 1, Lesson 2C: Men's Dance From Chants
This selection features the men of North Carolina Dance Theatre in a group excerpt from Chants. The excerpt opens with an individual dancer presenting the movement phrase that will be developed throughout the section. He is followed by three dancers performing the same movement but reordered. The trio is followed by another soloist who performs the original movement phrase and inserts one or two new extensions to the movement material. Last, the group dances the phrase, with insertions, together.
Discussion Questions
- How would you define a dance phrase? What does a series of movements need to have in order to be a phrase?
- Is there a difference between a dance phrase and a movement sequence? Explain.
- What other art forms create phrases?
- What did you find challenging about composing a retrograde for a phrase?
Symmetry: Balancing Shapes
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts.
Vocabulary
asymmetry
balance
interpersonal space
mirroring
reflection
reflection line
reverse
symmetry
visual balance
Uri Sands and Edgar Vardanian dance a mirroring sequence in the center of the stage while Nicholle Rochelle dances a solo around them in this section from Verge.
© Rolland Elliott
Introductory Statement
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts. On the stage, the reflection line may divide the space horizontally, creating an upstage side and a downstage side, or vertically, creating a stage-left side and a stage-right side.
Dance movements producing a reflection are called mirroring movements. While mirroring, each dancer or group of dancers claims one side of the divided space. In literal mirroring, a term coined for these lessons, dancers always dance the same movements, as if looking at each other in a mirror. In this case, the dancers face one another with one dancer following the lead of the other using opposite limbs or sides of the body (e.g., dancer A curves to her left; dancer B mirrors by curving his body to his right). Dancers move in exactly the same way and at the same time, as if only one person were moving. When dancers move both sides of their bodies together to create symmetrical shapes, they balance each other in space and produce visual symmetry. If they choose to move only one side of the body, the audience will see asymmetry because the body shape of both dancers is delineated on one side of the body only.
Dancers facing each other may also create lateral mirroring, another term coined for these lessons. In this case, each dancer does the same movement as the partner but uses the same arms and legs (e.g., dancer A curves to her right; dancer B curves to his right). When the dancers move the same side of the body, the audience will see a balanced, symmetrical shape made out of the two sides of the mirror figure. Each dancer becomes one side of the observed shape. In this kind of mirroring, symmetry is always observed.
Both types of mirroring provide a satisfying visual balance and use of space. Observers become aware of the concept of interpersonal space, or the space and spatial relationships activated between two or more people. In this lesson, dancers will explore literal as well as lateral mirroring.
Warm-Up: Mirroring
- Select one dancer as leader to improvise a literal mirroring warm-up that may include material from the previous lessons: successions, isolations, body-part leading, and inward and outward rotation with gestures. The other dancers or followers should try to mirror the leader in terms of time, space, and energy. Music to complement the exercise should be in a tempo that will allow maximum dancer focus on the selected movements.
- In pairs, explore literal mirroring with one leader and one follower. Dancers remain in one place but vary levels and speeds and find several still shapes. Music to accompany the exercise should now be varied. Try the improvisation with four different types of music. Both partner A and partner B should have a chance to lead.
Structured Improvisations
Improvisation 1: Drawing a Mirrored Shape
- Study the sample graph reflection (see figure 2.5). Take a piece of graph paper, a pencil, and a ruler and draw a reflecting line down the center of the paper vertically. Draw a geometric figure on one side of the line and then draw its exact reflection on the other side using line segments, points, perpendicular lines, parallel lines, and diagonals. Study the symmetry of the figures. Turn the paper so that the reflecting line is horizontal. Compare how the figure looks from this vantage point with the original facing.
FIGURE 2.5 Sample graph reflection. - Share your graphs with the rest of the class. How might mirrored movement phrases be perceived by an audience? How do we as dancers perceive symmetry while moving? What makes something symmetrical?
Improvisation 2: Reflection Sequence
- Individually, develop a 16-count sequence of movement that uses material from a previous lesson. For example, the gesture sequence from chapter 1, lesson 3, would be fun to use. Find your mirroring partner. Teach each other the 16-count phrases so that when finished, each pair has a 32-count phrase (16 counts from each partner). Partners should begin with the same arm and leg so that they are always using the same side of the body. Practice the 32-count phrase to make sure both dancers can perform it from memory.
- Face each other and perform the 32-count sequence in a lateral mirroring fashion. Both partners will perform the phrase as they learned it, starting on the same side of the body. This time the movement will seem different because the partners are now facing each other. Symmetry is produced because movement on both sides of the figure is seen simultaneously when viewed front to back. Discuss the ease or difficulty of this exercise.
Example: Chapter 2, Lesson 3A: Mirroring
In Verge, Dwight Rhoden created two lead characters: the Impulse, whom we met in chapter 1, and the Alter Ego. In this example the Impulse and the Alter Ego demonstrate lateral mirroring. The dancers are doing the same movement facing each other but are using the same arms and legs so that the shapes they make in space are symmetrical. Note the small and full body gestures.
- Present each lateral mirroring sequence to the class. First, place the reflection line horizontally, dividing the stage space into upstage and downstage. Each dancer should stand on one side of the line facing each other. The audience will see the back of one dancer and the front of the other. Next, place the reflecting line vertically so that the stage is divided into stage right and stage left and each dancer faces a side wall. The audience will see the sides of the dancers. In the first instance the audience will see the movement from the front and the second instance from the side. Discuss with the audience how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 3: Looking in the Mirror
- Create a variation of the lateral mirroring sequence with literal mirroring. In this variation, both partners will use the same arms and legs while doing the movement phrase facing each other (horizontal reflection line). The dancer who is following will have to reverse beginning sides when starting each movement. Practice your 32-count sequence from the lateral mirroring exercise in this manner. Each partner must do the movement with the opposite arm and leg. This process will produce spatial asymmetry because only one side of a figure in space will be observed.
- Present each literal mirroring sequence to the class. Next, place the reflecting line vertically so that each dancer faces a side wall. Dance the same literal mirroring movements just danced with the horizontal reflecting line. In the first instance the audience saw the movement from the front, in the second instance from the side. Discuss how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 4: Side by Side
Using the same 32-count movement phrase created for improvisation 3, dance it standing side by side, both dancers facing the audience or front. To achieve symmetry, each dancer must begin with the opposite side or limbs of the body. The reflection line is vertical, dividing the stage in two halves, left and right. In this relationship, the dancer on stage left will begin with the left foot and the dancer on stage right will begin with the right foot. Is it easier or harder to remain in unison? How does this exercise relate to the graphed forms drawn earlier?
Example: Chapter 2, Lesson 3B: Opening and Closing Duet
Alonzo King uses the compositional device of mirroring in his work Dreamer. In this example, we can see lateral mirroring front to back, side by side, and back to back. The reflection line is always horizontal, however. Watch how the relationship between dancers evolves as facings change.
Improvisation 5: Back to Back
Using the same 32-count movement phrase previously explored, dance it while standing back to back. First, perform it as a literal mirroring sequence using the opposite arms and legs, then try a lateral mirroring sequence using same arms and legs. Perform your sequences for the class. Place the reflection line horizontally, dividing the stage into upstage and downstage halves. One dancer will face the front, the other will face the back wall. Discuss with classmates which of the two types of mirroring, literal or lateral, is most interesting visually. How might a choreographer use this type of back-to-back mirroring?
Example: Chapter 2, Lesson 3C: Back to Back
In this example from Verge, watch the two dancers in the center dance the same movement with the same arms and legs but starting back to back. The reflection line is horizontal and the dancers face away from each other. This relationship gives the illusion that the dancers are moving away from and toward the center of the stage. One dancer moves toward the audience as the other moves away.
- Perform the different mirroring variations from improvisations 2 through 5. Each pair should choose one or more of the variations to perform. With your partner, decide how to place the reflection line to divide the stage. Discuss with classmates which of the mirroring variations is most interesting and why.
Problem Solving
Example: Chapter 2, Lesson 3D: At the Bull's-Eye
In Verge, the Alter Ego mimics the movements of the Impulse, especially as he enters the center of the target. In this example, we see both characters performing a mirroring sequence that begins with symmetrical arm, leg, and body movement followed by literal and lateral mirroring gestures. The stage is bisected by a horizontal reflection line so that we see one dancer from the back and the other from the front. They are standing as if looking in a mirror.
Reflection Duets
- In partners, design a Reflection duet inspired by the movement material explored in improvisations 2 through 5, which can serve as a starting point for a new series of 32 counts.
- Design the sequence using literal mirroring (section A). Repeat the sequence using lateral mirroring (section B). Perform the phrase a third time, mixing and matching literal and lateral mirroring (section C). Try the sequences facing each other, back to back, or side by side. Decide which facing is appropriate for each sequence. Also decide where the reflection line should be for each group of 32 counts so that the material will appear the most interesting to the audience. At least one section should show the stage space divided horizontally, one vertically, and one a combination of the two. The study should be at least 1 minute long.
Sample Phrase
A = Literal mirroring, 32 counts, horizontal reflection line, dancers are face to face
B = Lateral mirroring, 32 counts, vertical reflection line, dancers are face to face
C = Lateral mirroring back to back and side to side, 32 counts, horizontal reflection line
Discussion Questions
- When we look in a mirror, do we see ourselves as others see us or are we reversed?
- To mirror someone, what must we do?
- What happens when mirroring partners do the same movement starting with the same-side arms and legs? How is this different from traditional mirroring?
- Are some kinds of movements easier or harder to do with a mirroring partner?
- Is it possible to make mirroring shapes?
- How is symmetry achieved in mirroring?
Dynamics: Qualities of Movement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement.
Vocabulary
collapsed
dynamic
qualities
dynamics
energy
percussive
suspended
sustained
swinging
vibratory
Uri Sands, the Impulse, is suspended high above the ground after executing a strong percussive jump. The other dancers collapse and sink under him in curved shapes.
© Rolland Elliott
Introductory Statement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement. Specifically, in dance we identify six dynamic qualities: sustained, percussive, swinging, suspended, collapsed, and vibratory.
Sustained = slow, smooth, continuous, even
Percussive = sudden, sharp, choppy, jagged
Swinging = sway, to and fro, pendulum, undercurve
Suspended = stillness, balance, high point
Collapsed = fall, release, relax
Vibratory = shake, tremble, wiggle
Warm-Up and Quality Definitions
Example: Chapter 4, Lesson 3A: Describing a Quality
Alonzo King wanted specific dynamic qualities expressed in movement while choreographing Dreamer. In this example, watch King describe and demonstrate a percussive movement phrase and the dancers show percussiveness in their bodies.
Warm up by moving within each quality:
Swinging (using legs, then arms, then whole body)
Collapsed (swing a leg up, then collapse the body over it; repeat, alternating legs)
Sustained (melt gradually all the way to the floor until finishing in a stretched shape)
Percussive (rise quickly and begin a rhythmic step-clap-stamp phrase)
Suspended (rise to relevé on both feet and allow arms to follow; find a point of balance, balance on one foot)
Vibratory (begin a soft beating of the feet on the floor and allow the vibration to move up through the body like a volcano until it erupts out through the fingers)
Structured Improvisations
Improvisation 1: Moving Energy
Using a simple walk, explore moving through space using the dynamic qualities (see list). Discuss how the walk changes when a specific dynamic motivates the movement. How does the tempo alter with each quality? Which qualities can be performed with light energy? Which ones require strength?
Sample Locomotor and Nonlocomotor Sequence
Swinging legs with forward steps
Sustained arm stretch
Percussive jumps
Vibratory beating
Collapsing low walk
Suspended breathing
Example: Chapter 4, Lesson 3B: Sustained Movement
In this excerpt, Alonzo King works with dancer Amy Earnest to create slow, sustained movement for a section of Dreamer.
Improvisation 2: Sharing Qualities
- Divide into two groups. Half will dance, half will be the audience. One member of the audience will call out a dynamic quality. The dancers will move in general space in the quality that is called out. Continue in one quality until another is called out randomly. Call out in unexpected ways, slowly and quickly. Explore each quality with both nonlocomotor and locomotor movement.
- Exchange roles until everyone has improvised movement phrases in each quality, quickly changing qualities as they are called out.
- Discuss feelings or emotions that are implied by the different movement qualities and list them on a chart (an example follows).
Movement Qualities
Swinging legs—regularity, evenness
Sustained, stretched arms—laziness, calm
Percussive jumps—happiness, joy, excitement
Vibratory beating—anger, resentment
Collapsing walks—defeat, failure, grief
Suspended breath—anticipation, surprise
Problem Solving
- In a hat, place slips of paper with one dynamic quality written on each piece. Draw one slip of paper from the hat and find two other partners to make a trio. Together look at the three slips of paper. The problem is to create a Dynamic Quality study using only the three qualities selected. The challenge is to find a way to transition between the qualities in a convincing way so that the study is cohesive. The study should be at least 1 minute long. The study should have a clear beginning and ending shape and use both locomotor and nonlocomotor movements.
- Perform the Dynamic Quality studies for each other. Audience members should identify the dynamic qualities chosen. Discuss how it feels to spend a specific amount of time in only one movement quality. Do we do this in natural movement?
Discussion Questions
- In your own words, define energy. Find your own definitions for each of the dynamic qualities.
- When might you move naturally in a percussive way?
- Do emotional states affect how we use energy in movement?
- List different action words that could describe each of the six qualities.
Problem Solving: Creating a Movement Suite
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key.
During the five chapters of this book, dancers have been challenged to reach toward the target of dance composition. In this final assignment, dancers will meet their target like Uri Sands meets the target in Verge, with energy and grace, knowing that the end of this journey is near.
Vocabulary
allemande
contrast
courante
duple meter
galliard
gigue
optional dance
pavane
saraband
suite
tempo
theme
triple meter
Uri Sands confronting the target from Dwight Rhoden's Verge.
© Rolland Elliott
Introductory Statement
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key. For the sake of variety, suites followed this pattern: a slow dance (in the Renaissance and earlier times it was called basse danse) followed by a faster, jumpy dance (haute danse). In the early 17th century, the dances that fitted that mold were the pavane, in slow duple meter, and the galliard, in fast triple meter. By the end of the 17th century, the suite followed this highly stylized schema:
Allemande (moderate tempo, in 4/4)
Courante (moderately fast, in 6/4)
Saraband (very slow, in 3/4)
Gigue (very fast, in 6/8, compound time)
Often different dances, also called optional dances, were included between the four basic dances. Such dances included the minuet (3/4), gavotte (2/4), and bourree (2/4), among others.
The convention for presenting the overall form of each dance was as follows: A (the first section of the piece, presenting the theme) followed by B (the second section, which developed in a contrasting way to theme A). Therefore, the scheme read as AB. Often each section was repeated as AABB. Sections A and B might have the same number of musical measures, or B could have a few more musical measures.Throughout the lessons in this book, dancers have used AB form and contrasting movement materials to build their studies, such as in chapter 2, lesson 2; chapter 3, lesson 4; and chapter 4, lesson 2.
After 1750 the traditional Baroque suite became extinct. It was absorbed by common classical forms such as the divertimento, cassation, and sonata. Revivals of the suite as a musical form occurred in the late 19th century and even reappeared in the 20th century. In dance, suites are often used by contemporary choreographers who wish to create abstract, sectional dance works. Alonzo King's Chants is an example of a work in suite form. The work is accompanied by different African songs and chants. The order of the songs and the dance sections were chosen by King and reflect contrasting tempos and qualities. The sections are quite different from each other and they feature anything from large-group dances with many voices accompanying the movement, to solos and duets with only one or two singers.
Following the form of the dance suite and inspired by Chants, dancers will create group works that are made up of two to four independent contrasting sections, alternating slow and fast. Each section should use movement phrases and dynamics and groupings that are different from the previous section.
The work should have a central theme to guide movement choices, but the theme can be abstract or nonliteral, such as colors, environments, animals, birds, or creatures in the sea.
Problem Solving
Example: Chapter 5, Lesson 5A: Suite From Chants (Excerpts)
Included in this example are four sections from Alonzo King's Chants. The sections are not in the order of the original dance but have been placed in this order to provide a model for the creative problem that follows. Alonzo King's original suite included 10 different dance sections.
The selected sections are as follows:
- “N'Diouk Tabala Wolof”—A quick men's dance in varied rhythms
- “Yofo Yo”—A weight-sharing, counterbalanced duet for two women
- “N'terole”—A solo featuring acceleration in music and dance
- “Women of Butela”—A quick dance for women, alternating solo with group
- One choreographer will choose a cast of four to six dancers to create a suite of four separate sections. All of the class members should have a role as either choreographer or dancer. If necessary, dancers from outside the class may be used so that all choreographers have four to six dancers as a cast. A movement theme should guide the development of the movement ideas and the choice of music. Each choreographer should use movement material or choreographic operations developed in previous chapters of this book.
Section 1. Quick; full-group dance; duple in 4s.
AB form with two separate types of movement. Choreographers may wish to construct movement sentences of different action words to assure variety.
Section 2. Slow; duet; triple in 3s.
Theme and variations (A, A1, A2, A3, A).
Shapes and sharing weight.
Section 3. Trio; combination of different pulses; duple using half time and double time.
Locomotor and nonlocomotor movement should be designed for each dancer but each dancer should dance to a different beat (pulse, half time, double time).
Section 4. Full group dancing, accelerating and retarding movement; phrases are duple or triple. This is followed by (A) selected gestures evolving into movement phrases showing different movement qualities, and (B) creating an AB form with two types of movement. The theme of the B subsection should take a longer amount of time to complete in order to create a closing for the work. There may be a retard at the end of the work to allow for an ending.
- Assess the process by making a video recording of the work. Watch and critique the work, discussing compositional choices.
Phrase: Linking Movements
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction.
Vocabulary
action word
dance phrase
deconstruction
direct space
energy
flexible space
retrograde
sequence
space
time
transition
Alonzo King demonstrates a movement from a dance phrase to North Carolina Dance Theatre dancers Hernan Justo and Benjamin Westafer.
© Richard Kumery
Introductory Statement
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction. Implicit in action words are the dance elements of time (fast to slow), space (flexible, i.e., curved and indirect, or direct, i.e., straight lines and angles), and energy (strong to light). Words that describe actions provide a base from which to create original dance phrases.
A dance phrase or sequence can be likened to a sentence formed when speaking. Sometimes we refer to dance phrases as movement sequences. For the purpose of this lesson either term is acceptable. Each phrase has a beginning, middle, and end. Movements selected in a dance phrase may flow one to the other naturally or may be connected by a transition movement. Evolving dance sequences from action words is another way to demystify the creative process. Action words lead to the formation of individual dance phrases and provide the framework for further developing those phrases into larger compositional forms. In this lesson, the action words are common terms used in contemporary dance.
Warm-Up and Action-Word Discovery
- Create a warm-up sequence that includes pliés, full-torso movements, leg swings, foot exercises, arm sequences, and small jumps. The warm-up can consist of movement from any style of dance. Name all movements and list them on a chart or blackboard. You may create new words for the actions or use familiar terms such as knee bend or plié.
- Make a list of favorite dance terms and movements, including those from the warm-up, and display the words on a wall chart or blackboard. Brainstorm to come up with as many terms and movements as possible.
- Select 10 words from the list that will become the foundation phrase for this lesson. Write each word on a separate piece of paper and post them in order on the wall.
Structured Improvisations
Improvisation 1: Words Become Action
Create individual phrases based on the 10 action words you selected in the warm-up. All 10 words must be used. Make sure the transitions between words and their associated movements are smooth. Experiment with different levels, directions, and energy as you dance each word movement. Try to interpret each action word in several different ways. For instance does roll always mean to lie on the floor and roll like a log? What other ways can you roll? Make original interpretations for each word.
Example: Chapter 1, Lesson 2A: Building a Phrase
In this video excerpt, Alonzo King introduces his thoughts about learning movement and then demonstrates his process for shaping dance phrases. Dancers from North Carolina Dance Theatre are challenged to interpret the actions that King gives them.
- Assign counts to the separate movements in the phrase so that the phrase is clear. It is especially challenging to make the 10-movement phrase fit into 8 counts.
- Try performing the phrase twice from beginning to end. As you will see in the next improvisation, it is important to be able to repeat selected movement phrases so that you can play with the movement phrase.
Improvisation 2: Retrograde
Example: Chapter 1, Lesson 2B: Can the Phrase Go Backward?
While creating the men's section from Chants, Alonzo King used the process of retrograde (doing a phrase in reverse order) to further develop his choreography. Watch how challenging this process was for the dancers to interpret but how interesting it was compositionally.
- Perform the phrase once more, but this time, start at the end and perform the phrase backward until you end in the beginning shape or movement. Start from the end and go backward through all the words, using the individual cards to help. Post the retrograde version on the wall for reference. Discuss changes that might have to be made in the transitions between the movements.
- Assign counts to this new phrase. Will you use choose 8 counts again?
- Attach this phrase to the previous phrase you created in improvisation 1, Words Become Action.
- Try dancing the original phrase forward, followed immediately by its retrograde.
Improvisation 3: Deconstruction
- Take each of the selected action words from improvisation 1, Words Become Action, and write each one on a separate piece of paper. In a random fashion, perhaps by picking them out of a hat or drawing them like cards, make a new order for the phrase. Each word has a movement previously designed for it, but now each word has moved to another position in the phrase. By changing the movements around, you have deconstructed the phrase and reordered it. Reordering uses the same movements in a different and unexpected way.
- Discuss this process with classmates and the movement choices dancers made in order to reform the phrase.
Problem Solving
Following the Blueprint
- Create an original movement study from the three phrases generated in the previous exercises (see the sidebar for an example).
- Each study will include a core phrase (A), its retrograde (B), and its deconstruction (C). For example:
Core Phrase (A)
Lunge
Roll
Rise
Symmetrical shape
Turn
Hop
Asymmetrical shape
Gallop
Leap
Balance on one leg
Retrograde (B)
Balance on one leg
Leap
Gallop
Asymmetrical shape
Hop
Turn
Symmetrical shape
Rise
Roll
Lunge
Deconstructed (Reordered) (C)
Hop
Lunge
Balance on one leg
Roll
Asymmetrical shape
Leap
Rise
Gallop
Turn
Symmetrical shape
- Make sure the dance study has a clear beginning and ending shape or entrance and exit to and from the stage space.
- Select music for the study. The teacher or dance accompanist may offer suggestions and assistance.
- Perform your studies for your classmates. Audience members should provide feedback. Each dancer will have been working with the same words so the individual transitions and movement choices should be especially interesting to observe.
Two Blueprint Examples1. The form of the study may be a rondo:
A core phrase
B retrograde
A core phrase
C deconstructed phrase
A core phrase
2. The form may be a theme and variations:
Original phrase (A)
Retrograde variation
Deconstructed variation
Original phrase (A)
Example: Chapter 1, Lesson 2C: Men's Dance From Chants
This selection features the men of North Carolina Dance Theatre in a group excerpt from Chants. The excerpt opens with an individual dancer presenting the movement phrase that will be developed throughout the section. He is followed by three dancers performing the same movement but reordered. The trio is followed by another soloist who performs the original movement phrase and inserts one or two new extensions to the movement material. Last, the group dances the phrase, with insertions, together.
Discussion Questions
- How would you define a dance phrase? What does a series of movements need to have in order to be a phrase?
- Is there a difference between a dance phrase and a movement sequence? Explain.
- What other art forms create phrases?
- What did you find challenging about composing a retrograde for a phrase?
Symmetry: Balancing Shapes
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts.
Vocabulary
asymmetry
balance
interpersonal space
mirroring
reflection
reflection line
reverse
symmetry
visual balance
Uri Sands and Edgar Vardanian dance a mirroring sequence in the center of the stage while Nicholle Rochelle dances a solo around them in this section from Verge.
© Rolland Elliott
Introductory Statement
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts. On the stage, the reflection line may divide the space horizontally, creating an upstage side and a downstage side, or vertically, creating a stage-left side and a stage-right side.
Dance movements producing a reflection are called mirroring movements. While mirroring, each dancer or group of dancers claims one side of the divided space. In literal mirroring, a term coined for these lessons, dancers always dance the same movements, as if looking at each other in a mirror. In this case, the dancers face one another with one dancer following the lead of the other using opposite limbs or sides of the body (e.g., dancer A curves to her left; dancer B mirrors by curving his body to his right). Dancers move in exactly the same way and at the same time, as if only one person were moving. When dancers move both sides of their bodies together to create symmetrical shapes, they balance each other in space and produce visual symmetry. If they choose to move only one side of the body, the audience will see asymmetry because the body shape of both dancers is delineated on one side of the body only.
Dancers facing each other may also create lateral mirroring, another term coined for these lessons. In this case, each dancer does the same movement as the partner but uses the same arms and legs (e.g., dancer A curves to her right; dancer B curves to his right). When the dancers move the same side of the body, the audience will see a balanced, symmetrical shape made out of the two sides of the mirror figure. Each dancer becomes one side of the observed shape. In this kind of mirroring, symmetry is always observed.
Both types of mirroring provide a satisfying visual balance and use of space. Observers become aware of the concept of interpersonal space, or the space and spatial relationships activated between two or more people. In this lesson, dancers will explore literal as well as lateral mirroring.
Warm-Up: Mirroring
- Select one dancer as leader to improvise a literal mirroring warm-up that may include material from the previous lessons: successions, isolations, body-part leading, and inward and outward rotation with gestures. The other dancers or followers should try to mirror the leader in terms of time, space, and energy. Music to complement the exercise should be in a tempo that will allow maximum dancer focus on the selected movements.
- In pairs, explore literal mirroring with one leader and one follower. Dancers remain in one place but vary levels and speeds and find several still shapes. Music to accompany the exercise should now be varied. Try the improvisation with four different types of music. Both partner A and partner B should have a chance to lead.
Structured Improvisations
Improvisation 1: Drawing a Mirrored Shape
- Study the sample graph reflection (see figure 2.5). Take a piece of graph paper, a pencil, and a ruler and draw a reflecting line down the center of the paper vertically. Draw a geometric figure on one side of the line and then draw its exact reflection on the other side using line segments, points, perpendicular lines, parallel lines, and diagonals. Study the symmetry of the figures. Turn the paper so that the reflecting line is horizontal. Compare how the figure looks from this vantage point with the original facing.
FIGURE 2.5 Sample graph reflection. - Share your graphs with the rest of the class. How might mirrored movement phrases be perceived by an audience? How do we as dancers perceive symmetry while moving? What makes something symmetrical?
Improvisation 2: Reflection Sequence
- Individually, develop a 16-count sequence of movement that uses material from a previous lesson. For example, the gesture sequence from chapter 1, lesson 3, would be fun to use. Find your mirroring partner. Teach each other the 16-count phrases so that when finished, each pair has a 32-count phrase (16 counts from each partner). Partners should begin with the same arm and leg so that they are always using the same side of the body. Practice the 32-count phrase to make sure both dancers can perform it from memory.
- Face each other and perform the 32-count sequence in a lateral mirroring fashion. Both partners will perform the phrase as they learned it, starting on the same side of the body. This time the movement will seem different because the partners are now facing each other. Symmetry is produced because movement on both sides of the figure is seen simultaneously when viewed front to back. Discuss the ease or difficulty of this exercise.
Example: Chapter 2, Lesson 3A: Mirroring
In Verge, Dwight Rhoden created two lead characters: the Impulse, whom we met in chapter 1, and the Alter Ego. In this example the Impulse and the Alter Ego demonstrate lateral mirroring. The dancers are doing the same movement facing each other but are using the same arms and legs so that the shapes they make in space are symmetrical. Note the small and full body gestures.
- Present each lateral mirroring sequence to the class. First, place the reflection line horizontally, dividing the stage space into upstage and downstage. Each dancer should stand on one side of the line facing each other. The audience will see the back of one dancer and the front of the other. Next, place the reflecting line vertically so that the stage is divided into stage right and stage left and each dancer faces a side wall. The audience will see the sides of the dancers. In the first instance the audience will see the movement from the front and the second instance from the side. Discuss with the audience how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 3: Looking in the Mirror
- Create a variation of the lateral mirroring sequence with literal mirroring. In this variation, both partners will use the same arms and legs while doing the movement phrase facing each other (horizontal reflection line). The dancer who is following will have to reverse beginning sides when starting each movement. Practice your 32-count sequence from the lateral mirroring exercise in this manner. Each partner must do the movement with the opposite arm and leg. This process will produce spatial asymmetry because only one side of a figure in space will be observed.
- Present each literal mirroring sequence to the class. Next, place the reflecting line vertically so that each dancer faces a side wall. Dance the same literal mirroring movements just danced with the horizontal reflecting line. In the first instance the audience saw the movement from the front, in the second instance from the side. Discuss how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 4: Side by Side
Using the same 32-count movement phrase created for improvisation 3, dance it standing side by side, both dancers facing the audience or front. To achieve symmetry, each dancer must begin with the opposite side or limbs of the body. The reflection line is vertical, dividing the stage in two halves, left and right. In this relationship, the dancer on stage left will begin with the left foot and the dancer on stage right will begin with the right foot. Is it easier or harder to remain in unison? How does this exercise relate to the graphed forms drawn earlier?
Example: Chapter 2, Lesson 3B: Opening and Closing Duet
Alonzo King uses the compositional device of mirroring in his work Dreamer. In this example, we can see lateral mirroring front to back, side by side, and back to back. The reflection line is always horizontal, however. Watch how the relationship between dancers evolves as facings change.
Improvisation 5: Back to Back
Using the same 32-count movement phrase previously explored, dance it while standing back to back. First, perform it as a literal mirroring sequence using the opposite arms and legs, then try a lateral mirroring sequence using same arms and legs. Perform your sequences for the class. Place the reflection line horizontally, dividing the stage into upstage and downstage halves. One dancer will face the front, the other will face the back wall. Discuss with classmates which of the two types of mirroring, literal or lateral, is most interesting visually. How might a choreographer use this type of back-to-back mirroring?
Example: Chapter 2, Lesson 3C: Back to Back
In this example from Verge, watch the two dancers in the center dance the same movement with the same arms and legs but starting back to back. The reflection line is horizontal and the dancers face away from each other. This relationship gives the illusion that the dancers are moving away from and toward the center of the stage. One dancer moves toward the audience as the other moves away.
- Perform the different mirroring variations from improvisations 2 through 5. Each pair should choose one or more of the variations to perform. With your partner, decide how to place the reflection line to divide the stage. Discuss with classmates which of the mirroring variations is most interesting and why.
Problem Solving
Example: Chapter 2, Lesson 3D: At the Bull's-Eye
In Verge, the Alter Ego mimics the movements of the Impulse, especially as he enters the center of the target. In this example, we see both characters performing a mirroring sequence that begins with symmetrical arm, leg, and body movement followed by literal and lateral mirroring gestures. The stage is bisected by a horizontal reflection line so that we see one dancer from the back and the other from the front. They are standing as if looking in a mirror.
Reflection Duets
- In partners, design a Reflection duet inspired by the movement material explored in improvisations 2 through 5, which can serve as a starting point for a new series of 32 counts.
- Design the sequence using literal mirroring (section A). Repeat the sequence using lateral mirroring (section B). Perform the phrase a third time, mixing and matching literal and lateral mirroring (section C). Try the sequences facing each other, back to back, or side by side. Decide which facing is appropriate for each sequence. Also decide where the reflection line should be for each group of 32 counts so that the material will appear the most interesting to the audience. At least one section should show the stage space divided horizontally, one vertically, and one a combination of the two. The study should be at least 1 minute long.
Sample Phrase
A = Literal mirroring, 32 counts, horizontal reflection line, dancers are face to face
B = Lateral mirroring, 32 counts, vertical reflection line, dancers are face to face
C = Lateral mirroring back to back and side to side, 32 counts, horizontal reflection line
Discussion Questions
- When we look in a mirror, do we see ourselves as others see us or are we reversed?
- To mirror someone, what must we do?
- What happens when mirroring partners do the same movement starting with the same-side arms and legs? How is this different from traditional mirroring?
- Are some kinds of movements easier or harder to do with a mirroring partner?
- Is it possible to make mirroring shapes?
- How is symmetry achieved in mirroring?
Dynamics: Qualities of Movement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement.
Vocabulary
collapsed
dynamic
qualities
dynamics
energy
percussive
suspended
sustained
swinging
vibratory
Uri Sands, the Impulse, is suspended high above the ground after executing a strong percussive jump. The other dancers collapse and sink under him in curved shapes.
© Rolland Elliott
Introductory Statement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement. Specifically, in dance we identify six dynamic qualities: sustained, percussive, swinging, suspended, collapsed, and vibratory.
Sustained = slow, smooth, continuous, even
Percussive = sudden, sharp, choppy, jagged
Swinging = sway, to and fro, pendulum, undercurve
Suspended = stillness, balance, high point
Collapsed = fall, release, relax
Vibratory = shake, tremble, wiggle
Warm-Up and Quality Definitions
Example: Chapter 4, Lesson 3A: Describing a Quality
Alonzo King wanted specific dynamic qualities expressed in movement while choreographing Dreamer. In this example, watch King describe and demonstrate a percussive movement phrase and the dancers show percussiveness in their bodies.
Warm up by moving within each quality:
Swinging (using legs, then arms, then whole body)
Collapsed (swing a leg up, then collapse the body over it; repeat, alternating legs)
Sustained (melt gradually all the way to the floor until finishing in a stretched shape)
Percussive (rise quickly and begin a rhythmic step-clap-stamp phrase)
Suspended (rise to relevé on both feet and allow arms to follow; find a point of balance, balance on one foot)
Vibratory (begin a soft beating of the feet on the floor and allow the vibration to move up through the body like a volcano until it erupts out through the fingers)
Structured Improvisations
Improvisation 1: Moving Energy
Using a simple walk, explore moving through space using the dynamic qualities (see list). Discuss how the walk changes when a specific dynamic motivates the movement. How does the tempo alter with each quality? Which qualities can be performed with light energy? Which ones require strength?
Sample Locomotor and Nonlocomotor Sequence
Swinging legs with forward steps
Sustained arm stretch
Percussive jumps
Vibratory beating
Collapsing low walk
Suspended breathing
Example: Chapter 4, Lesson 3B: Sustained Movement
In this excerpt, Alonzo King works with dancer Amy Earnest to create slow, sustained movement for a section of Dreamer.
Improvisation 2: Sharing Qualities
- Divide into two groups. Half will dance, half will be the audience. One member of the audience will call out a dynamic quality. The dancers will move in general space in the quality that is called out. Continue in one quality until another is called out randomly. Call out in unexpected ways, slowly and quickly. Explore each quality with both nonlocomotor and locomotor movement.
- Exchange roles until everyone has improvised movement phrases in each quality, quickly changing qualities as they are called out.
- Discuss feelings or emotions that are implied by the different movement qualities and list them on a chart (an example follows).
Movement Qualities
Swinging legs—regularity, evenness
Sustained, stretched arms—laziness, calm
Percussive jumps—happiness, joy, excitement
Vibratory beating—anger, resentment
Collapsing walks—defeat, failure, grief
Suspended breath—anticipation, surprise
Problem Solving
- In a hat, place slips of paper with one dynamic quality written on each piece. Draw one slip of paper from the hat and find two other partners to make a trio. Together look at the three slips of paper. The problem is to create a Dynamic Quality study using only the three qualities selected. The challenge is to find a way to transition between the qualities in a convincing way so that the study is cohesive. The study should be at least 1 minute long. The study should have a clear beginning and ending shape and use both locomotor and nonlocomotor movements.
- Perform the Dynamic Quality studies for each other. Audience members should identify the dynamic qualities chosen. Discuss how it feels to spend a specific amount of time in only one movement quality. Do we do this in natural movement?
Discussion Questions
- In your own words, define energy. Find your own definitions for each of the dynamic qualities.
- When might you move naturally in a percussive way?
- Do emotional states affect how we use energy in movement?
- List different action words that could describe each of the six qualities.
Problem Solving: Creating a Movement Suite
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key.
During the five chapters of this book, dancers have been challenged to reach toward the target of dance composition. In this final assignment, dancers will meet their target like Uri Sands meets the target in Verge, with energy and grace, knowing that the end of this journey is near.
Vocabulary
allemande
contrast
courante
duple meter
galliard
gigue
optional dance
pavane
saraband
suite
tempo
theme
triple meter
Uri Sands confronting the target from Dwight Rhoden's Verge.
© Rolland Elliott
Introductory Statement
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key. For the sake of variety, suites followed this pattern: a slow dance (in the Renaissance and earlier times it was called basse danse) followed by a faster, jumpy dance (haute danse). In the early 17th century, the dances that fitted that mold were the pavane, in slow duple meter, and the galliard, in fast triple meter. By the end of the 17th century, the suite followed this highly stylized schema:
Allemande (moderate tempo, in 4/4)
Courante (moderately fast, in 6/4)
Saraband (very slow, in 3/4)
Gigue (very fast, in 6/8, compound time)
Often different dances, also called optional dances, were included between the four basic dances. Such dances included the minuet (3/4), gavotte (2/4), and bourree (2/4), among others.
The convention for presenting the overall form of each dance was as follows: A (the first section of the piece, presenting the theme) followed by B (the second section, which developed in a contrasting way to theme A). Therefore, the scheme read as AB. Often each section was repeated as AABB. Sections A and B might have the same number of musical measures, or B could have a few more musical measures.Throughout the lessons in this book, dancers have used AB form and contrasting movement materials to build their studies, such as in chapter 2, lesson 2; chapter 3, lesson 4; and chapter 4, lesson 2.
After 1750 the traditional Baroque suite became extinct. It was absorbed by common classical forms such as the divertimento, cassation, and sonata. Revivals of the suite as a musical form occurred in the late 19th century and even reappeared in the 20th century. In dance, suites are often used by contemporary choreographers who wish to create abstract, sectional dance works. Alonzo King's Chants is an example of a work in suite form. The work is accompanied by different African songs and chants. The order of the songs and the dance sections were chosen by King and reflect contrasting tempos and qualities. The sections are quite different from each other and they feature anything from large-group dances with many voices accompanying the movement, to solos and duets with only one or two singers.
Following the form of the dance suite and inspired by Chants, dancers will create group works that are made up of two to four independent contrasting sections, alternating slow and fast. Each section should use movement phrases and dynamics and groupings that are different from the previous section.
The work should have a central theme to guide movement choices, but the theme can be abstract or nonliteral, such as colors, environments, animals, birds, or creatures in the sea.
Problem Solving
Example: Chapter 5, Lesson 5A: Suite From Chants (Excerpts)
Included in this example are four sections from Alonzo King's Chants. The sections are not in the order of the original dance but have been placed in this order to provide a model for the creative problem that follows. Alonzo King's original suite included 10 different dance sections.
The selected sections are as follows:
- “N'Diouk Tabala Wolof”—A quick men's dance in varied rhythms
- “Yofo Yo”—A weight-sharing, counterbalanced duet for two women
- “N'terole”—A solo featuring acceleration in music and dance
- “Women of Butela”—A quick dance for women, alternating solo with group
- One choreographer will choose a cast of four to six dancers to create a suite of four separate sections. All of the class members should have a role as either choreographer or dancer. If necessary, dancers from outside the class may be used so that all choreographers have four to six dancers as a cast. A movement theme should guide the development of the movement ideas and the choice of music. Each choreographer should use movement material or choreographic operations developed in previous chapters of this book.
Section 1. Quick; full-group dance; duple in 4s.
AB form with two separate types of movement. Choreographers may wish to construct movement sentences of different action words to assure variety.
Section 2. Slow; duet; triple in 3s.
Theme and variations (A, A1, A2, A3, A).
Shapes and sharing weight.
Section 3. Trio; combination of different pulses; duple using half time and double time.
Locomotor and nonlocomotor movement should be designed for each dancer but each dancer should dance to a different beat (pulse, half time, double time).
Section 4. Full group dancing, accelerating and retarding movement; phrases are duple or triple. This is followed by (A) selected gestures evolving into movement phrases showing different movement qualities, and (B) creating an AB form with two types of movement. The theme of the B subsection should take a longer amount of time to complete in order to create a closing for the work. There may be a retard at the end of the work to allow for an ending.
- Assess the process by making a video recording of the work. Watch and critique the work, discussing compositional choices.
Phrase: Linking Movements
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction.
Vocabulary
action word
dance phrase
deconstruction
direct space
energy
flexible space
retrograde
sequence
space
time
transition
Alonzo King demonstrates a movement from a dance phrase to North Carolina Dance Theatre dancers Hernan Justo and Benjamin Westafer.
© Richard Kumery
Introductory Statement
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction. Implicit in action words are the dance elements of time (fast to slow), space (flexible, i.e., curved and indirect, or direct, i.e., straight lines and angles), and energy (strong to light). Words that describe actions provide a base from which to create original dance phrases.
A dance phrase or sequence can be likened to a sentence formed when speaking. Sometimes we refer to dance phrases as movement sequences. For the purpose of this lesson either term is acceptable. Each phrase has a beginning, middle, and end. Movements selected in a dance phrase may flow one to the other naturally or may be connected by a transition movement. Evolving dance sequences from action words is another way to demystify the creative process. Action words lead to the formation of individual dance phrases and provide the framework for further developing those phrases into larger compositional forms. In this lesson, the action words are common terms used in contemporary dance.
Warm-Up and Action-Word Discovery
- Create a warm-up sequence that includes pliés, full-torso movements, leg swings, foot exercises, arm sequences, and small jumps. The warm-up can consist of movement from any style of dance. Name all movements and list them on a chart or blackboard. You may create new words for the actions or use familiar terms such as knee bend or plié.
- Make a list of favorite dance terms and movements, including those from the warm-up, and display the words on a wall chart or blackboard. Brainstorm to come up with as many terms and movements as possible.
- Select 10 words from the list that will become the foundation phrase for this lesson. Write each word on a separate piece of paper and post them in order on the wall.
Structured Improvisations
Improvisation 1: Words Become Action
Create individual phrases based on the 10 action words you selected in the warm-up. All 10 words must be used. Make sure the transitions between words and their associated movements are smooth. Experiment with different levels, directions, and energy as you dance each word movement. Try to interpret each action word in several different ways. For instance does roll always mean to lie on the floor and roll like a log? What other ways can you roll? Make original interpretations for each word.
Example: Chapter 1, Lesson 2A: Building a Phrase
In this video excerpt, Alonzo King introduces his thoughts about learning movement and then demonstrates his process for shaping dance phrases. Dancers from North Carolina Dance Theatre are challenged to interpret the actions that King gives them.
- Assign counts to the separate movements in the phrase so that the phrase is clear. It is especially challenging to make the 10-movement phrase fit into 8 counts.
- Try performing the phrase twice from beginning to end. As you will see in the next improvisation, it is important to be able to repeat selected movement phrases so that you can play with the movement phrase.
Improvisation 2: Retrograde
Example: Chapter 1, Lesson 2B: Can the Phrase Go Backward?
While creating the men's section from Chants, Alonzo King used the process of retrograde (doing a phrase in reverse order) to further develop his choreography. Watch how challenging this process was for the dancers to interpret but how interesting it was compositionally.
- Perform the phrase once more, but this time, start at the end and perform the phrase backward until you end in the beginning shape or movement. Start from the end and go backward through all the words, using the individual cards to help. Post the retrograde version on the wall for reference. Discuss changes that might have to be made in the transitions between the movements.
- Assign counts to this new phrase. Will you use choose 8 counts again?
- Attach this phrase to the previous phrase you created in improvisation 1, Words Become Action.
- Try dancing the original phrase forward, followed immediately by its retrograde.
Improvisation 3: Deconstruction
- Take each of the selected action words from improvisation 1, Words Become Action, and write each one on a separate piece of paper. In a random fashion, perhaps by picking them out of a hat or drawing them like cards, make a new order for the phrase. Each word has a movement previously designed for it, but now each word has moved to another position in the phrase. By changing the movements around, you have deconstructed the phrase and reordered it. Reordering uses the same movements in a different and unexpected way.
- Discuss this process with classmates and the movement choices dancers made in order to reform the phrase.
Problem Solving
Following the Blueprint
- Create an original movement study from the three phrases generated in the previous exercises (see the sidebar for an example).
- Each study will include a core phrase (A), its retrograde (B), and its deconstruction (C). For example:
Core Phrase (A)
Lunge
Roll
Rise
Symmetrical shape
Turn
Hop
Asymmetrical shape
Gallop
Leap
Balance on one leg
Retrograde (B)
Balance on one leg
Leap
Gallop
Asymmetrical shape
Hop
Turn
Symmetrical shape
Rise
Roll
Lunge
Deconstructed (Reordered) (C)
Hop
Lunge
Balance on one leg
Roll
Asymmetrical shape
Leap
Rise
Gallop
Turn
Symmetrical shape
- Make sure the dance study has a clear beginning and ending shape or entrance and exit to and from the stage space.
- Select music for the study. The teacher or dance accompanist may offer suggestions and assistance.
- Perform your studies for your classmates. Audience members should provide feedback. Each dancer will have been working with the same words so the individual transitions and movement choices should be especially interesting to observe.
Two Blueprint Examples1. The form of the study may be a rondo:
A core phrase
B retrograde
A core phrase
C deconstructed phrase
A core phrase
2. The form may be a theme and variations:
Original phrase (A)
Retrograde variation
Deconstructed variation
Original phrase (A)
Example: Chapter 1, Lesson 2C: Men's Dance From Chants
This selection features the men of North Carolina Dance Theatre in a group excerpt from Chants. The excerpt opens with an individual dancer presenting the movement phrase that will be developed throughout the section. He is followed by three dancers performing the same movement but reordered. The trio is followed by another soloist who performs the original movement phrase and inserts one or two new extensions to the movement material. Last, the group dances the phrase, with insertions, together.
Discussion Questions
- How would you define a dance phrase? What does a series of movements need to have in order to be a phrase?
- Is there a difference between a dance phrase and a movement sequence? Explain.
- What other art forms create phrases?
- What did you find challenging about composing a retrograde for a phrase?
Symmetry: Balancing Shapes
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts.
Vocabulary
asymmetry
balance
interpersonal space
mirroring
reflection
reflection line
reverse
symmetry
visual balance
Uri Sands and Edgar Vardanian dance a mirroring sequence in the center of the stage while Nicholle Rochelle dances a solo around them in this section from Verge.
© Rolland Elliott
Introductory Statement
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts. On the stage, the reflection line may divide the space horizontally, creating an upstage side and a downstage side, or vertically, creating a stage-left side and a stage-right side.
Dance movements producing a reflection are called mirroring movements. While mirroring, each dancer or group of dancers claims one side of the divided space. In literal mirroring, a term coined for these lessons, dancers always dance the same movements, as if looking at each other in a mirror. In this case, the dancers face one another with one dancer following the lead of the other using opposite limbs or sides of the body (e.g., dancer A curves to her left; dancer B mirrors by curving his body to his right). Dancers move in exactly the same way and at the same time, as if only one person were moving. When dancers move both sides of their bodies together to create symmetrical shapes, they balance each other in space and produce visual symmetry. If they choose to move only one side of the body, the audience will see asymmetry because the body shape of both dancers is delineated on one side of the body only.
Dancers facing each other may also create lateral mirroring, another term coined for these lessons. In this case, each dancer does the same movement as the partner but uses the same arms and legs (e.g., dancer A curves to her right; dancer B curves to his right). When the dancers move the same side of the body, the audience will see a balanced, symmetrical shape made out of the two sides of the mirror figure. Each dancer becomes one side of the observed shape. In this kind of mirroring, symmetry is always observed.
Both types of mirroring provide a satisfying visual balance and use of space. Observers become aware of the concept of interpersonal space, or the space and spatial relationships activated between two or more people. In this lesson, dancers will explore literal as well as lateral mirroring.
Warm-Up: Mirroring
- Select one dancer as leader to improvise a literal mirroring warm-up that may include material from the previous lessons: successions, isolations, body-part leading, and inward and outward rotation with gestures. The other dancers or followers should try to mirror the leader in terms of time, space, and energy. Music to complement the exercise should be in a tempo that will allow maximum dancer focus on the selected movements.
- In pairs, explore literal mirroring with one leader and one follower. Dancers remain in one place but vary levels and speeds and find several still shapes. Music to accompany the exercise should now be varied. Try the improvisation with four different types of music. Both partner A and partner B should have a chance to lead.
Structured Improvisations
Improvisation 1: Drawing a Mirrored Shape
- Study the sample graph reflection (see figure 2.5). Take a piece of graph paper, a pencil, and a ruler and draw a reflecting line down the center of the paper vertically. Draw a geometric figure on one side of the line and then draw its exact reflection on the other side using line segments, points, perpendicular lines, parallel lines, and diagonals. Study the symmetry of the figures. Turn the paper so that the reflecting line is horizontal. Compare how the figure looks from this vantage point with the original facing.
FIGURE 2.5 Sample graph reflection. - Share your graphs with the rest of the class. How might mirrored movement phrases be perceived by an audience? How do we as dancers perceive symmetry while moving? What makes something symmetrical?
Improvisation 2: Reflection Sequence
- Individually, develop a 16-count sequence of movement that uses material from a previous lesson. For example, the gesture sequence from chapter 1, lesson 3, would be fun to use. Find your mirroring partner. Teach each other the 16-count phrases so that when finished, each pair has a 32-count phrase (16 counts from each partner). Partners should begin with the same arm and leg so that they are always using the same side of the body. Practice the 32-count phrase to make sure both dancers can perform it from memory.
- Face each other and perform the 32-count sequence in a lateral mirroring fashion. Both partners will perform the phrase as they learned it, starting on the same side of the body. This time the movement will seem different because the partners are now facing each other. Symmetry is produced because movement on both sides of the figure is seen simultaneously when viewed front to back. Discuss the ease or difficulty of this exercise.
Example: Chapter 2, Lesson 3A: Mirroring
In Verge, Dwight Rhoden created two lead characters: the Impulse, whom we met in chapter 1, and the Alter Ego. In this example the Impulse and the Alter Ego demonstrate lateral mirroring. The dancers are doing the same movement facing each other but are using the same arms and legs so that the shapes they make in space are symmetrical. Note the small and full body gestures.
- Present each lateral mirroring sequence to the class. First, place the reflection line horizontally, dividing the stage space into upstage and downstage. Each dancer should stand on one side of the line facing each other. The audience will see the back of one dancer and the front of the other. Next, place the reflecting line vertically so that the stage is divided into stage right and stage left and each dancer faces a side wall. The audience will see the sides of the dancers. In the first instance the audience will see the movement from the front and the second instance from the side. Discuss with the audience how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 3: Looking in the Mirror
- Create a variation of the lateral mirroring sequence with literal mirroring. In this variation, both partners will use the same arms and legs while doing the movement phrase facing each other (horizontal reflection line). The dancer who is following will have to reverse beginning sides when starting each movement. Practice your 32-count sequence from the lateral mirroring exercise in this manner. Each partner must do the movement with the opposite arm and leg. This process will produce spatial asymmetry because only one side of a figure in space will be observed.
- Present each literal mirroring sequence to the class. Next, place the reflecting line vertically so that each dancer faces a side wall. Dance the same literal mirroring movements just danced with the horizontal reflecting line. In the first instance the audience saw the movement from the front, in the second instance from the side. Discuss how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 4: Side by Side
Using the same 32-count movement phrase created for improvisation 3, dance it standing side by side, both dancers facing the audience or front. To achieve symmetry, each dancer must begin with the opposite side or limbs of the body. The reflection line is vertical, dividing the stage in two halves, left and right. In this relationship, the dancer on stage left will begin with the left foot and the dancer on stage right will begin with the right foot. Is it easier or harder to remain in unison? How does this exercise relate to the graphed forms drawn earlier?
Example: Chapter 2, Lesson 3B: Opening and Closing Duet
Alonzo King uses the compositional device of mirroring in his work Dreamer. In this example, we can see lateral mirroring front to back, side by side, and back to back. The reflection line is always horizontal, however. Watch how the relationship between dancers evolves as facings change.
Improvisation 5: Back to Back
Using the same 32-count movement phrase previously explored, dance it while standing back to back. First, perform it as a literal mirroring sequence using the opposite arms and legs, then try a lateral mirroring sequence using same arms and legs. Perform your sequences for the class. Place the reflection line horizontally, dividing the stage into upstage and downstage halves. One dancer will face the front, the other will face the back wall. Discuss with classmates which of the two types of mirroring, literal or lateral, is most interesting visually. How might a choreographer use this type of back-to-back mirroring?
Example: Chapter 2, Lesson 3C: Back to Back
In this example from Verge, watch the two dancers in the center dance the same movement with the same arms and legs but starting back to back. The reflection line is horizontal and the dancers face away from each other. This relationship gives the illusion that the dancers are moving away from and toward the center of the stage. One dancer moves toward the audience as the other moves away.
- Perform the different mirroring variations from improvisations 2 through 5. Each pair should choose one or more of the variations to perform. With your partner, decide how to place the reflection line to divide the stage. Discuss with classmates which of the mirroring variations is most interesting and why.
Problem Solving
Example: Chapter 2, Lesson 3D: At the Bull's-Eye
In Verge, the Alter Ego mimics the movements of the Impulse, especially as he enters the center of the target. In this example, we see both characters performing a mirroring sequence that begins with symmetrical arm, leg, and body movement followed by literal and lateral mirroring gestures. The stage is bisected by a horizontal reflection line so that we see one dancer from the back and the other from the front. They are standing as if looking in a mirror.
Reflection Duets
- In partners, design a Reflection duet inspired by the movement material explored in improvisations 2 through 5, which can serve as a starting point for a new series of 32 counts.
- Design the sequence using literal mirroring (section A). Repeat the sequence using lateral mirroring (section B). Perform the phrase a third time, mixing and matching literal and lateral mirroring (section C). Try the sequences facing each other, back to back, or side by side. Decide which facing is appropriate for each sequence. Also decide where the reflection line should be for each group of 32 counts so that the material will appear the most interesting to the audience. At least one section should show the stage space divided horizontally, one vertically, and one a combination of the two. The study should be at least 1 minute long.
Sample Phrase
A = Literal mirroring, 32 counts, horizontal reflection line, dancers are face to face
B = Lateral mirroring, 32 counts, vertical reflection line, dancers are face to face
C = Lateral mirroring back to back and side to side, 32 counts, horizontal reflection line
Discussion Questions
- When we look in a mirror, do we see ourselves as others see us or are we reversed?
- To mirror someone, what must we do?
- What happens when mirroring partners do the same movement starting with the same-side arms and legs? How is this different from traditional mirroring?
- Are some kinds of movements easier or harder to do with a mirroring partner?
- Is it possible to make mirroring shapes?
- How is symmetry achieved in mirroring?
Dynamics: Qualities of Movement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement.
Vocabulary
collapsed
dynamic
qualities
dynamics
energy
percussive
suspended
sustained
swinging
vibratory
Uri Sands, the Impulse, is suspended high above the ground after executing a strong percussive jump. The other dancers collapse and sink under him in curved shapes.
© Rolland Elliott
Introductory Statement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement. Specifically, in dance we identify six dynamic qualities: sustained, percussive, swinging, suspended, collapsed, and vibratory.
Sustained = slow, smooth, continuous, even
Percussive = sudden, sharp, choppy, jagged
Swinging = sway, to and fro, pendulum, undercurve
Suspended = stillness, balance, high point
Collapsed = fall, release, relax
Vibratory = shake, tremble, wiggle
Warm-Up and Quality Definitions
Example: Chapter 4, Lesson 3A: Describing a Quality
Alonzo King wanted specific dynamic qualities expressed in movement while choreographing Dreamer. In this example, watch King describe and demonstrate a percussive movement phrase and the dancers show percussiveness in their bodies.
Warm up by moving within each quality:
Swinging (using legs, then arms, then whole body)
Collapsed (swing a leg up, then collapse the body over it; repeat, alternating legs)
Sustained (melt gradually all the way to the floor until finishing in a stretched shape)
Percussive (rise quickly and begin a rhythmic step-clap-stamp phrase)
Suspended (rise to relevé on both feet and allow arms to follow; find a point of balance, balance on one foot)
Vibratory (begin a soft beating of the feet on the floor and allow the vibration to move up through the body like a volcano until it erupts out through the fingers)
Structured Improvisations
Improvisation 1: Moving Energy
Using a simple walk, explore moving through space using the dynamic qualities (see list). Discuss how the walk changes when a specific dynamic motivates the movement. How does the tempo alter with each quality? Which qualities can be performed with light energy? Which ones require strength?
Sample Locomotor and Nonlocomotor Sequence
Swinging legs with forward steps
Sustained arm stretch
Percussive jumps
Vibratory beating
Collapsing low walk
Suspended breathing
Example: Chapter 4, Lesson 3B: Sustained Movement
In this excerpt, Alonzo King works with dancer Amy Earnest to create slow, sustained movement for a section of Dreamer.
Improvisation 2: Sharing Qualities
- Divide into two groups. Half will dance, half will be the audience. One member of the audience will call out a dynamic quality. The dancers will move in general space in the quality that is called out. Continue in one quality until another is called out randomly. Call out in unexpected ways, slowly and quickly. Explore each quality with both nonlocomotor and locomotor movement.
- Exchange roles until everyone has improvised movement phrases in each quality, quickly changing qualities as they are called out.
- Discuss feelings or emotions that are implied by the different movement qualities and list them on a chart (an example follows).
Movement Qualities
Swinging legs—regularity, evenness
Sustained, stretched arms—laziness, calm
Percussive jumps—happiness, joy, excitement
Vibratory beating—anger, resentment
Collapsing walks—defeat, failure, grief
Suspended breath—anticipation, surprise
Problem Solving
- In a hat, place slips of paper with one dynamic quality written on each piece. Draw one slip of paper from the hat and find two other partners to make a trio. Together look at the three slips of paper. The problem is to create a Dynamic Quality study using only the three qualities selected. The challenge is to find a way to transition between the qualities in a convincing way so that the study is cohesive. The study should be at least 1 minute long. The study should have a clear beginning and ending shape and use both locomotor and nonlocomotor movements.
- Perform the Dynamic Quality studies for each other. Audience members should identify the dynamic qualities chosen. Discuss how it feels to spend a specific amount of time in only one movement quality. Do we do this in natural movement?
Discussion Questions
- In your own words, define energy. Find your own definitions for each of the dynamic qualities.
- When might you move naturally in a percussive way?
- Do emotional states affect how we use energy in movement?
- List different action words that could describe each of the six qualities.
Problem Solving: Creating a Movement Suite
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key.
During the five chapters of this book, dancers have been challenged to reach toward the target of dance composition. In this final assignment, dancers will meet their target like Uri Sands meets the target in Verge, with energy and grace, knowing that the end of this journey is near.
Vocabulary
allemande
contrast
courante
duple meter
galliard
gigue
optional dance
pavane
saraband
suite
tempo
theme
triple meter
Uri Sands confronting the target from Dwight Rhoden's Verge.
© Rolland Elliott
Introductory Statement
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key. For the sake of variety, suites followed this pattern: a slow dance (in the Renaissance and earlier times it was called basse danse) followed by a faster, jumpy dance (haute danse). In the early 17th century, the dances that fitted that mold were the pavane, in slow duple meter, and the galliard, in fast triple meter. By the end of the 17th century, the suite followed this highly stylized schema:
Allemande (moderate tempo, in 4/4)
Courante (moderately fast, in 6/4)
Saraband (very slow, in 3/4)
Gigue (very fast, in 6/8, compound time)
Often different dances, also called optional dances, were included between the four basic dances. Such dances included the minuet (3/4), gavotte (2/4), and bourree (2/4), among others.
The convention for presenting the overall form of each dance was as follows: A (the first section of the piece, presenting the theme) followed by B (the second section, which developed in a contrasting way to theme A). Therefore, the scheme read as AB. Often each section was repeated as AABB. Sections A and B might have the same number of musical measures, or B could have a few more musical measures.Throughout the lessons in this book, dancers have used AB form and contrasting movement materials to build their studies, such as in chapter 2, lesson 2; chapter 3, lesson 4; and chapter 4, lesson 2.
After 1750 the traditional Baroque suite became extinct. It was absorbed by common classical forms such as the divertimento, cassation, and sonata. Revivals of the suite as a musical form occurred in the late 19th century and even reappeared in the 20th century. In dance, suites are often used by contemporary choreographers who wish to create abstract, sectional dance works. Alonzo King's Chants is an example of a work in suite form. The work is accompanied by different African songs and chants. The order of the songs and the dance sections were chosen by King and reflect contrasting tempos and qualities. The sections are quite different from each other and they feature anything from large-group dances with many voices accompanying the movement, to solos and duets with only one or two singers.
Following the form of the dance suite and inspired by Chants, dancers will create group works that are made up of two to four independent contrasting sections, alternating slow and fast. Each section should use movement phrases and dynamics and groupings that are different from the previous section.
The work should have a central theme to guide movement choices, but the theme can be abstract or nonliteral, such as colors, environments, animals, birds, or creatures in the sea.
Problem Solving
Example: Chapter 5, Lesson 5A: Suite From Chants (Excerpts)
Included in this example are four sections from Alonzo King's Chants. The sections are not in the order of the original dance but have been placed in this order to provide a model for the creative problem that follows. Alonzo King's original suite included 10 different dance sections.
The selected sections are as follows:
- “N'Diouk Tabala Wolof”—A quick men's dance in varied rhythms
- “Yofo Yo”—A weight-sharing, counterbalanced duet for two women
- “N'terole”—A solo featuring acceleration in music and dance
- “Women of Butela”—A quick dance for women, alternating solo with group
- One choreographer will choose a cast of four to six dancers to create a suite of four separate sections. All of the class members should have a role as either choreographer or dancer. If necessary, dancers from outside the class may be used so that all choreographers have four to six dancers as a cast. A movement theme should guide the development of the movement ideas and the choice of music. Each choreographer should use movement material or choreographic operations developed in previous chapters of this book.
Section 1. Quick; full-group dance; duple in 4s.
AB form with two separate types of movement. Choreographers may wish to construct movement sentences of different action words to assure variety.
Section 2. Slow; duet; triple in 3s.
Theme and variations (A, A1, A2, A3, A).
Shapes and sharing weight.
Section 3. Trio; combination of different pulses; duple using half time and double time.
Locomotor and nonlocomotor movement should be designed for each dancer but each dancer should dance to a different beat (pulse, half time, double time).
Section 4. Full group dancing, accelerating and retarding movement; phrases are duple or triple. This is followed by (A) selected gestures evolving into movement phrases showing different movement qualities, and (B) creating an AB form with two types of movement. The theme of the B subsection should take a longer amount of time to complete in order to create a closing for the work. There may be a retard at the end of the work to allow for an ending.
- Assess the process by making a video recording of the work. Watch and critique the work, discussing compositional choices.
Phrase: Linking Movements
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction.
Vocabulary
action word
dance phrase
deconstruction
direct space
energy
flexible space
retrograde
sequence
space
time
transition
Alonzo King demonstrates a movement from a dance phrase to North Carolina Dance Theatre dancers Hernan Justo and Benjamin Westafer.
© Richard Kumery
Introductory Statement
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction. Implicit in action words are the dance elements of time (fast to slow), space (flexible, i.e., curved and indirect, or direct, i.e., straight lines and angles), and energy (strong to light). Words that describe actions provide a base from which to create original dance phrases.
A dance phrase or sequence can be likened to a sentence formed when speaking. Sometimes we refer to dance phrases as movement sequences. For the purpose of this lesson either term is acceptable. Each phrase has a beginning, middle, and end. Movements selected in a dance phrase may flow one to the other naturally or may be connected by a transition movement. Evolving dance sequences from action words is another way to demystify the creative process. Action words lead to the formation of individual dance phrases and provide the framework for further developing those phrases into larger compositional forms. In this lesson, the action words are common terms used in contemporary dance.
Warm-Up and Action-Word Discovery
- Create a warm-up sequence that includes pliés, full-torso movements, leg swings, foot exercises, arm sequences, and small jumps. The warm-up can consist of movement from any style of dance. Name all movements and list them on a chart or blackboard. You may create new words for the actions or use familiar terms such as knee bend or plié.
- Make a list of favorite dance terms and movements, including those from the warm-up, and display the words on a wall chart or blackboard. Brainstorm to come up with as many terms and movements as possible.
- Select 10 words from the list that will become the foundation phrase for this lesson. Write each word on a separate piece of paper and post them in order on the wall.
Structured Improvisations
Improvisation 1: Words Become Action
Create individual phrases based on the 10 action words you selected in the warm-up. All 10 words must be used. Make sure the transitions between words and their associated movements are smooth. Experiment with different levels, directions, and energy as you dance each word movement. Try to interpret each action word in several different ways. For instance does roll always mean to lie on the floor and roll like a log? What other ways can you roll? Make original interpretations for each word.
Example: Chapter 1, Lesson 2A: Building a Phrase
In this video excerpt, Alonzo King introduces his thoughts about learning movement and then demonstrates his process for shaping dance phrases. Dancers from North Carolina Dance Theatre are challenged to interpret the actions that King gives them.
- Assign counts to the separate movements in the phrase so that the phrase is clear. It is especially challenging to make the 10-movement phrase fit into 8 counts.
- Try performing the phrase twice from beginning to end. As you will see in the next improvisation, it is important to be able to repeat selected movement phrases so that you can play with the movement phrase.
Improvisation 2: Retrograde
Example: Chapter 1, Lesson 2B: Can the Phrase Go Backward?
While creating the men's section from Chants, Alonzo King used the process of retrograde (doing a phrase in reverse order) to further develop his choreography. Watch how challenging this process was for the dancers to interpret but how interesting it was compositionally.
- Perform the phrase once more, but this time, start at the end and perform the phrase backward until you end in the beginning shape or movement. Start from the end and go backward through all the words, using the individual cards to help. Post the retrograde version on the wall for reference. Discuss changes that might have to be made in the transitions between the movements.
- Assign counts to this new phrase. Will you use choose 8 counts again?
- Attach this phrase to the previous phrase you created in improvisation 1, Words Become Action.
- Try dancing the original phrase forward, followed immediately by its retrograde.
Improvisation 3: Deconstruction
- Take each of the selected action words from improvisation 1, Words Become Action, and write each one on a separate piece of paper. In a random fashion, perhaps by picking them out of a hat or drawing them like cards, make a new order for the phrase. Each word has a movement previously designed for it, but now each word has moved to another position in the phrase. By changing the movements around, you have deconstructed the phrase and reordered it. Reordering uses the same movements in a different and unexpected way.
- Discuss this process with classmates and the movement choices dancers made in order to reform the phrase.
Problem Solving
Following the Blueprint
- Create an original movement study from the three phrases generated in the previous exercises (see the sidebar for an example).
- Each study will include a core phrase (A), its retrograde (B), and its deconstruction (C). For example:
Core Phrase (A)
Lunge
Roll
Rise
Symmetrical shape
Turn
Hop
Asymmetrical shape
Gallop
Leap
Balance on one leg
Retrograde (B)
Balance on one leg
Leap
Gallop
Asymmetrical shape
Hop
Turn
Symmetrical shape
Rise
Roll
Lunge
Deconstructed (Reordered) (C)
Hop
Lunge
Balance on one leg
Roll
Asymmetrical shape
Leap
Rise
Gallop
Turn
Symmetrical shape
- Make sure the dance study has a clear beginning and ending shape or entrance and exit to and from the stage space.
- Select music for the study. The teacher or dance accompanist may offer suggestions and assistance.
- Perform your studies for your classmates. Audience members should provide feedback. Each dancer will have been working with the same words so the individual transitions and movement choices should be especially interesting to observe.
Two Blueprint Examples1. The form of the study may be a rondo:
A core phrase
B retrograde
A core phrase
C deconstructed phrase
A core phrase
2. The form may be a theme and variations:
Original phrase (A)
Retrograde variation
Deconstructed variation
Original phrase (A)
Example: Chapter 1, Lesson 2C: Men's Dance From Chants
This selection features the men of North Carolina Dance Theatre in a group excerpt from Chants. The excerpt opens with an individual dancer presenting the movement phrase that will be developed throughout the section. He is followed by three dancers performing the same movement but reordered. The trio is followed by another soloist who performs the original movement phrase and inserts one or two new extensions to the movement material. Last, the group dances the phrase, with insertions, together.
Discussion Questions
- How would you define a dance phrase? What does a series of movements need to have in order to be a phrase?
- Is there a difference between a dance phrase and a movement sequence? Explain.
- What other art forms create phrases?
- What did you find challenging about composing a retrograde for a phrase?
Symmetry: Balancing Shapes
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts.
Vocabulary
asymmetry
balance
interpersonal space
mirroring
reflection
reflection line
reverse
symmetry
visual balance
Uri Sands and Edgar Vardanian dance a mirroring sequence in the center of the stage while Nicholle Rochelle dances a solo around them in this section from Verge.
© Rolland Elliott
Introductory Statement
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts. On the stage, the reflection line may divide the space horizontally, creating an upstage side and a downstage side, or vertically, creating a stage-left side and a stage-right side.
Dance movements producing a reflection are called mirroring movements. While mirroring, each dancer or group of dancers claims one side of the divided space. In literal mirroring, a term coined for these lessons, dancers always dance the same movements, as if looking at each other in a mirror. In this case, the dancers face one another with one dancer following the lead of the other using opposite limbs or sides of the body (e.g., dancer A curves to her left; dancer B mirrors by curving his body to his right). Dancers move in exactly the same way and at the same time, as if only one person were moving. When dancers move both sides of their bodies together to create symmetrical shapes, they balance each other in space and produce visual symmetry. If they choose to move only one side of the body, the audience will see asymmetry because the body shape of both dancers is delineated on one side of the body only.
Dancers facing each other may also create lateral mirroring, another term coined for these lessons. In this case, each dancer does the same movement as the partner but uses the same arms and legs (e.g., dancer A curves to her right; dancer B curves to his right). When the dancers move the same side of the body, the audience will see a balanced, symmetrical shape made out of the two sides of the mirror figure. Each dancer becomes one side of the observed shape. In this kind of mirroring, symmetry is always observed.
Both types of mirroring provide a satisfying visual balance and use of space. Observers become aware of the concept of interpersonal space, or the space and spatial relationships activated between two or more people. In this lesson, dancers will explore literal as well as lateral mirroring.
Warm-Up: Mirroring
- Select one dancer as leader to improvise a literal mirroring warm-up that may include material from the previous lessons: successions, isolations, body-part leading, and inward and outward rotation with gestures. The other dancers or followers should try to mirror the leader in terms of time, space, and energy. Music to complement the exercise should be in a tempo that will allow maximum dancer focus on the selected movements.
- In pairs, explore literal mirroring with one leader and one follower. Dancers remain in one place but vary levels and speeds and find several still shapes. Music to accompany the exercise should now be varied. Try the improvisation with four different types of music. Both partner A and partner B should have a chance to lead.
Structured Improvisations
Improvisation 1: Drawing a Mirrored Shape
- Study the sample graph reflection (see figure 2.5). Take a piece of graph paper, a pencil, and a ruler and draw a reflecting line down the center of the paper vertically. Draw a geometric figure on one side of the line and then draw its exact reflection on the other side using line segments, points, perpendicular lines, parallel lines, and diagonals. Study the symmetry of the figures. Turn the paper so that the reflecting line is horizontal. Compare how the figure looks from this vantage point with the original facing.
FIGURE 2.5 Sample graph reflection. - Share your graphs with the rest of the class. How might mirrored movement phrases be perceived by an audience? How do we as dancers perceive symmetry while moving? What makes something symmetrical?
Improvisation 2: Reflection Sequence
- Individually, develop a 16-count sequence of movement that uses material from a previous lesson. For example, the gesture sequence from chapter 1, lesson 3, would be fun to use. Find your mirroring partner. Teach each other the 16-count phrases so that when finished, each pair has a 32-count phrase (16 counts from each partner). Partners should begin with the same arm and leg so that they are always using the same side of the body. Practice the 32-count phrase to make sure both dancers can perform it from memory.
- Face each other and perform the 32-count sequence in a lateral mirroring fashion. Both partners will perform the phrase as they learned it, starting on the same side of the body. This time the movement will seem different because the partners are now facing each other. Symmetry is produced because movement on both sides of the figure is seen simultaneously when viewed front to back. Discuss the ease or difficulty of this exercise.
Example: Chapter 2, Lesson 3A: Mirroring
In Verge, Dwight Rhoden created two lead characters: the Impulse, whom we met in chapter 1, and the Alter Ego. In this example the Impulse and the Alter Ego demonstrate lateral mirroring. The dancers are doing the same movement facing each other but are using the same arms and legs so that the shapes they make in space are symmetrical. Note the small and full body gestures.
- Present each lateral mirroring sequence to the class. First, place the reflection line horizontally, dividing the stage space into upstage and downstage. Each dancer should stand on one side of the line facing each other. The audience will see the back of one dancer and the front of the other. Next, place the reflecting line vertically so that the stage is divided into stage right and stage left and each dancer faces a side wall. The audience will see the sides of the dancers. In the first instance the audience will see the movement from the front and the second instance from the side. Discuss with the audience how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 3: Looking in the Mirror
- Create a variation of the lateral mirroring sequence with literal mirroring. In this variation, both partners will use the same arms and legs while doing the movement phrase facing each other (horizontal reflection line). The dancer who is following will have to reverse beginning sides when starting each movement. Practice your 32-count sequence from the lateral mirroring exercise in this manner. Each partner must do the movement with the opposite arm and leg. This process will produce spatial asymmetry because only one side of a figure in space will be observed.
- Present each literal mirroring sequence to the class. Next, place the reflecting line vertically so that each dancer faces a side wall. Dance the same literal mirroring movements just danced with the horizontal reflecting line. In the first instance the audience saw the movement from the front, in the second instance from the side. Discuss how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 4: Side by Side
Using the same 32-count movement phrase created for improvisation 3, dance it standing side by side, both dancers facing the audience or front. To achieve symmetry, each dancer must begin with the opposite side or limbs of the body. The reflection line is vertical, dividing the stage in two halves, left and right. In this relationship, the dancer on stage left will begin with the left foot and the dancer on stage right will begin with the right foot. Is it easier or harder to remain in unison? How does this exercise relate to the graphed forms drawn earlier?
Example: Chapter 2, Lesson 3B: Opening and Closing Duet
Alonzo King uses the compositional device of mirroring in his work Dreamer. In this example, we can see lateral mirroring front to back, side by side, and back to back. The reflection line is always horizontal, however. Watch how the relationship between dancers evolves as facings change.
Improvisation 5: Back to Back
Using the same 32-count movement phrase previously explored, dance it while standing back to back. First, perform it as a literal mirroring sequence using the opposite arms and legs, then try a lateral mirroring sequence using same arms and legs. Perform your sequences for the class. Place the reflection line horizontally, dividing the stage into upstage and downstage halves. One dancer will face the front, the other will face the back wall. Discuss with classmates which of the two types of mirroring, literal or lateral, is most interesting visually. How might a choreographer use this type of back-to-back mirroring?
Example: Chapter 2, Lesson 3C: Back to Back
In this example from Verge, watch the two dancers in the center dance the same movement with the same arms and legs but starting back to back. The reflection line is horizontal and the dancers face away from each other. This relationship gives the illusion that the dancers are moving away from and toward the center of the stage. One dancer moves toward the audience as the other moves away.
- Perform the different mirroring variations from improvisations 2 through 5. Each pair should choose one or more of the variations to perform. With your partner, decide how to place the reflection line to divide the stage. Discuss with classmates which of the mirroring variations is most interesting and why.
Problem Solving
Example: Chapter 2, Lesson 3D: At the Bull's-Eye
In Verge, the Alter Ego mimics the movements of the Impulse, especially as he enters the center of the target. In this example, we see both characters performing a mirroring sequence that begins with symmetrical arm, leg, and body movement followed by literal and lateral mirroring gestures. The stage is bisected by a horizontal reflection line so that we see one dancer from the back and the other from the front. They are standing as if looking in a mirror.
Reflection Duets
- In partners, design a Reflection duet inspired by the movement material explored in improvisations 2 through 5, which can serve as a starting point for a new series of 32 counts.
- Design the sequence using literal mirroring (section A). Repeat the sequence using lateral mirroring (section B). Perform the phrase a third time, mixing and matching literal and lateral mirroring (section C). Try the sequences facing each other, back to back, or side by side. Decide which facing is appropriate for each sequence. Also decide where the reflection line should be for each group of 32 counts so that the material will appear the most interesting to the audience. At least one section should show the stage space divided horizontally, one vertically, and one a combination of the two. The study should be at least 1 minute long.
Sample Phrase
A = Literal mirroring, 32 counts, horizontal reflection line, dancers are face to face
B = Lateral mirroring, 32 counts, vertical reflection line, dancers are face to face
C = Lateral mirroring back to back and side to side, 32 counts, horizontal reflection line
Discussion Questions
- When we look in a mirror, do we see ourselves as others see us or are we reversed?
- To mirror someone, what must we do?
- What happens when mirroring partners do the same movement starting with the same-side arms and legs? How is this different from traditional mirroring?
- Are some kinds of movements easier or harder to do with a mirroring partner?
- Is it possible to make mirroring shapes?
- How is symmetry achieved in mirroring?
Dynamics: Qualities of Movement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement.
Vocabulary
collapsed
dynamic
qualities
dynamics
energy
percussive
suspended
sustained
swinging
vibratory
Uri Sands, the Impulse, is suspended high above the ground after executing a strong percussive jump. The other dancers collapse and sink under him in curved shapes.
© Rolland Elliott
Introductory Statement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement. Specifically, in dance we identify six dynamic qualities: sustained, percussive, swinging, suspended, collapsed, and vibratory.
Sustained = slow, smooth, continuous, even
Percussive = sudden, sharp, choppy, jagged
Swinging = sway, to and fro, pendulum, undercurve
Suspended = stillness, balance, high point
Collapsed = fall, release, relax
Vibratory = shake, tremble, wiggle
Warm-Up and Quality Definitions
Example: Chapter 4, Lesson 3A: Describing a Quality
Alonzo King wanted specific dynamic qualities expressed in movement while choreographing Dreamer. In this example, watch King describe and demonstrate a percussive movement phrase and the dancers show percussiveness in their bodies.
Warm up by moving within each quality:
Swinging (using legs, then arms, then whole body)
Collapsed (swing a leg up, then collapse the body over it; repeat, alternating legs)
Sustained (melt gradually all the way to the floor until finishing in a stretched shape)
Percussive (rise quickly and begin a rhythmic step-clap-stamp phrase)
Suspended (rise to relevé on both feet and allow arms to follow; find a point of balance, balance on one foot)
Vibratory (begin a soft beating of the feet on the floor and allow the vibration to move up through the body like a volcano until it erupts out through the fingers)
Structured Improvisations
Improvisation 1: Moving Energy
Using a simple walk, explore moving through space using the dynamic qualities (see list). Discuss how the walk changes when a specific dynamic motivates the movement. How does the tempo alter with each quality? Which qualities can be performed with light energy? Which ones require strength?
Sample Locomotor and Nonlocomotor Sequence
Swinging legs with forward steps
Sustained arm stretch
Percussive jumps
Vibratory beating
Collapsing low walk
Suspended breathing
Example: Chapter 4, Lesson 3B: Sustained Movement
In this excerpt, Alonzo King works with dancer Amy Earnest to create slow, sustained movement for a section of Dreamer.
Improvisation 2: Sharing Qualities
- Divide into two groups. Half will dance, half will be the audience. One member of the audience will call out a dynamic quality. The dancers will move in general space in the quality that is called out. Continue in one quality until another is called out randomly. Call out in unexpected ways, slowly and quickly. Explore each quality with both nonlocomotor and locomotor movement.
- Exchange roles until everyone has improvised movement phrases in each quality, quickly changing qualities as they are called out.
- Discuss feelings or emotions that are implied by the different movement qualities and list them on a chart (an example follows).
Movement Qualities
Swinging legs—regularity, evenness
Sustained, stretched arms—laziness, calm
Percussive jumps—happiness, joy, excitement
Vibratory beating—anger, resentment
Collapsing walks—defeat, failure, grief
Suspended breath—anticipation, surprise
Problem Solving
- In a hat, place slips of paper with one dynamic quality written on each piece. Draw one slip of paper from the hat and find two other partners to make a trio. Together look at the three slips of paper. The problem is to create a Dynamic Quality study using only the three qualities selected. The challenge is to find a way to transition between the qualities in a convincing way so that the study is cohesive. The study should be at least 1 minute long. The study should have a clear beginning and ending shape and use both locomotor and nonlocomotor movements.
- Perform the Dynamic Quality studies for each other. Audience members should identify the dynamic qualities chosen. Discuss how it feels to spend a specific amount of time in only one movement quality. Do we do this in natural movement?
Discussion Questions
- In your own words, define energy. Find your own definitions for each of the dynamic qualities.
- When might you move naturally in a percussive way?
- Do emotional states affect how we use energy in movement?
- List different action words that could describe each of the six qualities.
Problem Solving: Creating a Movement Suite
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key.
During the five chapters of this book, dancers have been challenged to reach toward the target of dance composition. In this final assignment, dancers will meet their target like Uri Sands meets the target in Verge, with energy and grace, knowing that the end of this journey is near.
Vocabulary
allemande
contrast
courante
duple meter
galliard
gigue
optional dance
pavane
saraband
suite
tempo
theme
triple meter
Uri Sands confronting the target from Dwight Rhoden's Verge.
© Rolland Elliott
Introductory Statement
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key. For the sake of variety, suites followed this pattern: a slow dance (in the Renaissance and earlier times it was called basse danse) followed by a faster, jumpy dance (haute danse). In the early 17th century, the dances that fitted that mold were the pavane, in slow duple meter, and the galliard, in fast triple meter. By the end of the 17th century, the suite followed this highly stylized schema:
Allemande (moderate tempo, in 4/4)
Courante (moderately fast, in 6/4)
Saraband (very slow, in 3/4)
Gigue (very fast, in 6/8, compound time)
Often different dances, also called optional dances, were included between the four basic dances. Such dances included the minuet (3/4), gavotte (2/4), and bourree (2/4), among others.
The convention for presenting the overall form of each dance was as follows: A (the first section of the piece, presenting the theme) followed by B (the second section, which developed in a contrasting way to theme A). Therefore, the scheme read as AB. Often each section was repeated as AABB. Sections A and B might have the same number of musical measures, or B could have a few more musical measures.Throughout the lessons in this book, dancers have used AB form and contrasting movement materials to build their studies, such as in chapter 2, lesson 2; chapter 3, lesson 4; and chapter 4, lesson 2.
After 1750 the traditional Baroque suite became extinct. It was absorbed by common classical forms such as the divertimento, cassation, and sonata. Revivals of the suite as a musical form occurred in the late 19th century and even reappeared in the 20th century. In dance, suites are often used by contemporary choreographers who wish to create abstract, sectional dance works. Alonzo King's Chants is an example of a work in suite form. The work is accompanied by different African songs and chants. The order of the songs and the dance sections were chosen by King and reflect contrasting tempos and qualities. The sections are quite different from each other and they feature anything from large-group dances with many voices accompanying the movement, to solos and duets with only one or two singers.
Following the form of the dance suite and inspired by Chants, dancers will create group works that are made up of two to four independent contrasting sections, alternating slow and fast. Each section should use movement phrases and dynamics and groupings that are different from the previous section.
The work should have a central theme to guide movement choices, but the theme can be abstract or nonliteral, such as colors, environments, animals, birds, or creatures in the sea.
Problem Solving
Example: Chapter 5, Lesson 5A: Suite From Chants (Excerpts)
Included in this example are four sections from Alonzo King's Chants. The sections are not in the order of the original dance but have been placed in this order to provide a model for the creative problem that follows. Alonzo King's original suite included 10 different dance sections.
The selected sections are as follows:
- “N'Diouk Tabala Wolof”—A quick men's dance in varied rhythms
- “Yofo Yo”—A weight-sharing, counterbalanced duet for two women
- “N'terole”—A solo featuring acceleration in music and dance
- “Women of Butela”—A quick dance for women, alternating solo with group
- One choreographer will choose a cast of four to six dancers to create a suite of four separate sections. All of the class members should have a role as either choreographer or dancer. If necessary, dancers from outside the class may be used so that all choreographers have four to six dancers as a cast. A movement theme should guide the development of the movement ideas and the choice of music. Each choreographer should use movement material or choreographic operations developed in previous chapters of this book.
Section 1. Quick; full-group dance; duple in 4s.
AB form with two separate types of movement. Choreographers may wish to construct movement sentences of different action words to assure variety.
Section 2. Slow; duet; triple in 3s.
Theme and variations (A, A1, A2, A3, A).
Shapes and sharing weight.
Section 3. Trio; combination of different pulses; duple using half time and double time.
Locomotor and nonlocomotor movement should be designed for each dancer but each dancer should dance to a different beat (pulse, half time, double time).
Section 4. Full group dancing, accelerating and retarding movement; phrases are duple or triple. This is followed by (A) selected gestures evolving into movement phrases showing different movement qualities, and (B) creating an AB form with two types of movement. The theme of the B subsection should take a longer amount of time to complete in order to create a closing for the work. There may be a retard at the end of the work to allow for an ending.
- Assess the process by making a video recording of the work. Watch and critique the work, discussing compositional choices.
Phrase: Linking Movements
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction.
Vocabulary
action word
dance phrase
deconstruction
direct space
energy
flexible space
retrograde
sequence
space
time
transition
Alonzo King demonstrates a movement from a dance phrase to North Carolina Dance Theatre dancers Hernan Justo and Benjamin Westafer.
© Richard Kumery
Introductory Statement
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction. Implicit in action words are the dance elements of time (fast to slow), space (flexible, i.e., curved and indirect, or direct, i.e., straight lines and angles), and energy (strong to light). Words that describe actions provide a base from which to create original dance phrases.
A dance phrase or sequence can be likened to a sentence formed when speaking. Sometimes we refer to dance phrases as movement sequences. For the purpose of this lesson either term is acceptable. Each phrase has a beginning, middle, and end. Movements selected in a dance phrase may flow one to the other naturally or may be connected by a transition movement. Evolving dance sequences from action words is another way to demystify the creative process. Action words lead to the formation of individual dance phrases and provide the framework for further developing those phrases into larger compositional forms. In this lesson, the action words are common terms used in contemporary dance.
Warm-Up and Action-Word Discovery
- Create a warm-up sequence that includes pliés, full-torso movements, leg swings, foot exercises, arm sequences, and small jumps. The warm-up can consist of movement from any style of dance. Name all movements and list them on a chart or blackboard. You may create new words for the actions or use familiar terms such as knee bend or plié.
- Make a list of favorite dance terms and movements, including those from the warm-up, and display the words on a wall chart or blackboard. Brainstorm to come up with as many terms and movements as possible.
- Select 10 words from the list that will become the foundation phrase for this lesson. Write each word on a separate piece of paper and post them in order on the wall.
Structured Improvisations
Improvisation 1: Words Become Action
Create individual phrases based on the 10 action words you selected in the warm-up. All 10 words must be used. Make sure the transitions between words and their associated movements are smooth. Experiment with different levels, directions, and energy as you dance each word movement. Try to interpret each action word in several different ways. For instance does roll always mean to lie on the floor and roll like a log? What other ways can you roll? Make original interpretations for each word.
Example: Chapter 1, Lesson 2A: Building a Phrase
In this video excerpt, Alonzo King introduces his thoughts about learning movement and then demonstrates his process for shaping dance phrases. Dancers from North Carolina Dance Theatre are challenged to interpret the actions that King gives them.
- Assign counts to the separate movements in the phrase so that the phrase is clear. It is especially challenging to make the 10-movement phrase fit into 8 counts.
- Try performing the phrase twice from beginning to end. As you will see in the next improvisation, it is important to be able to repeat selected movement phrases so that you can play with the movement phrase.
Improvisation 2: Retrograde
Example: Chapter 1, Lesson 2B: Can the Phrase Go Backward?
While creating the men's section from Chants, Alonzo King used the process of retrograde (doing a phrase in reverse order) to further develop his choreography. Watch how challenging this process was for the dancers to interpret but how interesting it was compositionally.
- Perform the phrase once more, but this time, start at the end and perform the phrase backward until you end in the beginning shape or movement. Start from the end and go backward through all the words, using the individual cards to help. Post the retrograde version on the wall for reference. Discuss changes that might have to be made in the transitions between the movements.
- Assign counts to this new phrase. Will you use choose 8 counts again?
- Attach this phrase to the previous phrase you created in improvisation 1, Words Become Action.
- Try dancing the original phrase forward, followed immediately by its retrograde.
Improvisation 3: Deconstruction
- Take each of the selected action words from improvisation 1, Words Become Action, and write each one on a separate piece of paper. In a random fashion, perhaps by picking them out of a hat or drawing them like cards, make a new order for the phrase. Each word has a movement previously designed for it, but now each word has moved to another position in the phrase. By changing the movements around, you have deconstructed the phrase and reordered it. Reordering uses the same movements in a different and unexpected way.
- Discuss this process with classmates and the movement choices dancers made in order to reform the phrase.
Problem Solving
Following the Blueprint
- Create an original movement study from the three phrases generated in the previous exercises (see the sidebar for an example).
- Each study will include a core phrase (A), its retrograde (B), and its deconstruction (C). For example:
Core Phrase (A)
Lunge
Roll
Rise
Symmetrical shape
Turn
Hop
Asymmetrical shape
Gallop
Leap
Balance on one leg
Retrograde (B)
Balance on one leg
Leap
Gallop
Asymmetrical shape
Hop
Turn
Symmetrical shape
Rise
Roll
Lunge
Deconstructed (Reordered) (C)
Hop
Lunge
Balance on one leg
Roll
Asymmetrical shape
Leap
Rise
Gallop
Turn
Symmetrical shape
- Make sure the dance study has a clear beginning and ending shape or entrance and exit to and from the stage space.
- Select music for the study. The teacher or dance accompanist may offer suggestions and assistance.
- Perform your studies for your classmates. Audience members should provide feedback. Each dancer will have been working with the same words so the individual transitions and movement choices should be especially interesting to observe.
Two Blueprint Examples1. The form of the study may be a rondo:
A core phrase
B retrograde
A core phrase
C deconstructed phrase
A core phrase
2. The form may be a theme and variations:
Original phrase (A)
Retrograde variation
Deconstructed variation
Original phrase (A)
Example: Chapter 1, Lesson 2C: Men's Dance From Chants
This selection features the men of North Carolina Dance Theatre in a group excerpt from Chants. The excerpt opens with an individual dancer presenting the movement phrase that will be developed throughout the section. He is followed by three dancers performing the same movement but reordered. The trio is followed by another soloist who performs the original movement phrase and inserts one or two new extensions to the movement material. Last, the group dances the phrase, with insertions, together.
Discussion Questions
- How would you define a dance phrase? What does a series of movements need to have in order to be a phrase?
- Is there a difference between a dance phrase and a movement sequence? Explain.
- What other art forms create phrases?
- What did you find challenging about composing a retrograde for a phrase?
Symmetry: Balancing Shapes
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts.
Vocabulary
asymmetry
balance
interpersonal space
mirroring
reflection
reflection line
reverse
symmetry
visual balance
Uri Sands and Edgar Vardanian dance a mirroring sequence in the center of the stage while Nicholle Rochelle dances a solo around them in this section from Verge.
© Rolland Elliott
Introductory Statement
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts. On the stage, the reflection line may divide the space horizontally, creating an upstage side and a downstage side, or vertically, creating a stage-left side and a stage-right side.
Dance movements producing a reflection are called mirroring movements. While mirroring, each dancer or group of dancers claims one side of the divided space. In literal mirroring, a term coined for these lessons, dancers always dance the same movements, as if looking at each other in a mirror. In this case, the dancers face one another with one dancer following the lead of the other using opposite limbs or sides of the body (e.g., dancer A curves to her left; dancer B mirrors by curving his body to his right). Dancers move in exactly the same way and at the same time, as if only one person were moving. When dancers move both sides of their bodies together to create symmetrical shapes, they balance each other in space and produce visual symmetry. If they choose to move only one side of the body, the audience will see asymmetry because the body shape of both dancers is delineated on one side of the body only.
Dancers facing each other may also create lateral mirroring, another term coined for these lessons. In this case, each dancer does the same movement as the partner but uses the same arms and legs (e.g., dancer A curves to her right; dancer B curves to his right). When the dancers move the same side of the body, the audience will see a balanced, symmetrical shape made out of the two sides of the mirror figure. Each dancer becomes one side of the observed shape. In this kind of mirroring, symmetry is always observed.
Both types of mirroring provide a satisfying visual balance and use of space. Observers become aware of the concept of interpersonal space, or the space and spatial relationships activated between two or more people. In this lesson, dancers will explore literal as well as lateral mirroring.
Warm-Up: Mirroring
- Select one dancer as leader to improvise a literal mirroring warm-up that may include material from the previous lessons: successions, isolations, body-part leading, and inward and outward rotation with gestures. The other dancers or followers should try to mirror the leader in terms of time, space, and energy. Music to complement the exercise should be in a tempo that will allow maximum dancer focus on the selected movements.
- In pairs, explore literal mirroring with one leader and one follower. Dancers remain in one place but vary levels and speeds and find several still shapes. Music to accompany the exercise should now be varied. Try the improvisation with four different types of music. Both partner A and partner B should have a chance to lead.
Structured Improvisations
Improvisation 1: Drawing a Mirrored Shape
- Study the sample graph reflection (see figure 2.5). Take a piece of graph paper, a pencil, and a ruler and draw a reflecting line down the center of the paper vertically. Draw a geometric figure on one side of the line and then draw its exact reflection on the other side using line segments, points, perpendicular lines, parallel lines, and diagonals. Study the symmetry of the figures. Turn the paper so that the reflecting line is horizontal. Compare how the figure looks from this vantage point with the original facing.
FIGURE 2.5 Sample graph reflection. - Share your graphs with the rest of the class. How might mirrored movement phrases be perceived by an audience? How do we as dancers perceive symmetry while moving? What makes something symmetrical?
Improvisation 2: Reflection Sequence
- Individually, develop a 16-count sequence of movement that uses material from a previous lesson. For example, the gesture sequence from chapter 1, lesson 3, would be fun to use. Find your mirroring partner. Teach each other the 16-count phrases so that when finished, each pair has a 32-count phrase (16 counts from each partner). Partners should begin with the same arm and leg so that they are always using the same side of the body. Practice the 32-count phrase to make sure both dancers can perform it from memory.
- Face each other and perform the 32-count sequence in a lateral mirroring fashion. Both partners will perform the phrase as they learned it, starting on the same side of the body. This time the movement will seem different because the partners are now facing each other. Symmetry is produced because movement on both sides of the figure is seen simultaneously when viewed front to back. Discuss the ease or difficulty of this exercise.
Example: Chapter 2, Lesson 3A: Mirroring
In Verge, Dwight Rhoden created two lead characters: the Impulse, whom we met in chapter 1, and the Alter Ego. In this example the Impulse and the Alter Ego demonstrate lateral mirroring. The dancers are doing the same movement facing each other but are using the same arms and legs so that the shapes they make in space are symmetrical. Note the small and full body gestures.
- Present each lateral mirroring sequence to the class. First, place the reflection line horizontally, dividing the stage space into upstage and downstage. Each dancer should stand on one side of the line facing each other. The audience will see the back of one dancer and the front of the other. Next, place the reflecting line vertically so that the stage is divided into stage right and stage left and each dancer faces a side wall. The audience will see the sides of the dancers. In the first instance the audience will see the movement from the front and the second instance from the side. Discuss with the audience how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 3: Looking in the Mirror
- Create a variation of the lateral mirroring sequence with literal mirroring. In this variation, both partners will use the same arms and legs while doing the movement phrase facing each other (horizontal reflection line). The dancer who is following will have to reverse beginning sides when starting each movement. Practice your 32-count sequence from the lateral mirroring exercise in this manner. Each partner must do the movement with the opposite arm and leg. This process will produce spatial asymmetry because only one side of a figure in space will be observed.
- Present each literal mirroring sequence to the class. Next, place the reflecting line vertically so that each dancer faces a side wall. Dance the same literal mirroring movements just danced with the horizontal reflecting line. In the first instance the audience saw the movement from the front, in the second instance from the side. Discuss how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 4: Side by Side
Using the same 32-count movement phrase created for improvisation 3, dance it standing side by side, both dancers facing the audience or front. To achieve symmetry, each dancer must begin with the opposite side or limbs of the body. The reflection line is vertical, dividing the stage in two halves, left and right. In this relationship, the dancer on stage left will begin with the left foot and the dancer on stage right will begin with the right foot. Is it easier or harder to remain in unison? How does this exercise relate to the graphed forms drawn earlier?
Example: Chapter 2, Lesson 3B: Opening and Closing Duet
Alonzo King uses the compositional device of mirroring in his work Dreamer. In this example, we can see lateral mirroring front to back, side by side, and back to back. The reflection line is always horizontal, however. Watch how the relationship between dancers evolves as facings change.
Improvisation 5: Back to Back
Using the same 32-count movement phrase previously explored, dance it while standing back to back. First, perform it as a literal mirroring sequence using the opposite arms and legs, then try a lateral mirroring sequence using same arms and legs. Perform your sequences for the class. Place the reflection line horizontally, dividing the stage into upstage and downstage halves. One dancer will face the front, the other will face the back wall. Discuss with classmates which of the two types of mirroring, literal or lateral, is most interesting visually. How might a choreographer use this type of back-to-back mirroring?
Example: Chapter 2, Lesson 3C: Back to Back
In this example from Verge, watch the two dancers in the center dance the same movement with the same arms and legs but starting back to back. The reflection line is horizontal and the dancers face away from each other. This relationship gives the illusion that the dancers are moving away from and toward the center of the stage. One dancer moves toward the audience as the other moves away.
- Perform the different mirroring variations from improvisations 2 through 5. Each pair should choose one or more of the variations to perform. With your partner, decide how to place the reflection line to divide the stage. Discuss with classmates which of the mirroring variations is most interesting and why.
Problem Solving
Example: Chapter 2, Lesson 3D: At the Bull's-Eye
In Verge, the Alter Ego mimics the movements of the Impulse, especially as he enters the center of the target. In this example, we see both characters performing a mirroring sequence that begins with symmetrical arm, leg, and body movement followed by literal and lateral mirroring gestures. The stage is bisected by a horizontal reflection line so that we see one dancer from the back and the other from the front. They are standing as if looking in a mirror.
Reflection Duets
- In partners, design a Reflection duet inspired by the movement material explored in improvisations 2 through 5, which can serve as a starting point for a new series of 32 counts.
- Design the sequence using literal mirroring (section A). Repeat the sequence using lateral mirroring (section B). Perform the phrase a third time, mixing and matching literal and lateral mirroring (section C). Try the sequences facing each other, back to back, or side by side. Decide which facing is appropriate for each sequence. Also decide where the reflection line should be for each group of 32 counts so that the material will appear the most interesting to the audience. At least one section should show the stage space divided horizontally, one vertically, and one a combination of the two. The study should be at least 1 minute long.
Sample Phrase
A = Literal mirroring, 32 counts, horizontal reflection line, dancers are face to face
B = Lateral mirroring, 32 counts, vertical reflection line, dancers are face to face
C = Lateral mirroring back to back and side to side, 32 counts, horizontal reflection line
Discussion Questions
- When we look in a mirror, do we see ourselves as others see us or are we reversed?
- To mirror someone, what must we do?
- What happens when mirroring partners do the same movement starting with the same-side arms and legs? How is this different from traditional mirroring?
- Are some kinds of movements easier or harder to do with a mirroring partner?
- Is it possible to make mirroring shapes?
- How is symmetry achieved in mirroring?
Dynamics: Qualities of Movement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement.
Vocabulary
collapsed
dynamic
qualities
dynamics
energy
percussive
suspended
sustained
swinging
vibratory
Uri Sands, the Impulse, is suspended high above the ground after executing a strong percussive jump. The other dancers collapse and sink under him in curved shapes.
© Rolland Elliott
Introductory Statement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement. Specifically, in dance we identify six dynamic qualities: sustained, percussive, swinging, suspended, collapsed, and vibratory.
Sustained = slow, smooth, continuous, even
Percussive = sudden, sharp, choppy, jagged
Swinging = sway, to and fro, pendulum, undercurve
Suspended = stillness, balance, high point
Collapsed = fall, release, relax
Vibratory = shake, tremble, wiggle
Warm-Up and Quality Definitions
Example: Chapter 4, Lesson 3A: Describing a Quality
Alonzo King wanted specific dynamic qualities expressed in movement while choreographing Dreamer. In this example, watch King describe and demonstrate a percussive movement phrase and the dancers show percussiveness in their bodies.
Warm up by moving within each quality:
Swinging (using legs, then arms, then whole body)
Collapsed (swing a leg up, then collapse the body over it; repeat, alternating legs)
Sustained (melt gradually all the way to the floor until finishing in a stretched shape)
Percussive (rise quickly and begin a rhythmic step-clap-stamp phrase)
Suspended (rise to relevé on both feet and allow arms to follow; find a point of balance, balance on one foot)
Vibratory (begin a soft beating of the feet on the floor and allow the vibration to move up through the body like a volcano until it erupts out through the fingers)
Structured Improvisations
Improvisation 1: Moving Energy
Using a simple walk, explore moving through space using the dynamic qualities (see list). Discuss how the walk changes when a specific dynamic motivates the movement. How does the tempo alter with each quality? Which qualities can be performed with light energy? Which ones require strength?
Sample Locomotor and Nonlocomotor Sequence
Swinging legs with forward steps
Sustained arm stretch
Percussive jumps
Vibratory beating
Collapsing low walk
Suspended breathing
Example: Chapter 4, Lesson 3B: Sustained Movement
In this excerpt, Alonzo King works with dancer Amy Earnest to create slow, sustained movement for a section of Dreamer.
Improvisation 2: Sharing Qualities
- Divide into two groups. Half will dance, half will be the audience. One member of the audience will call out a dynamic quality. The dancers will move in general space in the quality that is called out. Continue in one quality until another is called out randomly. Call out in unexpected ways, slowly and quickly. Explore each quality with both nonlocomotor and locomotor movement.
- Exchange roles until everyone has improvised movement phrases in each quality, quickly changing qualities as they are called out.
- Discuss feelings or emotions that are implied by the different movement qualities and list them on a chart (an example follows).
Movement Qualities
Swinging legs—regularity, evenness
Sustained, stretched arms—laziness, calm
Percussive jumps—happiness, joy, excitement
Vibratory beating—anger, resentment
Collapsing walks—defeat, failure, grief
Suspended breath—anticipation, surprise
Problem Solving
- In a hat, place slips of paper with one dynamic quality written on each piece. Draw one slip of paper from the hat and find two other partners to make a trio. Together look at the three slips of paper. The problem is to create a Dynamic Quality study using only the three qualities selected. The challenge is to find a way to transition between the qualities in a convincing way so that the study is cohesive. The study should be at least 1 minute long. The study should have a clear beginning and ending shape and use both locomotor and nonlocomotor movements.
- Perform the Dynamic Quality studies for each other. Audience members should identify the dynamic qualities chosen. Discuss how it feels to spend a specific amount of time in only one movement quality. Do we do this in natural movement?
Discussion Questions
- In your own words, define energy. Find your own definitions for each of the dynamic qualities.
- When might you move naturally in a percussive way?
- Do emotional states affect how we use energy in movement?
- List different action words that could describe each of the six qualities.
Problem Solving: Creating a Movement Suite
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key.
During the five chapters of this book, dancers have been challenged to reach toward the target of dance composition. In this final assignment, dancers will meet their target like Uri Sands meets the target in Verge, with energy and grace, knowing that the end of this journey is near.
Vocabulary
allemande
contrast
courante
duple meter
galliard
gigue
optional dance
pavane
saraband
suite
tempo
theme
triple meter
Uri Sands confronting the target from Dwight Rhoden's Verge.
© Rolland Elliott
Introductory Statement
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key. For the sake of variety, suites followed this pattern: a slow dance (in the Renaissance and earlier times it was called basse danse) followed by a faster, jumpy dance (haute danse). In the early 17th century, the dances that fitted that mold were the pavane, in slow duple meter, and the galliard, in fast triple meter. By the end of the 17th century, the suite followed this highly stylized schema:
Allemande (moderate tempo, in 4/4)
Courante (moderately fast, in 6/4)
Saraband (very slow, in 3/4)
Gigue (very fast, in 6/8, compound time)
Often different dances, also called optional dances, were included between the four basic dances. Such dances included the minuet (3/4), gavotte (2/4), and bourree (2/4), among others.
The convention for presenting the overall form of each dance was as follows: A (the first section of the piece, presenting the theme) followed by B (the second section, which developed in a contrasting way to theme A). Therefore, the scheme read as AB. Often each section was repeated as AABB. Sections A and B might have the same number of musical measures, or B could have a few more musical measures.Throughout the lessons in this book, dancers have used AB form and contrasting movement materials to build their studies, such as in chapter 2, lesson 2; chapter 3, lesson 4; and chapter 4, lesson 2.
After 1750 the traditional Baroque suite became extinct. It was absorbed by common classical forms such as the divertimento, cassation, and sonata. Revivals of the suite as a musical form occurred in the late 19th century and even reappeared in the 20th century. In dance, suites are often used by contemporary choreographers who wish to create abstract, sectional dance works. Alonzo King's Chants is an example of a work in suite form. The work is accompanied by different African songs and chants. The order of the songs and the dance sections were chosen by King and reflect contrasting tempos and qualities. The sections are quite different from each other and they feature anything from large-group dances with many voices accompanying the movement, to solos and duets with only one or two singers.
Following the form of the dance suite and inspired by Chants, dancers will create group works that are made up of two to four independent contrasting sections, alternating slow and fast. Each section should use movement phrases and dynamics and groupings that are different from the previous section.
The work should have a central theme to guide movement choices, but the theme can be abstract or nonliteral, such as colors, environments, animals, birds, or creatures in the sea.
Problem Solving
Example: Chapter 5, Lesson 5A: Suite From Chants (Excerpts)
Included in this example are four sections from Alonzo King's Chants. The sections are not in the order of the original dance but have been placed in this order to provide a model for the creative problem that follows. Alonzo King's original suite included 10 different dance sections.
The selected sections are as follows:
- “N'Diouk Tabala Wolof”—A quick men's dance in varied rhythms
- “Yofo Yo”—A weight-sharing, counterbalanced duet for two women
- “N'terole”—A solo featuring acceleration in music and dance
- “Women of Butela”—A quick dance for women, alternating solo with group
- One choreographer will choose a cast of four to six dancers to create a suite of four separate sections. All of the class members should have a role as either choreographer or dancer. If necessary, dancers from outside the class may be used so that all choreographers have four to six dancers as a cast. A movement theme should guide the development of the movement ideas and the choice of music. Each choreographer should use movement material or choreographic operations developed in previous chapters of this book.
Section 1. Quick; full-group dance; duple in 4s.
AB form with two separate types of movement. Choreographers may wish to construct movement sentences of different action words to assure variety.
Section 2. Slow; duet; triple in 3s.
Theme and variations (A, A1, A2, A3, A).
Shapes and sharing weight.
Section 3. Trio; combination of different pulses; duple using half time and double time.
Locomotor and nonlocomotor movement should be designed for each dancer but each dancer should dance to a different beat (pulse, half time, double time).
Section 4. Full group dancing, accelerating and retarding movement; phrases are duple or triple. This is followed by (A) selected gestures evolving into movement phrases showing different movement qualities, and (B) creating an AB form with two types of movement. The theme of the B subsection should take a longer amount of time to complete in order to create a closing for the work. There may be a retard at the end of the work to allow for an ending.
- Assess the process by making a video recording of the work. Watch and critique the work, discussing compositional choices.
Phrase: Linking Movements
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction.
Vocabulary
action word
dance phrase
deconstruction
direct space
energy
flexible space
retrograde
sequence
space
time
transition
Alonzo King demonstrates a movement from a dance phrase to North Carolina Dance Theatre dancers Hernan Justo and Benjamin Westafer.
© Richard Kumery
Introductory Statement
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction. Implicit in action words are the dance elements of time (fast to slow), space (flexible, i.e., curved and indirect, or direct, i.e., straight lines and angles), and energy (strong to light). Words that describe actions provide a base from which to create original dance phrases.
A dance phrase or sequence can be likened to a sentence formed when speaking. Sometimes we refer to dance phrases as movement sequences. For the purpose of this lesson either term is acceptable. Each phrase has a beginning, middle, and end. Movements selected in a dance phrase may flow one to the other naturally or may be connected by a transition movement. Evolving dance sequences from action words is another way to demystify the creative process. Action words lead to the formation of individual dance phrases and provide the framework for further developing those phrases into larger compositional forms. In this lesson, the action words are common terms used in contemporary dance.
Warm-Up and Action-Word Discovery
- Create a warm-up sequence that includes pliés, full-torso movements, leg swings, foot exercises, arm sequences, and small jumps. The warm-up can consist of movement from any style of dance. Name all movements and list them on a chart or blackboard. You may create new words for the actions or use familiar terms such as knee bend or plié.
- Make a list of favorite dance terms and movements, including those from the warm-up, and display the words on a wall chart or blackboard. Brainstorm to come up with as many terms and movements as possible.
- Select 10 words from the list that will become the foundation phrase for this lesson. Write each word on a separate piece of paper and post them in order on the wall.
Structured Improvisations
Improvisation 1: Words Become Action
Create individual phrases based on the 10 action words you selected in the warm-up. All 10 words must be used. Make sure the transitions between words and their associated movements are smooth. Experiment with different levels, directions, and energy as you dance each word movement. Try to interpret each action word in several different ways. For instance does roll always mean to lie on the floor and roll like a log? What other ways can you roll? Make original interpretations for each word.
Example: Chapter 1, Lesson 2A: Building a Phrase
In this video excerpt, Alonzo King introduces his thoughts about learning movement and then demonstrates his process for shaping dance phrases. Dancers from North Carolina Dance Theatre are challenged to interpret the actions that King gives them.
- Assign counts to the separate movements in the phrase so that the phrase is clear. It is especially challenging to make the 10-movement phrase fit into 8 counts.
- Try performing the phrase twice from beginning to end. As you will see in the next improvisation, it is important to be able to repeat selected movement phrases so that you can play with the movement phrase.
Improvisation 2: Retrograde
Example: Chapter 1, Lesson 2B: Can the Phrase Go Backward?
While creating the men's section from Chants, Alonzo King used the process of retrograde (doing a phrase in reverse order) to further develop his choreography. Watch how challenging this process was for the dancers to interpret but how interesting it was compositionally.
- Perform the phrase once more, but this time, start at the end and perform the phrase backward until you end in the beginning shape or movement. Start from the end and go backward through all the words, using the individual cards to help. Post the retrograde version on the wall for reference. Discuss changes that might have to be made in the transitions between the movements.
- Assign counts to this new phrase. Will you use choose 8 counts again?
- Attach this phrase to the previous phrase you created in improvisation 1, Words Become Action.
- Try dancing the original phrase forward, followed immediately by its retrograde.
Improvisation 3: Deconstruction
- Take each of the selected action words from improvisation 1, Words Become Action, and write each one on a separate piece of paper. In a random fashion, perhaps by picking them out of a hat or drawing them like cards, make a new order for the phrase. Each word has a movement previously designed for it, but now each word has moved to another position in the phrase. By changing the movements around, you have deconstructed the phrase and reordered it. Reordering uses the same movements in a different and unexpected way.
- Discuss this process with classmates and the movement choices dancers made in order to reform the phrase.
Problem Solving
Following the Blueprint
- Create an original movement study from the three phrases generated in the previous exercises (see the sidebar for an example).
- Each study will include a core phrase (A), its retrograde (B), and its deconstruction (C). For example:
Core Phrase (A)
Lunge
Roll
Rise
Symmetrical shape
Turn
Hop
Asymmetrical shape
Gallop
Leap
Balance on one leg
Retrograde (B)
Balance on one leg
Leap
Gallop
Asymmetrical shape
Hop
Turn
Symmetrical shape
Rise
Roll
Lunge
Deconstructed (Reordered) (C)
Hop
Lunge
Balance on one leg
Roll
Asymmetrical shape
Leap
Rise
Gallop
Turn
Symmetrical shape
- Make sure the dance study has a clear beginning and ending shape or entrance and exit to and from the stage space.
- Select music for the study. The teacher or dance accompanist may offer suggestions and assistance.
- Perform your studies for your classmates. Audience members should provide feedback. Each dancer will have been working with the same words so the individual transitions and movement choices should be especially interesting to observe.
Two Blueprint Examples1. The form of the study may be a rondo:
A core phrase
B retrograde
A core phrase
C deconstructed phrase
A core phrase
2. The form may be a theme and variations:
Original phrase (A)
Retrograde variation
Deconstructed variation
Original phrase (A)
Example: Chapter 1, Lesson 2C: Men's Dance From Chants
This selection features the men of North Carolina Dance Theatre in a group excerpt from Chants. The excerpt opens with an individual dancer presenting the movement phrase that will be developed throughout the section. He is followed by three dancers performing the same movement but reordered. The trio is followed by another soloist who performs the original movement phrase and inserts one or two new extensions to the movement material. Last, the group dances the phrase, with insertions, together.
Discussion Questions
- How would you define a dance phrase? What does a series of movements need to have in order to be a phrase?
- Is there a difference between a dance phrase and a movement sequence? Explain.
- What other art forms create phrases?
- What did you find challenging about composing a retrograde for a phrase?
Symmetry: Balancing Shapes
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts.
Vocabulary
asymmetry
balance
interpersonal space
mirroring
reflection
reflection line
reverse
symmetry
visual balance
Uri Sands and Edgar Vardanian dance a mirroring sequence in the center of the stage while Nicholle Rochelle dances a solo around them in this section from Verge.
© Rolland Elliott
Introductory Statement
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts. On the stage, the reflection line may divide the space horizontally, creating an upstage side and a downstage side, or vertically, creating a stage-left side and a stage-right side.
Dance movements producing a reflection are called mirroring movements. While mirroring, each dancer or group of dancers claims one side of the divided space. In literal mirroring, a term coined for these lessons, dancers always dance the same movements, as if looking at each other in a mirror. In this case, the dancers face one another with one dancer following the lead of the other using opposite limbs or sides of the body (e.g., dancer A curves to her left; dancer B mirrors by curving his body to his right). Dancers move in exactly the same way and at the same time, as if only one person were moving. When dancers move both sides of their bodies together to create symmetrical shapes, they balance each other in space and produce visual symmetry. If they choose to move only one side of the body, the audience will see asymmetry because the body shape of both dancers is delineated on one side of the body only.
Dancers facing each other may also create lateral mirroring, another term coined for these lessons. In this case, each dancer does the same movement as the partner but uses the same arms and legs (e.g., dancer A curves to her right; dancer B curves to his right). When the dancers move the same side of the body, the audience will see a balanced, symmetrical shape made out of the two sides of the mirror figure. Each dancer becomes one side of the observed shape. In this kind of mirroring, symmetry is always observed.
Both types of mirroring provide a satisfying visual balance and use of space. Observers become aware of the concept of interpersonal space, or the space and spatial relationships activated between two or more people. In this lesson, dancers will explore literal as well as lateral mirroring.
Warm-Up: Mirroring
- Select one dancer as leader to improvise a literal mirroring warm-up that may include material from the previous lessons: successions, isolations, body-part leading, and inward and outward rotation with gestures. The other dancers or followers should try to mirror the leader in terms of time, space, and energy. Music to complement the exercise should be in a tempo that will allow maximum dancer focus on the selected movements.
- In pairs, explore literal mirroring with one leader and one follower. Dancers remain in one place but vary levels and speeds and find several still shapes. Music to accompany the exercise should now be varied. Try the improvisation with four different types of music. Both partner A and partner B should have a chance to lead.
Structured Improvisations
Improvisation 1: Drawing a Mirrored Shape
- Study the sample graph reflection (see figure 2.5). Take a piece of graph paper, a pencil, and a ruler and draw a reflecting line down the center of the paper vertically. Draw a geometric figure on one side of the line and then draw its exact reflection on the other side using line segments, points, perpendicular lines, parallel lines, and diagonals. Study the symmetry of the figures. Turn the paper so that the reflecting line is horizontal. Compare how the figure looks from this vantage point with the original facing.
FIGURE 2.5 Sample graph reflection. - Share your graphs with the rest of the class. How might mirrored movement phrases be perceived by an audience? How do we as dancers perceive symmetry while moving? What makes something symmetrical?
Improvisation 2: Reflection Sequence
- Individually, develop a 16-count sequence of movement that uses material from a previous lesson. For example, the gesture sequence from chapter 1, lesson 3, would be fun to use. Find your mirroring partner. Teach each other the 16-count phrases so that when finished, each pair has a 32-count phrase (16 counts from each partner). Partners should begin with the same arm and leg so that they are always using the same side of the body. Practice the 32-count phrase to make sure both dancers can perform it from memory.
- Face each other and perform the 32-count sequence in a lateral mirroring fashion. Both partners will perform the phrase as they learned it, starting on the same side of the body. This time the movement will seem different because the partners are now facing each other. Symmetry is produced because movement on both sides of the figure is seen simultaneously when viewed front to back. Discuss the ease or difficulty of this exercise.
Example: Chapter 2, Lesson 3A: Mirroring
In Verge, Dwight Rhoden created two lead characters: the Impulse, whom we met in chapter 1, and the Alter Ego. In this example the Impulse and the Alter Ego demonstrate lateral mirroring. The dancers are doing the same movement facing each other but are using the same arms and legs so that the shapes they make in space are symmetrical. Note the small and full body gestures.
- Present each lateral mirroring sequence to the class. First, place the reflection line horizontally, dividing the stage space into upstage and downstage. Each dancer should stand on one side of the line facing each other. The audience will see the back of one dancer and the front of the other. Next, place the reflecting line vertically so that the stage is divided into stage right and stage left and each dancer faces a side wall. The audience will see the sides of the dancers. In the first instance the audience will see the movement from the front and the second instance from the side. Discuss with the audience how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 3: Looking in the Mirror
- Create a variation of the lateral mirroring sequence with literal mirroring. In this variation, both partners will use the same arms and legs while doing the movement phrase facing each other (horizontal reflection line). The dancer who is following will have to reverse beginning sides when starting each movement. Practice your 32-count sequence from the lateral mirroring exercise in this manner. Each partner must do the movement with the opposite arm and leg. This process will produce spatial asymmetry because only one side of a figure in space will be observed.
- Present each literal mirroring sequence to the class. Next, place the reflecting line vertically so that each dancer faces a side wall. Dance the same literal mirroring movements just danced with the horizontal reflecting line. In the first instance the audience saw the movement from the front, in the second instance from the side. Discuss how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 4: Side by Side
Using the same 32-count movement phrase created for improvisation 3, dance it standing side by side, both dancers facing the audience or front. To achieve symmetry, each dancer must begin with the opposite side or limbs of the body. The reflection line is vertical, dividing the stage in two halves, left and right. In this relationship, the dancer on stage left will begin with the left foot and the dancer on stage right will begin with the right foot. Is it easier or harder to remain in unison? How does this exercise relate to the graphed forms drawn earlier?
Example: Chapter 2, Lesson 3B: Opening and Closing Duet
Alonzo King uses the compositional device of mirroring in his work Dreamer. In this example, we can see lateral mirroring front to back, side by side, and back to back. The reflection line is always horizontal, however. Watch how the relationship between dancers evolves as facings change.
Improvisation 5: Back to Back
Using the same 32-count movement phrase previously explored, dance it while standing back to back. First, perform it as a literal mirroring sequence using the opposite arms and legs, then try a lateral mirroring sequence using same arms and legs. Perform your sequences for the class. Place the reflection line horizontally, dividing the stage into upstage and downstage halves. One dancer will face the front, the other will face the back wall. Discuss with classmates which of the two types of mirroring, literal or lateral, is most interesting visually. How might a choreographer use this type of back-to-back mirroring?
Example: Chapter 2, Lesson 3C: Back to Back
In this example from Verge, watch the two dancers in the center dance the same movement with the same arms and legs but starting back to back. The reflection line is horizontal and the dancers face away from each other. This relationship gives the illusion that the dancers are moving away from and toward the center of the stage. One dancer moves toward the audience as the other moves away.
- Perform the different mirroring variations from improvisations 2 through 5. Each pair should choose one or more of the variations to perform. With your partner, decide how to place the reflection line to divide the stage. Discuss with classmates which of the mirroring variations is most interesting and why.
Problem Solving
Example: Chapter 2, Lesson 3D: At the Bull's-Eye
In Verge, the Alter Ego mimics the movements of the Impulse, especially as he enters the center of the target. In this example, we see both characters performing a mirroring sequence that begins with symmetrical arm, leg, and body movement followed by literal and lateral mirroring gestures. The stage is bisected by a horizontal reflection line so that we see one dancer from the back and the other from the front. They are standing as if looking in a mirror.
Reflection Duets
- In partners, design a Reflection duet inspired by the movement material explored in improvisations 2 through 5, which can serve as a starting point for a new series of 32 counts.
- Design the sequence using literal mirroring (section A). Repeat the sequence using lateral mirroring (section B). Perform the phrase a third time, mixing and matching literal and lateral mirroring (section C). Try the sequences facing each other, back to back, or side by side. Decide which facing is appropriate for each sequence. Also decide where the reflection line should be for each group of 32 counts so that the material will appear the most interesting to the audience. At least one section should show the stage space divided horizontally, one vertically, and one a combination of the two. The study should be at least 1 minute long.
Sample Phrase
A = Literal mirroring, 32 counts, horizontal reflection line, dancers are face to face
B = Lateral mirroring, 32 counts, vertical reflection line, dancers are face to face
C = Lateral mirroring back to back and side to side, 32 counts, horizontal reflection line
Discussion Questions
- When we look in a mirror, do we see ourselves as others see us or are we reversed?
- To mirror someone, what must we do?
- What happens when mirroring partners do the same movement starting with the same-side arms and legs? How is this different from traditional mirroring?
- Are some kinds of movements easier or harder to do with a mirroring partner?
- Is it possible to make mirroring shapes?
- How is symmetry achieved in mirroring?
Dynamics: Qualities of Movement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement.
Vocabulary
collapsed
dynamic
qualities
dynamics
energy
percussive
suspended
sustained
swinging
vibratory
Uri Sands, the Impulse, is suspended high above the ground after executing a strong percussive jump. The other dancers collapse and sink under him in curved shapes.
© Rolland Elliott
Introductory Statement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement. Specifically, in dance we identify six dynamic qualities: sustained, percussive, swinging, suspended, collapsed, and vibratory.
Sustained = slow, smooth, continuous, even
Percussive = sudden, sharp, choppy, jagged
Swinging = sway, to and fro, pendulum, undercurve
Suspended = stillness, balance, high point
Collapsed = fall, release, relax
Vibratory = shake, tremble, wiggle
Warm-Up and Quality Definitions
Example: Chapter 4, Lesson 3A: Describing a Quality
Alonzo King wanted specific dynamic qualities expressed in movement while choreographing Dreamer. In this example, watch King describe and demonstrate a percussive movement phrase and the dancers show percussiveness in their bodies.
Warm up by moving within each quality:
Swinging (using legs, then arms, then whole body)
Collapsed (swing a leg up, then collapse the body over it; repeat, alternating legs)
Sustained (melt gradually all the way to the floor until finishing in a stretched shape)
Percussive (rise quickly and begin a rhythmic step-clap-stamp phrase)
Suspended (rise to relevé on both feet and allow arms to follow; find a point of balance, balance on one foot)
Vibratory (begin a soft beating of the feet on the floor and allow the vibration to move up through the body like a volcano until it erupts out through the fingers)
Structured Improvisations
Improvisation 1: Moving Energy
Using a simple walk, explore moving through space using the dynamic qualities (see list). Discuss how the walk changes when a specific dynamic motivates the movement. How does the tempo alter with each quality? Which qualities can be performed with light energy? Which ones require strength?
Sample Locomotor and Nonlocomotor Sequence
Swinging legs with forward steps
Sustained arm stretch
Percussive jumps
Vibratory beating
Collapsing low walk
Suspended breathing
Example: Chapter 4, Lesson 3B: Sustained Movement
In this excerpt, Alonzo King works with dancer Amy Earnest to create slow, sustained movement for a section of Dreamer.
Improvisation 2: Sharing Qualities
- Divide into two groups. Half will dance, half will be the audience. One member of the audience will call out a dynamic quality. The dancers will move in general space in the quality that is called out. Continue in one quality until another is called out randomly. Call out in unexpected ways, slowly and quickly. Explore each quality with both nonlocomotor and locomotor movement.
- Exchange roles until everyone has improvised movement phrases in each quality, quickly changing qualities as they are called out.
- Discuss feelings or emotions that are implied by the different movement qualities and list them on a chart (an example follows).
Movement Qualities
Swinging legs—regularity, evenness
Sustained, stretched arms—laziness, calm
Percussive jumps—happiness, joy, excitement
Vibratory beating—anger, resentment
Collapsing walks—defeat, failure, grief
Suspended breath—anticipation, surprise
Problem Solving
- In a hat, place slips of paper with one dynamic quality written on each piece. Draw one slip of paper from the hat and find two other partners to make a trio. Together look at the three slips of paper. The problem is to create a Dynamic Quality study using only the three qualities selected. The challenge is to find a way to transition between the qualities in a convincing way so that the study is cohesive. The study should be at least 1 minute long. The study should have a clear beginning and ending shape and use both locomotor and nonlocomotor movements.
- Perform the Dynamic Quality studies for each other. Audience members should identify the dynamic qualities chosen. Discuss how it feels to spend a specific amount of time in only one movement quality. Do we do this in natural movement?
Discussion Questions
- In your own words, define energy. Find your own definitions for each of the dynamic qualities.
- When might you move naturally in a percussive way?
- Do emotional states affect how we use energy in movement?
- List different action words that could describe each of the six qualities.
Problem Solving: Creating a Movement Suite
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key.
During the five chapters of this book, dancers have been challenged to reach toward the target of dance composition. In this final assignment, dancers will meet their target like Uri Sands meets the target in Verge, with energy and grace, knowing that the end of this journey is near.
Vocabulary
allemande
contrast
courante
duple meter
galliard
gigue
optional dance
pavane
saraband
suite
tempo
theme
triple meter
Uri Sands confronting the target from Dwight Rhoden's Verge.
© Rolland Elliott
Introductory Statement
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key. For the sake of variety, suites followed this pattern: a slow dance (in the Renaissance and earlier times it was called basse danse) followed by a faster, jumpy dance (haute danse). In the early 17th century, the dances that fitted that mold were the pavane, in slow duple meter, and the galliard, in fast triple meter. By the end of the 17th century, the suite followed this highly stylized schema:
Allemande (moderate tempo, in 4/4)
Courante (moderately fast, in 6/4)
Saraband (very slow, in 3/4)
Gigue (very fast, in 6/8, compound time)
Often different dances, also called optional dances, were included between the four basic dances. Such dances included the minuet (3/4), gavotte (2/4), and bourree (2/4), among others.
The convention for presenting the overall form of each dance was as follows: A (the first section of the piece, presenting the theme) followed by B (the second section, which developed in a contrasting way to theme A). Therefore, the scheme read as AB. Often each section was repeated as AABB. Sections A and B might have the same number of musical measures, or B could have a few more musical measures.Throughout the lessons in this book, dancers have used AB form and contrasting movement materials to build their studies, such as in chapter 2, lesson 2; chapter 3, lesson 4; and chapter 4, lesson 2.
After 1750 the traditional Baroque suite became extinct. It was absorbed by common classical forms such as the divertimento, cassation, and sonata. Revivals of the suite as a musical form occurred in the late 19th century and even reappeared in the 20th century. In dance, suites are often used by contemporary choreographers who wish to create abstract, sectional dance works. Alonzo King's Chants is an example of a work in suite form. The work is accompanied by different African songs and chants. The order of the songs and the dance sections were chosen by King and reflect contrasting tempos and qualities. The sections are quite different from each other and they feature anything from large-group dances with many voices accompanying the movement, to solos and duets with only one or two singers.
Following the form of the dance suite and inspired by Chants, dancers will create group works that are made up of two to four independent contrasting sections, alternating slow and fast. Each section should use movement phrases and dynamics and groupings that are different from the previous section.
The work should have a central theme to guide movement choices, but the theme can be abstract or nonliteral, such as colors, environments, animals, birds, or creatures in the sea.
Problem Solving
Example: Chapter 5, Lesson 5A: Suite From Chants (Excerpts)
Included in this example are four sections from Alonzo King's Chants. The sections are not in the order of the original dance but have been placed in this order to provide a model for the creative problem that follows. Alonzo King's original suite included 10 different dance sections.
The selected sections are as follows:
- “N'Diouk Tabala Wolof”—A quick men's dance in varied rhythms
- “Yofo Yo”—A weight-sharing, counterbalanced duet for two women
- “N'terole”—A solo featuring acceleration in music and dance
- “Women of Butela”—A quick dance for women, alternating solo with group
- One choreographer will choose a cast of four to six dancers to create a suite of four separate sections. All of the class members should have a role as either choreographer or dancer. If necessary, dancers from outside the class may be used so that all choreographers have four to six dancers as a cast. A movement theme should guide the development of the movement ideas and the choice of music. Each choreographer should use movement material or choreographic operations developed in previous chapters of this book.
Section 1. Quick; full-group dance; duple in 4s.
AB form with two separate types of movement. Choreographers may wish to construct movement sentences of different action words to assure variety.
Section 2. Slow; duet; triple in 3s.
Theme and variations (A, A1, A2, A3, A).
Shapes and sharing weight.
Section 3. Trio; combination of different pulses; duple using half time and double time.
Locomotor and nonlocomotor movement should be designed for each dancer but each dancer should dance to a different beat (pulse, half time, double time).
Section 4. Full group dancing, accelerating and retarding movement; phrases are duple or triple. This is followed by (A) selected gestures evolving into movement phrases showing different movement qualities, and (B) creating an AB form with two types of movement. The theme of the B subsection should take a longer amount of time to complete in order to create a closing for the work. There may be a retard at the end of the work to allow for an ending.
- Assess the process by making a video recording of the work. Watch and critique the work, discussing compositional choices.
Phrase: Linking Movements
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction.
Vocabulary
action word
dance phrase
deconstruction
direct space
energy
flexible space
retrograde
sequence
space
time
transition
Alonzo King demonstrates a movement from a dance phrase to North Carolina Dance Theatre dancers Hernan Justo and Benjamin Westafer.
© Richard Kumery
Introductory Statement
In this lesson, the term action word refers to any word that motivates movement or defines body shape, such as jump, turn, walk, run, asymmetrical shape, arabesque, isolation, or contraction. Implicit in action words are the dance elements of time (fast to slow), space (flexible, i.e., curved and indirect, or direct, i.e., straight lines and angles), and energy (strong to light). Words that describe actions provide a base from which to create original dance phrases.
A dance phrase or sequence can be likened to a sentence formed when speaking. Sometimes we refer to dance phrases as movement sequences. For the purpose of this lesson either term is acceptable. Each phrase has a beginning, middle, and end. Movements selected in a dance phrase may flow one to the other naturally or may be connected by a transition movement. Evolving dance sequences from action words is another way to demystify the creative process. Action words lead to the formation of individual dance phrases and provide the framework for further developing those phrases into larger compositional forms. In this lesson, the action words are common terms used in contemporary dance.
Warm-Up and Action-Word Discovery
- Create a warm-up sequence that includes pliés, full-torso movements, leg swings, foot exercises, arm sequences, and small jumps. The warm-up can consist of movement from any style of dance. Name all movements and list them on a chart or blackboard. You may create new words for the actions or use familiar terms such as knee bend or plié.
- Make a list of favorite dance terms and movements, including those from the warm-up, and display the words on a wall chart or blackboard. Brainstorm to come up with as many terms and movements as possible.
- Select 10 words from the list that will become the foundation phrase for this lesson. Write each word on a separate piece of paper and post them in order on the wall.
Structured Improvisations
Improvisation 1: Words Become Action
Create individual phrases based on the 10 action words you selected in the warm-up. All 10 words must be used. Make sure the transitions between words and their associated movements are smooth. Experiment with different levels, directions, and energy as you dance each word movement. Try to interpret each action word in several different ways. For instance does roll always mean to lie on the floor and roll like a log? What other ways can you roll? Make original interpretations for each word.
Example: Chapter 1, Lesson 2A: Building a Phrase
In this video excerpt, Alonzo King introduces his thoughts about learning movement and then demonstrates his process for shaping dance phrases. Dancers from North Carolina Dance Theatre are challenged to interpret the actions that King gives them.
- Assign counts to the separate movements in the phrase so that the phrase is clear. It is especially challenging to make the 10-movement phrase fit into 8 counts.
- Try performing the phrase twice from beginning to end. As you will see in the next improvisation, it is important to be able to repeat selected movement phrases so that you can play with the movement phrase.
Improvisation 2: Retrograde
Example: Chapter 1, Lesson 2B: Can the Phrase Go Backward?
While creating the men's section from Chants, Alonzo King used the process of retrograde (doing a phrase in reverse order) to further develop his choreography. Watch how challenging this process was for the dancers to interpret but how interesting it was compositionally.
- Perform the phrase once more, but this time, start at the end and perform the phrase backward until you end in the beginning shape or movement. Start from the end and go backward through all the words, using the individual cards to help. Post the retrograde version on the wall for reference. Discuss changes that might have to be made in the transitions between the movements.
- Assign counts to this new phrase. Will you use choose 8 counts again?
- Attach this phrase to the previous phrase you created in improvisation 1, Words Become Action.
- Try dancing the original phrase forward, followed immediately by its retrograde.
Improvisation 3: Deconstruction
- Take each of the selected action words from improvisation 1, Words Become Action, and write each one on a separate piece of paper. In a random fashion, perhaps by picking them out of a hat or drawing them like cards, make a new order for the phrase. Each word has a movement previously designed for it, but now each word has moved to another position in the phrase. By changing the movements around, you have deconstructed the phrase and reordered it. Reordering uses the same movements in a different and unexpected way.
- Discuss this process with classmates and the movement choices dancers made in order to reform the phrase.
Problem Solving
Following the Blueprint
- Create an original movement study from the three phrases generated in the previous exercises (see the sidebar for an example).
- Each study will include a core phrase (A), its retrograde (B), and its deconstruction (C). For example:
Core Phrase (A)
Lunge
Roll
Rise
Symmetrical shape
Turn
Hop
Asymmetrical shape
Gallop
Leap
Balance on one leg
Retrograde (B)
Balance on one leg
Leap
Gallop
Asymmetrical shape
Hop
Turn
Symmetrical shape
Rise
Roll
Lunge
Deconstructed (Reordered) (C)
Hop
Lunge
Balance on one leg
Roll
Asymmetrical shape
Leap
Rise
Gallop
Turn
Symmetrical shape
- Make sure the dance study has a clear beginning and ending shape or entrance and exit to and from the stage space.
- Select music for the study. The teacher or dance accompanist may offer suggestions and assistance.
- Perform your studies for your classmates. Audience members should provide feedback. Each dancer will have been working with the same words so the individual transitions and movement choices should be especially interesting to observe.
Two Blueprint Examples1. The form of the study may be a rondo:
A core phrase
B retrograde
A core phrase
C deconstructed phrase
A core phrase
2. The form may be a theme and variations:
Original phrase (A)
Retrograde variation
Deconstructed variation
Original phrase (A)
Example: Chapter 1, Lesson 2C: Men's Dance From Chants
This selection features the men of North Carolina Dance Theatre in a group excerpt from Chants. The excerpt opens with an individual dancer presenting the movement phrase that will be developed throughout the section. He is followed by three dancers performing the same movement but reordered. The trio is followed by another soloist who performs the original movement phrase and inserts one or two new extensions to the movement material. Last, the group dances the phrase, with insertions, together.
Discussion Questions
- How would you define a dance phrase? What does a series of movements need to have in order to be a phrase?
- Is there a difference between a dance phrase and a movement sequence? Explain.
- What other art forms create phrases?
- What did you find challenging about composing a retrograde for a phrase?
Symmetry: Balancing Shapes
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts.
Vocabulary
asymmetry
balance
interpersonal space
mirroring
reflection
reflection line
reverse
symmetry
visual balance
Uri Sands and Edgar Vardanian dance a mirroring sequence in the center of the stage while Nicholle Rochelle dances a solo around them in this section from Verge.
© Rolland Elliott
Introductory Statement
To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts. On the stage, the reflection line may divide the space horizontally, creating an upstage side and a downstage side, or vertically, creating a stage-left side and a stage-right side.
Dance movements producing a reflection are called mirroring movements. While mirroring, each dancer or group of dancers claims one side of the divided space. In literal mirroring, a term coined for these lessons, dancers always dance the same movements, as if looking at each other in a mirror. In this case, the dancers face one another with one dancer following the lead of the other using opposite limbs or sides of the body (e.g., dancer A curves to her left; dancer B mirrors by curving his body to his right). Dancers move in exactly the same way and at the same time, as if only one person were moving. When dancers move both sides of their bodies together to create symmetrical shapes, they balance each other in space and produce visual symmetry. If they choose to move only one side of the body, the audience will see asymmetry because the body shape of both dancers is delineated on one side of the body only.
Dancers facing each other may also create lateral mirroring, another term coined for these lessons. In this case, each dancer does the same movement as the partner but uses the same arms and legs (e.g., dancer A curves to her right; dancer B curves to his right). When the dancers move the same side of the body, the audience will see a balanced, symmetrical shape made out of the two sides of the mirror figure. Each dancer becomes one side of the observed shape. In this kind of mirroring, symmetry is always observed.
Both types of mirroring provide a satisfying visual balance and use of space. Observers become aware of the concept of interpersonal space, or the space and spatial relationships activated between two or more people. In this lesson, dancers will explore literal as well as lateral mirroring.
Warm-Up: Mirroring
- Select one dancer as leader to improvise a literal mirroring warm-up that may include material from the previous lessons: successions, isolations, body-part leading, and inward and outward rotation with gestures. The other dancers or followers should try to mirror the leader in terms of time, space, and energy. Music to complement the exercise should be in a tempo that will allow maximum dancer focus on the selected movements.
- In pairs, explore literal mirroring with one leader and one follower. Dancers remain in one place but vary levels and speeds and find several still shapes. Music to accompany the exercise should now be varied. Try the improvisation with four different types of music. Both partner A and partner B should have a chance to lead.
Structured Improvisations
Improvisation 1: Drawing a Mirrored Shape
- Study the sample graph reflection (see figure 2.5). Take a piece of graph paper, a pencil, and a ruler and draw a reflecting line down the center of the paper vertically. Draw a geometric figure on one side of the line and then draw its exact reflection on the other side using line segments, points, perpendicular lines, parallel lines, and diagonals. Study the symmetry of the figures. Turn the paper so that the reflecting line is horizontal. Compare how the figure looks from this vantage point with the original facing.
FIGURE 2.5 Sample graph reflection. - Share your graphs with the rest of the class. How might mirrored movement phrases be perceived by an audience? How do we as dancers perceive symmetry while moving? What makes something symmetrical?
Improvisation 2: Reflection Sequence
- Individually, develop a 16-count sequence of movement that uses material from a previous lesson. For example, the gesture sequence from chapter 1, lesson 3, would be fun to use. Find your mirroring partner. Teach each other the 16-count phrases so that when finished, each pair has a 32-count phrase (16 counts from each partner). Partners should begin with the same arm and leg so that they are always using the same side of the body. Practice the 32-count phrase to make sure both dancers can perform it from memory.
- Face each other and perform the 32-count sequence in a lateral mirroring fashion. Both partners will perform the phrase as they learned it, starting on the same side of the body. This time the movement will seem different because the partners are now facing each other. Symmetry is produced because movement on both sides of the figure is seen simultaneously when viewed front to back. Discuss the ease or difficulty of this exercise.
Example: Chapter 2, Lesson 3A: Mirroring
In Verge, Dwight Rhoden created two lead characters: the Impulse, whom we met in chapter 1, and the Alter Ego. In this example the Impulse and the Alter Ego demonstrate lateral mirroring. The dancers are doing the same movement facing each other but are using the same arms and legs so that the shapes they make in space are symmetrical. Note the small and full body gestures.
- Present each lateral mirroring sequence to the class. First, place the reflection line horizontally, dividing the stage space into upstage and downstage. Each dancer should stand on one side of the line facing each other. The audience will see the back of one dancer and the front of the other. Next, place the reflecting line vertically so that the stage is divided into stage right and stage left and each dancer faces a side wall. The audience will see the sides of the dancers. In the first instance the audience will see the movement from the front and the second instance from the side. Discuss with the audience how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 3: Looking in the Mirror
- Create a variation of the lateral mirroring sequence with literal mirroring. In this variation, both partners will use the same arms and legs while doing the movement phrase facing each other (horizontal reflection line). The dancer who is following will have to reverse beginning sides when starting each movement. Practice your 32-count sequence from the lateral mirroring exercise in this manner. Each partner must do the movement with the opposite arm and leg. This process will produce spatial asymmetry because only one side of a figure in space will be observed.
- Present each literal mirroring sequence to the class. Next, place the reflecting line vertically so that each dancer faces a side wall. Dance the same literal mirroring movements just danced with the horizontal reflecting line. In the first instance the audience saw the movement from the front, in the second instance from the side. Discuss how the reflections look with the different facings. Does the movement look different when facing front to back or side to side? How is symmetry achieved when facing sideways?
Improvisation 4: Side by Side
Using the same 32-count movement phrase created for improvisation 3, dance it standing side by side, both dancers facing the audience or front. To achieve symmetry, each dancer must begin with the opposite side or limbs of the body. The reflection line is vertical, dividing the stage in two halves, left and right. In this relationship, the dancer on stage left will begin with the left foot and the dancer on stage right will begin with the right foot. Is it easier or harder to remain in unison? How does this exercise relate to the graphed forms drawn earlier?
Example: Chapter 2, Lesson 3B: Opening and Closing Duet
Alonzo King uses the compositional device of mirroring in his work Dreamer. In this example, we can see lateral mirroring front to back, side by side, and back to back. The reflection line is always horizontal, however. Watch how the relationship between dancers evolves as facings change.
Improvisation 5: Back to Back
Using the same 32-count movement phrase previously explored, dance it while standing back to back. First, perform it as a literal mirroring sequence using the opposite arms and legs, then try a lateral mirroring sequence using same arms and legs. Perform your sequences for the class. Place the reflection line horizontally, dividing the stage into upstage and downstage halves. One dancer will face the front, the other will face the back wall. Discuss with classmates which of the two types of mirroring, literal or lateral, is most interesting visually. How might a choreographer use this type of back-to-back mirroring?
Example: Chapter 2, Lesson 3C: Back to Back
In this example from Verge, watch the two dancers in the center dance the same movement with the same arms and legs but starting back to back. The reflection line is horizontal and the dancers face away from each other. This relationship gives the illusion that the dancers are moving away from and toward the center of the stage. One dancer moves toward the audience as the other moves away.
- Perform the different mirroring variations from improvisations 2 through 5. Each pair should choose one or more of the variations to perform. With your partner, decide how to place the reflection line to divide the stage. Discuss with classmates which of the mirroring variations is most interesting and why.
Problem Solving
Example: Chapter 2, Lesson 3D: At the Bull's-Eye
In Verge, the Alter Ego mimics the movements of the Impulse, especially as he enters the center of the target. In this example, we see both characters performing a mirroring sequence that begins with symmetrical arm, leg, and body movement followed by literal and lateral mirroring gestures. The stage is bisected by a horizontal reflection line so that we see one dancer from the back and the other from the front. They are standing as if looking in a mirror.
Reflection Duets
- In partners, design a Reflection duet inspired by the movement material explored in improvisations 2 through 5, which can serve as a starting point for a new series of 32 counts.
- Design the sequence using literal mirroring (section A). Repeat the sequence using lateral mirroring (section B). Perform the phrase a third time, mixing and matching literal and lateral mirroring (section C). Try the sequences facing each other, back to back, or side by side. Decide which facing is appropriate for each sequence. Also decide where the reflection line should be for each group of 32 counts so that the material will appear the most interesting to the audience. At least one section should show the stage space divided horizontally, one vertically, and one a combination of the two. The study should be at least 1 minute long.
Sample Phrase
A = Literal mirroring, 32 counts, horizontal reflection line, dancers are face to face
B = Lateral mirroring, 32 counts, vertical reflection line, dancers are face to face
C = Lateral mirroring back to back and side to side, 32 counts, horizontal reflection line
Discussion Questions
- When we look in a mirror, do we see ourselves as others see us or are we reversed?
- To mirror someone, what must we do?
- What happens when mirroring partners do the same movement starting with the same-side arms and legs? How is this different from traditional mirroring?
- Are some kinds of movements easier or harder to do with a mirroring partner?
- Is it possible to make mirroring shapes?
- How is symmetry achieved in mirroring?
Dynamics: Qualities of Movement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement.
Vocabulary
collapsed
dynamic
qualities
dynamics
energy
percussive
suspended
sustained
swinging
vibratory
Uri Sands, the Impulse, is suspended high above the ground after executing a strong percussive jump. The other dancers collapse and sink under him in curved shapes.
© Rolland Elliott
Introductory Statement
The use of different gradations of energy to perform a movement is often described as adding dynamic quality to movement. Specifically, in dance we identify six dynamic qualities: sustained, percussive, swinging, suspended, collapsed, and vibratory.
Sustained = slow, smooth, continuous, even
Percussive = sudden, sharp, choppy, jagged
Swinging = sway, to and fro, pendulum, undercurve
Suspended = stillness, balance, high point
Collapsed = fall, release, relax
Vibratory = shake, tremble, wiggle
Warm-Up and Quality Definitions
Example: Chapter 4, Lesson 3A: Describing a Quality
Alonzo King wanted specific dynamic qualities expressed in movement while choreographing Dreamer. In this example, watch King describe and demonstrate a percussive movement phrase and the dancers show percussiveness in their bodies.
Warm up by moving within each quality:
Swinging (using legs, then arms, then whole body)
Collapsed (swing a leg up, then collapse the body over it; repeat, alternating legs)
Sustained (melt gradually all the way to the floor until finishing in a stretched shape)
Percussive (rise quickly and begin a rhythmic step-clap-stamp phrase)
Suspended (rise to relevé on both feet and allow arms to follow; find a point of balance, balance on one foot)
Vibratory (begin a soft beating of the feet on the floor and allow the vibration to move up through the body like a volcano until it erupts out through the fingers)
Structured Improvisations
Improvisation 1: Moving Energy
Using a simple walk, explore moving through space using the dynamic qualities (see list). Discuss how the walk changes when a specific dynamic motivates the movement. How does the tempo alter with each quality? Which qualities can be performed with light energy? Which ones require strength?
Sample Locomotor and Nonlocomotor Sequence
Swinging legs with forward steps
Sustained arm stretch
Percussive jumps
Vibratory beating
Collapsing low walk
Suspended breathing
Example: Chapter 4, Lesson 3B: Sustained Movement
In this excerpt, Alonzo King works with dancer Amy Earnest to create slow, sustained movement for a section of Dreamer.
Improvisation 2: Sharing Qualities
- Divide into two groups. Half will dance, half will be the audience. One member of the audience will call out a dynamic quality. The dancers will move in general space in the quality that is called out. Continue in one quality until another is called out randomly. Call out in unexpected ways, slowly and quickly. Explore each quality with both nonlocomotor and locomotor movement.
- Exchange roles until everyone has improvised movement phrases in each quality, quickly changing qualities as they are called out.
- Discuss feelings or emotions that are implied by the different movement qualities and list them on a chart (an example follows).
Movement Qualities
Swinging legs—regularity, evenness
Sustained, stretched arms—laziness, calm
Percussive jumps—happiness, joy, excitement
Vibratory beating—anger, resentment
Collapsing walks—defeat, failure, grief
Suspended breath—anticipation, surprise
Problem Solving
- In a hat, place slips of paper with one dynamic quality written on each piece. Draw one slip of paper from the hat and find two other partners to make a trio. Together look at the three slips of paper. The problem is to create a Dynamic Quality study using only the three qualities selected. The challenge is to find a way to transition between the qualities in a convincing way so that the study is cohesive. The study should be at least 1 minute long. The study should have a clear beginning and ending shape and use both locomotor and nonlocomotor movements.
- Perform the Dynamic Quality studies for each other. Audience members should identify the dynamic qualities chosen. Discuss how it feels to spend a specific amount of time in only one movement quality. Do we do this in natural movement?
Discussion Questions
- In your own words, define energy. Find your own definitions for each of the dynamic qualities.
- When might you move naturally in a percussive way?
- Do emotional states affect how we use energy in movement?
- List different action words that could describe each of the six qualities.
Problem Solving: Creating a Movement Suite
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key.
During the five chapters of this book, dancers have been challenged to reach toward the target of dance composition. In this final assignment, dancers will meet their target like Uri Sands meets the target in Verge, with energy and grace, knowing that the end of this journey is near.
Vocabulary
allemande
contrast
courante
duple meter
galliard
gigue
optional dance
pavane
saraband
suite
tempo
theme
triple meter
Uri Sands confronting the target from Dwight Rhoden's Verge.
© Rolland Elliott
Introductory Statement
Historically, the suite was a sectional form of instrumental music that accompanied dance. It consisted of individual, separate pieces, performed one after the other, that were based on the same musical theme and were played in the same key. For the sake of variety, suites followed this pattern: a slow dance (in the Renaissance and earlier times it was called basse danse) followed by a faster, jumpy dance (haute danse). In the early 17th century, the dances that fitted that mold were the pavane, in slow duple meter, and the galliard, in fast triple meter. By the end of the 17th century, the suite followed this highly stylized schema:
Allemande (moderate tempo, in 4/4)
Courante (moderately fast, in 6/4)
Saraband (very slow, in 3/4)
Gigue (very fast, in 6/8, compound time)
Often different dances, also called optional dances, were included between the four basic dances. Such dances included the minuet (3/4), gavotte (2/4), and bourree (2/4), among others.
The convention for presenting the overall form of each dance was as follows: A (the first section of the piece, presenting the theme) followed by B (the second section, which developed in a contrasting way to theme A). Therefore, the scheme read as AB. Often each section was repeated as AABB. Sections A and B might have the same number of musical measures, or B could have a few more musical measures.Throughout the lessons in this book, dancers have used AB form and contrasting movement materials to build their studies, such as in chapter 2, lesson 2; chapter 3, lesson 4; and chapter 4, lesson 2.
After 1750 the traditional Baroque suite became extinct. It was absorbed by common classical forms such as the divertimento, cassation, and sonata. Revivals of the suite as a musical form occurred in the late 19th century and even reappeared in the 20th century. In dance, suites are often used by contemporary choreographers who wish to create abstract, sectional dance works. Alonzo King's Chants is an example of a work in suite form. The work is accompanied by different African songs and chants. The order of the songs and the dance sections were chosen by King and reflect contrasting tempos and qualities. The sections are quite different from each other and they feature anything from large-group dances with many voices accompanying the movement, to solos and duets with only one or two singers.
Following the form of the dance suite and inspired by Chants, dancers will create group works that are made up of two to four independent contrasting sections, alternating slow and fast. Each section should use movement phrases and dynamics and groupings that are different from the previous section.
The work should have a central theme to guide movement choices, but the theme can be abstract or nonliteral, such as colors, environments, animals, birds, or creatures in the sea.
Problem Solving
Example: Chapter 5, Lesson 5A: Suite From Chants (Excerpts)
Included in this example are four sections from Alonzo King's Chants. The sections are not in the order of the original dance but have been placed in this order to provide a model for the creative problem that follows. Alonzo King's original suite included 10 different dance sections.
The selected sections are as follows:
- “N'Diouk Tabala Wolof”—A quick men's dance in varied rhythms
- “Yofo Yo”—A weight-sharing, counterbalanced duet for two women
- “N'terole”—A solo featuring acceleration in music and dance
- “Women of Butela”—A quick dance for women, alternating solo with group
- One choreographer will choose a cast of four to six dancers to create a suite of four separate sections. All of the class members should have a role as either choreographer or dancer. If necessary, dancers from outside the class may be used so that all choreographers have four to six dancers as a cast. A movement theme should guide the development of the movement ideas and the choice of music. Each choreographer should use movement material or choreographic operations developed in previous chapters of this book.
Section 1. Quick; full-group dance; duple in 4s.
AB form with two separate types of movement. Choreographers may wish to construct movement sentences of different action words to assure variety.
Section 2. Slow; duet; triple in 3s.
Theme and variations (A, A1, A2, A3, A).
Shapes and sharing weight.
Section 3. Trio; combination of different pulses; duple using half time and double time.
Locomotor and nonlocomotor movement should be designed for each dancer but each dancer should dance to a different beat (pulse, half time, double time).
Section 4. Full group dancing, accelerating and retarding movement; phrases are duple or triple. This is followed by (A) selected gestures evolving into movement phrases showing different movement qualities, and (B) creating an AB form with two types of movement. The theme of the B subsection should take a longer amount of time to complete in order to create a closing for the work. There may be a retard at the end of the work to allow for an ending.
- Assess the process by making a video recording of the work. Watch and critique the work, discussing compositional choices.