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Codification of Aesthetics
--A Guideline For Young Choreographers
Excerpted from: A Practical Guide to the State of Iowa's Dance Curriculum
The aim of this guide is to help young choreographers create movement that is meaningfully put together, not just a series of tricks. Consideration should be given not only to the form and style of the music but also to the text of a song. Given a step by step guide for choreographing competition/exhibition dances, the choreographer should be able to please not only s/himself and the judges, but also the muse of dance, thus adding to the art form.
AESTHETICS
Intent of the choreography--what do you want the audience to see/feel/understand.
Choice of music should reflect this.
Costumes and setting should also reflect this.
Pedestrian vs abstract--which should be used to best communicate an idea to the audience--easily recognized movement such as rock and roll dance steps or more unique movement? Is it important to you that the dance reflect you and your experiences? Or would common experiences better do that?
Authentic movement vs steps--Dancing, not doing movement that looks like what others think dance is.
Avoid meaningless repetition.
Repetition makes a point and can be a powerful focus of the audience's eyes and minds.
Avoid symmetry.
Think about the complexity of a shape.
Keeping the audiences eyes busy keeps them paying attention.
Emote in a real manner: expressive movement comes from an inside impulse, it is not acted.
Analyze dances that you like in concrete terms (see Aspects of Dance and Design)
VOCABULARY
Abstract
to make movement less literal by changing its speed, the size, level, direction, shape; adding form, complexity.
Back
the area behind the body
Backward
moving in the direction of the back of the body
Beat
a regular, underlying division of time.
Canon or round
the same movement beginning at different times; a round repeats back to the beginning of the sequence
Clockwise
turning in the direction a clock hand moves; turning with the right shoulder to the back
Collapse
release of the muscles
Compositional Balance
full use of space, entrances and exits, floor pattern, shape of entire dance, unity and harmony.
Counterclockwise
turning opposite the direction of the clock; turning with the left shoulder to the back
Direction
forward, backward, diagonal, side, clockwise, counterclockwise
Dynamics
the use of all the aspects of dance and design in such a way that the audience's eyes stay busy, and thus interested.
Effort
strength of gesture; i.e. weak, strong.
Facing
that part of the movement or shape the audience can see
Floor pattern
the design made on the floor by the dancer's movement
Focus
directing the audience's attention through stage picture, dancer's eye focus, individual and group shape
Force
amount of energy used for movement
Form
unison, canon, rondo, random, ribbon, sequence, manipulation of sequence (repetition, abstraction/exaggeration, reversing, retrograde, condensation, expansion, embellishment, transferring movement to different body parts, addition, mirroring, inversion).
Forward
moving in the direction of the front of the body
Framing
emphasizing an individual or moment or movement. Foreground vs background.
Front
the area directly in front of the body
Harmony
movement or music that pleases the eyes and ears; is related in a way to form a connected whole
Hop
going into the air from one foot and landing on the same foot
Jop
going into the air from one foot and landing on two feet
Jump
going into the air landing on two feet
Leap
changing weight from one foot to the other in the air
Level
the height of a shape; high, middle, low, off the floor, on the floor
Line
the lines the body draws in the space, on the floor and in the body shape; the way movement directs the audiences eyes
Locomotor patterns
methods of changing place; combinations of step, hop, leap, jump, jop
Movement Qualities
sustained, percussive, collapse, suspension, swing, vibratory
Percussive
moving in a sharp and quick manner; movement that has a definite beginning and ending
Personal space
the area within arm's reach
Random
different people doing different movements at the the same time; that which looks unexpected and without form to the audience
Repetition
performing a movement, shape or anything more than once
Retrograde
performing a movement sequence backwards
Reversing
commonly refers to doing a movement or sequence on the other side, i.e. right then left
Rhythm
the changing amounts of time given to each movement.
Ribbon
a movement sequence that does not repeat or stop
Rondo
a chorus verse chorus form, i.e. A B A C A D A F A
Round
different people doing the same movement but beginning at different times; a round repeats back to the beginning of the sequence
Sequence
an order of movements
Shape
the positive taking of space
Shape
symmetry, flow (one focus point), contrast (many focus points); positive and negative space; foreground and background; self, partner and group.
Side
the area to the side of the body
Sideways
moving in the direction of a side of the body
Space
any area available for moving
Speed
how much movement is put in a given period of time; amount of time used for movement
Step
changing weight from one foot to the other with one foot always on the floor
Suspension
an illusion of low gravity; being held up as if by a string
Sustained
moving in a smooth manner, always the same speed
Swing
movement that uses suspension and collapse in a natural way
Unison
different people doing the same movement at the same time
Vibratory
many sharp and quick movements in a row
Weight
light, heavy; overcoming or giving in to gravity
DEFINITION BY TOPIC
ENERGY or EFFORT
Effort
strength of gesture; i.e. weak, strong.
Movement Qualities
sustained (smooth), percussive (sharp and quick), collapse (letting the muscles go), suspension (being held up as if by a string; an illusion of low gravity), swing (just like the playground swingset, a combination of collapse and suspension), vibratory (many sharp and quick movements in a row).
Weight
light, heavy; overcoming or giving in to gravity
SHAPE The space the body occupies
Background
activity that takes place behind other activity
Contrast
a shape with many focus points
Flow
a shape with only one focus point
Foreground
activity that takes place closer to the audience
Group
a shape made by three or more people; most commonly using the same space
Negative space
the space that is shaped by the body
Partner
a shape made by two people; most commonly using the same space but can also be related shapes
Positive space
the space the body takes up
Self
a shape made by one person
Symmetry
a shape that mirrors its sides
SPACE
Direction
forward, backward, diagonal, side, clockwise, counterclockwise
Focus
directing the audience's attention through stage picture, dancer's eye focus, individual and group shape.
Framing
emphasizing an individual or moment or movement
Level
high, middle, low, off the floor, on the floor
Locomotor patterns
methods of changing place; combinations of step, hop, leap, jump, jop
TIME
Speed
how much movement is put in a given period of time
Beat
a regular, underlying division of time.
Rhythm
the changing amounts of time given to each movement.
FORM
Unison
the same movement at the same time
Canon or round
the same movement beginning at different times
Rondo
a chorus verse chorus form, i.e. A B A C A D A F A
Random
different movements at the the same time; that which looks unexpected and without form to the audience
Ribbon
a movement sequence that does not repeat or stop
Sequence
an order of movements
Manipulation of sequence
repetition, abstraction/exaggeration, reversing, retrograde, condensation, expansion, embellishment, transferring movement to different body parts, addition, mirroring, inversion
STAGE DIRECTIONS
Backstage
the area the audience can't see
Downstage
toward the audience
Legs
the curtains hanging on the sides of the stage to block the audience's view of backstage
Proscenium
the front edges of the stage; the area closest to the audience
Stage Right
the right side of the stage (while facing the audience)
Stage Left
the left side of the stage (while facing the audience)
Upstage
away from the audience; the back of the stage
Wings
the space between legs
AUDITIONING
Does and Don'ts:
Present yourself the way you would like to be perceived
Dress like a competent individual
Be enthusiastic. Acting enthusiastic is just as good as being enthusiastic.
Look at the people auditioning you
Show the people who may give you a part what they will see from you on stage.
Perform for everyone in the room, even if they aren't looking at you.
Presence
Project your energy to the walls
Looking competent in dance auditions
Keep your elbows away from your sides, keep some space under your armpits
Weight on both feet and slightly forward of center
Listen to all comments and criticisms from the choreographer and apply them to yourself if appropriate.
Keep moving, even if you make a mistake. Presence and general movement ability count also.
Creativity frequently gets you brownie points or at least a second look from the judges
Never be defensive
You may want to say you can do better, but to say that as an unsolicited comment is the kiss of death.
Be honest if the judge asks how you felt about your audition. Do you have a cold, did you perform well, are you in good voice, is your body sore?
If you don't understand a movement sequence, ask the choreographer or rehearsal assistant. If you dont 'get' the sequence, stand behind someone who looks good and confident and watch their feet; copy them exactly.
Learn as quickly as you can.
Practice learning (copying, remembering and exhibiting) quickly. Get your friends to make shapes and movements and then copy them. Quiz yourself frequently.
Ask questions if you have them.
If the judge asks if their are any questions of s/him, ask how you can be better.
Practice auditioning.
Tell your choir/homeroom/family/local nursing home that you are going to audition for a part and ask them to watch you critically.
Valerie Williams Co'Motion Dance Theater is in residence at Iowa State University Department of Health and Human Performance