Contents
CONTENTS
Acknowledgementsi
INTRODUCTION
v
The Year 11 Dance General Course CHAPTER 2: PERFORMANCE
41
Skills and technique
41
Components of fitness
41
v
Goal setting
42
To the student
v
Dance genre
46
About this book…
vi
The dance class
48
Dance outcomes
vi
Safe execution of skills and technique
48
Essential content
vii
Stretching49
Choreography vii
Safe and healthy dance 50
Performance vii
Why warm up?
50
Contextual knowledge vii
Nutrition for the dancer
52
Carbohyrates53
CHAPTER 1: CHOREOGRAPHY
1
Choreographic pProcesses
1
Protein53
Gesture2
Water53
Fats53
Experiences3
Injury prevention and treatment
54
Elements of dance
Clothing for dance class
55
3
Body4
Experiential anatomy 56
Energy/Movement dynamics 8
The skeletal system
56
Space 9
Axial skeleton (central structure)
58
Time12
Skull 58
Experimenting and adapting the elements of dance 14
Spine58
Use of stimuli
15
Ribs58
Choreographic devices
22
Choreographic structure
24
Shoulder58
Linear24
Arm58
Narrative24
Wrist and hand
Appendicular skeleton (arms and legs)
58
58
Improvisation 27
Pelvis58
Universal writing
27
Legs58
Planning choreography
30
Ankle and foot
Design concepts and technologies
Design concepts
58
35
Muscular system
35
Movement60
59
Lighting35
Naming movement
62
Music/sound35
Terms for types of movements 62
Multimedia36
Postural conventions 63
Costumes and props
36
Colour 38
Rehearsal process
65
Dance language
39
Pre-performance procedure
66
39
Performance qualities
66
Variety of performance spaces
67
Knowledge of performance space
68
Backstage and costumes
69
Setting props
69
Dance language
Performance qualities and preparation responsibilities
65
iii
Contents
CHAPTER 3: CONTEXTUAL KNOWLEDGE
71
Functions and contexts of dance 71
Functions of dance
71
Function and you 71
Features of dance
73
Genre 73
Style73
Form73
Components73
Contexts of dance
74
Social context
74
Cultural context
74
Historical context
75
Geographical context
75
Economic context
77
Purpose of dance
77
The changing functions of dance
78
Influences on participation and presentation
78
Social value of dance 79
Personal79
Societal79
Popular entertainment
81
Tools for advertising/marketing
82
REFERENCES84
iv
CHAPTER 1: Choreography
CHAPTER 1
Choreography
This chapter introduces the basics of choreography and ways of creating original
movement. It covers the essential content in the Year 11 Dance General Course
Unit 1: Exploring the components of dance and Unit 2: Dance as entertainment.
CHOREOGRAPHIC PROCESSES
Choreography is the process of creating dance.
Improvisation is the initial exploration of original movement; choreography defines the
movement choices that are made from that improvisation.
The process of choreography is from the initial starting point, concept or idea and includes
planning, organising, developing, refining and performing the final dance.
In this section you will experience ways to create original dance movements, explore
processes that you can use to structure dances and try activities that practise different
ways of making movement.
Inspiration for choreography has many different starting points. These places can be as
varied as the world in which we live. Some inspiration comes from the experiences that
we have and that can be shown through the use of gestures and other actions that create
meaning. These inspirations can become concepts or intent that can be developed into
dance phrases, extended sequences or even dance works.
1
CHAPTER 1: Choreography
Gesture
Gestures are actions that can be expressed without words and can be used to create
original movement.
Gestures are actions that may visualise the words in a poem or a song such as ‘my
hands are sweaty’, ‘my knees are weak’, ‘my head is heavy’, ‘the girls are gorgeous’, ‘I
wrote a note to my Mum’ or ‘the boys are buff’.
Gestures can be used for:
• Telling a story
a nursery rhyme or story where the action is told through
gestures
• Pedestrian movements
actions like stop, come here, quiet, dig
• Auslan language
hand signals that deaf people use to communicate
• Balletic gesture
love, let’s dance, come here
• Youth culture
gestures used by youth, eg. hip hop, popping, locking
ACTIVITY 1.1: Gesture
Create three gestures to communicate something to your partner.
Some ideas include:
•
•
•
•
•
Pick me up at 3 o’clock.
I am angry with you.
You are the love of my life.
You need a haircut.
Is it lunchtime yet?
Discussion points
Did your partner understand what you were trying to communicate?
What did your partner gesture to you?
How can you use gesture in dance?
2
CHAPTER 1: Choreography
Experiences
Life experiences may be used to develop dance movement. We see movement in
everyday activities.
Look around you and actually watch what is going on. How are people moving and how
do the small parts (individual movements) complete the whole picture?
Try watching someone at home in the kitchen. Watch what they do. If you took them
out of the kitchen and they still did the same movements could you tell that they were
washing up, cooking or making a cup of hot chocolate?
Movements like this can be used in dance as a starting point to develop ideas, concepts
or themes.
Drawing from life experiences may include the following:
Words
using your body and different
body parts to write words in the
air, ground or space (universal
writing or movement cube)
Stories
spies on a mission, a day at the
beach
Dreams
love, nightmares
Song words
macarena, birdy dance
Poem
The witch by Edith M Stokes
Nursery rhymes
Little Bo Peep, Humpty Dumpty
Fairy tales
Cinderella, Goldilocks
Movie plots
Grease, 007, Bring it on
Occupations
doctor, bricklayer, housewife,
flight attendant
Sports
basketball, rowing, skating
Leisure activities
hang gliding, knitting
Relationships/Emotions
jealousy, anger
World issues
environment, politicians,
pollution
Discussion point
Can you think of any other life experiences?
Elements of dance
The elements of dance are the building blocks for all choreography. The various ways we
use our bodies, the space in which we dance, the timing and movement dynamics should
always be unique and interesting. The more we use and adapt the elements of dance the
more interesting the dance becomes.
3
CHAPTER 1: Choreography
Spatial elements include levels, direction, floor patterns and shapes. Some examples of
these are:
Formations
Levels
High, medium, low
Square, W, windows,
cross, V, line (usually
in groups)
Floor patterns
Figure 8, spiral,
circular, crosses,
curved, diagonal
Directions
Forward, backwards,
sideways, diagonal
ACTIVITY 1.5: Dancers are space eaters (personal space)
In pairs create three different shapes. Choose from open, closed, angular or curved. Create these
shapes at a:
• low level
• medium level
• high level.
Now try to combine these shapes with transition elements to create a sequence. Transitions could
include turns, walks, balances, other dance steps or moves which link these shapes together.
Discussion points
How does varying the levels make the movement visually interesting?
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CHAPTER 1: Choreography
ACTIVITY 1.6: Formations or transitions
Use of the performance space must be considered when planning your dance. Often using the
performance space in a variety of ways will make the dance look more interesting.
In groups of four or five walk the following floor patterns:
• circle
• figure of 8
• spiral
Think of three other patterns and try them with different locomotor movements such as. running,
leaping, rolling!
Examples of different formations are:
• Window
•Cross
• Square
•Line
Think of three others, and try them.
Create a sequence that incorporates four different formations with three different floor patterns
using steps other than walking or skipping. Finish in an interesting group shape.
Copy the template provided below to assist with your planning.
Formation 1
Floor pattern 1
Formation 2
Floor pattern 2
Formation 3
Floor pattern 3
Formation 4
Finishing shape
11
CHAPTER 1: Choreography
Choreographic devices
A choreographic device is a tool that choreographers use to assist with the ability to
adapt and vary movement phrases to create more interest for the audience. Examples of
choreographic devices include canon, unison, motif and contrast.
• Canon is a movement phrase where individuals or groups of individuals perform the
same phrase beginning at different times.
• Unison is when two or more people are performing the same movement at the same
time.
• Motif is a movement, gesture or short movement phrase which has the potential to be
developed in the dance work. It may be manipulated and is repeated in various forms
throughout the dance.
• Contrast is where dance elements are altered to create oppositions. thus making
contrasts such as curved/angular or slow/fast.
ACTIVITY 1.16: Canon
In groups of four you need to create four different arm positions – one asymmetrical, one symmetrical,
one high and one low position. Put the four arm movements into an order that can be repeated.
Your group needs to get into the following formation (one behind the other) - one sitting on knees,
one kneeling, one in second position low and the last person standing.
In this formation, perform the four arm movements together in the following order:
22
CHAPTER 1: Choreography
1.
Hold each position for 8 counts.
2.
Hold each position for 4 counts.
3.
Hold each position for 2 counts.
4.
Hold each position for 1 count.
5.
Do the sequence backwards choosing your own timing.
6.
Do the sequence all starting at a different point or at a different time – creating a canon.
Discussion points
How does the use of canon make the movement interesting to the audience?
ACTIVITY 1.17: Contrast
Contrast can be a movement phrase which incorporates either two contrasting movement sequences
joined together or a movement sequence of very contrasting movements; for example, a movement
section using curved movements and floor patterns contrasted with a movement section using very
angular/straight movements and floor patterns. Or, a movement sequence which uses small sections
(a few counts) of sustained movement followed by a vibratory movement (a few counts) and then
followed again by sustained movement, vibratory movement, sustained movement...
Choose one of the ideas below to create a short dance sequence based on contrast:
• night and day
• hot and cold
• large and small
Discussion points
Write down three ways by which you could use contrast as a choreographic device in a dance.
1.
2.
3.
23
CHAPTER 1: Choreography
Colour
When selecting costumes and props for dance
it is essential to consider the effect of colour
in creating mood. Different colours will evoke
different moods.
For example:
• Red: warm colour representing energy,
excitement and vitality
• Orange: warm colour representing warmth
and happiness
Photography by Ashley de Prazer
• Yellow: warm colour representing clarity and cheerfulness
• Green: cool colour representing harmony and balance
• Blue: cool colour representing truth and harmony
• Purple: cool colour representing love, truth and justice
• White: neutral colour representing light, innocence and joy
• Black: represents an absence of light, or strength and power
ACTIVITY 1.26: Colour and meaning
For the following themes, suggest which colour costume would be most effective and explain why.
Water
Fire
Horror
Slavery
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CHAPTER 1: Choreography
DANCE LANGUAGE
D
ance has its own language. It is expressive and can communicate ideas and concepts
to the audience. Under this heading there are two terms that we need to consider
further. They are dance terminology and dance language.
Dance terminology refers to the names of steps and techniques found in different dance
genres. Examples of dance terminology include steps or movements such as jete, spinal
roll, lock, pop and slide. Dance terminology may also include some expressive terms
such as dynamic, captivated and intent or technical terms such as accents, suspended,
tempo, symmetrical or costumes.
Dance language is the process of describing dance that conveys to a third party not only
the movement of a dance (including dance terminology) but also the ideas and meaning
behind it. Every time you comment on your own or others’ work you are building your
capacity to effectively use dance language.
Dance language
Using dance language is important when discussing your own work but also when
discussing dance generally.
Look at the picture below and see how you could describe the dancers. The first picture
is done for you, read it and see if you would have thought of all those things to say. Have
a look at the second picture and try to describe the picture using dance terms and words.
Think of:
• how many dancers
• formations
• costumes
• movements
• setting.
The dancers are in pairs in a circle formation. It appears that
the movement is a turning movement as the skirts are swirling
outwards, this makes the movement appear large and interesting
for the audience. This dance is performed in the street which may
reflect the cultural background of the people and the audience. The
female costumes are elaborate with large frills on the skirt, which is
a traditional costume in Spanish dance. The men’s costumes are
tight-fitting and accentuate the hips. Both the males and females are
wearing hard-soled shoes, to create sound when they stamp.
Now look at the second image and try to describe the picture using
dance terminology and words. The dancer is...
Photography by Ashley de Prazer
39
CHAPTER 2: Performance
Figure 2.2: Major skeletal muscle groups
Sternomastoid
Pectoral group
Trapezius
Deltoid
Biceps
Intercostals
Latissimus dorsi
Triceps
Abdominal
group
Hand and finger
extensors
Hand and finger
flexors
Quadriceps
group
Hamstring group
Gluteal
group
Gastrocnemius
Tibialis
anterior
Achilles
tendon
FRONT VIEW
REAR VIEW
Courtesy Dr RD Gaujers, Physical Education Studies: A Resource for Yr 11 General
Movement
The bones are linked together to form joints where movement occurs. The bones are
joined by a fibrous tissue crossing over the joint called ligaments. Some joints are fixed
and are referred to as immovable or fibrous joints. Examples of these joints can be
found in the skull, pelvis and sternum.
Some joints can move only slightly and are referred to as slightly movable or
cartilaginous joints. Examples of these joints can be found between the vertebra and
where the ribs attach to the sternum.
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CHAPTER 2: Performance
The most common joints are the freely movable or synovial joints which allow movement
in at least one direction. In dance we are most concerned with synovial joints as they are
responsible for movement.
There are different types of synovial joints which are classified by the type of movement
which is possible:
• Ball and Socket joint
• Hinge joint
• Gliding joint
• Saddle joint
• Pivot joint
• Ovoid joint
Figure 2.3: Types of joints
Pelvic girdle
Humerus
Femur
Elbow
BALL AND SOCKET
JOINT
HINGE JOINT
Ulna
Hip
Metacarpal
GLIDING JOINT
Thumb
Carpal
SADDLE JOINT
Vertebrae
PIVOT JOINT
1st cervical
vertebra
Pivot point
OVOID JOINT
Carpals
Wrist
Neck
Radius
2nd cervical
vertebra
Ulna
Courtesy Dr RD Gaujers, Physical Education Studies: A Resource for Units 2A-2B
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CHAPTER 2: Performance
• prevent strain or overuse problems.
• prevent backache and muscular pain.
• contribute to a good appearance.
Postural alignment involves three primary
body weights, the skull, thorax and pelvis,
which are organised around a vertical plumb
line, as shown in the diagram.
To analyse your own postural alignment,
the vertical plumb line drops from the top of
the skull to your feet through the three body
weights. Generally, alignment is described
from the ground up as we balance each body
part in sequence – the outside of the ankle,
side of the knee, centre of the hip, through
the centre of the shoulder and ear.
Skull
Thorax
Centre of Gravity
Pelvis
POSTERIOR
SURFACE
ANTERIOR
SURFACE
Figure 2.4: Postural alignment
Curves:
Skull
Cervical
Thorax
Thoracic
Lumbar
Pelvis
Sacral
POSTERIOR
SURFACE
ANTERIOR
SURFACE
Plumb Line
Figure 2.5: Spinal curves
64
Drawn around the three primary body weights
are the alternating curves of the spine. In postural
alignment of the spine, movement is possible
through the opposing curves. The goal is to have a
‘responsive’ spine, not a straight spine. The spine
is curved to assist in shock absorption and allows
for movement in the three planes, that is, bend
forward, lean sideways and twist around. See the
diagram.
Some common misalignment problems occur
when a dancer displays a ‘sway back’ (lordosis) or
a ‘hunch back’ (kyphosis). Severe scoliosis (S or
C shaped curve of the spine) should be medically
treated immediately. The normal curves in the spine
assist in balance and strength. Dance training can
alter the normal curvature and it is important to
develop the abdominal and spinal muscles that
support the spine.
Some dance genres and styles require the
dancer to adapt their posture in order to perform
the specific technique of that genre. Look at the
pictures on the following page and identify the
changes in posture that you can see.
CHAPTER 2: Performance
Ballet
Indian dance
Spanish dance
PERFORMANCE QUALITIES AND PREPARATION
RESPONSIBILITIES
O
ne of the best parts of learning to dance is the opportunity to perform for an audience.
An audience may range from a group of students in your class to a full house for
a professional performance in a theatre. As a performer you have a responsibility to
produce the best performance you can and so preparation is essential.
How do we ensure we perform the best we can? There are several things we can do both
in the long and short term to ensure a successful performance.
Rehearsal process
The rehearsal process is vital in ensuring the best performance. We practise so that we
can remember the steps and movements and can reproduce the whole dance/sequence.
BUT practising is not just going through the movements – you must evaluate and improve
through making sure that the movements are accurate, positions and formations are
correctly placed and you add feeling or style to the movements. Using the mirrors in
your dance area can help to determine accuracy of movement or you can video your
performance and then watch it to check for accuracy.
Many dancers make the mistake of just ‘marking through’ movements when rehearsing;
it is very important that you rehearse the movement full out so that accuracy can be
checked. Repeating the movements as they will be performed also helps your body to
retain the sequence as ‘movement memory’.
Rehearsal is very important and the space that you use must be appropriate with suitable
space, floor and technical equipment. To make the rehearsal as effective as possible you
should mark out the space indicating the size of the stage area with entrances and exits.
This allows you to ‘block’ the dance in the space so that when you get to the performance
venue there should be few (if any) changes to be made.
65
CHAPTER 3: Contextual Knowledge
The changing functions of dance
Earlier we discussed dance as having three
main functions – ritual, social and artistic.
However, any style of dance can have multiple
functions. At one level it can be enjoyed by
the masses in social settings but at another
level separated and performed by a few for an
audience. Spanish dance is a good example
of this. Spanish dance can be enjoyed socially;
think of the scene from the movie Strictly
ballroom when Scott (Paul Mercurio) visits the
home of his new dance partner Fran (Tara
Morice) and learns flamenco on the back
deck. That scene highlights the social aspect
of the style. The training is on the spot and the
emphasis is on enjoyment and participation.
Social Spanish dancing
As an artistic style you can also pay to see some fantastic
Spanish dance companies that visit our shores. In these
performances the standard of the dancers is very high.
These performers are professionals who train daily to
perfect their technique.
ACTIVITY 3.5: From street to stage
Choose a style of dance that has multiple functions (eg. tap, Spanish,
break-dance) and trace its history using the following headings:
•
•
•
•
•
•
Where and when did the style first appear?
What was happening socially at that time?
What precipitated the change in function for your chosen style?
Has the style changed with the change in function?
Under which function do you participate in the style?
Where do you see the style in 10 years/50 years?
Artistic Spanish dance
Write a brief report outlining the points above.
Influences on participation and presentation
As individuals we dance for many reasons. These reasons change with time and through
time. Peers, family, age, culture, technology and the media all have an impact on our
choices. Why do you dance? Think about when you started taking dance classes. Why
did you start in a particular style? Was it chosen for you or did you decide? What about
the cost of lessons?
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CHAPTER 3: Contextual Knowledge
The family budget can be greatly affected by the cost of dance lessons, costumes for
performances, tickets for performances, shoes, practice clothes and so on. Was that a
factor for you?
Additionally, each of the contexts discussed previously (social, cultural, historical,
economic and geographical) will also influence the participation and presentation of
dance. Consider street dancing (originally any dance style that originated outside of
a formalised environment), where over time, the contexts have changed significantly.
Labels have been given to describe individualised styles, for example ‘popping’, ‘locking’
and ‘krumping’ and now these styles can be seen in music videos and in more formalised
dance class settings. How does this happen? What context has changed?
Generational changes can also be quite prominent. Each generation has a unique set
of characteristics. In the media we hear about the Builders, Baby Boomers, Generation
X, Generation Y and the latest generation – Generation Z. Each period of time defines
its participants in a particular way, suggesting that being born within a specific range
of years means you share similar traits to those of a comparable age. Dance is not
immune to these generational labels either. The table below shows how dance styles
have evolved over the generations.
Table 3:1 Evolution of dance styles
1925 – 1945
1946 – 1964
1965 – 1979
1980 – 1994
1995 – 2009
Builders
Boomers
Gen X
Gen Y
Gen Z
Charleston
Jive
Disco
Rave
Popping
Swing
Twist
Jazz
Hip-Hop
Krumping
Social value of dance
Personal
Our personal values and the value society places on dance will be inherently different
to different people. The skills you learn now in dance such as self-discipline, conflict
resolution, leadership and problem solving skills, performance and team work skills will
help and influence other parts of your life. In future, getting up in front of an audience to
speak may not seem so daunting or working with others to complete a university/work
project may run more efficiently because you have had the opportunity to practise the
skills above in your study of dance.
Societal
The economic value of dance can be seen in the way it is used, valued and supported
by society. At the state and federal level there are a few dance companies that receive
funding to operate; at the local level there are many dance schools that offer opportunities
to study different genres and styles of dance in Western Australia. Dance is also used as
a tool by marketing and advertising companies to sell products worldwide.
79