DEFINITION OF TERMS

 DANCE COMPOSITION

Dance composition is learning how to make a dance. During the dance composition process
you explore a movement idea by creating dance movement or selecting steps in some dance
genres, then you manipulate these elements and materials of dance into movement modules of
various lengths to compose a dance. To understand how to use your tools for composition, you
need to be familiar with choreographic design principles, structures, and devices. For a dance
work to have solidarity and value, the choreography should connect to aesthetic principles that
underlie art works.

In the Movement Invention activity, you invented two contrasting dance phrases (a short
series of movements that connect into a pattern) or longer sequences. In the next activities you
will create a movement sequence (a group of movements that form a unit), and then you will
develop a movement statement (similar to a sentence). All of these movement segments
contain a beginning, a middle, and an end. Coupling movement sentences together builds a
dance segment similar to a paragraph in writing. Regardless of how long or short it is, a dance
composition focuses on the beginning, the middle, the end, and on the movement between
these points. Creating and composing the movement is one part of the choreographic process.
Checking to ensure choreographic principles underlie the dance modules requires you to
analyze your composition during the process and when it is complete.

 CHOREOGRAPHY

Choreography, the art of creating and arranging dances. The word derives from the Greek
for “dance” and for “write.” In the 17th and 18th centuries, it did indeed mean the written
record of dances. In the 19th and 20th centuries, however, the meaning shifted, inaccurately
but universally, while the written record came to be known as dance notation.

 CHOREOGRAPHER

A choreographer creates dances that are original and develop different interpretations of
existing dances. They are creative in the design and techniques used and often are directing
dancers and performers in their everyday occupation. They invent, direct, and teach routines
for various performances or auditions.

 STAGING

Staging is the process of selecting, designing, adapting to, or modifying the performance
space for a play or film. This includes the use or absence of stagecraft elements as well as the
structure of the stage and its components.
Staging is also used to mean the result of this process, in other words the spectacle that a play
presents in performance, its visual detail. This can include such things as positions of actors on
stage (often referred to as blocking), their gestures and movements (also called stage business),
the scenic background, the props and costumes, lighting, and sound effects.
 CHOREOGRAPHY: ART OR SCIENCE?
 Choreography as an Art
Choreography is the art or practice of designing sequences of movements of physical bodies
(or their depictions) in which motion, form, or both are specified. Choreography may also refer
to the design itself. A choreographer is one who creates choreographies by practicing the art of
choreography, a process known as choreographing. Choreography is used in a variety of fields,
including musical theater, cheerleading, cinematography, gymnastics, fashion shows, ice
skating, marching band, show choir, theatre, synchronized swimming, cardistry, video game
production and animated art. In the performing arts, choreography applies to human
movement and form. In dance, choreography is also known as dance choreography or dance
composition. As an “Art” form, choreography is like painting an image on a canvas that is open
to the interpretation of the image by the artist and what the art world thinks the artist is
portraying.
 Choreography as a Science
As a scientific study, choreography is driven by a set of physical “Laws” such as gravity
and physics. Trained Choreographic Body Movement represents a heightened awareness of
controlled coordination of all body parts, including facial expressions and hand gestures. It is
the training that lifts the naturally agile and dexterous skills commonly found in some skaters
and allows them to achieve extraordinary heights communicating through body language and
interaction with music. Ice and Stage shows also use scenery in combination with lighting and
other special effects to enhance the performance connection with the audience.

WHAT and HOW?

 Nature of Dance Composition
Aspects of dance choreography include the compositional use of organic unity, rhythmic
or non-rhythmic articulation, theme and variation, and repetition. The choreographic process
may employ improvisation for the purpose of developing innovative movement ideas. In
general, choreography is used to design dances that are intended to be performed as concert
dance. The art of choreography involves the specification of human movement and form in
terms of space, shape, time and energy, typically within an emotional or non-literal context.
 Elements of Dance Composition
a. TIME (Tempo and Rhythm)
Tempo: Involved the manipulation of time making the movements faster or slower, altering
the pace at which they are performed.
Rhythm: The measure of time by any regularly recurring impulses or sounds. A periodic
emphasis. (2/4 time, 3/4 time, 5/8 time, 6/8 time)
b. SPACE (Levels, Direction, Facing, Focus and Floor Pattern)
Levels: The altitude of a movement in relation to the floor. Levels may involve parts of the
body or the entire torso. Steps of elevation may also manipulate the level.
Direction: Movement in any of the eight general stage areas, forward, sideward, backward
and diagonally.
Facing: The direction to which the front of the body is presented. The dancer may be facing
one direction yet moving towards another direction.
Floor Pattern: The imaginary delineation of the path in space taken by the dancer or
dancers moving from place to place.
c. Shape
Shape: The design of the body’s position or the design made by a group of bodies
(formations), involving the manipulation of width, length, depth and levels.
d. Energy (Energy and Dynamics)
Energy: Inherent or internal power, force, vigour, strength, expression, spirit and emphasis.
Dynamics: Shading in the amount of energy, intensity or power. There are subtle variations
in the treatment of movement contrasts. Qualities of movement dynamics are: sustain,
suspend, vibrate, swing, collapse, and percussive.
 Principles of Dance Composition
a. Repetition: permits an audience to see the movements in more detail, allowing them to
become familiar with the movement vocabulary the choreographer is using. Repetition
can also be used to give movements emphasis. When used effectively, repetition can
help create unity by relating sections of a dance to each other. It should be noted that
some dances use repetition to create a mesmerizing effect or a tension contrast
Phrasing (Sequencing and development): refer to the ordering of movement
(sequencing) in a meaningful way (development). When movements are purposefully
connected to each other, they gain significance and take on meaning. This is similar to a
word gaining significance when it is placed in a phrase or sentence. As the dance
unfolds, each movement and choreographic idea should grow logically out of the
previous one. This creates continuity, helping the audience follow the intent of the
dance.
b. Transitions: are needed when movements and dance phrases are connected. Transitions
should work toward the intent of the dance composition by connecting the movements
and dance phrases in a meaningful way. Transitional movements should promote
continuity.
c. Unity: When all the parts work together to contribute to the whole dance, there is unity.
Every movement, no matter how brief, should work toward the intent of the
composition. Unity is achieved when the removal of any portion of the composition
damages the whole dance.
d. Variety: within a dance composition can engage and hold an audience's interest. Variety
can be incorporated in several ways, as illustrated in the following examples: selecting
unlike movements to create variety; varying dance phrases in length and structure;
varying spatial, dynamic, body, or relationship aspects when movements or phrases are
repeated; or presenting movements in retrograde (doing a movement backwards,
similar to playing a film backwards).
e. Contrast: can be achieved by combining and/or juxtaposing unlike movements.
Movements can differ in action, body, dynamic, space, or relationship concepts.
f. Optional: Climax and Resolution: All dances need to begin somewhere, build toward
something, and come to a resolution (beginning, middle, and end). When a dance builds
in intensity and interest and reaches a high point, the high point is called a climax. A
climax can be created in many ways. For example, dance phrases can increase in
intensity of energy and speed to a high point before decreasing to a lull, or a narrative
can build toward a highlight or a turning-point before being resolved. The resolution of a
climax reveals the importance of what has occurred previously in the composition.
Climaxes can be resolved in a variety of ways; for example, the climax could dissolve, be
converted into something else, or be replaced by something else.
 Dance Techniques
a. Thematic
Thematic dance routine is a medium for teams to express themselves artistically in
the shape of a theme, a mood or dramatically as skilful exponents of precision. It must
be realized that this segment differs from the thematic drill and exhibition drill routines
in that team are expected to be more theatrical, more expensive and more artistic,
displaying skill in characterization. In a thematic dance it is permissible to have a
maximum of twenty members, variation of music rate or timing, freedom to express the
character or theme, gymnastics skill with reasonably safety and etc.
b. Musical
Musical Dancing is less of a particular style, and more of a description of dancing
that is rooted in the diverse history of Broadway musicals. Relying heavily on knowledge
of ballet, tap, and jazz, musical theatre dancers are, first and foremost, actors and place
a high focus on musical interpretation. Partner dancing has always been intertwined in
musical theatre and is becoming more and more prevalent as ballroom dance begins to
be the focus of more and more live stage productions.
c. Somatic
In somatic practice we are exploring ways of sensing where we are as we dance in
relation to the world through focusing on contact with the ground, the air and other
dancers, as well as listening to our own bodies. This tuning of attention both inwards to
our own sensory experience and outward to what is happening in the space is a great
preparation for working with partners – the kind of deep attentive listening that is called
upon in Contact Improvisation. ‘Somatic’ as a term covers practices ranging from the
 generally therapeutic to a specific approach to dance composition. As described by the
International Somatic Movement Education and Therapy Association, somatic practice
‘encompasses postural and movement evaluation, communication and guidance
through touch and words, experiential anatomy and imagery, and the patterning of new
movement choices. These practices are applied to everyday and specialised activities for
persons in all stages of health and development.

 How to do a Dance Critique?

Step 1:

Watch, listen, and experience the performance with an open mind. Do not view the dance as if
it were a movie; you must involve yourself and be an active participant.

Step 2:

Do a little research. While a critique is not a term paper, having some background knowledge
can help you put the work in context. Possible items to look up are the choreographer, the
dance, the composer, the dance company, and the principal dancer(s).

Step 3:

Movement

· What movements did you observe?

· What body actions did the dancers perform?
· Which parts of the body were emphasized?
· Were the dancers crawling, leaping, slithering, jumping, spinning, etc.?
· Was the dance sharp or sluggish? Deliberate or explosive?
· What forms did the dancers’ bodies employ? You can relate these to letters.
Choreography

· What was the structure of the dance?

· How did the dancers relate to each other?
· Were the dancers alone (solo), in pairs (duet), in groups (trio = 3; quartet = 4,
etc.)?
· Was there repeated movement? What was it?
· Was the dance a narrative (did it tell a story)?
· Was the dance abstract (without form or story)?
· Did the work have a clear beginning, middle, and end?

Space

· How did the dancers move through space?

· Where did the movement occur?
 · Were the dancers more related to the floor or the ceiling?
Performance

· What were the technical and expressive abilities of the dancers?

· What made a particular performer stand out?
· Were the dancers focused and energetic?

Music

· Was the music fast or slow?

· Was the music more rhythmic or lyrical?
· Did the music evoke a specific emotional response?

Staging

· Were the costumes appropriate for the dance?

· Did the lighting focus attention or distract?
· Were there sets? Did they add to the performance?
· Was the absence of costumes or sets meaningful?

Personal Response

· Did the dance remind you of anything?

· Did the dance make you happy or sad? Why?
· What did the dance communicate to you?
· What stood out the most?

Overall Reaction

· Can you make any connections between the performance and what you’ve
learned?
· What impression did the dance make?
· What did you learn about dance from this performance?
· Did the performance create any questions for you?

Step 4:

Write the critique. Remember, when you voice an opinion, it must be backed up with actual
experiences. In other words, you can’t say “the dance was very emotionally moving”; you can
say “the slow, deliberate movements of the dancers expressed deep pain and grief”. Describe,
don’t tell!

Step 5:
Reread, edit, proofread, read aloud, have someone else read your critique, and take it to the
writing center.
Remember to italicize the name of a dance just as you would the title of a book. Example:
Giselle

 21st century approaches to composing, creating, choreographing and learning dance

a. Somatic approach The idea of somatic approach is to lead students to their bodies and
to teach them to become aware of their special features. It lacks measurable form and
norm that should be followed. It has to result from personal perception of where a
movement begins or ends or what kind of impact it has. In such a case it is not necessary
to use external aspects like mirrors in class. Mirrors could then be used only in later
stages in case of need. In addition, the development of students might be supported by
disciplines like yoga, Pilates, Alexander’s technique, Feldenkrais’ method, etc., that all
challenge students to look inside and to act out on one’s feelings. One very important
aspect of the somatic approach is to make sure that a person wouldn’t injure or damage
one’s body through movement, both consciously and subconsciously. The aim is to
develop, repair and improve one’s body. While dance is considered mainly a physical
and aesthetic discipline, the somatic approach brings out the cognitive side of the
physicality of dance. As dance is definitely a physical and aesthetic discipline, it has
become increasingly important to use awareness of his body in learning and in teaching.
The role of the teacher is to encourage students to originate from their bodies and its
special characteristics.
b. Multicultural approach Contemporary world is far from being monocultural. Crossing
borders has placed us in multicultural societies and communities that bring along new
aspects for every teacher. The teacher cannot have a similar attitude towards different
nationalities in a dance class – their cultural and national characteristics become evident
in their behaviour, attitude, as well as work methods. The teacher must be able to
consider their special characteristics, at the same time accepting and supporting the
student’s cultural roots, and supporting national identity.
c. Forms of co-operation between art forms, the role of new technology and mass media
in dance education. Like other artistic disciplines, dance now intertwines technological
elements in teaching, performance and choreography. By virtue of these technological
advances, it has become increasingly important that undergraduate dance students
possess and maintain the technological skills and advances currently utilised for
creating, producing and documenting creative and scholarly endeavours.
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