Richard Maddock Music — CD Review and Giveaway!

Richard Maddock is an accomplished musician as well as a seasoned dance class and exam accompanist. He is currently Head Accompanist at The Pia Bouman School of Creative Movement and Ballet, in Toronto, Canada and has written, performed, and engineered eight CD’s for dance in the last three years. I recently came across Richard online and he graciously offered five of these discs for review here, on the blog.

To top it off, he agreed to donate nine CD’s to give away to nine lucky Dance Advantage readers!

Music for Movement and Imaginations

Ballet Class & Creative Movement (for children ages 3 and up)

I’m not currently teaching preschool ballet, but this is a CD I wish had been around a few years ago when I was teaching younger children! Dance teacher and collaborator, Kelly Jones-Hart has developed a class structure that effectively blends the conceptual exploration of creative dance with basic ballet technique. And with over 40 tracks, there is plenty of material and alternatives to spread over many classes. The disc provides brief notes on each track explaining its possible uses in class. The notes are not a how-to manual. Some familiarity with creative dance methods would certainly increase the variety of ways you could use the musical material. However, plié, tendus, relevé, ballet walks, sauté – it’s all here – forming a cohesive lesson format whether you are comfortable with creative movement concepts or simply looking for a way to enliven your children’s ballet classes.

Musically, the selections are simple but engaging. Composer, Richard Maddock knows when to keep the beat “readable” so that young dancers can stay in time with the exercise. And, he is playful, adding flourishes and fun when trying to inspire little imaginations. There are a variety of “freeze” dance selections with random pauses, and a group of compositions designed for Enchaînment (combination of steps or concepts). These often switch tempo or meter and could be applied many ways to whatever you are working on with your students. Also included are seven “Dance-a-Story” arrangements. In these, the music changes and progresses in a way that suggests a plot or sets a scene. Two sample stories are included in the album notes and a general outline is offered for the others but, the music itself will encourage your own creativity.

Although this is most certainly music for young dancers, I appreciate that the musical cues and changes are subtle and that the compositions have an elementary sophistication compared to some of the “baby ballet” albums out there. Because of this, the CD could be functional for children’s classes well beyond the preschool years, extending the usefulness of this album.

For further detail or to preview some of the tracks, click the image above.

Ballet Studio Inspirations: Volume Two and Volume Three

Richard creates from a colorful palette of musical hues. His compositions for dance classes are expressive. It is easy to find inspiration in the material for the choreography of exercises because he paints attractive landscapes of sound. But, it is the lyrical quality of the songs that also make these tracks enjoyable to dance to. They encourage the student to perform the exercises rather than just complete them, which makes a teacher’s job easier in the long run.

Volume Two includes 14 compositions, beyond the 31 barre and centre selections, which are recommended for pointe work. And overall it has rather lengthy tracks, particularly for barre. As a result, this CD is probably more appropriate for advanced students than beginners. Containing an hour and 20 minutes of music, the disc offers plenty of selections to mix and match for different lesson plans. What I found unique about this album was its delicate orchestrations. Though the piano is the focus, there are textures added beneath which suggest the richer dynamics of an orchestra without overpowering the dancers during class.

Volume Three, on the other hand, is special for its purely piano sound. Recorded on a Concert Series Grand while corresponding class exercises were performed, this album more closely resembles the experience of having a live musician at your disposal, a luxury that few dance studios enjoy. Though in the notes it suggests that the music was composed to compliment a pre-professional level ballet class, I feel that this CD might be more adaptable to varying levels than the previous disc. The shorter tracks have much to do with this. The compositions, consistently featuring 64 bars of music, also seem more symmetrical overall.

On both discs, it is helpful that the selections are ordered and titled according to how they might be utilized in a class. However, the compositions could be easily rearranged (perhaps on your iPod or mp3 player) according to preference. I also appreciate that the liner notes include the time signature of the piece, how many bars (measures) are available, and note changes or breaks in pattern. Knowing these details can make choreographing exercises a much smoother process.

For further detail or to preview some of the tracks, click the images above.

As Creation Unfolds: Part Three and The Garden Within

While the first three albums are definitely designed for class use, these two albums include longer compositions more suitable for creative or improvisational dance, or composition. Again, I visualize landscapes as I listen to Richard’s work. Most tracks have a contemplative quality.

As Creation Unfolds Part Three is the shorter (i.e. fewer songs) of the two albums. However most of its tracks are well over four minutes long. A favorite on the disc is “The Newborn Fawn.” Its skipping rhythms make it the most dance-y of the compositions and, as the shortest track, it could certainly be used for a lilting ballet in your next recital. “Woodland Nymphs” is another standout. I instantly recognized this one as a great fit for a creative dance class. Beginning with gentle pauses and gradually increasing in tempo, I picture children making shapes and exploring in a scarf dance. Incorporating several changes in texture, the music seems to have “events” that could easily be turned into a story dance.

On The Garden Within, the selections “Oh What Wonders” and “Gently Guiding,” in particular, produced movement images and motifs in my mind as I listened. Their lyrical melodies and slightly more stirring tempos make them relevant for phrases or class choreography. My most pleasant surprise came at the end of this body of work, however. The final track, “Moving Forward” is underlined with percussive elements. This, coupled with its Asian-inspired gongs and chords, give the song a Cirque du Soleil vibe. What I find most compelling, however, is the tempo fluctuation in the piece. Of all the tracks on these two albums, this is my favorite.

The Garden Within and As Creation Unfolds Part Three are both filled with lovely compositions. They are a pleasure to listen or meditate to, making them ideal for relaxation, yoga, or stretching (inside or outside of class).

For further detail or to preview some of the tracks, click the images above.

All CD cover images are the photographic work of Kim Fiocca.

Here’s How To Enter:

Sorry, the giveaway is now closed!

Winners have been contacted

♫♫♫♫♫♫♫♫♫♫♫♫

Richard Maddock Compositions
Inspiring CDs for Ballet Class and Choreographic Work
www.richardmaddock.com

Strategies for Remembering Choreography

Ever have trouble remembering what comes next in a dance?

One of the common struggles students face in class is recalling the sequence of choreography. Particularly, if you are a beginning student, you may not have yet developed the tools needed to quickly retain passages of movement. Everyone is different and you will need to find what works for you. The following are just a few techniques you might try the next time your teacher gives a combination.

Look for the Pattern

Choreography is not typically one, long, string of unrelated movements, though when it is given more quickly than you are used to, it can seem so. Generally you will be shown a sequence more than once. If you’re struggling to keep up with the rush of information coming your way, it may help to focus on the pattern first and worry about the movement second.

The pattern may relate to number of repetitions. For instance, 4 front, 4 side, 2 front, 2 back, 1 front, 1 side, 1 front, 1 back — it may seem an odd pattern, but if you’ve retained at least this, filling in the blanks will be easier.  Patterns may also be directional. Perhaps the choreography travels to the down-stage corner, faces upstage, downstage, then moves stage right.

Focus on One Aspect of the Choreography

Pattern is just one element of choreography. You might also choose to focus on other components, one at a time, to construct the sequence in your body and mind. For example, try focusing your attention on the feet alone if combining the arms, head, and rhythms all at once is proving to be too much information. This doesn’t mean you have to leave the other elements out altogether. Do what you can, but give yourself permission to let one thing go for the sake of absorbing the details of another. You can always layer the movements with more detail as you go.

Attach a Visual Image

Sometimes attaching a mental image to a step or series of steps can help you to put things in order. The movement’s name may offer clues – for instance Pas de Chat is “step of the cat.” This swift jump directly relates to the pounce of a feline. However, sometimes movements don’t have names or at least not ones that correspond to an image. So, it’s okay to attach your own visuals and/or terminology… no matter how strange.

What does each movement or series of steps bring to mind? Maybe your sequence looks like this: chopping vegetables, waves crashing, popcorn, ice skating. As long as the images make sense to you, you will likely be able to keep these images in order, aiding your memory of the choreography itself.

Write it Down

Sometimes the act of writing, or seeing words or sketches on a page can solidify a chain of movement, particularly if there will be some time before your next class or rehearsal. You might try writing down the choreography (in whatever way suits you) as soon as possible after your class. This is not a technique that works for everyone and I have seen students get too attached to their new “cheat sheet. ” The key is remembering that this device is capturing memories you have not creating memories where there are none. The choreography is already stored in your body, putting it on the page is just mental repetition.

Repetition

Speaking of repetition, there are lots of ways you might apply this prominent memory device. Though practicing “full-out” is most helpful, “marking” the movement can also be beneficial. Try marking as much as you can as the teacher demonstrates the combination or, whenever there are spare and appropriate moments during the class – while the first group performs, while the teacher is working independently with someone else, etc.

When there is a moment in the sequence that you trip or get stuck on each time it is performed. Try performing the movement prior, the problem spot, and the moment following, three or more times in a row. Then perform the whole thing again. You may find that this helps to correct the gap in memory you’ve been experiencing.

Also, never underestimate both mental (i.e. visualizing the choreography) and physical practice. This kind of repetition not only solidifies your memories but will bring to light the segments of the combination that seemed clear in class but are trouble spots in your memory.

Sing the Rhythm

Sometimes thinking of dance as a rhythm or melody can assist your recollection of the choreography. Your movement may alreay by set to music, however, the dance itself has a rhythm or phrasing. Try to focus on this and even “sing” it to yourself as you move or recall the movement. Many teachers do this when teaching the movement. It’s very common in tap (Shelly Oliver does it about 20 seconds into the video below) but it is certainly possible in other styles.

No matter what strategies you use to remember choreography…

Don’t Rely on Others

Many students will depend heavily on the teacher or other students when performing movement. I like to call this “brain-sucking” because when you do this you are leeching the movement sequence from someone else without actually retaining much of it in your own brain. The danger of this is that when that person is no longer performing the choreography or makes a mistake, you will be unable to perform accurately. When attempting the choreography after it has been given, try to keep your focus off of those around you – looking ahead or changing your focus as required in the choreography. A little brain-sucking is normal, however, I find that most students don’t need to do it as much as they think, which brings me to…

Trust Your Motor Memory

Your brain and body have an amazing capacity to “remember” movement patterns, pathways, and relationships. The mechanics and neuroscience of this is not completely understood. Like all skills,  however, motor memory (sometimes referred to as muscle memory), seems to be learned and improved through practice and experience. As you are learning, it pays to trust these neuromuscular systems to do their work. Do not let lack of confidence or “overthinking” undermine the relatively natural process that your mind and body go through as you learn and practice choreography. Replace negative thoughts with positive and affirming ones.

Do you use other memory devices for recalling choreography?

What strategies can you share?

Approaching Choreography for Musical Theatre

Many dancers, dance teachers, or students may at one time or another find themselves choreographing for amateur (or even high school) theatre. Having participated in community productions as a child and in my adulthood, I consider it a wonderful opportunity for people from all sectors of the public and workforce to come together and work toward a common goal, as well as an occasion to bring a variety of plays and musicals to local residents that may not otherwise attend live theatre. If you are a dance teacher or choreographer, it can also be an opportunity to showcase your skills to a wider audience than which you encounter within your local studio or dance company.

Approaching Choreography for Musical Theatre

When approaching choreography for musical theatre, it is important that the strategy differs from that of a recital dance production. This may seem obvious but it happens sometimes that teachers or students new to choreographing musicals tackle the job in this familiar way. I’d like to offer an  approach to this particular creative process by looking at the various components of choreography for the stage and suggesting tips for effective preparation and collaboration. I hope that it will smooth the process for those new to creating movement for a musical production.

The Script

Read the script. A few times if possible, so that you really get a feel for plot, its characters, and how and why the musical numbers fit within the text. (If you’ve seen the musical, don’t rely on that particular interpretation. There may be drastic differences.)

Know the show inside and out. It will make your job easier in the long run! Imagine how things might look on the stage. Take notes on what you visualize, particularly as it relates to the musical numbers.

The Score

Study the score (not just the libretto). A copy of the piano, or rehearsal, score typically includes the vocal line and  the essentials of underlying music – this is very helpful to choreographers.

Get a copy of the Broadway soundtrack. If you can, try to follow along in your copy of the score. Keep in mind that these will probably NOT be identical. Make note of these changes, if you can.

Discuss with the Musical Director any cuts he/she is making within the score. Long dance breaks can be excruciatingly long with amateur dancers – it’s okay to suggest not taking that second repeat!

The Staff

Hopefully in the first production meeting, the Stage Director, Musical Director, Choreographer, and Set/Lighting Designer(s) will be present to discuss the overall vision/direction for the show which is ultimately decided by the Stage Director.

Stage Director

Discuss each musical number individually with the director. You may not be responsible for every number in the production as not all may require your choreographic skills – this will need to be determined.

What to discuss:

1. Where the actors will be at the top (or beginning) of the musical introduction.
2. Where the actors should end up physically at the conclusion. (The director may not yet have answers for this but this information is important for creating seamless transitions in your choreography. Knowing it sooner rather than later is always helpful as you create choreography)
3. How the characters have been affected or changed by the conclusion of the song. Does it move the plot forward?
4. Your interpretations of the musical style and how this affects movement quality. (Do you see it as athletic? A soft shoe? A Fred & Ginger-style number?) And, your feelings about what types of experience or abilities the actor should have. (Be prepared to adapt these once the chosen actor is in place).

Musical Director

Work closely with the Musical Director on song tempos (what works best for the song, dance, and singers). Remember, when creating choreography that the movement should not inhibit the vocalists ability to sing what’s required (particularly in solo work). Use dance interludes and/or a dance ensemble to show off big, “dance-y” choreography.

If you don’t read music, you will be relying on the director or pianist to make a recording (with appropriate cuts) of the music for the purposes of creating choreography. Unless you have a rehearsal accompanist, this may also prove useful during choreography practice.

Set Designer

Discuss and stay informed regarding the set design and be persistent about your spatial needs. I’ve often found myself with a smaller-than-originally-planned space in which to squeeze a 40-member cast for a full-company production number. Sometimes even the best-laid plans must be adjusted. Politely ask designers to keep you informed of these changes.

The Movement

Research social dances of the time period in which the musical is set and find ways of incorporating these into your choreography.

Try improvising to explore and find movement. At this stage the music you use for inspiration does not need to be music from the production, just something that gets ideas flowing. Once you have a vocabulary of movements for the character(s) or event, try drawing from that vocabulary to create the dance.

Familiarity with the Broadway or movie choreography of the musical can prove very helpful. For more than just ethical reasons, it is not a good idea to copy or recreate it movement for movement. One, your actors probably do not have the same skill set as the actors in a professional production and, two, the choreography will lack integration with the rest of the show. Look and then leave it! The overall impression of the professional version will likely stay with you, helping you to create something that is reminiscent of the original yet uniquely your own.

Create variations on a theme and don’t be afraid to re-use movement. Many novice choreographers make the mistake of creating one long string of new movements. Just like in music, the audience enjoys recurring motifs and patterns.

Keep things simple, particularly in large group numbers. Use a core group of capable dancers, if you have them, for more intricate or spectacular choreography and use a lot of every day movements and gestures for others.

Consider how you use the stage space — create floor patterns, have actors interact and move around/with each other, and use the set. You wouldn’t believe how many amateur or high school productions I’ve seen that feature dancers lined up and facing forward during each musical number.

The Talent

Great musical theatre choreography does not necessarily require complex movement or staging. Much of the time, great theatrical choreographers are marked by their ingenuity. In many cases, a community theatre is made up of individuals without any formal dance training. If this reflects your situation, you must be able to work with what you’ve got.

Get your actors’ input. Whether it is relying on them to come up with a few gestures, allowing them to try different things and make choices, or drawing from their thoughts on the show or their characters, they will appreciate the collaboration if you are clear with instructions. Just like in classes for young children or beginners, be wary of giving directions that are too “open-ended.” Actors may also benefit from improvisational exercises to develop movement for their characters.

Communicate with the director about your actors’ needs throughout the rehearsal process. Community theatre participants will generally require more rehearsal than you might anticipate. Also, I’ve found that some actors really appreciate rehearsal notes that they can take for home practice. Be generous and be patient, providing extra help if you are approached.

What are your experiences with Community Theatre or choreography for musicals?

Have you choreographed productions with professional actors? How is this different from an amateur setting?

How does choreographing a show for high school students differ from community productions?

What did I leave out? You are welcome to add tips or your thoughts on the process below.

How To Make Choreography “Your Own”

The master teacher before you is someone you’ve never worked with before but the choreography is hot and the energy in the room is really cool. You’ve spent the last hour trying new things, meeting challenges, and working through the final combination. All roads led here and you think you’ve got it down. Each group explodes into the center of the room as they take their turn in the spotlight. Applause, applause, applause between each round. Another chance. Fixed a mistake from last time, stumbled on something else. It’s okay, there’s just enough time for one more run per group.

The instructor is encouraging,

…he’s throwing out a few last minute reminders,

…and then, he says exclaims,

“And this time, make it your own!”

“Wha?”

You have maybe heard this phrase tossed about before but what exactly does it mean?

With this statement, essentially the teacher is letting you know that you have some freedom to interpret the movement. In fact, when an instructor or choreographer throws this out at the end of a class, I suspect that the purpose is less an invitation and more a reminder — Up until that point he has not seen enough personality in your dancing and, now that you have had time to familiarize yourself with the movement, and practice it a few times with relative accuracy and clarity, he wants you to transition from just replicating steps, timing, and even movement quality. Of course, he hasn’t said how he’d like to see that done so you are left to decode the statement on your own.

So, how does a dancer take given choreography and make it her own?

There are choices a dancer can make to infuse a phrase with qualities that make her interesting to watch. These choices, when applied to the movement, give the viewer a sense for who the dancer is or, intrigue the viewer enough to want to find out who she is.

Dancer’s Choice

If you are being encouraged to “make it your own,” some decisions are in order. Some possibilities you might consider:

• How can you use your eyes and face to draw in the viewer?
  
• What are some dynamics or qualities in the movement that you might emphasize?
• How can you create seamless transitions between steps or fill-out the music more?
• Where might you suspend the timing of something to the absolute limit and still make it to the next  movement on time?
• How can you create dynamics (like the musical kind) in your movement. Are there moments that can “whisper” and others that can “shout?”
  
• What is the context of the phrase? Even if you haven’t been offered one, can you come up with a reason, or character, or story behind what you are doing?

Want some more? Check this post for more tips on adding personality to performance.

I know it might seem impossible to muster this kind of intention at the last minute and, well, perhaps it is. Dancers that seem suddenly able to completely transform the work probably have two things going for them that you, thus far, have not. ONE, they’ve had experience in this situation, having been asked before to make a dance their own. And, TWO, (as a result of this experience) they have an arsenal of possibilities already in their back pocket which they’ve used and practiced using before.

Good news! You’ve just been handed a small arsenal of possibilities, now the key is to practice them at every opportunity (especially in your every-day classes where you are more free to take some risks).

How far is too far? It’s hard to say. Auditions (versus a workshop) can certainly raise the stakes but often require more adventurous risk-taking – sometimes it will pay off, sometimes it won’t.

What do you think? Where is the line that indicates you’ve gone too far?

What are some other ways you can make choreography your own?

P.S. Thanks to Nina for inspiring this post. She asked when it is appropriate to make choreography one’s own. You can read more about what prompted the question and see my response at her blog, My Son Can Dance.

Heidi Latsky “Dives Into the Heart of Difference”

Doug Fox, over at Great Dance, The Kinetic Interface, alerted me to this Heidi Latsky work that will soon enjoy its New York City premiere (having premiered officially last November in Albuquerque, New Mexico). In her director’s notes, Heidi Latsky comments:

People go to dance events to see what they cannot do themselves. Dancers are generally perceived as limitless; disabled persons as essentially unable. Bringing these two groups together challenges conventional notions of dance, performance and body image. GIMP’s unique palette of limbs offers an edgy landscape of uncommon beauty that examines the uncompromising ways we are often identified or defined by our physicality.

Please visit the Gimp Project site for more about this work and project.

Experiences – Yours and Mine

I grew up in a studio that welcomed differently abled dancers into general classes and encouraged and invited them to discover and share their own unique expression and talent in performance and choreography. I have also worked within organizations or schools that provide programs designed for those that may or may not be able to integrate into general classes. As an instructor, I have occasionally taught students of different physical abilities and have found it to be a rewarding though sometimes challenging experience. Seeing this excerpt brought back these experiences and piqued my curiosity about   the participation of those with physical and/or intellectual challenges in dance classes and studios elsewhere. What are your experiences in reaching out to this community or population of students at your school? I look forward to reading about your experiences in the comment section below.

Even if you don’t have the time or desire to leave a comment, please consider responding to the poll below.

I’ve kept the poll relatively simple, however, I realize there are probably multiple ways to answer this question. If you’d like to expand on your answer, I invite you to share it with other readers in the comment section below.

UPDATE

Just wanted to include the link to a recorded interview with Heidi Latsky which Eva at InfiniteBody blog has conducted and shared with us. You can find the podcast at the bottom of her post – CLICK HERE.

C’est Cliché

Dance can sometimes seem a very serious endeavor. Therefore, every once in a while, it is good to step back and chuckle a bit at ourselves and the dance world. Sarah Dahnke has come up with a project that gives participants the chance to do just that. Her website, This Dance is a Cliché, serves as a collection basket of the biggest and most overused, stereotypical, and unoriginal ideas in dance. She invites anyone (not just dancers) to send her their additions – “The ones that plague you when you dance or make dances. The ones that you’ve seen done a million times.” – for posting on the site, and requests that you visually document your submission in some way. She suggests that video (homemade or otherwise) is a great way to share your favorite dance cliché, although Sarah accepts written contributions if, for whatever reason, you can’t come up with visual aids.

Project Origins

Sarah, discusses her project’s inception on her blog,

This project was born out of frustration with cliché. I would work on movement then suddenly find myself paralyzed, unable to think of anything else that I felt was truly unique or really expressed my full intentions. I would be sure that I was just recycling old movements of my own or that I had seen elsewhere. So instead of letting these clichés inhibit my creation process, I decided to embrace them and give them a forum.

Objectives

One of Sarah’s goals in collecting dance cliché is to inspire the creation of movement. In fact, the first premiere of This Dance is a Cliché is coming up soon! The work will be part of a three-piece performance of works-in-progress which will take place during Movement Research’s Open Performance at Dance Theatre Workshop in Manhattan on February 18th. Sarah is also investigating venues to show the piece in its entirety later in the year. In an email to me Sarah offered that “As a performance, the piece is more about ‘writers’ block’ from a dance standpoint, or in a broader sense, having the flow of creativity endure stagnation.” She plans to continue to accept submissions for the site indefinitely.

Laughing At, Not With?

Before anyone begins to worry that the aims of this project are mean-spirited, it is important to point out that this is a lighthearted investigation and celebration of the clichés most often found in dance. Sarah clarifies on her blog that her desire is not to make fun of the dancers or choreographers that perpetuate the cliché. In fact, she views the project as more of a celebration, recognizing that we are all guilty at times of falling into the comfortable patterns of cliché and that maybe (just maybe) that is not always a bad thing.

My Contribution

As a dance teacher, I’ve seen a lot of recital and competition choreography. And, well, is there a better opportunity for witnessing often repeated and recycled ideas in dance? After all, competition inherently inspires imitation. If something works for one group, of course, others are going to try it or atempt to reinvent it. So, when I came upon this project, I had to look no further than YouTube to document examples of some of my favorite (and most overused) themes and situations in competition choreography. Some of the videos are certainly extreme examples of the cliché they represent, but they are certainly not the only examples. My submission can be found here.

Be sure to take a look at the other entries while you’re there! Roll your eyes a little, nod your head, and have a good chuckle at these truisms. Maybe you’ll even be inspired to submit your own!

Do You Have a Favorite Dance Cliché?

If so, you are also welcome to add it to the comments of this post!

Tags: Choreography, humor

Classic Confusion

July 7, 2008 by Nichelle  
Filed under Blog, History of Dance, Terminology, The Dance World, Toolbox

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A reader recently posed a question in response to “Tips for College (Part II)” and perhaps “What is Modern Dance?.” She asked, “What is “classical” dance in the west?”

The term “classical” in dance can vary in meaning, and just like the term “modern dance,” can be very confusing. Rooted in Europe, ballet would probably be considered the classical dance of “the west.” Other regions have their own classical dance forms – Indian or Cambodian classical dance are examples. Such forms are sometimes included under an umbrella of “folk dance,” “ethnic dance,” or even “world dance.” Depending on who you talk to, however, these terms are all synonymous or all different classifications.

Ballet

There is typically much confusion among dancers about the labeling of dance. I am no ballet scholar and it seems there is often argument over true definitions. I will do my best to make sense of the terms as I understand them. I have heard and comprehended the definition of classical ballet in two ways. The ABT online dictionary provides a pretty clear and concise definition of both usages:

1. The traditional style of ballet, which stresses the academic technique developed through the centuries of the existence of ballet.
2. A ballet in which the style and structure adhere to the definite framework established in the nineteenth century. Examples of classical ballets are Coppélia, The Sleeping Beauty, The Nutcracker and Swan Lake.

In other words, classical ballet can be defined as ballet studied in the tradition that has been passed down, relatively unchanged at its core, since the birth of the technique. There are variances in the methodology of classical ballet study which are often based upon region. Vagonova, Cecchetti, and more recently Balanchine or R.A.D. are examples. The term classical ballet is generally used as a means of differentiating these traditional principles of study from those of contemporary ballet.

Within classical ballet additional labels may be applied to works and performances that tend to reflect the era in which they were created (i.e., Romantic, Russian, Diaghliev era, etc.). Unfortunately, certain performed works within this lineage are referred to as being of the classical ballet era, or classical ballets. These typically refer to works of Petipa dating from the 19th and early 20th century (such as the ones listed above). Works that have employed the language, phrasing, structure, and techniques of classical ballet in the 20th century and beyond (many of Balanchine’s works are a good example) have typically been labeled as neoclassical, as they seem to bridge the gap between those in the classical ballet tradition and contemporary ballet by stretching the boundries of the classical ballet “rules.”

Contemporary ballet, generally refers to a work that takes its technique (and pointework) from classical ballet but also utilizes abstracted (or less literal) movement ideas, manipulation of the spine and torso in movement, and choreographic processes similar to those in modern/contemporary dance. Here, the focus is often more on the movement itself rather than a narrative, or story. Today’s students of ballet typically study classical techniques along with modern dance techniques so that they are able to adapt their classical techniques to fit any of the above genres.

Modern vs. Contemporary

Modern dance, like the art of ballet in the 17th century, was at one point (the early 1900’s) a new idea (see “What is Modern Dance?” for a little history lesson). I have heard people refer to the techniques and works of people like Isadora Duncan, Martha Graham, and other originators as “classical modern dance” – sounds like an oxymoron, I know. (Note:  traditional modern dance is yet another mutation). Typically modern dance has been dropped altogether when referring to 21st century concert dance works. For now, these works simply fall into the category of contemporary dance art, which you can also read more about in the linked article above. If, or when, there is a shift of focus within this realm of dance, perhaps a new (and likely confusing) label will be attached to it!

Labeling Dance

As you can see, the repetitious or sometimes redundant terminology in categorizing creates difficulty in talking about dance. Labels are often unsatisfactory and are argued and debated, creating even further confusion. But, I think it is helpful for students of dance to understand that even though there is sometimes an overlapping of terms, there is a difference between technique and choreography in classifying dance.

For labeling purposes, all work/art/choreography being created now is contemporary but may be subject to a change in labeling in the future. Older works are often categorized by both the techniques that inform them and by the era in which they were created.  A new or contemporary work can evoke aesthetics and processes of the past, yet would probably be labeled as contemporary with description that stresses its relationship to the what has come before.

The techniques studied by dancers which inform contemporary concert dance choreography are (in the broadest terms) modern dance, classical ballet, and possibly jazz dance, and can also be infused with elements of vernacular (or social/ballroom) dance, ethnic dance forms, martial arts, etc.  Through study of the history of dance and through experiencing a broad range of dance genres, one becomes more equipped to recognize relationships, influences and changes in the timeline of dance (which is really more important than the label itself).

Location, Location

Just remember that in labeling dance, sometimes it just depends on who you talk to, where they’re from, what their background in dance is, etc. Dance terminology and classification varies according to time and place. In addition, we must recognize, of course, that labels are limited and really only useful when reading, writing, or talking about dance. Dance, by its nature – a language of movement, is an art form that resists labeling.

Whew!!

Although I am not a dance historian, I’ve done my best to answer this question and address the source of confusion as I understand it. If anyone would like to add or respond to my thoughts, please feel free. And, don’t worry if it’s all still confusing. It is confusing for those working and creating within, and writing about the dance world. The passage of time eventually allows us to step back and recognize shifts in the philosophies of art and we are then able to more accurately classify or label. The more recent something is, the harder it is to define because we are still in the midst of change. And change in art occurs as slowly or rapidly as the world around it. Compare the mutations of dance in the last 100 years to the mutations of earlier centuries and I think you’ll see it runs parallel to advances in technology, industry, and communication.

The Dancer believes that his art has something to say which cannot be expressed in words or in any other way than by dancing… there are times when the simple dignity of movement can fulfill the function of a volume of words. There are movements which impinge upon the nerves with a strength that is incomparable, for movement has power to stir the senses and emotions, unique in itself. This is the dancer’s justification for being, and his reason for searching further for deeper aspects of his art. – Doris Humphrey

If I could tell you what it meant, there would be no point in dancing it. – Isadora Duncan

Dance isn’t something that can be explained in words; it has to be danced. – Paige Arden

Talk about dance? Dance is not something to talk about. Dance is to dance. – Peter St. James

Tags: ballet, Choreography, classical dance, contemporary dance, dance history, ethnic dance, folk dance, modern dance, observations, world dance

What is Modern Dance?

June 18, 2008 by Nichelle  
Filed under Blog, Dance Library, History of Dance, The Dance World

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This is not an easy question to answer, even for dancers and choreographers. The beginnings of modern dance in the United States (Germany also had a related and influential dance movement) are traced to the early 20th century to a group of dancers often labeled the forerunners of modern dance. Isadora Duncan, Loie Fuller, Ruth St. Dennis, and her husband and partner Ted Shawn, each made significant contributions to a new type of concert dance in America. Their dance reflected and challenged the art, philosophy, and issues of their time, explored the cultures of other places and times, made new advances in theatrical lighting and spectacle, and discarded the costumes and artificiality of ballet. They were exploring and expressing themselves in a way that had never been seen before, and they were guiding others to do the same.

From this small family tree, emerged another generation of dancers. This group, considered the founders of modern dance, broke whatever rules had been laid down by their predecessors. Instead of borrowing movement from other cultures, they created movement based on the experiences of their own era. They were interested in presenting the inner self and all of it’s complex emotions on the concert stage. These founders, Martha Graham, Doris Humphrey, and Lester Horton, among others, also created their own techniques which they taught in independent dance schools and universities. Their work established modern dance as a legitimate art form.

Dancers in the founder’s companies such as Merce Cunningham, José Limon, Alvin Ailey, Paul Taylor and Anna Sokolow continued to redefine not only modern dance but, dance in general. Each contributed something different but, in general, this third generation was noted for a more minimalistic approach to dance in which movement became more pedestrian and stripped-down. Some, like Merce Cunningham, explored chance elements in their choreography, allowing a roll of dice to determine a dances’ structure. Others, like Alvin Ailey, brought ethnic, social, and political issues to the forefront.

In the 1960s and 70s, the work of these earlier artists ushered in the postmodern dance movement. Dance artists were leaving the theatrical stage altogether and performing dance in public parks, on buildings, in museums, and on busy streets. Choreographers explored improvisation as legitimate performance and often presented performers with no dance training in their work. Audiences were asked to accept everyday movement like dressing, walking, and playing as dance. It was a direct upheaval of the concepts and codification that Modern dance artists had fought to develop.

Yet, as those who had gone before have done, each generation of modern dancers seeks new terminology, concepts, and techniques that broaden the definition of dance. This legacy continues in the 21st century, an environment that draws from the techniques of modern dance and the spirit of exploration in postmodern dance. In fact, today most dancers on the concert stage are likely to have experiences in many techniques and, with the exception of those who have pursued or immersed themselves specifically in ballet or other systemized dance form, consider themselves contemporary dancers. They study traditions in modern dance, but also other movement disciplines like ballet, jazz, african, yoga, gymnastics, and martial arts, as well as improvisational techniques such as contact improvisation and body mapping. Therefore, the movement you’ll see in a technique class or on stage reflects this diversity.

Modern dance, although defined in many dictionaries as “a form of contemporary theatrical and concert dance employing a special technique for developing the use of the entire body in movements expressive of abstract ideas,”  is a label that has begun to feel outdated for describing works created in the 21st century. The term has recently been dedicated more to the techniques (both the structured styles like Graham, Limon, or Horton and the less codified systems) that are studied by contemporary dancers than works currently performed on the concert stage. To understand Modern Dance, therefore, it is a good idea to become familiar with these techniqes as well as with its history and its role in the development of the constantly transforming art form of contemporary dance, which is not a technique but a collection of principles regarding movement and the choreographic/performance process which are closely related to the goals of the original modern dancers and their techniques.

Many times when people ask the question “What is Modern Dance?” they seek to prepare themselves for participation in either a class or as an audience member. As above, I recommend learning a bit about the history of modern dance as well as simply experiencing the art of contemporary dance. Take technique classes from a variety of teachers, watch choreography and performances by many different artists, and/or explore and improvise with movement, all the while, keeping an open mind in regard to one’s own definitions of dance. Each experience broadens and shapes understanding, giving one the knowledge to compare, and the confidence to appreciate that modern and, in fact, most contemporary dance refuses to be defined by labels. As one’s experience with the art of dance grows, the need to brand dance forms will diminish, and the question “What is Modern Dance?” will be replaced with “What else can dance be or become?”

Below are some interesting quotes, links, and resources that have more to say about Modern Dance…

One reason why modern dance is hard to define is that it is not so much a particular system or technique as it is an attitude toward dance, a point of view that encourages artistic individualism and the development of personal ways of dancing. As Helen Tamaris wrote in a program note for a concert she gave in 1927, “There are no general rules. Each work of art creates it’s own code.” – Jack Anderson

American Modern Dance, as a performance art form, serves many roles in today’s society. Many American choreographers of today use their art form for social commentary. There are other choreographers who tell stories with their dances. Finally, many choreographers simply manipulate the tools of choreography to visually create something new and interesting-perhaps something never seen before. Whatever the specific intent of the choreographer the role of dance today is to communicate, to create, and to educate.
- Beth Braun and Mark English

Ballet & Modern Dance: A Concise History
Prime Movers: The Makers of Modern Dance in America
The Makers of Modern Dance in Germany: Rudolf Laban, Mary Wigman, Kurt Jooss
No Fixed Points: Dance in the Twentieth Century
Terpsichore in Sneakers: Post-Modern Dance

• Answers.com
• RIDance.com’s answer to “What is Modern Dance?”
• PBS’s Modern Dance Primer
• Classic Confusion tries to define labels in dance

Tags: Choreography, contemporary dance, dance history, improvisation, modern dance, Performance, postmodern dance

Encouraging Boys to Dance

April 26, 2008 by Nichelle  
Filed under Blog, For Parents, For Teachers/Studio Owners, Perspectives

6 Comments

Dance is a physical and athletic activity requiring great skill, strength, and agility. Sounds like an ideal fit for energetic boys… so where are they?? Well, we know that public perception is difficult to change and, in general, the current perception is that dance is not a “manly” activity. For ballet and some other dance styles, the aesthetic is for movement to look effortless. Even though the audience knows that men in dance must be in top physical form, beauty and elegance masks the blood, sweat, and tears it seems we like to see from men in our culture. Therefore, the grittier athletic activities are favored for boys, while dance is considered a better pursuit for girls. This is, of course, a simplification of the gender issues in dance. However, to a young boy or teen pursuing dance, the road is often anything but simple.

So, how do we get boys and keep them in our dance classes and schools? Here are some suggestions: Read more

Tags: attire, boys, Choreography, dance class, marketing, men, music for class, sports, working with students

Celebrate National Dance Week

April 19, 2008 by Nichelle  
Filed under Blog, News and Events, The Dance World

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National Dance Week is approaching ( April 25-May 4, 2008 ) and if you haven’t already, now is the time to decide how you’re going to celebrate!  Obviously if you’re visiting this blog, you probably have an interest in dance and may already feel like you are immersed in its practice.  However, there are lots of ways you can observe this special week that will enrich your own or your school’s dance experience. And who knows, they may even spill over into the rest of the year, too!!

Sometimes in movement classes we are so focused on learning dance that we forget that appreciating and understanding the art form is just as important.  Of course, we learn to appreciate through doing, but here are some other ways to discover and embrace dance during National Dance Week and beyond.

• See dance – Attend or watch videos of professional performances (it doesn’t matter if it’s a style you are studying) or view video biographies of dancers/choreographers.  If there are no opportunities to attend a professional performance, try a local university with a dance program or a community group that performs ethnic dance forms.
• Discuss dance – Share observations about a performance, dance artist, or a significant event in dance history with your class, your friends, your peers, or your family.  An in-class discussion is great if you’ve experienced something as a group.
• Write about dance – Write a review or report about what you observed about a performance or learned about a particular dancer, company, or choreographic work.  You could share these with your dance class, in school, or even on your own blog.
• Read about dance – There are lots of books and online resources on dance history, dance vocabulary and technique, biographical texts, and dance criticism (reviews of dance performances).
• Make dance – Try your hand at your own choreography, guide your students through the basics of composition, produce your own dance performance (don’t forget to consider costume, makeup, and lighting if available), or share your knowledge of dance with someone else who has never experienced it.

Another important way to celebrate National Dance Week is to reach out to the community.  Many dance studios perform at local festivals, parades, and other events in honor of NDW.  Some other methods of reaching out would be to hold free classes or an open house at your dance school, perform at nursing homes or hospitals, or give workshops at public schools or boy/girl scout meetings.  Perhaps you could also organize volunteering opportunities for your dance studio during this week. Activities like road clean-up, serving at a soup kitchen, or collecting canned goods for a food bank, reflect that dancers, in addition to giving the gift of their art, seek to improve and strengthen their communities in other ways.

As we lead up to NDW, I want to discuss in more detail how teachers can celebrate by incorporating a little dance history, performance, and discussion into their classes; help you build a dance library for your school; and address why all of this is worth the effort.

What are some ways that you have celebrated National Dance Week?  Is there anything you’d add to my list above?

Tags: activism, books, Choreography, dance classes, dance community, events, marketing, National Dance Week, parenting, Performance, working with students, writing