Set Your iPod to Shuffle

Everyone needs a bit of inspiration now and then, particularly if you are a teacher and need to be a prolific choreographer week-after-week and year-after-year in your classes and stage performances. Many, I know, settle themselves in front of the computer and scour youtube for dance ideas but there are other ways to spark creativity. My wheels begin turning when I see or read about the work other artists (dance or otherwise) are doing. However, it doesn’t matter if I’m creating a recital number for preschoolers or a jazz combination for 15-year-old students, ideas can come from anywhere. Occasionally I like to turn my spotlight on stories, notions, images, etc. that I feel might serve as a jumping off point – similar to the one-sentence story starters creative writers use. I’m not offering a how-to or making suggestions for your next masterpiece (though I may sometimes offer possible applications). Mostly I just want to help get your own creative juices pumping. You can let me know if I’ve done so in the comments below!

Experiments with Improvisation, Chance, and Technology

In honor of contemporary dance trailblazer, Merce Cunningham, who recently passed away, I thought I’d present you with ways in which he (and others) have creatively used digital music devices to devise unique dance/movement experiences and performances.

The first example is a work that Cunningham made in 2006 while in his late 80s. In eyeSpace the musical score is loaded onto iPod Shuffles (which are provided for the audience). Using this device Cunningham, who consistently utilized principles of chance and randominity in his presentations, gave audience members an individualized listening experience as they watched the dancers perform. This article at the American Art Museum blog offers a nice description of the event from an audience member’s perspective as well as some insightful commentary on how people view art.

An organization called Improv Everywhere, which is based in New York City, has been doing a variety of innovative and fun group improvisations for several years. They specialize in “organized fun” and have made an annual event of their Mp3 Experiment. This particular mission involves participants downloading an mp3 online and uploading it to their personal mp3 player. A meeting time is arranged and watches are synchronized so that everyone presses play at the same moment. From here, the participants are led through a series of actions and tasks which may seem spontaneous to viewers. You can read more about the six Mp3 Experiments completed thus far, as well as the groups’s other missions, at the Improv Everywhere website.

Another example in dance was demonstrated by The Pillow Project in Pittsburgh last year. During Silent Saturday (part of their Second Saturday series) these dancers moved in apparent silence while listening to their own mp3 player. Audiences, encouraged but not required to bring their own, had the option to watch while listening to their own soundtrack. You can read more about the event at the Pittsburgh Post-Gazette website.

These are just a few examples that hopefully will spark your creativity. If you have other related examples, feel free to share them!

Applications

I know some of you are probably thinking “Cute, but how in the world would I apply that at my dance studio?” Though I doubt that many of you will be handing out iPod shuffles to each audience member at your next recital, I do think there are ways to adapt or embrace these concepts for both performance and in-class use.

• Dare to bring a bit of chance to a performance – consider creating a special number that might be danced to a handful of music selections. Your audience will be amazed and delighted that each performance of the dance may be different based on the surprise (even to the dancers) selection for the evening.
• Create sections of a dance that are then performed in a shuffled order unknown to the performers – for more advanced dancers this could be a great challenge encouraging sophisticated memory and performance skills.
• Consider an impromptu and interactive segment within your next presentation during which the audience is led through a series of movements or actions. I guarantee they’ll talk about it for years to come!
• Try shuffling through your own iPod, creating 32 counts of choreography based upon the music you’ve randomly selected, then put the counts together to form a new piece with completely different music.
• Have some students brainstorm their own “mp3 experiment” and allow other students and parents to take it to the public – could be a unique and memorable way to make your studio’s presence known in the community.
• Have your class members each select a song, download each song and load them into your player. Shuffle them and create your next class based upon their selections!

These are off the top of my head, what’s on top of yours now that you have been giving a jumping off point? These aren’t necessarily for teachers only. Students, parents… Get Creative!

Creative Dance for Children and Beyond

Creative Dance for Children

A creative dance class designed for children will help them prepare for a future in dance and other physical activities. In class, dancers are provided with the opportunity to use their imagination, creativity, and self expression while developing skills that are the building blocks of all movement and dance activities. They learn good listening skills, proper classroom etiquette, and how to move safely with other children, as well as learning respect and tolerance for others. Young children enrolled in creative dance learn and practice basic motor skills (locomotor and nonlocomotor movements) and use a variety of music and props which enhance self-awareness, control and coordination. These experiences are offered with consistent structure and provide many opportunities for mastering skills. This creates a sense of predictability as well as a safe place for the younger child to learn cooperation, increase self-esteem, and attain a sense of accomplishment.

Early childhood educators encourage preschool and kindergarten programs that are designed for the mind of a young child because it has been found that most children under 7 or 8 are not ready to be taught focused subjects while sitting behind a desk for long periods. Dance is no different. To benefit from the intense focus and concentration of a ballet class which is very structured and contains extended periods at the barre, it requires a physical and mental maturity not available to most younger children. Children under 7 or 8 are typically neither interested in nor ready for this kind of learning. Creative dance is perfectly suited to offer preparation of the mind and body for a younger student, gradually helping them to learn self-control and increase their ability to focus. This prepares them for the rigors of technique class, just as preschool readies students for reading and math.

What is the difference between pre-ballet and creative dance?

Traditionally, pre-ballet is a class that introduces dancers of about six to nine years of age to the ballet class format (barre, centre, traveling), movements, and techniques (including turnout). It prepares these young students for more intense and detailed ballet instruction. Many schools that teach “pre-ballet” to children younger than 5 or 6 are combining a large helping of creative dance (or something else) with very basic basic ballet instruction like feet and arm positions. This is because ultimately children younger than five or six are not capable of standing still long enough to learn true ballet technique and do not have the muscular control to safely perform most ballet movements. Some dance studios may label preschool classes as “pre-ballet” or “creative dance,” however some classes have little to do with either. These may skim the surface of both disciplines, providing follow-the-leader games, pretend play, and sing-along songs that have little “meat” when it comes to learning the concepts of movement or moving. While these movement experiences are not without value – participants do learn classroom etiquette, following directions, and other skills – they offer little meaningful preparation for dance technique or for expressing oneself through movement.

While dance for young children should certainly be playful and fun, any program for this age group should be taught by teachers with experience and be specifically designed to match the needs of dancers who are in crucial stages of brain and motor development. Too often, this is backward in dance studios and the youngest children are taught by inexperienced instructors (sometimes teenage students) with no thought as to what is developmentally appropriate. In my experience, children enjoy exploration and the freedom to make choices. Most would prefer not to stand in a line and practice the same movements over and over. In creative dance, children are guided in the creation of choreography which is developed as a result of decisions and choices they’ve made during exploration of movement, and they are encouraged to discover rather than mimic. If I were choosing a program for my own young child, I would look for a school that offers a quality creative dance program through the age of six or seven and, if possible, beyond.

Is Creative Dance Just For Kids?

No, the concepts of creative dance are appropriate for any age or level of dancer and will enrich the education of dancers no matter what style or technique they study. This is because, through creative dance, dancers young and old are introduced to the basic elements of dance, including proper alignment, patterns, tempo, levels, rhythm, and spacial awareness. Activities frequently offer problem solving opportunities which increase in intricacy as the student grows and develops. The dancer is given multiple options about how, what and where he/she will dance. Creative dance students are given opportunities to utilize these decision making skills in improvisation and to create short or long pieces of choreography. Improvisation encourages the dancer to think on their feet, react to others, and expand their movement vocabulary. Choreography requires the ability to remember and predict a sequence or pattern of movements (skills essential to understanding mathematics, science and reading). Performances, both informal (within the class) and formal, help the dancer become more comfortable in front of large groups. In creative dance, students learn to appreciate their own individuality. As they observe and participate in class they witness that every dance and every dancer is special and unique, which builds confidence and self-esteem. Dancers also learn to work independently and in a group, and that perseverance and dedication lead to success. The skills developed in creative dance are all essential in life and in dance, convincing me that creative dance would be a beneficial (if not vital) portion of any dance curriculum for all age groups.

Learn More About Creative Dance and Teaching Improvisation

Websites:

Creative Dance Center – the school and program developed by creative dance leader and pioneer, Anne Green Gilbert.

International Association for Creative Dance – an organization built around the vision and techniques of Barbara Mettler.

Books and Video:

Creative Dance for All Ages: A Conceptual Approach

Teaching Creative Dance

First Steps in Teaching Creative Dance to Children

Choreography: A Basic Approach Using Improvisation

Dance Improvisations

Teaching Dance Improvisation – DVDs and videos by Ririe-Woodbury Dance Company

Censorship in Salt Lake?

I just came across this article from the Salt Lake Tribune in Utah. I found it interesting and was wondering if any of you had opinions. Do you think the school was correct in pulling the number, citing that it was not appropriate for a family show? It would probably be important to see the dance in question to truly judge the appropriateness of this dance, but I’m also curious about your own experiences with dancing about touchy subjects like politics. When does pulling a dance cross the line into censorship? Read more

Big Boi not an OutKast at Atlanta Ballet

I wanted to report of an interesting collaboration that has taken place between Big Boi (a member of the rap duo, OutKast) and the Atlanta Ballet. Read more

Using Photographs as Inspiration for Choreography

Whether you are a teacher looking for new recital dance ideas, or a budding student choreographer, we could all use a little inspiration from time to time.  Photographs are a great way to get the creative juices flowing. Here is how one choreographer tied his existing dance to photographs, making both come alive.  This is certainly one way to give your choreography new dimension. However, as I read the article, I began contemplating ways one could use photography as a starting point.  These could also be great exercises for those participating in or instructing a composition/choroegraphy workshop.

• Compile a series or grouping of photographs and put them in order (randomly or deliberately) and re-create the photo with dancers in a tableaux.  Then decide how to move between them.
• Choose personal photographs (from childhood or a special time in your life) and use them to bring you back to that time period, set the mood for the dance, or become characters in your narrative/story.
• Choose a single photograph that speaks to you.  The colors and style of the photograph can inspire lighting or costuming.  Even if there are no people in the photograph, your dancers and their movement can evoke the emotions or feeling of the image.  You can even project the photo on your backdrop.
• Here’s another unique idea, using photographers as the subject of choreography.

There are lots of possibilities. Perhaps old Hollywood glamour photos will inspire black and white costuming and lighting effects to simulate flashbulbs.  Perhaps a wide landscape photo will inspire large, open movement with broad and sweeping music.  Historical photos could help re-enact moments from our nation’s past. An entire program or your next recital could be filled with dances that are inspired by photographs/photography.  Remember, there are no limits other than your imagination and no wrong way of using the photograph(s) as a jumping off point.

What are some of your ideas for using photography as a starting point for choreography?