. How do you think this class has (so far) helped you become a better dance-improvisation mover, dancer, performer?
Overall the class has made me more
centered. I feel more connected and grounded and through this I find I
am able to better express my self.
2. Click on the link above. Go to the
introduction on page xiii, and read the first two paragraphs. Briefly
explain the main idea discussed.
The main idea discussed is how the book
differs from most. The book instructs on the proper mindset to craft and
create from instead of offering routines. In many ways I agree this
style of teaching garners significantly stronger results.
2. Dances could tell a story. Good
stories always have a plot. Explain the elements of a plot as they were
used in class (beginning, middle and end) and find its equivalent with
the part of a plot listed bellow.
- Exposition/introduction.
-
- Conflict
-
- Rising action.
-
- Climax/turning point.
-
- Falling action.
-
- Resolution/denouement.
The beginning of a plot is some type of
catalyst which stirs an emotion in the dancer. The dancer grapples with
their internal conflict about this new information which leads to a
rising action where they confront these feelings. The confrontation
itself can also be called the climax and the height of the internal
battle. The result of which is then termed a falling action as a new
inner peace dawns upon the dancer. Which then results in the resolution.
-----------------------
LINK:
(Paragraph 8)
3. Read the article in the link above. About Simone Forti's art, Catherine Wood said:
Rather, she seems to have wished to
observe animals in order to learn how to extend her own capacities. It’s
as if she sought to incorporate other species’ forms of locomotion,
“non-stylistically,” into a human repertoire of movement and into human experience—in
the process suggesting a perceptual paradigm untethered from the
upright human body and from the ostensibly anthropomorphic objects that
mirror it.
How did you translate Forti's ideas into dance improvisation during class?
I translate Froti's quote to roughly mean
"We as humans tend to be creatures of pattern but in order to express
yourself in new ways we must think outside of that box". There is
something about animal's and their expression of feelings that feels
more raw and unfiltered. By incorporating these movements into our dance
we express raw feeling through our dance.
4. Shape is an aspect of the element of space. In class we did geometric shapes drawn in space and embodied shapes. In your own opinion, why is shape, as a concept, considered
one of the strongest visual components in dance?
-------------------------Geometric shapes radiate strength. By incorporating them in our dance we too are able to express ourselves from
a place of strength. Shapes are an expression of something complete.
5. In class, we explored an array of
emotions that informed our improvisational movements. How did dancing
emotions help you expand your body expression?
By Dancing with our emotions I was able to expand
my bodily expression. Emotions are powerful and much like the tide eb
and flow, learning to move with these feelings as they grow and subside
helped expand my bodily expression. As one emotion fades another would
grow leading us through transitions.
6. During one of our meetings, we worked
on selecting a theme, to then vary it by adding to it 8 counts to
explore improvisational elements. Based on your experience in class,
what is the relationship between a dance theme and variation? The difference between a dance theme and variation is quite simple. A theme
implies all movements are tied back to the one central message the
performer is looking to get across but with variation the message slowly
changes through the 8 movements by the end.
7. What is the importance of art-making
(in this case drawing) in the creation of dance improvisation?
Expression itself is an art form. All expression is intrinsically linked,
drawing much like dance helps people express how they feel. Drawing
before our dance helps start the expression process and helps us create a
more thorough product by the time improvisation is finished.
Dan Bron
Discussion Questions
1. How do you think this class has (so far) helped you become a better dance-improvisation mover, dancer, and performer?
This
class has profoundly shaped my journey as a dance improviser and
performer by encouraging me to delve deeper into the expressive
potential of movement. It has taught me to channel my personal
experiences and convictions into dance, allowing me to communicate
complex ideas, like the coexistence of diverse religious beliefs within
the unity of the human spirit, in a way that is both profound and
accessible.
Through
exploring various emotions and phrases, such as "YOLO," against the
backdrop of a powerful song like "Redbone," I've learned to translate
abstract concepts into physical expression. This has not only enhanced
my creativity but also my ability to connect with an audience on an
emotional level.
Moreover,
the class has pushed me to adapt and find new ways to participate
despite physical limitations, like my recent back injury. This has
taught me the importance of versatility and resilience in dance. By
observing and mentally engaging with the improvisations of my peers,
I've gained a broader perspective on movement and its possibilities.
2.
Click on the link above. Go to the introduction on page xiii and read
the first two paragraphs. Briefly explain the main idea discussed.
The
paragraphs discuss the idea of the book regarding dance improvisation.
Unlike manuals that provide exercises and step-by-step instructions,
this book acts as a companion for improvisers. Its purpose is to engage
dancers in the studio, stimulating their thoughts and fostering
discussions about improvisation rather than prescribing specific steps.
The
book emphasizes the significance of surprise and unpredictability in
the process, suggesting that it bridges between what's known and what is
unknown. It challenges the separation between mind and body by
asserting that both physical expression and mental agility are fully
realized through improvisation. Improvisation is portrayed as an
activity that requires synchronization between thinking and moving.
The
book also illustrates that articulating the process does not diminish
its value or its ability to surprise. On the contrary, it advocates for
an understanding and active engagement with improvisation while
acknowledging its unpredictable nature. This perspective is reinforced
through anecdotes shared by dancers who have experienced connections and
unexpected outcomes during their work, hinting at a more profound
connection to consciousness or even something divine.
2.
Dances could tell a story. Good stories always have a plot. Explain the
elements of a plot as they were used in class (beginning, middle, and
end) and find its equivalent with the part of a plot listed below.
-
Exposition/introduction.
-
-
Conflict
-
-
Rising action.
-
-
Climax/turning point.
-
-
Falling action.
-
-
Resolution/denouement.
Introduction/Exposition;
Our class commences with an introduction, much like the opening of a
story, where we line up and engage in stretches. This sets the stage for
what is to come and introduces us as characters (dancers) in our own
right. The dance floor serves as our setting, allowing initial
atmospheres and relationships to take shape.
Conflict;
As we transition from stretches to dancing, we encounter a phase akin
to conflict within our plot—individual challenges. We may struggle to
perfect movements or strive to synchronize with partners, reflecting the
tension that propels narratives forward.
Rising
Action: The rising action unfolds as we pair off and intensify our
interactions. The energy within the room escalates as each duo or group
engages in more improvisations, driving dance narratives toward their
peak.
Climax/Turning Point: The climax finds its reflection when we break into groups and perform for one another.
Here,
the class peaks as we witness the culmination of energy and creativity
through captivating improvised dances. These expressive dances symbolize
a significant turning point in our collective journey.
As
we transitioned into the falling action, we reconvened on the
discussion board to write our reflections. This reflective exercise
mirrors the aftermath of our performances, allowing us to process and
reconcile the physical narratives that unfolded during our
improvisations.
The
class wraps up with a resolution. We gather in a circle, interlocking
hands, sharing a moment of connection as we lock eyes with one another.
This ritual serves as the outcome—an acknowledgment and appreciation of
the energy that permeated throughout our time, a conclusion that brings
closure to our shared story. It leaves us feeling united and understood,
with a sense of fulfillment and wholeness.
-----------------------
LINK:
Spirit Moves: The Art of Simone Forti
(Paragraph 8)
3. Read the article in the link above. About Simone Forti's art, Catherine Wood said:
Instead,
she seems to have wished to observe animals to learn how to extend her
capacities. It’s as if she sought to incorporate other species’ forms of
locomotion, “non-stylistically,” into a human repertoire of movement
and human experience—in
the process suggesting a perceptual paradigm untethered from the
upright human body and from the ostensibly anthropomorphic objects that
mirror it.
How did you translate Forti's ideas into dance improvisation during class?
In
our dance improvisation class, we incorporated Simone Forti's ideas by
embracing her perspective, on movement. Specifically, we explored the
integration of animal locomotion into movement. As Catherine Wood
highlights, Forti's work emphasizes the importance of observing and
learning from the world. By incorporating forms of locomotion found in
species, we aimed to expand our movement capacities and challenge
traditional ways of moving centered around humans.
During
our classes, we embodied Fortis's philosophy by engaging in exercises
that encouraged animal movement observation. We watched video clips
showcasing animals in motion. We paid close attention to their fluidity,
strength, and distinctive characteristics. This phase of observation
was crucial for understanding the essence of human locomotion.
Following
this observation period, we ventured into translating these insights
into our movements. Then, imitating animals' actions, we focused on
embodying their spirit, rhythm, and dynamics. We explored movements that
deviated from our upright and bipedal ways of moving – crawling,
slithering, rolling, leaping – to discover new possibilities within our
bodies and break free from the habitual patterns typically associated
with human dance.
Our
improvisations became like a playground for these ideas. We allowed
ourselves to be inspired by the movements of animals that are not
typically considered stylish. We incorporated them into our dance to
expand the range of movements we could perform. This resulted in
improvisations full of variety and creativity, often surprising us with
the shapes and expressions our bodies could achieve.
Furthermore,
Fortis's focus on perceiving things without being limited by the body
motivated us to explore space uniquely. We challenged the nature of our
movements by engaging with the floor, the air, and each other in ways
that went against the orientation of dance. This exploration wasn't just
physical; it also pushed us to reconsider how we relate to our bodies
and the space surrounding us.
By
incorporating Forti's ideas into our class, we developed a connection
to nature and its many different forms of expression. It reminded us
that the human body is capable of many movements, many of which we
rarely explore. By looking beyond experiences and drawing inspiration
from the animal kingdom, we discovered ways to express ourselves through
improvised dancing while honoring Fortis's legacy as an innovator and
explorer.
4. Shape is an aspect of the element of space. In class, we made geometric shapes drawn in space and embodied shapes. In your own opinion, why is shape, as a concept, considered one of the strongest visual components in dance?
The
concept of a shape we examined in our class through creating figures in
space and physically embodying those shapes is a visual element in
dance for multiple reasons.
Incorporating
shapes into our movements provided an impactful visual framework for
the audience. By utilizing defined shapes like circles, squares, and
triangles, we developed a language that was easily recognizable and
captivating. This approach enhanced the appeal of our performances and
allowed for a deeper interpretation of our movements. For example, when
we traced the outline of a square with our limbs in space, it added an
element of precision and structure to convey stability and balance to
those watching.
Furthermore,
physically embodying these shapes allowed us to explore and express
various emotions and narratives within their boundaries. The transition
from one shape to another—such as moving from a circle to an open star
shape—mirrored shifts and storytelling dynamics within our dances. These
transformations played a role in conveying the narrative essence of our
performances, making shape a tool for expressing emotions; furthermore,
incorporating shapes into dance taps into our human inclination to
recognize and interpret patterns. Shapes have a language that goes
beyond linguistic barriers. In our class, when we crafted and
transitioned between shapes, we engaged in this form of communication,
making our dances more accessible and resonant for a diverse audience.
5.
In class, we explored an array of emotions that informed our
improvisational movements. How did dancing emotions help you expand your
body expression?
Embodying
emotions in dance enriched my body expression by pushing me to explore
beyond conventional movements, creating a genuine link between internal
feelings and outward expression. This process not only broadened my
movement vocabulary by encouraging the exploration of varied dynamics
and rhythms tied to specific emotions but also intensified the
authenticity and impact of my performances. Dancing emotions
significantly expanded my expressive capabilities, making each movement
more nuanced and emotionally resonant.
6.
During one of our meetings, we worked on selecting a theme to then vary
it by adding eight counts to explore improvisational elements. Based
on your experience in class, what is the relationship between a dance
theme and variation?
Developing
a dance theme. Then, expanding it with eight counts of improvisation
highlights the relationship between theme and variation in dance. The
theme is the core determining the movements, emotional tone, and style
of the piece. Through improvisation, variation enters the scene,
exploring dynamics, rhythms, and expressions to enhance this foundation.
This keeps the dance captivating and ever-evolving while maintaining a
connection to the theme. This interplay strikes a balance between
consistency and creativity, resulting in a coherent and captivating
choreography. The theme provides structure while variations infuse
vitality and depth into creating a diverse dance narrative.
7. What is the importance of art-making (in this case drawing) in the creation of dance improvisation?
Incorporating
the act of creating art, such as engaging in a drawing activity
centered around the theme of "coexist " within dance improvisation,
enhances the process by establishing a foundation for exploring
movement. The act of drawing serves as a starting point, inspiring
movements that embody harmony and interconnectedness symbolized in the
artwork. These visual cues encourage dancers to delve into movements
that capture the essence of the drawing's themes resulting in an
expressive improvisation. Furthermore, translating these elements into
dance allows for experimentation with dynamics and the embodiment of
abstract concepts, elevating the improvisation process to be more
innovative and multi-dimensional. The "coexist" drawing played a role in
creating a dance piece that conveys unity and diversity and pushes
traditional movement patterns beyond their limits, fostering an artistic
dialogue between visual art and physical expression.
-------------------------
Link:
Dancing and Drawing by Auriea Harvey
8. After reading the article above, consider the following statement.
Auriea Harvey said:
"While
I was not able to explore a structural representational style I would
like to employ, due to reasons of time, I still feel what this exercise
provided me with is a visceral approach to starting a drawing, a method
for developing poses or even an entire choreographic outline for a model
or performer whom I will draw. I think an applied theme or narrative
would lead to an even more visually rich outcome." A. Harvey
a) Explain what Harvey means in the above citation.
In
the statement mentioned, Auriea Harvey shares her reflections on the
foam lab residency experience, emphasizing the limitations and
discoveries she encountered while exploring Dancing and Drawing
(D&D). She acknowledges that due to time constraints, she couldn't
fully delve into a style of drawing that she had in mind. However,
Harvey values the process she engaged in, describing it as a way to
begin a drawing with an emotional approach. This suggests that the
exercise allowed her to connect deeply with her art by drawing
inspiration from movement and the physicality of dance.
Additionally,
Harvey mentions how the residences' improvisational and collaborative
nature helped her develop a method for creating poses or choreographic
outlines for models or performers. This indicates that observing dance
movements and translating them into sketches played a role in
conceptualizing and preparing her artwork. It served as a foundation for
exploration.
Moreover,
Harvey suggests incorporating themes or narratives into this process
could enhance the richness of the outcomes. She believes incorporating a
storyline or thematic element into her artwork can enhance its meaning
and create a captivating and intricate experience.
Discussion Questions
1. How do you think this class has (so far) helped you become a better dance-improvisation mover, dancer, performer?
Before this class I had a fear of letting loose. This certainly
had to do because I never stretched, and I never understood the concept
of improvisation. I believe that I now the basic tools in my toolbox to
explore movements. Understand fundamental principles such as levels
allows me to explore beyond what I could have imagined.
Book: Taken by Surprise
2. Click on the link above. Go to the introduction on page xiii, and
read the first two paragraphs. Briefly explain the main idea discussed.
The author is informing us that rather than thinking of
improvisation as a right or wrong way, but to think about it as a
“private reflection and discovery.” It is up to the dancer on how to
execute techniques based on their interpretation of fundamental
techniques such as levels, letters, numbers, etc.
2. Dances could tell a story. Good stories always have a plot.
Explain the elements of a plot as they were used in class (beginning,
middle and end) and find its equivalent with the part of a plot listed
bellow.
- Exposition/introduction.
- Conflict
- Rising action.
- Climax/turning point.
- Falling action.
- Resolution/denouement.
-----------------------
LINK:
Spirit Moves: The Art of Simone Forti
(Paragraph 8)
3. Read the article in the link above. About Simone Forti's art, Catherine Wood said:
Rather, she seems to have wished to observe animals in order to learn
how to extend her own capacities. It’s as if she sought to incorporate
other species’ forms of locomotion, “non-stylistically,” into a human
repertoire of movement and into human experience—in the process
suggesting a perceptual paradigm untethered from the upright human body
and from the ostensibly anthropomorphic objects that mirror it.
How did you translate Forti's ideas into dance improvisation during class?
Nature has many elements that humans, who have now become indoor
creatures, can learn from. Afterall we are natural creatures that belong
or were once part of the natural system. There is an opportunity to
connect with animals that we can then translate into “human
experience.”
4. Shape is an aspect of the element of space. In class we did geometric shapes drawn in space and embodied shapes. In your own opinion, why is shape, as a concept, considered one of the strongest visual components in dance?
Shapes are all around us in many forms, it can be a literal
translation or a more abstract concept. There is a theory/ concept, one
that I believe in, that shapes derive from nature and nature is govern
by shapes. It is a system that works hand on hand. As humans if we can
connect to this natural system set in front of us then why not learn
from it. This allows us to explore our own interpetaiton of shapes. What
I love the most is that shapes are 2-D but shapes can also be 3-D. If
you have shapes and levels in your tool box then you can construct any
form of interpretational dance.
5. In class, we explored an array of emotions that informed our
improvisational movements. How did dancing emotions help you expand your
body expression?
Dancing emotions became the most challenging tool for my
improvisational movements. However, after exploring the concept I began
to explore how emotions naturally move. For example, when expressing
sadness there was a natural move to the ground. However, when exploring
joy it was about stand tall and taking up space! Emotions enforced me to
play with levels.
6. During one of our meetings, we worked on selecting a theme, to
then vary it by adding to it 8 counts to explore improvisational
elements. Based on your experience in class, what is the relationship
between a dance theme and variation?
The dance theme had a certain mood, in my case it was a lively and
loving mood. Therefore when it came to explore variation, joy became a
natural mood to explore. There is an opportunity to bounce off of one
another.
7. What is the importance of art-making (in this case drawing) in the creation of dance improvisation?
It allows boring adults to get out of their day-to-day
routine to let loose. It allows us to connect with our natural in
instincts, something that is many times forbidden in such a regulated
world. The creation of dance improvisation gets us up and moving allows
us to connect with our natural rhythm.
-------------------------
Link:
Dancing and Drawing by Auriea Harvey
8. After reading the article above, consider the following statement.
Auriea Harvey said:
"While I was not able to explore a structural representational style I
would like to employ, due to reasons of time, I still feel what this
exercise provided me with is a visceral approach to starting a drawing, a
method for developing poses or even an entire choreographic outline for
a model or performer whom I will draw. I think an applied theme or
narrative would lead to an even more visually rich outcome." A. Harvey
a) Explain what Harvey means in the above citation.
While it is possible to act in natural instinct or an
unexplainable feeling it is best to explore movements with a theme to
compose delightful and meaningful movements.
Discussion Questions
1. How do you think this class has (so far) helped you become a better dance-improvisation mover, dancer, performer?
This class has helped me bring my
improvisation side out. Before, I was so wired to have meaning and
purpose to everything I do. With this class, I have been able to not
take everything so seriously and embrace the natural movement that my
body wants to show. Also, I have been able to dance without having the
need to use music, which is essential when starting a dance piece.
2. Click
on the link above. Go to the introduction on page xiii, and read the
first two paragraphs. Briefly explain the main idea discussed.
The first two paragraphs discuss the
purpose behind the book, which is to act as a guide for the reader
(i.e. dancer). Through this book, dancers will be guided into being more
"lucid" to achieve successful improvisartion. By introducing the
concept of collective unconscious, the book implies that they do not
want to tell a dancer how to dance. Instead, they want to lead dancers
into the right direction so that they can become the best dancer they
can be.
3. Dances
could tell a story. Good stories always have a plot. Explain the
elements of a plot as they were used in class (beginning, middle and
end) and find its equivalent with the part of a plot listed bellow.
- Exposition/introduction.
- The introduction
starts the dance off, which leads to the demonstration of the conflict.
For example, an individual held hostage at an immigration jail was my
goup and I's introduction.
- Conflict
- The conflict consists of some kind of problem at hand, such as the individual's inability to escape the immigration jail.
- Rising action.
- The rising action is introducing some form of solution to the conflict.
- Climax/turning point.
- The climax is
where the solution is executed, which is usually characterized by tense
environments and some form of violence. In my group, this includes the
battle between the civialn heroes and the villanous guards.
- Falling action.
- Falling action
is when the tense environment is diminishing, usually because the heroes
won the battle. The individual is now set free and happy once again.
- Resolution/denouement.
- This is also known as the conclusion, which is usually characterized by a happy ending.
4. Read the article in the link above. About Simone Forti's art, Catherine Wood said:
Rather,
she seems to have wished to observe animals in order to learn how to
extend her own capacities. It’s as if she sought to incorporate other
species’ forms of locomotion, “non-stylistically,” into a human
repertoire of movement and into human experience—in the process
suggesting a perceptual paradigm untethered from the upright human body
and from the ostensibly anthropomorphic objects that mirror it.
How did you translate Forti's ideas into dance improvisation during class?
A few classes ago, we were tasked
with imitating an animal of choice as a dance piece. Since I have
voluminous hair, I decided to imitate a lion. In this task, I observed
the lion's demeanor in the YouTube video and tried to observe its
behaviors. Through observation, I was able to incorportate its "forms of
locomotion" into my piece by getting on all four limbs and opening my
mouth to imitate a roar. Therefore, this assignment allowed me to
translate Forti's ideas.
5. Shape is an aspect of the element of space. In class we did geometric shapes drawn in space and embodied shapes. In your own opinion, why is shape, as a concept, considered one of the strongest visual components in dance?
There is no visual stimulus if there
is no shape. Shapes allow for the humans to identify and differentiate
objects on adaily basis, allowing for things to be unique and logical.
In terms of dances, shapes form a similar part to this aspect in the
sense that it allows for the audience to have a visual stimulus of the
message the dancer tries to convey. Therefore, shapes serve as the basic
component behind visual stimuli in dance, which can be further
developed to further add uniqueness to your piece.
6. In
class, we explored an array of emotions that informed our
improvisational movements. How did dancing emotions help you expand your
body expression?
Dancing emotions allowed me to
discover new forms that my body may react to as a result of an emotion. I
was able to have intention to every part of the body, allowing me to
truly think about how I wanted to show this emotion.
7. During
one of our meetings, we worked on selecting a theme, to then vary it by
adding to it 8 counts to explore improvisational elements. Based on
your experience in class, what is the relationship between a dance theme
and variation?
Dance theme and variation, although
sounding opposed to each other, are interrelated. By developing a dance
theme or purpose, you can then elaborate more on this theme and have
multiple variations of the same idea. That way, when creating a piece
you can always count on your theme if you feel stuck as a template,
which is then developed into different perspectives.
8. What is the importance of art-making (in this case drawing) in the creation of dance improvisation?
Art-making (i.e. drawing) allows for
improvisation to have more of a purpose. Since you are trying to embody
the drawing, similarly to the animal assignment, you have a distinct
idea of how you want to adress this sketch.
9. After reading the article above, consider the following statement.
Auriea Harvey said:
"While I was not able to explore a
structural representational style I would like to employ, due to reasons
of time, I still feel what this exercise provided me with is a visceral
approach to starting a drawing, a method for developing poses or even
an entire choreographic outline for a model or performer whom I will
draw. I think an applied theme or narrative would lead to an even more
visually rich outcome." A. Harvey
a) Explain what Harvey means in the above citation.
In other words, Harvey is
apporving of the excercise they were tasked to do, although she was not
able to achieve the goal she set in her mind. Nonetheless, she gained
more knowledge from this experience, even allowing her to have a
framework for her future piece.
Adaria Fennoy
1. How do you think this class has (so far) helped you become a better dance-improvisation mover, dancer, performer?
This class has
allowed me to feel more comfortable in my improv and overall dancing. I
usually am very shy when meeting and being around new people, so having
the opportun ity to share my talent has allowed me to gain a new level
of comfort in this class.
2. Click
on the link above. Go to the introduction on page xiii, and read the
first two paragraphs. Briefly explain the main idea discussed.
The main idea they are addressing is
the instructing of improvisation. Many people try to give tips and
advice on how to improv when instead, you should just be giving ideas
and ranges of exploration for the dancers to tap into. They action of
improving shouldn't be something you try to master by practicing for
long hours at a time. This book will guide you with ideas and concepts
to use within your dancingand improv, but it is not a book to explicitly
tell you how you should engae in improv as a dancer.
3.
Dances could tell a story. Good stories always have a plot. Explain the
elements of a plot as they were used in class (beginning, middle and
end) and find its equivalent with the part of a plot listed bellow.
- Exposition/introduction.
- In class, the exposition was used as our way of introducing our own touch on the theme for that day.
- Conflict
- This part of our dancing was where
those watching would start to see that there is an issue or something we
have to overcome. Us as dancers would showcase through improv what we
are struggling with.
- Rising action
- Our improvisation would start to
pick up and get faster or more intriguing depending on the problem at
hand. The imrpov would start to gain more intrique or larger movements
of the body.
- Climax/turning point
- Our improv would reach its absolute
maximum level of dancing and body movements. We are moving at our
faster or biggest potential possible while still connecting to the
theme.
- Falling action
- This is when we start to slow down
and calm down after the climax of our improvisation. Movements get
smaller and we are slowing down completely.
- Resolution/denouement.
- This is the end of the improv where
we came to an end ending psition or slowing fade off from the movement
we were doing previoulsy.
3. Read the article in the link above. About Simone Forti's art, Catherine Wood said.
How did you translate Forti's ideas into dance improvisation during class?
I took what we did in class that day
very literal. I watched the video of the animal I decided to portray
and did my very best to showcase that within my dancing. I would look
very deeply into their actions and mannerisms the animal had so I could
do it just like they did as well.
4. Shape is an aspect of the element of space. In class we did geometric shapes drawn in space and embodied shapes. In your own opinion, why is shape, as a concept, considered one of the strongest visual components in dance?
With shapes, you can create any
picture or visual you want to. You can keep the movements and shapes
very small and to yourself or you can big as big as you want while
showcasign shapes. Thess shapes can complete form a story in someone
else that you didn't even think was possible. Shapes are the foundation,
in my opinion, of all other dance movements and visuals that we do. You
can create an entire storyline witht he foundation of just using shapes
and their different sizes to speak to the audience.
5. In
class, we explored an array of emotions that informed our
improvisational movements. How did dancing emotions help you expand your
body expression?
I am a
very emotional dancer when I dance. When we were using emotions as the
foundation for improv that day, I felt very comfortable within my space.
I love using my body to express how I am feeling on the inside, so
being able to do so was others was very moving. At moments in the class,
I was very expansive and big but at other times it was small. Those
watching me could see how I was feeling ismply off of the movements my
body was making.
6. During
one of our meetings, we worked on selecting a theme, to then vary it by
adding to it 8 counts to explore improvisational elements. Based on
your experience in class, what is the relationship between a dance theme
and variation?
A dance
theme gives you an outline of what you should be doing. You don't have
complete freedom, but you also aren't tied down at the same time. A
variation is completely open to interpretation of the dancer and what
they are feeling in that moment. These two can work alongside each other
very well because we can see how good it looks to have a structure and
reasoning behind the movment, but also get a taste of just absolute
freedom and openness throughout the same dacner.
7. What is the importance of art-making (in this case drawing) in the creation of dance improvisation?
I think it allows you to open up and
see things in a different way you might not have before. Looking at
something and then trying to put it into dance movements puts you in a
different headspace when improving. You are not only tapping into your
own freedom, but you also have the inspiration from the art in front of
you to go off of as well when creating movement.
8. After reading the article above, consider the following statement.
Auriea Harvey said:
"While I was not able to explore a
structural representational style I would like to employ, due to reasons
of time, I still feel what this exercise provided me with is a visceral
approach to starting a drawing, a method for developing poses or even
an entire choreographic outline for a model or performer whom I will
draw. I think an applied theme or narrative would lead to an even more
visually rich outcome." A. Harvey
a) Explain what Harvey means in the above citation.
Sometimes you can't come up with the
exact vision and structure line you want to portray, but you may gain
inspiration from it. This inspiration can then take you to a place you
never even knew you could get to because you didn't have this insight
before. When you try to choreograph something so specific that you
already have in mind, it puts a limitation on what you can and can't do
throughout the movement, so that the visual is still there. Using
inspiration and taking it to put your own twist and style on it can
create something even better than what you had planned for it to be in
the first place.
Meng Wang
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