How can you create a meaningful dance using the tools and concepts of choreography

1. How can you create a meaningful dance using the tools and concepts of choreography • Word Wall: Elements of Dance, Intention, Motivation, Clarity, Phrase, Structure, Form

2. Choreography Project Elements of Dance Shape/ Space Time/ Force Energy/ Flow These elements are not separate from one another, rather all work together to create movement

3. Essentials • Know what your intention is and then say it with clarity and simplicity • Intention: What you want to say • Motivation: Why you want to say it • Clarity: precise content clear and clean Try it: Put your arm out. Gather something and bring it in. Try it with different intentions: evil, caring, sneaking, tenderness, teasing, hoarding, loving destroying, saving

4. Essentials • Every movement in your dance must serve that dance and that dance only. All the movements should validate and help fulfill your intention

5. Essentials • Choose a adjective that describes you. • Example: powerful, sparkling, mysterious, shy, loving, etc. • Write your adjective down on a piece of paper • Create a phrase that spells you adjective and shows your adjective by using the intention of the word. • We should be able to see your word in the phrase and in the intension • Make your phrase interesting, use levels, shapes, technique, choreographic tools, spacing, think about what the audience is seeing • There is no right or wrong. Just try and trust yourself.

6. Essentials • Movement Study: Gather, throw, push, release, turn, elevate, run, sink use the given works in the given order to create a movement study. Now choose an intention, write it down. Perform your study for the class. Let see how many different studies we can make as a class only using different intentions. Can you guess your classmates intention?

7. Theme • Is that which all else clusters around • Our theme is ___________ • Movement ideas?

8. Essentials • Simplicity: Strive for a lean, elegant statement. • Know what your intention is…then say if with clarity, and simplicity.

9. Speaking Body • Walk in pairs across the floor. Dancer A has to option of stopping Dancer B matches their partner/ which/ now try with both dancers having the option of stopping. • Mirror dance A is the dancer B is the mirror /change/ now try it as a movement conversation • Press your right hand to right hand and travel threw the space, use levels facings, and different direction.

10. Try it • Walk in pairs across the floor. • Mirrors • Hand to Hand • What a glorious, subtle instrument choreographers have to work with. Yes, a dancers instrument is her body---but the choreographer's added concern is in how many ways can this body be moved, be shaped, speak, so as to produce the desired effect?

11. Phrases • The Basic Structure • A phrase is to a dance as a sentence is to a book • Single Phrases are grouped together into larger phrases then built into longer sequences, and formed into sections

12. Impulse tilt • Deep breathing has a strong sense of beginning, middle, and end

13. Word scatter • Write down 8 description words • Powerful, mysterious, sparkling, mushy, colossal, zealous, thundering, narrow • Write down 8 verbs • Plie, pirouette, run, slide, leap, balance, chain, twist • Write down 8 adverbs • Carefully, abnormally, deliberately, helplessly, smoothly, unnaturally, yieldingly, zestily • Scatter your 8 adverbs and verbs on a piece of paper example: tightly pirouette • Choose your intension or adjective to apply to the movement example: powerful

14. Forming • Beginning, Middle, End • Idea of Climax • ABA or ABC or ETC • Theme and Variation • Organic Form life within nature. In dance, it may be helpful to think in terms of the movement within the stillness, the potential within the potential • 87 • Transitions take you from phrase to phrase they shouldn’t be forced

15. Forming • Sequencing or organization of a dance • Choreographic devices are ways of developing nuggets of movement, there by enriching and extending an initial movement in order to build a greater body of choreographic material • Compositional structures are frame work or structures for a dance

16. Abstraction and Imagery • You are a mother with a child. Find ways to hold, rock, feed, play with, support, love your child. Involve the images in movement. Explore different ways of opening up the image (rock the child on the back of your legs). Use fantasy or surreal “child” surrogates and situations ( the child as a floating balloon, or twice the size of the mother, or shapes giving birth to other shapes0…Now you are played with, supported rocked, fed, snuggled…. • Create two phrase • 1Mother and child image easily recognizable • 2movement takes over an becomes abstract ( a solo of being rocked, variations on holding and playing)