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Week 9 Merengue and Salsa

I found both of these styles vastly different from each other. Merengue was very simple and easy to pick up, whereas salsa I found really hard. I really enjoyed dancing merengue. We have done it before which helped me to pick it up quickly. I was able to get feel of the dance quickly and therefore I was able to lead the partner dancing really well. However, if I were to dance with a male now, I would find it very hard to give him the control over the dance. I loved to feel the difference between all of the Latin styles over the two weeks. Merengue was the simplest to learn the footwork because it was a simple walk most of the time. Samba and Salsa had more variations in the timing, and patterns of the feet.

Because of the simplicity of the steps it was easy to see how this would have been considered ‘lower-class’ dance; meaning that it would not have been fancy enough, or glamorous, or showy to be in the higher circles of society.

Once again I loved dancing Salsa as it was unlike anything I’ve done before. This was probably one of the hardest styles for me to pick up, apart from Bollywood. This is not necessarily because it was a high intensity dance, or it that it was intricate. But it was actually the timing of the footwork that confused me. I found it really challenging because it was a bit more structured than the other two Latin styles that we have danced. My steps were always too wide, and I forgot to pause slightly with the heel raised. The timing with the hold took a lot of concentration. And to add the flourishes was a bit of a disaster. In saying this, it was so much fun to be able to dance with a partner.

I have noticed throughout this semester that at least half of the dance styles were based on indigenous dance when they were slaves. It is devastating to think that often all that these people had left to express themselves was through dancing. This has really challenged how I look at other dance cultures. I now feel the need to know the history of the style and the music. I hope that this knowledge is able to reflect into my dancing, where I can imagine what it would have been like for them to dance. It would have been a way to express their frustration and rebellion. There is definitely something to be said about the spirit of these people, where were still able to hold onto their culture despite being torn away from family and friends, to be brought to a strange country.

Week 8 Samba

This style has to be my favourite so far. The movements were challenging, but in a good way. While I picked up the basics really well, it took some concertation to get the right feeling of the dance. But once I got that, it was easier. I really enjoyed how chilled the whole dance vibe was. I could imagine being at a big family gathering and everyone casually dancing to the music in the background. I wish this was more common in Australia. One of the hardest steps for me was the exercise where we would walk and move our hips, and it gradually got faster. Just letting everything shake was uncomfortable, and I felt like a penguin. I found it hard to get the coordination and the timing right.

One of the quirky things that I loved about this style was how relaxed it was. I was able to draw connections to other dance styles such as hip hop. Samba has been adapted to be used as a ‘vibing’ move in hip hop, which gives it a really laid back feeling. This is especially true of the footwork. It has a party feel, without being flashy. The footwork, while fast, was not intricate and did not have to be placed exactly unlike other dance styles such as ballet. As I understand it, the movements get more intricate and complex the more advanced you are, but what we were taught was simple and a lot of fun.

I was a bit shocked to learn that this style of dance survived colonisation, by being part of worshiping the West African gods. Dance was part of the ceremony of seeking possession by the spirits of the gods. That kind of supernatural essence scares me. However, when Rachel told us that the form or channel of dance that she was teaching was purely social it was easier to relax back into it. I also found it so sad that like so many of the dance styles today it was made as a way for slaves to stay sane. Samba originated in the African traditions that were brought to Brazil through the slaves. It is absolutely crazy that 3-4 million slaves were brought. Samba is basically a Kongo rhythm and expression that was translated into the indigenous Brazilian Indians style.

I loved that the whole style was based on two characters. In the traditional style we saw in the lecture the malandro was cool and swag and the malandra was flirtatious, and sexy but in a gentle kind of way. I loved that there was this kind of dialogue between them through the dancing. It was intimate and romantic to watch. When we had the opportunity in the classes to be both characters it was fun to put a bit of bounce into your step and pretend for a little that you were the coolest person in the room.

Chinese Classical Dance Week 6

Out of all the dance styles that we have been taught, this was probably the easiest one for me to pick up. It has been the one that is most closely attributed to classical ballet. Obviously there are big differences, but a lot of the founding principles of grace and poise are similar. The music is also similar to classical ballet music. Handling the ribbons and using the proper techniques to create nice shapes was probably the hardest thing for me. The use of the forearm was critical to create the proper movement, and I can’t say that I have ever used it in this way. Because the movements of the dance were not particularly hard for me, it tried to focus more on the techniques of using the ribbon properly to keep it off the ground and constantly moving. I also tried to focus on my musicality and expression in the dance. The dance that we learnt was a majestic piece, it was supposed to be graceful and precise. The twirls and pirouettes were my favourite things to perform, because of the shape that the ribbon made around me.

The hardest part of this dance was actually at the end where we had to twirl and sit. Watching Hsin-Ju Ely do it, made the step look extremely easy, however when I tried it was more of a plonk to the ground than a gradual sit. The ribbon helped a lot with this. It was the physical representation of how I ought to look. It was something tactile and visual, where I could feel and see what I needed to do.

There were four main shapes that we learnt for this dance. There was a figure eight, side to side, front to back, and the turning swirl. I really enjoyed the turns, the ribbon made you feel freer than you normally would while turning. And it added this extra strength required for the turn because of the force of the ribbon around you. I really enjoyed the use of the ribbons. It added this beautiful dimension outside of the body, and gave this feeling of flow. I can imagine that when this silk ribbon dances are performed, that it is truly an amazing spectacle to watch all these coloured silks move gracefully in synchronisation. The shapes that we learnt were basic, but still effective when we all performed them together. It was like a colourful sea.

Hsin-Ju Ely was very encouraging to all of us. She had this beautiful expression when she danced. All of the styles so far have required some form or expression, each one slightly different to the other. Chinese Classical style is more in line of the ballet expression of looking pleasant all the time, as opposed to Bollywood dance which is more along the lines of a party feeling.

Bollywood Dance Week 5

The movements were challenging in this style because of the intensity and speed of the sequence. I found it hard to remember what was coming next quick enough. It was like a full cardio workout program. I have always found fast moving dances hard to remember as I naturally do not move like that. However, I’m always up for the challenge, and I loved that it was a new way to move and express yourself, even though I could pick many of the different styles incorporated into the one dance, Bollywood is mix of so many different dance styles, including but not limited to, classical Indian dance, Hip Hop, Jazz, Latin etc. The first dance that we learnt had more of the western style incorporated into it than the second. Even so, there was a section that was supposed to be purely Classical Bharatanatyam dance. I found this section particularly challenging.

In the two separate dances that we were taught there was an influence from Bharatanatyam classical dance style. I had no idea of any type of classical dance outside of the traditional classical ballet forms in the western world. So it was a big challenge for me to discard any ideas that I had on what classical dance should be and watch other cultures. That being said, I see now that there is an incredible strength required for just one of the classical dance styles. That it takes years of training to be considered competent. And now that I have attempted to perform one of their most basic movements and found that I could not coordinate the head, arms, and legs I have a new appreciation for this style of dance.

I loved that Bollywood is just as much about expression and having fun as it is about the steps and technique. Asha had this wonderful personality that came out when she danced. Several times she told us to stop worrying about the steps and to just have fun. Bollywood is a party dance and you can’t go wrong if you express yourself through the music. This is another aspect that I loved about Bollywood. It is so musical. The steps have particular meaning that go with the lyrics and music. Each step felt like it belonged with the music. There was nothing that felt odd or out of place.

I appreciated that Asha Shah brought up the topic of traditional ideas around the gender roles. It was refreshing to hear a perspective that did not put down men for being men, but also did not lift up women to be higher. Even though women were in some places required to wear a head dress, it was a sign of respect, something that men and women both deserve equally.

World Dance Week 3

Cultural challenges in Australian indigenous dance were a big thing for me. It was quite a shock that she talked about her spirituality so passionately. There were many things that she said that I disagreed on, such as what happens to our souls when we die, or that spirits of our ancestors live in this world. I often felt uncomfortable in the way she spoke about spirits. But I learnt from her, and now I am able to better understand the Australian aboriginals better for it. I can now communicate with them on a personal and a spiritual level. It may only be basic information but it is still some common ground to start. It is better to build trust and friendships with them, than it is to demand answers on why they live in a certain way. By knowing the protocols it makes it possible to interact with them. By addressing the elders first, being aware of where it is acceptable for men and women to be according to their culture.

I found that the movement ‘style’ of the dance is grounded, and oddly smooth. There were times when it was required to be sharp, such as when we had to clap, but there was always this feeling of being level and gentle. This is to represent the spirit world. I found this interesting that the movement was to show how the spirits in this world move and communicate with people. It was challenging for me being a classically based dancer I found it unnatural to be so bent over constantly. However I quickly found I would lose balance more easily, and the steps are made so much harder when I was standing upright.I loved the rhythms in this dance.I found it difficult to get the right syncopation for the steps, but I loved that as the rhythm built up it began to sound like rain.

Dance is expression and communication to both the other people in the community, and to the spirits. All of the dances that I learnt were to be done by both men and women, giving a wonderful sense of the whole body of people. It was interesting for me to note the differences in style and performance of the two different genders. The men were to represent strength; they are the hunters and providers of the family. Their job is to protect. This is shown through the wideness of the stance, through how big and sharp the movements are. Where on the other hand, the women are to care for, nurture and support the men. This was shown in the stance, it was narrow and dainty.

I enjoyed the information I was able to learn about the natural owners of this beautiful land. I feel like I am better equipped to communicate with them, both in words and dance.

KDB222 World Dance Week 2

Tahitian and Hawaiian

I have never danced any kind of style outside of the regular (Ballet, Tap, Jazz, Hip Hop, Contemporary), so to dance different styles of Polynesian was very difficult for me. The Tahitian style was hard for me because of the speed. The hip movements were incredibly fast, and I found it difficult to keep the proper tempo. As a beginner I struggled to pick up the choreography. But, there was a certain amount of feeling like we were a community as we all danced together, because we were all struggling but still thoroughly enjoying it. I loved that it was so fun and upbeat.

I found the different traditional costumes very interesting. If the dancers lived on the original islands, they would have make all their own costumes, and wear fresh flowers. But now, because they live on the mainland, they have to import the bark that the skirts are made from. And they wear fake flowers. Even so, the costumes are incredible. All of the pieces can be used in a different combination, so the costume looks new. In Tahiti, the costumes are were ‘grass’ or bark skirts. The shirts that go with them can be full length, or cropped. I loved the hip bands. They were made similar materials as the skirt, but held stiffly out to the side. I loved that it would accentuate the movements of the hips, which are the main focus of the dancing style.

Hawaiian dancing was smooth and slower in tempo, meaning I picked it up pretty well. When we learnt the Hawaiian dancing, I learnt that the stereotype of arms that flow like waves is not normal. In fact the arms are fairly held when they are out to the side, unless the point is to imitate the sea. Each movement in every dance has to be a part of the story or mean something significant. So the linking steps generally have still arms. I learnt basic arm movements such as the mind, soul and body movement, which is like you are tracing your body from above your head to your waist.

There are two different style of Hawaiian dancing. Hula Kahiko is the more traditional style. It is often danced slower with more respect to the spiritual aspects of the dance. Whereas Hula Auana is the more modern and commercialised style, and perhaps the more stereotypical.

There were similarities between the two styles, even though they are obviously different. For example, in both of the styles women are seen in the traditional sense, meaning that they are seen as delicate, as supporters and helpers to the men. This translated into the dance styles. Their feet are kept together, as opposed to the men who had wide and sturdy positions. The are movements are also more gentle than the men. However, the women still have a strong role to play in the life of the community.

Semester 2

This is were the World Travel Diary for KDB222 World Dance begins.

This is my original work for Dance Composition Assessment 1. This was videoed the day before the assessment. Disclaimer: I do not own the music. Music by Jim...

Dance Composition Week 10

This week was assessment week. I want to talk about my choice of music. Personally I work better when I have music to give inspiration, to help mold the movement. I do this a lot so I tried to move away from using the music too much. I worked more with tasks than I have ever done before. I found this particularly hard, because when we do task work in class it is often with another person or group of people, so you are able to bounce ideas around. However, working by myself was a challenge because I didn’t have that different point of view.

I chose to use minimalistic music so that it would be constant background noise like the beach. It had a little inflection that sometimes lined up with what i had created. Occasionally I got stuck and had no inspiration to move, so I listened to more complex music and created to that. I later transferred it over to my dance.

I enjoyed being able to explore the movements of amazing birds. To look at their life span, movements, and environments then figure out how to translate that into a human body was an amazing experience. However, I really struggled with out the support of good music. This was a learning curb for me, to realise that music is a bit of a crutch when I dance. That being said I would love to continue to explore dance connected or disconnected from music.

Toolbox

This is built on the toolbox from week 5.

Listen to the music. Hear the beats. Hear the underlying notes, the small things that make the music interesting. Make small movements based on the underling notes.

Build on the above by keeping those small movements and inflecting them with bigger movements on the beat. This creates an interesting dynamic. https://www.youtube.com/watch?v=31EAVxj1aLs&t=244s (Musicality - Understanding Music)

Without music, listen to what is around you. There might be nothing. Embody that nothingness. There might be an air-conditioning buzzing. How can you move to show that sound? There might be another person in the room, move to their voice.

Dance Composition Week 9

Next week was assessment week. So here is the break down of the process I used to create my dance. I started with the idea of the effortlessness of sea birds when they fly. This main concept changed and adapted a bit as I went along. However the idea of imitating birds stayed the same. I took a lot of inspiration from Merce Cunningham’s work Beach Birds.

Above are some questions that I had to answer through the dance. I answered the first and third question through the use of motif progression. I had three main motifs, which were, scratching/shaking, walking, and ‘flying arms’. I tried to make progressions of these by doing them in different locations (i.e. on the ground or standing), doing half the movement, and repetition.

The second question was more difficult to answer or show. I really had to use study the movements of birds, and Cunningham’s work. I gave myself a task or working through a scenario, for example a windy day, and moving how I pictured a bird would move. I also looked at the baroque period of dance patterning. I loved how symmetrical they were, like migration patterns. So my floor pattern was based off one of these patterns. (Pattern below)

If I could do it again, I would have chosen different music, as I found working without music really hard. I felt like I needed more of an ebb and flow in the music, like waves on the beach. However, I really enjoyed the challenge this presented to me, and I can’t wait to further my skills as a choreographer.

Toolbox

These tools are some that I used to create my dance.

Improvisation through imagery and words.

Concept and floor mapping. Have the children draw a shape on paper. They must then walk through that shape noticing if and when they felt the need to add a pause or move faster. Or even had to change their route because of ‘traffic’ issues. Go back to the paper and add markings to any place where something out of the ordinary happened.

Embodiment of an image. I used birds, how would they respond to certain stimuli? What shapes do they make? Could be used for different images or geographical structures. For example, a building, what is its shape? What little quirks can be found in it? What emotion or feeling does it remind you of?

This was week was the 'dance fight' choreography by Steph.

I loved this week! We were able to learn this amazing fusion of dance and self defense. I have always been curious about melding different styles and genres of movement together. One fusion I would love to try is Hip Hop/Contemporary.

The above video was taken a week after we learnt the dance. It was really challenging to remember the timing, however this timing is what would make the dance amazing to watch (if done properly). I really wished that we could have had more time to perfect this dance, because even after such a short session, I was in love with the dance. The movements gave me an incredible feeling of strength and vulnerability. This feeling, paired with the intensity of the dance is something that I would love to recreate. I love to teach, so if I would consider myself successful if I could instill a sense of love for dance, like Steph has done for me.

I really enjoyed working with a partner. It was almost like I fed off the tension between us. We needed to be in tune to the same imagery, the same source of the movement. While we were focused on the individual movements of the dance, we were forced to use expressiveness, because that is what the dance required. When we let the aggression flow there was a noticeable difference in the way we moved together, in the way that we each anticipated the others movements.

Toolbox

Mental strategies to work well with a partner. As you dance, feel the motion of your partner. Feed off their energy, and give energy in return. Imagine that your motions come from the dame source, that they are motivated by the same intention (Franklin 1996, 192).

Pretend that you are magnets. You can choose to be connected together, or to bounce away from each other. However, you must mirror the movements of the other partner. If you are magnets drawn together, be close and work in harmony. If you are opposite magnets, attempt to get close but never do.

This is the elevated view for the dance composition. Our stimulus was fractals

On the Friday class, the stimulus we had for the dance was fractals. I found this group difficult to work in and I wasn’t happy with how the end result turned out. This is because we had a couple of really strong personalities who didn’t let the ‘quieter’ ones have a say. As a result, the dance ended up being more poses and shapes, rather than a dance. However, I did like how when you changed the perspective of the audience (from front on to elevated), how your attention was drawn to different aspects. In the video that I’ve posted, it is the elevated view. I preferred this one, because the dance was created with this perspective in mind. I like how you are drawn to the shapes and the up/down movements from this point of view.

Toolbox

Creating through snapshots. Select an image that appeals to you. Close your eyes and let the image remind you of something. Write single words, fragments of sentences, or pictures as these related images come to mind. Do not reflect on them, just keep going. After a while, look back at the motions you have captured. (Franklin 1996, 208)

Group Work. Each person brings/shows an image. Create a small piece personally, only a few counts. Come together and stand or sit in a circle. The image is then handed to the left. Separate again and create a small piece. Now each person should have 2 separate combinations. Work together as a group, and try to fit all the pieces together like a puzzle.

Dance Composition Week 5

This week we listened to the self-interview by Chrysa Parkinson. I didn’t understand a lot of what she said. While my mind is creative and visual, her circular arguments made little sense. But in the first five minutes I did understand her need to define practice. Yes words can limit, but they also define and make the end goal easier to see. If the words limit too much it is not hard to change slightly, even the just emphasis. You can use words in all things, even dance, it is a stimulus, a necessity. It’s part of what makes us human.

On the Friday class we showed what we have been working on for our personal composition. I chose for my dance the theme the idea of Effortless Flight. I was looking at different types of sea birds and the way they move naturally. This is my inspiration for the floor patterning of the piece. I now have to choose the sequencing of the dance, decide if I want a climax at all, or simply keep monotonous movement. The music I decided to use is very even without any swells. So do I want to work with, or against the music?

Toolbox

Have the children choreograph to sound. Not necessarily music, just sounds or a string of sounds. For example the sounds could be a long drawn out sound like hands scraping the floor, or quick like a stamp. The make movements based on these sounds. Put them altogether, and try with music.

Create to feeling invoked by nature.

Imagine the motion of nature, it use of locomotion and transportation. How does a cloud get from one side of the sky to another? How does the grass flow in the breeze?

Capture these movements

Dance Composition Week 4

https://www.youtube.com/watch?v=42GyM1LLZPY

I really enjoyed this week, as it gave us room to dance other dance styles, which is something we have lacked for a while now. We were forced to expand our perception of ‘good’ dance by creating something that was generic to that style. I noticed that our group was extremely resistant to chance. When the dice was rolled, we would consider is this really what we want to do? If it wasn’t it would be changed. For example, when it came to adding a form or structure to the dance we rolled ‘in a round’. We didn’t like it, so we changed it to cannon.

Something interesting to note, when we rolled the dice for the sequencing we didn’t roll either a 1 or a 3, so we had an extremely repetitious dance of four movements. But we found the random sequencing essential otherwise we would have had our own feelings of what dance should look like mixed in. This way, there was only movement for the sake of movement.

“Man did not create form. Rather, out of an innate drive to create order out of chaos… he discovered the existence of form.” (Blom, & Chaplin. 1982. pp. 83-123.)

Toolbox

Ask children to come up with movements from a couple of different genres. Just simple movements that could easily be strung together. Have them do the movements as they were intended to be done (e.g. two Hip Hop moves, two ballet moves, and two contemporary moves). Then have them change each movement to fit each genre.

After creating the above movements, play around with the different forms (e.g. ABA, Rondo), or maybe no form at all. Perhaps make it chance. Once this is done, reflect on the difference that form makes. Describe any different feelings, emotions, aesthetics that you noticed with each different form. How does it add to or take away from the complexity of the dance and movements.

Dance Composition Week 3

This week we looked at the movements that we had ‘performed’ during the week. In our group we discussed many different ideas based on this task. I noticed that some people’s task required them to do it the same way everyday. While others depended on their mood, and other outside influences.

We can use these different ideas of using pedestrian movement when we choreograph. We can choose movement that anyone could do, and string it together. However if we want to add layers of meaning and depth to the movement, then we use outside influences and our emotions to give new meaning to an otherwise pedestrian movement.

Here is examples of the movements that were strung together. This was just the movement with out any embellishment. It showed life as a performance. However, were others which were ‘dance-y’. While you can still see the original movement, it is blurred a bit by added choreographic input, such as repetition.

Toolbox

Get children to brainstorm ideas about how they move in everyday life. How do you put your clothes on? How do you prepare breakfast? After they have chosen their movements, string them together. Then add layers of timing, patterning or choreographic choice.

As I do not have access to a program like poser, we could watch videos of different dances and pause at random times. Then take the couple of seconds after the pause to pick a movement from the dance. String these together randomly using a dice.

Dance Composition Week 2

This week we built on our improvisational skills. I will focus mainly on the dance improvisation itself as I find that is the most useful to what I will be doing in my career. As I stated last week, I am really trying to find new ways for me personally to move, to be less generic. As the stimulus through words came to us (dot, flick, brush) I started really trying to embody each word. This particular stimulus was relevant to me as I enjoy creating calligraphy, so I found myself beginning to embody particular pieces of work that I created.

This was one of the images that I ‘saw’ while dancing. I didn’t take notice of what the actual words were, but of the feeling they evoked. I felt a fluidity, and symmetry. Obviously these images weren’t clear images in my mind, but I had this sense of twisting and curling up on myself.

I feel that improvisation through word stimuli is the most relevant to a teaching artist situation. I hope to teach and inspire younger generations to dance. To find a word that really resonates and creates a different approach to movement is a difficult task, but also exciting. As I heard the words, ‘saw’ the images, and felt the inspiration, I noticed that I actually began to think less. The movement came easier without being forced.

Toolbox

Use the idea of trying to get paint to cover the whole body. Starting on the floor and working your way up to standing.

Give them a word such as hit, brush, collapse ect. and they have to embody it. Or perhaps even a colour and they have to embody the emotion that is attached to it. Such as red = passion, anger, love

Dance Composition Week 1

This week we discussed different strategies and tasks to help initiate movement; at the different mental techniques that we can apply to make more variation in movement.

We had to choose a book to read at the start of the Tutorial. The book I chose really gripped me, almost like I was reading a novel. I chose a topic that looked interesting, and was gifted with this little gem of information. It stated that, ‘Action exists between time, forces, motion, and the body.’ (Streb, Elizabeth. How to become an Extreme Action Hero.) This made me really question how I move. Is how I move focused inwardly to how I feel, or is it projected outwards with a knowledge of space and time? Do I follow my own usual routes of movement, or do I push my boundaries to find more variation and excitement in my dance? While all of these things are not necessarily wrong or bad, however, by themselves, they are not conducive to build myself as a dancer.

After reading this, I started the long journey of critically looking at my improvised movement. So it was helpful when we were given the idea of a ball of light moving through our bodies. This made me realise that most of my movement is pretty standard, and not ‘new’. So I found it very difficult to incorporate the three ways of moving the ‘ball of light’ together. I would begin moving a certain way, tipping the ball for example, and continue this for a while before I remembered that there were other ways I had to move. My goal for this unit is to find new ways for me to incorporate more movements together to make it more exciting. I want to look for new ways for me personally to move. This will be hard as I like to sit in my comfort zone. But, Streb advises that it is best to get out of your comfort zone and stay out. To invite danger. (Streb, Elizabeth. How to become an Extreme Action Hero.)

Toolbox

Experiment with shape and line. Step into an image and try to recreate it. Such as the geometric design of a room, tracing the lines and shapes with a body part.

Use juxtaposition or paradoxes to evoke feelings and movements. Try to solve these impossibilities through the movement. Things such as moving so fast that you go nowhere, being everywhere at once, moving so far in a vertical direction that it becomes horizontal. (Streb, Elizabeth. How to become an Extreme Action Hero.)

See where the impetus comes from. Is it the breath, is it the arm, the core, or the pinky finger. All these things create different feelings and ‘textures’ of movement.

Dance Toolbox

Disclaimer: The purpose of my toolbox is to have on hand different tasks to evoke movement in the dancer. This will most likely be used for younger dancers approx. ages 10-16. So for ease of later use and understanding, this will be worded as simply as possible.

Week 1

Experiment with shape and line. Step into an image and try to recreate it. Such as the geometric design of a room, tracing the lines and shapes with a body part.

Use juxtaposition or paradoxes to evoke feelings and movements. Try to solve these impossibilities through the movement. Things such as moving so fast that you go nowhere, being everywhere at once, moving so far in a vertical direction that it becomes horizontal. (Streb, Elizabeth. How to become an Extreme Action Hero.)

See where the impetus comes from. Is it the breath, is it the arm, the core, or the pinky finger. All these things create different feelings and ‘textures’ of movement.

Week 2

Use the idea of trying to get paint to cover the whole body. Starting on the floor and working your way up to standing.

Give them a word such as hit, brush, collapse ect. and they have to embody it. Or perhaps even a colour and they have to embody the emotion that is attached to it. Such as red = passion, anger, love

Week 3

Get children to brainstorm ideas about how they move in everyday life. How do you put your clothes on? How do you prepare breakfast? After they have chosen their movements, string them together. Then add layers of timing, patterning or choreographic choice.

As I do not have access to a program like poser, we could watch videos of different dances and pause at random times. Then take the couple of seconds after the pause to pick a movement from the dance. String these together randomly using a dice.

Week 4

Ask children to come up with movements from a couple of different genres. Just simple movements that could easily be strung together. Have them do the movements as they were intended to be done (e.g. two Hip Hop moves, two ballet moves, and two contemporary moves). Then have them change each movement to fit each genre.

After creating the above movements, play around with the different forms (e.g. ABA, Rondo), or maybe no form at all. Perhaps make it chance. Once this is done, reflect on the difference that form makes. Describe any different feelings, emotions, aesthetics that you noticed with each different form. How does it add to or take away from the complexity of the dance and movements.

Week 5

Have the children choreograph to sound. Not necessarily music, just sounds or a string of sounds. For example the sounds could be a long drawn out sound like hands scraping the floor, or quick like a stamp. The make movements based on these sounds. Put them altogether, and try with music.

Create to feeling invoked by nature. Imagine the motion of nature, its use of locomotion and transportation. How does a cloud get from one side of the sky to another? How does the grass flow in the breeze? Capture these movements

Week 7

Creating through snapshots. Select an image that appeals to you. Close your eyes and let the image remind you of something. Write single words, fragments of sentences, or pictures as these related images come to mind. Do not reflect on them, just keep going. After a while, look back at the motions you have captured. (Franklin 1996, 208)

Group Work. Each person brings/shows an image. Create a small piece personally, only a few counts. Come together and stand or sit in a circle. The image is then handed to the left. Separate again and create a small piece. Now each person should have 2 separate combinations. Work together as a group, and try to fit all the pieces together like a puzzle.

Week 8

Mental strategies to work well with a partner. As you dance, feel the motion of your partner. Feed off their energy, and give energy in return. Imagine that your motions come from the dame source, that they are motivated by the same intention (Franklin 1996, 192).

Pretend that you are magnets. You can choose to be connected together, or to bounce away from each other. However, you must mirror the movements of the other partner. If you are magnets drawn together, be close and work in harmony. If you are opposite magnets, attempt to get close but never do.

Week 9

These tools are some that I used to create my dance.

Improvisation through imagery and words.

Concept and floor mapping. Have the children draw a shape on paper. They must then walk through that shape noticing if and when they felt the need to add a pause or move faster. Or even had to change their route because of ‘traffic’ issues. Go back to the paper and add markings to any place where something out of the ordinary happened.

Embodiment of an image. I used birds, how would they respond to certain stimuli? What shapes do they make? Could be used for different images or geographical structures. For example, a building, what is its shape? What little quirks can be found in it? What emotion or feeling does it remind you of?

Week 10

This is built on the toolbox from week 5.

Listen to the music. Hear the beats. Hear the underlying notes, the small things that make the music interesting. Make small movements based on the underling notes.

Build on the above by keeping those small movements and inflecting them with bigger movements on the beat. This creates an interesting dynamic. https://www.youtube.com/watch?v=31EAVxj1aLs&t=244s (Musicality - Understanding Music)

Without music, listen to what is around you. There might be nothing. Embody that nothingness. There might be an air-conditioning buzzing. How can you move to show that sound? There might be another person in the room, move to their voice.

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