Rhythmic patterns may be metered or free rhythm. Dance movements may also show different timing relationships such as simultaneous or sequential timing; or brief to long duration; fast to slow speed; or accents in predictable or unpredictable intervals. Time may also be organized in other ways including clock time, sensed time, and event-sequence. Dancers may take sight cues from each other to start the next phrase or use a shared sense of sensed time to end a dance. They may even take cues from an event such as a train whistle during an outdoor dance performance.
The inherent rhythms in our movement and our aural landscape are a rich source of variation in dance. Watch the video clip, paying particular attention to how the dancers use time. Consider timing relationships as well as metered time. As a group, discuss how the element of time is used in the performance and use the BASTE Analysis Worksheet to write out your descriptions.
Dig Deeper. Create four movements or gestures that easily link together to form a sequence with no musical accompaniment.
Using just the element of time, develop two variations of your phrase. You may add music or other sounds in these variations, but at least one should be in silence. Perform the basic sequence with variations.
Have the group respond by describing what they notice about the timing. Energy is about how —it refers to the force of an action and can mean both the physical and psychic energy that drives and characterizes movement.
Choices about energy include variations in movement flow and use of force, tension, and weight. A run might be free flowing or easily stopped, and it may be powerful or gentle, tight or loose, heavy or light.
A dancer may step into an arabesque position with a sharp, percussive attack or with light, flowing ease. Energy may change in an instant, and several types of energy may be concurrently in play. Energy choices may also reveal emotional states.
For example, a powerful push might be aggressive or playfully boisterous depending on the intent and situation. A delicate touch might appear affectionate or uncertain, or perhaps suggest concern. Some types of energy can be expressed in words, others spring from the movement itself and are difficult to label with language. Sometimes differences in the use of energy are easy to perceive; other times these differences can be quite subtle and ambiguous.
Perhaps more so than the other elements, energy taps into the nonverbal yet deeply communicative realm of dance. Next steps. The 5 actions of dance - jump, turn, travel, gesture and stillness.
In dance , the body is the mobile figure or shape, felt by the dancer , seen by others. Dancers may emphasize specific parts of their body in a dance phrase or use their whole body all at once. Basic Dance Steps Ball Change.
The ball change is found in most dance disciplines, including jazz, tap, lyrical, and hip hop. Box Step. This one will get you through any wedding; it's your basic tool from foxtrot to rumba. Heel Turn. Action is any human movement included in the act of dancing — it can include dance steps, facial movements, partner lifts, gestures, and even everyday movements such as walking.
Space: refers to the space through which the dancer's body moves general or personal space, level, size, direction, pathway, focus. Relationship : refers to the relationship the dancers ' body parts have to everything else spatial relationships , time relationships , relationship to music, and to each other.
This Travelling section covers those Figures in which dancers proceed within and around The set, usually two or three side by side and usually Taking hands in one or other of the standard Holds. The term is also used to refer to any movement using a Travelling Step in Reels, Chains and so on.
Dynamics , when used as a dance term it expresses the way in which shape of movement is executed see effort qualities too. Outside Laban's theory, dynamics would also refer to movement qualities associated with expressive, affective or other physical components.
The definition of formation dance in the dictionary is any dance in which a number of couples form a certain arrangement, such as two facing lines or a circle, and perform a series of figures within or based on that arrangement.
Stillness is not just the absence of motion, but is a series of precise and powerful movements that creates the illusion of motionlessness. Only movement is constant.
Stillness does not exist. As a dancer it is important to be able to create this illusion of the complete absence of motion. Steps Use videos and movies. By watching a variety of movies and dance videos, you can get an idea of what you like and what you want to learn. Gifts and grants to educational programs at the Kennedy Center are provided by A. Kenan, Jr. Gary Mather and Ms. Christina Co Mather; Dr. Additional support is provided by the National Committee for the Performing Arts.
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Your tax-deductible gift will help keep our vital arts and education initiatives accessible to more communities across the nation! To join or renew as a Member, please visit our Membership page. To make a donation in memory of someone, please visit our Memorial Donation page. Body: Who Dances? The Dancer! It is born in our body, exists in our body and dies in our body. Dance, then, is the most personal of all the arts. Action: The Dancer Does What? Movement can be divided into two general categories: Non-locomotor or axial movement: Any movement that occurs in one spot including a bend, stretch, swing, rise, fall, shake, turn, rock, tip, suspend, and twist.
Locomotor movement: Any movement that travels through space including a run, jump, walk, slide, hop, skip, somersault, leap, crawl, gallop, and roll. Space: Where Does the Dancer Move? Through Space! To better explain, here are some ways a choreographer or dancer thinks about space: Level: Is the movement on the floor, or reaching upward?
Are they performed high, medium, or low? Direction: Does the movement go forward, backward, sideways, right, left, or on a diagonal? Place: Is the movement done on the spot personal space , or does it move through space general space, downstage, upstage? Orientation: Which way are the dancers facing? Pathway: Is the path through space made by the dancers curved, straight, or zigzagged?
Or is it random? Size: Does the movement take up a small, narrow space, or a big, wide space? Relationships: How are the dancers positioned in space in relationship to one another? Are they close together or far apart? Are they in front of, beside, behind, over, under, alone, or connected to one another?
We can think of time in the following ways: Clock Time: We use clock time to think about the length of a dance or parts of a dance measured in seconds, minutes, or hours. Timing Relationships: When dancers move in relation to each other before, after, together, sooner than, faster than.
If dances are done to music, the movement can respond to the beat of the music or can move against it. The speed of the rhythmic pattern is called its tempo. Dancers may perform movement without using music, relying on cues from one another. Energy: How? Some ways to think about energy are: Attack: Is the movement sharp and sudden, or smooth and sustained? Weight: Does the movement show heaviness, as if giving into gravity, or is it light with a tendency upward?
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