9: Choreography and Production
- Page ID
- 292841
\( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)
\( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)
\( \newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\)
( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\)
\( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)
\( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\)
\( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)
\( \newcommand{\Span}{\mathrm{span}}\)
\( \newcommand{\id}{\mathrm{id}}\)
\( \newcommand{\Span}{\mathrm{span}}\)
\( \newcommand{\kernel}{\mathrm{null}\,}\)
\( \newcommand{\range}{\mathrm{range}\,}\)
\( \newcommand{\RealPart}{\mathrm{Re}}\)
\( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)
\( \newcommand{\Argument}{\mathrm{Arg}}\)
\( \newcommand{\norm}[1]{\| #1 \|}\)
\( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)
\( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\AA}{\unicode[.8,0]{x212B}}\)
\( \newcommand{\vectorA}[1]{\vec{#1}} % arrow\)
\( \newcommand{\vectorAt}[1]{\vec{\text{#1}}} % arrow\)
\( \newcommand{\vectorB}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)
\( \newcommand{\vectorC}[1]{\textbf{#1}} \)
\( \newcommand{\vectorD}[1]{\overrightarrow{#1}} \)
\( \newcommand{\vectorDt}[1]{\overrightarrow{\text{#1}}} \)
\( \newcommand{\vectE}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash{\mathbf {#1}}}} \)
\( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)
\( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)
\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)- 9.1: Introduction- Choreography and Production
- This page emphasizes the importance of discipline in dance education, linking it to creativity and essential skills. It highlights the struggles dancers encounter in a competitive job market and critiques traditional curricula that prioritize classical methods.
- 9.2: The Traditional College Dance Education
- This page critiques traditional college dance education, highlighting its Euro-American focus and minimal attention to non-western forms. It underscores the importance of aesthetic dance education for technical and artistic growth but notes its limited scope. The use of "What If" questions is advocated for fostering critical observation, deeper analysis, and innovative choreography, ultimately enriching the understanding of dance.
- 9.3: The Craft of Choreography
- This page underscores choreography as a complex craft that involves more than just creativity. It encourages the use of tools such as choreography journals for documenting ideas and emphasizes the avoidance of plagiarism. It also introduces sound maps for grasping musical structures and storyboarding for organizing dance formations. Ultimately, it provides essential strategies for aspiring choreographers to enhance their skills and produce impactful dance compositions.
- 9.4: Know Your Performance Space!
- This page emphasizes the importance of understanding the performance space for effective choreography. It highlights that choreographers need to consider various factors such as dimensions, surfaces, entrances and exits, backstage facilities, and technology requirements. By assessing stage specifics, including surface conditions and audience interaction, choreographers can plan effectively and ensure their work aligns with the chosen performance environment.
- 9.5: Making Movement- Movement Motivations
- This page discusses the essential elements of a choreography journal, highlighting the importance of motivational intent, movement motivations, and creative manipulations. It emphasizes diverse inspirations behind choreography, such as music and emotions, and encourages dancers to express complex themes through storytelling in their movements, responding thoughtfully to musical dynamics. Ultimately, choreography should serve as a reflection and influence on culture.
- 9.6: Tempo Design
- This page explores duple and compound musical meters, discussing their structures and implications for choreography. It emphasizes the significance of precise tempo in dance and identifies various movement levels (high, medium, low) and shapes (circle, rectangle, triangle, square) that can be utilized in dance routines.
- 9.7: Movement Stimuli
- This page details a set of creative assignments designed to inspire dance choreography through various sensory elements, including visual, auditory, and tactile experiences. Students create movements influenced by colors, textures, and sounds while exploring natural objects and everyday movements. Visual imagery prompts fuel imagination, resulting in the development of movement phrases. The overall goal is to integrate diverse sensory experiences to enrich artistic expression in dance.
- 9.8: Movement Manipulations
- This page explores choreography techniques such as acceleration, deceleration, symmetry, and asymmetry, alongside movement variations like high/low and smooth/sharp. It features William Forsythe's "Artifact Suite" (2011) with Polish National Ballet dancers Marta Fiedler and Robert Bondara, illustrating contrasting tempos and shapes that blend classical ballet with dynamic movement styles.
- 9.9: Leadership
- This page highlights the importance of leadership cultivation in dance education for effective choreography and productions. Key qualities of leaders include clarity of purpose, understanding their roles, serving others, and showcasing authenticity. Leaders must inspire and adapt while considering the broader context of their decisions.
- 9.10: 21st Century Dance Education- Entrepreneurship
- This page advocates for a 21st-century college dance curriculum that integrates creativity with entrepreneurship. It highlights the importance of equipping students with skills in administration, marketing, construction, and community outreach. Students learn about project management, performance promotion, and costume/set design, while also engaging in fundraising and charitable activities.
- 9.11: The Making of a Dance Professional
- This page discusses the modern evolution of dance careers beyond traditional roles, advocating for an entrepreneurial mindset in dance education to navigate a competitive job market. It highlights various career options like choreographer and dance therapist, while suggesting practical tasks for students to develop essential skills.
- 9.12: Conclusion- A Pedagogy of Productivity
- This page argues that college dance education should focus on a pedagogy of productivity to equip students with skills for personal fulfillment and economic sustainability. It emphasizes the need for dancers to develop entrepreneurial skills and leadership, exploring diverse career paths, like choreographic roles, to enhance their marketability and confidence.
- 9.13: References
- This page highlights academic articles and resources on dance education and career development in the performing arts. It covers themes such as integrating social foundations in dance, student well-being during crises, the necessity of entrepreneurial skills, and the role of intercultural education. The challenges faced by dance educators and industry job opportunities are also discussed, underscoring the changing landscape of dance training and its effects on students and professionals.
Thumbnail: Dance to express. (unsplash License; ketan rajput via Unsplash)