The Challenges Of Movement And Improvisation

Two years into the competitive dance world I felt like a machine.I wanted to have my own style,and to be an artist so I left my home-studio and became an independent dancer.Being an independent dancer gave me the opportunity to find my style and who I actually am.While I was finding my own style, simultaneously my personality shifted from close-minded and analytical to optimistic,quirky and outgoing.I found myself hanging out with my friends more,and trying new things, crafting in particular.Exploring the different realms of dance showed me who I genuinely

Movement establishes and moves the narrative. From movement, as from all elements of mise-en-scene, our intertextual threads awaken and we use these to make meanings, which change those threads we have in different arrangements to each other. Obviously this is one of the most powerful elements of mise-en-scene. You may like to think about the impact of expression, position and movement by asking questions like `Why is she standing there? ' `What effect does that have? ' `Why is he playing the mouth organ? Why is she lying behind the other actor? '

Dance is one of the major things that defines my identity and it is an interest that had become so meaningful, that without it my application would be incomplete. This has been able to shape me throughout the years, from discipline and maturity all the way yo leadership and teamwork. I find dance as an art work, that it is easy to make mistakes and fall, you just have to learn from those mistakes and get up twice as strong as from where you started. Dance is to look above and beyond and just let everything fall into place without hesitation.

Every time you step onto the stage the movement you show reveals you as the dancer but also the dance that was created. A ballet isn’t as simple as an arabesque or balancé de côté that are put together to provide a show. Each ballerina on the stage brings their own personal approach to how they dance, it’s a little more psychological than one may think. As said by Likolani Brown “you have to work hard but also not lose track of who you are and you have to remember why you do it. You do it because you love it and you have something individual to give to the art.” For a dancer it’s not just the determination but the personality in dancing that fully brings one to the art. In ballet or any form of dance there are two elements which are inward and outward. Inward being the choreography or creativity of an artist tied together with the outward putting pressure on that artist to create a product. This product of art has to keep the ballet world spinning even though so little is understood about the ballet. So, how can we as ballerinas can we really communicate the inward with each other or with the audience when the pressure of the outward lies so heavily? A ballerina will speak no words but will be heard because the movements that we make is our own form of communication. Movements, choreography, terminology are all things a ballerina would use to really say something, to explore and discover more about each other. For dancers this form is so unique and special to us because we

Alvin Ailey’s movement style has been shaped and moulded constantly as he moved through his life. Whether it was personal experiences or key dancers he worked with, each individual story is told through his works and tells the story of Ailey’s life.

Experimenting with the movement of Jose Limon brought energy to my piece that captured people's attention. Many of the movement is not as stylish as lyrical movement, but yes it is still interesting. Learning about Limon taught me many new movement that can be used to choreograph pieces. For this dance to be my last choreographed piece in high school, it turned out better then I

The space, time and usage of dynamics were powerful yet elegant-elements that added to the overall quality and tone of the work. The solo dancer used her body to perform various movements with specific ranges of motion, showing her ability to control, express and properly connect to the audience through her performance. In this performance, there seems to be a spiritual side when the dancer, Marilyn Banks, sits on the bench and starts to swing her arms in wide semi-circles to show looks of anguish and despair. Ms. Banks also varied movement by quivering her hands-movements such as a shaking or slight trembling with her hands when reaching outwards. She also used a lot of ornamentation or embellishment through her movements. Her body and her path of movement embellished her gestures since she was performing spins across the stage.

The movement is, above all else, gestural. The gestures start out as being removed from meaning and feeling, but eventually become more sensual and fulfilled. The gestures are also what could be considered taboo. Both dancers grab their breasts, groin, and thrust their lower bodies repeatedly throughout the piece. As the dance progresses, the movement goes from being placed and calculated to becoming something more reckless and passionate. There is also a lot of

Petipa’s production of Swan Lake is a beautiful example of the structure movements that dancers must perform; in the clip titled Odile entrance & Black Swan pas de deux, you see “The Black Swan” perfect posture and balance, dancing on en Pointe all the while managing to gracefully seduce the prince through her seductive movements and entrancing expressions. In contrast Modern dance focus is on the dancer expressing their inner most emotions and feelings through free flowing movements. The modern dancer uses their whole body more naturally and fluidly to convey what their current emotional state is, unlike classical ballet where the ballerina at all times keeps an upright posture, and performs with structured, angular lines. Martha Graham’s “Frontier” is a great example of the free movements of Modern dance; In this performance Martha Graham uses her whole body to move to the rhythmic sounds of the drums and music, you can clearly see that there is no confined structure in this performance, she is completely moving organically to how she is feeling and what she is trying to convey through her movements.

While watching the performance of the company, I notice how their choreography is displayed into action. The improvisation class that Robert Moses taught gives me an opportunity to really be engaged and focus on my habits to try to find an escape. Even though the Robert Moses Kin dance company is strictly a choreographic work, there are some improvisational components included in the performance, such as mirroring and the use of physical contact. By observing this performance, I am trying to base and look at it from an improvisational perspective.

My personal aesthetic in the terms of dance extends far beyond mentioning what I like and what I dislike. It unfolds the layers of my personality, my style, and my past experiences. I tend to think of aesthetics in the form of a jigsaw puzzle. Within a puzzle there are hundreds of important pieces that fit together to make a grand image and each puzzle piece requires a process of development and self-discovery. My aesthetic puzzle pieces include confidence, vulnerability, dynamic, high energy, illusion, and emotional connection. Most of my aesthetic is initiated by personal preference or a significant event in my life, but I will start with the foundation of my dance training first. I was raised in the dance studio where I regularly practiced ballet, jazz, tap, musical theatre, and contemporary. I was blessed to have the opportunity to explore multiple genres of dance at a young age and as a result of this, I began my aesthetic development with a very versatile palette of movements and interpretations.

After high school, I joined the Deeply Rooted Dance Theatre Pre-Professional Training Program and 2nd Company. Under Kevin Iega Jeff, Gary Abbott, and Andrea Johnson, I not only learned how to use my body as a way of expression, I learned how to vocalize my needs as an artist, woman, and human being. Verbal expression was not my strong

Dance has been apart of my life ever since I can remember. When I was young, before I officially started my dance training, I was always up on my feet and moving. No matter what hobby I took interest in (whether it was cheerleading, musical theatre, or jump rope), I would always find a way to choreograph little routines a show them to my friends and family. Even when my parents tried to put me in sports, I would do cartwheels and dance on the playing fields, completely oblivious to what was going on during the games. When I look back at how I started my dance training, I just smile and laugh because I was so naïve and unaware that it would become such a huge part of my life. In 5th grade I was put into my first dance class as a hobby. It happened because I watched the Disney Channel movie High School Musical and immediately fell in love with it. I showed the movie to my parents and told them, “This is what I want to do.” At the time I thought I excelled in both signing and acting and that all I needed were dance classes. So in 4th grade I was put into my first dance class and I began to scratch the surface of the basics of dance. What I didn’t know then is that dance would slowly but surely influence my entire life and

Finally, the last element is the emphasis on improvisation: the ability to extemporaneously compose on an existing melody. This is often considered as a chance to show off for the performers. Through improvisations and ornaments which were both elaborated by the extemporaneously composition of performers added interest and differences between music and even the same piece of music might sound different.

Much of our exploration of dance improvisation involved delving into the eight movement “efforts” that Rudolf Laban developed, and these eight effort qualities can be categorized into four different groups: direction, weight, speed, and flow. For direction, movements can either be direct, which means there is intention and thought before every movement, or indirect, where the direction of one movement does not necessarily correspond to that of the next. For weight, movements can be either heavy, which can often be visible or the weight of the limbs and the awareness of gravity and the floor, or light, where a sensation of weightlessness or floating is often used. For speed, movements can either be quick, where movements rapidly progress from one to the next, or slow, where the urgency of time is neglected. For flow, movements can be either bound, where there is a sense of an imaginary outside force acting