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DANCE-COMPOSITION

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25 views3 pages

DANCE-COMPOSITION

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Abegail Doctor
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Republic of the Philippines

UNIVERSITY OF EASTERN PHILIPPINES

GRADUATE STUDIES
P.E. 804a: Dance Composition and Choreography

Name : JOCELYN G. ARANDIA


Report : DANCE AND COMPOSITION
 Nature of Dance Composition
 Material Elements
 Methods of Construction
 Teaching Composition
 Choice of Content (Laban’s Analysis)
 Exploring a Range of Movement
S.Y. & SEM : 1st SEMESTER 2024-2025
PROFESSOR : PROF. NIMFA F. BUEDRON
DATE : OCTOBER 13, 2024

DANCE COMPOSITION

Dancing and Composing Dances


Dancing can be enjoyed for the pleasure of moving with skilled accuracy, of moving with others and for the
release of feeling. But to compose a dance is to create a work of art. ‘It involves putting your imagination to
work to make something new, to come up with new solutions to problems’ (Robinson, 2009: 67).

Dance as an Art
Pupils concentrate on coming to know dance as art through:
 Composing
 performing and;
 appreciating dances.
Dance as an Art
 Creativity and Creativity- Dance is an expressive art form that uses the body as a tool to communicate
emotions, thoughts, and narratives.
 Structure and Form- Just like in music or poetry, dance composition has a structure that helps organize
the piece.
 Use of Space- Dancers must be aware of how they move in space (direction, levels, pathways), as the
spatial arrangement adds layers of meaning and visual interest to the performance
 Time and Rhythm- Timing and rhythm are crucial in dance composition
 Dynamics and Energy- Variations in movement dynamics—such as speed, intensity, and quality—play a
significant role in conveying the emotional tone of the dance
 Interaction Between Dancers- Relationships between dancers are essential in creating meaning. Dancers
may mirror, contrast, or respond to one another, which adds complexity and depth to the choreography
 Music and Sound- Music often guides the composition, providing rhythm, mood, and emotional cues.
 Audience Engagement- Dance as an art in composition is created with the intention of communicating to
or evoking a response from an audience.
Nature of Dance Composition
 Referring to (redfern’s) composing, moulding together compatible elements which, by their relationship
and fusion, form an identifiable ‘something’.
 Form . . . may, indeed, be defined as the result of unifying diverse elements whereby they achieve
collectively an aesthetic vitality which except by this association they would not possess. The whole
thus becomes greater than the sum of its parts. The unifying process by which form is attained is known
as composition. Martin (1933)
Methods of Construction
The dance composer has also to consider such matters. There are ‘rules’ or guidelines for construction which
need to be part of the composer’s awareness when making dances. It is therefore clear that composition of a
successful dance pre-supposes that the composer has knowledge of;
 the material elements of a dance
 methods of construction which give form to a dance
 an understanding of the style within which the composer is working
Teaching Dance Composition
This view suggests that a reasonable assumption may be made on the following lines:
a. Knowledge of dance as an art form can only be acquired through experiencing dances, composing,
performing and viewing them.
b. The basis for success in composition depends upon;
 The artistry and intuitive inspiration of the individual
 A wide vocabulary of movement as a means of expression
 Knowledge of how to create the shape and structure of a dance.
Teaching Dance Composition
Rudolf Laban dance composer’s movement content. It pre-supposes that the reader already has, or will easily
acquire from the text, a knowledge of the terminology and concepts because, although the philosophy
underlying his approach to dance in education may no longer be considered valid, his analysis of movement
elements as a basic tool for dance composition is unsurpassed. The concepts identified in his analysis are
fundamental because Laban categorised the total range of human movement into easily recognisable and
descriptive frames of reference.

The basic language of movement


The word language is used here as an analogy only. It is not meant to suggest that the language of movement
can replace or be the same as language in a vocally communicative context. It is common knowledge that
communication can take place through movement. How it communicates is the dance composer’s area of study.

Many verbal expressions describe moods or thoughts in terms of movement;


 jumped for joy
 rushed into the room
 threw up his hands in horror
 didn’t know which way to turn
 shrank back in fear
 bent in pain stamped in anger shook with excitement
Choice of Content (Laban’s Analysis)
 Action of the Body
 Bend– Stretch– Twist Transference of weight– stepping
 Travel Turn Gesture
 Jump– five varieties
 Stillness– balance
 Body shapes Symmetrical and asymmetrical use Body parts– isolated emphasized
 Qualities of movement
 Time–(sudden, quick sustained, slow)
 Weight–(firm, light, relaxed)
 Flow–(free–bound
 on-stop going–pable) Combinations of two elements e.g. (firm and sudden )
 Combinations of three elements e.g. (light, sustained and free)
 Space environment
 Size of movement- (size of space)
 Extension in Space
 Levels– low, medium and high
 Shape in space curved or straight
 Pathways– floor patterns– air patterns curved or straight
 Directions in space: the three dimensions planes diagonals
 Relationship
 Relating to objects-relating to people
 Alone in a mass
 Duo: copying– mirroring, leading– following, unison–canon, meeting– parting, question and answer
 Group work: numerical variation group shape inter-group relationship spatial relation ships over, under,
around etc.
Exploring a Range of Movement
 The composer should, therefore, explore and experiment within a wide range, so that he/she becomes
become fully acquainted with movement and the feeling/meaning connotations. He/she should, at times,
set out to explore a full range of movement without using it in composition, for this enriches movement
experience and, inevitably, when starting to compose there is a better basis from which to make a choice
of content.

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