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Importance of improvisation in dance
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A facilitator of a creative dance workshop should consider many things while planning a creative dance workshop. They must prepare for having dancers with different learning styles, capabilities, and backgrounds. A dance workshop should always promote equality, confidence, and creative development. Flexibility of teaching styles as well as flexibility of behaviour are key skills for a facilitator to have, so they can provide the best possible experience for everyone taking part.
To successfully promote equality, it is important to understand the inequalities that may arise in a workshop. Once the facilitator knows what techniques to use to avoid alienating anyone it becomes far easier to create an equal safe environment for their dancers.
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Understanding that revising and reworking already known steps counts as creating dance, students become confident enough to step outside their personal comfort zone, and then in turn their creativity would grow and expand. In a creative dance workshop a facilitator must remember to have a flexibility of behaviour, as this will increase chances for creative development. When delivering within a school environment it is important to take into consideration the national curriculum, A Curriculum for Excellence (CfE). Although CfE is organised under curricular headings those experiences and outcomes (E’s and O’s) relevant to Expressive Arts (EXA), especially dance, should be recognised in the planning and delivery of creative dance workshops. For example, EXA 0-8a; 1-8a; 2-8a; 3-8a: “I have the opportunity and freedom to choose and explore ways that I can move rhythmically, expressively and playfully.” Key terminology from this experience is “freedom to choose” and it is the creative dance facilitators role to ensure freedom is delivered in a positive and constructive fashion. Even when teaching out with schools it is still important to remember the experiences and outcomes from CfE. A creative dance teacher should aim to give their students as much freedom as appropriate for their level. Dancers creativity cannot be developed if they are only copying and repeating. Dancers need freedom within set dance exercises and they need freedom to improvise. It is crucial for dancers to explore their physicality in class and get constructive criticism and verbal feedback on what they do. A way to incorporate this into a creative dance workshop is by adding set counts to dances for the students to freestyle. Just as a key to learning is repetition, the easiest way to develop creativity is through repetition. The more dancers
...re of different dance cultures within the vocabulary of their scope, then the results would be so astounding as to give that dancer an unspoken quality distinguishing them from among their peers. Movement knowledge is cultural knowledge and remembering that each culture is beautiful and different in its own way can help create a dancer that will resonate with any audience member.
... social dance. Many people in today’s society enjoy social; dancing. Chapter eleven dance concert, properly planning and establishing a dance concert is of the utmost importance. The partnership with the lighting designer usually takes priority over all other factors. One of the most important issues concerning customers has to do with mobility. The dancer must be able to move comfortably in the costume. The task of producing a dance concert is an overwhelming and tiring one. Chapter twelve dance in education and career in dance, many dance educators present the argument that teaching and learning dance as an art form is obviously absent from the American student education. There has always been and always will be people who have a love, desire, and passion to instruct and learn the art of dance, will ensure an important place for dance in higher education.
What Swales means by this is that a discourse community should have ways where members of the community could communicate with each other, and that each way should have a specific purpose. The two most effective ways of communication in the dance discourse community are dance classes and workshops, since it is mainly a community that requires members to be involved physically. There are also a lot of ways to communicate online, such as blogs where someone, usually a dance expert, posts some tips and information that might be helpful. And group chats, where dance members from all over the world can chat together and share experiences. Also live dance tutorials, where you can learn how to dance from home as if you were in a dance class. There are a ton of dance magazines, weekly newsletters and subscription services where a member can be up to date with what is going on in the dance community, especially dance
Looseleaf, V. (2009, May 15). Eleanor Powell | Dance Teacher magazine | Practical. Nurturing. Motivating. The voice of dance educators. Retrieved April 26, 2014, from http://www.dance-teacher.com/2009/05/eleanor-powell/
The dancing community I’ve been apart of since the age of three is one that has consisted of blood, sweat and tears... literally. My discourse community, meaning a group of members who use communication to achieve goals and purposes, is one I have worked hard to be apart of. My Dance studio is its own discourse community. With the movement of a person’s body on and off stage, they are able to express emotions as well as tell a story at the same time. John Swales believes their are six characteristics which makes for a discourse community. These include having the members of a community sharing their own goals, intercommunication, feedback, genre, lexis, and a level of members with a suitable degree (Swales 220-222). When one thinks of dancers,
For the dancer, music and choreography are paramount. The music guides the dancer, and the moves express the music. However, the dance has to start from somewhere.
Mankind tend to look at the male populace and conclude that the significantly poor participation of males is due to individual preferences and the fact that dance is seen as highly feminine or non masculine. What they don’t ask is why participation rates for both the male and female gender is low. It’s rare that society looks beyond what is actually affecting individual choices of the majority of society to not participate in dance. A key point of difference is that dance studios, the common delivery point of most peoples’ formative dance experience, are operating as businesses (with a clear profit motive), rather than the myriad of community based sports clubs, which encourage and cater for participation of a broader range of groups within society. We can study this through the utilisation of sociologist Peter Figueroa’s Framework, which looks at factors, which affect access and equity. The
Miami Dade College’s very own dance majors, who were challenged by the artistry of guest choreographers as well as themselves, performed The Art of Dance. Watching this performance truthfully made me question if the dancers in this program were being trained properly to be professional dancers
When MacKenzie choreographs she focuses on delivering spectacularly rich performances. She has the ability to combine and create beautiful and engaging movement designs with an unusually effective understanding of concert dance architecture (Nevin, 2013). The audience is able to see the beauty each dance imposes. She is able to capture the audience with every dance and take them on a beautiful journey. She is also thoughtful in everything she does, but especially in anything that deals with any type of human connection, which is one of the many reasons why she is so successful as a teacher (Nevin, 2013). With her thoughtfulness and new ideas she is also open to learning and embracing new possibilities (Nevin, 2013). She is not just open t...
Dance is ubiquitous, found all over the world. As dance involves all students, it can also incorporate the diverse cultures celebrated at school. Every year, a new population of students arrives in the classroom, and I never know what types of students will be part of our classroom, especially in Kindergarten. They could be an array of students from different cultures or speaking different languages. Creative movement enhances and brings knowledge to the students of cultures around the world.
NACCCE definition of creativity: ‘Imaginative activity fashioned so as to produce outcomes that are both original and of value’(NACCCE, 1999:94).Creativity can motivate children to learn new information through a creative outlook. One of the biggest issues teachers have is between teaching required content and integrating creativity into the daily sessions. The National Curriculum and state standard often create boundaries towards the teacher’s ability to develop the lesson, as the intention of including creativity sometimes resorts in a teacher centred learning environment. The teacher’s role should be to generate lessons and create activities that encourage students to be more open to their creative side. This is vital as it exposes children with varying learning styles to different ways of learning.
Choreographers define dance as “telling a story without speaking”, “the language of the body”, “explaining your heart through movement”, and “is a unique passion that ca be fulfilling to its choreographers, dancers, and audience” (Senior Mastery Choreography Survey). The responses to the Senior Mastery Choreographer Survey proves that the stimulating and creating process of the choreography in the brain is the difficult aspect of this job, but when the visions are transferred to the dancers the results can be tremendous and sometimes breathtaking. The choreography can be created by the use of shapes, kinesthetic and scenic spacing, timing, and different tactics to leave a meaning to the audience. Choreography and dance have been a part of the arts for a myriad of years and will be for numerous more. It is an emotional entertainment that leaves the audience with a message and feelings towards a
A ballet dancer’s general intention when performing any piece is to convey a message to the audience. A message is relayed through the dancer’s strategic facial expressions and body movements. Each movement has a purpose in articulating the dancer’s energy, and confidence within themselves to express the emotions and inspire the audience (Lucas). A dancer’s energy and
A choreographer is an important role in many careers throughout history. Their goals are to perfect and create a routine best suited for the dancer’s ability. The choreographer’s job is to tell a story and project images and emotions using a series of rhythmic movement. “Choreography is also used to arrange ice skating, cheerleading, synchronized swimming, and a variety of other performance arts”(Mcmahon1). Choreographers work with multiple or all various styles of dancing such as classical, ballroom dancing, and contemporary ballet. Choreographers teach their students how to move to music more artistically; therefore it is best that a choreographer has a background in dancing or other kind of visual art. One of the best ways to learn how to choreograph and teach others is through schooling and experience.
Even though dance first originated back in the 20th century when dancer Isadora Duncan broke away from the strict rules of ballet to create her own more natural form of dance. Through time and experimentation, many genres of dance has surfaced - whether from oppression or for theatrical purposes, each one has captured the eyes of it 's audience. From flashy, sequined clothes to light and flowy dresses; each form of dance has it 's own representation. As well as representation, each genre of dance has powerful emotion in it. These popular forms of dance can be classified into three categories: the pounding and rhythmic beats of Hip-hop, the powerful meanings of modern dance, and the wonderful elegance of ballet, the most thought-out.Everyone has watched in amazement as their high school dance