Timely Tips
It’s your move!
Motive and motion are inseparable mates. The most important tip a dance maker should remember is to start with an idea not the steps!
Every movement is born from motivation; it is therefore natural that motivation should precede action and that every action has a purpose. Out of the motive (your original idea) will come the inspiration for related and meaningful movements. See the Choreocraft pentagram opposite. Following the basic ‘steps’ in the ChoreoCraft pentagram will help a dance maker organise the composition process, starting with a plot and plan, not steps.
Star gazing!
When we embark on a journey to a new place, we all need a road map. With the advance of technology, many of us today have a GPS device and enlist the help of satellites in the sky to guide us on our way.
So it is with dance making, a choreographer needs to know where to start, where to head for and what to expect at the end.
ChoreoCraft can help choreographers with a number of man made ‘stars’, which like stars in the sky can hang in your subconscious mind to guide you on your way. The method uses the pentagram figure which has the appearance of a 5 pointed star and is related to the five Greek classical elements:- Fire, Air, Earth, Water and Spirit.
The first known uses of the pentagram are found in writings dating back to about 3000 BC. ChoreoCraft uses the pentagram as a ‘map’ for the entire method which contains several dozen ‘scales’ containing several hundred composition ‘tools’.
Simply put, the choregrapher should start with a purpose or plot , plan what is needed to achieve that purpose, set about producing and combining the movements and music to accomplish that aim, consider all aspects of presentation, costumes, scenery and lighting, and finally fine tune the composition for the performance.
Look at the pentagram figure for your guide.
Look out for Starlet puzzles in the next edition of Dance Informa. They will help you to use the pentagram as a very useful choreographic tool. They can be fun too!
Choreographic Challenge
Watch your shape!
Once you have your motive (plot), how are you best going to communicate this? Why not use shape?
The two polarities of shape are Symmetry and Asymmetry. These two design opposites have a great deal to tell us about what shapes to employ to commuicate a |
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choreographer’s idea effectively. We only have to look at nature to see how all living things combine both of these shapes to create an efficient and harmonious whole.Generally we can choose symmetrical shapes for calm and lyrical emotions and asymmetrical shapes for excited and aggressive emotions.
Try and see the difference...
Create two sequences using:
Music styles: 8 bars of classical music/hip hop music
Dramatic styles: Poetic/Aggressive themes
Dance Styles: Classical/Hip Hop or Street Jazz
Composition Tools: Symmetrical/Asymmetrical shapes
Assignment a): Create a dance sequence employing classical music, poetic theme, lyrical movement and symmetrical shapes to enhance the idea.
Assignment b): Re-arrange the sequence using hip hop music, aggressive theme, street jazz and hip hop movement with asymmetrical shapes to develop theme.
Visionary Choreographer
Sir Robert Helpmann CBE (1909-1986)
Born Robert Helpman in Mt Gambier, South Australia, he added an extra ‘n’ to his name, to avoid there being 13 letters! From an early age he was encouraged to take dance lessons by his parents. He was passionate about acting and dancing and in importance placed them before all else. Helpmann made his debut at the Theatre Royal, Adelaide, in 1923.
His father arranged for him to meet Anna Pavolva, whose touring company he joined in 1926. Opportunities to dance in Australia were very limited in the 1930’s so he went to London and joined the Vic-Wells Ballet, which later became the Sadler’s Wells Ballet, and finally the Royal Ballet. He was a Principal dancer from 1933 to 1950.
The Company’s Director, Ninette de Valois, declared him “cute as a monkey and quick as a squirrel”. A fine dance partner, it was during this period he danced with Margot Fonteyn sharing her early triumphs. A highpoint of his career was partnering Fonteyn in “The Sleeping Beauty” during the Royal Ballet’s tour of the USA in 1949. Helpmann is also fondly remembered for creating with Fredrick Ashton the comedy roles of the ugly stepsisters in Ashton’s “Cinderella”. He excelled in dramatic roles such as Albrecht in “Giselle”, Satan in “Job” and the Rake in De Valois’ “The Rakes Progress”.
Helpmann’s choreographic approach was strongly dramatic. In the 1940’s he created a series of ballets including “Hamlet” (1942) subsequently acting this role at London’s Old Vic theatre. One of his masterpieces was “Miracle in the Gorbals” arguably the greatest British dance drama of all time. He also danced and acted in films, the most memorable being “The Red Shoes” (1948) which he choreographed and the “Tales of Hoffman” in both of which he starred with Moira Shearer and Leonide Massine.
Helpmann joined the Australian Ballet in 1964 becoming its joint artistic director with Peggy van Praagh. The following year, Leonie Leahy, (pictured right) former international ballerina and like Robert Helpmann, South Australian born, was delighted when Helpmann recreated Pavlova’s solo “Rondino” especially for her to perform at a Gala Performance by The Australian Ballet in Melbourne (1964).
I was personally privileged to see several Helpmann ballets including “Yugen” (1965), “Sun Music” (1966) and “The Display” (1964) which was for me the most memorable, having immensely strong dramatic content, daring sexual overtones and always performed with great sensitivity by the Australian Ballet Company.
Robert Helpmann’s outstanding success as dancer, actor, choreographer and stage director confirmed his reputation as a true “giant of the theatre” and a Visionary Choreographer.
Back Stage
Kenneth Norman A.R.A.D. L.I.S.T.D. A.N.E.A.
By invitation, Kenneth gave Lectures/Demonstrations on ChoreoCraft at the International Summer School for Dancers and Dance Teachers in Sydney during the last week of January. Kenneth received his dance education at the Royal Ballet School, London and subsequently performed in dance companies, musicals, revues and T.V. In Australia Kenneth has been Director of Tenison College of Dance for 40 years, Administrator for the I.S.T.D. South Pacific Region for 30 years, Registered Teacher S.A. Edu. Dept. for 35 years and Choreographer/Director for Stage and T.V. productions in both the U.K. and Australia.
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