Michel Fokine (1880-1942)
Revolutionary and visionary choreographer

I can say without hesitation that dancing in the Royal Ballet’s recreations of Fokine’s masterpieces The Firebird and Petrushka in the mid 1950’s made an impression on me that was to last a long time. The reason both of these ballets had such a great effect was the simple fact that they dramatically demonstrated Fokine’s revolutionary “Five Principles”, which for me have been an invaluable choreographic guide that has lasted a lifetime!

Fokine’s Five Principles were summed up in a letter to the London Times on July 6, 1914. These principles revolutionised ballet and were applied to all his creations.

FIVE PRINCIPLES

• The invention of a new form of movement corresponding both to the subject and the character of the music.
• Dancing and gesture have no meaning in ballet unless they serve as an expression of dramatic action.
• In general, to replace gestures of the hands (classic mime) by movement of the whole body.
• A group of dancers in not merely an ornament. There should be expressiveness of the combined dancing of a crowd.
• The alliance on equal terms of dancing with the other arts and the provision of liberty for the creative powers of the artists.

What does all this mean?

Principle 1
Fokine believed movement should be invented so as to be expressively true to both the character and the music. The characters of Petrushka and the Moor evolve from their movements. Fokine insisted that choreographers should use the whole body expressively.
Pointe was only used when appropriate to the character. In Petrushka pointe is used for the ballerina doll with the specific intent of making her look stiff. Fokine did not subscribe to the notion that ‘ballet is woman’ he placed the male dancer back in the forefront. In Le Spectre de la Rose ninety per cent of the dancing is for the man and his ballet Dances from Prince Igor, strongly featured male dancing.

Principle 2
Fokine believed virtuosity and “tricksy” dancing should only be performed if appropriate to the character being portrayed and if it furthered the dramatic action.  The formal ballet vocabulary should not be presented for its own sake but only if it was right for the character. He believed that ballet, rather than confining itself to traditional steps and movements should draw on movements reflecting the subject, era, and music. In regard to pas de deux he believed that where two people dance together it is "for each other" and not to show off to the audience.

Principle 3
Fokine felt that movements of the entire body should replace traditional classic mime unless the style of the ballet required otherwise. To him, dance and mime had meaning only when they were dramatically expressive. Fokine's ballets are often dismissed for their lack of ‘tricksy’ dancing. But to see Fokine staged well is to witness a ‘virtual reality’!

Principle 4
Fokine disliked the regimentation of dance groups. Dramatic expressiveness, he believed, should not be confined to the solo dancers, but should be reflected in the ensemble. In Petrushka Fokine has 100 dancers on stage doing individual things – enjoying sideshows, listening to gipsy fortune tellers, buying drinks and sweets, watching street dancers performing their ‘tricks’. All the characters are unique.

Principle 5
Fokine believed there should be artistic harmony between the three elements - music, painting and movement and that the visual and performing arts should be on equal terms. In particular he insisted the costume should be appropriate to the character.  The Puppet Doll in Petrushka wears a tutu and pantaloons, whilst in Les Sylphides the sylphs wear soft net skirts.

He also insisted it was possible to dance to music other than dance rhythms and confirmed this belief with his use of commissioned scores by Stravinsky.

Many believe Fokine was the Father of modern choreography.  His philosophies outlined in the Five Principles at the beginning of the last century are still relevant today, almost 100 years later.  He hated dance tricks or ornamental dance grouping for their own sake and ballet for the eyes only. Quite simply put, Fokine believed in motivated movement at every level… the soloist, the dance group, the ballet as a whole, including music, costumes and scenery.

Fokine’s last ballet, The Russian Soldier (1942) was I feel aptly named, as despite the march of time… his philosophies will soldier on well into the future! 

Choreographic Concepts #9 by ChoreoCraft

When composing a dance, it is helpful to young dance makers to know how and where to start! The ChoreoCraft ‘Plan Star Map’ assists by setting out a suggested order and procedure, that uses Fokine’s Five Principals. One of the fundamental doctrines of ChoreoCraft states: Choreography is both an art form and a craft. An art form since one can acquire it only after possessing knowledge of dance, a craft because a degree of skill is required to deliver it.

The ChoreoCraft Plan Star Map sets out five octave tool scales (40 tools in all), to assist with the dance making process and relates closely to Fokine’s Five Principles.

1. THEME: relates to Principle #2.  All movement, steps and gestures, should be motivated. The ChoreoCraft doctrine holds that every movement has a cause, and that, the cause being given, the movement follows. It is therefore axiomatic that purpose should precede action, and that every action has a purpose.
2. FORM: relates to Principle #4. The arrangement and shaping of the dance groups should help express and support the theme whether this is an abstract or narrative theme.
3. STYLE: relates to Principle #3. Style can range from ‘Classic Mime’ to modern stylised gesture, and in vocabulary from ballet or character, to contemporary or jazz.
4. MOVEMENT: relates to Principle #1.  Dance movement should be influenced by the Theme and Music. The choreographer should not feel bound by tradition to use a set vocabulary of ‘steps’. The dance maker should feel free to invent new movements to expressively communicate the ‘idea’.  
5. MUSIC: relates to Principle #5. The character and mood of the music will usually influence the choreography, costumes, lighting and set design. These interrelated arts should have equal importance in the finished work.
   
   

It is axiomatic that folk dance has been important to all national cultures throughout the world from ancient to modern times, as it preserves the spirit of past traditions. The theatre dance we enjoy today is largely based on traditional treasures from the past.

Choreographic Challenge
Create a short study using the ChoreoCraft Plan Star Map.
To clearly show the build up, the Plan components have been arranged on a triangle (right). Use the components in the same alphabetical order as suggested. Your idea is usually the best foundation to build on.
[e] MUSIC Pick out music of the right character for the idea.
[d] MOVEMENT Invent movement that best expresses the idea.
[c] STYLE Select a dance genre that enhances the idea…
[b] FORM Choose a composition arrangement to suit the idea.
[a] THEME Start with an idea, everything else is built on this.

Following this procedure will ensure a ‘carefully crafted composition’ founded on inspiration… your idea!
If working with a dance group study and observe Fokine’s Five Principles.

Kenneth Norman A.R.A.D.  L.I.S.T.D.  A.N.E.A.
Kenneth has recently been delighted to accept an invitation to give lecture demonstrations to teachers and lessons to students of all ages on the ChoreoCraft dance composition syllabus, at the International Summer School for Dancers and Dance Teachers in Sydney, January 2009, directed by Jacqui Dumont. Further information at www.mcdonald.nsw.edu.au/iss

Kenneth received his dance education at the Royal Ballet School, London and subsequently performed in U.K. 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, Choreographer/Director for Stage and T.V. productions in both the U.K. and Australia.

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