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DOCUMENT RESUME

ED 095 105 SP 008 282

AUTHOR Ellis, Carolyn N.TITLE Interpretative Modern Dance, Physical Education:

5551.97.INSTITUTION Dade County Public Schools, Miami, Fla.PUB DATE 71NOTE 53p.; An Authorized Course of Instruction for the

Quinmester Program

EDRS PRICEDESCRIPTORS

IDENTIFIERS

MF-$0.75 HC-$3.15 PLUS POSTAGE*Curriculum Guides; *Dance; *Recreational Activities;*Teaching*Quinmester Program

ABSTRACTThis course outline is a guide for teaching methods

and approaches to interpretive modern dance in grades 7-12. Thecourse format includes lectures and discussion, experimentation withmovement, films, and tests that focus on exploring approaches todance creativity, danceable and communicative ideas, performingcreative work in class, and developing artistic judgment. Coursecontent includes the following: (a) introduction to dance creativity,(b) objectives for creative activity, (c) coRidositional approaches todance with learning activities, and (d) accompaniment for dancecomposition. Sources are suggested for dance accompaniment and danceideas. A plan for student and teacher evaluation of the creative workof students is suggested. (A 12-item bibliography is included.)(PD)

/

AUTHORIZED COURSE OF INSTRUCTION FOR THE

U S DEPARTMENT OF HEALTH,EDUCATION & WELFARENATIONAL INSTITUTE OF

EDUCATIONTHIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVL IS FROMTHE PERSON OR ORGANIZATION ORIGINAUNT, IT POINTS OF VIEW OR OPINIONSSTATED DO NOT NECESSARILY REPRESEN F OFFICIAL NATIONAL INST ITUTE OFEDUCATION POSITION OR POLICY

PHYSICAL EDUCATION

Interpretive Mbdern Dance

5551.97 5561.975552.97 5562.975553.97 5563.975554.97

5564.975555.97 5565.975556.97 5566.97

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BEST COPY AVAILAKI

JAN 1 5 1974

DIVISION OF INSTRUCTION1971

w

INTERPRETIVE MODERN DANCE

5551.97 55C1.975552.97 5562.9?5553.97 5563.975554.97 5564.975555.97 5565.975556.97 5566.97

PHYSICAL EDUCATION

Written by

Carolyn N. Ellis

For The

DIVISION OF INSTRUCTION

Dade County Public Schools

Miami, Florida

'1971

DADE COUNTY SCHOOL BOARD

Mr. William Lehman, ChairmanMr. G. Holmes Braddock, Vice-Chairman

Mrs. Ethel BeckhamMrs. Crutcher Harrison

Mrs. Anna Brenner MeyersDr. Ben Sheppard

Mr. William H. Turner

Dr. E. L. Whigham, Superintendent of SchoolsDade County Public Schools

Miami, Florida 33132

Published by the Dade County School Board

Copies of this publication may be obtained through

Textbook Services2210 S. W. Third StreetMiami, Florida 33135

TABLE OF CONTENTS

I. COURSE GUIDELINES 1

A. Student ClassificationB. Grade LevelU. Level of PerformanceD. Suggested Prior ExperienceE. Subject StatusF. Length of Unit

II. COURSE DESCRIPTION AND BROAD GOAL 1

A. DescriptionB. Methods and EvaluationC. Area of Concentration

III. COURSE OF STUDY BEHAVIORAL OBJECTIVES 2

A. Observed Skills ObjectiveB. Course Content Knowledge ObjectiveC. Social and Personal Attitude Objective

IV. COURSE CONTENT AND LEARNING ACTIVITIES 4

A. Introduction to Dance CreativityB. Objectives for Creative ActivityC. Compositional Approaches to Dance with Learning

ActivitiesD. Accompaniment for Dance Composition

V. REFERENCES FOR CONPOSITIONAL MATERIALS

A. Suggested Sources for 'Dance AccompanimentB. Suggested Sources for Dance Ideas

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VI. EVALUATION PLANS 44

A. 'Instructor's RoleB. Student Evaluation of Creative WorkC. Teacher Evaluation of Creative WorkD. Sample Testing Problems

VII. CONCLUSION 47

VIII. BIBLIOGRAPHY 48

INTERPRETIVE MODERN DANCE

I. Course Guidelines for Course Number

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A. Student Classification: Co-educational'B. Grade Level: 7-12C. Level of Performance: AdvancedD. Suggested Prior Experience: 5551.94; 5551.95; 5551.96E. Subject Status: ElectiveF. Length of Unit: 9 weeks

II. Course Description and Accreditation Standard Broad Goal

Junior High: 9.8416 (1) a,b,d,h,iSenior High: 9.9420 (1) a,b,c

A. Description

Interpretive Modern Dance is designed to acquaint stu-dents with methods and approaches to dance compositionin order to enhance their appreciation of the art ofdance through their communicative potential.

B. Methods and Evaluation

The course will consist of lectures and discussion,the experimentation with movement, the creating ofmovement patterns, the viewing of films involvingcreative activity, written tests and the subjectiveevaluation of creative movement patterns.

C. Areas of Concentration

Class periods will be devoted to exploring approachesto dance creativity; discussing danceable and com.,municative ideas; performing creative work in class;and developing artistic judgement through student and

. teacher evaluation of completed studies.

III. Course of Study Behavioral Objectives

A. Observation Skills Objective: 60% of Unit Grade

1. State Accreditation Standard:

Junior High: 9.8416 (2) a,sSenior High: 9.9420 (2) a,b,e

Students will present movement patterns donewithin the structure of a creative problem to theinstructor and to the class. The majority of stu-dents will be able to effectively communicate theircreative assignments according to the prescribedcriteria described in the identification of eachmovement approach. Each student's performancewill be evaluated by the intructor's judgementbased on observation, discussion with studentconcerning assignment, checklist, and/or annota-tion.

a. Basic movement skill and body controlb. Imagination in creative assignmentc. Evaluation through general discussiond. Relatedness of individual to the groupe. Projection and concentration of dancerf. Effective changes in movement qualities,

rhythm, and energy levels.


Junior High: 9.8416 (2) c,tSenior High: 9.9420 (2) a,b,e

At least 75% of the students are able to demonstratethe proficiences listed in 1. a.-f.

B. Course Content Knowledge Objective: 205 of Unit Grade



All students will respond in writing to a testbased on each approach to dance composition. Themajority of the students will achieve an averageor better score. The test will be based on theInterpretive Modern Dance Quinmester Unit Coursecontent and will be given on information fromthe following areas:

a. Dance as a creative art formb. Compositional approaches through axial and

locomotor movement patternsc. Compositional approaches through rhythm

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d. Use of space, direction, level, dimension, andfocus in dance

e. Elements of composition, such as, unity, variety,contrast, proportion, transition, sequence,and repetition

f. Compositional forms and thematic materialsg. Improvisation in dance



At least 75% of the students are able to demon-strate proficiences listed in 1. a. - g.

C. Social and Personal Attitude Objective: 20% of UnitGrade



Social and personal attitudes desplayed by allstudents will be evaluated by observation, check-list, and/or annotation, by the teacher through-out the entire unit, representing 20;6 of the unitgrade. The teacher will motivate an atmospherewherein the majority of the students will respondto this development and exhibit desirable behavior.This evaluation will be based on the followingsocial and personal attitudes:

a. Alertness to class procedures and activitiesb. Fairness to other students and teacherc. Emotional controld. Consideration of otherse. Willingness to experiment in all of the

movement assignments.



At least 7% of the students are able to demon-strate the proficiences listed in 1. a. - e.

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IV. Course Content and Learning Activities(This section may be duplicated for distribution to students)

A. Introduction to Dance Creativity

Modern or contemporary dance is a form of activity thatuses the body as the instrument, and movement as themedium for artistic expression. Dance should providethe student with an opportunity to explore the move-ment potential of the body and to select and organizeresulting movements into patterns that provide sat-isfying aesthetic experience. Growth in expressionthrough movement brings about a greater sensitivity tothe world and a fuller appreciation for creativeexpression in other art forms. Dance in the activityprogram should provide an opportunity for each studentto move, to sense, to express, to enjoy, and to ap-preciate the worth of expression as well as theexpressive efforts of others.

Composition affords opportunity to experience the valueof sincerity and simplicity. One must delve into hisfund of experience for ideas to abstract into dance.A dance study may not be good from the professionalcritic eye, but it is the student's own. Psychologic-ally speaking, his creation may answer to as great aneed for expression as that of the artist dancer. Thesource of art is the individual's personality. Whencreating, the dancer is forced to face the content ofhis own personality and m ake selections from it. Inthese efforts a student develops an appreciation ofcreating and also experiences the joy of achievingsomething of his own. In creating, one is eversearching for ways to become more sensitive to the manystimuli constantly bombarding mankind. In this materialthe writer Lopes to present ways to explore stimulithrough movement.

Dance has always been in existence, residing in thenature of human beings. It will go on as long aspeople respond to life. In introducing students tocreative work is knowing how to start the creativeprocess, how to initiate worth while activity, and howto guide the organizing power .of students. It is theteacher's responsibility to help students use movementobjectively as a means of communicating.

B. Objectives for Creative Activity

1. To acquire an awareness of the body as the ins-strument for communication.

2. To acquire self-confidence in solving problemscentered around the basic principles of movementdesign.

3. To create within without losing an appreciationfor good form in dance.

L.

4. To work and to share with other. individuals in agroup activity.

5. To experience a degree of satisfaction in doingcreative work.

C. Compositional Approaches to Dance with LearningActivities

1. Approaches to dance through locomotor and axialmovement combinations

a. Introduction

Locomotor is movement done on a moving basis;axial is movement done in place. Dance patternsrepresent the middle ground between basic move-ments and cam positions. When the basic move-ments are taught creatively and progressivelylending to the development of simple dancepatterns, the gap separating technique fromcomposition tends to become bridged. Axial andlocomotor movements should be taught and re-viewed in each dance quin because they formthe dance "vocabulary." The writer felt itnecessary to include these movements with somevariations. Variations on axial and locomotormovement are numerous. These movements willbe beneficial in introducing creativity on thejunior high school level. There are many waysof teaching basic movements creatively:

(1) Clearly state the choice of movement tobe used.

(2) Limit the number of body parts to be movedat any one time.

(3) Add simple directional changes.(4) Introduce a simple basic movement and have

the class change the timing to show variousfeelings such as hesitation or determin-ation.

(5) Experimentation with changing levels ofmovement.

b. The dance walk

The dance walk is an alternate transference ofweight from one foot to the other foot with thetoes and ball of the foot striking the floorfirst. Energy is given to the movement by thepush-off by the back foot. The knees areslightly bent and turned out. The walk shouldbe practiced to the front, to the back, to theside, and in a cris-cross fashion. Many armvariations should be tried.

Learning activities with walk patterns andvariations.

(1) Have the students walk across the floor, two

at a time, with the spine erect, the necklong, the arms moving easily and naturallyby the sides, the weight pulled out of thelegs and hips, the tempo brisk. Concentrateon the direction to which student is moving.

(2) Have students walk across floor, two at atime, and pretend they are beautiful elegantgirls in a beauty contest. Stress posture,proper carriage, and lift of the head.Have students return with opposite movementby pretending they are very, very old andunsure of their steps. In other words,students are to show a complete contrast ofwalking or moving.

(3) Start by having class stand in first posi-tion (all dance positions are described inquinmester for beginning modern dance)with legs very straight. On count 1, stepto right side with right foot, bring feettogether; on count 2, step directly to theback with left foot, bring feet together;on count 3, step directly to right with rightfoot, bring feet together; on count 4, stepdirectly to the front with the left foot,bring feet together. Take large steps.Repeat pattern across floor. Use differentarm variations. For example, using 4 counts,let the arms come up from sides of body,rounded in front of body to over head,separate, and slowly come back down tosides of body. Repeat entire pattern tothe left side. With several dancers,divided into two groups, the same patterncan be used with one group moving in onedirection and the second group moving inanother direction.

(4) A similar foot pattern as the above patterncan be us(Jd with a count of 8 large steps.Begin in first position. On count 1, stepdirectly to the back with the right foot;on count 2, bring left foot back and stepto the left side; on count 3, bring rightfoot to step front; on count 4, step to thefront on the left foot and hop I turn(about face) to the left; on count 5,swingthe right foot immediately to the back andstep on it; on count 6, step to left sidewith left foot; on count 7, step to thefront with right foot; on count 8, step tofront on left foot and hop r turn (aboutface) to left. Repeat. Simply, the move-ment is in a square, with a turn hop oncounts 4 and 8.

(5) Starting in first position, take a largestep to the right with the right foot;focus should be over left shoulder; immed-iately drag or draw left foot to the rightwith the heel of the left foot drawn tothe ankle of the right foot, toes pointed.All of the weight should be on the rightleg with the rib cage slightly bent to theleft. The arms stay soft and rounded atside of body. Repeat on a diagonal direc-tion across floor. To repeat, the leftfoot must cross over the right with a quickstep. Vary the arms by bringing the rightarm over the head. Try same pattern bystepping out with left foot and drawingright foot to left.

(6) Pattern five can be used in combinationwith pattern three and/or pattern four.

(7) Start group in first position. (10n count 1,move sideward to right by stepping rightwith right foot (large step): on count 2,cross left foot over right and step; oncount 3, step on right foot to right; oncount 4, lift left leg out straight toleft side of body with a pointed or flexedfoot. The torso is very straight. Repeatsame direction or reverse by starting onleft foot to left side. Arms can be usedin any variation. The lifted leg can bechanged to a bent knee position.

(8) Start group in first position. On count 1,move sideward to right, taking a large stepwith right foot, bringing left foot intopasse position (left leg is bent with kneeturned out to left side and toes of leftfoot are pointing below knee of right leg).All of the weight 'should be on the rightleg and body torso is leaning over bentleft leg with arms rounded over head. Oncount 2 bring left foot down and acrossright foot (fall into this step), steppingonto right foot and lift left leg straightto left side. Arms are straight out fromsides of body in second position. On count3, contract the torso by tightening theabdominal muscles, causing torso to bendslightly forward. On count 4, straightentorso and let the body fall into the re-peat, makinr, a quick step with the leftfoot before stepping right and going intothe passe position.

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(9) Patterns 3,4,5,7: and 8 can be worked incombinations with each other using groupscoming across floor at different times withany of the patterns. With proper arrange-ment of movement and dancers, an interestingpattern of movement can develop from thesecombinations.

c. The run

The run is faster than the walk and requiresmore energy. A run should be executed withlightness and eveness. As the feat and legsextend in a run the movement is directed up-ward as well as forward. Arms should move inopposition to legs.

Learning activities using run patterns.

(1) Have the class do three running steps,moving across the floor two at a time.On the next three steps or beats havestudents develop their own turn, Any kindof turn and in any direction c_An be tried.Continue alternating three with a turn.

(2) Have several students move. one time,running across the floor in different direc-tions as though they'were late for class,or rushing to catch a bus. Choose one ortwo that best express hurriedness and letthe students demonstrate.

(3) Have students experiment with runs express-ing different personalities, such as, asophisticated. lady who is trying to get herhat that has blown down a street; a busybody; or a shy girl.

(4) Have class try running forward eight steps,beginning on left foot; running backwardseight steps, beginning left foot; make 1-turn left and run forward eight steps,starting left; make -le turn left again andrun backward eight steps, starting left.Try this running pattern with four girlsat a time doing same pattern, except facingdifferent directions to begin.

(5) Have class experiment with running dis-tortedly by locking hands and extendingarms straight above head, framing face be-tween arms. Start left ani run eight stepsacross floor with wide runs and with thebody inclined forward. Stop suddenly, turnthe body to look behind as if being chased.Take a lot of time on the turn and look.Continue running forward.

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d. The Hop

In a hop the weight is maintained on the samefoot in lifting and landing. A push from thefloor propels the body upward and fully extendsin the air. The knees and ankles must bendwhen landing. The hop is a very effectivemovement when combined with other locomotormovements.

Learning activities using the hop.

(1) Step left and hop seven times, then stepright and hop seven times, first in placeand then forwards. As the step is takenleft, slap the left thigh with an upwardmovement of the left hand. As the hops aretaken, let the hand slowly move in a circleaway from the body and back to side.

(2) Have the class decrease one hop from abovepattern each time until a step-hop results.Continue to repeat the leg slap on everystep.

(3) Combine hopping with stepping and turning;step forward left, hop forward left, threetimes. Repeat right. Stamp forward left,make a complete turn left with three hopsleft. Step forward right, hop forward rightthree times. Repeat pattern beginning onright foot.

(4) Experiment with movements of the free legwhile hopping on one foot.

(5) Have partners face each other. One studentexperiments with hops at a high level; theother student at a low level. Partnerschange from high to low levels.

(6) Have partners experiment with hops ofvarying force. Be aware of changing levels.Have students try turning with a hop,varying amount of force used.

e. The jump

In jumping there is a spring in place or inany direction from one or both feet-, followedby a landing on both feet. There is no trans-fer of weight in a jump.

Learning activities using the jump.

(1) Jump four times. Double the time and jumptwice as fast. Repeat moving forward.

(2) Jump in place four times. On the last jumpwhip the legs sideward into an aerial split-

jump. Repeat with the legs extendedforward and backward on the split jump.

(3) Jump four times, making a 4 turn to theright on each jump; then four jumps makinga turn to the left on each jump; jumptwo times, making I turn right on eachjump; jump two times making 1 turn left oneach jump; jump one time making a completeturn to the right; then a complete turnto the left.

(4) Jump four times and run four times. Repeatand vary the jumps directionally. This canbe done with a body lean, a turn in place,or moving on a zigzag pattern.

f. The leap

The leap is an extension of a run. There isone transfer of weight, in place or in anydirection, with a spring from the supportingto the nonsupporting foot. Greater force isused in executing a leap, and the result is amovement of higher and or wider dimension thana run. When both feet have lost contact withthe floor, the moment of suspension is longer.

Learning activities using the leap.

(1) Step leap, step leap, across the floor.Try to get as much height as possible onthe leap. Try in a circle or in linescriscrossing.

(2) Leap, run, run; or run, run, leap; or leap,run, leap. Have class try this in a circleor several small circles.

(3) Leap on the right leg on count 1; holdcount 2; run left, right,.left on counts 3,4, 5: leap right on count G. Repeatbeginning left leg.

(4) Leaping combined with step, hop, and run:With the arms swinging in opposition,leap on the right foot on count one; hopon the right foot, swinging left leg forward on count 2; run forward on the leftfoot, then the right on counts three andfour. Repeat starting left.

(5) Try the above pattern for eight countsstarting first on right, then repeatingon left. Then repeat same pattern in acircle formation. Vary the arm movement.

(6) Leap variations: While leaping, bend theleading leg inward to kick front of thighof trailing leg. Try flexing foot of the

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leg and swing the arms in oppositionpushing the heel of the hand strongly for...ward.

(7) Have students experiment with leaps. Forexample, try leaping for distance, or forheight. Try a bent knee leap ( the leadingleg bends in at the knee.)

g. The skip

The skip is a pattern of movement consisting ofa hop and a step. It alternates from one footto the other with an emphasis on lightness ofmovement.

Learning activities using the skip.

(1) Begin with weight on the right foot, skipfour times making one complete turn leftin place, whipping left arm around to left.Try again making two complete turns leftin place to four skips. Try same patternto the right.

(2) Skip in place four times starting left.Skip forward four times starting left tocover distance. Repeat skipping in placefour times starting left. Skip backwardfour times starting left by steppingdirectly behind the other foot, knees turnedoutward. Repeat the above emphasizing theforce to give greater height.

(3) Combine patterns one and two.

(4) Form a number of small croups each with aleader. With respective groups followingthe movement, each leader invents an in-dividually styled series of skips foreight counts; then devises a different skipfor each succeeding eight counts. Everyleader chooses a new leader, and the sameprocedure continues. The interest may beheightened by having the leaders change thedirection, level, or focus at the beginningof each of the eight beats.

(5) Have partners face each other and standabout twelve long steps apart. Move towardeach other gradually increasing the dimen-sion of four skipping steps. On the fourthstep, the partners clap right hands twotimes in passing. Repeat with partnersexperimenting with various ways and stylesof passing each other such as, a suddenstop with a definite focus change, a move-ment showinc a feeling of greeting or bore-dom, or a sudden turn away from each othera: though showing a desire to ignore theother person.

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h. The slide

The slide is similar to the skip but is smootherin quality. One foot maintains the lead, theother being drawn to the closed position as acut step is performed. The first step has agliding quality the foot sliding across thefloor maintaining contact with it. Sliding isusually done in a sideward direction.

Learning activities using the slide.

(1) Partners face each other with both handsjoined across. Slide to one side four. times.Continue in same direction with four stepswhile completing two turns under raisedarms. Shift weight quickly to free foot.Repeat in opposite direction.

(2) Have partners in exaggerated knee bendpositions with hands across each othersshoulders. Slide seven times gradually'increasing the level to the highest reachoff the floor. Jump on count eight. Re-peat in the opposite direction graduallyreducing the level to that of the original.

(3) Have a group start in a circle facing thecenter, with arms extended out to the side,slide to the right seven times. Step right,make I turn"right to face outward in thecircle, by hopping on right foot and whip-ping the arms high above head. Repeat themovement traveling counter clockwise toleft and ending with a step-hop left,turn left to face inward. Repeat slidingthree times right. Step right, hop rightwith 1 turn right. Slide three times left,step left, and hop left with 1 turn left.Slide one time right, step right, hop right.Slide one time left, step left, hop left.

(4) On this pattern exaggerate the slide byclicking the heels together in the air.Execution of heel click: Face forward witharms at side. Step right plie (bent knees).Straighten knees springing into the air,bringing heels together and extending toes.Pattern: Slide four times to the rightwith the last spring carrying the bodyinto * turn to the right. Repeat fourslides to left. Try the above pattern withsliding two times to the right, one-halfjump, turn right and two slides left. Varythe arm position from side to shoulderlevel. .Touch heels on each slide in thispattern.

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(5) Have students travel across the floor,experimenting with slides for great dim-ension. Change directions with body andwith focus.

(6) Have two groups experiment with slidingmovement used to convey contrasting ideassuch as "hello" and "good-bye", or workand play. Variations in timing, force,and different aspects of space should beevidenced in such a study.

(7) Slide two times to right side with rightfoot leading. On the second slide swingthe left leg behind the right and bend thebody to the left, pivoting on the ball ofleft foot with a lift in the hips. Let theright leg swing around to the left in anarc (or in an attitude position-a raisedleg bent knee position with knee and legparallel to the floor.) Immediately gointo a repeat.

i. The prance

The prance is a modified run with the weightchanging alternately from one foot to theother with the accent on the lifted leg andupward thrusting action of the knees. A greatamount of energy is needed to keep the weightup in the body. As the weight is taken uponone foot the free leg is lifted upward with asharp thrust, and the knee bent at a right anglewith the extended foot. The body elevates be-tween each step. The prance is like a ponytrot. This means of locomotor movement canbe performed forward., Sideward, backward andwith feet cris-crossing.

Learning activities using the prance.

(1) Prance forward on counts one and two,hold count three; prance forward on countsfour and five, hold count six; prance back-wards on count seven, and forward on counteight.

(2) Prance forward four times keeping legs rightunder body; prance forward four times lift-ing legs in front a little Li ether; prancebackward four times. Repeat.

(3) Prance with a waltz step; usinr a lot ofelasticity. The waltz prance is done byhopping on right foot as left foot crossesover, step right, step left. Repeat onother side. Remind students to keep energylevel up in the body and not in the feet.

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j. The triplet

The triplet is a dance walk done in 3/4 timesignature, meaning three counts to each trip-let. The first stepi or count one, is executedwith a slight flexion of the ankle, knee andhip ( a plie). Steps two and three are executedon half toe with legs straight (releve). Plie,releve, releve on alternating feet such as left,right, left; right, left, right.

Learning activities using the triplet.

(1) Execute two triplets; first, beginning onthe right foot; then second triplet begin,-ning on the left foot; then execute twotriplet turns, first to the right, then tothe left. The triplet turn is done byexecuting a plie in the direction of theturn, and the two releve steps are doneto complete the turn. Repeat across thefloor.

(2) Combine triplets forward and backward.For example, execute three triplets for-ward, starting on right foot; one tripletbackwards on left foot; three triplets for-ward starting right foot; one triplet back-ward on left foot. Continue across flooror in a circle; this pattern is very effec-tive using several groups coming acrossthe floor on different die.ponals at dif-ferent times. This forward and backwardtriplet pattern can also be combined withforward and backward skips.

44.4.

(3) Have class face front and do a triplet,moving to the right side. Step in a pliewith right foot to right side on count 1;step to the back of the right foot on ballof left foot, leg straight for count 2; stepon ball of right foot as step is to rightof left foot, legs straight and in secondposition on. count 3. On count 4, crossleft foot in a plie over right foot; oncount 5, leap to right side on right foot;on count C, bring left foot back_ across infront of right foot in a plie. Now go intopattern number one, doing two triplets fOr-ward and two triplet turns. Repeat entirenumber three pattern and number one pat-tern.

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k. Combined locomotor patterns

The following learning activities are examplesof combined walks, runs, hops, jumps, leaps,slides, skips, triplets, and prances. The num-ber of steps, directions, focus, levels, andtempo will be up to each instructor. Try doingthe following conbinations with an idea foreach one which will affect the style in whichthe movement is executed.

(1) Triplet, triplet, walk, walk.

(2) Skip, skip, triplet, triplet.

(3) Slide, slide, slide, skip.

(4) Triplet, triplet, slide, hop, hop.

(5) Skip, slide, run, run, run, walk.

(6) Run, run, run, run, jump, jump, jump, jump.

(7) Prances in regular time; in double time.

(8) Leap, run; leap, run, run; leap, run, run,run; leap, run, run, run, run.

(9) Three step turns, progressing across thefloor and alternating direction of turn(step, step, step, hold; step, step, step,hold).

1. Contractions and releases--axial movement

Contractions and releases add much of the real"stuff" or "salt and pepper" to communicating .

ideas in dance. A contraction is a gatheringof inner tensions or tensing groups of musclesin the torso. For example, the muscles in theupper torso may be tightened so that the chestis pulled in toward the back, making a round-ed upper back. Another example, is to tightenor tense the entire pelvic region so that theabdomen is pulled in concave, making a roundedlower back. The release of tightened musclesmay be gradual or sudden. Contractions andreleases are powerful movements. The entirebody undergoes a deep, pulsating kind of change.

Learning activities using contractions andreleases.

(1) Start on the back tense only the lowerabdomen so that the natural curve of theback rests against the floor. The kneeswill bend, the shoulders come forward, andthe head falls back. This is the basicpelvic contraction and should be learnedbefore other more complicated movementsand combinations are attempted. Releasethe tension and return to the long: stretch

.position.15

(2) Contract in slowly on counts one-four; re-lease out slowly on counts one-four; con-tract very sharply on count one, hold countstwo-four; release out sharply on count one,hold counts two-four. 'Repeat.

(3) The following counts with contractions isa very effective movement. Let studentsthink about different. things while doing this.For example, the body in pain, or body beggingfor help. Start lying on the back. Contract,emphasizing a pull into the left hip. Onlycome up two-three inches. Focus left withpalms up, wrists close to hips on countsone and two. Release.and lie down center-ed on counts three and four. Repeat, con-tractinz hard and lifting about six inchesfrom the floor on counts one and two.Release on counts three and four. Repeat,contracting almost to sitting on counts oneand two. Release on counts three and four.Contract to as high as possible, stillholding onto contraction in left hip oncounts one and two. Release on counts threeand four. Repeat entire build up contract-ing in the right hip.

(if) Start lying on back. Contract the lowerabdominals and lift about six inches fromfloor, palms up, focus up. From thisposition, put ball of left foot on floorand press against floor, pi7oting the bodyto the right on 27 turn. During this pivotthe right leg extends forward and up, makinga sweeping motion right. The back straightensand the body ends up facing turn right ina sitting hurdle position (the right leg ison the floor straight, foot is pointed withright arm high over head; the left leg isbent on floor with foot behind body andthe knee is out to the side; left arn isout to the side, parallel to the bent leftknee). From this position move the bodyinto the contraction position,.six inchcontracted position with head back, lowerabdomen contracted position with head back,lower abdomen contracted, knees bent, feetoff floor, palms and focus up. Release downto floor. ::eneat entire movement threetimes, each time makinc: 4 turn right untilthe body is back to'the left. Repeat pat-tern again, 'both to the right and to theleft with turn contraction combinations.The above pattern is a very beautiful move-ment when done correctly and in flowingsequence.

16

(5) Contractions and releases in standingposition: Stand in a small stride with armsdown by side. Contract, letting the kneesbend, focus low, elbows rotate out oncounts one-four. Release straightening bodyon counts one-four. Contract.into righthip on counts one-four and release on fourcounts. Contract into left hip on countsone-four and release on four counts. Con-tract into right hip turning left, deep-ening movement to twist -1 turn left withright arm crossing low to clasp left handon counts one-four. Release and unwind toopen arms high over head and return tooriginal position on counts one-four.

(6) Contractions combined with locomotor move-ment: Contract the torso and four stepsare taken back on counts one-four. Pe-lease as four steps are taken forward oncounts one-four. Contract as two stepsare taken back on counts one and two. Re-lease as two steps are taken forward on.counts three and four. Contract, steppingback on count one and release, stepping for-ward on count 2. Repeat stepping back andforward on counts three and four.

(7) Run forward quickly with six running stepsand contract suddenly to stop the forwardmovement. Release quickly to run forwardagain, and so on across the floor.

(3) From a standing position, contract into oneshoulder, and let the movement push thebody backward into a turn. Repeat into theother shoulder and backward into a turn.

(9) Try contracting into one hip to twist thebody into the floor from a standing position.This movement will bring the body into aspiral, controlled fall. Let the releasebring the dancer lifting back to the start-ing position.

(10) From a kneeling position experiment con-tracting to sit onto one hip and then'tuckinto a small ball; release back to a highkneeling position. [epeat to other hip.

2. Approaches to composition through rhythm.

a. Introduction

Basic rhythmical experiences in dande are pre-sented in the second modern dance quinmestercourse. Time and space does not permit thewriter to detail a rhythm unit in this courseof. study. However, approaching dance composition

17

through elements in rhythm enhances the creativeability of students and opens other doors increative process. The creation of rhythmicexperience is the function of dance. The entirestudy of dance is a study of rhythm. Unlessbody movements are experienced rhythmically,they are not dance.

b. Duration of movement: Have students work withduration of movement, sensing how long or howshort it lasts in relation to other movements.

Learning activities, experimenting with durationof movement.

(1) Make a single movement which lasts a shorttime. Make a single movement which lastsa long time. Make a series of movementswhich lasts a short time. Make a series ofmovements which lasts a long time.

(2) Have students create a series of movementshaving unequal duration. For example:

7371 short long short 7577--

(3) Have students improvise freely in bodymovement at a slow pace. Then improviseat a fast pace. Then have them freely con-trast slow and fast pace.

(4) Have students walk or run freely aroundthe room at a constant pace; then any pace;then a slow pace; then a fast pace; then amoderate pace.

(5) Have students walk or run with gradualchanges of pace; slow to fast; fast to slow;slow to fast to slow; fast to slow to fast.INperiment freely with gradual changes ofpace. The teacher should remind studentsto sense duration of movement and gradualchanges in duration of movement.

c. Accenting movement in rhythm: An accentedbeat is a stronEzer emphasis on one or more beatsin a measure. f%'hythmical.devices include shift-ing and changing of accents. This makes movementmuch more interesting and exciting.

Learning activities experimenting with accentsin rhythmical patterns.

(1) Have the class begin walking in a circleto a chosen meter or time signature, suchas four beats to a measure. While they moveto the basic one, two, three, four, beats,give each of the following suggestions insequence allowing each one to be triedseveral times before going to the next one.

1

(a) Stamp and clap hands on the first beatof each four count measure while studentscontinue to walk to the underlying beat,one, two, three, four.

(b) Stamp and move an arm forcibly on thefirst beat of each four count measure.

(c) Stamp to the side and experiment with.a different arm movement on the firstaccent of each measure.

(d) Kick the leg out straight or bent on thefirst accent of each measure.

(e) Turn the head sharply in any directionon the first accent of each measure.

(f) Combine any leg or arm movement on theaccent.

(g) Combine any leg, arm, and head movementon the accent.

Have each half of the class watch the other halfin doing (g) above. Have students select thebest combinations in the class and have studentsrepeat movements.

(2) Give the students the following time pat-tern to show how accents affect moods. Havestudents contrast two moods. When accentsare spaced far apart, the result gives aserious or solemn mood; when accents areclose a more exciting mood results. Repeatpattern two times.

(3) Have students experiment with a syncopatedrhythmic pattern. Syncopation occurs whenthe normally accented beats become unaccentedand accents as a result fall on otherwiseweak beats. The accents fall unexpectedly.Instructor can have students clap out thispattern below, emphasizing the accents.Then have students use simple movements tothe pattern, showing the accents.

(4) Have students experiment with a patternwhere the accent progresses a beat in eachsuccessive measure. Have them clap pro-gressive accents, then move to it. Repeatit backwards, accenting the fourth beat, thethird beat, the second beat, and the firstbeat.

(5) Have students experiment with adding abeat to each successive measure and thentaking a beat away from each measure.Accent the first beat of each measure.Clap, then try with movement.

d. Suggested problems and learning activitiesfor compositional studies.

(1) In groups create a movement study based onthe rhythmic pattern of a nursery rhymewith no pantomime. The rhythmic patternmay be passed from one individual or aportion of the group to another, or it maybe performed by everyone in unison. Besure that there is a movement for everysyllable of the rhyme or interval of therhythmic pattern.

(2) With a group of sixteen dancers, arrangedso that there are four dancers in each cor-ner of the dance area, give the groups asimple four measure pattern based on walksand claps. Make each measure of the patterndifferent in movement and sound so that themeasure provides interesting contrast toeach other. Have groups in one corner per-form pattern as given. Begin another groupwith measure two doing measure two, three,four, and one. Begin the third group withmeasure three and the fourth group withmeasure four. All groups are to begin atthe same time and move towards the center.At the end of their pattern they return toa new corner and begin moving toward centerwith that corner's pattern. The followingis an example of a pattern that could beused. The equal lines on the bottom rep-resent the even, underlying beats. Theabove lines represent the movement. Thereare three beats in each measure.

/step-clap step-clap step-clap/

1 2 3

/step step clap/ / step clap clap/

2 -7-- -1- 2 -7--

/clap-step step-step step-step/

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2 3

3. Approaches to composition through spatial aspects.

a. IntrOduction

Since dance is a space-time art, both spaceand time occur together. Not only is rhythmand movement quality important, but the spatialdesign demands the dancer's sensitivity. Asdance cuts through space, good spatial designgives the dance idea clarity and strength.Lines in space have meaning, such as:

Straight--bold, strong, formal, authoritativeVertical--breadth, resistance, definitionCurves--lyrical, gentle, anticipation of

continuance of movementStraight forward--dynamic, affirmativeBackward--less powerful, submissive, turn-

ing away, shynessClosed design--unityCross action of a group--unrest, expectancy,

turmoilSideward--indecision, fear, uncertainty.

Spatial movements can be done forward, backwardlsideward, diagonally, circularly, up, down.,Using any of these combined directipns suchpatterns may develop in zig-zag lines, rightangles, sauares or arcs. Movement ma:,r bepresented on the floor,-sitting, kneeling,standing, or in elevation. Moving groups inspace in relation to each other can be done inunison, or in opposition, or in succession.Groups may be balanced (symmetrically, designon stage is exactly the same), or groups maybe unbalanced (asymmetrically, irregular design).

Learning activities in spatial design are pre-sented in directional studies, dimensional stud-ies, level studies, and focus studies.

b. Directional studies.

Direction becomes evident either as the bodymoves or as the dancer travels to form a floorpattern. The focus, the moving of the head,the pointing of a finger, the extension of aleg or the tilt of the torso illustrates the useof direction. The path made in space is anotheraspect of direction.

Learning activities including directional studies.

(1) Have the entire group skip in a large circle.Stop the accompaniment. At each silencethe group walks slowly toward the frontofthe room on four counts. As the accom-paniment starts again the group skips ina circle,. Try the same directional move-ment again with the teacher calling out the

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direction during the silence. Directionsmight be forward, backward, sideward,diagonally, or turning. Left or right willbe specified.

(2) Move using any locomotor movement such asruns, walks, prances, skips, or slides.Stop the accompaniment and move towardthe direction called out in a non-loco-motor way: bend, twist, reach, or lungeto point up the directional line,

(3) Give everyone in the class a definitedirection to emphasize. Every movementshould be used toward stressing the chosendirection. Give them sixteen counts towork with their directional movement.

(4) Divide the group into couples, make aneight measure (32 counts), "Advance andRetreat" study showing strong forwarddirectional lines as opposed to strongbackward directional movement.

(a) One moves forward on four counts asthe other holds. Then the other movesbackward while the first holds On fourcounts.

(b) Both move together with one advancingas the other retreats on eight counts.

(c) Change after sixteen counts to reversethe direction. A see-saw movementpattern results.

(d) See-saw advance and retreat four meas-ures each way, then two measures, thenone measure. Let the individual couplesdevise their own endings to the pat,tern.One might end victorious, or both ad-vance at the same time, or both turnand retreat together.

) Divide the croup into partners. Have thornstand facinr each other about fiftden feetapart. Have them come toward each otherand pass on with no recognition. They ad-vance on and both make turn and walk back-ward the rest of the way. Then they walktoward each other, stop and stare at eachother. One can turn and run, stopping tolook back. Note the feeling that is pro-jected merely by a directional pattern oftwo people. Have the class comment on theexpectant quality that grows as the twopeople move toward each other. The excite-ment can be built upon by emphasizing themoment of meeting.

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(6) The instructor can compose some forwardand backward movement of her choice tohowever, many beats she chooses. Divideclass into three groups. All three groupsperform the forward and backward movementtogether. Group one continues the originalmovement; group two starts in oppositedirection; group three does the action inplace. Then have group one move from rightto left with groups two and three doing theaction in one place. Then have group onemove diagonally forward with group twoencircling group one; group three encirclesgroup two. Repeat all above action. Thisis a very interesting directional patternof movement.

(7) The instructor or a student compose a ninecount movement pattern. Divide class intotwo groups. Have all perform nine countphrase together, moving in a circle forfive counts and in a straight line for fourcounts. Group one continues as before,repeating several times. Group two waitsfive counts, then starts and continuesseveral times.

c. Dimensional studies.

The dimension of a movement has to do with thesize of the movement and the amount of spaceneeded. Studies made up of large, amplifiedmovements tend to suggest openess , release,and freedom. In contrast, dance using small,restrictive movements might suggest restraintor limitation.

Learning activities involving dimension.

(1) Contrast movement such as: skipping inplace, then gradually increasing the spacecovered on each skip; or leap across thefloor with very small concentrated leapsand gradually increase size and distance.

(2) Have a group stand close together in acircle facing counter-clockwise with lefthand reaching toward the center of thecircle. run, making the circle wider tosixteen counts. Make z turn left to faceclockwise with right hand reaching towardthe center of the circle. Run to anotherphrase of sixteen counts, bringing the circlein very small.

(3) Have group in a circle with one girl be-ginning a movement on a ver soft, small

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scale; the next one repeats it a littlelarger and louder; the same movementsmove around the circle becoming exaggeratedeach time. An example might be used suchas "gossip" or spreading a "rumor." Themovements used could be hand clapping andstamping feet.

(ii.) Using the title, "the power of a fad,"have the group form a small circle facingin. All bend knees and.side step to right.The steps begin very small and graduallybecome wider and faster until one personwhirls out from group to "set the newfad." The group comes back close togetherand starts slow small side steps againgradually building up until two or three

. go out to copy movement being done byfirst dancer on the outside. Finally, allare following the fad. ft this point themagnetic power of the fad seizes the groupand the size of the movement grows largerand the floor pattern expands and the tempoaccelerates to end in a frenzy.

(5) Divide the class in two groups and give thema movement theme. One group does movementin as small a range as possible. The secondgroup answers the first by enlarging themovement to its largest scope.

d. Level studies

Changing levels during a dance compositionmakes it much more interesting. A dancer canmove from the lowest point on the floor throughthe various gradations of height until thehighest jump is completed. The low levelmight be used to express a feeling of dejection,whereas, the highest elevation might depict avery joyousl.happ:: feeling. sudden change oflevel can be most dramatic and effective whenused as a tool to emphasize a point or to reacha climax. A gradual change of level is lessdramatic but can be used in showing developmentof movement.

Learning activities involvinr: level changes.

(1) Let the class experiment with improvisedmovement, finding the lowest possibleposition and coming to the highest pointin sixteen counts. Go from high to lowin sixteen counts. Then up in eight anddown in eight; up in four, down in four;up in two, down in two ; up in one and downin one.

2/:

(2) Explore the levels that different partsof the body can reach--the head, the elbow,the knee,or the shoulder. Lead with thatparticular body part in changing levels.

(3) Give the class the following directions,each direction taking four counts. Stayin place and change levels. Move forward,backward, inward, outward, upward, anddownward. The movement will be very slowand sustained. Try this same level changeworking with sharp, percussive movements.Each direction will take one count in per-cussive movement.

(4) Repeat the above movement directions, work-ing with a partner; then try in threes.

e. Focus studies.

Simple movements in dance can look and be verycommunicative because of the focal point. Bylifting or lowering the eyes a movement maytake on vitality and meaning. The eyes can bethe most compelling aspect in dance.

Learning activities using definite focal points.

(1) With everyone sitting on the floor trace aclear desi,7, with the eyes and head moving.The movement is projected toward the floor.

(2) Standing, draw a pattern in space with onlythe eyes and head moving. Now add an armor a sudden twist and a leg movement toemphasize the pattern the eyes indicated.

(3) Take a partner and sit facing each other.Gaze into each other's eyes. One beginsa slow hand movement, and the other mirrorimages the movement. Cohtinue the move-ments in any way but never change the focusof the eyes. Gradually bring the body upfrom the flor and begin movement in space.

.(11.) Partners shadow each other's movements:Sit or stand very close to each other facingsame direction with the focus in the samedirection. The front person begins a slowmovement with the focus following the move-ment. The person in back follows the focusand movement exactly and at the same time.This type of movement is very effective withtwo groups shadowing each others movements.The focal points need to be worked out be-fore movement begins, since one partner isbehind the other.

4. Approaches to composition through thematic struc-ture and compositional form.

a. Introduction

For dance movement to become a composition itmust have some orderly arrangement or form.Movements must follow a logical plan in orderfor the dance to have unity and completenessof meaning. A study of dance form is valuableto the dancer; however, one must be aware thatin the process of composing the form does notcome first but grows or evolves dynamically outof the idea. The idea should be the cause ofthe form.

Approaching composition through thematicmaterial and form entails much discussion andexperimentation between the teacher and thedancer. This approach is excellent for in-dependent study in dance following lecture,discussion, and question-answer periods. Musicwhich adheres to the thematic material and thecompositional forms should be listened to verycarefully. Once a dancer understands thefo;:m and can hear the musical form, her taskin applying dance to the music or in applyingmovements to her original idea becomes mucheasier, more enjoyable, and more educational.The writer recommends the following album fora study in form:

Key Notes to Modern Dance by Cola Heiden.11,aucational Activities, Inc. Freeport,Long Island, New York

As each form is studied, the following prin-ciples of composition should be applied:

(1) Unity -- composition should express one ideaand one purpose.

(2) Variety--re-use, but vary significant move-ments in the composition--reverseorder of movement senuences, changerhythm, or change quality to addvariet7.

(3) Repetition--repeat movement in order to"fi::" important images in the eyesof theaudience.

(4) Contrast--introduce new material or themesout relate new material to maintheme of composition.

(..7) Transition--parts of the composition mustmove easily from one part toanotiler.

(-) Sequence--each movement should be a log-ical outgrowth of the precedincone.

2.

(7) Proportion--the number of people in acomposition and the length of thecomposition are important. Itmust be properly balanced in termsof variety and contrast.

Explanation of and learning to construct move-ment patterns follow in the forms discussedbelow.

b. Sequential forms.

Composition in which sections follow each otherin a definite order are sequential forms.Individual sections have separate themes. Theletter A indicates the first theme; B, thesecond; C, the third, etc. Sequential formsmostfrequently used by dancers are the two-part, A B, the three-part, A B A, the Rondo,A B A C A, and the theme and variations, A AlA2 A3 A4. The form that best suits the ideato be danced will be the most useful, andthese forms can be used for solo and groupdances.

(1) Two-part form (A B)

Two-part is a composition with two con-trasting sections. A musical examplewould be the verse and chorus of a folksong. The A and B sections must relateto each other; B, usually contraststheme A.

Learning activities using A B form.

(a) Have students improvise an eightmeasure pattern which could be 32counts. Compose another eight measuresin a contrasting but related manner.Dance this in two parts.

(b) Have students compose another A B form;the first theme having to do witharriving, the second with departingand perform as A 3.

(2) Three-part form (A B A)

The three-part has an introductory themeA, a contrasting therae 3, and a repeat oftheme A. Many popular songs are presentedin this form; the chorus, a verse, and arepeated chorus. Theme A is the main,unifying idea. B merely contrasts A

is repeated for strength and for impres-sion,

Learning activities using. A B A form.

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(a) Choose an axial movement phrase anddevelop a theme to be called, "In onePlace." Choose some locomotor movementand develop a theme to be called,"Through space." Finish, repeating"In one Place."

(b) Have class work in threes, selectinga contrasting movement theme, such asserenity--unrest; love--hate; rulers- -slaves; or alone--in a crowd. Performtheme A by one girl; theme B by twogirls; repeat theme A by same girl.

c. Rondo form (A 3 A C A)

Rondo form is a composition containing threeor more sections, each with an identifying theme,in which there is a alternate return of thefirst or main theme (A) before another sectioncan be introduced. Each new section followsa regular sequence. The main theme must bedanced at least three times and may be variedto increase its interest. The main theme fol-lows each new section. The main theme or sec-tion must be strong and interesting. Each ofthe other parts (B, C, D) should maintainindividuality in order to make it an interes-ting piece of composition.

Learning activities using the rondo form.

(1) Divide the class into several groups.Each group represents a section and onegroup a main theme. Select an idea suchas lonliness for the main theme (A). Eachof the other groups compose movement whichresults in some way to alleviate lonliness(B, C, D). For example, one group could beinvolved in some type of relating movement,showing an enjoyment of group company.Another activity (abstracting sport skills).Present this study as A, B, A, C, A, D, A.

(2) Other types. of composition in rondo formsimilar to the one described above coulduse ideas such as: a struggle of good againstevil forces; boredom ; or reunion.

(3) Improvise theme such as "Coutry Dance."A theme could be grand right and left; D,improvised movement; A theme repeat grandright and left; C, new improvised movement;A repeat grand right and left.

d. T:7 me and variation - A Al A2 A3 Al A.

Theme and variation form has one main themewhich is repeated many times with variationor modifications. such variations can be acontrast in style, a change in movement qual-ity (sustained to percussive,) a change intempo, a shift in mood, or a contrast in spatialrelationships. This form is an excellent testof how well a choreographer can manipulatedifferent devices and handle one theme withimagination and skill. The original themeshould be direct, forward, and simple.

Learning activities using theme and variation.

(1) Compose a movement theme. Divide the classin four-five groups. Have each group makeup a variation of the original movement.Have one group change the tempo, one groupchange the quality of movement, one groupchange the spatial design, and one groupchange the mood.

(2) Use the idea of children playing. Theentire class dances a movement phrase oflight, typical, child-like movement. Onegroup breaks away and goes into some typeof child-like movement but slower or fast-er; another group might break away and showchildren shunning another child in thegroup; another group goes into movementindicating children fighting; the lastgroup might show child-like play goinginto "sleepy time."

e. Free form.

The free form is not restricted to s setstructural technique. Phraser,; making up thefree form may be arranged in many differentways, such as A 7, C A D, A '3 C A, orABCDAE A.

f. Contrapuntal forms.

Contrapuntal forms are compositions in which asingle theme is played against itself, againstone or more other themes, or woven throughoutthe entire lent'a, appearing and reappearing.These forms are suitable for duets, trios,small groups, or a single dancer against a group.

(1) Round form

In a round form, the theme begins as asolo movement pattern, but is repeatedat successive intervals. The last repeatending in a solo, such as, "Row, Row, Row,Your Boat," which is sung by four voices

or four groups, or four dancers, or fourgroups of dancers.

Learning activities using round form.

(a) Have the class take a round andperform it in dance as a round. Lethalf of the class sing the round whilethe other half moves.

(b) Select an idea such as work theme andcompose a short movement sequence ofeight measures or 32 counts. One groupbegins the movement; two measures later(eight counts), group two begins themovement; two more measures of eightcounts, group three begins; two moremeasures, group four begins. Dancethis pattern as a round.

(2) Canon form.

The canon form is very similar to the roundform with the exception that the originaltheme is altered slightly with each succes-sive repetition. Each repeat might bereversed, doubled, or halved in time.

Learning activities using the canon form.

Using a small group, have the class composea movement to a theme such as meditation.Have one group learn the movement in doubletime; have a third group reverse the move-ment, and present in a canon form.

Example: (The letters indicate measuresnot themes).

Group one

4 /A/B/C/D/HOLD/HOLD/HOLD/

Group two

4 /SILENT/I.,/3/C/D/HOLD/HOLD/

Group three

/SILENT/SILEITT/A/B/C/WHOLD/

(3) The fugue form

The fugue is irregular in the contra-puntal forms, but can be the most excit-ing, particularly in developing a dramaticidea. The original theme plays tag withitself throughout the composition. Sometimes the main theme is reversed (dancedbackward) or it might have tempo changes(faster or slower). The fugue should build

30

to a very exciting climax and then graduallysubside to a return to a quiet repeat ofthe main theme.

Learning activity using the fugue form.

Work with a solo dancer agains a smallgroup. Any dramatic idea would be suit-able such as, "Fear and Pursuit," Thesolo dancer can compose movement indicatinga great fear of something. The group can"mirror" the solo dancers movements, butdirected in pursuit or chase of the solodancer. The solo establishes the mainidea of movement and throughout the com-position this main movement should be re-peated but with varied changes (tempo,quality, order).

g. Pre-classic forms.

The pre-classic forms were an important partof the social life in the European courtsduring the fifteenth and sixteenth centuries.These early dance forms had a great influenceon music and on ballet. These forms ledmusicians to the development of sonatas andsymphonies. The influences of these forms onballet resulted in contributing to its eleganceof manner, its precision of movement, its"turn-out", and its "five positions." Pre-classic forms demanded perfection of movementin the exauisite carriage of the torso andarms. The movement was very stately and wasdone in the nature of processionals, usinglines and circular patterns.

Every dance student interested in pursuingdance composition should be knowledgable ofthese dance forms and musical forms. For acomplete reference, the dance teacher is re-ferred to, Pre-Classic Dance Forms by LouisHorst (New York: Kamin Dance Publishers, 1954).

The following is a brief listing and descriptionof the pre-classic forms.

(1) Pavane: Dignified, simple, strong movementindicating pride and nobilityDance ideas: evil intend; a pioneerwoman

(2) Galliard: lively, gay, vigorous movementDc:,ce ideas: c youn;", ')lade;the light-hearted

(3) ;:llemande: smooth, gliding, couple danceDe,-:CO ideas: a noble entrance; loveletter; faded flower

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(4) Courante: shifting accents and continuousrunning steps; many bows andcurtseys between little jumpingstepsDance, ideas: hasty exit; holidaydance

(5) Sarabande: stately processional in a double-line by couplesil)nce ideas: farewell; the soph-isticate.

(6) Gigue: exciting, carelessness, gallopingkind of movementDance ideas: traffic problem;dimension of gossip

(7) Minuet (classic form): slow, graceful,most persistent of all court danceDance ideas: afternoon tea;flirtation

(8) Gavotte (classic form): Boisterous, flirt-atious, livelyDance ideas: greetings; flirtation;comical stateliness

Learning activity involving pre-classic andclassic form.

As a project in independent study have studentsdo reference work on the forms and choreographdance movement in tune with the suggestions ofthe basic form. For example, a courante sug-gests very active and continuous movement.Take an idea such as a group of people on avery busy street corner, each hurrying in dif-ferent directions and completely unaware ofbumping into or annoying other people. Arrangea dance around this idea, using music suggest-ing a courante in form. Ideas for musiclisted in Chapter V.

Approaches to composition through improvisation

a. Introduction

A dance is improvised when it is createdspontaneously by the dancer, or dancers, whiledancing. Improvisation. is a creative skillwhich can be developed with Practice. Eachimprovised dance can be a completely satis-fying experience because it is what the danceror dancers feel at the moment. Sometimes themost creative moment of a dance is when it isfirst being created.

32

b. Improvisation ground a style.

ach person has his or her own style or flareof movement. ,-;tyle is the spirit imparted tothe total form of movement, possessing char-acteristics that give it -a flavor distinctivefrom all others. However, dancers should notmake the error of selecting some mannerismsof movement and apply it with monotonous freq-uency to all their dances. The followinglearning activities might help in developingthe ability to apply convincing style todance movement.

Learning activities involving style or flareof movement.

(1) Have students select a historical periodwith which they are familiar and performany improvised movements in the appropriatestyle.

(2) Have students select a well-known per-sonality and imitate his personal styleby improvising exaggerated walks andgestures. Remind students not to pant-omime.

(3) Students improvise a movement phrase basedupon the gestures of greeting. Imposestyle upon students interpretation of thefollowing types:

(a) Politician(b) A gossiper or a busy body(c) A movie star(d) A shy child(e) A cowboy or hill billy

(4) Show students a painting and ask them toimprovise movement which conveys theirimpressions.

(:7) Have students improvise a 32 count move-ment pattern. Do the -oattern in each ofthe following styles: ( Do the same move-ment for eac'[-. style) Hawaiian style; west-ern style; calypso style; and African style.The instructor should find music depictingeach of the above styles. Using the somemovement, except for changing style andmusic, looks like different dances. Thisis fun for the students.

c. Improvising throu7h kinesthetic awareness

Movement awareness depends on the kinestheticsense (muscle-cense) which involves the sensorynerve endings in the muscles and joints, ,tend-inE;.messages to the brain telling. exactly, hog;a person is moving.

33

Learning activities involving sensing movement.

Have students lie on floor, completely relaxedwith eyes closed. Have them begin stretchingbody in all directions, exploring space andtrying to see how much movement they can do.They need not remain on their back but canstretch, bend, twist, turn, roll over, expand,contract. Use the entire body, bringing thebody to a sitting position and explore spaceall around them. They can move fast or slowor any way they feel. Have them stand, movearound the room, going up in the air, downto the ground, around the room, running, jump-ing, creeping, crawling. Remind them this be-comes a group problem and not to bump into eachother. Have them face a partner, continuingto move. They must be aware of their partnersmovement and adjust their movement to theirpartners. The more sensitive they are to eachother's movement, while moving freely themselves,the better the duet will be. Change partnersand repeat. Then have them try related movementwith a trio. Three people must adjust theirmovement tc each other.

At the end of this type of improvisation adiscussion period should follow. The begin-ner will find free movement expression verybasic; the better, mature dancer will findnothing more challenging than the opportunityto express freely in movement without anylimitation of theme.

d. Improvisation using tactile movements.

L'odily contact themes can exert an extraordinarypower in liberating the individual from theconfines of his or her separate personality andin strengthening the creative forces of groupexpression.

Learning activities using tactile movements.

(1) Improvise movement with a partner holdingleft hands. :;ontinue holding hands andsee how much movement can be made from thatpoint. Tr7 same t7pe of movement a7:ainfreely chan7inr, from one hand to the other.Try the sar:.e thing with three in a group.

(2) ';:ith a partner, hold both hands and crossarms. Impro7ice movement from this point.Try again with elbows hooked together.

(3) Experimenting as a duet and then as a trioattempt improvised movement with the fol-lowing:

(a) heads touching(b) feet touching(c) palms together(d) wrist touching(e) hands on shoulders

e. Improvising movements with parts of the body.

By exploring the expressive movement possibil-ities of first one part of the body and thenanother, students become aware of the body asas instrument of expression.

Learning activities using various body parts.

(1) Have students sit on floor, close eyes,and begin moving their heads and experi-menting withall ways and directions ofmovement. For example, dropping it forwardand backward, or turning it.. ':then studentshave found an interesting head movement,have them continue to use it and brie :; thespine into play; then p:radually beginmoving the entire body never letting fly

other part of the body dominte the headmovement.

(2) Now have students try moving just theirshoulders, one at a time, then both. Movethem forward, backward, and in a circle.Bring the rest of the body into movementbut let the shoulders be the main movement.

(3) Continue with the same t::-pe of movement,experimenting with the elbows, the wrists,and the fingers.

(4) Lying on their backs, have students exper-imenting with the same type of movementusing first the hips then the knees, theankles, the toes, and the feet.

(5) Divide the class into partners. Letpartners choose a position that would beinteresting for a head duet. Have partnerssit face to face, or side to side, orstanding. Have them begin movements ofthe head in relation to each other.mind them to be aware of each othersmovement.

) Divide the class into groups of three foran arm trio. Let students find positionsin which the can move their arms togetherin interesting ways. 3e7in and end with c

37:. e a

moment of quiet. Have them try the armpattern with level changes.

( ;') Have students improvise movement acrossthe floor leading with a particular bodypart. For example begin with a knee,a cheek, or a foot and keep that body partin the lead as students move across thefloor. An interesting idea with this typeof improvised movement is to use electronicmusic. Then students are trying this typeof activity across the floor, they maystart in any direction or on any levelthey choose.

f. Improvisation using everyday language of move-ment.

A free approach to dance needs a natural term-inology of movement drawn from everyday speech.The development of such terminology canstrengthen dance as an independent art.

Learning activities.

(1) Have students stand in order to widenthe range of movement possibilities andgive them key words. Students improvisemovement influenced by the followingwords: You may give them a number of counts'.

Stretch ShakeSend SpringTwist SwingFlop and drop

(2) Some body movements express a specificemotion or suggest a story. Have studentsshow in movement the meanin:: of thesewords. Give them enough time to thinkthe word through with movement Possibilities.

Cringe 7

Threaten EscapeStrut; 'le Search

Let students try the above words in two's(partners).

g. I.:iscellaneous ideas for improvising :lovement.

Learnini3 activities.

(1) Divide the class into groups and havestudents improvise sad, funny, blue, ca.y,serious, excitig types of movement. Theinstructor should give the students a cer-tain number of counts to CO this c.ssic,n-pent.

(2) :elate dance movement to sports. Developmovement cequences from actions such asthrowing, kicl:ing, jumping,reaching, orfrom actud sport movement combinationsused in playing. 3ecin with a knownPattern of movement such as a pivot andpass, and then alter it by changing itstempo, level, dynamics, and range.

(3) Use movements and corninations of movementsa cheerleader would use. Improvise orabstract movements based on cheerleadermovements. ..gain, change tempo. levels,and range. This is very effective as aduet study or a croup study.

(4) Have students take their names and impro-vise movement using their name as a base.The letters that are strain;ht suggestlinear, sharp or percussive movements.The curving letters could suggest lyricalturning movement. Levels, tempo changes,and movement qualities should be evidentin name studies.

(5) Have students work with a piece of stringeight to ten feet long. ,gee how many de-signs t'le can mn.ke with the string. Thestring can be tied to one foot or one toeas an anchor, or the string can be heldbetween the hands. Create movementswith the body as different designs are madewith the strin. Change levels. Veryinterestins movement results from this typeactivity. Try having two girls tie theirstrings tosether and improvise movementtogether. ::'or_: on a different level fromthat of yonr partner. Change levelsfreouently.

('S) Experimentin with props can motivateimprovised novement. For example, havestudents create with sticks (long, thinsticks). The stick can be tapped on thefloor or swished through the air. Neveto the rhythm as you tap the stick on thefloor, or move to the sound it makes swish-ing in space. .1:nether example of improvisedmovement in using inflated balloons. ':pork

as individnnls letting the balloon rollover the -,odn. Let the body move on alllevels. Tny to keep the balloon in contactwith .the body without holding it. Thenexperiment by tossinc; the balloon back andforth with a partner, letting differentparts of the body come in contact with the

balloon. '.;hange directions and levelsin this experimentation.

(-) Have students experiment with differentbody gestures such as:

social 7esture -- a handshakeritual r:esture -- hands folded in prayerfunctional gesture -- work actionemotional gesture -- crying, laughingphysical gesture -- coughing

Using the above gestures have studentswork in pairs and perform simple handshakes.Have them separate and pantomime the hand-shake just done. Return to partner and,using the idea of a handshake, clothe theaction in dance movement. Clothing theaction in dance movement simply meansbringing the entire body into the actioninstead of just the hand.

D. Accompaniment for Dance Composition

1. Introduction

The ideal situation for dance accompaniment is tohave music created along with the choreography ofthe dance. A dance movement should be completeand interesting in itself. Too often we tend tolet our accompaniment overpower our dances. ThePurpose of dance accompaniment is to give supportand re-inforcement to all of the elements of com-position in the dance. However, the accompanimentis important in that it adds needed dimension ofsound to the performance.

2. Suggestions for accompaniment

A dance may be silent, or it may be accompaniedby sounds of music or speech. Showing throughdance the meaning of a poem or a narration isvery interesting and, if done well, gives. theperformer much satisfaction.

Dancers may accomDan: themselves by making soundswith their own voices. Teachers might let theirstudents experiment with making sounds and movingin a manner dictated by the connds. Students mightbegin inhaling and exlialing audibly; then gradually

voice sounds.

Other ideas in exporimenting with dancers accomp-anyin themselves :re using the hands and feet.Stampinr to feet, clapping the hands, slappin7 thefloor, or slappina the thighs makes an interestingsound accompanime::::. Have students walk and

listen to the so=d of their feet on the floor.:aye them inten c_ the z.ound by stamping slightlythen vary it by changing the time pattern of thestamping. Experiment with various time patternsin discovering new qualities of sound by brushingor scraping the feet on the floor.

Another class experimentation with sound is to combine a pattern of landclappinF;1 thigh slapping,,and snapping finger,: tosether.

Students can make instruments for accompaniment,such as:

a. Oatmeal boxes and other containers fordrums.

b. Spoons on .:lasses containin7, varying amountsof water.

c. Eesonant blocks of wood.

d. Sandpaper r7lued to blocks of wood.

e. Coffee can with pebbles inside.

f. Orange :;uice cans half filled with vmt anda piece of plastic aLtLt!': sccurel.i overtop (chaLe).

Conventional instruments students mli7ht use foraccompaniment are as follows:

a. drums

b. rattles

c. cymbals

d. tambourines

e. Cuban sticks

f wrist bells

triangles

toy flutes

Since most dance teachers arc unable to have musiccreated for newly created dances, the followingchapter will include sources for dance accompaniment.

eferences for Compositional ::cterialc

Suggested Sources for __lance .:_ccompaniment

1. Tialo accompaniment.

a. Bach, Johann .:eoaction. Sollectio: of Tweat:

One Pieces. :ew 17ork: C. Shirmer, Inc.

Bartok, Bela. :Iikrokosmos, Volume I. -Jew "fork:

Doosey and :awkes, Inc. (music for canon forms)

c. Bartok, Bela.. lhree -2,ondos on Foil: Tunes: hew

ork: Noose,",- and :cwkes, Inc.

d. Grainger, Percy, Spoon River, number 1, in

Fift -One Pieces from the Modern Reper-

toire. New York: G. Shrimer, Inc. (com-

position in style of country dance--good

for beginners has 4/4 rhythm.)

e. Grandos, Enrique. Theme and Variation, in Meet

Modern Music, Part II. New York: Mercury.

Music Corp.

f. Jahn, Daniel. Eleven Choreographic Etudes.

New York: Orchesis Publications, Inc.

(200 West 57 Street).

g. Jahn, Daniel. Seven Pre-Classic Dances, New

York: Orchesis Publications, Inc. (200

West 57 Street.)

h. Miller, Freda D. Romantic and Contemporary

Dances. Northport, Long Island, New York:

Freda D. Miller, 131 Bayview Avenue.

i. Moussorgsky, M. Pictures at an Exposition.

New York: G. Schirmer, Inc.

j. Satie, Eirk. Gymnopedies, number 1,2,3. New

York:, Edward B. Marks Corp. (Three Greek

ceremonial dances.

2. Accompaniment Specifically Recorded for Dance

a. Adamson, Cjiin. Piano for Modern Dance, Ann

Arbor, Michigan: cjlinn Adamson, 1117

Michigan Avenue.

b. Lodge, David. Improvisation and Dance, with

teacher's manual written by Jeri Packman.

Great Neck, New York: Classroom Materials

Inc., 93 M:frtle Drive. (A simple approach

to teaching improvisation in dance.)

c. Miller, Freda Third Album for Dance. North-

port, Lon, Island, New York: Freda D.

7

Miller, Pc:cords for Dance, 131 Bay view

Avenue. (Ton short dances)

Selected Recordinrs for Improvisation

a. Bachianas Brasileras No. 5, by Villa-Lobos,

voice Vitoria De Los Angeles (Angel Records).

Soprano and eight celli (very good for

dramatic composition).

b. Compelling Percussion, Sandy Nelson, (Imperial

Records). (Drum and guitar in unique per-

cussion sounds).

c. Exotic Dances, (Folkways Records.)

d. Grand Can'on Suite by Grofe: (Columbia Records)

e. Greensleeves by Vaughn-Williams. (R.C.A. Records)

f. Music, USA; Bowman Orchestral Library (Bowman

Records). Represented here are various

periods of musical history, including music

by Copland, Thomson, McBride, Gould,

Cailliet, Ives.

g. Switched-on-Bach. Trans-Electronic Music

Productions. (Columbia Records).

4. Other Recordings (Jazz and Soul).

a. Back to the Roots, Ramsey Lewis. (Cadet Records).

b. Best of Ramsey Lewis, (Cadet Records).

c. Them Changes, Ramsey Lewis, (Cadet Records).

d. Up Pops, Ramsey Lewis, (Cadet Records).

e. Wade in the Water, Ramsey Lewis, (Cadet Records).

f. Memphis Underground, Herbie Mann, (Atlantic

Records.

g. Muscles Shoals Nifty Gritty, Herbie Mann

(Embryo Records).

h. The Best of Herbie Mann, (Atlantic Records).

Ll

Books or Companic.7 te write for ThformcItLon onbooks or records.

a. The Dance 1.1art, Box 47, homecrest Station,Brooklyn, New York. R.C.A. Victor EducationalRecord Catalog, 2.C.A. Victor Record Division,155 E. 24 Street (Dept. 300), New York, New York.

b. The Dancer's Shop. Children's Music Center,Inc. 5373 West Pico Boulevard, Los Angeles,California 90019.

Suggested Sources for Dance Ideas

1. Key words to suggest moods, feelings, reactions.

a. anger f. dominating k. horror

b. bashfulness g. envious 1. misery

c. brave h. excitable m. nostalgia

d. confused i. furious n. power

e. crying j, holiness o. surrender

2. From Literary Sources.

a. Drama from early ritual down to present day.

b. Poems by Whitman, Sandburg, Frost, Lorca

c. Books

d. Short stories

e. Bible Books (Story of Ruth, Esther, Joshua,Job, Psalms, Proverbs, Ecclesiastes.)

f. Historical characters such as Catherine theGreat, Nero, Cleopatra, Joan of Arc, FlorenceNightingale, Brigham Young.

3. From current events.

a. Space flights

b. Trials

c. Floods, earthquakes, and other disasters.

Dance Suites (Three to five short, related dances).

a. Folk suites - cowboy themes; hoe-downs, barn-warming.

b. Pioneer suites - working the land themes.

c. Historical suites - English settlers; coloniallife.

42

d. Regional - rialem lore; Prayer ritual;witchcraft.

e. Spiritual suites - work songs; religious songs;blues.

.)' From direct perceptions

a. Storm at sea

b. Sound of laughter

c. Children at play

d. A city street

e. A bargain counter

6. From kinesthetic sensations

a. Tension to relaxation

b. W'.lking in outer space

c. Sailing in a strong wind

From sense-memory experience (Try to remember howit felt)

a. On a sticky, hot day

b. Locked in a small, dark room

c. Taking a cold shower

Jo From first reaction in dramatic situation

a. House on fire

b. Earthquake is beginning

c. War is declared

9. From social relationships

a. Warden and escaped convict

b. King and peasant

c. Sergeant and private

10. From extremes and contractE,

a. large - small

b. high - low

c. loud - soft

d. fast - slow

113

a. tight - looseP straight - curved

g. still - active

VI. Evaluation Plans

A. Instructor's Pole

In evaluating beginning compositional work the in-structor has to be very careful. When students areshowing their first dance patterns, they need to begiven as much praise as possible. As they graduallygain confidence, certain aspects of their work man besingled out for expression of approval or constructivecriticism. The instructor should not be the onlyjudge of students work. Students need to be given achance to participate in the evaluation of otherstudents' work, so as to develop their own powers ofobservation and ability to analyze. The teacher shouldpose leading questions that will initiate a discussionof students' work.

B. Student evaluation of creative work.

Observed movement: Grading scale (5 is highest down to 1)

Final Grade: 5-A; 11-B; 3-C; 2 -i); 1-F

Name: Origin-alitv

Skill Communi-cative

Frojec-tion

Average

1. Mary Jones5 3 3 if 3.

2.

3

/MEM

1+4

C. Teacher evaluation of creative work

Observed movement: Grading scale (5 is highest down to 1)

Final Grade: 5-A; 4-B; 3-C; 2-D; 1-F

Name Period.

Type of Problem:

Point value (check) L.

Solution to Problem

Originality

Rhythmical Interest

Spatial Interest

Over-all performance

Content i

Total Point Average

Comments:

Teacher's Grade Student's Grade

Final Grade

t,;

tectinT prole in developing movement phrases

The sample Lectir ; :' Pro:,lems listed below should resultin an awareness of sLrur;ture of dance; a feeling ofphrasing, continuity, %-nd line; and logical out-growth of movement.

1. Using two locomotor movements, present an eightcount pattern. -epeat it.

2. Make up a technique, taking four counts to execute.Repeat it three times, adding something new at thebeginning, or the middle, or the end.

3. Make up a sixteen count movement pattern. Repeatthe pattern in reverse order.

4. Make up a sixteen count movement pattern usingthree different techniques. Repeat the sixteencounts but change the sequence of the threetechniques.

5. Instructor make up a certain movement pattern(any number of counts desired) that is symbolic ofa beginning of something. The student must takethe pattern and complete it in her own way. Abasic: idea can be used or simply movement with abeginning and an end.

6. Instructor has each student in group I compose asixteen count (or any number of counts) pattern.Each person in group II must react with a personin group I and do a sixteen count movement incomplete contrast.

7. The instructor presents three short movementseries (each movement series is four counts).Have students connect the three short movementseries with related, connecting material (fourcounts between each series).

LEO

VII. Conclusion

A stud: of dance -.L3 crove ropreclitl; toL:11personaliti :7rowth rather L,:an an accumulation of knowlodoor technique; thus, the stIldeLts path of proress circlesaround the same basic elen,-)its, while sainin:7 a deeper in-sight into these elements rnd developing her skill in usingthem. A student or a teacher might begin creative work fromany of the discussed approaches to composition in thiswriting. It is not necessar:T to begin with the first oneand continue straight throu. The teacher, in preparinglesson plans, may select materials from any of the compo-sitional approaches in accordance with the needs of herstudents.

Students will be taking interpretive modern dance withassorted backgrounds in dance training. The writer hopesenough material has been introduced in this writing to aidthe teacher in helping students further and develop choreo-graphic pursuits.

3ookc

:alfeldt, Lois, A TriLicl-. for :::oreor7raphers. Falo

Alto, Californl: .ational Press Books, 177.

Ha7es, Elizabeth .)nice Composition and Production.

New York: Ronald :1-ess Co. ,

H'Doubler, Mar,:aret. Liance: A Creative Art Experience.

Madison, V:isconsi.l: The University of Tisconsin

Press, 1,=7Y.

HIDoubler, Margaret N. The Dance and Its Place in

Education. New York: Harcourt, Brace, and Co., 1925.

Horst, Louis. Pre- Classic Dance Forms. New York:

Kamin Dance Publishers, 1954.

Jones, Ruth W. and DeHaan, Margaret. Modern Dance in

Education. New York: Bureau of Publications,

Columbia University, 1947.

Lockhart, Aileene and Pease, Esther E. Modern Dance:

Building and Teachinr; Lessons. Dubuque, Iowa:

'inn= C. Brown Publisher, 12Y,7.

Mettler, Barbara H. Materials of Dance as a Creative

Art Activity. Tucson, Arizona: Published at

Mettler Studios, 1260.

Norris, Dorothy E. and Shiner, Reva P. Keynotes to

Modern Dance. Minneapolis, Minnesota: 1')64.

B. Unpublished Materials

Ellis; Carolyn N. "Methods and Approaches to DanceChoreography." Unpublished material in partialfulfillment of the requirements for Master ofScience Degree, Department of Physical Education,University of Tennessee, Knoxville, 1961.

. "Modern Dance Composition" unpublishedclass material, Physical Education Department,University of Tennessee, Knoxville, 1957.

smith, Raney "Experi with notivated Movemeat,"unpublished c1,7-::;:; PhyzicalDepartment, Florid:: CLate University, Tallahassee,1957.

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