Dynamics describe the quality of movement in dance. There are 6 different qualities generally used to describe movement in dance which are: sustained, percussive, suspended, swinging, collapsed, and vibratory. When a dance teacher or adjudicator asks for more dynamics to be shown in a performance they are usually referring to being able to show the difference between each dynamic to create contrast and interest within the dance as well as to demonstrate their ability to interpret the cadence and emotion of the music.
Sustained Movement: A sustained movement is a continuous or flowing motion and can be thought of as the opposite of percussive movement. Percussive Movement: a percussive quality to movement is usually short, sharp and quick in nature with fast-moving energy that produces an impact on those observing it.
Suspended Movement: a suspended quality to movement is one that seems to defy gravity. It is when the dancer is at the highest or widest point of a leap, movement or pose but then are able to push it even further to the extreme to make it look like they are hovering or suspended in space. Swinging Movement: A swinging quality involves pendulum-like motion, swaying to and fro.
It can also include spinning and twirling and uses inertia and gravity to carry the body to a tilting point and back again. Collapsed Movement: The collapsed dynamic in dance refers to a dancer producing a noticeable release of tension and letting go in order to achieve an effect, such as falling downward. Vibratory Movement: A vibratory quality is a movement that oscillates quickly and with force.
As you or your child explore the different types of dynamics in dance, think about your own body and how each type would feel for you. Can you demonstrate this quality? What does it look like when someone else demonstrates it to you? Experiment with these qualities as you practice them so that they become more familiar to your muscles as well as your mind so that you can incorporate their feelings into your performance.
The element of Space in dance describes how dancers use the area they are dancing within. It can also refer to how they use the floor and any other surfaces during their movements.
Dance spaces can be large, like when performing on a huge stage or just a small corner in a room. Stillness can produce tension, anticipation and a contrast to other movement preceding the pause or stillness. It is a deliberate part of the phrase or sequence of movement and can serve as an emphasis for a particular concept or type of movement such as at the end of a high intensity step or sustained balance.
It is important that as a choreographer you manipulate the timing of the movements:. Time and dynamics really go hand in hand. The dynamics of movement can provide meaning to an audience in the same way as the use of space, music and visual elements can. Rudolf Laban identified eight different effort actions.
These 8 effort actions are listed below. It is important that you are aware of the types of movement qualities that you use in your Major work. As a choreographer, you should be able to control and vary the dynamics and movement qualities used to communicate your theme and create a sense of variation and contrast in the work to provide interest. As stated previously, time and dynamics are a package deal.
If you had a sustained movement, the duration of that movement would generally be long. Percussive movements can be used to accent a particular movement in a dance phrase. Please use both descriptive and technical vocabulary in your responses.
Address each of the dancers and their relationship when discussing the element of time. Search this site. Manipulation of the elements for choreography.
Punch —It is bound, characterised by energy or force and includes movements such as jumping or stamping Slash — It is characterised by barely controlled release of energy into space and includes whipping arm movements or throwing the body into space Wring -It is characterised by tension and twisting in different directions Press — Characterised by pushing and bound flow and includes movements that demonstrate resistance Float — It is characterised by flying or hovering movements as the flight experienced in a leap or the buoyancy of moving in slow motion Glide — It tends to be bound, characterised by smooth and placed actions and includes movements such as sliding Dab — This action is usually performed in gestures of the hands and feet but could be performed with other body parts Flick - This also is performed in gestures of the hands and feet, yet it is an indirect action.
Report abuse. It refers to a small choreographic unit a gesture, movement or phrase that is the main reference from which a bigger choreography or dance piece is built and composed. Motif development : is a procedure of a dance composition method that consists of transforming a basic choreographic motif to create a larger or whole piece of dance.
Variations of the motif are done through strategies like repetition, inversion, rhythmical modifications, amplification, minimization, ornamentation, deconstruction and all imaginable compositional tools. Movement image : perception of movement from a mental and kinesthetic perspective i.
It is classified by historians between de s and s. Some of its French figures are D. Bagouet, O. Duboc, J. Gallota, D. Larrieu, M. Marin, A. Preljocaj, K. Opposition : this is a word that is mainly used during our technical trainings. The opposition of the movement of one part of the body to another serves the dancer in several ways.
Opposing facilitates grater extensions, maintaining placement, balance or controlling weight. For example when raising an arm, the shoulder should go down. The direction of their movements creates an opposition upwards and downwards at the same time in order to maintain a right placement of the upper trunk unless another specific placement of the trunk is wanted.
It expresses the activity of a muscle or a group of muscles that is not necessary to execute a movement. It refers to a combination of three weight transfers over alternate legs steps. There are different ways to execute that same basic structure, in order to adequate the combination to the needs of the dance.
That leg is bent and the knee guides the jump. Being in the air, you quickly raise the second leg up so both legs form a diamond shape while jumping. Then you land on the same leg you started with and bring the other leg down in front of the first leg to the fifth position again. A percussive movement is unconnected or detached from its neighbors by a pause and it usually has a little accent at the end of execution. Sometimes the equivalent musical terms are also applied to dance.
Phrase : short choreographic fragment that has an intention and feeling of a beginning and an end. Phrases are commonly constructed by following rhythmic patterns like for example the popular dancing phrase of eight beats but they can also be defined just by means of their moves or dynamics. Pirouette : this word belongs to the vocabulary of ballet, but it is used by contemporary dancers too, with the same meaning. It refers to a full turn on one leg, having the other leg bent, till the point where the foot reaches the knee in a parallel position or with the classical turnout.
Postmodern Dance : name given to a contemporary dance trend that emerged between the s and s in New York U. Projection : when talking about executing a dance, it refers to the skill of bodily expression and communication.
Quality of movement : movement quality a particular way of executing the shape of a movement, concerning its dynamic, affective or expressive content. Example: the action of caressing is different in its quality to the action of sliding, even if the shape of the movement might look the same. Release : name given to a training method developed and used by contemporary dancers since the second half of the XXth century. Its main characteristic is described by its name: the dancer emphasizes on releasing the muscular tension, in order to achieve a most efficient expense of energy.
It refers to a position of one leg, which is bent so that the point of the foot is close to the knee of the supporting leg. In ballet, it is executed with an outward rotation of the leg. It is very common in pirouettes or as a transitional position. Retrograde : Other than the usual meaning of this adjective, this word is used by choreographers or dancers to talk about the action of executing choreography inversely, from the end to the beginning like a rewinding video.
Rhythm : in dance, this word has the same meaning as in music. Though, it is used to refer to different things. The rhythm can also be the particular form of gathering the beat, together with a certain character or dynamic that give name to a type of dance for example the waltz, the march, etc. In the widest sense, the rhythm is the way in which the temporal factor of movement is organized, including beat, tempo, measure, accents and dynamics.
When talking about movement dramaturgy, rhythm is also used to refer to the effect produced in a choreographic piece by the combination or arrangement of formal elements, as length of scenes, intensity, timing, or recurrent themes, to create movement, tension, emotional value and progression in the development of the dance.
Scattering: according to Laban's space harmony general shaping going away from the body, not specific about where in space. Score : written text that records the movement of one or several dancers. There are currently various systems used for writing dance scores.
The 'score' may also refer to the series of guidelines created by a choreographer that are followed by the dancers to perform a show. This is a common compositional method used mainly by postmodern or contemporary choreographers.
Space : for contemporary dance, space is one of the main factors that make up the shape of movement together with time, body and weight. These categories were first introduced in modern dance theoretical foundations by Rudolph Laban at the beginning of the XXth century, and have been spread world wide as working tools, both for creative and technical purposes.
Laban established three main different ways to understand space: the kinespheric space, the scenic space and execution of direct or indirect space from the point of view of his effort theory. Style : this word is used to refer to the specific way in which a dancer, a company or a school executes a dance genre.
For example, David Zambrano has a different style of interpreting contemporary dance than Steve Paxton; the Italian ballet school has a different style of executing classical dance than the French ballet school. Technical skills : these are the abilities in terms of physical and physiological knowledge to execute dance movements precisely, with their correct dynamics and shapes.
For example, having control over the vertical axe of the body, knowing how to turn the head while spotting and correct placement of the trunk are technical skills used for turning. Technique : this is a word used in dance to talk about specific ways of training, preparing or learning dancing skills. Read our specific page for contemporary dance techniques to expand. Tempo : or bpm: beats per minute this is a word borrowed from musical language, but it is used in dance with the same meaning.
It expresses the frequency of the beat of any rhythmic pattern, in numbers. This means that there are 60 or beats in a minute respectively the higher the number, the fastest the tempo.
Tempo is measured by a tool called metronome. Tilt : starting from a standing position, to lean or incline the upper body from the hips up towards any direction. It is usually accompanied by the lifting of one leg really high up. Time : for contemporary dance, time is one of the main factors that make up the shape of movement together with space, body and weight.
Laban established two main different ways to understand time: as a rhythmical component exactly the same way as it works for music and as an effort component, in which case it would be sudden or sustained. It can be executed with different rotations of the legs, arm combinations, turns and so forth. Turnout : a position of the legs in which the feet are pointing outwards. It is an external rotation of the limb that is executed with the whole leg, including the hip.
Unison : when a group of dancers perform the same choreography at the same time. It opposes to other forms of group timings like the canon, the counterpoint, the dialogue mode and so forth.
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