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Facilitating Dance creation

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Rebecca Cram

on 14 December 2016

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Transcript of Facilitating Dance creation

WHAT IS FACILITATING DANCE?
BEGINNING PROCESS
Dance School Background
Dictatorial Style
Full Creative Control
Traditional Movement Style
Can Become Boring and Tedious

THE PROCESS - CHANGES
Interested in effects of personal experience and personality.
Want to be surprised
To discover new styles and ways of moving
DEBORAH HAY
No Time to Fly
Embodied Creativity
“The mirror neuron system is sometimes cited as an example of embodied cognition because it is thought to explain how a subject can imbue meaning to the actions that someone else performs”(Kirsch,2011)
WAYNE McGREGOR
Movement Tasks -
Imagery as Inspiration
Internalised
Projected
Broken Down
Facilitating Dance creation
To make easier
To enable
To assist or encourage
Provided a score
Completely left to the performer to create
Score given to Jeanine Durning, Juliette Mapp and Ros Warby to create their own adaptations
THE MOMENT THE LIGHT RETURNS I STEP ONTO THE STAGE WALKING IN A STRIDE AND STYLE NOT MINE AS FOREIGN AS A FOREIGN ACCENT
RECOGNIZABLE BUT ODD THE PATH IS A SINGULAR BROAD CURVE THAT ENDS IN A SLIGHTLY ACCELERATED LITTLE CURL LEAVING ME FACING THE PORTAL THROUGH WHICH I STEPPED ONTO THE STAGE
(Hay, 2010)
Four down to Three
More interesting combinations
group already established
Working on Object Solos
Costume and Music

Blank Canvas
"Music is not used in the early phase of creation as a mechanism for generating dance phrases." (Kirsch, 2009)
Ethical Implications
The participants have a choice
There is a level of respect that works in both directions
The safety of dancers
Dancers are collaborators not just participants
My Aim
Images can be used in a generative and positive way as a means to creating movement in an infinite cycle.
Bibliography
Dafne Muntanyola Saura (2011) Creative Choice in Dance Rehearsals: A New Qualitative Methodology. Spain.
Available from http://csjarchive.cogsci.rpi.edu/proceedings/2011/papers/0414/paper0414.pdf [Accessed on 20/11/16

Delehunta et al. (2011) A conversation about choreographic thinking tools. Journal of dance and somatic practices. 3(2) 243-259

Hay, D 2010. No Time to Fly. New York, USA. Available from http://www.laboratoiredugeste.com/IMG/pdf/NTTF_bookletD.Hay.pdf [ Accessed on 19/11/16]

Kirsch, D et al. (2009) Choreographic methods for creating novel, high quality dance. Available from http://adrenaline.ucsd.edu/Kirsh/Articles/Interaction/kirshetal2009.pdf

Kirsch, D (2011). Creative Cognition in Choreography. In: Proceedings of 2nd International Conference on Computational Creativity, 2011.

The ethics of Participatory Theatre in higher education. By: Rifkin, Frances. Performing Ethos. 2010, Vol. 1 Issue 2, p197-220. 24p.

The William Forsythe Company (2010)
Deborah Hay Test Filming.
The William Forsythe Company. Available from http://motionbank.org/en/event/deborah-hay-test-filming [Accessed on 19/11/16


"The dancer seems to be comparing the feel of the body movement to the visual or perhaps conceptual structure of wrapping ones hands around a heavy bell and moving it, honoring its inertia" (Kirsch, 2011)
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