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Dance is a integral aspect for the individuals who cost and appreciate such an artwork. One gets to revel in a particular dance session when the moves are choreographed and properly set. Creation of awareness on dance improvisation is one of the most vital matters in the course. The paper digs deep on the creation of such knowledge to create a higher understanding of what makes a dance ideal. Besides, the much emphasis is positioned on the works of Simone Forti and Lisa Nelson and how they are related to dance improvisation.
As stated, dance improvisation deals with the introduction of movement patterns during the dance process which has a flow with the flow of the music at the time when the music is being played. In most cases, people take it to the dance floor without a clear idea on how a particular music should be danced (Torrents, Castañer & Anguera, 2011). However, they are carried with the music, and they find themselves dancing just fine. For one to be able to improvise a dance, he or she has to develop a clear understanding of the music regarding the compositional structures, proper listening skills as well as the tuning of the music. In a bid create awareness as per the expectations of the course, it is critical to have a look at the works of Simone Forti and Lisa Nelson to give an in-depth understanding of what defines dance improvisation.
Simon Forti, an American dance choreographer, gives dance improvisation a new definition from what one would think. She had for a long time studied dance and had a clear understanding of what the movement structures are. In a bid to create the understanding, she links dance movements with the movements of the animals in the zoo. The choreographer had for a long time watched the movements of these animals, and it gave her an understanding of the importance of free movement in dance (Banes, 2011).
All the animals are unique, and it is difficult to come across two animals of different families moving in the same way (Heble & Caines, 2014). Human beings ought to understand their body movement to be aware of dance improvisation. Once we know how we move, we have a better way of improving these movements to give us a variety of dance styles, what would otherwise be referred to as dance improvisation (Foster, 2014). During the classes, awareness has always been created by informing the individuals in class about the importance of understanding their movement hence giving them a clear direction of the moves they can develop for dance improvisation. During the class session, a newspaper about locomotion was read, and demonstrations made to link movement and speaking which are key elements of dance improvisation.
Lisa Nelson, on the other hand, gives a clear understanding of dance improvisation to have a close link with tuning score. It is defined as a way of investigating the critical elements of performance in dance, the behavior of an individual during a dance session and the communication exhibited by the individual during the dance session. A link exists between movement in dance improvisation and verbal communication (Sawye, 2011).
As part of the practical exercise for the course and to have a clear understanding of what tuning score in dance improvisation, students made square shapes on the floor using their shoes (Bucksbarg Carter, 2014). Different individuals were then expected to jump in and out of the square. Within this session, the square shape which had formerly been formed was distorted, the students struggled to reform it within the movement although it could not be as perfect as before. The tuning exercise was significant because it created both non-verbal and verbal communication links during the training. The students were able to monitor their movements which are one of the requirements of dance improvisation. These activities were indeed crucial in dance improvisation.
Lesson Plan for the open and closed turning score
The lesson will begin with letting the students have a clear understanding of the materials they are expected to use during the class. The primary materials to be used are shoes to make squares. The instructor will give the students instructions verbally on what they are expected to do. The session will start with a warm-up exercise which will last for approximately five-ten minutes. The warm-up exercise will involve jogging, and everyone will be having a free space (open tuning).
The second session will involve creating squares, students will be expected to remove their shoes, and a square of considerable side created. The instructor will then demonstrate the way in which the students are expected to jump in and outside of the box. After that, the students will then be expected to jump inside the square for closed tuning and others will jump inside for open tuning. They will then do it interchangeably and whenever the square is broken the students will be expected to rejoin it. The exercise will be repeated from time to time to make sure that the students have a clear mastery of what they are expected to do and be at a position of improvising dance.
Banes, S. (2011). Terpsichore in sneakers: post-modern dance. Wesleyan University Press.
Biasutti, M. (2013). Improvisation in dance education: teacher views. Research in Dance Education, 14(2), 120-140.
Bucksbarg, A., & Carter, S. (2012). Improvising Artists, Embodied Technology and Emergent Techniques. In Identity, Performance and Technology (pp. 7-23). Palgrave Macmillan UK.
Foster, S. L. (2014). 49 Taken By Surprise: Improvisation in Dance and Mind. The Improvisation Studies Reader: Spontaneous Acts, 398.
Heble, A., & Caines, R. (Eds.). (2014). The Improvisation Studies Reader: Spontaneous Acts. Routledge.
Sawyer, R. K. (Ed.). (2011). Structure and improvisation in creative teaching. Cambridge University Press.
Torrents, C., Castañer, M., & Anguera, M. T. (2011). Dancing with complexity: Observation of emergent patterns in dance improvisation
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