Sarah Dahnke is a New York dancer and choreographer who frequently incorporates props in her work. She shares a spectacular exercise to generate movement and use objects as part of the process as well as details about her latest project, Object as Performer.
When working with students on choreography it’s possible to get them thinking beyond steps to a more robust concept of creative process that encourages thoughtful choices about all areas of production. Heather demonstrated this with her previous article. This time, she goes a step further, showing you ways to connect these ideas with dance history to enrich students’ understanding.
The ways movement is inspired, how it is developed, edited, and finally presented is a process. Concert dance is all about the intent and the journey, which lead to the product. If this idea is new to you, here is a ten-step list of how to engage in a process from K-12 teacher, Heather Vaughan-Southard.
Even before the first musical theatre production meeting you want to be thoroughly familiar with the show and develop your vision the choreography. After that comes the collaborative process, involving all of the show’s directors, and then… auditions! This article, a companion to our earlier post Approaching Choreography for Musical Theatre helps take you through and successfully navigate this terrain.
A reader, looking for resources to assist in helping the students create their own dances, asks for recommendations. Included is a list of books and manuals on dance composition and improvisation plus my own quick tips for working with younger age groups as they begin their exploration of choreography.
Creative uses of digital music devises in dance experiences and performances which can be used as a starting point for your own ideas.