Elements of Dance

The elements of dance are the ingredients of dance. Often, one or two elements predominate in a dance, but all are present. The different ways of combining and using the elements determine the expression of the dance, just as re-ordering words in a sentence changes the meaning of the sentence. The elements of dance identified in the dance program are based on the movement theories of Laban (1975), and the later work of Preston-Dunlop (1980a, 1980b) and Boorman (1969). The elements are described below.

Actions Actions are what the body is doing. By finding out, through movement explorations, what the body can do and by expanding the body's abilities, students build a "bank" or repertoire of movements they might use in their dance creations. This bank is called a movement vocabulary. A rich movement vocabulary increases the capacity to express through dance. Actions can travel (locomotor) or move on the spot (non-locomotor). They fall into the following categories: travelling, stillness, gesturing, jumping, falling, turning, twisting, contracting, expanding, and transferring weight. The following is an action word list (by no means complete): run skip swing leap gallop slide roll bend flee dart float soar wobble spring vault perch settle pause hold freeze kick punch flick shimmy quiver tremble wiggle twitch flap jerk stamp jab inflate grow expand rise extend spread swell open close shrink shrivel wither dwindle collapse squeeze crumple melt drip creep bound balance listen shiver vibrate stretch explode sink lower

The Body The body is the instrument of dance. Just as a painter paints with a brush, in dance it is through the body that movements appear. Therefore, students need to have knowledge about their body and its potential for movement. Awareness of the body is encouraged in the dance curriculum by learning about the following body concepts: Whole body Body parts - head, arms, hands, legs, feet, torso, elbows, wrists, shoulders, hips, knees, ankles Body zones - body areas of front, back, left side, right side, upper half, lower half Body bases - whatever supports the rest of the body; for example, when standing -- the feet, when kneeling -- the knees.

Dynamics Dynamics describe how the body moves. It is an umbrella term and includes the factors which give movements various qualities. Therefore, dynamics is the element which gives dance its expressiveness. Awareness of dynamics is encouraged in the dance curriculum by learning about the following dynamic concepts: Duration - the length of time needed to do a movement; duration is on a continuum of very short to very long Energy - the muscular tension used to move; energy is on a continuum of a little to a lot Even rhythm - movements of equal duration; for example, walks Uneven rhythm - movements of unequal duration; for example, skips Quality - characteristics of a movement; for example, strong or light Speed - velocity of movements; speed is on a continuum of very slow to very fast Time Signature - a symbol that denotes a metric or measured rhythm; for example, 3/4 or 4/4.

Relationships To what or to whom describes the relationship. Relationship is the correspondence or connection between things, be they dancers to each other, dancers to objects, or a dancer's body parts to each other. Awareness of relationships is encouraged by having students learn about the following concepts: connecting, leading, following, meeting, parting, near, far, passing by, and surrounding. Students should also be encouraged to explore various configurations when working in groups.

Space Space is where the body moves. It is the medium of dance. As dancers move through space, their bodies create patterns on the floor and in the air. These spatial designs are an integral part of dance, giving dancers a purposeful reason for moving. Awareness of space is encouraged by having students learn about the following space concepts: General - the dance area space Personal - the space reached while stationary space Directions - forward, backward, sideways, upward, or downward Focus - where the eyes or the intention of the movement is directed Levels - high, middle, and low or deep Pathways - the patterns or designs made in the air or on the floor by the person's movements; pathways appear as straight lines, curved lines, or combinations of straight and curved lines Shape - the design of the body's position Size - the magnitude of the body shape or movement; size is on a continuum of small to large.

The Principles of Composition

Principles of composition are tools or devices which, over time, have proven to be useful in creating well-formed dances. A well-formed dance is one in which all movements contribute toward the whole. Although the principles apply to all dance compositions, their use will vary according to the choreographic intent. In part, this is what gives dance compositions their individual characteristics. The principles of composition identified in the dance program are adapted from the work of H'Doubler (1957), Lockhart and Pease (1982) and Minton (1986). They are climax and resolution, contrast, repetition, sequencing and development, transition, unity, and variety.

The following outlines the principles of composition in alphabetical order.

Climax and Resolution All dances need to begin somewhere, build toward something, and come to a resolution (beginning, middle, and end). When a dance builds in intensity and interest and reaches a high point, the high point is called a climax. A climax can be created in many ways. For example, dance phrases can increase in intensity of energy and speed to a high point before decreasing to a lull, or a narrative can build toward a highlight or a turning-point before being resolved. The resolution of a climax reveals the importance of what has occurred previously in the composition. Climaxes can be resolved in a variety of ways; for example, the climax could dissolve, be converted into something else, or be replaced by something else.

Contrast Contrast can be achieved by combining and/or juxtaposing unlike movements. Movements can differ in action, body, dynamic, space, or relationship concepts.

Repetition Repetition of movement phrases or parts of phrases is reassuring for an audience. Repetition permits an audience to see the movements in more detail, allowing them to become familiar with the movement vocabulary the choreographer is using. Repetition can also be used to give movements emphasis. When used effectively, repetition can help create unity by relating sections of a dance to each other. It should be noted that some dances use repetition to create a mesmerising effect or a tension.

Sequencing and Development Sequencing and development refer to the ordering of movement (sequencing) in a meaningful way (development). When movements are purposefully connected to each other, they gain significance and take on meaning. This is similar to a word gaining significance when it is placed in a phrase or sentence. As the dance unfolds, each movement and choreographic idea should grow logically out of the previous one. This creates continuity, helping the audience follow the intent of the dance.

Transition Transitions are needed when movements and dance phrases are connected. Transitions should work toward the intent of the dance composition by connecting the movements and dance phrases in a meaningful way. Transitional movements should promote continuity.

Unity When all the parts work together to contribute to the whole dance, there is unity. Every movement, no matter how brief, should work toward the intent of the composition. Unity is achieved when the removal of any portion of the composition damages the whole dance. Most secondary students will only begin to create dance compositions showing unity.

Variety Variety within a dance composition can engage and hold an audience's interest. Variety can be incorporated in several ways, as illustrated in the following examples: selecting unlike movements to create variety; varying dance phrases in length and structure; varying spatial, dynamic, body, or relationship aspects when movements or phrases are repeated; or presenting movements in retrograde (doing a movement backwards, similar to playing a film backwards).

Motif Description

Motif Description is a symbol system which notates the outline of movement. Motif Description, developed by V. Preston-Dunlop, is based on Labanotation. Symbols are written in columns and read from the bottom upwards, left to right. The following are action symbols which will help teachers and students get started. There are also symbols for other aspects of movement including the body, dynamics, space, and relationships.

Here is an example of a dance phrase written in Motif Description. The phrase is read as: travel, fall, twist to the left, jump, pause, turn to the right, expand, gesture, contract. When executing this phrase, the actions could be done in any way; for example, travelling could be crawling, hopping, rolling; twist to the left could be an arm twisting or the whole body twisting.