Things you can do with the cards:
pass them out individually to students and give them assignments, for example:
TIME – transform – repeat
“Repeat your duet until you are able to perform it by heart.”
combine them with different categories, for example:
DANCERS – group constellations – duet with
DANCERS – connection to audience – diagonally to audience with
DANCERS – connection to one another – canon
“Dance your duet at a diagonal to the audience and in a canon.”
Under Composition, you can find additional examples for combining the cards for Dance and the Creative Process with cards from other focus areas.
You can find ideas for developing assignments here.
In the focus area “Dance and the Creative Process”, attention is given to the various processes of creation found in contemporary dance. A choreographic form is ultimately the product of the combination of selected subject matter with ideas for its creative expression. By taking part in this process, students experience how movement arises in TIME and SPACE through improvisation and COMPOSITION, resulting in a choreography.
One way of getting to know different creative methods is to examine works by selected contemporary choreographers. Taking their pieces as examples, aspects like movement language, the use of music, space, light, objects or props and the interaction of these elements within the choreography can all be conveyed vividly and clearly.
Video recordings can help to test the various effects of the movement language. What effect does a sequence of movements have in silence? What about when accompanied by various types of MUSIC? What effect does an animated MODE OF EXPRESSION have? What about a more detached one?
Within a choreography, students experience themselves as a part of a temporary collective. They belong to a whole, while having space to express themselves and reach consensus, since dance is a relational art based on sensitivity for one’s partner and the collective.
In the creative process, students become DANCERS and choreographers themselves. Improvisation exercises and techniques support them in developing their own movement languages and experimenting with them.
next to one another
on top of one another
in front of one another
behind one another
back(s) to the audience
perpendicular to audience
diagonal to audience
in slow motion
in fast motion
BUNDLE OF NERVES
When you connect terms from different categories with one another, a composition takes shape. By giving more or less weight to these categories, you can place emphasis wherever you like. You can even combine terms from different focus areas with one another. There’s no limit to your ability to experiment here with abandon.
Use the cards to formulate composition exercises and develop choreographies independently. Finally, students themselves can also choose terms independently for choreographing.
Choose five term cards from at least four different categories of the focus areas “Dance and the Creative Process” and “Body and Movement” and use them to develop a solo in which you find a sequence of movements for your terms.
Try out the cards in different orders too.
Body and Movement – Bodies – Body Actions: walk
Body and Movement – Bodies – Movement Qualities and Propulsion: fast
Body and Movement – Space – Levels: on tiptoes
Dance and the Creative Process – Space – Paths: circle
Dance and the Creative Process – Time – Rhythmisation: slow down
Anna walks / fast / on tiptoes / in a circle / and slows down at the end of the circular path.
Even when students use the same cards, the results could turn out very differently.
Of course they can also pick out cards for themselves on their own.
Choose four terms each from different categories of the focus areas “Dance and the Creative Process” and “Body and Movement” and use them to develop a duet.
Find movements for your terms and connect them with one another. Vary the order of the cards and try out different possibilities.
Dance and the Creative Process – Dancers – Positioning: facing one another
Body and Movement – Form – Form Quality: sink down
Body and Movement – Movement Qualities and Propulsion – Time: slowly
Body and Movement – Relation – Body Parts among themselves and to each other: give up/take on weight
Yilmaz and Mohammed stand in front of one another.
Yilmaz sinks to the floor, as slowly as possible.
Mohammed helps him up and both stand facing one another once again.
Now Mohammed sinks to the floor and Yilmaz takes on his weight and helps him back to his feet.
Even when all pairings use the same cards, the results can turn out very differently.
Of course each pair can also pick out other cards.
Everyone chooses one card with a term from various categories of the focus areas.
Arrange the cards in an order that seems meaningful for you and use them to develop a movement sequence.
Determine which cards you want to use individually and which ones you would like to apply to the whole group.
Agree on signals to use to connect your individual actions to those of the group.
Dance and the Creative Process – Space – Positions: 1-9
Dance, Self and Society – Self – Life Reality: e.g. Movements from an internship
Dance and the Creative Process – Space – Formations: Line
Body and Movement – Movement Qualities and Propulsion – Time: fast or slow
Each student chooses one of the nine positions in the space (see map) and dances movements from his or her internship. It is also possible to share a position.
Auf ein Signal hin – zum Beispiel jemand stampft auf den Boden – stellen sich alle so schnell wie möglich auf eine verabredete Linie.
On a pre-determined cue – for example, someone stomping on the floor – everyone takes up position on an agreed line as quickly as possible.
On another cue, the students move fast or slowly back to their individual departure points.
One person dances a solo and passes on this movement sequence to the group.
In doing so, the group can either stand in front of or behind the soloist and either act like a shadow or a mirror image of the sololist.
In this way, the solo is transferred to the group.
Change the rhythm of a movement sequence by adding pauses and accelerations.
Move towards your partner along a line in the space.
In order to get to the other end, you have to pass each other – but without leaving the line!
Try out different possibilities for getting past one another, while exploring the movement sequences that enable you to stay on the line.
As a group, dance a movement sequence in silence.
Repeat it until a clear, shared rhythm emerges.
Alter the expression of a movement sequence by slipping into different roles. For instance, you can dance the sequence like an old man or a queen.
Your expression will change in interesting ways if you picture the characters as vividly as possible in your mind’s eye and let it influence your dancing.
Try out several different roles and observe how your movements change.