LESSON 6 - THE DYNAMIC TOOLBOX
Up to this point we have discussed many different ideas and theories about choreography and everything that goes into the preparation of a piece. Now we're going to talk about how to create more dynamics within the piece you've been working so hard to develop.
This is a concept of looking at movement and the dynamics that can be applied to it. It’s a technique that I developed a long time ago when I really wanted to understand why some people could take 1 move and make it look a million different ways and be so versatile with so little. In the meantime, I was constantly feeling limited in my movement vocabulary, monotonous in how it was presented, and repetitious in my use of it. I hear this as a common complaint from so many dancers, and this is an approach to try and deal with that issue. The reality is that we only have so many movements available to us, and every single bellydance performances uses the majority of the same movement vocabulary, but how we use them, with what skill, level of technique, presentation, and applied dynamics is what makes it all look so different.
THE DYNAMICS TOOLBOX
Below is a list that I have developed in regards to 12 diferent dynamics that you can add to your movement vocabulary. Dynamics that within it of themselves are not moves, but applied to moves, they change how the move looks and feels. This is not an end all be all of the dynamic options we have as performers or dancers, but it's a place to start when thinking about diversifying, and creating more dynamics within your own dance and specifically this choreography.
The Dynamics in your toolbox
STRAIGHT FORWARD DYNAMICS
Body Direction - Our body direction has a large effect on the look of our movements, how well they show, how well they translate, and it gives us options to change the direction of our body, repeat the same move, but it gives it a fresh or different look. This helps a lot in repetition, to change the direction of the body so that the movement is shown in different ways, or you repeat the combination facing a different direction so that the audience still feels like it's something slightly different, but cohesive.
Levels - Levels are a great dynamic that are commonly used. A traditionally take of classical Egyptian style is when the notes go high, your movement rises and vice versa when it goes low. Outside of that theory, moving from releve to flat footed gives a different feel for the movements, different styles generally stay in a flat or releve position depending on their context. Taking the movements down into a bent knee position can display athleticism and is a dynamic level change. Some movements go from high to low and back again, there are many options within this dynamic.
Layers - This is one of the most common dynamics that we use, but also one of the most difficult. Layers incorporates using two movements on the body at the same time, including the arms. A layer can be an arm path, or change in the position of the arms, though this is probably the easiest layer. The second most common would most likely be the addition of shimmies on top of other movements, but it is possible to perform multiple movements (non arm path or shimmies) at the same time, and the combination is often commonly done without even realizing it. This is also a great option for a dynamic, to think about if you could add an arm path, a shimmy, or even an additional move that would accentuate the music and create dynamics and diversity within the performance.
Repetition - Repetition is a great dynamic, which can end up being over or underused quite easily. There is a certain level of repetition that creates cohesion within a piece and allows a dancer to display something multiple times in a positive way. It can also be used too much, or not enough, where the performance becomes, lackluster, disjointed or lacking continuity. Use repetition wisely because it's a great tool. It’s great to use with another dynamic at the same time, repeat a move or a combination but facing a different direction, etc.
Speed - This is an easy dynamic that we often use without thinking about. It can be of great benefit to us as choreographers not to only be lead by the music, but think of what we can do within the tempo of the music. Most times a rhythm and tempo will allow you to move at half the speed, normal speed, or double the speed. This can allow you to speed things up or slow things down within a section of music to create diversity. This is especially useful with pop music or really repetitive songs. You can start to work at half or double time and create a different feel and use of movement. Additionally you can change the speed of a movement within the movement itself, start the move fast and then slow it down.
Traveling - This is an obvious and extremely important dynamic. We've already talked a lot of about traveling in this intensive, but it is also a fantastic dynamic to think about for your choreography. Traveling can consist of foot patterns, circling yourself, moving in your own space, any movements that move you from one space to another. We've spoken a lot about the different ways to use travel and when, but even within a combination that isn't meant to travel, you can add a traveling move to spice things up or make it feel more dynamic.
Direction of Movement - Each movement within the body has an equal and opposite movement, most all of the moves within bellydance have an equal and opposite direction. Figure eights, circles, undulations, hip lifts/drops. So another way to create dynamics is to think about reversing a move. If you repeat a combination twice, the second time do some of the movements in reverse, or if you're constantly using undulations in the choreography, think about replacing some with reverse undulations. It has the same musicality, but it looks different.
Size - Often dancers tend to forget that movements can be done in a variety of sizes. We get comfortable in what feels good in our body, and it's our go to when we dance, but choosing to make something bigger, smaller, can dramatically change the look of your movement. Hip circles for example can be done with the legs together, in a small circle that barely goes around the body, but they can also be done in a wide stance where the upper body is bending in reaction to the large hip circle done below.
COMPLEX DYNAMICS
Motivation of Movement - Every movement that we do in our bodies is motivated from somewhere. You also have a choice when you are dancing on where you want to motivate your own movements, what muscles you want to engage or disengage. This can dramatically change the look of movements and is commonly cited as ways dancers create their own style, by engaging the body in different ways and motivating the muscles differently.
Emphasis - This is a dynamic that is more complicated, more subtle and often used for musicality purposes. My favorite example of this move would be an omi. They're very common in Raqs Sharqi, but can be done very differently. When the emphasis is on the in, a tuckn in the front, the lower abs have to work much harder, I like to think of fusion dancers when they do their omis because this is where they most commonly put the emphasis. If you choose to put the emphasis on the out, the release in the back, it has a much more hip hop look to it and you do not have to engage the abdominal muscles nearly as much. This can also be the difference between performing it like one person does it, or another, they may put the emphasis of their movement in a different place.
Progression - This is also a more complicated dynamic, because the theory is a progression of one movement or multiple. A progression of one movement might be to start slow and then finish it quickly. It might be to take a series of movements and progress it from one part of the body to another. It might be to repeat the same move and slowly change it as it goes on so that it becomes something else or accomplished in a different position.
Effect (Stylized) - Effect is similar to emphasis, you can give a movement an emphasis to create an effect, but it's more that it is accomplishing a movement in the style of a certain dancer or genre. This can be positive fuel if you like a style or want to achieve a certain kind of look. Adding in bits of this can help a choreography become more stylized one way or the other, the pitfall is that you can end up looking like a copy of someone else, or their movements.
Remember, you can layer multiple dynamics at the same time and we do this very often. What we don't do is think about all the dynamics we have available to us like they were movement vocabulary and then pick them out as they seem appropriate.
See how you can use this method to enhance your dance!
Optional Activity 1 - Utilizing the Dynamics Toolbox
If you are currently trying to do less, or not overcomplicate your combinations or sections, avoid this activity. This is not about doing less, it’s about adding more.
Pick a combination in your choreography that you are still not fully satisfied with, you feel like is still lacking dynamics, or you just plain don't like.
Record yourself doing just this combination with the music and nothing else.
Next, while looking over the Dynamics Toolbox options, work with that combination, with the music, and try and figure out places that you can insert dynamics that you haven't already or additional ones.
After having worked through and through with the combination and it's developed into something else, record the new combination as well.
Send both the before and after videos to Amanda Rose as a part of this week's homework.
MOVEMENT APPLICATION VIDEO
FEEDBACK CRITIQUE VIDEO
QUESTIONS
How is the dynamic toolbox seen utilized here?
How does it support or detract from the original message?
LESSON 6 ASSIGNMENTS
DUE ON TUES/WEDS DEC 13TH OR 14TH
OR JAN 3RD OR 4TH
These to be turned into amandaroseonline@gmail.com
Videoshoot Update - Give me your updated ideas on shoot venue/location, who will be recording, who will be helping, etc.
Dynamic Toolbox Options - Submit a short paragraph about which Dynamic Tools you could use to help you finish up your choreography or which you’re taking out and switching out.
Video Submission - Send a video of all of the sections of the choreography that you’ve developed. You can treat it like a “Talking Walk Through" and walk and talk through the sections you do not have, and then perform the choreography in the sections that you do have. You can also submit different sections in multiple videos, but not multiple videos of the same section.
Combo of Section for Group Critique In Live Group Session - Prepare to share a section of your current piece that you are working on and have hit a roadblock or want suggestions about. Prepare the video to be edited to include only the part of the choreography you want to share. Explain to your fellow participants what your overall Message is, what your focus is for this section, and what you want help with? We will be sharing in small groups in the next live session.
Feedback, Critique & Constructive Criticism - Answer the questions and submit.