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Dance Composition (Time: Exploring Tempo)

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Kirth Teodosio
Kirth Teodosio

This is all about Time/ Exploring Tempo in Dance Composition subject. Tempo, slow motion, warm-up, exploring dream, imaginary voyage, constructing a dance environment, speed, soaring and swooping, pacing, adagio in half time, dancing pulse variations, accelerating, gaining speed.

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Time: Exploring Tempo Presented by: KIRTH TEODOSIO JORJA CANTILLAS FRANCIS DAVE MORENO
What is Tempo? ? Tempo or speed may be described in musical terms like adagio, moderato and allegro, or in phrases like slow motion, medium or moderate speed, and fast or high speed. ? Tempo can be either steady or changeable, that is speeding up (accelerando) and/or slowing down (ritardando). ? Many ballet movements are categorized by their characteristic tempo. For example, slow, sustained movements are called adage, while quick, light jumps are called allegro.
LESSON I SlowMotion: Dancing in Reverie Motion produced without a time frame often does not offer an accurate sense of the length of this time. Usually, we do not notice how fast or slow we make a movement; we simply do what we need to do. The motivation for the movement determines a subjective measurement of time. In dance however, the choreographer consciously strives to control the timing of movement ought to be danced. The manipulation of time is an important part of dance composition
Warm-up Find your pulse in your wrist or neck, begin walking around the room in rhythm with your pulse. Gradually begin to follow the beat of the drum so that the footfalls are now performed in a moderate tempo. Change the pulse so that it is quicker than the moderate walk and continue until all footfalls move quite fast. Revert once again to the moderate tempo. Move back to the moderate walking tempo.
Exploring a Dream Take a minute to visualize a recent pleasant dream. Think of the location, the characters, and your role. Improvising and sustained movements only, recreate movements in selected moments from the dream.
For example: >Perform an awakening stretch. >Discover the arms in space, creating air pathways around the body. >Discover locomotion with simple movement into space. >Explore the floor with simple crawls and touches. >Rise into the space and gently push away a cloud or drape. >gently move throughout all four corners of the stage/room
Imaginary Voyage Imagine the space is on the moon. Get off the spaceship and begin to move in this environment. Show weightlessness by floating and gliding through space. Vary the size of gestures from large to small. Use a variety of locomotor and nonlocomotor movements such as turning, lunging, walking, and balancing as you traverse the space from one side of the room to the other. All territory is new and requires exploration. During the exploration of the moon, collect four objects of varying sizes from different parts of the moon and carry them as souvenirs. Find a unique way each time to gather what you choose to take with you. Place the objects in a pocket, a knapsack, or under your arm. Remember that the objects have no weight either.
Constructing a Dance Environment In groups of 5, randomly draw an environment card from a hat/bowl. Each group must turn the whole room into that environment, identifying it with movement only. Because this is the first time entering the environment, limit the initial movement vocabulary to slow, sustained movement unless attacked or threatened by something that might warrant a quick change or escape. Depending on the environment, the use of weight may change to include slower and heavier or stronger sustained movement as well as light floating and gliding movement.
LESSON 2 Speed: Learning to Dance Quickly Quick movement sequences provide unique technical challenges. A dancer must be able to shift weight from foot to foot and to new direction effortlessly and cleanly. The dancer must coordinate all body parts efficiently so that the shape and line of the movement is not lost in spite of the swiftness of tempo. Creating original movement phrases in a fast tempo can also provide unique challenges for the choreographer. Many dancers moving quickly throughout the stage require clear pathways in space, definite movement counts to keep them dancing together, interweaving movement sequences that give them enough space in which to dance, and carefully planned locomotor movement sequences that incorporate directional changes.
Soaring and Swooping Each student must select a specific pathway. Start anywhere offstage, but design the pathway for a stage crossing. Reenter from somewhere else and make another crossing. There will always be at least two people starting from different spots offstage and dancing on the stage at the same time. There may be as many as eight students or even more on stage at the same time. The image for the dance sequence might be a flock of birds randomly flying over an open field to escape an impending storm.
LESSON 3 Pacing: Combining Different Pulses In a dance work, tempo changes are frequent. They may denote a change of section within the work or provide clues as to the characters in the work. For instance, dancers often show two different interpretations of the tempo at the same time. In tap dance, a dancer may set a simple tempo and then dance it in half time (twice as slow as the pulse) or double time (twice as fast) in order to achieve rhythmic interest.
Adagio in Half Time ? Divide into two groups. The audience half of the class will provide the pulse by clapping softly and the dancer half will perform its adagio phrases in half time. ? Switch roles.
Dancing Pulse Variations In groups of three, create a Contrasting Beat study. One dancer will dance the pulse, one will dance half time (slower), and one will dance double time (faster). Dancers will perform their phases at the same time. Dancers will improvise movement as of their given tempo. Dancers must connect with each other to form a story that they must choose.
LESSON 4 Accelerating: How fast can it go? When speaking, we accelerate our words when we are excited or when we want to emphasize the content. Similarly, we slow down our speaking in order to clarify meaning or to soothe a young child. In music, acceleration is commonly used to heighten emotional response. A retard, or gradual slowing, is often used at the end of a composition to prepare listeners for the resolution of the work. Gradual change of tempo, whether slow or fast, is another compositional device available to choreographers. It requires an understanding of movement timing and of the change in the amount of time it takes to perform the movement phrase.
Gaining Speed Find a partner. Each partner must select a sequence movement using any kind of gestures and movement. They will find a way to connect the movements so that they can perform in unison. Next, add the compositional device of accelerating. Gradually increase the speed of the performance until the sequence is as fast as it can go. You must end your performance in an abstract pose doing a slow movement.
THE END!!!

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Dance Composition (Time: Exploring Tempo)

  • 1. Time: Exploring Tempo Presented by: KIRTH TEODOSIO JORJA CANTILLAS FRANCIS DAVE MORENO
  • 2. What is Tempo? ? Tempo or speed may be described in musical terms like adagio, moderato and allegro, or in phrases like slow motion, medium or moderate speed, and fast or high speed. ? Tempo can be either steady or changeable, that is speeding up (accelerando) and/or slowing down (ritardando). ? Many ballet movements are categorized by their characteristic tempo. For example, slow, sustained movements are called adage, while quick, light jumps are called allegro.
  • 3. LESSON I SlowMotion: Dancing in Reverie Motion produced without a time frame often does not offer an accurate sense of the length of this time. Usually, we do not notice how fast or slow we make a movement; we simply do what we need to do. The motivation for the movement determines a subjective measurement of time. In dance however, the choreographer consciously strives to control the timing of movement ought to be danced. The manipulation of time is an important part of dance composition
  • 4. Warm-up Find your pulse in your wrist or neck, begin walking around the room in rhythm with your pulse. Gradually begin to follow the beat of the drum so that the footfalls are now performed in a moderate tempo. Change the pulse so that it is quicker than the moderate walk and continue until all footfalls move quite fast. Revert once again to the moderate tempo. Move back to the moderate walking tempo.
  • 5. Exploring a Dream Take a minute to visualize a recent pleasant dream. Think of the location, the characters, and your role. Improvising and sustained movements only, recreate movements in selected moments from the dream.
  • 6. For example: >Perform an awakening stretch. >Discover the arms in space, creating air pathways around the body. >Discover locomotion with simple movement into space. >Explore the floor with simple crawls and touches. >Rise into the space and gently push away a cloud or drape. >gently move throughout all four corners of the stage/room
  • 7. Imaginary Voyage Imagine the space is on the moon. Get off the spaceship and begin to move in this environment. Show weightlessness by floating and gliding through space. Vary the size of gestures from large to small. Use a variety of locomotor and nonlocomotor movements such as turning, lunging, walking, and balancing as you traverse the space from one side of the room to the other. All territory is new and requires exploration. During the exploration of the moon, collect four objects of varying sizes from different parts of the moon and carry them as souvenirs. Find a unique way each time to gather what you choose to take with you. Place the objects in a pocket, a knapsack, or under your arm. Remember that the objects have no weight either.
  • 8. Constructing a Dance Environment In groups of 5, randomly draw an environment card from a hat/bowl. Each group must turn the whole room into that environment, identifying it with movement only. Because this is the first time entering the environment, limit the initial movement vocabulary to slow, sustained movement unless attacked or threatened by something that might warrant a quick change or escape. Depending on the environment, the use of weight may change to include slower and heavier or stronger sustained movement as well as light floating and gliding movement.
  • 9. LESSON 2 Speed: Learning to Dance Quickly Quick movement sequences provide unique technical challenges. A dancer must be able to shift weight from foot to foot and to new direction effortlessly and cleanly. The dancer must coordinate all body parts efficiently so that the shape and line of the movement is not lost in spite of the swiftness of tempo. Creating original movement phrases in a fast tempo can also provide unique challenges for the choreographer. Many dancers moving quickly throughout the stage require clear pathways in space, definite movement counts to keep them dancing together, interweaving movement sequences that give them enough space in which to dance, and carefully planned locomotor movement sequences that incorporate directional changes.
  • 10. Soaring and Swooping Each student must select a specific pathway. Start anywhere offstage, but design the pathway for a stage crossing. Reenter from somewhere else and make another crossing. There will always be at least two people starting from different spots offstage and dancing on the stage at the same time. There may be as many as eight students or even more on stage at the same time. The image for the dance sequence might be a flock of birds randomly flying over an open field to escape an impending storm.
  • 11. LESSON 3 Pacing: Combining Different Pulses In a dance work, tempo changes are frequent. They may denote a change of section within the work or provide clues as to the characters in the work. For instance, dancers often show two different interpretations of the tempo at the same time. In tap dance, a dancer may set a simple tempo and then dance it in half time (twice as slow as the pulse) or double time (twice as fast) in order to achieve rhythmic interest.
  • 12. Adagio in Half Time ? Divide into two groups. The audience half of the class will provide the pulse by clapping softly and the dancer half will perform its adagio phrases in half time. ? Switch roles.
  • 13. Dancing Pulse Variations In groups of three, create a Contrasting Beat study. One dancer will dance the pulse, one will dance half time (slower), and one will dance double time (faster). Dancers will perform their phases at the same time. Dancers will improvise movement as of their given tempo. Dancers must connect with each other to form a story that they must choose.
  • 14. LESSON 4 Accelerating: How fast can it go? When speaking, we accelerate our words when we are excited or when we want to emphasize the content. Similarly, we slow down our speaking in order to clarify meaning or to soothe a young child. In music, acceleration is commonly used to heighten emotional response. A retard, or gradual slowing, is often used at the end of a composition to prepare listeners for the resolution of the work. Gradual change of tempo, whether slow or fast, is another compositional device available to choreographers. It requires an understanding of movement timing and of the change in the amount of time it takes to perform the movement phrase.
  • 15. Gaining Speed Find a partner. Each partner must select a sequence movement using any kind of gestures and movement. They will find a way to connect the movements so that they can perform in unison. Next, add the compositional device of accelerating. Gradually increase the speed of the performance until the sequence is as fast as it can go. You must end your performance in an abstract pose doing a slow movement.