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In this party activity, children will have a formal dance -- with formal dress and invitations.
Directions
Decoration ideas: Tape white butcher paper to the table top and make a design with crayons or paint to match the flowers. Make name cards out of plain index cards by folding them in half so they stand like tents.
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Dance 11-12 Syllabus copyright NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2009.
Formal structures are how you arrange the sections in your dance. There are a number of formal structures, some of these are more appropriate for concepts than others. The choice is yours as a choreographer and it all depends on how you would like to present your concept.
AB or Binary
The AB is a simple choreographic form that consists of a beginning section called A, followed by a second section known as B. While sections A and B fit together in terms of the common feeling of the composition, each contains elements that are contrasting. The choreographer must devise a transition to link the two sections of the dance developed in the AB form. The transition can be presented abruptly or could be produced in a gradual manner.
A concept that would support the AB or Binary form would be hide and seek. Your A section could explore movement of hiding and your B section explores seeking.
ABA or Ternary
In the first part of a series of movements or theme, A is stated and manipulated. Part B then presents a contrasting theme and the final section returns to the theme A with a different twist. All three sections fit together to create a unified form. There should be contrast between parts, yet they should be similar enough to suit the overall concept of the dance.
If we look at the concept of hide and seek again, A explores hiding and B section explores seeking, then returning to A hiding.
Rondo
The Rondo could be described as ABACADAEAFA. The rondo form includes an initial section A followed by an alternate or contrasting part B. The third section is a return to A, whether in its entirety or with some changes. The return to A is followed by a fourth section, C, and another return to A. The remainder of the choreography includes parts D, E and F interspersed with variations or restatements of A. Think of it as A being the chorus in a song and B, C, D etc are the verses.
For example, if your concept is looking at the idea of being trapped, the A section could be exploring stuck, B explores freedom, returning to A stuck then C explores frustration etc.
Theme and Variation A1, A2, A3, A4 etc.
With a theme the internal sequence must remain constant. Each variation on the theme gives it a different character. Once the original theme is presented, the sequence of variations can be changed so that they do not appear in order 2, 3, and 4 etc. However it would be advisable to perform sections in sequential order if appropriate to the theme.
For example, a life journey in which the variations show the different ways a child, young woman and an old woman would execute a given theme. Or if your concept was water, you could explore waves, ice, ice melting, current in the river.
Narrative or ABC
'This is the gradual unfolding of a story or idea. Each section is a further exposure of the idea or story with the last section providing a resolution. Just like in a story A will be setting the scene, introducing the idea, B is some sort of conflict or tension with C resolving the issue.' (Blom & Chaplin 1982.).
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Dance 11-12 Syllabus copyright NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2009.
It is essential that a dance has unity. The separate movements in the choreography must fit or flow together, and must be important to and contribute to the whole; phrases that are not essential to the concept/intent of the work should be eliminated.
For example, if all of the parts fit into the jigsaw puzzle it finally produces a whole picture within its frame. The pieces of movement, motifs, phrasing, sequencing, transitions, repetition, variation and contrast and the formal structure should knit together to become unified within the frame. If one piece is missing or does not fit then you will not see the complete picture and unity is lost.
Contrast and variety are a part of the overall unity, and they too must be selected in a way appropriate to the concept/intent. Sometimes, even the most unlikely ideas can work if these fall between the main purpose of the dance. Then, by their very differences, they enhance the central idea and help the onlooker to grasp the main meaning of the dance.
As a choreographer it is important to continually evaluate your dance to ensure you are communicating your concept clearly. The process by which we appraise and evaluate is something that happens continually throughout the process of creating a dance.
When the movement is created and you have organised your dance, the process of creating a whole dance is not complete. It is just like when you have finished writing an essay. You don’t hand it in without proofreading it and doing a spell check. Think of this appraisal and evaluation as the proofreading of your composition.
Answer the following questions. Please use movement examples from your Core Composition dance to support your answers.
a) Have you reached your objective/intent in your Core Composition dance?
b) Does the dance have continuity? Does it sustain interest throughout or are there some weak parts?
c) Is every movement or phrase essential to the concept? Why/why not?
d) Is there enough variety and contrast?
e) Is the choice of music suitable for the concept/theme? Does it support or distract from the concept?
f) Does the dance explore and manipulate all of the elements of space, time and dynamics?
1. Define the following terms in your own words. Provide at least 2 examples of each term from your Core Composition dance. Make sure you include how and why your examples aid in the communication of your concept/intent.
- Sequencing
- Transitions
- Repetition
- Variation and contrast
- Unity
Please use technical and descriptive terminology as well as annotated illustrations/photographs.
2. What formal structure do you intend to use for your Core Composition dance? What will each section of the dance explore?
3. Show your completed Core Composition dance to three people. Do not tell them what your concept is. Ask them the questions below (appraisal and evaluation).
- What do you think the dance is about?
- Do you think that the music supports the dance?
- What do you like about it?
- Is there anything that could be changed to make the dance better?
Jigsaw puzzle, date accessed 07/04/2020