Posted by Gabrielle Schwarze on Wednesday, March 25, 2015
Week 3: Site Specific Dance Work
Tutor - Jaqui Dressens, 26/3/15
Today we engaged in "Site specific" dance (Kiek 2007, p. 27). This means the dance piece that we created is inseparable from the site at which it was created and influenced by (Kiek 2007). We worked mainly outside using our observational skills on the influence of the elements (e.g. wind and sun) on our dance practice. We also explored how we could create dance lessons with nature using it as inspiration.
When taking a class outside it is important to consider how children can be in the environment in a safe way. For example, prior to taking the students out, the teacher may need to do an inspection of the outside dance area to ensure there are no sharp/unsafe objects on the ground.
Main dance elements explored:
1. Use of place and development of the environment:
We firstly observed the area we were going to dance in. We made the following observations:
2. Grassy area dance experience
We walked around the grassy area with our shoes off, observing the way it felt on our feet, Jacqui used our feedback to create a movement everyone had to imitate e.g. we said the grass felt squeltchy, se we moved in a way that showed our audience that the grass was particularly squeltchy.
We used our breath to help us move. On the inhale we moved and on the exhale we posed. We used a variety of levels. We posed like different animals and moved in a variety of ways e.g. moving high, moving low, posing like a dinosaur, moving on the ground
Tai Chi Experience (See Video 1):
Together we engaged in some Tai Chi. Tai Chi originated in China and is based on the lotus flower and the way in which it responds to the elements. The lotus flower opens and directs itself towards the sun as the day progresses. It is amazing the way in which beautiful flowers can come out of the water through such a strong underground root system. Through thinking of and imitating the lotus flower, a more enriched experience of the outside elements can be found. I found the use of breath really important in Tai Chi in fully experiencing the calm energy it can create. The movements of Tai Chi move slowly. It requires more energy that it looks from the outside as a great deal of core stability is required to maintain softness in the movement. We used the group structure of unison whilst completing this exercise. This also assisted in creating a feeling of community and oneness.
Tutor - Jaqui Dressens, 26/3/15
Today we engaged in "Site specific" dance (Kiek 2007, p. 27). This means the dance piece that we created is inseparable from the site at which it was created and influenced by (Kiek 2007). We worked mainly outside using our observational skills on the influence of the elements (e.g. wind and sun) on our dance practice. We also explored how we could create dance lessons with nature using it as inspiration.
When taking a class outside it is important to consider how children can be in the environment in a safe way. For example, prior to taking the students out, the teacher may need to do an inspection of the outside dance area to ensure there are no sharp/unsafe objects on the ground.
Main dance elements explored:
- Time, Space and Energy
- Unison, Cannon and Contrast (Group structures)
1. Use of place and development of the environment:
We firstly observed the area we were going to dance in. We made the following observations:
- Lines in the environment: What kinds of lines can we see? Man made lines from buildings, natural
- The juxtaposition of the Banksia tree and the building. It was interesting to note the way the Banskia tree was curved, winding it's way upwards as opposed to the building with its straight, angular shapes. We observed that nature seems to find a way in the environment (see image 1)
- We also noted the way in which nature was chaotic but balanced. The leaves dance on the ends of the tree branches. The branches are somehow balanced as the tree stretches upwards.
- We can also interpret the environment through other cultures e.g. through Yoga (India) and Tai Chi (China)
2. Grassy area dance experience
We walked around the grassy area with our shoes off, observing the way it felt on our feet, Jacqui used our feedback to create a movement everyone had to imitate e.g. we said the grass felt squeltchy, se we moved in a way that showed our audience that the grass was particularly squeltchy.
We used our breath to help us move. On the inhale we moved and on the exhale we posed. We used a variety of levels. We posed like different animals and moved in a variety of ways e.g. moving high, moving low, posing like a dinosaur, moving on the ground
Tai Chi Experience (See Video 1):
Together we engaged in some Tai Chi. Tai Chi originated in China and is based on the lotus flower and the way in which it responds to the elements. The lotus flower opens and directs itself towards the sun as the day progresses. It is amazing the way in which beautiful flowers can come out of the water through such a strong underground root system. Through thinking of and imitating the lotus flower, a more enriched experience of the outside elements can be found. I found the use of breath really important in Tai Chi in fully experiencing the calm energy it can create. The movements of Tai Chi move slowly. It requires more energy that it looks from the outside as a great deal of core stability is required to maintain softness in the movement. We used the group structure of unison whilst completing this exercise. This also assisted in creating a feeling of community and oneness.
Video 1: Tai Chi experience, video captured and in possession of Gabrielle Schwartz 2015
Yoga Experience:
We then engaged in some yoga, we did this on the concreted area (better to do it on the grass if using yoga with children). I noted the difference in use of time, movements in yoga were not always fluid and therefore created a different energy and feel. We engaged in a sun salutation, directing our energy towards the sun. It was beautiful to feel the sun on our body and backs as we engaged in the experience. The movements take up more space, often involving limbs extended in a position.
3. Sculpture experience
We then begun moving around the sculpture (See Image 2 below) in a circular motion. We used it to inspire the next activities.
We mirror, moulded and extended around the sculpture, taking it in turns depending on which colour you were wearing (e.g. all the people wearing pink). You could mirror, mould or extend to an element in the sculpture and then transition out of the shape. This person must then tap the next person on the shoulder to continue the motion.
Others moved around the outside, following the leader. The leader can change the movements and style of locomotion around the edge.
We made an imitation of the sculpture in groups of 5
4. Choreographic Experience
We chose an object in the space and used the choreographic device of repetition to create a piece. My group used a large tree and made a piece moving around the tree. (See Video 2 below and note the repetition of choreography throughout). The fact that we were standing outside in the tree's environment challenged our choice of choreography (MacBean 2004). We were encouraged to observe and feel the environment of our choreography. We were encouraged to understand the culture of the university as people came through and watched our class or moved away as they passed through the area (MacBean 2004).
We then engaged in some yoga, we did this on the concreted area (better to do it on the grass if using yoga with children). I noted the difference in use of time, movements in yoga were not always fluid and therefore created a different energy and feel. We engaged in a sun salutation, directing our energy towards the sun. It was beautiful to feel the sun on our body and backs as we engaged in the experience. The movements take up more space, often involving limbs extended in a position.
3. Sculpture experience
We then begun moving around the sculpture (See Image 2 below) in a circular motion. We used it to inspire the next activities.
We mirror, moulded and extended around the sculpture, taking it in turns depending on which colour you were wearing (e.g. all the people wearing pink). You could mirror, mould or extend to an element in the sculpture and then transition out of the shape. This person must then tap the next person on the shoulder to continue the motion.
Others moved around the outside, following the leader. The leader can change the movements and style of locomotion around the edge.
- This activity contrasted the stillness of the sculpture poses to the fluid, locomotive movement to those in the circle on the outside
- It also provided a wonderful inclusivity through the circle and also a non invasive way of students expressing their ideas as students on the outside are not specifically watching as they are busy following the leader's movements.
We made an imitation of the sculpture in groups of 5
4. Choreographic Experience
We chose an object in the space and used the choreographic device of repetition to create a piece. My group used a large tree and made a piece moving around the tree. (See Video 2 below and note the repetition of choreography throughout). The fact that we were standing outside in the tree's environment challenged our choice of choreography (MacBean 2004). We were encouraged to observe and feel the environment of our choreography. We were encouraged to understand the culture of the university as people came through and watched our class or moved away as they passed through the area (MacBean 2004).
Video 2: Tree Dance Outside, Video in possession of Catherine Wilton 2015. Featuring: Ally, Jess, Kirsty, Lara and myself
We then went inside and discussed other choreographic devices that we might like to use:
And other spatial elements we could develop in our pieces:
And the use of positive and negative space:
We then began to morph and add to our choreography creating further expressive intention. We kept using ISARE to add further phrases of movement. We needed to adapt our work to the indoors as well, in our case, this involved making a person the tree.
Jacqui used the piece of music "Yo Didge" by Ganga Girl Primal Pulse to help inspire us further. We performed our pieces with music in the spaces we had been practicing in the studio, rotating around each group. We then reflected as a group on our performance, we noted the following things and gained feedback from the larger group (a a form of formative assessment):
We then did a more formal performance (See Video 3 below) with no music sitting and watching whilst one group performed, clapping after each performance. This has pros and cons, it is important as a dance educator to set your students up for success. Only give them this opportunity of performance if you think it will allow them to succeed. We considered the following ways this could influence the performance:
- Retrograde - repeating the same movement but in reverse
- Addition
- Inversion - contrast
- Subtraction
- Augmentation
And other spatial elements we could develop in our pieces:
- direction - of the movement
- level - of the movement
- focus - of the movement
And the use of positive and negative space:
- In dance we always move into the negative space. The positive space is the shape, the negative space is that around the shape
We then began to morph and add to our choreography creating further expressive intention. We kept using ISARE to add further phrases of movement. We needed to adapt our work to the indoors as well, in our case, this involved making a person the tree.
Jacqui used the piece of music "Yo Didge" by Ganga Girl Primal Pulse to help inspire us further. We performed our pieces with music in the spaces we had been practicing in the studio, rotating around each group. We then reflected as a group on our performance, we noted the following things and gained feedback from the larger group (a a form of formative assessment):
- We needed to have a clear beginning, middle and end
- We had a good story behind our piece, relating to sustainability and people's influence on the environment
- The movement in the piece is inclusive, everyone can contribute as a team and we are moving in unison. We are also using repetition, making it easier to remember phrases of movement.
- (from a pedagogical perspective, it was wonderful to watch the performances, and clap at the end of all the performances indicating the way we had all created a piece together)
We then did a more formal performance (See Video 3 below) with no music sitting and watching whilst one group performed, clapping after each performance. This has pros and cons, it is important as a dance educator to set your students up for success. Only give them this opportunity of performance if you think it will allow them to succeed. We considered the following ways this could influence the performance:
- anxiety?
- intimidation?
- overwhelmed?
- self efficacy? - will your influence help students to have the courage to present, to we need to teach some children to have courage, use of social peer pressure of the class to help or hinder?
- the change of space used and the way this can cause some students to get confused
- you can hear the body percussion of our performance when there is no music playing
Video 3: Tree Dance, Formal Performance. Video in possession of Kirsty Griffths 2015
Ways of practically setting students up for success in terms of performance:
- Ensure work will be respected
- Consider angle that audience will be watching from
- Movement must be based on a theme, problem.
5. Ways this lesson could relate to science education
Educational terminology in our dance work created:
- sustainability
- life cycle of the tree
- climate change
- Aboriginal connection to the earth
- Weather, how nature interacts
- Gravity
- Structure, strength, geometry in buildings
- Force
We can learn from other groups and our interpretation of their movement. We can begin to understand other people's perspective on the environment and nature.
Connection to AusVELS: The Arts, Level 4
"...They identify and describe key features of arts works from their own and other cultures, and use arts language to describe and discuss the communication of ideas, feelings and purpose in their own and other people’s arts works."
Asia and Australian's engagement with Asia:
OI.1 "The peoples and countries of Asia are diverse in ethnic background, traditions, cultures, belief systems and religions."
OI.3 "The peoples and countries of Asia have contributed and continue to contribute to world history and human endeavour"
In order to work towards identifying and describing features of their own pieces from other cultures, the students will experience yoga. The emphasis on this activity is to help students realise how their movements and inspiration can come from nature such as the sun salutation. If possible, students will do this facing the sun outside if there is a safe area to do so. If this activity is to be done outside, it is important that the teacher walks through the space prior to commencing, removing any hazards from the ground. The teacher will talk and model the students through a modified version of sun salutations (refer to the picture below to see the sequence of movements, Addryia 2010). After completing the movements, the teacher can discuss with students about the origins of the movement, the students then complete the movements again without the teacher modelling, only instructing with their voice.
References:
ACARA 2014, Australian Curriculum, Education Services Australia, accessed 15th April, <http://www.australiancurriculum.edu.au/>.
Addryia 2010, Sun Salutations can add Focus to School Mornings, KDI Media, visited 31st May 2015, <http://addriya.com/sun-salutations-can-add-focus-to-school-mornings/>.
Kiek, S 2007, 'Site and site-specific dance: Circulate', Brolga: An Australian Journal About Dance, 27, pp. 26-35, International Bibliography of Theatre & Dance with Full Text, EBSCOhost, viewed 7 June 2015.
MacBean, A 2004, 'Site-Specific Dance Promoting Social Awareness in Choreography', Journal Of Dance Education, 4, 3, pp. 97-99, Education Source, EBSCOhost, viewed 7 June 2015.