Responding
Analyze (DA:Re7.1)
a. Analyze recurring patterns of movement and their relationships in dance in context of artistic intent.
b. Analyze the use of elements of dance in a variety of genres, styles, or cultural movement practices within its cultural context to communicate intent. Use genre-specific dance terminology.
Interpret (DA:Re8.1)
a. Select and compare different dances and discuss their intent and artistic expression. Explain how the relationships among the elements of dance, use of body, dance technique, and context enhance meaning and support intent using genre specific dance terminology.
Critique (DA:Re9.1)
a. Analyze the artistic expression of a dance. Discuss insights using evaluative criteria and dance terminology.
Analyze:
Building analytical and critical thinking skills isn’t usually included in the traditional dance class or studio setting, and as a dance educator raised in the traditional studio scene, knowing how to teach analytical skill building has been one of my biggest challenges. But the NCAS has proven to be an excellent guide for me. My first step in a high school class is to ask students what they notice about a piece or a movement, and to take notes of their observations with as little judgement as possible. From there, dancers who have a solid understanding of choreographic elements and devices can begin to take note of patterns in the movement - whether there is an order in which movements are performed in a phrase repeatedly, patterns in tempo and energy uses, or the pattern dancers make with their formations and pathways on the stage.
Next I ask my students to use their observations to determine whether or not what they see is effectively conveying the artistic intent of the piece. Allowing dancers to come to their own conclusions about what they see is more beneficial to their learning and creative processes. Rather than telling students what they see and how they feel about a piece, we open the door for self discovery and the expression that may develop from those discoveries. After recording their own thoughts, a little research on the piece they’ve observed can help affirm their ideas. If they are analyzing their own work or the work of a classmate, then the intention may already be known, in which case they can identify aspects of the piece that effectively convey what the choreographer intends.
In the case of the Frog & Snake project, students drew movement inspiration from their animal counterparts, developing smooth, winding movements and formations for the snake, and choreographing leaps and other springing actions for the frog (DA:Re7.1a). They kept the movement styles and qualities similar throughout the first section of the piece, effectively conveying their roles as snakes and frogs, as well as the developing relationship between the two characters.
The intensity of their movement qualities changed as the piece developed into the “war” section. For this section, they not only created a literal pattern of movement that they repeated, they also chose AfroBeat movements for the choreography to convey strength and power (DA:Re7.1b). We utilized the power of the AfroBeat style to create the war section of the piece, because its grounded, up-tempo, rhythmic quality provided juxtaposition against the relaxed tempo and lighter, freer flowing movements of the previous section. This was also significant because the story of Frog and Snake is an African tale about two cultures, and AfroBeat dance comes from the fusion of West African music, jazz, and other styles.
This is one way to use the creative process to meet Standard DA:Re7.1b. I’m fortunate to have students from all over the globe, and throughout the year, I like to invite these dancers to share their dance heritage and culture with the rest of the group by having them each teach a class. They give a short history or background in the dance style/genre and teach a lesson in the technique and style of the movement. Recent explorations included AfroBeat, Hip Hop, Hula, Bunghra, Salsa and Latin dance, K Pop, and traditional Chinese dance.
Interpret:
Every year I try to find meaningful dances for my dancers to look at and make observations about to help them develop their analytical skills. We usually watch the pieces several times so dancers can focus on one aspect at a time as they jot notes about their observations. Then we discuss how the choreographic devices and elements were used effectively, and we even try a few of them ourselves. Because the creative process relies heavily on finding inspiration to create from, observing a variety of examples of effective movement devices and strategies can inspire new ideas for students, and aid in their own efforts to convey intention through movement.
Critique:
Critiquing a piece of artwork can be difficult, especially if it belongs to a peer or a friend. I’m still trying to figure out how to guide students in this process, but I use this Standard to help raise my students’ awareness of their natural biases and aesthetic preferences. This awareness opens doors to deeper understandings of the world and its peoples. It provides a chance for students with aesthetic ideals that conform with dance forms such as ballet or modern dance to expand their views, and understand that while their perspective is important, dance is a universal form of communication that comes in all shapes and sizes. As they grow in this awareness, they become more appreciative of artistic expressions that are less familiar to them. It also permits students to look at the nitty gritty parts of life and form an opinion about them. Dance and the arts are a powerful medium for expressing thoughts and feelings about issues that are important to us.
To help my students offer constructive feedback to pieces they see, I have four steps that I learned from a dance professor of mine, Marty Spraque. She says, when responding to someone’s work use these:
I feel…(be honest)
I appreciated… (be positive)
I noticed…(be objective)
I wonder… (offer a suggestion)
These help students to take ownership of their thoughts and feelings without being judgmental or belittling their peers.