dance improvisation scores
Symbols from other systems: gestural, sound, pictorial, diagrammatic and movement, may all be exemplified. Yet as soon as she begins to perform, in fact even before she begins, memory and impressions arise for her and these influence her performance. everything with everything5. where scores are verbal propositions, usually relating to physical, bodily or movement notions, rather than being narrative or psychological, such as tangling and untangling or the noticing of being subject to gravity. The participants are able to go on and perform that solo in the contexts of their own choice but they must first have practised for three months. how well do they know the city? The practice begins as the performer in an open space with a table and paper for drawing or writing begins to move, speak or write. In improvising, parts of that history will arise whether it is searched for or hoped for, whether they are noticed when they arise. In a transcription of the verbal sharing of information in a series of classes taught by Paxton in 1977, he describes the small dance, also named the stand, as ‘continuing to perceive mass and gravity as you move‘ (Paxton 1986, p. 66). In the case of allographic work, the score, produced in the first stage stands for the work produced in the second and ‘the act of writing, printing or performing a text or score is for its part an autographic art, whose usually multiple products are physical objects‘ (1997, p. 17). The more we practised the clearer it became to me that not only were the scores not directly shaping the dancing, but that I did not want them to do so. My exploration of Nelson Goodman’s work led me to explore the use of the term ‘score’, asking if it is is appropriate in improvisation. In his book, Languages of Art, Nelson Goodman discusses the concept of scores as linked to the idea of a stable, repeatable work, and in terms of his distinction between autographic and allographic works of art. These approaches have shown good success in promoting functional gains in balance, gait, and UPDRS score. Over a period of a few years, I was involved in a project with Crisp, which she named the ‘d a n s e’ project. A score is something to explore. This paper explores the use of scores or verbal propositions in improvising dance. Certainly this has been my experience of coming to terms with using scores in my own practice. There is much passing on of information that is non-verbal, such as dancing, watching and touching. In the classroom we have experimented with adapting improvisation games from theater and dance … These principles arose from dancing and were used both to describe what might have been taking place while dancing, and to suggest possibilities relating to how one might be attentive while dancing. All of us were isolated in our homes- so this score is meant for inside your home. We then follow on by dancing and watching each other in varying ways, sometimes dancing for short periods and then swapping over and at other times dancing for up to 20 minutes. What is hidden behind walls, doors or under the sidewalk? When I began my PhD project, I thought that I would shape the dance, not through explicitly directing the dancing which was to take place but through the use of scores which were designed to result in a certain way of dancing. Giving up controlling, pre-deciding or censoring, we enter a realm that is unplanned and often surprising, one that invites direct experience of personal and creative truth. A finite group of participants is selected to participate. By both having properties of those actions and referring to them, and exploring the physical implications of those actions in different movements and body parts, the dance may be exemplifying them. Of course then you’re using the score, the score enters your body, so you have the score work your dance, make your dance (Satin 2009, p. 43). During the solo warm-up, we dance with the scores and begin to see how we might understand the possibilities that they offer for that day. Thus Rewriting Distance generates “ a world that is crescent rather than created; that is always in the making rather than ready-made.” (Creativity and Cultural Improvisation, Hallam & Ingold 2007, pp. The ‘fast’ may be the chosen aspect of something more complicated such as acceleration, which is being exemplified in the dance. This more recent description of the small dance by Paxton is refined, as though he has shared it often in the intervening years. Using scores is a combination of what it manifestly proposes and how it allows or is employed to influence, affect, notice or feed the dancing which comes while using it. Techniques. In other words, a score that is devised by the author stands for a work and allows that work to be repeatable. Other approaches offer structures for performing improvisation. Examining my use of scores in my own improvisation practice it discusses what scores might be and might do and how they relate to the real time composition of dance in the present of its making. ), the noticing, List B: How or Where? Body Shift: Summer Dance Jam. Satin, Leslie 2009, 'Focus on the Work: Yvonne Meier'. Even if we do not want a score, that is the score. As a large group, it’s great to assign rolls before beginning and give time to develop ideas. A score is a map, a topography, a terrain. This project was based on group improvisation through practising with scores over a significant period of time. For the past 25 years, Olivia has worked as a performer, maker and lecturer of dance. This was something that helped identify what I wanted to focus on and what spanned each element (many are interchangeable). Gérard Genette, referring to Goodman notes that the categorisation of a work as autographic or allographic is affected by both how it is produced and whether it can be reproduced: In certain arts, [autographic] the notion of authenticity is meaningful, and is defined by a work’s history of production, while it is meaningless in others, [allographic] in which all correct copies of a work constitute so many valid instances of it (1997, p. 16). Dances are designed by applying one or both of these fundamental choreographic methods: Improvisation, in which a choreographer provides dancers with a score (i.e., generalized directives) that serves as guidelines for improvised movement and form. One way to name the way we sometimes use scores is exemplification. What are the closest and farthest sounds we can hear? In describing what that score could be, he says: It’s a line in space, a change in the light, the body falling[…]It’s a lot of off balance, being off center, the sensation inside an articulation, the speed at which I come near somebody, or at which I go away. The space, the body, the movement, the intention (what are you intending? The verbal scores that I use in my practice do not represent a ‘work’ which was or will be created. We warm up by dancing by ourselves, usually starting on the floor and coming to standing over time with the option to go back to the floor. 2 Open improvisation operates without the use of scores, leaving all decisions regarding space, timing, movement quality, relationships, and so on to be made during the unfolding of the performance. The idea of the small dance resonated with me. Curtis, J 1994, 'The Man in the Box: Interview with Steve Paxton', Dempster, E & Gardner, S 2007/08 'Ros Warby: Framing Practice.'. Her influence on my practice has been significant. dancers performed together to four different improvisational scores, which provided a starting point for improvisation. you can stand on the bed -or walk across it, without breaking stride. © Copyright 2021 Australian Dance Council-Ausdance Inc. Dancing participation: Observations of a long-term group dance improvisation practice, Haptics and the fall: spaces of contact improvisation, Improvisation—a continuum of moving moments in choreographic imagination and performance, Business practice (copyright, tax, insurance), Newism - Newcastle Web Design & Development, What’s the score? A painting is often described as representing its subject, regardless of how much it actually resembles it. There are many more non-conscious actions which may take place as a result of patterning or bodily habits, still in relation to the score. Editor: Olivia Millard That hold could be tightened in times of need, that is, it could be consciously referred to, to initiate, adjust or affect the dancing in some way. what is the loneliest they have ever been? make choices about what sources to include, move within and outside the working space, Video: pre-loaded images/ real time camera and projection, make choices about images/ light/spatial arrangement, bring focus – make change- open to change, Visual Design: Set, props and spatial dimensions, make choices about how the space will be arranged/ props/parameters. I would also suggest that even within my own practice, I can only be an authority of my own experience of scores. Its openness allows it to be a tool which can continually be re-visited by a dancing body that is becoming in its present. A point of departure: suggestions for any improvisor. The system outlined in The Viewpoint Book is great - but you can use them in multiple ways to bring focus to a specific element. In Winter Quarter 2015, the Theater and Dance department offered DRA 43A, contact improv. [from Mary Overlie, Anne Bogart and Tina Landau]. Watch "Back Dancing Improv… These examples are all of conscious perceptions or deliberate actions which may take place while dancing with a score. Saturday, July 28th from 2:30-4:30pm at the Townlake YMCA in the large group exercise room on the first floor. She had many years experience as an improviser, working with Simone Forti, Lisa Nelson and Steve Paxton (Benoit 1997, p. 89). A score, according to Goodman, is the means by which a work can be authoritatively identified from one performance of it to the next. You’re only busy with that score. We quite often talk about what a score might ‘mean’ in our bodies or in/with our dancing at a particular time. For two of the scores dancers were asked to work with sensory awareness and to use ‘here and now’ cues from the surrounding, while the two other dancers were given a multimodal image as a starting point for improvisation. Some have left the project, others have joined, but the core of the group has been consistent. So you take a score and your mind gets relief. When I write them down, however, I am usually sitting down and not in the middle of dancing. Don’t talk, laugh, or giggle. Text © Olivia Millard. Some techniques are meant to cultivate a group connection or build compositional ideas. For an artist, this opportunity to become conscious and work with limits and habits holds great potential for expansion and growth. There is no obligation to speak. The invitation implied in the small dance shared between many dancers over many years is a suggestion for possibility as well as an instruction but not a means to achieve something particular. Improvisation scores are generally meant to be interpreted by the dancer, which can result in vastly different performances across dancers. Improvisation scores serve as an inspiration for critically and playfully confronting our forms of attention, insofar as we are embedded in the university and want to change it (see Dumit 2018). In discussing the importance and significance of a score for a work of art, Goodman suggests that a score could easily be dismissed as not being of any use once a performance is complete. These are very physical situations, I can see them and I can touch them (Benoit 117). What they all have in common is that they are related to physical, kinesthetic or movement ideas. You might wrap your body around that furniture or pick up and put down objects or, say, wash your hands — never too often now — all while maintaining a steady walking rhythm, which, the mainstay of the whole enterprise. Improvisation is the ability to create new gestures and movements on the spur of the moment . In contrast to Crisp’s approach, I have deliberately decided to use the term ‘score’ for the verbal propositions we use while practising. Each group is labeled “everything.” These groups may include several people. We call this warm-up period the solo warm-up. A painting that exemplifies ‘red’ is both red and refers to the colour red. As we then practice being witnessed by another, we learn how to consciously and willingly surrender to the experience of the moment and to be consciously and willingly seen in the midst of doing so. I draw from my experience in Thai Massage, Contact Improvisation, Physical Theatre, Authentic Movement and contemporary dance … This has led me to explore the taken-for-grantedness of the utility of the score. The desire to invent, to be shared by other dance improvisers studio exploration with a set of in... 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