Body Percussion and Soundscape

WORKSHOP 5: BODY PERCUSSION AND SOUNDSCAPES

WEEK 10: THURSDAY 6TH SEPTEMBER 2012

LECTURER/CHOREOGRAPHIC ARTIST: JACQUI DREESSENS

 

  Gumboot Dancers in South Africa 2009, YouTube, Stephen Smith, 28 October, retrieved 07 September 2012, <http://www.youtube.com/watch?v=U0Q51WVrR40>

 

Gumboot Dancers in Cape Town 2007,  YouTube, Simon Leher, 27 July, retrieved 07 September 2012, <http://www.youtube.com/watch?v=iSgFAG0mtac>

These videos show the energy, athleticism and coordination that come together to create the style of dance known as 'Gumboot'. I find it an energising style of dance to watch, but feel completely lacking in ability when trying to participate. Jacqui's pedagogy to start with the simple and move to the complex didn't help me much with this workshop. In a very short time period, I was exhausted and uncomfortable.

The workshop went like this...

Our lecturer and choreographic artist, Jacqui, introduced us to Gumboot with a short discussion about how it's history and evolution. The following is an extract from World Arts West that explains its roots:

 

'Gumboot dance developed from traditional African roots, to become a part of urban South African working-class culture. The practice began with rural laborers who came to work at the gold mines of Witwatersrand in South Africa. They brought with them strong traditions of rhythm, song, and dance. Facing oppression and hardship at the mines, including punishment if they talked to each other while working, they were forced to adapt and create new forms of communication and entertainment.' (World Arts West n.d.)

 

The group was positioned in a large circle and we began simply by stomping our feet. You can see in the image below people bending both their knees.

 

 We added movements step by step, and included clapping, stomping, and slapping on different parts of the body, such as knees and chest. We also included voice in the sequence.

Clapping hands together

 

 This video show the group participating in the instruction based sequence. 

The next movement sequence involved moving from a standstill position to moving in different directions. We moved side to side and forward and backwards with feet stomping, and arms swaying. 

After our initiation into the world of body percussion, the group separated into small groups to create an original movement sequence. We were invited to explore our formation and spacing, whilst ensuring that we also used the gumboot style of stomping, clapping, and slapping our bodies. We performed these pieces one by one to the class.

A group practicing their gumboot dance

 
After the performances, the group moved back into a large circle to play an African hand slapping game. I was not there for this part of the workshop, but I heard from peers that it was one that sounds easier than what it is. 

Reflection

I worked up a sweat in this workshop! I think students in the primary context would love to participate in this style of dance, however, my coordination is not up to scratch to teach it (yet). The style is powerful to watch. What I enjoyed most about this lesson

References:

World Arts West n.d. Dance Style Locator, World Arts West, retrieved 20 October 2012, <https://d2l.deakin.edu.au/content/enforced/108145-ECA410_EEA410_TRI-2_2012/dance_geel_bur/teaching_culture/traditional_dance_styles.pdf?_&d2lSessionVal=1dSDMGRW43jIvNoIjniHS6azr>

Aboriginal and African Dance

WORKSHOP 4: ABORIGINAL AND AFRICAN DANCE

WEEK 8: THURSDAY 30TH AUGUST 2012

LECTURER/ CHOREOGRAPHIC ARTIST: JACQUI DREESSENS

This worksop focussed on the ritualistic and ceremonial dances from the Indigenous Australians and Africans. Jacqui expressed the importance of respecting these cultures and explained that her approach to teaching and learning in this workshop would be more directed. 

Kingfisher Boogie

A significant dance to the Wurundjeri people, I was intrigued to find out more. The following is taken from  the CERES website: 

About the Return of the Sacred Kingfisher Festival

The CERES Return of the Sacred Kingfisher Festival is an annual community celebration welcoming the Sacred Kingfisher back to its original habitat, along the banks of the Merri Creek in Brunswick. The Sacred Kingfisher bird has become a symbol of "hope" connecting people and place. It is a community ritual and a working process with the Wurundjeri people, various cultural communities and performers of all ages and abilities. As long as the Kingfisher returns each year in Spring, it is a sign that we are taking care of our local environment and the home or Stamping Ground of the Sacred Kingfisher. The community is invited annually to wear Kingfisher colours, make a mask, learn the Kingfisher Boogie at the Village Green and follow the Giant Mother Kingfisher puppet through CERES in celebration of the Return of the Sacred Kingfisher.

Our first point of call was to dress the part. Jacqui provided bright blue scarves and makeshift wings to help us into the part. I tied the scarf around my waist and left a 'tail'. Others wrapped the scarves around their bodies, or around their arms. The photo above shows the group dressed as kingfishers.

The Kingfisher boogie represented the bird

- ruffling feathers 

- balancing on perches

- chirping

- pecking

The movement qualities included 

- vibrating hands

- swaying hips wide and bending from the hips

- transferring body weight form side to side

- moving shoulders forwards and backwards repetitively

'Kingfishers' sitting on perches (the lines on the floor)

Following learning the Kingfisher boogie we grouped into small groups of five and created a 'nest' for the Kingfisher. In my group there was a lot of discussion about how to connect and what it would look like. We ran out of time to verbally agree on something, but when Jacqui called 'time' we all placed our hands in the middle, crossed them and held wrists.

Snake Activity

Our next activity made use of a different piece of material - a long coloured piece of chiffon. At first we played with it. A pedagogical approach that encourages children to explore what the material is capable of, and also helps them to focus later on the activity as they have already experimented. My group stretched the chiffon and threw it in the air, walking underneath it as it fell. 

Then we joined together as a group again, but not in a large circle like we have many times before. This activity saw us imitating snakes. Everyone was connected to the long scarves by placing it on their left shoulder, and then each group connecting into a long line. We explored speed and saw how the last person had to try harder to keep up. e then created a spiral shape and placed the lengths of chiffon on the floor (as seen below).  

We formed another line by placing our hands on the next person's elbows. This was described to us as a fertility dance performed by females. As we only have a few males in the group, and to be inclusive, they joined in too. 

Female fertility dance

Jacqui was our leader and she guided us around the space. The effect of moving her arms up and down created a canon throughout the rest of the line as we each followed, one by one. 

We were led around into a spiral next to the material and were directed to lay down, staying close to one another. It was very much like mass spooning. 

Working our way into the spiral

Representing our connection to one another by laying close

Elephants

The next part of the workshop saw us transformed one again into an animal. This time, elephants. We began by forming two straight lines, on opposite sides of the room, linking arms with those in our group, and facing the other group. 

Lining up for the 'Elephant' dance

Our movements had to represent the solid and graceful pattern of an elephant. Our bodies were bent at the knees and waist, and we moved our body weight from side to side, all the while trying to stay in unison. 

In smaller groups, we practiced refining our stance, and began to chant. A leader was nominated, and that person called the shots, in terms of what direction and timing.

Practicing changing direction

Following the 'elephant dance', the class was almost at a close. we finished by stretching, using animal poses as our inspiration.

VELS	How to adapt the workshop into a primary lesson and integrate other domains with dance
Level 1 and 2	The Kingfisher boogie could be adapted to be used with younger levels. Prompting students to think about and copy the movements the kingfisher (or other animal) does in the wild. Props would be a great addition. This could be integrated with science concepts focussed on animal life. Furthermore, you could add visual arts through students creating their own masks.
Level 3	As a tuning in activity before dance is introduced, students could create an action vocabulary list for animals. In Dance, students could explore how these would look in relation to different animals. Students could choose four words and create a movement sequence based on their ideas. Students could then create a story that uses the order of the words in their dance. This is integrating literacy in a number of ways (vocabulary, spelling, writing).
Level 4	Students could investigate predator and prey animals in Science. Using their knowledge, students could illustrate through dance, the different movements that they would have. For example, a big cat waiting to pounce or a bird swooping to attack.

Safe use of props and equipment:

If using the same or similar props that we did with children, it is important to set expectations. This would include a discussion about safety and that nothing should interfere with your sight as you could bump into somebody, and nothing should be wrapped around the neck.

Reflection: 

Throughout this workshop, I was thinking about how I could not wait to see my 4 year old nephew and mimic some of the kingfisher movements with him. I enjoyed using the props and 'chirping' and think children would love doing it too. Using animals to engage the minds of children and connect it to movement seems to be a natural progression of thought. 

I also was very interested in learning about the history of the local environment and how the community has come together to celebrate cultural connections. As a future primary teacher, I aspire to use dance in my curriculum to explore and celebrate different cultures.

References

CERES 2012, Centre for Eduction and  Research in Environmental Strategies, Sacred Kingfisher Festival 2012, <http://www.ceres.org.au/Events/Kingfisher/thestory.html>

Site Specific Dance Education

WORKSHOP 3: SITE SPECIFIC DANCE EDUCATION

WEEK 6: THURSDAY 16TH AUGUST 2012

LECTURER/CHOREOGRAPHIC ARTIST: JACQUI DREESSENS

Throughout this workshop we explored how dance can be used as an avenue for students to describe cultures, emotions and the environment. We explored two approaches. One that uses memory and another that uses the environment as a stimulus. This workshop also took place inside the studio and outside. 

What we did inside

After three weeks of being on placement and not in the studio, I was excited to be back. Even more so when the first activity of the day incorporated our placement experiences. We reflected on our feelings towards our placement and gave it a number rating between 1 and 10 (I will refer to this as our placement number). I chose 7 as I enjoyed my time teaching and had made improvements, but also found it to be a struggle at times with finding a balance. As the group was placed on an imaginary number line, we discussed with those around us why we had chosen this number to evaluate our experience. From here, we spread out further along the room so that we were facing the mirror. We then had to express our feelings towards our placement in a still position, and think of one word to describe it. I chose 'positive' and angled my body to illustrate a line in a graph moving upward. After a short discussion where some people shared their rationales for their movement, we were prompted to create another. The second movement had to explore a different level or different direction. 

Moving freely around the room, each person

- took as many steps as their placement number

- held our first still position (that recognised our placement experiences) for as long as our placement number. 

My group

This created quite a dynamic response 

with the group moving and freezing at different times. 

We then formed small groups. 

Each member shared their two still positions and the task was to create a movement sequence that included all positions. We also had to think about how the group used spatial arrangements and transitions, and were encouraged to be creative. 

My group creating the movement sequence 

All groups learnt a work in unison, then developed a new piece that required contrast. In creating a new movement piece with contrast we had to consider different movement, different levels and different directions. Then, we used another choreographic device, canon, to add to our work. The canon piece involved one person beginning a movement and then each group member following like a mexican wave, or domino effect. As we progressed, Jacqui continually made teaching points. These included reminders about how we were using 

- levels

- speed

- direction

A group exploring levels 

Performing in unison

Perfoming with canon 

Our final movement piece was made up of our unison, contrast and canon sections, and clear beginning and ending group positions. In this workshop we used a different way of performing. Previously we have used approaches such as 

- half the class sits down and the group performs with other groups 

- the group performs where they are standing, whilst all over groups wait and the camera moves around.

This performance saw each group move into the middle of the studio. We had to brainstorm how we would move into the middle and how we would depart.

Rather than start from a static position, the whole group dispersed themselves around the room. We first counted to ten and then held our placement position that we had developed earlier in the class. Then, again, used our individual placement numbers so that people were moving around the space at different times. For example, in my case, I help my position for 7 counts, and then took seven steps. This photo shows this happening. 

To create structure once more, we worked our way into a circle and eventually moved into our performance. 

In summary, the order of performance was 

- walk anywhere in the space for your individual count and hold your individual still position

- form a circle as a whole group 

- move into small groups 

- all groups perform UNISON>CONTRAST>CANON

- one by one, each group performs in the middle (other groups still)

- separate to walk in a circle

- one by one, individuals walk into the middle of the space facing the mirror and hold a still pose. 

In the picture above you can see the arrangement of one group in the middle and other groups on either side. 

In the picture below you can see how the final performance ended.

The whole class performance was to Pink Floyd's Another brick in the wall.

After dancing our way through the process, we sat down in our small groups and reflected on our performance. We discussed 

- how we could improve 

- what was effective 

We decided

- our transitions could be more dynamic

- our timing could be improved

Jacqui discussed the 5 step approach that she had guided us through: ISARE Creative Process of Making Up Dance

Improvisation: use of a stimulus to experiment and create

Selection: selecting movement - questioning what works and trialling ideas

Arrangement: spatial arrangement of the group and group structures (unison, canon, contrast)

Refinement: rehearse and edit

Evaluate: what worked well? what could be changed?

What we did outside

In this part of the workshop we looked at how our environment can be used as a stimulus. 

Jacqui led us through a short version of Tai Chi of the lotus flower. Firstly listening to instructions and following along, and then repeating the movements in silence and tuning-in to the sound of the wind rustling the branches and our breath. 

Jacqui then led us through some yoga moves that would be accessible for primary aged students. 

After relaxing with Tai Chi and Yoag, Jacqui amped up our movement once again and led us through the outdoor space in different manners that used the unique space as inspiration. These included

- skipping

- running

- sliding along chairs

Following the lines of the path

Sliding along chairs

Choreographer Debra Loewen, explains 'a work is site specific when everything, including your inspiration, comes from the location so that the material itself couldn't be done somewhere else'. 'It's not about choreographing something in the studio, then trimming the edges to make it fit someplace else', adding that 'it might involve contouring and forging interesting relationships between the body and the walls or the hallways, or even the history of the place' (cited in Lefevre 2008). 

Adaptations for the early years

Students creating still positions, holding them, and then moving for a specific count would be a lesson in itself for the early years primary students. VELS Level 1 states that students make and share works 'that communicate observations, personal ideas, feelings and experiences' (VCAA 2007a)

Adaptations for the middle years

Students in this age group would be well suited to creating a structured improvisation in the way that we did with still movements and transitions, and then incorporating group formations and choreographic devices. However, it would not be finished in one lesson. It would be a work of progress over four to five lessons. This view is supported through VELS Level 3: 

'Complete structures improvisation tasks which introduce dance-making principles such as the choreographic devices of

– unison – same movement, all together

– canon – same movement, one person after the other

– contrast – two movements of different qualities (shapes, levels, directions) at the same time – repetition – repeating single movements or patterns' (VCAA 2007b)

Adaptations for upper primary

I would use Yoga and Tai Chi in the upper primary area as this age group would respond better to more structured work. I think it could be used specifically as a warm up or warm down to calm the students. If done regularly, the students could practice being the leader. VELS Level 4 states that suitable learning activities 'use skills or techniques associated with particular dance style/s or dance making processes' (VCAA 2007c) 

Reflection: Both parts of this workshop were very enjoyable. Inside, I liked that we used a prominent and relevant memory, our placements, to begin with. There is always so much to consider in creating a dance, but the creative process of ISARE breaks it down into manageable pieces. I also like that we are always learning new pedagogical approaches specific to dance. This is sometimes modelled, and sometimes revealed through discussion. In the second part, I felt very engaged and relaxed. Tai Chi is something I've been interested to try for quite a while and I found peace in tuning out. I had actually practiced Yoga the night before so I was still feeling a little tight from that but it is always a practice that I love to do. Using the outdoor space revealed the intricacies that are around us when we pay attention. What was interesting was that we didn't have to search for those intricacies thoroughly. The process was fast paced and Jacqui adapted to the natural and man made environment in an impressively quick manner.

Props and Safety: No props were used in this workshop but it always important to be aware of safety issues. Slippery surfaces outside may be a hazard. 

LeFevre, C 2008, 'Let's take it outside', Dance Magazine, April, retrieved 28 October 2012 <http://www.dancemagazine.com/issues/April-2008/Lets-Take-it-Outside>


Victorian Curriculum and Assessment Authority (VCAA) 2007a, 'Approaches to Learning and Teaching - the Arts (Dance) Level 1, State Government Victoria, retrieved 28 october 2012, <http://vels.vcaa.vic.edu.au/downloads/supportmaterials/arts/vels_appteach_dance01.pdf>


Victorian Curriculum and Assessment Authority (VCAA) 2007b, 'Approaches to Learning and Teaching - the Arts (Dance) Level 3, State Government Victoria, retrieved 28 october 2012, <http://vels.vcaa.vic.edu.au/downloads/supportmaterials/arts/vels_appteach_dance03.pdf>


Victorian Curriculum and Assessment Authority (VCAA) 2007c, 'Approaches to Learning and Teaching - the Arts (Dance) Level 4, State Government Victoria, retrieved 28 october 2012, <http://vels.vcaa.vic.edu.au/downloads/supportmaterials/arts/vels_appteach_dance04.pdf>