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.
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>
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