Module 3: Thoughts on Improvisation
So far this module, I have been focusing on my inquiry topic of 'the choreographic process' and thinking a lot of what the dancers can be asked to contribute....
All this has inspired me to experiment with improvisation, in a stress-free environment, and I have been surprised by how much more creative I am when not consciously 'making up' steps.
After self-reflecting on my experience, I am thinking of how I can incorporate this into my inquiry as I think this has had a positive effect on my professional practice.
Please comment your thoughts on this!
Related articles:
William Forsythe - https://www.thetimes.co.uk/article/william-forsythe-interview-the-choreographer-on-his-quiet-evening-of-dance-tgpc2svcs
Richard Alston - https://www.theplace.org.uk/blog/place-blog/conversation-richard-alston
Much like Sandra Cerny Minton (2017), "I thought there was a recipe to follow to produce such dances [those by professional companies]" but this inquiry process is pointing more and more towards infinite methods of choreographing. I decided to look at one tool that scares me the most...
Once I got to ballet school, even the mention of the word 'improvisation' was enough to make my blood run cold and all possible means of escaping the room would flash through my mind. It's a scary thing to some people, and (annoyingly to me), not at all to others, but I appreciate that it can be a useful tool to make movement organic and spontaneous. Choreographers today use it frequently, either to create movement themselves to later teach to their dancers or as a task for the dancers themselves.
Why is it useful?
Improvisation is used in many aspects of life and learning, particularly music (Baker, 1980) and acting. There are many benefits to thinking creatively and a lot of research has been carried out around improvisation in the classroom as an aid to learning foreign languages (Dundar, 2013).
In dance, improvisation as a means of creating choreography, is often associated with contemporary pieces (Klopenberg, 2010) but as the line between classical ballet and contemporary becomes less defined (especially in new works), I believe this could soon change.
Improvisation is used in many aspects of life and learning, particularly music (Baker, 1980) and acting. There are many benefits to thinking creatively and a lot of research has been carried out around improvisation in the classroom as an aid to learning foreign languages (Dundar, 2013).
In dance, improvisation as a means of creating choreography, is often associated with contemporary pieces (Klopenberg, 2010) but as the line between classical ballet and contemporary becomes less defined (especially in new works), I believe this could soon change.
Positive outcomes highlighted by Corinne DiOrio (2014) in her article for www.theodysseyonline.com:
- Improvisation can help get the creative juices flowing
- Clears the mind, banishes distractions
- Helps to avoid too much choreographic repetition
- Uncovers new and unexpected discoveries
- Avoids choreographic 'blanks'
How to go about improvisation
Essentially improvisation is spontaneous movement that has not been prepared in advance. However most of the time you will have a source of inspiration that drives the movement. This can be the music, visual images, words, tasks (such as leading with a certain body part), senses (respond to the feel of velvet, taste of chocolate etc), responding to another person (this can as a dialogue or perhaps from their contact) and literally anything that triggers ideas (Giguere, no date).
Essentially improvisation is spontaneous movement that has not been prepared in advance. However most of the time you will have a source of inspiration that drives the movement. This can be the music, visual images, words, tasks (such as leading with a certain body part), senses (respond to the feel of velvet, taste of chocolate etc), responding to another person (this can as a dialogue or perhaps from their contact) and literally anything that triggers ideas (Giguere, no date).
All this has inspired me to experiment with improvisation, in a stress-free environment, and I have been surprised by how much more creative I am when not consciously 'making up' steps.
After self-reflecting on my experience, I am thinking of how I can incorporate this into my inquiry as I think this has had a positive effect on my professional practice.
Please comment your thoughts on this!
Related articles:
William Forsythe - https://www.thetimes.co.uk/article/william-forsythe-interview-the-choreographer-on-his-quiet-evening-of-dance-tgpc2svcs
Richard Alston - https://www.theplace.org.uk/blog/place-blog/conversation-richard-alston
Bibliography
Baker, D. N. (1980). Improvisation: A Tool for Music Learning. Music Educators Journal. https://doi.org/10.2307/3395775
Dundar, S. (2013). Nine Drama Activities for Foreign Language Classrooms: Benefits and Challenges. Procedia - Social and Behavioral Sciences. https://doi.org/10.1016/j.sbspro.2013.01.206
Minton, Sandra Cerny (2017) Choreography 4th Edition with Web Resource: A Basic Approach Using Improvisation, Human Kinetics Publishers, Illinois
https://uk.humankinetics.com/blogs/excerpts/learn-different-ways-to-create-improvisation
https://www.theodysseyonline.com/improvisation-in-dance
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