why 208?

practice: the choreography lab
A word about Technique
All techniques originally arise from the necessity to build something never-before seen or done.  Once a technique is adopted as a rule, imitation becomes the inevitable result. Technique is simply the necessary means to do what you want to do; it is not the end, it’s the means.

In composition, your technical training should not be merely re-used as a stylistic choice. Rather think of technique as training for body and practical skill to allow your creativity a venue.  When you think of the word “technique” in here, think more generally as issues such as balance, tone, strength, coordination and facility rather than tendu, arabesque, pirouette, or even Jazz, Ballet, and Modern.  The Tendu as you know it is one particular stylized result of moving the leg as a single, straight unit in radial lines away from the body.  If you apply the basic idea more openly, you may find that there are many creative variations, many styles in which to apply the skills involved in articulating the leg as a straight line.



The Creative Space: Instigations, parameters and environments:
As an artist, my first task is not to “make a dance” or “be creative”—that is too vast an endeavor.  Rather I am always in search of the ideal parameter—the perfect “comp assignment” that will push me to respond creatively.  As human beings, we are organically designed to respond to environments with appropriate actions.  It is incredibly difficult to create artwork from the “void of freedom and unlimited possibility”.  Paradoxically, to achieve “artistic freedom” we must employ limitations and boundaries to define our artistic choices—we need a reason to do precisely this, and not that.  

At first, we will explore unbounded expression and “free-flow” creative movement.  Once we become comfortable with our ability/willingess to move freely, we will investigate ways to creatively limit our choices such that creativity is forced to happen.

topics to be covered:

Ideas to be explored in the creative process:
The following are ideas and word definitions that for me inspire a basis for creative investigation.  We will explore using a variety of in-class and out-of-class assignments to learn means to generate movement vocabulary:

Instigation:  “To cause a process to start. To cause trouble, especially by urging somebody to do something destructive or wrong.”
Parameter:  “A fact or circumstance that restricts how something is done or what can be done.”
Environment:  “The conditions that surround people and affect the way they live.”

Other Skills to be developed

• Establishing a common vocabulary for discussion and description of what we see and do physically

• Historical perspectives on the artists who have come before us; our movement heritage.

• Developing creative methods of generating new movement

• Using a "tool box," of Composition Editing Tools for manipulating, altering, and refining movement phrases.

• Transferring movement to another dancer--imitation vs. interpretation

• Working with defining the "essence" of emotional motivation

• Timing and Phrasing

• Use of music

• Use of improvisational structures to generate movement

Theory
This practice will refine the imaginative side of our physical skill.  While the outwardly visible physical acts of dancing are the products of our art, we will be investigating sources from which our personal movement arises. Dancing is an expressive art of actualizing “Self,” in its literal and whole physical, psychological, emotional, and spiritual form.

Finally, there are as many ways to teach a composition class as there are ways to make a dance.  I do not propose that my way is the "right way"-- there is no such thing.  I am presently building a collection of comp assignments from other professional artists.  I will occasionally bring you an approach or method, used by some of today’s most important and well-known artists, as well as your other faculty members.
 

additional resources/recommended reading
Although this course does not use a text book, there are two very good books which I recommend as references, both available in Olin Library. click below for catalog call numbers.

The Art of Making Dances  by Doris Humphrey
The Intimate Act of Choreography  by L.A. Blom & L.T. Chaplin
 

• Write a journal entry on the work
• Identify and list key successful elements of a professional work you see
• Render a movement study of your own, inspired by that dance.

203 or 208: Which is right for me?

Comp students must concurrently take a dance technique class at least twice per week, 200 level higher, as a co-requisite of Composition. Normally, the student registers for 203 for 2 units, and separately registers for the appropriate technique class (Modern, Ballet, Jazz, 2-3 units).  If for some reason a student prefers not to enroll in a separate dance class, they can opt for a combo-version, 208; Comp & Technique, which allows students to bundle both technique and composition together under one course number which includes an additional two credits for the technique added to the composition credits for a total of 4 units.  Note: 208 is identical (meets at the same place and time) and fullfills the same major/minor and cluster requriements as Comp 203 for.

How do I properly enroll?
If you are enrolled in 208 DO NOT register for the dance class separately;
Instead, make a verbal contract with the desired technique instructor and attend two classes per week.  The final grade is given for 208 only, in consultation with the technique teacher.  This means that the student does not see credit or grade for the technique portion on their transcript.  If the technique credit is important (e.g. for meeting dance major/minor requirements) the student should enroll in 203 regular, and the dance technique separately.