Define the term ‘Cohesive Composition’. (1 mark)
A cohesive composition refers to a dance work that demonstrates a linked relationship between intention, form, and movement vocabulary to communicate an intention.
Define all elements of spatial organisation. (4 marks)
Dimension – How much space a dancer or group of dancers takes up with their movement
Direction – Which way the dancer traverses through the space
Level – Movement vocabulary can be executed at a high, medium, or low level. Level refers to how close the dancer is to the ground.
Focus – The orientation of the dancers eye line and body in the space
Provide a definition for each stage of the choreographic process. (5 marks)
Improvisation – Improvisation refers to the process of spontaneous movement, dancing without previous planning or choreography, typically following a specific stimulus
Selection – Selection refers to the process in which a choreographer chooses movement vocabulary to place in their solo
Arrangement – Arrangement refers to the process in which a choreographer manipulates, combines, and orders movement to make phrases and sections
Refinement – Refinement refers to the process in which a choreographer will make alterations and improvements to existing movement
Evaluation – Evaluation refers to the process in which a choreographer determines whether the requirements of the intention and the physical execution have been realised
What is the intention of your cohesive composition solo and how does it develop through each section of your solo? (3 marks)
The intention of my composition solo is the formation of a geode. Section 1 explores the gas bubbles forming in the rock. Section 2 continues to develop the intention through communicating water seeping into the rock. The final section communicates the final stage of the formation of a geode which is crystallisation occurring inside the rock.
What is the overarching form of your solo and how does this choice facilitate the communication of your intention? (2 marks)
The overarching form of my solo is episodic (ABC). This facilitates the communication of my intention by allowing three sections in which I can convey the formation of the geode, and the use of an episodic form supports the chronological order of this intention.
Define artistry and discuss two artistic choices a dancer could use to enhance their performance. (4 marks)
Artistry refers to the skills and individual choices a dancer makes when performing choreography for the purpose of communicating the intention of the dance to an audience. These choices can be conscious or subconscious. For example, a dancer could use technical proficiency or projected eye and body focus to enhance their performance.
Discuss how you used the processes of research and planning to select and develop the intention of your composition solo. (3 marks)
When researching and planning the intention of my solo I first tried to find images of natural processes as that was a branch of ideas I was interested in. Once I found the idea of a geode I researched how they were formed to further explore how I could develop this intention over a specific form. This led me to find the intention of my three sections and from here I found and collated videos and pictures that I thought represented these to plan how I could express this through movement vocabulary.
Discuss two approaches to selecting production aspects including music/and or sound and how these assisted in the communication of your intention. (2 marks)
One approach I undertook when selecting the music of my solo was finding a piece of music that showed a variation of time that would allow me to manipulate time differently throughout the development of my three sections.
Another approach I undertook when selecting the music of my solo was finding a piece of music that demonstrated a climax in section 1 as I planned to include large dimensioned and high-level movement to reflect the intention of the high energy gas bubbles forming inside the rock.
Describe how you used two different choreographic devices in your solo to help to communicate your intention (6 marks).
One choreographic device I used during my solo was the repetition and development of a motif. During section 1, this motif is seen at the beginning of the section standing at a high level as I gesture both of my arms to make a circle above my head utilising a vibratory energy quality. I then shifted my shape to have the right arm on top, whilst extending my right leg to rond de jambe behind me. The phrase is then repeated during section 2, in a low-level crouching position as I gesture both of my arms to make a circle above my head, using a free, suspended energy quality. I then shifted my shape to have the right arm on top, whilst my right leg extends on the floor. The phrase is manipulated again at the beginning of section 3 as I gesture my right arm in a curved shape across my head utilising a percussive energy quality before circling back to gesture both of my arms to make a circle above my head. I then shifted my shape to have the right arm on top, before extending my right leg to rond de jambe behind me. The repetition and motif as it develops between the sections helps to communicate the intention of the different stages of the formation of a geode.
One choreographic device I used was embellishment. This is seen during section 3 of the solo at a standing position with my arms by my side as I use a percussive energy quality to flex my right hand before returning it to my side. I then flex both my right and left hands, before letting them come to my side. I flex both hands and bend my elbows to create an angular shape, before bringing my hands back to my side and then repeating this shape whilst also lifting my right knee. By repeatedly adding detail to the movement of flexing my hand, I demonstrated the choreographic device of embellishment and communicated the intention of the crystal formations solidifying.
Outline two ways you documented the realisation of your cohesive composition solo (2 marks).
One example of a way I documented the realisation of my solo was through filming.
One example of a way I documented the realisation of my solo was through mapping out the pathways of my dance in a journal
Discuss two ways you used the choreographic process to help create and/or develop movement vocabulary that facilitates the communication of your intention (4 marks).
One way I used the choreographic process was through improvisation. When creating movement vocabulary, I improvised using specific aspects of my intention as my leading stimulus such as images of geode crystal formations. This helped to create movement vocabulary that clearly reflected my intention of the formation of a geode.
Another way I used the choreographic process was through refinement. When developing my existing movement vocabulary, I refined it by adding extra detail to my shapes to ensure the choreography clearly communicated the intention. For example, during section 3 detail was added to make my shapes more clearly resemble a crystal formation.
Define each element of spatial organisation and discuss how you have manipulated each to communicate the intention of your composition solo (8 marks).
Dimension – How much space a dancer or group of dancers takes up with their movement.
I developed my manipulation of dimension throughout the sections of my solo, for example, during section one of my solo I used large-dimensioned movement to communicate the intention of the growing gas bubbles forming inside the rock.
Direction – Which way the dancer traverses through the space.
I developed my manipulation of direction throughout the sections of my solo, for example, during section two of my solo I move in spiral direction to mimic the intention of the flowing water seeping into the rock.
Level – Movement vocabulary can be executed at a high, medium, or low level. Level refers to how close the dancer is to the ground.
I developed my manipulation of level throughout the sections of my solo, for example, during section one of my solo I use high level movement vocabulary to reflect the intention of the high energy of the gas bubbles forming.
Focus – The orientation of the dancers eye line and body in the space
I developed my manipulation of focus throughout the sections of my solo, for example, during section three of my solo I demonstrated focus on my gestures to communicate the intention of sections of the rock crystallizing.
Evaluate how effectively your solo fits the description of a cohesive composition (6 marks).
My solo followed the overarching form of narrative (ABC) and demonstrated an effective use of cohesive composition through its linked relationship between form, movement vocabulary, and intention. For example, during section 1, I developed movement vocabulary that used a high level, large dimension, and vibratory energy quality into phrases that linked smoothly together to communicate the intention of the gas bubbles forming in the rock. This high levelled, high-energy choreography contrasted section 2, which arranged low level, slow tempo, and movement with a suspended energy quality into phrases to communicate the intention of water seeping into the rock. This energy quality was then contrasted by the movement vocabulary in section 3, which was percussive and strong and used a medium level to communicate the intention of crystallisation occurring inside the rock. Each section communicated the specific aspect of the intention and the structure of the solo allowed for the development of the idea to progress.
Discuss three rehearsal practices you utilised during the realisation process of this solo and how these practices assisted in the communication of your intention (6 marks).
One example of a rehearsal process that I employed during the realisation of my dance work was the repetition of movement vocabulary. By repeating my movement vocabulary, I strengthened my understanding and confidence in the choreography, therefore allowing my use of eye and body projection. This enabled my further development of focus throughout my sections, such as in section 1, as I used a high projected eye focus to communicate the intention of the high energy of gas bubbles forming.
One example of a rehearsal process that I employed during the realisation of my dance work was the use of mirrors. By utilising mirrors, I was able to monitor my execution of shape, which aided my development of shape throughout the sections of my solo, such as my use of angular shape in section 3 which helped to convey the intention of the crystallisation occurring.
One example of a rehearsal process that I employed during the realisation of my dance work was performing my movement vocabulary full out. By rehearsing my movement vocabulary full out, I developed stamina that assisted in my accurate execution of the choreography which was created to reflect my intention, therefore conveying the intention of the formation of a geode throughout my sections
Discuss three practices you used when preparing to perform your cohesive composition solo and how they helped you to perform with artistry. (6 marks)
One example of a pre-performance practice that I undertook was warming up by completing cardio-vascular exercise and dynamic stretching. This enabled me to access my full range of flexibility and mobility when dancing, which helped me perform with technical proficiency, specifically during section 1 of my dance work where there are a lot of technical elevations, therefore establishing artistry.
One example of a pre-performance practice that I undertook was orientating myself in the performance space. This increased my confidence and understanding of my spatial pathways when performing, specifically large and complex pathways such as the spiral I complete in section 2, therefore allowing me to perform with accurate execution of the movement vocabulary and pathways, establishing artistry.
One example of a pre-performance practice that I undertook was marking through the difficult phrases of the movement vocabulary. This increased my confidence when dancing, enabling me to perform with my eye and body focus projected outwards, specifically during section 2 when high and projected eye focus was used to develop my intention, therefore establishing artistry.
Discuss three performance practices you used when performing your solo. Include discussion on how they helped you to perform with artistry (6 marks).
One example of a performance practice I employed during my solo was the varied use of eye/body focus, specifically during section 2 when high and projected eye focus was used to develop my intention. When performing, I manipulated eye and body focus to communicate my intention, therefore establishing artistry.
One example of a performance practice that I employed during my solo was accurate execution of movement vocabulary. I employed this throughout the sections of my solo and by doing so I accurately demonstrated my choreography that reflected my intention, therefore making the audience more susceptible to the communication of the intention, establishing artistry.
One example of a performance practice that I employed during my solo was adhering to accents. When performing, I followed the timing and accents of the piece, highlighting the dynamic contrasts in the music and movements, specifically in section 3 which contained movement vocabulary with a strong, percussive energy quality. This created a more engaging performance for the audience and helped communicate my intention, establishing artistry.
Explain how you developed the phrases and sections within your solo (4 marks).
I selected movement vocabulary from improvisation, choosing movements that fit the stimulus of specific aspects of my intention. I then arranged this movement vocabulary into phrases that aligned with the intention of each individual section and ordered these sections in the logical chronological order to communicate the formation of a geode.
