Communicating ideas through dance

When you decide to take part in these activities you agree to the following:

1. You have been given approval from your parent/caregiver prior

2. You will clear a spot big enough to give you space to move around. Be sure there are no coffee tables, plants or chairs in the way.

3. Be aware of any pets or small humans that may sneak into your dance space.

4. Check the height of ceiling fans and light fittings so the area is clear as you reach above your head.

5. You will wear comfortable clothing that allows a full range of movement.

6. This will include appropriate footwear:

• Sneakers, socks, ballet slippers, jazz shoes or bare feet.

• You may have to adjust based on the flooring you are dancing on.

• Bare feet may be better than ballet slippers on a slippery floor. Socks may be better on carpet.

7. Be careful if you are on a rug on a slippery floor.

If you have an injury or a medical condition please follow the advice of your health professional. It is suggested you view the exercises beforehand and adjust according to your limitations. Ask your parent/caregiver if you are unsure.

Please stay safe, listen carefully to all the instructions.

If you study dance please think about your knowledge of safe dance practice as you execute the instructions.

The concept of my Core Composition is a froglet’s first movements on land where it evolves and learns how to survive. My intent is to show the curious amphibians’ behaviour when adapting to a new way to live and survive on land.

The form of my work is Binary AB. Part A is based around the webbed feet of a froglet moving on land for the first time. The froglet begins with learning how to connect pressure and come in contact with the ground from the multiple suction cups on the bottom of their feet. The froglets movement displayed shows how powerful the grip and suction cups on their feet are to survive.

The motif for section A is the simple movement of applying pressure to each fingertip individually on the ground, representing the suction cups on the bottom of a frog’s feet helping them grip onto difficult surfaces and sustain their balance. Through manipulations of this motif I create phrases that reinforce my intent by using tempo, fragmentation and size. The level is low to the ground as the froglet is young and has a lack of experience therefore having to spend more time focusing on its grounding and placement of their webbed feet.

The transition from Part A to Part B is a slow rise standing up for the first time in the dance. This is representing the froglet being fully evolved into a frog.

Section B is focusing on the frog’s sticky tongue and ability to catch prey. To show the action of the tongue as a motif, I have used my arm in a powerful shooting in and out action representing the initial catch of prey. The tongue then scoops back in with its meal and envelopes into the mouth. To display this action, I create a ripple/wave with the arm to end the motif. Through manipulations of this motif I create phrases that reinforce my intent by using inversion, instrumentation and levels.

The dance finishes in this section with the ending of one final attempt for the frog to catch prey which it succeeds in. The frog then envelopes in on itself and eats its prey in quiet.