Choreographic device: a specific way of manipulating movement to develop dance choreography (for example, repetition, inversion, accumulation). Throughout your choreography each device should be used AT LEAST twice and help you convey the meanings or intentions of your choreography.
(you may also use any higher device)
A choreographic device where new movements are added to existing movements in a successive manner. It generally begins with move 1, then 1 + 2, then 1 + 2 + 3. The word was used by Trisha Brown in 1971 to name a solo dance work based on adding one movement gesture to another, one at a time, and repeating the growing phrase with each new movement. As Trisha Brown’s works are so widely known, this word has spread among the dance community and it is used nowadays to talk about a way of creating choreography as a compositional method.
A choreographic device where dance elements are altered to create oppositions, thus making contrasts such as high/low, big/little.
A choreographic device where detail is added to the original movement sequence.
Two or more people performing the same movement at the same time.
A choreographic device that reflects the musical form of the same name in which individuals and groups perform the same movement phrase beginning at different times.
A choreographic device whereby a movement or motif are repeated exactly for emphasis or to gain interest.
A choreographic device where one dancer performs and the other performs the exact same voments as a mirror image
Involves the exploration of one's body in relationship to others by using the fundamentals of sharing weight, touch, and movement awareness.
For higher you must develop the knowledge you have learnt at National 5 and develop your use of COMPLEX principles and devices in a dance for 3 people (you may use more but please see me if you wish to do this.)
The original motif is developed into a fully unique dance or section of a dance.
Perform the motif or phrase backwards.
Upside down (for example an arm movement that curves up and over will be inverted to down and under).
Perform the movement with a different body part. For example, movement led by arm changes to leading with leg or elbow to knee.
Vary how the movement is performed — for example perform the same movement with soft, fluid quality or sharp, erratic tension.
Vary the amount of force used when performing the movement. Do it with a great deal of strength, from beginning to end.
Adding extra flare and detail to movements or motif(s).
Only use part of the movement phrase, that is the beginning or end only.
Each dancer performs the entire movement phrase from beginning to end but are separated by a number of counts. This can be overlapping or non-overlapping.
This involves dancers doing the same motif at the same time but starting at different points in the phrase. This creates an interesting look.
Each dancer joins in with the lead dancer at various stages during the phrase and all finish at the same time.
This can be described as conversational: one person moves and the other person’s movement responds to (answers) the movement of the initial mover.
This is a choreographic device that can be described by the following model: (1), (1, 2), (1, 2, 3), (1, 2, 3, 4), (1, 2, 3, 4, 5), if each number represents a distinct movement or dance phrase.
Two things being seen or placed close together with contrasting effect, for example dancers performing in contrasting levels.
Movements are made larger through space and time.