Task 1: Create a motif

• A motif in dance is a movement, or phrase of movement that directly reflects/communicates your intention. You can think of it like the "title" of your work. It "says" what your piece is about

• You may have more than one motif
  
  

How to create a motif:
Once you have a clear understanding of what your intention is, then you can begin creating your motif:
1)  Reflect on your intention and key words/ideas from your brainstorm. How might these translate in to a move/phrase?
2) Create your motif. Ensure it is a clear, original movement of gesture that is symbolic of your intention.

Example:
The stimuli of 'toxic relationships' made me consider how people must feel when they are stuck in such a situation and do not know how to get out. My choreographic intention is to convey the image of being bound by imaginary force, restricted in the ability to break free.

My MOTIF is the following movement:
using heavy weight and bound flow, the dancers start in parallel. With abrupt accent on beat, their hands shoot up to their face, one covers the eyes, the other covers the mouth. They begin swaying gently side to side as the hands slide down to cross over the belly in a X shape, the slide has a heavy weight to it even though it is a smooth quality. They then pull sharply outward with the elbows and sternum lift to the sky, like they are crying to break free against invisible restraints, before their arms cut back in around their torso.

You must repeat your motif over and over again in your work. Each repetition should be a new 'variation' of it. 

Task 2: Create key phrases

• Now you have your motif it is time to create some key phrases. 

• A phrase is a series of movements that can be performed in one breath.

• They should absolutely be reflective of your intention, however they may not be as clearly symbolic of it as your motif

• You should have more than one phrase.
  
  
  

Example:

Task 3: Create variations

• Variation is when movement in your dance is used again in a different way.

• The use of variation helps to shape your dance and provides ways of reinforcing your idea so the audience can see it in different ways. 

• Using variations, rather than new movement can help give your dance a sense of unity. 

• You can create variations by manipulating the elements of dance

• You can also create variations by manipulating the devices of dance
  
  
  

Task: Create variations!

1. Create some variations of your motif and phrases. 

2. Plan how you will structure these throughout your work in a way that will build climatic tension.

3. Consider using some structures in your dance to help effectively present the variations.
   
   

4. Below are some extra resources to help you develop your dance ideas!

Choreography tasks

• These are choreography tasks to create movement;

• You might use these by yourself, or with your group;

• Ensure you record use of these in your rehearsal journal.

• You can create many different 'levels' to each task by using the elements as additional steps.
  
  
  

Choreography tasks:

1. Respond to a stimulus. Asking dancers to improvise, create counts, create still shape alone or with others etc. in response to:
   -key words (key words, verbs, adjectives, feelings, names, places etc.)
   -your intention
   -your quote
   -lyrics
   -poetry
   -music
   -sound/soundscape
   -recordings
   -book/verse
   -images
   -videos
   -artwork
   -a discussion
   -shapes 

2. Solo and contact improvisation tasks:
   -use a body part, level, energy dynamics etc. as the instructions;
   -find a balance, counter balance, moment of stillness, way to travel, way to stand, way to sit...
   -give a direction or restriction using the elements;
   -prompts like we used in duet such as chase, avoid, shadow, meet, part...
   -research online and on youtube different solo and contact improvisation tasks.

3. Group discussion to generate ideas;

4. Gather out of class ideas from other people:
   -discuss with your friends and family;
   -interview someone who has a perspective/experience related to your intention;
   -research real life stories and places relevant to your quote of intention. 

5. Share key ideas and improvise their expression of it;

6. Give them the same stimuli and ask them to interpret it using a specific or unspecific instruction;

7. Teaching a key phrase then give element prompts to make or change these;

8. Instructions to build a solo or combined still shape; can build on this by finding interesting ways to transition in between;

9. Give a phrase and ask to finish it naturally, in their own way.

10. Examples of specific instructions to manipulate existing movement:

-Make a phrase that explores the high, mid, and low levels, with unexpected transitions between each;

-Play with wildly different tempos – from glacially slow to lightning quick – with moments of stillness interspersed;

-Draw a shape reflective of the intention. Use this as a pathway for your spatial pathway in a specific phrase;

-Make movement for one body part, then transpose it onto another. Alternate between these two movement phrases as you create your movement;

-Make a phrase that uses a clear gesture. Perform the gesture with your back turned to the viewer. How does the meaning change when you face away from the audience?

-Create movement using the natural rhythm of your breathing. Perform that same movement in different rhythms, such as 3/4, a swinging rhythm, or 2/4 using syncopation. Put your favourite moments from each version into the dance;

-Make a movement on the low level, then take those same movement ideas and perform them on the high level. Create your phrase by performing both versions back to back or alternating between the two;

-Create a simple movement phrase, then “rewind” it by retrograding the movement. (Retrograding is performing both the entire movement phrase and the individual movements in reverse.);

-Choose 8 different movement qualities, such as percussive, smooth, heavy, light, bound, or flowing. Perform a phrase each of these 8 different ways;

-Using an existing 8 count sequences, add in a moment of stillness, and a moment of directed focus. What does this communicate to the audience? Does it change the meaning communicated in anyway? 

Choreography inspiration

Below are some links to videos of different choreographies. 

• You may watch these for inspiration;

• Take time to read the notes for each video. These are what you should look out for when watching;

• For example, if you are struggling to develop your motif, then I suggest finding a video that has a note about a clear motif in it.

• Take notes to observe the following things:
  -repetition of key moves and key phrases;
  -how these key moves and key phrases are structured;
  -changes in focus, and how focus is created;
  -effective use of dance elements;
  -effective use of choreographic devices;
  -formations and groupings;
  -how the stage is used including entrances and exits;
  -effective application of sound, music, lighting, costume, set, props and venue.
  
  
  

Extra links to examples:
LINK TO PREVIOUS PAGE scroll to the bottom of the main Choreography page to see some other examples!
Dear Pina full length work by Hannah Dennison
Elegy  by Douglas Wright (NZ pioneer! RIP)
Beautiful Prison by Lyne Pringle and Footnote Dance (use of variation)  
Dark Meadow Suite by Martha Graham Company
Vicious Circle by Simon Kuban
Rescue by by Emry Wride and co.  
Take me with you by Robert Bondara

 Any questions or concerns? Please contact your teacher:
Miss Samuel: jsamuel@ormiston.school.nz