CURSO DE COREOGRAFIA. ESTRUCTURA Y METODOS DE CREACION

El curso está definido para dar las bases de la estructura coreográfica desde el tema o motif, las opciones para su desarrollo, los métodos de representación, la estructura espacial y rítmica, y el equilibrio de la obra. Te dará herramientas para construir una pieza de danza partiendo de tu propia creación, ya sea un solo, dueto, trío o core...ografía de grupo. 

No hace falta experiencia previa, aunque sí mucha imaginación y ganas! Destinado a bailarines que quieran trabajar esta asignatura, también aficionados, actores, animadores, artistas, etc. 

10 horas distribuídas en 4 días: Lunes a Jueves (9-12 Enero 2012) 17:30-20:00 horas en el Raval, Barcelona.

Profesora: Andrea De la Dehesa, licenciada en Coreografía y Danza por la Universidad de Middlesex, Londres, Reino Unido y bailarina profesional desde el 2000 en España y Reino Unido. 

Oferta: 135€ si te inscribes antes del 28 de Diciembre 2011, después de esta fecha, 150€. 

Interesad@s enviad un mensaje privado con asunto "Curso Coreografía".

Egyptian Belly dance class

Egyptian dance

This dance, commonly called belly dancing, traces its origins in Egypt. It trains for a perfect spinal alignment and a strong centre. It works on circular movements looking for softness and fluidity within rhythmical patterns using isolation of body parts and coordination with strong leg & footwork. It has a nature of free improvisation together with the rich Egyptian music, and uses a whole body language that expresses emotion in an abstract way. It uses natural and feminine movements with isolation of body parts developing sensuality and grace.

Mondays 8:30pm-9:30pm 

Next class 18th January 2010.

For booking a place:  shasekh@gmail.com

Fees:

£20_4 classes (valid for 6 weeks)

£8_Drop-in 

Chestnuts Arts Community Centre 
280 St. Ann's Rd,
N15 5BN, London

Directions:

10 min walk by tube either from Manor House (Piccadilly line)

or Seven Sisters (Victoria Line) station

Buses 67 and 341 stop in St. Ann's Road by the Chestnuts Park

Buses 141 and 29 stop in Green Lanes, and is a 5 min walk to the park

Buses stopping at Seven Sisters Road/St. Ann's Road are reasonably close too, like 259, 279....

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 Follow updates and changes in this Facebook group. Also there are disscussion topics and links with worth to read information about these subjects.

Andrea Shasekh has learnt with Egyptians Fathy Andrawis, Boosy and Shokry, and holds a BA Dance Studies from Middlesex University.

ELEMENTS of CONSTRUCTION

1. MOTIF or Foundation of Construction

• Without repetition motifs could be forgotten.
• Without variation and contrast repetition of motifs would be dull.
• Lacking of climax or highlights motifs would lack content
• Without proportion and balance of the whole work each of the motifs could become almost eliminated or too dominant.
• Without transitions, motifs would be isolated movement statements. Transitions within the motif and between motifs are important in defining the phrase and section shaping of the dance.
• Without logical development from motif to motif, the them of the dance would be blurred

2. REPETITION

It must be recognise as a main device of the dance composition, and it should be clear in the form of development and variation. See repetition notes.

3. VARIATION & CONTRAST

Variation is to use the same content in different ways.
Contrast is to add new material within motif on repetition or variation. Sometimes this provides the climax or highlight in a dance

4. PROPORTION & BALANCE

They are complementary elements of construction.
Proportion is the size and magnitude of each part in relation to the whole.
Balance is the equilibrium of content within each of these proportionate parts of the whole.
Equal proportions may become :boring:

5. TRANSITION and Organic Form

Is a link between phrases, sections or motifs. If the transition is too long or becomes too important, it transforms on a phrase, not being a transition any more.
Logical, clear, easily performed could give a flavour of what is next as an introduction. Hesitation between phrases or an anticipation of movement to follow.
Organic means something that evolves naturally to another.

6. LOGICAL DEVELOPMENT

Is the natural growth from beginning to end of a dance piece. Beginning is a movement interpretation of the motivation or idea behind the dance. This movement is the identity to develop by actions, space, relationships and qualities with variation, repetition and contrasts. By giving identity, all movement appear relevant to the piece ensuring unification.

7. UNITY

If one part is missing meaning or doesn't fit, then the whole never becomes a whole, loosing sense and interest.

DANCE ACTIONS

1. TRAVELLING::: Locomotion, is about how we move through space and Where. HOW (walking, running, sliding, skipping, crawling...) WHERE is the path we choose to take action within the space... Geometric configuration (circles, spirals, straight lines, angles, corners...)
   
2. ELEVATION::: Rising OFF the floor// I. HOP (from 1foot to same foot) II. LEAP (from 1 foot to the other foot) III. JUMP (from 2 feet to 2 feet) IV. SISSONE (from 2 feet to 1 foot) V. ASSEMBLE (from 1 foot to 2 feet) VI. EN POINTE (rising, relevé)
   
3. TURNING::: Changing directions, used for aesthetic purposes. I.e. Hypnotic dervishes. Could be fun, frightening, magical, mystical. Laban considers 3 planes: I. VERTICAL (around a sagittal axis i.e. cartwheel) II. HORIZONTAL (around a vertical axis i.e. piruettes, spins, rolls) III. SAGITTAL (around a horizontal axis i.e. somersaults - the water goes inwards)
   
4. FALLING::: It can represent loss, madness, recover found strength... There are 2 types: I. OFF BALANCE (centre of gravity shifts Off centre) II. COLLAPSE (falling to the floor with no rebound, loosing totally the centre of gravity)
   
5. STILLNESS::: It's an action because it's an active choice that contrasts the movement action. It can represent hesitation, a caught of breath or a moment arrived at. Like quiet before the storm, relief, suspense, or even can have a comic effect...
6. GESTURE::: Used for communicate with others a non-verbal idea. Isolation... it's NOT MANEURISM (unaware gestures not used for communicate to others). I.E. facial expressions, hand gestures, etc..
   

MOTIF and Development

A Motif is one single, simple, short movement or chain of movements that are smaller than a phrase.

Ways to develop the Motif:

1. Repetition
2. Retrogade (I.E. Backwards)
3. Embellishment/Ornamentation
4. Inversion (I.E. upside down or lateral)
5. Size (I.E. condense/expand)
6. Tempo (fast/slow/stop with the movement in its original size)
7. Rhythm (beats altered, not the speed)
8. Quality/Dynamics
9. Instrumentation (perform movement with several body parts)
10. Force (strength/weakness)
11. Background (let the rest of the body do something else)
12. Staging (different place/facing...)
13. Levels + Planes (horizontal, vertical, floor, knees...)
14. Additive/Incorporative (simultaneously execute jump, turn, run, slide...)
15. Fragmentation (execute one part of the motif, or change the order...)
16. Combination (any of the above)