Kristy Nilsson
Dancer / Teacher / Choreographer
Teaching Aids:
Concepts to Apply in Choreography
Syllabus from Kristy Nilsson available at 2Nilssons.com
| 1. Contour | The shape a dancer or group of dancers creates with the body |
| Symmetrical | Both sides are identical, as in first and second position |
| Asymmetrical | Both sides are not identical, as in arabesque or tendu |
| Negative Space | The space NOT occupied by a dancer |
| Example: | Arms en haute create a circular negative space above the dancer's head |
| 2. Levels of Space | |
| Low | Lying, crouching, sitting |
| Middle | Bending, lunging |
High | Standing, jumping |
3. Groupings, Positions and Traveling Floor Patterns |
| Dancers may work in solos, duets, trios, etc. |
| They may perform unison movement or non-unison |
| (all perform same step at once, or not) |
| Additionally, dancers may work together for partnering work |
| Dancers may be arranged in any of the following formations |
| These shapes also serve as floor patterns for traveling combinations |
Horizontal Line
Vertical Line
Diagonal Lines
Pyramid
Open or Closed "V"”
Staggered/Serpentine
Circle
Scattered Randomly
| 4. Movement Quality & Dynamics |
| Variations in Movement Quality & Dynamics help create mood & style, |
and will prevent your work from seeming too repetitive or monotonous. |
Doris Humphrey’s Movement Qualities & Dynamics
| Percussive | Strong, sudden movements: stomp, clap, jump, jerk |
| Sustained Adagio | Long, smooth, extended movement |
| Swinging | The U-shaped suspension, drop & suspension of a pendulum |
| Vibratory | Vibrating any body part |
| Suspended | A floating breath or lift at the top of a movement or balance |
| Collapsed | Sudden falling/dropping movement of entire body or one body part (often preceded by a Suspension) |
Charles Weidman’s Movement Qualities & Dynamics
Press | Direct | Strong | Sustained |
Wring | Indirect | Strong | Sustained |
Glide | Direct | Light | Sustained |
Float | Indirect | Light | Sustained |
Thrust | Direct | Strong | Sudden |
Slash | Indirect | Strong | Sudden |
Tap | Direct | Light | Sudden |
Flick | Indirect | Light | Sudden |
| 5. Musicality |
| Remember, sound is created by objects moving: clapping hands, ringing bells, strumming guitar strings… |
| This means that when we move, our bodies “imply” sound, even if we are silent: swishing arms, booming kicks, rolling turns… |
The best musicality comes when the music
seems to be created by the dancers and their movements,
not the other way around.
~ Kristy Nilsson
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Helpful Hints to You as a Choreographer
by Mary Martha Lappe
founder, Houston School for the Performing and Visual Arts
| 1. Choreography is a creative art: your dance should reflect your personal creativity and originality; it should not be just a regurgitation of choreography of another choreographer or teacher. |
| 2. Unison movement is best used when a section of the piece needs more emphasis or power; too much unison movement can become predictable and boring. |
| 3. Contrast, Contrast, Contrast: the more contrast in levels, movement quality and dynamics, the more interesting your piece will be. |
| 4. Avoid complex, lofty and involved subject matter; you will communicate your main concept more easily if you keep it simple. |
| 5. Stick to one subject. If you add more and more themes, your dance will become confusing. |
| 6. Repetition of movement is useful if you trying to add more emphasis to a particular phrase; however, using the same movements over and over just to fill up time will become boring and tedious. |
| 7. Don’t stress out: this is just for practice and fun. Enjoy your own creativity as well as the work of others. |
Movement becomes dance
when the emotions created by performing the movement
are the reason for moving.
~ Kristy Nilsson
Syllabus from Kristy Nilsson available at 2Nilssons.com