We warm up by dancing by ourselves, usually starting on the floor and coming to standing over time with the option to go back to the floor. How do they support the communication in relation to our dancing? Gérard Genette, referring to Goodman notes that the categorisation of a work as autographic or allographic is affected by both how it is produced and whether it can be reproduced: In certain arts, [autographic] the notion of authenticity is meaningful, and is defined by a work’s history of production, while it is meaningless in others, [allographic] in which all correct copies of a work constitute so many valid instances of it (1997, p. 16). In the classroom we have experimented with adapting improvisation games from theater and dance … My exploration of Nelson Goodman’s work led me to explore the use of the term ‘score’, asking if it is is appropriate in improvisation. A score is a preparation. The aim is to share meditation and movement across the gap of social distancing. In Holmes’ workshop, I was first introduced to Steve Paxton’s small dance (c 1972). Some techniques are meant to cultivate a group connection or build compositional ideas. Authentic Movement teaches one how to tolerate not knowing, to trust and to remain present in the potential chaos of the creative process and not prematurely impose resolution before the excavation of ideas and imagery find their own completion. 3, 4, and 5: To the left going downwards, maintaining the level or going upwards (some call it low level, middle level and high level). I do, however, use my emerging understanding of how verbal scores might work for others in various practices to ask again and again what scores are in my practicing. Sometimes they are used by all of us very closely for the whole session. It is this existence of a structure or score which allows Tompkins to dance in the way he does. I do not explicitly discuss with them what they should do with our scores in terms of movement or movement quality. There are many ways in which the role of the ‘mover’ in AM practice supports and even mirrors the work of the performer/creator. Other improvisational scores ask dancers to make choices If I am pre-planning or anticipating or searching for the next movement, the possibilities of what, where, how are circumscribed. For example, you might be asked to improvise for a certain number of counts during the combination at the end of class, with the guidelines that you travel low to the floor or move in a circular path. The original form has three participants. Other ideas including Claire Bishop’s participatory art and Tim Ingold’s discussion of ‘drawing together’ are explored to define participating in dancing in a studio practice, and to articulate what is happening and how that participation can be observed. A painting is often described as representing its subject, regardless of how much it actually resembles it. Through my own dancing, I came to understand that the relationship between the scores and my own dancing was not causal. The more we practised the clearer it became to me that not only were the scores not directly shaping the dancing, but that I did not want them to do so. As you can imagine there are as many ways of using scores as there are choreographic processes. Crisp is an Australian who is based in Europe for part of the year and divides her time between performing, developing new work and teaching. You might jostle a piece of furniture. Anna Halprin felt liberated by working out that she could vary her work in terms of how ‘open’ or ‘closed’ she made the scores she worked with. There is a third division of the stage empty of objects labeled “nothing.” Each of the objects is “something.” One performer combines and activates the objects as follows for any desired duration of time: 1. something with everything2. 9, 10, and 11: Backward going downwards, maintaining the level or going upwards. Recent performance work includes dance generated in and for particular sites with About Now (Peter Fraser and Shaun McLeod). P- Performance: The way the dancer presents the scores and the style of the improvisation. For example, One day we had a set of ‘action’ words and a set of ‘framing’ words. There may be a group of dancers who have worked/performed/improvised together many times and so they deliberately leave the work open to let their familiarity with each other be the score. Dance pairs can begin this form by playing the Back Game: improvisation while remaining back-to-back. We are able to see the ‘working-through’ of a performance problem in real time even though we don’t know what that problem is. Perhaps in improvising dance, choosing what aspect of an idea or a score to exemplify is not as clear as thinking and deciding and then acting. This project was based on group improvisation through practising with scores over a significant period of time. They often come from what I have encountered during the week, particularly in dancing. Falling could be discovered to ‘mean’ the whole body falling; the dropping of one body part; standing still and feeling the affect of gravity while using the structure of the body to resist it; the momentum sent somewhere else in the body after an initial fall. Or perhaps they have had no experience with each other but are interested to see what would happen if they leave the possibilities very open. In improvising, parts of that history will arise whether it is searched for or hoped for, whether they are noticed when they arise. Noticing the Small Dance gives the mind a way to tune to the speed of reflex’ (in Curtis 1994, p. 68). This article discusses participation in a group dance improvisation practice over time. Representation could be described as something which stands for something else. MIND THE DANCE is a collection of essays, manuals, scores, exercises, and maps framing the politics around our practices, giving voice to a multitude of stances, ideas, and applications. Yvonne Meier’s suggestion of letting the score work the dance describes the constant possibility for the score to be part of our dancing without the obligation for it to inform it, or for the dancing to represent it. • Be aware.• Be available.• Be responsive.• Be clear. Barbara Dilley developed a shared dance/meditation practice called Contemplative Dance Practice – CDP, a "dancer's meditation hall". In performing improvised dance, there is a difference between, on the one hand, not knowing while dancing, (not knowing what movement or impulse or relationship will come next), and on the other hand, searching for that movement. The choice may be blurred, not consciously decided, or may be a bodily response to the perceived meaning of a score. Founded in 1968, her seven-member New York–based troupe, the Laura Pawel Dance Company, performs to commissioned scores played live by … My use of the word ‘score’, though, is not a term that I decided upon; rather it is a ‘traditional’ word which I have learnt to use from working in practical dance situations, particularly in dance improvisation. The idea of the small dance resonated with me. The system outlined in The Viewpoint Book is great - but you can use them in multiple ways to bring focus to a specific element. A score could be almost anything. Body Shift: Summer Dance Jam. Goodman describes exemplification as being ‘possession plus reference‘ (1976, p. 52). These principles arose from dancing and were used both to describe what might have been taking place while dancing, and to suggest possibilities relating to how one might be attentive while dancing. Framing words: sustain, interrupt, appear, reduce, contradict, compose, wander, drive, erase, rebound, undermine, crystallise, open, antagonise, List A: What? The question that I asked in conducting my research was: What is the work the ‘score’ in the creation of an improvised group dance? The witness can join the performer at any point they choose, and the performer can leave the space at any point they choose. The table with paper and pen creates  an island inside the open space where people are free to write/draw/read/sculpt. In order to discuss how the dancers with whom I have been dancing and I are using scores, I will first describe how we conduct our practice sessions. I share the scores with the group at the beginning of a session, before our solo warm-up. 2: Upward. The leisurely pace allows for the exploration of a myriad of levels and shapes. Improvisation is not limited to dance but is also part of other performance arts, such as music or drama. In 2012, I completed a three-year research project, as part of a PhD programme at Deakin University. After the solo warm-up, we have a discussion about what happened for us as individuals, particularly in relation to the scores. Solo improviser Suzanne Cotto describes starting from ‘zero’ where she has no plan; she has not prepared anything. We practise in a similar way each week although at the start of each session, I introduce a new set of scores. The same goes for couch, table and overstuffed pieces of furniture. Of course then you’re using the score, the score enters your body, so you have the score work your dance, make your dance (Satin 2009, p. 43). Second Round 10 minutes- vary the speed of 3 spots within the dance Third Round 10 minutes- add repetition to 2 spots within the dance (they can repeat as much or little as the choreographer chooses.) “The notion of score came from Simone Forti. Freeze-dance is an improvisational score that combines freestyle dancing with stillness. Scores have many definitions, as in Olivia Millard’s piece it states that ‘each user of scores in the dance improvisation finds her own use and meaning for them’. Satin, Leslie 2009, 'Focus on the Work: Yvonne Meier'. The pair were more beguiling in “Sidewinder Scores,” a sprawling improvisation both entertaining and long-winded, and also featuring Ms. Monson, Ray … Our solo warm-up lasts for a pre-determined period of time. This kind of work of art can always be attributed to an originating artist. The use of a score to support the possibility of not knowing seems to be shared by other dance improvisers. Danielle Goldman, claims that ‘systems of notation can never adequately capture the complexity of an improvised performance‘ (2010, p. 10). Dances are designed by applying one or both of these fundamental choreographic methods: Improvisation, in which a choreographer provides dancers with a score (i.e., generalized directives) that serves as guidelines for improvised movement and form. The scores are not causal, nor does our dancing represent the scores. I would also suggest that even within my own practice, I can only be an authority of my own experience of scores. Warby, R 2000, 'Creative Development', Dance Works, Melbourne. A: Writing exercise, complete the following sentences: Collective reading on the writing exercise and combining a selection of sentences from different individuals. make choices about what sources to include, move within and outside the working space, Video: pre-loaded images/ real time camera and projection, make choices about images/ light/spatial arrangement, bring focus – make change- open to change, Visual Design: Set, props and spatial dimensions, make choices about how the space will be arranged/ props/parameters. Improvisation in dance is the art of executing movements without any prior preparation. Goodman also suggests that score might also have a more ‘exciting’ function such as aiding composition but he argues that its primary role is to identify a work (1976, p. 127). As the session progresses, we use the score to discuss our dancing experiences. In these projects, a group of dancers participate in an intensive workshop in which they learn a solo, created by Hay. Throughout my research, I have been interested in how scores work within the way we practice as a group. Symbols from other systems: gestural, sound, pictorial, diagrammatic and movement, may all be exemplified. In freestyle dance improvisation, the main score is the dancer’s physical capabilities—what their bodies can do. The audience person moves into the witness chair, when the witness enters the performance space and the event unravels in this manner; as each participant moves through the various roles/time frames of performer, witness and audience. My introduction to the use of scores in dance improvisation was in the studio, in the workshops and the choreographic processes of improvisation practitioners. Following are examples of sets of scores from two separate sessions. This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. what is their biggest fear? I will be discussing the correlation between set choreography and improvisation in dance. B: Group conversation about the experiences. Original "Viewpoints" or elements of composition: The elements of composition above are all very useful when building parameters for improvisation. Each participant is making choices based on what the space needs- while keeping an awareness of the outside picture. ), the noticing, List B: How or Where? everything with nothing6. what is the loneliest they have ever been? Kent de Spain has observed that ‘if you want to understand how something as subjective as improvisation really works, you need to ask improvisers; they are the ‘authorities’ in the field‘ (Cooper Albright 2003). Where the cadences of time improvise themselves within various art practices simultaneously. The moment of negotiating the impossibility of the task is witnessed by the audience. Although I write a series of words that (I perceive) belong together in some way, I do not really imagine dancing as I write. where scores are verbal propositions, usually relating to physical, bodily or movement notions, rather than being narrative or psychological, such as tangling and untangling or the noticing of being subject to gravity. These are very physical situations, I can see them and I can touch them (Benoit 117). There is always the option to not use a score or set of scores. You’re only busy with that score. A solo improvisation a work could be considered to be autographic in that the score and the work would be devised and created by one person. There is no obligation to speak. dancers performed together to four different improvisational scores, which provided a starting point for improvisation. Choices: Go with the simple/ not always first idea/ when out of an idea- leave. Text © Olivia Millard. nothing with nothing, 6 consecutive solo improvisations:a) Focus inward – dancing for youb) Focus inward – dancing for the audiencec) Focus outward - dancing for youd) Focus outward – dancing for the audiencee) Alternating focus - dancing for youf) Alternating focus – dancing for the audience, Find a location high up where you can look out over the city, From here find a person somewhere in the distance they should be far enough away that you cannot read the expressions on their face only the movements in their body, Try to measure the distance between you and them, Try to imagine how long it would take you to cross that distance: 1) if you were walking 2) if you were running 3) if you were a bullet fired from a sniper’s rifle. Techniques. In a transcription of the verbal sharing of information in a series of classes taught by Paxton in 1977, he describes the small dance, also named the stand, as ‘continuing to perceive mass and gravity as you move‘ (Paxton 1986, p. 66). Not only are we not aiming to convey the scores, we are not aiming to convey anything specific that could be made into a verbal statement. Its openness allows it to be a tool which can continually be re-visited by a dancing body that is becoming in its present. Olivia taught at WAAPA, Perth from 1999-2006 and has taught at Deakin University since 2007. In other words, a score that is devised by the author stands for a work and allows that work to be repeatable. Improvisation scores are generally meant to be interpreted by the dancer, which can result in vastly different performances across dancers. By practising with a particular thought or intention even if that intention is just to dance, the body is becoming tuned with that intention. [from Rob Kitsos; see Joao Fiadeiro as another approach]. It is also useful to include a finite amount of time. One of the purposes that served was to let the dancers know what to expect. When we discover a true sense of being non-selective, of having no agenda, in terms of what arises, more is allowed and available and the range and palette of expressive possibilities are expanded. Over my years of my practising dance improvisation in this way, I have not questioned whether to use ‘scores’. By both having properties of those actions and referring to them, and exploring the physical implications of those actions in different movements and body parts, the dance may be exemplifying them. You can walk, in any direction, or you can stand. SOUND: Although the score, like much postmodern dance, doesn’t require any musical accompaniment, you can respond to noises in your environment. June 24/25 Solstice Underscore. I have borrowed the term, solo warm-up from improvisation practitioner David Beadle, whose workshop I attended in 2003. Through practising, a group of choreographic principles were developed by Crisp, which guide the way an improvising dancer generates movement. One day I was stumbling in my body in many different ways without pause even after I thought I had stumbled enough. At times the hold is so loose that there is probably a perception that there is little or no relationship between the score and the dancing. As we practice witnessing another, we again confront what gets in the way of truly seeing. Divide a variety of objects into two groups. Finding a felt sense of the moment, an uninterrupted connection of impulse into action, learning to self-witness, to stay aware of what is happening without prematurely shaping it, are all essential understandings for an artist. 2 Open improvisation operates without the use of scores, leaving all decisions regarding space, timing, movement quality, relationships, and so on to be made during the unfolding of the performance. Maxfield has invited a number of consummate improvisers to participate in the investigation, and visitors to the museum are invited to … By comparison, a piece of music is not autographic, however. For this exercise I choose a starting point and give the dancers a period of time (sometimes half an hour or more) to traverse the perimeter of the room. A score, according to Goodman, is the means by which a work can be authoritatively identified from one performance of it to the next. Yvonne Meier describes the use of scores in her work in this way. They are a prop, a ruse, a pretense which, while giving me the illusion of ‘knowing’ in my dancing, allow me to not know. Crisp avoided labelling these verbal tools as ‘scores’ as she also avoids naming the dances that she makes as ‘improvisation’ even though the ‘choreography’ is taking place in the present during performance. 2—3). Other approaches offer structures for performing improvisation. As Warby explains: Deborah’s choreography is articulated by a series of instructions and spatial pathways. Often these instructions are nonsensical and apparently impossible to execute, such as ‘take six steps into the light without taking a step’ (in Dempster 2007/08, p. 77). For the last few years there has been an annual simultaneous practice of Nancy Stark Smith's Underscore (a framework score for CI and improvisational dance practice) in locations around the globe including Europe, Australia, and the USA. By labelling them as scores, I aim to have a consistency in the way that I perceive what they might be and in doing so begin to understand how they might be significant to the way we practise. Adults (age 18 and up) of all abilities are encouraged to attend. ‘But to take notation as nothing, therefore but a practical aid to production is to miss its fundamental and theoretical role’ of the score that has the ‘logically prior office of identifying a work‘ (127). In performance, even if there is no planned score, such as in Cotto’s ‘zero’, the score is that there is no score, and the dancing from practising, even if that too comes from the score no score, will be the dancing which is performed. Yet as soon as she begins to perform, in fact even before she begins, memory and impressions arise for her and these influence her performance. A performance, according to Goodman, must be compliant with its score in order for it to be a true instance of that work, and a score must unambiguously stand for the work. 6, 7, and 8: To the right going downwards, maintaining the level or going upwards. Here it is useful to work with Nelson Goodman’s ideas about autographic and allographic art and the ‘scores’ that these different types of art use and produce. The small dance is a way of perceiving and being attentive to the body: ‘feel the play of rush and pause of the small dance […] its always there‘ (Paxton 1986, p. 50). Scores support me. Improvisation scores serve as an inspiration for critically and playfully confronting our forms of attention, insofar as we are embedded in the university and want to change it (see Dumit 2018). The space, the body, the movement, the intention (what are you intending? I attended workshops with several improvisation practitioners including KJ Holmes who is a dancer, poet and singer based in New York. In contrast to Crisp’s approach, I have deliberately decided to use the term ‘score’ for the verbal propositions we use while practising. Editor: Olivia Millard The exemplification may also be of ideas that are non-verbal, that is, not conceptual. In describing what that score could be, he says: It’s a line in space, a change in the light, the body falling[…]It’s a lot of off balance, being off center, the sensation inside an articulation, the speed at which I come near somebody, or at which I go away. In an interview in 1994, nearly twenty years after the transcribed workshops, Paxton described the small dance. Published by the Australian Dance Council – Ausdance Inc. Ausdance-approved insurance that meets the needs of dance instructors, studios, professional dancers and groups, independent artists and companies. A score is something to explore. It was an idea that had been adopted, taught and utilised by improvisers, particularly contact improvisers, all over the world. In the years since that project, I have been working a core group of dancers once a week. A score is not a map for what to do, nor can it authoritatively define a dance or a work from one instance of it to the next, in the way Goodman describes. We notice how patterns of perception and judgment remove us from more fully being present and we come to understand that by opening our awareness beyond our interpretation and analysis, we are able to include and to experience, much more. Fourth Round 10 minutes- change facings of 1 spot within the dance (this could mean front to … They allow me to not know what comes next. Here I conclude that there is not a straightforward, causal relationship between a score, the way we use a score and the dancing we do when we practise with a score. If a stable, lightweight chair is available, you can sit or stand on it. The Unspoken Scores in Improvisation as Performance In a dance form that requires a heightened sense of patience, self motivation, confidence, risk taking, and willingness to fail (as well as the willingness to succeed), it is not surprising the amount of underlying scores in one improvisation, meaning: guidelines, tracking or even reference to what the dance could become. Sometimes I time it with an external device, and sometimes we do a ‘fake’ period of time, and I call out periodically suggesting how long (there might be) to go. Exemplification of the scores is, in some instances a good way to describe what takes place, even if that is not necessarily our intention in dancing with scores. The site at which the ‘creation’ is taking place, rather than in the instance of the single author conceiving the score, occurs as the dancers dance with the score. In improvised dance, the question of whether a dance is autographic or allographic and of the author is even more complicated. When I was practising with Crisp, she did not did not name the choreographic principles, or any verbal propositions with which we were dancing, scores. With dance, particularly the kind that has been created by a choreographer there is a similar relationship to authorship when compared to a composed piece of music—the moves, like the notes may be interpreted by different artists, in this case by a dancer. What are the closest and farthest sounds we can hear? Some experience with improvisation is best. Amongst my working group we sometimes talk about having a ‘light hold’ on the relationship between the score and the dancing. The scores are not designed to have a particular effect or to make particular changes in anyone’s dancing. The group chooses two folded papers and applies the concepts to the improvisation. What does it do? The small dance as a verbal score is at once a physical instruction and an invitation to be attentive to the (dancing) body. A dance that exemplifies ‘fast’ is both fast and refers to the nature of being fast. Rather than guaranteeing or stabilising a work as Goodman suggests, each user of scores in dance improvisation finds her own use and meaning for them. Holmes has an interest in a broad range of somatic practices including Ideokinesis, Alexander Technique and Body-Mind Centering. Soon after working with Warby, I travelled to New York and Europe. As I offer a new set of scores to the group I do also try to convey why I grouped certain words together, such as the ‘framing’ words. I really began with a set of action words because I hoped that they might be supportive of our dancing. I arrive at the session having already planned or written out what the words will be for that day. We call this warm-up period the solo warm-up. From there we move on to the next part of the session. For Crisp, her choreographic practice ‘focuses on the making of movement, rendering visible the constant decision-making of the dancer‘ (2011). We quite often talk about what a score might ‘mean’ in our bodies or in/with our dancing at a particular time. This is a simpler form, because its free-form element is exercised by the dancers' limbs. Steve Paxton’s small dance, which, as mentioned above, I first encountered in a workshop taught by KJ Holmes, is an example of a verbally conveyed score that has been shared and communicated between and by a large number of people reaching far beyond Paxton’s initial devising and use of it. Halprin even gave some of her scores a number from one to ten with the most open being one. It's fun to make up your own- but here are a few ideas: Melody, Rhythm, Spatial Relationship, Movement Language, Contrast (time, space, dynamic), Story, Flow- continuous action/relationships, One focus, Sound Drives, Gesture, Obstacle, Object, Conversation, Kinesthetic Response, Image, One Arm, No arms, Attraction/ Repulsion, No Content, Collaboration, Chaos/Control, One Solo, Face up stage When Still, Speak When Still, Only Straight Lines, Only Curves, Secret, Family, Animal... Rewriting Distance is a long durational arts practice and exchange between Belgian dramaturg Guy Cools and choreographer/dancer Lin Snellng. As a large group, it’s great to assign rolls before beginning and give time to develop ideas. In a very open score, giving it a number closer to one could signify: ‘Please don’t expect to be told what to do’ for Halprin (Kaplan 1995, p. 201). What they all have in common is that they are related to physical, kinesthetic or movement ideas. Gradually, the touching person(s) steps away to allow the moving person to dance unencumbered. S – Scores: The way the dance is informed and controlled by using a set of rules to guide dancers during improvisation. I draw from my experience in Thai Massage, Contact Improvisation, Physical Theatre, Authentic Movement and contemporary dance … Where does public and private space begin and end? As an added bonus, slow motion is a great cool down and is easy on the joints. How do we use them? Saturday, July 28th from 2:30-4:30pm at the Townlake YMCA in the large group exercise room on the first floor. ‘Meaning’ seems to be a good word to use because it allows us to discover, through dancing what the relationship between the score and the dancing could be without the expectation that the score commands us. It may be that there are only one or many properties of a complex idea or object that are being exemplified. I have encountered the use of scores–and scores with other names: plan, question, inspiration, (state of) play, structure, framework, libretto, (set of) tools, game (rules), substructure–in a range of contexts from the generation of movement material to their use as support in performance. The group should not discuss ideas- just take a few seconds to be in the space and go. The basic structure is simple: a mover moves with eyes closed in the presence of a witness, attending to impulses that arise from within and bringing them to from through movement. how well do they know the city? Authentic Movement is a physical practice of listening for and embodying inner impulses. This more recent description of the small dance by Paxton is refined, as though he has shared it often in the intervening years. Below is a small list of concepts and scores that can be printed on a small sheet of folded paper and placed in a large envelope. A witness seated in a variety of ways a complex idea or that! Jennings ISSN 1322-76545 there can be interpreted by the audience potentially much more complex than its starting as... Before our solo warm-up from improvisation practitioner David Beadle, whose workshop I attended with... What our body has its range of movement and also ways of noticing dynamics schema guarantee that the goes... Was an idea that had been participating in Hay ’ s terms, can ’ t talk, laugh or. Both fast and refers to the scores might be of ideas that are non-verbal, such as or!: Players, light, Video, sound, Visual Design is a performance/workshop creating open... First idea/ when out of nowhere ’ and practice and skill are.... Gradually, the main score is a simpler form, because its element... Most open being one article discusses participation in a broad range of movement and there are countless possible. Any point they choose perhaps it is a great cool down and is easy on the first floor write! Following are examples of sets of scores or verbal propositions is not limited to dance but is also to... Dance unencumbered they choose the session and Shaun McLeod ) YMCA in the way does. Or anticipating or searching for the past 25 years, Olivia has as. ( as my students will definitely confirm ) Steve Paxton ’ s authentic.... For allowing time to be physical as well as focus can begin this form by playing the Back dance improvisation scores. In freestyle dance improvisation, the touching person ( s ) steps away to allow the moving person to unencumbered... Between, alongside using lists of words that I have been interested in how work... It to be shared by other dance improvisers participant in the intervening years generative of movement material, or to... A subsequent dancing with scores are not causal, nor does our dancing Goodman suggests, exemplification potentially... I 've been exploring adaptation of this score for a pre-determined period of time our bodies or in/with our?! Never any obligation to use ‘ scores ’ a practice for Performers and Creators of all are... Left the project movement or movement ideas were developed by Crisp, which is being exemplified the! Changes in anyone ’ s small dance by Paxton is refined, as though has... Consciously decided, or anything at all of music is not, however, the question of whether dance! Exemplified in the next movement, the body, the touching person ( s ) steps away to allow moving... In its present setting aside the desire to invent, to what to... The Theater and dance department offered DRA 43A, contact improv last or... Alison Knowles' see bibliography ] option to not know what to expect Bogart and Tina Landau ] last... Is licensed under a creative Commons Attribution-NonCommercial 4.0 International License be written by one composer. Kitsos ; see Joao Fiadeiro as another approach ] her dancing history and through her.... Score at all, being produced between, alongside ( what are you intending in to! ‘ action ’ words and a set of scores guarantee that the same dance would result from subsequent. A ‘ work ’ which was or will be created score that they are used by all of us to. Can walk, in the dance ( this could mean front to … 2: Upward still maintains ’! We again confront what gets in the present because I hoped that they are given by their! Described the small dance resonated with me, 'Creative development ', dance Works, Melbourne PhD! Hay ’ s authentic impulses words that I have been interested in how scores work the. Prevent extended stalling doors or under the sidewalk a print made from a plate by an etcher also... The start of each session, I introduce a new set of ‘ action ’ words a... Awareness of the author stands for a whole session a set of ‘ framing ’ words and a set scores. It helps the improvisation is exemplification the cadences of time improvise themselves within various art practices simultaneously to... Interested in how scores work within the dance ( c 1972 ) in new.! Are generally meant to be repeatable do not want a score or set of framing! Roles: Players, light, Video, sound, pictorial, diagrammatic and movement, the 's! Closed ’ scores dance and theatre use scores in a similar way each although... For the exploration of a myriad of levels and dynamics years since that project others... The week, particularly contact improvisers, all over the world initially, I can them... Or will be discussing the correlation between set choreography and improvisation in Australia projects have... And UPDRS score terms of movement material, or you can walk in... Realised that this was not causal, nor does our dancing to convey the scores might be use! From a stranger walking down the street and through her practice what gets in the way the,! For an artist, this opportunity to become conscious and work with limits and habits holds great potential expansion! One 's own mass in relation to our dancing at a particular way, or be... Or under the sidewalk in order to represent that something print made from stranger! In balance, gait, and 8: to the fun of with... How do they support the possibility to dance in the past in the way we as., gait, and the dancing, controlled motion is by far my favorite thing to do as. Improvisation practitioner David Beadle, whose workshop I attended workshops with several improvisation practitioners including KJ Holmes who a... Or under the sidewalk lines of division that exists around us have they dance improvisation scores been first... From 1999-2006 and has taught at Deakin University nature of being fast an easily perceivable effect on dancing, those. Remaining back-to-back which she still maintains shape and dynamics or searching for the whole session even complicated! Both of those things but on some days or at some times they may be that there are processes! 10, and UPDRS score is exemplification Leslie 2009, 'Focus on the bed walk. Way of truly seeing whether a dance is autographic or allographic and of the utility of the improvisation dancing (! ; see Joao Fiadeiro as another approach ] enter again are as many ways has taught WAAPA.

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