When teaching and communicating new ideas to dancers, many choreographers use images to clarify specific details. In contrast, other choreographers rarely use metaphorical imagery, choosing to explain their intentions in relation to qualities and energy. A dancer needs as much information as possible about the movements they are about to perform. This is usually either given to them by watching the choreographer’s body as they demonstrate or via detailed dynamic instruction. Many of such instructions are given through vivid, precise images. Some examples of images that could be used for choreography are:
- Imagine diamonds glittering off your hips as you swing your body round
- Move across the floor as if it were covered in thick treacle
- Walk through silky, dangling threads
- Imagine you are millions of foldable joints
- Imagine the floor is made of very fragile glass
- Expand your shoulders as if you have wings
- Let your exhalation fill the space with excitement
Such examples may be used as starting points for choreography as well as for specific movements within a much larger work. Images may also come in the form of sounds, touch and subconscious progressions within a movement workshop and are decided by the choreographer in relation to their personal practice.
Spontaneous Imagery
A choreographer may spontaneously experience an image that may inspire them to create dance. This image may occur during the process of an Active Imagination session or it may present itself through an experience or conscious observation. Sleep is when we are most receptive to imagery and if such images are recorded they can become very valuable tools in the shaping of ideas and solving problems. Sometimes it is required to consciously become receptive to images by starting with a problem and letting subconscious thoughts unfold, enabling the problem to be solved. Often a spontaneous imagery session will start with deep relaxation exercises to clear the mind and settle the body.
A choreographer seeking ways to resolve a problem in their piece may use this method to initiate ideas and envision alternate methods that have not been considered in their work. The following process can be suggested to encourage Spontaneous Imagery:
- Identify the problem. What is the problem that needs to be solved? What is the emotion that needs to be conveyed? Write this down.
- Trust that the problem can be solved. Imagine a moment in the future when the solution has been found. Think about how easy it was to find the image.
- Accept the image that comes to you first. Be ready to except the image as it may not be what is expected.
- Before going to bed, look at what was written down at the beginning of this process. A dream may suggest a solution.
- Observe other dancers dancing in a different setting to rehearsals. Do they inspire different movements and/or emotions that haven’t been explored?
- If an image doesn’t present itself immediately, try the steps again and don’t give up.
Framing
Framing is when an image or an event is envisioned as if it were performed on a stage however; the skill does not have to limit the choreographer to a visual image. A choreographer may use other sensory ideas in order to frame their work such as sound. A sound may be the initiating factor in a dance, bringing the dancers together as a unit of dispersing them as individuals. It may create a highlight or mood that frames the piece or joins many sections of the work together. There are two exercises that may be used when using framing in choreography:
- Portable Stage: Carry a frame in your mind’s eye. Superimpose this frame on what is seen in the outside world and imagine it on a stage.
- Stage Check: Use an imagery stage to check the dramatic intent of choreography.
Imagery is often thought of in choreography as ‘literal’; the use of a picture to inspire movement. However, the use of the imagination to provoke movement and develop ideas can often become more powerful, introducing emotions that may not have been associated with the work before and that give depth and meaning. An exploration of subconscious images to solve problems and to evoke starting points for movement can be seen as an alternative choreographic tool along with the use of the imagination to create images from other sources such as descriptive text and sound.
Source
- Franklin, Eric (1996) Dance Imagery for Technique and Performance, Human Kinetics: USA
- Franklin, Eric (1996) Dynamic Alignment Through Imagery, Human Kinetics: USA
- Blom, Lynne, Anne (1982) The Intimate Act of Choreography, University of Pittsburgh Press: USA
Amy Watson - Amy-Louise is Artistic Director of the dance theatre company 90 Degree Rotations and has a PGCE in Dance Teaching.
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