Many choreographers appreciate dancers who can identify and share a specific vision during the creative process and perform it, as the choreographer requires with the desired emotion and expression. To effectively do this, dancers need to be trained in self-transformation. Using imagination and imagery refers to transformation, both technical and artistic. Choreographers to clarify the intent of a step or to create depth to a workshop idea in order to generate the desired expression in movement and performance often use imagery. Such practice often requires the dancers to be thoroughly prepared both mentally and physically in order to carry out consistently strong and inspiring performance during rehearsals. Dancers are often asked to maintain focus and communicate the choreographer’s visions and emotions through movement for long length of time during carefully constructive workshops.
There are several psychological techniques that aim to illuminate and harmonize the body and mind using imagery. The most popular techniques that are used both in therapy and as creative tools are: Active Imagination and Guided Affective Imagery.
Active Imagination
The term ‘Active Imagination’ was first introduced by the Swiss psychiatrist Carl Gustav Jung (1959). Jung believed that the process began with imagery, often a figure or an event from a dream. The person must focus on this image and observe how it changes naturally without consciously making it change. Jung noted that an image would always change due to the spontaneous associations that alter the picture slightly. He would then ask his subject to write down all the changes they observed and eventually take an ‘imagery step’ by placing themselves in the picture. He would then ask them to interact with the image and observe how the image reacts.
This practice can be used in association with art, particularly when creating dance. Many dances develop subconsciously as an Active Imagination. The choreographer may begin creating movement using the last scene from a dream, using the experience to begin a movement exploration. The choreographer should allow time for the exploration to develop and observe how ideas unfold. If the movement is not forced, the experience will unfold and change movements organically as the subconscious takes over. It is often advisable to have someone else watch or record such exercises so that self-reflection can take place afterwards and contribute to the choreographic process.
Guided Affective Imagery
The psychiatrist Hansarl Leuner first developed the method of Guided Affective Imagery. Leuner would tell the subject to create a specific image such as a river, meadow or mountain. He would then ask the person to describe in the most vivid detail possible their image. By doing this the person creates their own personal image out of the suggested one. When finished the person reflects on the image and observes any spontaneous emotions, feeling and effects that are suggested by the image.
This method too can be used to create choreography by initiating an image that can be the centre point for a movement exploration. If such an exploration is given time to develop, the image retained will change as a dancer uses it. Such changes may provoke emotion and feelings that may lead to a more in depth connection to the original image. If used with a group of dancers, the same image may provoke completely different responses that can lead to different stages of emotional response.
Symbolic Images
Some images that come to a dancer’s awareness when dancing are symbolic, suggesting messages and meanings to a spectator through movement and performance. An example of this is when a dancer stands on stage with their arms out stretched to the side, at right angles to the body. This position could symbolise the cross, a reference to religion. However, it may also represent protection when placed between other dancers, or a barrier that separates two spaces. Such symbolism relies on many factors in order to communicate its meaning. The dance may have a theme, which suggests a specific association; the context of when the dance was created may also have an effect on such symbolism. The audiences’ experiences and those they associate with the dance also have bearing on the overall message communicated by the work.
Psychological imagery is not widely used as a primary choreographic tool however; imagery is a valuable device when initiating a message through the body to the observer. Imagery connects the mind to the body, allowing the body to express more clearly emotion and expression in performance. Without imagery the body is just moving without purpose making it harder to connect with and inspire an audience.
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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