When reading the above article not only did
I discover an amazingly well planned inquiry and anaylse but also great
information and bases for planning my artifact and backing up my findings.
The inquiry is based on a small group of
psychiatric patients (psychotic or depressive disorders). The group has
primitive expression (PE) form of dance therapy for 6 weeks with 2 sessions a
week. Though the children and young adults I will be teaching do not suffer
from either I feel the structure for the classes are good bases for all classes.
“The
force of rhythm”
In my observation I noticed a dramatic
difference between the classes that used syllabus set music and the classes
that used chart music. The students showed on there faces that they enjoyed the
rhythms and lyrics and were able to express their emotions however with the set
music it was a mere beat form then to follow and keep in time too.
“The
use of voice”
“Through
his voice, he expresses his own personal feelings, consciously or
subconsciously”
Not only does the voice express how some
one is feeling but I also think it can help when describing something. When
observing the classes I thought that I would hear a lot of dynamics in the
voice to help verbalise movements and feelings however I didn’t. For instance a
ballet teacher at college would describe a fondu (bending on one leg) literally
“to melt” into the floor, as she said this her voice melted and slowed down.
Her voice said it all. Talking through the movements always helped me grasp the
feeling behind the actions and what a choreographer wanted.
“The
repetition process”
Through
this tool, the patient is made to “give a bit more” with each repetition of a
given movement.
It’s very useful to repeat a movement and
experiment with the feeling behind it. If you are going to be doing the same
movement/syllabus/performance/show over and over again this keeps the feeling
fresh.
“It’s nice to venture away from syllabus
work and become more free, using the exercises and the movements from the
syllabus but adapting those with a different style, strength or music” Quote
from interview 1.
This is something that is already trialed
with in the school however not that often.
“The
importance of the group”
One thing that has held me back from
“performing” is the thought of others with in the same profession judging me. I
think it is so important that all the students feel comfortable with in a
class. In all the interviews with the teachers I asked what the main aspect of
dancing was to them and they all answered the same; the students being happy. Which
reflects in the number of students that come back, observing body language and
facial expressions.
“The
use of play”
“He
plays and dances roles from his own life and expresses them effortlessly
without the criticism of anyone, because he is in a play”
Enabling yourself to create a character as
you dance, expressing that person and letting go of you.
“The
aim is to alert the participants to act and express themselves, while orienting
their drives in a positive way”
Channeling your stresses, worries or
anxieties from you own body in an acceptable way. Alter ego?
In summary each of the above tools from the
inquiry can be used to create a meaningful and creative performance.
However, through the combination of all these tools, the dancer
may feel freer to overcome the super-ego, possible limits and insecurities
expressed in restricted movements, and may experience sublimation, enabling the
feeling of enthusiasm.
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