23rd World Congress on Dance Research
Malaga, Spain, 15-19 July 2009
__________________________________
Ms. Judith Chestnut (Australia)
Bending, stretching and much more in contemporary dance
- Abstract
How to work through choreographic situations is as much a part of contemporary dance as artistic contribution and contextual relevance. This report with an included glossary; looks at one movement example in the light of published studies.
- Introduction
Bending and stretching are movements that people perform on a daily basis. These movements require minimal thought for the most part until they are performed outside of the usual range for an individual person. A person’s expectation of his or her own response is challenged and is no less significant for the dancer than it is for the non-dancer. An obstruction can be encountered at anytime for a variety of reasons and become a concern for the dancer in practice. The natural response could be to try another way of performing the movement and this report has been compiled with that notion as the guideline. By using the bending and stretching combination of a classical plié as an illustration, kinaesthesia and interpretation will be discussed and a sample exercise for a contemporary dance lesson will be previewed. An addition to this description and for the purpose of continuing with this study for future reportage, is a glossary that has been compiled for a contemporary dance interpretation and was until recently posted online for general viewing.[i]
- Glossary
abstraction - retaining representational characteristics but expressing them through geometrical or generalised forms.
acoustics - the science of sound
actualise - to make real in the present by act of fact
action dance - dance in which the importance of the physical act as a means of expression is stressed rather than the finished product. Traditional styles and technical procedures are largely ignored.
adapt - To make suitable to requirements; adjust or modify fittingly
adaptive filtering - adaptive filtering can localized camera focus changes where different portions of a video frame can undergo different blurriness/sharpness changes.
agility - the power of moving quickly and easily
allude - call to mind indirectly or casually
alter - to make different
art - the production or expression of what is appealing or of more than ordinary significance
arrested motion - movement or motion that is stopped
articulation – the manner of performing a passage
artistry - effect or quality
atelier - workshop, studio
axial focus - horizontal lines in a picture have a profound influence on the composition. This can be utilized to best effect with the direction of viewing angles for the figures in the frame of reference.
balance - to move forwards and backwards, or in opposite directions
beat - to sound as on a drum.
cadence - rhythmic flow
celebrate - to perform with appropriate customs and ceremonies
centre-line – any line passing through a centre
choreography - the art of dancing
choreography composition - when there is a clear understanding of composition, the choreographer can direct dance within an optimized structure for the best focus.
chromatic - relating to colour
circular path - movement in a curved path that begins and finishes at the same place and remains equidistant from a central point.
clog dance - to beat time to the music.
common time - four crotchet beats to a bar; 4/4 time.
compositional relationships - the relationship/s of elements in choreography can vary from one work to another and are often only noticed by the choreographer. When establishing a body of work or repertoire, some consistency is preferable in the early stages.
composure - calmness
contemporary - of the present time
counterpoise - to balance by an opposing weight
damping - progressively reducing amplitute
dance - to move with the feet or body rhythmically
dance study - a composed or improvised piece or work that demonstrates the result/s of research for a selected concept.
direction - the line of interpretation
discern - to perceive by the sight or some other sense or by the intellect
duple - double
ecology - the branch of sociology concerned with the spacing of people and dependent institutions
effective imagery - can be achieved when the focus is placed on the desirable outcome rather than any obstacles.
element - component
eloquent - fluid and effective
emerge - come out into view
étude - see study
evolve - to develop gradually
expression - indication of feeling, spirit, character
equilibrium - a state of rest, equal balance, equality of effect
flow-through - passing through a confined space
focus - to concentrate; to focus one’s attention
focus light - can assist in low-light situations.
foil - a person or object that emphasizes and/or enhances the qualities of another
folk - people in general
folk dance - dance which originated from and has been transmitted through the people
form - to mould by instruction (factual information)
fore-stage - that part of a stage in a theatre which is nearest to the audience
frame - there are differences in making dance for the proscenium opening of a stage and dance made to be seen in a screened projection. There are also differences to consider between a large scale projection for a gathering of people and the more intimate event of watching dance on a computer screen or television in a smaller space.
fringe - peripheral
genre - category see also taxonomy
gradual - even and moderate
hip-hop - an urban cultural movement
hiss - like the sound of steam through a small opening
hop - a spring on one foot
humanly - according to human capability
improvise - invent
in situ - in its original place
inertia - resistance to changes in velocity
installation - art that is site specific
intent - purpose, direction
interpret - explain or understand in a particular way
intrinsic - belonging naturally
inure - to come into use
invert - to reverse in position, direction, or order.
jam - improvisation on a theme
jig - a rapid, lively, springy, irregular dance for one or more persons
journal - a daily record of occurrences, experiences or observations
juxtapose - place close together for contrasting effect
kinaesthesia - the sensation of movement
lean - to incline or bend in a particular direction.
level - having no part higher than another.
locomotion - the act of moving from place to place
lower - to make lower in height or level.
meander - to proceed by a winding course with a variety of steps and movement
measure - a short rhythmical movement or arrangement
memorandum - a note made of something to be remembered, as in future action
meter - a poetic measure or rhythmic pattern
modality - a modal attribute of circumstance
model - a mode of structure or form, exemplary
modern - pertaining to present and recent time; not antiquated or obsolete
modern dance - a form of dance originating in ballet and incorporating many of its movements, but disregarding some of its conventions
modulate – soften
movement – a change of position
movement template - see template
mosaic – made of small pieces
motion - the action or manner of moving the body
musical - set to music
original - new, fresh or individual
paradigm - a display in fixed arrangement
paradox - exhibiting contradiction
paraphrase - restate for clarity, a free rendering or translation
pas de basque - step of the people from the western Pyrenees.
passage – an interchange of communications [with movement]
pastiche - the mixing within one artistic production of styles, colours etc., composition made up from various sources.
pedagogy - the function, work or art of a teacher
peripheral - external as distinguished from central
phrase - a sequence of motions making up a choreographic pattern.
phraseology - characteristic expression
piriform - shaped like a pear
point - a tapering extremity
polka - a lively round dance of Bohemian origin, with music in duple time.
praxis - a set of examples for practice
preamble - introductory statement
progression - forward or onward movement.
psychedelic - having bright colours and imaginative patterns
pulse - the underlying and consistent beat; rhythmic recurrence
purposive - acting with, characterised by or showing a purpose, intention or design
quadriceps - the great muscle of the front of the thigh, which extends the leg
reflection - noticing content and the elements that draw attention in choreography can be a starting point for focussed documentation.
relax - to make less tense
render - to bring out the meaning of by performance
research - systematic investigation to establish facts
reside - exist or be inherent
residence - the act or fact of residing
reverence - a gesture indicative of deep respect
rhythm - measured movement
rise - move upwards
sacred - regarded with reverence
sensual – pertaining to the senses
sense – a mental discernment, realisation, or recognition
shawl - a piece of material, worn as a covering sometimes as a decoration
shift - to move from one place, position etc., to another
sibilant - hissing
slide - to move along in continuous contact
span - the provision of a movement, gesture or measure that extends over
spatial continuum - the extent or whole of a space
spatial destination - a predetermined arrival point in a space
spring - to rise or move suddenly and lightly
step - a repeated pattern or unit of movement in a dance formed by a combination of foot and body motions.
step dance - a dance choreographed with a focus on intricate steps
stress - emphasis
stretch - extend
study - a composition for the purpose of practicing a particular method; etude
swirl - to move about or along with a whirling motion
swish - to move with or make a sibilant sound
syncopate - to place on beats which are normally unaccented
synopsis - a condensed statement of an overview
taxonomy - classification in relation to principles
technics - the science of art
template - formula, pattern, mould; a temporary or permanent guide.
theme - element
traditional - older in style
transition - passage from one position, state, stage, etc., to another.
transient - remaining for a short time
transpose - to alter the relative position or order of
twist - to turn in another direction
unity - a feeling of wholeness
variation - a different form of something
vignette - a design without a borderline, a brief evocative description, graceful sketch
votive - dedicated display or exhibition and/or performance
work - a piece of choreography or a dance
- What is a plié?
Volodya Vasiliev has noted that the main thing [in dance] is still the head, that is, how the dancer thinks.[ii] While a plié is a demonstration of hip and knee flexion,[iii] there is much more for the dancer to think about while this is happening. Ann Hutchinson Guest and Tina Curran describe a plié as a controlled leg bend and a slow change of level[iv] and Gretchen Ward Warren makes the point that pliés cushion landings and make transitions between movements smooth and pliable.[v] There is plenty for the dancer to consider about this movement even before it begins and the most important fact is that we are about to make neural pathways[vi] to facilitate the continued practice of this movement. The closer these pathways are to best practice for pliés in performance the better and presumably the movement will become easier by continuing this practice. In essence, while this movement is about bending and flexing with changes in level it is also about controlled placement and this concept of placement is the initial focal point for thoughts and is the key element that links one movement to another and one dance form to the whole range of dance forms that are possible.
- A few thoughts about placement
Placement for movement in dance is not a rigid concept without deviation; rather it is a fact of life that varies from person to person and is influenced by circumstance. The neural pathways that will develop from the result of this understanding have their essential origin in the signals received from the vestibular apparatus[vii] and while those signals cannot be controlled the interpretation can. This is when the dancer’s best friend is a vigilant observer who can describe to them how their placement is going in relation to what it is they wish to achieve and the most vigilant observer is the dancer himself or herself. This form of observation is not a visual sense that can be viewed in a recorded image; it is however a feeling of ease that is experienced by the dancer and demonstrated by the image the dancer makes with their body.
The view of Eric Franklin is that every movement begins with an intention;[viii] therefore the dancer should intend to place their body in a position that will enable the movement they wish to perform. For the plié the placement should allow for hip and knee flexion. Valerie Grieg describes how the performance of pliés galvanizes the muscles of the legs for a state of elasticity[ix], however it would seem that elasticity is required to begin the plié, therefore the placement of the body should function as a catalyst for the development of something as close as possible to the necessary elasticity. While the alignment of the skeletal structure is the usual place to start thinking about placement it is not a structure that is immediately linked to the notion of elasticity. The body’s fascial system though is already loose and mobile and it is here that the dancer might be best to direct their thinking. Joseph Heller and Jan Hanson describe this system as being like a multi-layered body stocking[x] This natural network of fibers is the conduit for the mind-body connection and perhaps all the dancer should do is to intend for this network to function naturally and to set their placement within that function.
- The natural matrix and dance
The fascia is described as a three-dimensional supporting matrix for the whole-body.[xi] Craig Williamson explains that restricted movement is linked to postural strain occurring from distorted myofascial fabric caused by continuous muscle contractions.[xii] This kind of restriction can be alleviated with physical therapy and Angela Hill describes the technique used as myofascial release.[xiii] While this kind of therapy will help to release restrictions of a specific kind, the objective in dance is to access the range of movement that is available to the whole body. By facilitating an unrestricted range of motion in a single movement such as the plié, the signals are forwarded by means of the matrix of connecting fibers to other parts of the body in different movements. The natural matrix of the body is expanded with movement to form the matrix of a dance and regardless of the choreography; the person performing the dance can influence how the natural matrix will respond during that performance. Being well prepared to perform a plié eventually translates to being prepared for more complex movements in the future.
Williamson highlights the fact that ‘…fascia is more flexible when it is warm…’[xiv] and as stated earlier, the plié essentially is a demonstration of flexibility. Chew Ming and Stephanie Golden are enthusiastic about the benefits of hydration[xv] and Roberto Patarca-Montero brings attention to the benefits of avoiding fatigue.[xvi] All of these conditions are within the scope of someone thinking about the performance of a plié and can be the topic of further discussions in addition to this report. For now, attention will be placed back on the kinesthetic qualities of the plié.
- Thinking through the movement
Grazioso Cecchetti suggest that the whole body will feel light, agile and well balanced following the performance of pliés and that these pliés can be small or large, half, three quarters or full. Cecchetti states that; breathing should be deep and regular and emphasises symmetry when raising and lowering the heels and that the weight should be evenly distributed.[xvii] Maria Fay’s interpretation of the plié is performed in a lying posture and she also describes how to optimize breathing[xviii] though somewhat differently to Cecchetti.
Sandra Hammond provides some help with placement by reminding us that too often the head falls forward as the body is lowered resulting in the shoulders and torso being pulled out of alignment. This pulling action would be felt in the fascia and contribute to any resistance felt during the lowering of the body. The remedy for this is to turn the head slightly to the side and to keep the eyes focused forward[xix] something that Cecchetti also recommended.[xx] In Suki Schorer’s description of George Balanchine’s technique she states the plié has a slight elliptical feel rather than straight up and down and how the qualities of resistance, turnout and phrasing are components requiring awareness and comprehension.[xxi] Agrippina Vaganova explains how that once the extreme point of the plié is reached in the descent that there should be no hesitation to begin the ascent in order to maintain the elasticity of the movement.[xxii] This is reasonable given that the fascia would be in a compressed state at the point between the descent and the ascent resulting in unwanted bands of pressure. As there is a fascial chain that runs from the bottom of the foot up the back of the leg, back and head finishing in the middle of the forehead[xxiii] any reaction to a point of pressure in one place along that chain could be felt at another on the same chain. Stress from bunching of the fascia due to stopping between the descent and the accent in the plié could show as stress in another area and this is an unfavourable condition in any circumstance. Judith Hanna comments that dance participants seek the ideal of a minimum amount of stress[xxiv] and as far as the plié is concerned, that ideal is reachable.
- What is the ideal anyway?
A plié without stress would be an ideal movement for dance only if it was valuable to how you wished to dance. In the previous description the essential reasons for the movement were included and there would be more that could be added to the list. However, anyone wishing to perform the ideal plié will have his or her own reason for doing so and it is from that reason that technique will evolve. For example, if the reason is to audition for a professional ballet company, then you will most likely find the best teacher you can to teach you the required technique. The same applies for any other form of dance and the Who’s Who in Dance[xxv] is the best resource for finding the teacher of your choice. However, not everyone has such a clear vision of how and why they would like to dance only that it is something that they wish to continue. At some point in the continuation there will be a time when some practical knowledge of the plié will be a useful resource and a starting point for that practical knowledge could be your own day to day activities. How often do we only bend at the waist when it would be better to bend our legs as well or how many times are we sitting in a chair and need to stretch our legs for comfort? These actions are precursors to the plié and can be performed with as much attention to technique as a ballerina would perform a plié in her dance lesson.
Anna Paskevska explains that the plié can be a gentle awakening for the whole body and that it can put us back in touch with minute sensations and recommends that a plié combination include a bend of the body.[xxvi] Warren provides several examples that could be used in combination with the plié and explains how this can develop flexibility in the upper torso.[xxvii] With reference back to the fascia chain running from the bottom of the foot to the middle of the forehead, this would be a development that would favour gaining more ease in the plié.
While placement and alignment are important considerations, the combination of lowing and rising with bends of the upper torso can temporarily put all the best intentions into chaos. A well-centred body is easier to achieve with little movements than large sweeping shifts of body mass. Therefore, by initially keeping all parts of the movement combination small and within the natural range of the individual, the well-balanced body can be maintained. As strength, flexibility and confidence grow so will the amplitude of the movement allowing for more variations and additional combinations in the future. Anita Boser describes an exercise that involves small movements to achieve a standing pose from being seated on the ground. This could also be performed in reverse and from a seated chair position.[xxviii] For a combination with more amplitude Eric Franklin describes a combination using an elastic resistance band[xxix] and another using imagery.[xxx] These are a few alternatives for mind-body connection during the plié engagement with the prospect of more as proficiency grows.
- Adding contemporary choreography to the plié
While bending and stretching are movements that people perform on a daily basis, the plié is best known to classical dance. As contemporary choreography has a tendency to an eclectic mixture of arts and science it is no surprise that it matches with classical dance from time to time. Maria Dinušová, Teresa Anguera, Carlota Torrents Martín and Marta Castañer-Balcells reported at a previous congress that open instructions in dance sessions for beginners generated models that were different to those proposed by the teacher.[xxxi] In some instance this is a desirable outcome for contemporary dance even when the teacher might be attempting to teach a specific movement in a particular way. Given all that there is to think about with regard to performing a plié combination, the beginner might not consider they are generating a different model unless the teacher highlights the differences. If these highlighted differences were those that are moving the beginner closer toward the easy performance of a plié and if that information is shared with everyone involved with the session, then that would be an unique learning experience.
A plié combination is now in development for a dance session at an urban-based dance centre.[xxxii] The intention is to design an assessment model that teachers can apply to beginners session to help identify the difference that can be discussed to assist with the easy performance of a plié. Courtney Allen has recommended the musical accompaniment[xxxiii] and the combination will be based on the exercises outlined by Grazioso Cecchetti[xxxiv] and Gretchen Warren[xxxv] and guided by Justin Howse’s techniques for injury prevention.[xxxvi] There will be an emphasis on encouraging participants to develop suggestions for imagery that can be shared in the session as well as visual presentations that could be discussed prior to the performance of the exercise.
- Conclusion
For each individual the ideal plié will be different, however, for everyone who wishes to know more about dance, the ideal of understanding more about plié components is mutually beneficial. This can be achieved by watching any dance performance and knowing what to look for and it is hoped that this discussion contributes to that skill of observation for application to the practice of dance in some way.
[i] This glossary has been compiled with reference to various sources and was originally included in the text for Judith Chestnut multidisciplinary video-dance
<http://web.mac.com/judithchestnut/>, accessed 26 May 2009.
[ii] Vladimir Vassiliev < http://vasiliev.com/eng_shkola_1.html> , accessed 28 May 2009
[iii] Practice Committee Performing Arts Special Interest Group Orthopaedic Section, APTA,
Glossary of dance terminology, pdf.
The action relies on varying degrees of hip and knee flexion, with ankle and MTP dorsiflexion, depending on whether the plié is demi- or grand.
[iv] A. H. Guest, and T. Curran, Your Move, 2nd edn, p. 217
[v] G. W. Warren, Classical ballet technique, p. 87
[vi] N. Doidge, The Brain that changes itself, p. 210
[vii] N. Doidge, The Brain that changes itself, p. 3
[viii] E. Franklin, Dance imagery, p. 4
[ix] V. Grieg, Inside ballet technique, p. 92
[x] J. Heller and J. Hanson, Hellerwork client handbook, published online at <http://www.hellerwork.com/images/heller.handbook.pdf> , accessed 28 May 2009, p. 3
[xi] Fascia Research Congress, published online at
< http://www.fasciacongress.org/2007/about.htm/> accessed 29 May 2009.
[xii] C. Williamson, Muscular retraining for pain-free living, p. 63
[xiii] Myofascial release and structural bodywork, published online at < http://www.ausdancensw.com.au/templates/tp_ThisPage.asp?pn=Myofascial+Release+and+Structural+Bodywork&pid=977&mpid=1098&ptid=2&bcp=0> accessed 29 May 2009.
[xiv] C. Williamson, Muscular retraining for pain-free living, p. 55
[xv] M. Chew, and S. Golden, The Permanent Pain Cure, p.53
[xvi] R. Patarca-Montero, The concise encyclopedia of fibromyalgia and myofascial pain, p. 36
[xvii] Cecchetti, G., Complete manual of classical dance, pp. 40 – 43
[xviii] Maria Fay’s floor barre, pp. 82 – 88
[xix] S. N. Hammond, Beyond the basics, p. 113
[xx] Cecchetti, G., Complete manual of classical dance, p. 41
[xxi] Suki Schorer on Balanchine Technique, pp. 59 – 60
[xxii] Vaganova, A., Basic principles of classical ballet, p. 19
[xxiii] M. Chew, and S. Golden, The Permanent Pain Cure, p.28
[xxiv] J. L. Hanna, Dancing for health, p. 48
[xxv] A. Raftis et al, Global Dance Directory, published online at <http://www.cid-unesco.org/_site/index.php?option=com_content&view=article&id=130:directory&catid=37:cidcontent&Itemid=41> accessed 30 May 2009.
[xxvi] A. Paskevska, Ballet beyond tradition, p.115
[xxvii] G. W., Warren, Classical ballet technique, pp. 52 -59
[xxviii] Boser, A., Relieve stiffness and feel young again with undulation, pp. 126 – 127
[xxix] E. Franklin, Conditioning for dance, p. 219
[xxx] E. Franklin, Dance imagery, pp. 94 – 98
[xxxi] M. Dinušová, T. Anguera. C. Torrents Martín, and M. Castañer-Balcells, M, Instructions and development of creativity with dance beginners, in the proceedings of 21st World Congress on Dance Research Athens, 5-9 September 2007 [DVD]
[xxxii] Ausdance NSW Weekly Classes – Glebe, published online at <http://www.ausdancensw.com.au/templates/tp_ThisPage.asp?pn=Ausdance+NSW+Contemporary+Dance+Classes+2009&pid=944&mpid=14&ptid=2&bcp=0> accessed 30 May 2009.
[xxxiii] Allen, C. R., ‘Teaching aids for the ages’, DanceTeacher magazine, published online at< http://www.dance-teacher.com/sections/teaching/459>, accessed 26 May 2009.
[xxxiv] Cecchetti, G., Complete manual of classical dance, pp. 39 – 43.
[xxxv] G. W., Warren, Classical ballet technique, pp. 87 – 89
[xxxvi] J. Howse, Dance technique and injury prevention, 3rd edn, pp. 55 – 56
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