Didactic Unit III PDF

Didactic Unit III An approach to dance styles and expressive manifestations Dance and Corporal Expression Beatriz Garrido López Bachelor’s Degree in Physical Activity and Sport Science Topic 7 Introduction to dance and other expressive manifestations Co...

Didactic Unit III An approach to dance styles and expressive manifestations Dance and Corporal Expression Beatriz Garrido López Bachelor’s Degree in Physical Activity and Sport Science Topic 7 Introduction to dance and other expressive manifestations Concepts Both dance and expressive manifestations are those forms of scenic communication in which the body and movement predominate over words. Non-verbal systems such as the body system, the gestural system, the system of objects (costumes and scenery), the temporal and spatial system are protagonists. There is another non-verbal code, related to the voice, which corresponds to the qualities of the paraverbal system (the tone, volume, and rythym of speech), also quite present in children's shows. 2 Classification According to Eugenio Barba and Nicola Savarese, body language has two clearly differentiated perspectives of study. The first, from an everyday point of view, and the second, from a scenic point of view. Artistic bodily manifestations are always intentional, which means that there is a treatment and use of the body oriented towards a representation situation, corresponding to the use of extra-daily techniques. Corporal expressive techniques can be classified according to the type of codes that form part of their style: 1. CODED 2. NON - CODED 3  CODED The most traditional manifestations are shaped under their own closed style. They are predetermined codes of representation. Only on certain occasions is the form of organisation of these codes left more open, as in the case of modern jazz, a style that combined the evolution from classical to modern with the codes of jazz dance, which was so important in the world of American musicals during the second half of the 20th century. Cyd Charisse and Fred Astaire in Band Wagon. Frame extracted from Youtube (www.youtube.com) https://www.youtube.com/watch?v=Q4FYNF02yEM&t=117s Musical West Side Story. Fotograma extraído de Youtube (www.youtube.com) https://www.youtube.com/watch?v=bxoC5Oyf_ss 4  CODED Another style with a lot of historical weight is classical ballet, the result of a five-century evolution. It emerged from medieval European folk dances and developed a technique consisting of stylised positions and movements, within a closed code of elements, until the Romantic ballet of the 19th century (figure 16). Other codified oriental expressive expressions such as Balinese dance or Indian classical dance are very closed in their movement scores, telling stories with every step of their actions and gestures (figure 17ab). Figura 16. The Swam Lake. Composed by Piotr Ilich Tchaikovski (1840-1893). Figure 17ab. The hands as the main form of expression in Balinese legong and Indian classical dance Bharatanatyam. https://www.youtube.com/watch?v=WG9GZIOAftI 5  CODED Within theatre we find two codified European manifestations. One, Commedia dell'Arte, which was born in Renaissance multilingual Italy in the early 16th century as the first professional theatrical form. The other, Modern Mime, a key movement technique in the 20th century, the basis for the development of theatrical expression today (figure 18). Figura 18ab. Geniuses of the 20th Century : Ferruccio Soleri y Marcel Marceau. 6  NON - CODED In contemporary manifestations, although there are guidelines for the use of the body, the codes imposed are more flexible in their possibilities of personal expression. These manifestations emerged in the second half of the 20th century with the aim of breaking with tradition and investigating new languages of movement. They distanced themselves from the academicism of modern dance and the new techniques that had emerged, Graham, Limón, Cunningham, etc. They explore everyday gestures and actions such as running and walking. We refer to postmodern dance in styles such as contact-improvisation or release. The first is a dance in which zones of physical contact provide a starting point for the exploration of movement through improvisation. A method or system of improvisation. It is based on contact between two or more bodies and on principles such as rolling and weight and counterweight. Figure. Trisha Brown Company. Technique Release. https://www.youtube.com/watch?v=q4wUEiHowSU&t=85s 7  NON - CODED The second is a technique based on the availability, engagement and effectiveness of degrees of joint freedom in any movement, relating to the floor and other dancers. The Release Technique is a group of dance training principles and methods used in contemporary dance. These principles emphasise the release of muscle tension when performing movements. The purpose is to achieve efficient use of energy and anatomy so that movements are made with minimal effort. It focuses on body awareness to generate movement and not just copying and repeating physical exercises. Its basis is the principle of falling and regaining weight, tension and looseness of the body, with emphasis on suspension of movement and breathing. Figure. Trisha Brown Company. Technique Release. https://www.youtube.com/watch?v=nR393C6ZBos 8  NON - CODED We also find in this section Butoh. Is a technique based on being rather than doing, also known as the dance of darkness. It emerged after World War II in Japan in response to traditional Japanese values and the horror of war. In the late 1950s and early 1960s, as Japan was slowly dragging itself out of the World War II wreckage, choreographer Tatsumi Hijikata and renowned dancer Kazuo Ohno began questioning the nature of dance. They developed their new style as a way of reasserting Japan’s sense of self through art. Butoh also began to focus on themes of the grotesque, of darkness and struggle, and of taboo subjects. Is essentially unclassifiable. There are common occurrences, such dancers moving slowly in the fashion of the walking dead, white body paint and (sometimes) shaved heads, background music to set and direct the scene, movements expressing raw and untapped emotions, and when performed well, a sense of palpable unease rippling through the audience. That butoh is without dialogue is also a great leveler, meaning its accessible to audiences of all stripes irrespective of their Japanese language proficiency. The white paint, and/or white clothing, associated with butoh is supposed to reflect a childlike purity in the performers, stripping away all potential preconceptions of the dancer(s) in question. For Hijikata, initially it was more a question of necessity: having little money when he started out as an artist, he realized that white paint or gofun (chalk) was a cost-effective way to dress up. https://www.youtube.com/watch?v=aTHTPBp842g Figure. Sankai Juku. Butoh Company Fotograma extraido de Youtube (www.youtube.com) 9 It is important to be clear that, although contemporary dance arises for greater freedom of movement, there are also codified techniques: Limón technique, Graham technique and Cunningham technique. https://www.youtube.com/watch?v=3F6jzto6WwU (Graham) Martha Graham's great technical contribution to dance was the creation of a new method she called "contraction and relaxation". Through curved, self-absorbed movements of the torso, she expressed an essential and inescapable part of the human being that had been forgotten until then: pain. If in classical ballet one of the basic purposes was to hide the effort, she made it visible because "it is part of life". In this way, the whole range of feelings was represented: hatred, bitterness or ecstasy were conveyed with a single gesture. Graham concentrated on the torso as a source of life, as a motor. "The arms and legs can be used for manipulations or transfers, the head for decisions and judgements. But everything, every emotion, becomes visible first in the torso. The heart beats and the lung fills, there is the air and with it life," he said. https://www.youtube.com/watch?v=Q0EsotxTCCc (Limon) https://www.youtube.com/watch?v=9WtnI32uvM4 (Cunnigham) 10 Avant- garde movements Avant-gardism is an artistic and cultural movement that emerged in the late nineteenth and early twentieth centuries, characterized by the pursuit of innovation, the breaking of norms and experimentation. Avant-garde artists challenged the conventions of the time, exploring new forms of expression and questioning what was considered “art”. This movement encompassed a variety of currents, such as surrealism, futurism, Dadaism and expressionism, each with its own approaches and themes, but all with a common denominator: the will to go beyond the established. In the context of dance and corporal expression, avant-gardism has an enormous influence, as it allowed the body and movement to be explored in unprecedented ways. Avant-garde dance artists rejected the rigidity of classical forms (such as ballet) and began to express abstract ideas, deep emotions and social perspectives through free movement, improvisation and new techniques. 11  Avant- garde movements Breaking with classical structures: As in other arts, avant-gardism in dance is characterized by breaking with traditional techniques and codified forms of movement. Pioneers such as Isadora Duncan and Martha Graham moved away from classical ballet to create a more natural and emotional dance, where movement responded to internal impulses rather than external rules. Emphasis on subjective expression: Avant-garde artists were interested in expressing human subjectivity, deep emotions, abstract ideas, and often obscure or controversial themes. In dance, this translates into movements that seek to express the dancer's feeling or a philosophical or emotional idea, leaving aside the narrative or aesthetic approach. Experimentation and improvisation: Improvisation and spontaneous discovery of movements are pillars of avant-gardism in dance. Artists such as Merce Cunningham created movements at random or using unconventional methods (such as tossing a coin or rolling dice) to decide sequences, thus challenging pre-established forms and opening the way for dance without limits. Integration of new ideas and technologies: Avant-gardism also opened dance to other media, ideas and technologies. For example, Cunningham worked with musicians such as John Cage to create compositions where music and dance did not depend on each other, but coexisted as independent expressions in the same space. Exploration of the body as an expressive medium: Instead of seeing the body as a beautiful object or as an instrument of perfect forms, the avant-gardists in dance explored the body in its totality: its natural movements, its capacities for distortion, and its expressive potential. The body is no longer just a figure, but a channel for exploring the human and the inhuman, the rational and the irrational. 12 Avant- garde movements Avant-gardism is positioned even beyond non-codified dance, where movement does not follow clear rules, but still has an intentionality or structure.Avant-gardism in dance takes this to the extreme by seeking to break even implicit expectations and movement patterns. Avant-garde movements in dance as a trend occur whenever the more academic styles are firmly rejected. There is avant-gardism in Dance, when all corporeality is considered valid, when all kinds of movements are considered as possible tools. There is avant-gardism when there is no distinction between stage space and audience, between art and life and between the different arts. Moreover, there is avant- gardism when hierarchical relations between choreographers, performers and audience are eliminated. And there is avant-gardism when one reflects on strict questions of expressive beauty in dance. The artistic avant-gardes meant that works of art were no longer something closed and the spectator was not just a passive contemplator, these new art forms brought with them a new public and a new way of understanding art. 13  HAPPENING and PERFOMANCE and how both have their origins in the avant-garde spirit Breaking down barriers between art and life: One of the goals of avant-gardism was to eliminate the separation between art and everyday life, an idea that would later be reflected in happening and performance. Avant-garde artists wanted art to be more than an object of contemplation; they sought experiences, actions and acts that would involve the public and immerse them in the creative process. Ephemeral and anti-commercial art: Avant-gardism promoted the creation of ephemeral works that were not tangible products for sale, which was key to the emergence of happening and performance. Being unique and unrepeatable events, both genres reflect this desire to create something transitory and experimental. Interaction with the spectator: In avant-garde movements such as Dadaism and Futurism, artists began to actively involve the spectator, breaking the idea of a passive audience. This influence is evident in the happening, where the audience not only observes but often participates in the work, and in performance, which often explores the relationship between artist and spectator. Rejection of conventional artistic categories: Avant-garde artists wanted to break down the barriers between different artistic disciplines, and this was also reflected in happening and performance, where theater, dance, painting and music could be merged into a single work. 14 1. Spontaneity and absence of a rigid script: In a happening, there is no pre-established script or fixed structure. Events develop spontaneously, and participants can influence the outcome, creating an unpredictable experience. 2. Audience participation: Audience interaction is essential to the HAPPENING happening. Spectators are an active part of the work and can change the course of events with their participation. This creates an environment in which the audience and the artists collaborate, erasing the barrier between observer and creator. 3. Temporality and ephemerality: Happenings are unique events and are not repeated in the same way. Their ephemeral character, which only exists at the moment they happen, is key to their artistic essence. 4. Use of unconventional spaces: Happenings usually take place in public places or unusual spaces, such as streets, parks or shopping malls. By choosing non-traditional places, the happening seeks to surprise and take art out of formal contexts, integrating it into everyday life. 5. Improvisation and collective participation: Happenings are open to improvisation, both by the artists and the public, which allows the development to be dynamic and flexible. The action becomes collective and feeds off the energy of the moment. 15 Focus on the artist's individual expression: Performance usually revolves around the self-expression of the artist, who uses his or her body as a means of communication to express ideas, emotions or questions about specific topics. PERFORMANCE Use of the body as the main artistic tool: In performance, the artist's body is the main means of expression and often the work itself. The artist explores the physical, emotional and psychological possibilities of his or her own body. Planned structure: Although the performance may include elements of improvisation, it usually has a clear structure or concept in mind. The artist usually plans the duration, the space, the elements to be used and the objectives of the work. Conceptual and symbolic character: The performance usually has a specific message or concept that the artist seeks to communicate. This may be an exploration of social, political, philosophical or personal issues, which the audience interprets. Presence of the artist as the center of the work: Unlike the happening, in the performance the artist is usually the center of attention and the audience is, in most cases, a passive observer. The work focuses on what the artist experiences or expresses, although it may also involve the audience's response. 16  DIFFERENCE BETWEEN HAPPENING AND PERFORMANCE Audience interaction: Happening: The audience has an active participation and can alter the development of the play. Spectator interaction is essential. Performance: Most of the time, the audience is a passive observer, although some contemporary performances may invite the audience to interact. However, the focus remains on the artist. Structure: Happening: It is characterized by improvisation and the lack of a fixed script. The development is free and depends on collective actions. Performance: Although it may include improvisation, it generally has a premeditated structure, with a clear concept guiding the action. Character of the work: Happening: Does not usually have a clear message or a defined conceptual goal; the focus is on the shared experience and the spontaneity of the moment. Performance: It is usually more conceptual, seeking to convey a particular message or idea. It is common for performance to address complex and symbolic themes, using the artist's body as a medium. 17  DIFFERENCE BETWEEN HAPPENING AND PERFORMANCE Role of the artist: a. Happening: The artist is just another facilitator or participant in the event. The work is focused on the collective experience and what happens in the shared space. b. Performance: The artist is the center of the work, and his or her body or actions are the main focus of attention. The experience usually revolves around self-exploration and the communication of the artist's individual message. Space and context: a. Happening: Generally occurs in public or unconventional spaces and seeks to break with the traditional context of art. b. Performance: It can take place in any space, but is commonly presented in galleries, theaters or other places where the public observes the work in an artistic context. 18  Social Phenomena In the following, we detail some social phenomena that have emerged in the last decade years thanks to multimedia and the interaction between image and dance, from more structured and technical to freer. At this point we do not take into account the musical genre Cinema where dance is part of the cinematographic narrative. The following social phenomena belong to a more popular genre. 19  FLASH MOB A flashmob is literally translated from English as 'instant crowd' (flash: 'flash, burst'; mob: 'crowd'). Organised urban disruption action in which a large group of people suddenly gather in a public place, do something unusual and then quickly disperse. They are usually convened through telematic media (mobile phones and the Internet) and social networks. In most cases, they do not have any purpose other than entertainment, but they can also be called for political or protest purposes. Nowadays, choreographed physical actions are often linked to them. The activity has been used as part of advertising campaigns for various products, scheduling the meeting in a public place, but with the participation of dancers and artists who simulate a traditional flashmob, but including aspects of the brand being promoted. 20  One of the particularities of these "temporary tribes" is that they do not require support to communicate, coordinate and act together, as their communication works through virtual social networks. These are individuals who, supported by communication technologies, disseminate messages to their social networks of friends and acquaintances, who do the same until they build a large communication chain that is capable of mobilising thousands of people. It is enough for someone to call for a demonstration through a message, channelled through a digital medium, for the snowball effect to begin. These messages inform about the day, place and exact time of the meeting. Since flashmobs can last only a few minutes, all participants are required to synchronise their watches to an official time. Another peculiarity of this phenomenon is that those called are not always informed about the type of mobilisation that will take place, as this is communicated at the meeting place itself 21 22  LIPDUB The term lipdub refers to a music video in which a group of people lip-sync to a popular song while the camera records them in one continuous take. It is often performed in environments such as schools, offices or universities and has become a creative form of team collaboration, generating a festive and spontaneous atmosphere. 23  LIPDUB Characteristics of a Lipdub 1. Lip Sync: Participants pretend to sing the song by lip-syncing to the lyrics. This effect creates the illusion that everyone is performing the song, although it is only a background recording. 2. Continuous shot: One of the key elements of the lipdub is that it is recorded in one take with no cuts, which requires coordination and planning. This implies that the camera moves continuously along a predetermined path, capturing each person at the exact moment when their part of the song appears. 3. Large group participation: Unlike conventional video clips, the lipdub involves a large number of people, who can perform choreographed movements or simply interact with the camera in a creative way. This encourages the participation of an entire community or group. 4. Decorated sets and eye-catching props: Participants often dress up in colorful attire, costumes or wear props to make the video more entertaining. Spaces can also be decorated to add vitality and creativity to the filming. 5. Energy and spontaneity: Lipdubs are usually fun and full of positive energy. They do not seek perfect precision in the choreography or movements, but their charm lies in the spontaneity and festive attitude of the participants. 24 25  HARLEM SHAKE The Harlem Shake is a viral video phenomenon that became popular on the internet in 2013. It consists of a short video, usually about 30 seconds, in which a group of people perform a disorderly and chaotic choreography to the rhythm of the song “Harlem Shake” by producer Baauer. Although the dance and style of the viral Harlem Shake are unrelated to the original dance of the same name, the format of the video and its fun energy made it become a global meme. It is important to note that the viral Harlem Shake has no relation to the original Harlem Shake, a dance style that emerged in the Harlem neighborhood of New York in the 1980s. The original Harlem Shake dance is a style of quick, coordinated shoulder movement that was popular in hip-hop culture and has a completely different history than the viral meme. 26  HARLEM SHAKE Characteristics of the Viral Harlem Shake 1. Two-part structure: ○ First part: The video starts with one person, usually wearing a helmet, mask or some flashy accessory, dancing alone to the beat of the song while the rest of the group seems to ignore him or her or continue with their normal activities. ○ Second part: Just as the song reaches a climax and the phrase ‘Do the Harlem Shake’ is heard, the video abruptly changes, showing the whole group performing chaotic movements, often in outlandish costumes, in an atmosphere of chaos and fun. 2. Dance style without specific choreography: There are no specific dance steps in the viral Harlem Shake. The fun of the video lies in the spontaneity and messiness of the moves, which can be anything from jumping to exaggerated gestures, making it extremely fun and free. 3. Short duration: Most Harlem Shake videos last between 30 and 40 seconds. This makes them easy to watch and share on social media, increasing their viral potential. 4. Use of costumes and props: In the second part of the video, participants often appear in costumes, masks, random objects and flashy props. This choice of attire and props adds an element of surprise and humour. 5. Festive and uninhibited atmosphere: The Harlem Shake is a manifestation of unrestrained fun, where people behave in an eccentric and chaotic manner. The lack of coordination is part of its charm, as it aims to convey a wild and carefree energy. 27 28  MANNEQUIN CHALLENGUE The Mannequin Challenge is a viral video phenomenon that became popular in 2016, in which a group of people remains completely still, mimicking mannequins, while a camera moves through the scene. The goal is to create a scene that appears frozen in time, like a photograph, while the camera moves between the "mannequins," capturing every detail. 29  MANNEQUIN CHALLENGUE Characteristics of the Mannequin Challenge 1. Total stillness: The key to the Mannequin Challenge is that participants must stay completely still, in natural or creative poses, without moving or blinking, as if they were mannequins. The difficulty lies in maintaining immobility and a steady facial expression. 2. Continuous take: The video is filmed in a single continuous take, allowing the viewer to observe each "mannequin" in detail and making the scene look like a frozen image that comes to life with the camera’s movement. 3. Creative settings: Participants often perform the Mannequin Challenge in places like offices, gyms, classrooms, or even outdoors. The poses can be simple or very elaborate, depending on the theme or the group's creativity. 4. Musical accompaniment: Although not mandatory, the song "Black Beatles" by Rae Sremmurd was the most commonly used in Mannequin Challenge videos, to the point of becoming an iconic part of this phenomenon. 5. Large group participation: The Mannequin Challenge often includes many people, who create a complex and varied scene. Each person represents a "mannequin" in a different pose, which adds interest and dynamism to the frozen scene. 30 31 ART AND TECHNOLOGY ARE TWO ASPECTS OF HUMAN CREATIVITY THAT ARE CLOSELY RELATED. WHAT ART DOES IS SOMETIMES MADE POSSIBLE BY A PARTICULAR TECHNICAL ADVANCE. THE TECHNOLOGY THAT ENABLES THE ARTIST TO MAKE A PARTICULAR WORK ALSO ENCOURAGES THE EXPRESSION OF LIMITATIONS. Audiovisual language goes hand in hand with technology. When a new technology enables a new resource, it can be used. It is a constant change and challenge WHAT IT CAN BRING TO THE DANCE? NEWS TECHNOLOGIES NEWS POSSIBILITIES BIOMECHANICS IN DANCE Studies and research that have an impact on: Improving performance Injury prevention  VISUAL EFFECTS Multiple ways of using light as a means of increasing movement and transforming space. INTERNET Bringing the final product closer to the spectator. Plural platforms for exhibition and collective creation. Modification of the way of creating, producing and consuming. Possibility of momentary interaction. Educational resources Apps TORUK - THE FIRST FLIGHT Before the start: watch videos and do behind-the-scenes tours. Explore Pandora and unearth artefacts to reconstruct the identity of the 5 clans. During the show: interact at specific moments in the show, pointing their phones towards the stage. Break: notify them when to return to their seats. After the show: photos and videos as a souvenir of the show.  ALLOWS THE USER TO IMMERSE HIMSELF IN A COMPUTER-GENERATED 3D GRAPHICAL SIMULATION AND TO NAVIGATE AND INTERACT IN IT IN REAL TIME. VIRTUAL REALITY A SYNTHETIC EXPERIENCE WHEREBY THE USER IS INTENDED TO REPLACE PHYSICAL REALITY WITH A FICTITIOUS COMPUTER-GENERATED ENVIRONMENT. 3D PROJECTION VIDEOMAPPING A visual technique that consists of projecting images onto surfaces in order to create effects and animations so striking that they appear to come to life ARCHITECTURAL MAPPING He works with artistic projection on buildings of all kinds in order to impress the public. CORPORATE MAPPING It is used to advertise a product or a brand, and can be projected on the same or another surface. INTERACTIVE MAPPING The spectator participates directly in the narrative of the piece.  STAGE MAPPING Projecting on a certain environment to create different virtual scenographic environments, which transport the user and serve as a support for the actor/person in the play or event. CHOREOGRAPHIC MAPPING Projections of animations in which a dance group intervenes simultaneously, generating a synchronisation of the dancer with the animations, the sound and the light. DRONES VIDEODANCE WITH DRONES  NEWS TECHNOLOGIES AND DANCE Add more value to the final product ALWAYS?