Miscellany |
The Art of Dancing
Moving the body in a direction with the weight bearing foot being moved under the body’s centre of gravity, the centre of gravity being in the chest not the parts below!
Meaning that the trunk is continuously projected in a direction, the feet moving to maintain the balance (as in walking). When moving the trunk in a dance the feet then make intricate steps to enhance the body movement and in time with the music.
General Notes
- The weight of the body in motion must wholly be supported on one foot or other.
- The transference of weight must be affected by a spring, high enough to raise the body off the ground.
- The moving force, although derived from the foot spring, is brought into play by the inclination of the body.
- The dancer in motion is in unstable equilibrium, regulating the speed and direction of movement by varying the poise and balance of the body.
- When moving forward the body will be poised in front of the feet, accordingly when moving backwards the body will be poised behind the feet.
- The main function of the feet and arms is to support the body rather than move it. The actual movement being set up, regulated and directed by the balance and sway of the body.
- Having attained control of movement the dancer should then learn to time the movements and phase them according to the music, to blend them into one continuous movement without halts or hesitations and finally to be in concert with the other dancers.
- As the movements of the figures in a dance are a translation in terms of body movement and the music, the dancer must learn/be aware of the tune, if necessary anticipating the music at the start of a figure to ensure arriving at the appointed place and completing the figure at the end of a phrase of music.
- Therefore, every dancer must always bear in mind not only the form and shape, but also the number and types of steps apportioned to the figure as a whole.
- Thus, when beginning a movement from rest a dancer in some form must prepare by the spring of step and inclination of the body so that the first step in the phrase is strong and positive.
- The dancer must think ahead in relation to what is being done to what is to follow so that each sub-section of a figure passes without hesitation into the next. By not doing so the dancer appears jerky and spasmodic.
- The dancer whilst dancing the common and distinct features of a dance must not only consider their own movements but also relate to and be conscious of the movement of the other dancers in the set.
Finally, the accomplished individual dancer works on three levels to become part of the dance –
Firstly, they have to take in the choreography of the dance – the pattern of the dance.
Secondly, the body has to absorb this knowledge to fit the steps and figures to the pattern and the tune, while interacting with the other dancers. The dancer becomes more experienced and practiced.
Thirdly, the dancer is moving with what seems a natural controlled lilting energy which makes the dancer look effortless and unselfconscious. The harnessing of the dancers energy runs along with the second level.
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