Body space time energy relationship developed

body space time energy relationship developed

Space: refers to the space through which the dancer's body moves (general or Force/Energy: the force applied to dance to accentuate the weight, attack, ( spatial relationships, time relationships, relationship to music, and to each other). The elements of movement are space, time, and force (energy). Relationships: body parts to body parts, individuals to groups, body parts to objects, The brain develops though specific motor activity and must go through a series of. Using different body parts (e.g. head, shoulders, hips, legs, arms etc.) Making body shapes (e.g. balanced/unbalanced; symmetrical/ asymmetrical, curved/.

In the ballet the various steps that lead to the larger movements or poses have, by usage and by their momentum, become common ground upon which the spectator can lead his eyes and his feelings into the resulting action.

body space time energy relationship developed

This also helps define the rhythm, in fact more often than not does define it. In the modern dance, the tendency or the wish has been to get rid of these "unnecessary and balletic" movements, at the same time wanting the same result in the size and vigor of the movement as the balletic action, and this has often left the dancer and the spectator slightly short. To quibble with that on the other side: The word "heavy" connotes something incorrect, since what is meant is not the heaviness of a bag of cement falling, although we've all been spectators of that too, but the heaviness of a living body falling with full intent of eventual rise.

This is not a fetish or a use of heaviness as an accent against a predominately light quality, but a thing in itself. By its nature this kind of moving would make the space seem a series of unconnected spots, along with the lack of clear-connecting movements in the modern dance.

Space, Time and Dance. Merce Cunningham - Observatori espais escènics

A prevalent feeling among many painters that lets them make a space in which anything can happen is a feeling dancers may have too. Imitating the way nature makes a space and puts lots of things in it, heavy and light, little and big, all unrelated, yet each affecting all the others.

About the formal methods of choreography-some due to the conviction that a communication of one order or another is necessary; others to the feeling that mind follows heart, that is, form follows content; some due to the feeling that the musical form is the most logical to follow-the most curious to me is the general feeling in the modern dance that nineteenth-century forms stemming from earlier pre-classical forms are the only formal actions advisable, or even possible to take.

This seems a flat contradiction of the modern dance-agreeing with the thought of discovering new or allegedly new movement for contemporary reasons, the using of psychology as a tremendous elastic basis for content, and wishing to be expressive of the "times" although how can one be expressive of anything else -but not feeling the need for a different basis upon which to put this expression, in fact being mainly content to indicate that either the old forms are good enough, or further that the old forms are the only possible forms.

What is Energy? - Space Time

These consist mainly of theme and variation, and associated devices-repetition, inversion, development, and manipulation. There is also a tendency to imply a crisis to which one goes and then in some way retreats from. Now I can't see that crisis any longer means a climax, unless we are willing to grant that every breath of wind has a climax which I ambut then that obliterates climax, being a surfeit of such.

An Integrated Teaching Of The Dance Elements | Education Closet

And since our lives, both by nature by the newspapers, are so full of crisis that one is no longer aware of it, then it is clear that life goes on regardless, and further that each thing can be and is separate from each other, viz: Climax is for those who are swept by New Year's Eve. By looking at each of those 4 dance elements, you may find some natural points of integration with core content. By teaching the two concepts concurrently you may just deepen student understanding of both dance and the core content area!

For example, dancers contract and release their core muscles to create a curve in the torso just as the heart muscle contracts and releases to circulate the blood through the body.

Axial movement for a dancer keeps the dancer moving in one place. Spinning is an example of axial movement since the dancer keeps one body part connected to the floor a head, hand, back, knee, foot, etc.

body space time energy relationship developed

A connection can be made to the rotation of the earth not only in the movement but in the root of the words axial and axis.

The rotation of the Earth on its axis brings night and day to Earth but does not move the Earth around the sun. The revolution of Earth around the sun would be a locomotor movement.

BEST: An Integrated Teaching of the Elements of Dance

Force and effort also relate easily to science. Students can perform different movements and notice how much force and effort was needed for each.

There are SO many aspects of dance related to space.

body space time energy relationship developed