CHOREOGRAPHIC FORM IN DANCE & EVALUATING A GOOD DANCE_GROUP 4

Summary

This script delves into the intricacies of choreographic forms in dance, exploring sequential forms like binary, ternary, rondo, and theme and variations. It illustrates these concepts with examples from music and film, emphasizing the importance of structure in dance composition. The discussion also covers contrapuntal and episodic forms, highlighting how they contribute to the narrative and emotional depth of a dance piece. The script concludes with guidelines on evaluating a dance performance, suggesting a three-stage process of description, interpretation, and evaluation to assess the quality and impact of a dance.

Takeaways

• 💃 Choreographic forms are essential in dance composition, providing structure and expression of ideas.
• 🎵 Compositional forms in dance are often inspired by musical forms, including sequential, contrapuntal, episodic, and other forms.
• 🔄 Sequential forms include Binary (A-B), Ternary (A-B-A), Rondo (A-B-A-C-A), and Theme and Variations, each with distinct structural patterns.
• 🎭 Contrapuntal forms involve simultaneous performance of different movement phrases, creating complex interactions.
• 📚 Episodic forms tell a story or convey an idea through connected sections, similar to chapters in a book.
• 🌿 Natural structures in dance mimic patterns found in nature, such as seasons or life cycles, creating organic compositions.
• 🎭 Dance evaluation involves considering the choreographer's style, the dancer's performance, and the audience's reception.
• 📝 Linda Ricketts Young's framework for dance evaluation includes three stages: description, interpretation, and evaluation.
• 👀 Description in dance criticism requires close observation and detailed notation of the dance's elements and characteristics.
• 🤔 Interpretation involves understanding the ideas, content, and style of the dance, appreciating the artistic choices made by the choreographer.
• 🏆 Evaluation of a dance performance considers the effectiveness of the dance's elements, characteristics, and context in portraying the intended message.

Q & A

What are the fundamental compositional forms in dance according to Rickett Young?

The fundamental compositional forms in dance according to Rickett Young are traditional frameworks with set patterns categorized as sequential, contrapuntal, episodic, and other compositional forms.

What is the definition of 'form' in the context of music and dance?

In music and dance, 'form' describes the arrangement and order of musical selections or ideas within a piece. It is the structure that composers use to create a coherent piece of music, and in dance, it influences the shape or organization of a choreographed piece.

Can you explain the A-B binary form in music and dance?

The A-B binary form, also known as two-part form, consists of two contrasting sections: A, which is the beginning section, and B, which is the second section that contrasts with A in tone or quality. This form is often used in music where A represents the verse and B the chorus.

What is the ABA ternary form and how does it relate to dance?

The ABA ternary form is a three-part form where A is the unifying theme, B provides contrast, and A is repeated with the original theme. In dance, this form can be seen where the initial theme is presented, followed by contrasting movements, and then the original theme is restated, possibly with additional details for interest.

How does the ABACA or rondo form differ from other forms?

The ABACA or rondo form is characterized by the repetition of a unifying theme (A) after each contrasting theme (B and C). It is derived from the French word 'rond,' meaning round, and is often used in music and dance to create a sense of returning to a central idea.

What is the theme and variations form in dance, and how does it work?

The theme and variations form in dance involves a basic theme of movements that are repeated throughout the choreography but are modified each time, allowing for changes in dynamics, space, mood, and tempo. The primary thematic melody or movement remains recognizable despite the changes.

What are the contrapuntal forms in dance and how do they differ from sequential forms?

Contrapuntal forms in dance include the ground bass, canon, fugue, and inversion. They differ from sequential forms in that they involve simultaneous performance of different movement phrases or complex combinations of movements, rather than a linear or sequential arrangement.

How does the episodic form in dance convey a story or idea?

Episodic forms in dance, similar to those in literature, tell a story or convey an idea through connected and progressive sections called episodes. The sequence of the story or the episodes determines the structure of the dance, with each section revealing more of the plot and having its own interest and contrast.

What are the stages in assessing a dance performance according to Rickett Young?

According to Rickett Young, the stages in assessing a dance performance include description, interpretation, and evaluation. Description involves noting the elements and characteristics of the dance, interpretation appreciates the ideas and content, and evaluation considers how effectively these have been utilized in the performance.

Why is it important for an evaluator to have a basic understanding of choreography when assessing a dance?

An evaluator needs a basic understanding of choreography to give a sound evaluation and develop a novel appreciation for the art form. This understanding allows them to analyze and appreciate the elements, characteristics, and context of the dance, leading to a more informed and comprehensive assessment.

Outlines

00:00

💃 Understanding Choreographic Forms in Dance

The first paragraph introduces the concept of choreographic forms and their significance in expressing dance ideas. It references Rickett Young's 1996 work, emphasizing the importance of selecting a structure that best conveys the dance's intent. The paragraph outlines various compositional forms such as sequential, contrapuntal, episodic, and others, which are based on common musical forms. Sequential forms are then detailed, including the A-B binary form, ABA ternary form, ABACA rondo form, and theme and variations form. Each form is explained with examples from music, literature, and film, illustrating how they create contrasting sections and maintain unity in a dance piece.

05:02

🎶 Exploring Contrapuntal and Episodic Choreographic Forms

Paragraph two delves into contrapuntal forms, starting with the ground bass where a repeated pattern is performed throughout a dance. It also mentions other forms like canon and inversion, where movement phrases are performed in succession or with variations. The paragraph then transitions to episodic forms, which are more narrative-driven and found in literature, detailing how they are structured through progressive sections or episodes. An example of an episodic form in music, such as 'Für Elise' by Beethoven, is given to illustrate the concept. The paragraph also touches on other compositional forms like natural structures and collage, which draw inspiration from life experiences and create a single dance from unrelated movement phrases.

10:11

🌿 Natural and Chance Compositional Forms in Dance

The third paragraph discusses natural and chance compositional forms in dance. Natural structures are inspired by the seasons, life cycles, and everyday experiences, creating organic dance structures by organizing elements of art. Chance forms, on the other hand, involve random order and arrangement, such as using coins to decide the sequence of dance phrases. This paragraph also mentions the importance of transitions and the overall balance in maintaining the continuity of a dance piece. An example of a chance compositional form is given, where the order of performance changes each time, resulting in a different appearance of the dance.

15:13

👀 Evaluating the Quality of Dance Performances

Paragraph four focuses on the evaluation of dance performances from the perspectives of choreographers, dancers, and audiences. It highlights that a dance's success depends on the appreciation and understanding of these groups. The paragraph references Linda Wackenfuss Young's 1996 work, which categorizes evaluation rules for choreographers, dancers, and audiences. Choreographers evaluate based on the development of personal style, dancers on the performance demands, and audiences on the context of the dance. The paragraph stresses the need for evaluators to have a basic understanding and knowledge of choreography to give sound evaluations and develop an appreciation for dance as an art form.

20:17

📝 Stages in Assessing and Critiquing Dance

The final paragraph discusses the stages involved in assessing and critiquing dance, as suggested by Linda Wackenfuss Young in 1996. It outlines three stages: description, interpretation, and evaluation. Description involves close observation and noting the elements and characteristics of a dance. Interpretation requires an appreciation of the dance's ideas, content, image, and style. Evaluation considers the effectiveness of the dance's features, elements, and context in the performance. The paragraph emphasizes the importance of detailed observation, research, and understanding to evaluate and analyze a dance effectively.

Keywords

💡Choreographic Forms

Choreographic forms refer to the structural patterns used in dance composition. They are the blueprints that choreographers follow to create a cohesive and expressive dance piece. In the video, various forms such as sequential, contrapuntal, and episodic are discussed, each with its own set of characteristics and examples. These forms are fundamental to understanding how a dance is constructed and how it conveys its narrative or theme.

💡Binary Form

The binary form, also known as the A-B form, is a common musical and choreographic structure where two contrasting sections are presented. In dance, this might mean a verse (A) followed by a contrasting chorus (B). The video uses the example of a Christmas song to illustrate this form, where the 'dashing through the snow' part represents the A section, and 'jingle bells' is the B section, creating a clear contrast in tone and movement.

💡Ternary Form

Ternary form, or A-B-A form, is a three-part structure where the first and last sections are similar, with a contrasting middle section. This form is used in the video to describe a dance structure where the beginning and end sections (A) bookend a contrasting middle section (B), providing a sense of unity and closure. An example given is the nursery rhyme 'Twinkle Twinkle Little Star,' where the A section is repeated with variations in the B section.

💡Rondo Form

Rondo form, or A-B-A-C-A form, is characterized by the recurring theme (A) that alternates with contrasting episodes (B, C, etc.). This form is likened to a circular journey, as mentioned in the video, where the unifying theme returns multiple times. It is used to create a sense of familiarity and structure in a dance piece, with each contrasting section offering new elements or variations.

💡Theme and Variations

The theme and variations form involves a basic theme that is repeated and modified throughout a composition. In dance, this could mean a set of movements that are altered in dynamics, tempo, or style while maintaining the core identity of the theme. The video uses the analogy of different types of bread to illustrate how variations can be introduced while still recognizing the underlying theme.

💡Contrapuntal Forms

Contrapuntal forms in dance involve the interplay of multiple independent melodic lines or movement phrases that are performed simultaneously. The video discusses forms such as the ground bass, canon, and fugue, where dancers may perform the same movement at different times or in different combinations, creating a complex and layered effect.

💡Episodic Forms

Episodic forms are not based on music but rather on a narrative structure, where a story is told through a series of connected sections or 'episodes.' The video explains that these forms are more akin to literature or film, where each section contributes to the overall narrative. In dance, this could mean a series of scenes that together tell a story or convey an idea.

💡Natural Structures

Natural structures in dance composition are inspired by the natural world, such as the changing of seasons or life cycles. The video suggests that these structures can be used to create a dance that, while it may not follow a traditional musical form, still has a logical and organic progression. This form is about capturing the essence of natural phenomena through movement.

💡Collage

In the context of the video, a collage refers to a compositional form where various unrelated elements are brought together to create a single piece. This can be seen in dance where different movement phrases or styles are combined to form a cohesive whole. The video uses the example of a collage in visual art, where different materials are assembled to create a new piece, to illustrate this concept in dance.

💡Chance

Chance, as discussed in the video, is a compositional technique where elements are arranged randomly or by chance. This can be applied to dance by having dancers perform movements in a random order, creating a unique and unpredictable performance each time. The video mentions that this form can lead to innovative and unexpected outcomes, challenging traditional notions of dance composition.

💡Evaluation of Dance

The evaluation of dance involves assessing the quality and effectiveness of a dance performance. The video outlines a three-stage process for dance critics: description, interpretation, and evaluation. This process requires a deep understanding of the elements of dance, the ability to appreciate the artistic intent, and the skill to provide constructive criticism. The video emphasizes the importance of this evaluation in recognizing the artistry and technical prowess of dancers.

Highlights

Choreographic forms are essential for expressing dance ideas.

Compositional forms in dance are based on common musical forms.

Sequential forms include binary, ternary, rondo, and theme and variations.

Binary form consists of two contrasting sections, A and B.

Ternary form features a unifying theme with contrasting middle section.

Rondo form has a recurring theme interspersed with contrasting sections.

Theme and variations form involves a basic theme with subsequent alterations.

Contrapuntal forms include canon, fugue, and other complex musical structures.

Episodic forms tell a story through connected sections or episodes.

Natural structures in dance mimic patterns found in nature and everyday life.

Collage composition involves assembling different forms, materials, and sources.

Simultaneous forms have different movement phrases performed by various dancers.

Chance forms are created by random order and arrangement of dance elements.

Evaluating a dance involves considering the choreographer's, dancer's, and audience's perspectives.

Three stages of dance criticism include description, interpretation, and evaluation.

Description in dance criticism requires close observation of elements and characteristics.

Interpretation involves understanding the ideas, content, and style of the dance.

Evaluation considers how effectively the dance elements are utilized in performance.

Transcripts

good day this is group four and the

topic that was given to us is about

choreographic forms and dance and

evaluating a good dance

so we'll start by discussing the

choreographic forms and decks

what are the various choreographic forms

in dance according to rickett young of

1996

selecting the structure which press

which best expresses the dance idea is

fundamental compositional forms are

traditional frameworks which have a set

patterns categorized as sequential

contrapuntal episodic and other

compositional form the shape of a dance

or a piece of choreography is based on

common musical forms

so what is a form

form describes the way the musical

selections or ideas are arranged and

ordered in a piece of music it's how

composers write why composers write

composers want to create a certain form

of music

form and music is also called structure

without it music would not make any

sense at all it would simply be a note

on the page

so under sequential forms there are four

forms

the a b two part form or binary form

aba three-part form or ternary form

abaca or run the form and last is the

theme and variations form

so starting with the a b two-part form

or binary form it has two contrasting

sections consisting of a beginning

section which is the a followed by a

second section which is the b

this section contains elements that

contrast in tone or quality such as

slide and dark eugen tiny love and hate

from the word itself binary by means two

so there are two different sections

there are two sections the a and the b

the b portion is frequently in

opposition to the a section

they are musically different which is

why we have a and b

when you hear a sudden switch in a music

it is the verse as the a section and the

b as the chorus section

you'll hear two different sections and

your movement will be different as well

for example in a christmas song

dashing through the snow and went horse

open sleigh

all the fields we go

laughing all the way

jingle bells jingle bells jingle all the

way

all fans we all know that song so we

have the verse as the a section and then

the chorus as the b section

next if we are to relate it into a movie

in the 2008 film the dark knight

featuring batman and the joker if you

use the binary form batman would be a a

and the joker would be the b

without the presence of the joker a

b-section a batman or the a-section will

appear uncool the joker or the b section

is there to create excitement and make

batman appear more heroic to the public

next

aba three-part form or ternary form a is

the unifying theme

and the center of interest then b

gives contrast and a it is the statement

of the original theme

next

this form is made by repeating the first

section which is the a

the second section again contrast or

differ from the first section and the

final repetition of the a can be exactly

the same as the first or it can have

some extra detail to make it more

interesting for example this is a

nursery song

twinkle twinkle little star how i wonder

what you are up above the world so high

like a diamond in the sky twinkle

twinkle little star how i wonder what

you are

so there's an a

b and a a is a unifying team b

uh it gives contrast or it differs from

the unifying theme and then we have the

a again the repetition of the a it can

be exactly the same or it can have

some extra detail

for it to sound more interesting to the

public

next uh this is a example of a form

in architecture a is a unifying team b

is

it differs it is a different type of

suction

but they are together

and then a the

repetition of the unifying theme

a b a c a or run the form in this form

the unifying theme a returns after each

contrasting theme

a appears after every contrasting

section at least three times but it can

itself be boring so in here the abaca

we have three

repetition of the unifying theme and our

contrasting theme here is the b and the

c

so

the term is derived from the french word

ron which means round and refers to the

repetition of the chorus

brownness is equality often repeated

forms because when we travel in a circle

we usually end up back to where we

started which is essentially what the

musical form of ronda is all about

one of the best known examples of ronda

is far elise by beth owen

next and definitely not the least is the

theme and variations form the theme is a

series of movements to which variations

are added throughout the development of

the entire choreography

the order of the movements is kept the

same all throughout the variations it

can take the form of subtle adjustments

in dynamics

space mood and tempo

the last form composers generally begin

with the basic themes with a and then

repeat it multiple times throughout but

the theme is modified and worried in

some ways each time

the primary thematic melody is still

present the theme should still be

recognizable

while being changed in some ways

so here is an example the theme

the variation one variation dawn

variation three we have a

plain bread a caramel bread a whole

grain bread and a chocolate bread

the theme between them is that they are

all bread

they are all bread but they are

different bread

[Music]

some common musical changes that

composers make to change the theme to us

to add texture and excitement to the

main theme or that they change the

rhythms change the time signatures speed

things up slow things down change

harmonies add harmony down change

harmonies add harmonies change the

throne and change the texture but the

main theme

remains the same

example of this is the 12 variations on

the bows their ij mammon

by mozart's

that's it take note that while most of

these forms include opposing elements

the suction should be comparable enough

to fit the overall tone of the dance

furthermore skill transitions between

sections are required to keep the dance

unity and

continuity

now that is all about the forms under

the sequential forms we have the a b two

part form or the binary form the aba

three part form or ternary form the

abaca or run the form and then lastly is

the theme

and variations

good day form

i am jamaica jeremista and i am going to

report you all about contrapuntal forms

there are four contrapuntal forms of

jacks first is the ground pass

singleton starts the dance absorpting

all the way through the times where

allocating things are

simultaneously performed with it

the repeated tip can be performed by a

group where a soloist or a smaller bro

then says the other thing with more

complex

combinations of moments

in

[Music]

consists of two or more movement phrases

or a thing in which the movement

princess is limited exactly and

completely by the successive

[Music]

[Music]

[Music]

[Music]

[Music]

[Music]

form that is constructed by adding on

different movement or dance phrases on

every repetition of the

theme

so the movement process or the motive

can be developed by reversing

media pablo

[Music]

[Music]

the last is

salt

every section of the dance beginning

middle and end use different temples so

my

[Music]

balance

[Music]

an example is for dance

that was unkind uh examples

is

like

[Music]

[Music]

my report is the continuation of

choreographic form in dance number three

which is episodic form

episodic forms

are not musical forms instead they are

found in literature detail a story

through connected and progressive

sections called episodes narrative form

is an episodic form that tells a story

or conveys an idea

the sequence of the story determines the

structures of the dance

as in all good so popular each section

or chapter reveals more of the plot and

has its own interest

variation and contrast classical volume

of hindus is this from rickett young

1996.

episodic means that by the world episode

it's not focused in musical but it's

more on episodes or by chapter i know

nowadays some people love watching key

dramas or reading wet bad that's why the

world's episode is familiar to us

other composition forms

a natural structures mostly come from

natural structures such as the seasons

life cycles and everyday life's

experience all these present switch

materials for organic dance structures b

bloods consist of a series of movement

places that

are often unrelated but have been

brought together to create a single

dance with a beginning a middle and in

the end

the overall from remains all even though

the content may be illogical

natural structures the term composition

means putting together it can be thought

of as the organization of the elements

of

art according to the principles of art

compositions can be applied to any work

of art from music through writing and

photography that is arranged

using conscious thought

a collage is mutual representation made

from an assembly of different forms

materials and sources creating a new

wall

accolades

may include newspaper clippings ribbons

bits of color or handmade papers

versions of other artwork photographs

and such glue

to a solid support of canvas

different movement prices are performed

by different dancers

simultaneously in the same space the

dancers may execute achievement at a

different location on the stage and

connect transitional movement for each

sense the produce operation evolving

snapchats

the chance the movement prices are

performed in random order and dispatch

increasing every time the dance is

performed it is done in different order

and the four has a different appearance

originally the dance process were

arranged

by two strong coins to decide on choices

and the order of performance things

coming from the world by chance

tabloid means it helps people see

and understand

database our visual analytic platform is

transforming the way people use data to

solve problems see why organizations of

all sides trust tabloids to help them be

more data driven

chance

compositional forms binary or ev a

compositional form with a theme and a b

theme the binary form consists of two

distinct self-contained sections that

share either a character or quality i.e

the same thing for movement quality or

style

evaluating a good dance how is the

quality of the dance evaluated

the success of any dance performance

will depend on the

appreciation and the importance of dance

comes from the points of view of the

yoga pair the dancer or the audience

these people are one who would be able

to analyze

understand and appreciate the purpure

months

um according to linda wreckage young

1996 the evaluators are rules are

categorized as

first

choreographers

so choreographers they will evaluate a

partner of an ongoing process of

developing a personal style which is

both spontaneous and organized

so

partners

next is dancers

they will evaluate according to the

specific demands at the performance

places on tim

so

um

a perform ankanilang paksa yao

then number three is audience

they will evaluate according to the

particular context of the dance

um

[Music]

[Music]

in order to transfer evaluation and

appreciation in dance the evaluator must

have a basic understanding and knowledge

of the elements and characteristic of

choreography

they must be knowledgeable enough in

order for them to give sound evaluation

and develop

a novel appreciation in any work of arts

or composition

dapatsilang mai sabatna kalamanupang

magapagbigay

mahosayna

it takes serious thoughts and practice

to be able to evaluate in a form of

artistic composition as well as requires

immense

skill in writing a critic

[Music]

1996 suggested three stage

is three stages in a dance critic for

the critic follow

namely description

interpretation and evaluation so

immediately

[Music]

and the topic that i will be discussing

is the stages in assessing dance

so first we need to know the objective

of this report so our objective is to

know how to evaluate and analyze a good

dance and to get that we need to follow

the three stages in assessing a dance so

first is description

it involves close observation of all

elements characteristics and component

of a dance here the evaluator or the

critic notes down the composition of the

dance in terms of the elements and the

characteristics of dance

it is where you as an evaluator or

critic needs to focus on the small

details of the dance you need to take

notes those import important details

example the variation unity space

time transition and many more

this will help you analyze the dance

easily

so second is

interpretation it involves an

appreciation of ideas content image and

style contained within the dance

so as you as an evaluator you need to

conduct research about the different

types

of dance

and be appreciative

an example

an example in a is quan

an example lag as an evaluator that post

communication and you can perform is

hip-hop

even

evaluator

evaluation

takes into consideration how effectively

the features

elements characteristics

and the context of the dance have been

utilized in the actual performance of

the dancers to portray the context and

the quality of the dance

in this stage

you will finalize the result of your

evaluation considering how the performer

execute the dance

so i'm gonna

thank you

you