The time signature is 4/4, meaning there are 4 beats per bar. A full pulse note is called a crotchet and a half pulse note is called a quaver.
In this extract, on 'SHH' we do a 'lips are sealed' action with our hands while moving our head in the opposite direction to our hand. This movement lasts half a beat so it has a quaver time value. The 'SHH' happens in the second beat of the bar (in the second half of the second beat, as it only has a half pulse/quaver time value)
Task Two
The time signature of this extract is 4/4 meaning there are 4 beats in each bar. At bar 118, the time signature is still the same as in bar 110 however the tempo has decreased, creating significant contrast. This use of contrast is important because the song goes from being angry and sassy to more melancholic and desperate in this section.
Our dancing in this section greatly contrasts our dancing for the rest of the song. In this section, our movements are sustained, elongated and smooth. They are also slow and on the beat, contrasting the upbeat syncopation in some of our other sections including the dance break. The rest of the song is confident, sassy and fast.
Task Three - The relationship between movement and lyrics in SIX.
"Henry sent me a poem all about my green sleeves"- Six
Here I gesture to my hand and move my other hand up my arm with directly links to the lyric "sleeves"
"Someone who don't own a wedding ring" - No Way
Here I point to my wedding ring finger which links to "wedding ring"
"We're free to take our crowning glory"- Six
The hand pointing straight up above my head resembles a crown and therefore links to the lyric.
"So you read a bible verse" - No Way
Here I mimic reading a book which links to the lyric about reading a bible verse.
"Set in motion the C of E" - Don't Lose Your Head
By doing a praying motion with my hands, the movement links to the lyric about the Church of England as it depicts religion.
"Paid the price with a swordsman's swing" - The One You've Been Waiting For.
By moving my hand across my neck, it mimics a beheading, which is what is meant by "swordsman's swing"
Direct correlation between movement and lyric adds more emotional and personal connection to the dance and is a key feature of jazz dance and musical theatre, especially as jazz dance is known for its expression and its combining of music and movement.
The relationship between movement and lyrics in the work of professional choreographers.
"Roll my stockings down" - All That Jazz - Chicago, Bob Fosse
"I'm gonna get up, I'm gonna get out" - There's gotta be something better than this - Sweet Charity, Bob Fosse
"Then you sway it to the left and you sway it to the right" - Ballin' the Jack - For Me and My Gal, Gene Kelly
Level One: My future development plan begins with completing my current course Level 3 Cambridge Technical Extended Diploma in Performing Arts with a grade D*D*D*. I will continue to participate in performance events both inside and outside of my Cambridge Technical course to enhance and develop my physical skills, versatility, and confidence. I will complete work experience this summer in the Edinburgh Fringe with Captivate Theatre to gain experience and knowledge about working in the industry, alongside taking part in Captivate Theatre’s summer school each July to prepare myself for the intensive and full-on nature of the performance industry, as well as to establish a good network of connections in the industry and meet like-minded people. I will continue attending WEMT school in London every Sunday and partake in singing, acting, ballet, contemporary, and jazz classes as well as beginning the tap classes to allow me to increase my versatility as a dancer. I will keep up to da
Swinging Sequence This exercise develops balance, strength and coordination. Our arms and legs must work in a cohesive way, while maintaining a controlled balance and support our bodies using strength in our legs, arms and core. I think I was successful at allowing the arms and legs to coordinate nicely and therefore maintaining a smooth swinging motion using momentum. To improve, I’d like to use gravity to fuel my movements even more and fully give in to its force, as using and giving in to gravity is a key element of contemporary dance. I’d also like to experiment more with supporting my body with my arms and becoming more confident in my arm strength. This sequence develops many contemporary skills, such as floor work, giving in to gravity, and the transferring of weight. Floorwork Swinging Sequence This exercise helps to develop flexibility and strength. It develops and improves flexibility in the hips and the legs and requires good core strength and control. I think I was fai
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