Combining ear-training and motion with meter studies:
- The group claps and walks with changing meters, gradually involving
other elements of motion, such as space, form and character of movement.
Each individual develops an improvisation, and creates the design and
character of an individual dance. - By communicating with a partner, the dance can be adapted by the
partner, then combined and later danced by the whole group. - Working out the dance. The initially given musical form of a minuet will
determine the structure and form of the result.
Combining listening with creativity:
- Listening to a piece of music (e.g. by Debussy), naming imaginary
terms associated with the title e.g. Danseuses de Delphes. - Painting while listening
- Improvising with materials, such as textiles or scarves made of a
very light fabric, which could express the flowing lightness, mystic
atmosphere and infinity which is inferred by wholetone modality or chord
scaling - Working on specific elements of the piece, expressing these in small
groups and developing movement compositions. (The choice of the given
materials should match the musical style of the piece. In a Russian dance or
Polonaise, a walking stick or gymnastic baton would be more appropriate to
express the edgy, rhythmic, and accented style)
Combining non-verbal communication with creativity:
- Demonstrating different versions of an imaginative creature and the
way it breathes (as in musical ensembles, breathing is the key to uniformity
and togetherness. - Combining initial ideas with music (new innovative qualities are added
with Respighi's impressionistic, symphonic music Sospiri di Roma,
stimulating the participant's fantasy) - Working out the idea as a movement composition that can be
performed on stage (such a compostion is a creation of the group's
innovative energies, and cannot be compared to modern dance even though
the impression could be imposed by its choreography. It is the result of the
group's work.)
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