"Le Sacre du Printemps"...Pina Bausch

For people who visit SERVINGCHOREO regularly, a common theme of "variety" is apparent. I believe that hip hop choreographers and dancers need to open their minds and expose themselves to the world of movement that exists outside the video and commercial mentality. Instead of "diluting" your quality, this process of cross-polination will actually make your hip hop journey resonate more fully with authenticity and artistry. I also believe that it is important for street choreographers and dancers to be given respect and academic inquiry. This is also an integral aspect to the SERVINGCHOREO mission. To this end, today we look at Pina Bausch. Although, this master choreographer passed away last year, her work is still dynamic and alive. Exploding from the intersection of classical theater and modern dance, her work pulses with a visceral drive and is a perfect mirror of human experience. Her work lives in a suspended state of dance-theater, where it is just as much about the dance technique as it is about internal motivation and story. When you watch this clip, you will feel as though you are watching something as dramatic as Downton Abbey or Walking Dead, and yet all the relationships are expressed through impeccable dancing. And who doesn't love a good thriller movie? You will notice that once you start watching, you will get sucked in, and before you know it, the video will abruptly end...something akin to the suspenseful cliffhanger ending to your favorite weekly episodic TV program.


MUSICALITY: When Stravinsky wrote the score for "Rite of Spring" audiences were outraged, as it did not conform to the musical structures and habits of that time. However, the strident and discordant timbre of his orchestral vision correlates perfectly to the anxious tension that circulates through this piece. Pina understands this uneasiness and plays it to maximum effect. Watch the disturbed crescendo at (1:34-1:40) as the dancer raises her arms and the ensemble melts into the dirt. Again, at (2:55-3:12) the music and movement simultaneously build in chaotic intensity until the abrupt halt, when all the dancers shift their focus to the red silk. I love how the most powerful musical moment (3:45-3:56) is matched by the unison force of the group moving together as one. In a strange allusion, I am reminded of Janet Jackson's "Rhythm Nation" video, where the group makes a similarly unified statement of strength and solidarity.

DANCER SYNC: It goes without saying that Pina's choreographic choices are always unique and surprising. However, they are never created from a place of gimmickry or populism. When Pina made her shows, she would spend countless hours with her dancers, researching the internal motivation and psychological impetus for the "moves." It was never sufficient for her to include a step, simply because "it looked good" or was "a catchy trick." Every moment needed to be justified with the question "why?" Why are they whipping their hair to the sky? Why are they covering their faces? Why are they kicking to the side with a bent leg? All these questions have already been answered internally by Pina and her company. It is left to the audience to cypher the solution to her mysterious quandary, by using their intuition and sensory receptors.

AUDIENCE ENGAGEMENT: The narrative arc for Pina's material is marvelously balanced. She clearly demonstrates her ability to hook the audience and keep them wanting more by gradually turning up the heat and raising the stakes. First, she introduces the idea of purity versus rubbish, higher calling a banal tendencies. Suddenly, at 5:05 the masculine energy invades the picture and ups the ante considerably. I encourage you to watch the concluding second half of this piece and observe how the drama unfolds. Everyone will watch this work and interpret it differently, and yet, no one can see these bodies in motion and not recognize some aspect of human nature.

KUDOS to Pina for translating the experience of life into a visual, tactile masterpiece of motion.

"Lois Lane"...Keone Madrid

Good art is authentic and vulnerable, like an actor who pours his heart out on stage and allows us to see humanity in all its gritty detail. Think about the difference between an over-produced pop tune and ANYTHING that was recorded by Etta James or Nina Simone. The artist who is BRAVE enough to show us the personal highs and lows of life, is the artist we are drawn to and compelled to watch. Interestingly, hip hop artists who are true to themselves, also find their capacity for genuine confession and confidence with the audience. In this clip, Keone Madrid brilliantly expresses his love for the woman of his life, extolling her virtues and praising her qualities. This is a far cry from the swag and bravado that is typically associated with hip hop battle culture, but it is just as legitimate...because it is REAL.


MUSICALITY: For the purposes of this blog, the word "musicality" implies a broad definition, a range of inspiration that extends from a simple heartbeat or breath, to full blown orchestral production with gospel choir...and everything in between. Poetry is spoken word that abides to meter, has rhythm...and by extension, musicality. The opening prelude is a fantastic example of the collaboration between the spoken word and physical movement. The manner in which the dancers embody the words (0:24-0:32) and create pictures that augment what we are hearing, is as "musical" as is gets! Another highly musical component of Keone's work, lies in his ability to hear staccato AND legato phrasing in the SAME line of music. Legato notes are held and sustained, while staccato notes are sharp and short...when you watch (3:13-3:29) you will notice one group of dancers following the legato phrasing of the held chords of the keyboard, while another group simultaneously mirrors the staccato tempo of Robin Thicke's vocal line. This kind of musical juxtaposition engenders a sort of visual compliment that works for our ears, as well as our eyes.

DANCER SYNC: Generally speaking, one of the great contributions that hip hop has had on the evolution of contemporary dance, is the notion of "groove" or "funk." Often, you will hear hip hop choreographers talking about "being in the pocket of the beat" or "putting some stank on it." These are synonymous ways of saying that the movement is generated internally, deep within the human soul. Similar to the way traditional African and Native American dancers work themselves into trance-like frenzy around a fire, the hip hop tradition is also intrinsically connected to the root of all movement...the beating of your heart. Moments such as (2:16-2:19) where Keone channels a James Brown shuffle step or (2:28-2:30) where we see the incorporation of a latin basic, show that Keone has a mature understanding that the dance needs to be grounded in the groove, or it will fail. Many choreographers "over-season" their work with a flood of steps and tricks, forgetting that the groove or "pocket" is the basis for everything else.

AUDIENCE ENGAGEMENT: There are a couple of elements that Keone uses to his advantage. The first is silence. Notice how the dancers simply hold their space for over 30 sec (0:39-1:12). For most dancers, whose lives are spent is constant motion...this could feel like eternity. But Keone is intentionally imbuing the piece with tension, realizing that this engaged, pregnant stillness brings the audience to the edge of their seat and piques their interest. The second element that we can observe, is "group isolation." In jazz dance, when we talk about "isolations," we are talking about the ability to move different body parts, while keeping the rest of the body still. However, Keone expands this concept to the entire group, where different members hold their positions. At (3:02-3:12) Keone starts with the group moving in unison, and then demonstrates this idea of "group isolation." Lastly, in terms of holistic composition, Keone taps into the power of repetition. Learning how to use repetition effectively is an important hallmark of mature, quality choreographers. Notice how the solo phrase (1:38-1:49) is brought back in its entirety at (4:29-4:39) but as group moment. All of these compositional elements serve to engage the audience and maintain full viewer participation.

P.S. As a additional bonus, I particularly liked the homage to the Superman "logo reveal" when Clark Kent peels off his pedestrian disguise, and shows his true identity...(3:54-4:02)

KUDOS to Keone for creating a touching, sensitive tribute and simultaneously displaying superb choreographic choices.

"Someone Like You"...Melanie Mah

"Just make good art"...I find myself constantly imploring my students to adhere to this maxim for success in choreography. And yet, many would say that it is much easier said than done. I agree that mastery of technique and skillful use of choreographic tools is important, but when it comes to making "good art," nothing trumps honesty and vulnerability. There is a phrase in stagecraft that says "personal is universal"...in other words, if you allow the audience to see the most intimate corners of your psyche, they will vicariously relate your experience to their own. This creates a moment of magical empathy with the viewer and consequently produces good, truthful art. Melanie Mah is a fearless choreographer, who has the courage to be completely open about the pain, hesitation, frustration, and uncertainty of relationship dynamics. Much like Apple computer products, she is an artist who values design and executes a simple concept with sharp precision and authenticity.


MUSICALITY: There are a number of key moments in this piece that work so brilliantly, I find that they are etched in the forefront of my recollection. Watch how Melanie accurately conveys the longing for attention and recognition (2:01-2:09) using simple head gestures. This synchronicity of movement and music creates a palpable tension between the woman, who is begging her partner just to look her in the face, pleading for him to connect with her eye to eye. In terms of accent and rhythm, Melanie has a natural sensibility in bringing longs and shorts to life. At (2:53-2:58) she creates distinct pictures on the words "this" and "would"...but then allows the movement to languidly melt to the ground on "taste." Finally, the moment at 3:58 may be the most effective image of "hurt" I have ever seen in a dance...the male dancer's hand may as well be a hot branding iron, burning the back of her arm. Simply stunning.

DANCER SYNC: The partnering phrases, as well as the unison group sections, have a fluid cohesiveness that every choreographer should aspire to. Too many times, in an effort to be "original" or "inventive," a novice choreographer will overcompensate and create phrases that are awkward and messy. Melanie keeps the vocabulary fairly traditional, but then executes it with perfection. The unison sequence at (3:27-3:40) is gorgeous flowing example of logical choreographic choices, which allow the dancers to move through their full range of motion and explore the music deeply.

AUDIENCE ENGAGEMENT: At the beginning of this post, I talked about the idea of universality. If an artist creates material that is a genuine reflection of their life and perspective, the audience will find the pieces within the work that apply to their own experience. The first time I saw (3:23-3:26) I literally felt my heart sink for this girl. The "hurt" that she is able to convey with her body, falling into her man, and then struggling to stand, is a raw and unaffected take on the emotions "real" people feel in moments of hopeless desperation. I also love the way, Melanie took the time to "set the stage," by assiduously and efficiently creating the characters and establishing the relationship. The little preamble that occurs in the reality of Starbucks, serves to make the internal monologue of the dance that much more effective.

KUDOS to Melanie for demonstrating the "Apple Principle"...take something simple, do it really well and produce a good, sharp product that people can embrace and relate to.

"The Last Goodbye"...Isis Masoud

Mainstream media is particularly adept at categorization and association. "Pink is the new black" or "hip hop is about bling and video babes" are two examples of broad generalizations that actually hold little validity when you dig deeper into the subject matter. Pole dancing, is a excellent example of this urge to classify and stereotype. Despite the fact that pole dancing has a long and dignified history in Chinese and Indian culture (practiced by men and women alike), in the United States, there has been a tendency to sexualize the art form and project a "dirty taboo" onto a genre that requires a tremendous degree of legitimate skill and strength. Isis Masoud is a contemporary choreographer who seeks to enlighten people's perception of pole dancing, and bring attention to the unique possibilities that the vertical element provides


MUSICALITY: According to game theory, whenever you change the rules of a game, your approach and strategy must change relative to the new landscape. For a choreographer, adding the element of a new apparatus ought to inspire a broad range of creative, innovative options. Some choreographers are able to fully explore the opportunities that a new prop affords...and some are not. Fortunately for us, Isis provides an excellent example of a dance that explores this new element completely. Whether its the ability to create circular movement phrases in mid-air or the unique perspective that the pole brings to certain body lines, Isis' use of the pole allows us to see her choreography in ways we are not accustomed to. Similar to the way one feels when walking on a glass window at the top of a skyscraper, looking down through a glass bottom to the street hundreds of feet below...when we see an attitude line or arabesque suddenly suspended above us, free of gravitational constraints, it is a thrilling new experience. On a similar note, the opening phrase from (0:03-0:06) is such a simple, fetal position...yet the chance to see it rotate in motion is breathtaking.

DANCER SYNC: For a performance that is required to defy gravity, the continuous flow of momentum and energy becomes paramount. Looking at (0:40-0:44), Isis creates a logical kinetic flow that begins in a ronde jambe, into a straddle rotation, and resolves in a spiral wrap. This kind of "dynamic logic" is often lost on amateur choreographers, who become so enchanted by a "cool move" or "sick move" that they forget the flow. A good movement phrase ought to animate the dancer with fluidity and logic, never choppy or disjointed. Interestingly, a good choreographer can ALSO create the ILLUSION of chaotic, incongruent movement...while still forming a phrase that makes kinetic sense to the dancer who is asked to dance it. Watch the extended moment from (1:08-1:27) to get a feeling for just how adept Isis is at creating phrases that flow with unbroken continuity...literally a physical, visceral, stream of consciousness. Also, it is wonderful to note, that at the end the video, Isis shares the choreographer credit with her dancers, Marlo and Kyle...this type of generosity and humility is not often seen in the dance world and ought to be recognized!

AUDIENCE ENGAGEMENT: As I noted before, the ability of a choreographer to fully explore a new medium is paramount to the resulting success. As a viewer, I found myself immediately drawn into the story and pictures that Isis creates with the pole. Moreover, I became so throughly invested in the movement and emotional arc that eventually the "pole" seemed to disappear. Call it willing suspension of disbelief, but I began to see the dancers simply levitating and rolling through midair. I imagine it being something akin to seeing ballerinas en pointe for the first time. The skill and technique of the choreographer and dancer, creates an "impossible," yet immersive dream that draws you in and entrances you.

KUDOS to Isis for taking hold of this vertical medium and allowing us to reconsider and appreciate "pole dancing" through her choreographic, artistic filter.

"Amsterdam"...Daniel Robinson

Recently, I have been asked why I have not featured such distinguished choreographers as Mark Morris, Paul Taylor, or Martha Graham. While I have utmost respect for these legends, their work exists primarily on stage, where is is best appreciated live and in person. The purpose of SERVING CHOREO, is to highlight the exemplary work of choreographers who are creating art and content online. The degree to which a choreographer is successful in translating their work from stage to YouTube screen varies considerably from person to person. However, there are some individuals who have boldly embraced this new frontier and sought to choreograph SPECIFICALLY for online appreciation. Daniel Robinson, is one such innovator. As opposed to using the internet as a marketing tool for real world performance, his choreography is intentionally formatted to be enjoyed via small screen. For him, the decision to turn a dance piece into a video project is not a secondary afterthought, but instead, an integral component of his creative process from the outset. Daniel's work is a fantastic demonstration of a choreographer making full use of the online potential for creative perspective, inventive editing, and dynamic pacing. He is a TRUE "videographer" (video-choreographer) since he not only choreographs, but also films, edits, and masters the resulting video content.


MUSICALITY: I had the opportunity to speak with Daniel about his creative process. With regard to musicality, he mentioned that "the music for a dancer is like the map - so it affects the movement of the dancer. I like to use many different kinds of music to get a range of movement quality. During the shoot we constantly discussed the story and where the character was coming from. It was a very collaborative process." Also, when using the camera as a tool for choreography, the ability to edit musically becomes paramount. If you watch carefully from (2:18-2:24) you will realize how precise Daniel edits the imagery of his movement. We see the dancer literally crippling under the weight of being "pushed to the ground." Similarly, the body is seen wrapping the pipe, like a serpentine ribbon, on the word "around."

DANCER SYNC: I am always looking for opportunities to highlight choreographers who have healthy communication with their dancers. Some choreographers are simply beastly when they make certain demands, which compromise the dancer's safety and well-being. Daniel, however, is just the opposite...actively engaging the dancer to find a solution that works in the body as well as the camera. He told me, that their process was a mix of suggestion on Daniel's part, and improvisation on the part of Josh (the dancer). Daniel said, "thankfully Josh lives in the world of improv, so you say an idea, feeling, or image and he's two steps ahead. He never judged anything or second guessed himself - it was purely forward and fearless. He's a true master. When I film and choreograph my dance films I like to let the dancer know they are un-judged and can make no mistake in front of me or the lens." This idea of "there-is-no-wrong" during the creation process is wonderfully empowering to the dancer and allows them to truly invest themselves in the choreography. (On a related side note, I recently came across another video where Justin Bieber's back-up dancers created an impromptu site specific piece in an airport terminal during a flight delay, LOL, dancers are the luckiest folks alive)

AUDIENCE ENGAGEMENT: For the audience, it is always thrilling to see the banal aspects of life, filtered through a brand new perspective. Site specific choreography is one of the easiest ways to achieve this effect. Site specific choreography is created to exist only in a certain place and is generated through research and interpretation of the site’s unique cultural matrix of characteristics and topographies, whether architectural, historical, social and/or environmental; discovering the hidden meaning in a space and developing methods to amplify it. To this end, Daniel succeeds brilliantly. He mentioned that when he is choreographing for a filmed project "there is more freedom and you find yourself taking more risks with ideas and images. In my experience when choreographing a staged piece and then filming it - I fall in love with things from the front and fear going anywhere beyond." When I asked him about choosing to film on the roof, he said that he tends "to film many pieces on roofs, since the views and images are always so delicious. When editing a live performance, it can get monotonous. I like the not knowing of what you'll see. The roof is a magical place." When you watch the piece at (1:13-1:19) you can see an unbroken movement phrase from two different perspectives. The first is in the dancer's vicinity, while the second is from a far, framed by the raw materials of the environment. This shift in perspectives creates a sort of energetic heartbeat that compels the piece forward. Daniel also understands the key element of motivation. All of the images in the film exist for a reason. And whether or not the audience can articulate why they feel the movement is justified, they know subconsciously that it is rooted in reality. To ensure that film is authentic, Daniel studies "story formulas constantly. I am a very big believer in the western story structure. Then the choreographer's eye comes in on the places in between. The movement must communicate quietly with a point of view. The lens never lies. I love them both - dance and film. Perfect Match."

KUDOS to Daniel for embracing the digital medium, not as an extension of the choreographic process, but as a fundamental component of the work, from start to finish. For more info on Daniel's work, please visit DANIEL'S WEBSITE

"Whistling Spider"...Rhapsody James

Hip Hop, as a genre, is currently moving into new, unexplored territory. When the hip hop community was born in the late 70's, it was a subculture that served as an artistic conduit for struggling urban youth, giving them credibility and self-esteem. By the 90's, corporations and media moguls had realized the vast commercial potential that hip hop possessed on the mainstream market, and sought to maximize profits from this street credible revenue stream. But today, a growing number of hip hop artists/choreographers/musicians are looking to elevate the genre beyond a simplistic marketing gimmick. Because hip hop, at its essence, is about artistic expression. Rhapsody James, understands the history, the community, and the economics of the art form...but she also understands the need for purity in expression. As a hip hop choreographer, she seeks to use her choreography as a tool to transcend people's perception of hip hop simply being a vehicle for selling records/fashion/movies. Instead, she is actively exploring hip hop's capacity for creating mood, changing attitudes, and making it accessible to the widest audience possible.


MUSICALITY: In this excerpt, Rhapsody focuses heavily on the amplified clap effects of beats 3 and 7. While this rhythmic pattern is relatively common within hip hop loops, her interpretation of this auditory cue is fascinating. Early in the piece, she introduces a full body hop (1:27-1:28). This subtle image is wonderfully effective in suggesting an insect-like quality to the movement. Furthermore, sometimes she extends this idea by utilizing sequential quarter note runs prior to the accented hits. For example, she might do six, small isolated gestures on beats 1-6 followed by the concrete strength of beat 7. Watch the phrase from (2:05-2:11) to see this technique clearly on display. This is a fantastic demonstration of choreography reflecting (and expanding) the musical structure of the track.

DANCER SYNC: I have spoken to a number of dancers who have worked with Rhapsody, and one of the most consistent things I hear in regard to her work is the notion of synchronicity. Synchronicity is the ability to create movement that "fits" the dancer and feels good to dance. Rhapsody, is a strong believer in the philosophy that EVERY body can dance. She is one of the most inclusive choreographers I know, and seeks to inspire movement in all dancers, regardless of body type, weight, size or shape. She is truly interested in finding the choreography that highlights unique individuality. Notice how she incorporates the natural long and lean physicality of the first dancer's arms and legs to compliment the opening string section. Also, watch how the unison moments work for ALL the dancers, and no one looks out of place or made to look uncomfortable. Even though the dancers are of different shapes and sizes, each dancer is able to dig into the movement with ferocity and attack the phrase with equal intensity.

AUDIENCE ENGAGEMENT: Many people have seen modern or contemporary dance pieces and scratched their heads in bewilderment, saying to themselves, "I just don't get it." On the other hand, hip hop has often become so populist that it leaves nothing to the imagination and becomes almost cheesy and formulaic. However, Rhapsody is a master at creating pieces that are accessible to a wide audience, yet are still able to challenge and engage. This is a very difficult and delicate balance to achieve, and yet she makes it look easy. Theme and variation is one of the choreographic devices that she uses effectively to create this sweet spot. At (1:39-1:44) she introduces a simple phrase that involves hand placement on the floor. And then at (2:27-2:37) she recapitulates this phrase by building it into a frontal unison moment with all the dancers in a line. However, more than this, by skillfully exploring a concept of "spider" through movement, she is able to create a piece of choreography that is accessible to a wide range of audience members, from novice viewers to seasoned dance connoisseurs. If you need any further proof of this, check out what she does with the idea of "ostrich"

KUDOS to Rhapsody for serving choreo that is inclusive to everyone and excludes no one.

"Hope"...Lionel Hun

While Lionel Hun is not the only choreographer who is currently blending genres, particularly hip hop and contemporary, but I do believe that his genuine, authentic respect for both traditions gives his work a special quality. He is as comfortable in the joint isolation of popping, as he is in the lines and technique of ballet. But I never get the sense that the inclusion of either genre is a gimmick, but rather a true extension of Mr. Hun's interests and legit areas of training. For more info on Mr. Hun's work, please visit http://lionelhun.wix.com/home


MUSICALITY: The finger dexterity that is required to play a clean ascending scale on a piano, is brilliantly transferred to the footwork displayed at (0:25-0:27) and (0:31-0:33). I think that this association between the light agility of digits and the "clumsy" foot, serves to set the tone for the remainder of the piece. We suddenly see the dancer's body as an instrument that is capable of sweeping gestures and finely tuned moments of precision. This is exactly what Lionel proceeds to explore within the musicality of his body. A high caliber musician is able to produce a wide spectrum of sounds and tones from their instrument. Whether it is a staccato note or slurred sostenuto, a choreographer should also be able to translate this range into the movement...and in this regard, Lionel is a master.

DANCER SYNC: A dance solo is a special thing, it is a moment of solitary confession and vulnerability. Actors are asked to perform monologues at auditions so that the panel is able to see their range of internal character building and commitment. For a dancer, the solo SHOULD present the same opportunity for genuine, authentic exploration of the artist's inner workings, musings, and perspective. I think that this is one of the areas where Lionel is exceptionally successful. I have already mentioned his incorporation of various genres and styles, but the solo format in particular allows us to peek into his motivation. At the beginning, we see a powerful glance toward the camera, and in that moment, he reveals his soul as an individual who has seen the devastation in Japan firsthand. This single look, communicates waves of information and puts the rest of the piece into context. In this manner, Lionel creates a framework for the choreography to grow and expand on, leaving the audience to savor the perfect synchronization of body and authentic movement.

AUDIENCE ENGAGEMENT: The setting that Lionel chose to display his work is intriguing. We begin in a pagoda, suspended over an open sea. While beautiful, it is also bleak, desolate and stark. There is an air of empty, hollow hopelessness that hangs over the beginning scenes. As a viewer, this deserted landscape provides the perfect contrast to the beauty of Lionel's choreography. Similar to a solitary seedling that sprouts after the spring thaw, the choreo starts small and nuanced, and then gradually gains in range, tempo and intensity. This slow crescendo ramps up the viewer's interest from start to finish, never allowing for a lapse or lull in their attention.

KUDOS to Lionel for allowing such a personal, vulnerable look into his soul and subsequently creating a truly heartfelt tribute to the tsunami victims. Art has transformative power...and Lionel proves this abundantly.

"Commonality"...Adam Parson

Recently, in discussing the work of Kate Jablonski, I referenced the idea of movement qualities. While Kate's work makes extensive use of PENDULAR and SUSTAINED movement, I thought it would be interesting to feature a non-tap piece that works in the PERCUSSIVE vein. Adam Parson's work is multi-influencial and has its roots in classic jazz, commercial street dance and afro/world rhythms. For this reason, it is fascinating how he is able to translate the vibrant hits of the 1,3,5, and 7 beats into a visual landscape you can identify in the dancers' bodies.


MUSICALITY: Its important to reiterate that percussive movement is either choreo that makes an audible noise (ie tap, stepping, gumboot, irish step, clogging) or any movement that WOULD make a noise if it were to make impact with a surface. So by that definition, it is easy to see why many choreographers forgo the usual 5-6-7-8 style of counting for a more visceral "boom gank crack pow" cueing in class. The onomatopoeia is a much more insightful way to communicate the percussive nature that the choreographer is trying to achieve. This concept is best illustrated at (0:35-0:41) where you see a hand push, three shoulder hits, and an double elbow jab in succession. Each of these movements create a visual approximation of what you are hearing musically.

DANCER SYNC: From a dancer's perspective, any choreographer who can seamlessly construct moments of breath and release into the fabric of the piece, is greatly appreciated. Notice how Adam allows for certain moments where the hips are in an isolated rock (0:42-0:46) or the head ticks with precise subtlety (0:58-1:01) or complete stillness (1:43-1:53). Each of these choreographic choices represent a consideration for the dancers' need to breathe and recover, as well as creating dynamic tension for the audience.

AUDIENCE ENGAGEMENT: Give and take, push and pull, contract and release...if you watch this piece carefully, you will notice how the PERCUSSIVE hits are only effective because they are framed by a smooth, almost sensual context. Adam's work is like an infinite yin yang relationship, every hit is followed by fluidly languid phrase that melts the dancers' bodies, only to awaken to another hit soon after. Yin is the feminine energy that you see between the hard aggressive pops, and the the Yang is masculine, dynamic energy that explodes into the percussive SMACK. Back and forth, the hits ebb and flow, transfixing the audience in a hypnotic loop.

KUDOS to Adam for beautifully demonstrating how non-auditory percussive movement can create tension and then skillfully resolving the sequence through contrasting tone and quality.

"The Motto"...Lando Wilkins

When a choreographer collaborates with a dancer, it is imperative that they both listen to each other. The history of dance provides many examples of choreographers who had a "my way or the highway" mentality. And even if the resulting work is fantastic, most dancers will tell you that working with those types of choreographers is hell. So when dancers are able to work in a situation where the choreographer is open to their interpretation, but also has a focused idea and direction, everybody is happy. Lando Wilkins is a choreographer who understands the dancer's need for collaboration and interpretation, while keeping the big picture cohesive and tight.


MUSICALITY: Drake's groove on this track is deep in the pocket of the beat. So it was important for Lando to choose movements and phrases that could fall into this groove without feeling forced. Listen carefully to the loop and you will hear a distinctive clap on the 3 and the 7 beats. This is the pocket that Lando uses to base all the syncopation and 8th note rhythms. The 3 and the 7 is like a built-in pause, that breaks the flow of the more fluid sequences. Just like a period at the end of a sentence, this structure roots the combination into the ground and helps the dancer feel the drop in every phrase. At (1:04-1:06) you can see how the 3/7 drop is like a bookend for the crip walk section, when you hear the clap, it signals a direction change for the dancer. Another aspect of Lando's choreography that is particularly musical, is his use of repetition in response to repeated lyrical phrases. At 0:55 and at (1:36-1:38) you can see how he uses the repetition of a word to inspire a phrase that looks as if a record is skipping on a single phrase again and again.

DANCER SYNC: A few of the posts on SERVINGCHOREO feature dancer/choreographers who do double duty and perform their own material. When this is the case, the choreo tends to be perfectly tailored to the dancer's body since the choreographer and dancer are one and the same. However, in this video, Lando has stated that his goal was to highlight individual interpretation of his material. Lando says, "Each one of these dancers showed their own take in style to the routine which is what i wanted. If it looks messy to you, so be it, but it is not to be clean, just to showcase various styles. Someone out there will relate to one of these dancers in the way they rock the dance. And that is the purpose of this video." This is not only a very generous attitude for a choreographer to take, but its also the right one. Unfortunately, there are many "choreographers" in the industry who put their egos above a dancer's individual artistic expression...which is a damn shame.

AUDIENCE ENGAGEMENT: Commercial dance(music videos, movies, pop concerts) is built for the camera and has to fit a frame. This is contrasted with concert rep dance which is built for the stage or site specific performance. So when we watch dance that has been composed for the camera, we have to appreciate the architecture of "the shot." This includes the framing, the edits, and the angle perspective. In my opinion, this video demonstrates a great relationship between well-composed choreography and David Moore's cinematography. Note how the zoom effect serves to highlight the repetition I previously mentioned at (1:36-1:38). In this instance, the camera becomes the 6th dancer in the group, playing with the foreground, background, and quarter-angles.

KUDOS to Lando for being a team player...allowing his choreo to be open to dancers' interpretation and fantastic cinematic collaboration!

"Falling"...by Kate Jablonski

Hurricane Sandy has put a damper on my blogging schedule, and I apologize. However, we are back in action and I have decided to feature another piece by Kate Jablonski, but for a very specific reason. I want to use this video to demonstrate a few very important concepts in good choreo construction...and I feel that they are all illustrated here.


MUSICALITY: Choreography that is musically dynamic, always creates contrast and color. But in order to play with differing qualities, a choreographer must know what qualities are at their disposal. Many times I feel as though people who call themselves "choreographers" have little idea as to what ingredients they actually have in their kitchen...and then try to cook something up. The result is bland and boring. But Kate has a great handle on which qualities to use and when. All choreography, whether it is jazz, tap, modern, contemporary, hip hop...is all based on four qualities of movement. You have PERCUSSIVE, VIBRATORY, SUSTAINED, and PENDULAR. All four of these qualities can be easily identified in this video, and this diversity of movement gives the choreography a good deal of dynamic musicality. Vibratory movement is like a guitar string that is plucked and vibrates back and forth, while pendular movement is a swinging motion that is like the weight on a grandfather clock. Look at the sequence from (1:14-1:18) and watch how the vibratory "scribble" resolves nicely into the pendular swings of the next phrase. Or perhaps (2:50-2:55) where the vibratory shakes in the knees transitions to the slow and sustained rise in the hands and fingertips. Percussive movement is motion that makes noise or the act of making noise...look at (0:09-0:11) where you see the body slapping against the ground with hands, elbows, knees and head, or at (0:20-0:22) where the dancers are repetitively hitting the same piano key. With this in mind, watch the video again and observe how Kate goes back and forth from quality to quality, allowing the tone and quality to change with the music.

DANCER SYNC: One of the biggest mistakes that novice choreographers make, is the inclusion of "tricks" for no reason. IF YOU PUT TRICKS INTO A PIECE, YOU MUST BE ABLE TO JUSTIFY "WHY" IT IS THERE. Kate's strength as a choreographer lies in her ability to edit. She adds tricks to the choreography, only when it supports the overall picture of the piece. This makes a lot of sense to the dancer who is asked to dance the piece. If they understand "why" they need to do the round off back handspring full or the 32 count fouette sequence, then it brings a much greater degree of artistic credibility to their performance. At (1:27-1:32) the singer repeats the word "again and again and again and again"...so Kate realized that some sort of cyclical phrase would best bring that idea to life. What does "again and again and again" actually look like when it is DANCED...watch the video and you will see your answer. This is Kate's "WHY."

AUDIENCE ENGAGEMENT: The viewer is by nature a visual creature...so elements that grab the viewer's eye are obviously going to keep them engaged. Kate is a master of constructing choreography on levels. I think that this is one thing that keeps people constantly enraptured by her style. Choreography exists on three basic levels, low, medium and high. Low is typically reserved for floorwork, medium level is for turns and standing phrases, and high level is for jumps, tumbling and releve. Watch at 1:13 and see if you can spot all three levels working simultaneously. And then, at (0:07-0:09) you can see how Kate creates a nice balance between a low phrase and a high phrase. When the viewer sees these two complimentary phrases at the same time, it immediately jumps out as visually engaging.

KUDOS to Kate for demonstrating the basic, fundamental principles of good choreography time and time again.