Learning Expression For Dance

[DancePoet]

Decided again to move a likely tangent from another thread to it's own thread.

Laura wrote over on the Visiting Coaches thread:

It was strange, swan's partner dances at a much much higher technical level than I do but I was still able to help. I focussed on their mental and emotional state rather than the dance technique. Like, I watched what they were doing, and then asked him why he chose to dance certain figures, what his overall aim was, what his thoughts were about the dance, what his feelings were. As we talked about these things I would point out areas where the physical expression of his dancing didn't match up to the picture he said he was trying to create or to the emotions he said he wanted to express in that dance. I would watch swan and see where she was blocking his expression, or could add more of her own to things. I spent basically four days thinking about nothing but dancing -- but it was all in a rather non-technical sense. We talked a lot about how energy flows between the partners and then out into the world, and other rather esoteric topics. It was an inspiring experience for me, because it showed me where the art can come from in this sport. I'm trying to keep the things I discovered from being with them in my mind now that I'm home again and working with my own partner. In fact, I have to leave in a bit to go practice with him and then take a lesson, and I'm really really looking forward to it!

This description of how Laura helped has me very much intriqued. Perhaps I could do this on my own if I had guidance from something to read, but I'm curious as to how Laura learned to do this?

I am working on all kinds of technique stuff, but this other expressive stuff is very interesting to me. I find once I have a grasp of the technique, and attempt to relax through a dance, then I begin to really try to flow with the music and the feelings that come out of it. Yet I feel I have great amounts to learn with both technique and expression.

Also, being very much a bronze level dancer, is it ok to work on the expressive side of dance while still learning the basic techniques?

And if other's have experiences with this feel free to share as well!

 

[Gumby]

This is something I have been thinking about a lot lately - mostly because it tends to be a bit difficult for me. I can be rather self conscious - When I started dancing I was fairly big and while I am not "dancer thin" I am pretty normal sized at the moment. But back then one of my main concerns was looking inappropriate for my size. It's funny I would never judge another large person the same way I did myself but this was ans is a big deal in my head. As you can imagine, this really, really stifiled me. Since I dance smooth expression play an even bigger role than in standard where you can to some degree just hang out (ok all you standard dancers can come over and slap me now!) That makes it a major problem.

My last pro partner was always telling me I needed to come up movements, expressions that felt right to me. However, when I would be working something out in practice he would frequently give me these 'what the h* was that looks" that sent me scurring back under cover.

I've discussed the issue frankly with my current pro and the way we are working on it currently is that who ever does the choreography (him, his partner, our coach) suggests a range of ideas and then I play with them in my solo practice and we eventually we settle on what ever works for us. I like it cause I don't have the pressure of coming up with something on the spot or risk being judged and yet if something new comes out of it I am free to play with it and bring it out in our practice. He's also really great at letting me down easy without making me feel stupid. "I can see why you would want to do that there but . . ."


I think the early you can start incorporating expression in to your dance ther better especially if it doesn't come naturally. However, I think some dancers, perhaps those for whom it does come naturally tend to go too far that direction and sacrifice good technique for expression. This can be easy to do at lower levels where you are still learning basic technique and good expression can to a degree distract from lack of polished technique. In my opinion that is why teachers tend not to worry about teaching it at this level. One of the most dissmissive critics of a dancer I ever heard was "all flash." It showed in their marks too the audience loved them the judges never gave them the time of day.

At your level I wouldn't worry so much about working on it in your class time but give yourself some time to play with your choreography. One thing I do is try to do my routines several times back to back with very different music, a sweet waltz, a sad waltz, a country waltz see what the choreography says to you differently for each piece of music. Some will come more naturally than others so you may even want to try and spend some extra time dancing the music that feels ackward and find your own story in it.

 

[Laura]

Re: Learning Expression

I'm curious as to how Laura learned to do this?

That's the weird thing...I really don't know. I spent seven solid years working on nothing but technique as a Pro/Am, with some low-level amateur stuff sprinkled in that was also basically nothing but technique. In some ways it was killing me, but in other ways it got me to the point I am now where I can start exploring other things in dancing. Regardless, I have eyes, I have a heart, I love music. I don't know, it's all bubbling up out of the entirety of my personal life experiences (music lessons, DJing at raves, taking ballet class, watching ice skating, looking at art in museums around the world, thinking about how the Universe is put together, watching Blackpool tapes, reading about auras and chi and how the universe can be thought of as a giant hologram) -- all kinds of crazy stuff that just makes me "me" all lumped together. Maybe swan can explain better how I got here, as it's often easier for a third party to describe.

Yet I feel I have great amounts to learn with both technique and expression.

Well, I think that's true of pretty much everyone -- even the best people have more to learn, more to develop, it never ends.

Also, being very much a bronze level dancer, is it ok to work on the expressive side of dance while still learning the basic techniques?

I don't see why not, but the issue is do you have the technique yet to support how you want to express yourself?

My partner and I are only dancing at the Gold syllabus level now, but we are slowly going through everything we do and talk about WHY we do it and HOW it feels and how it fits into the music. We talk about phrasing, and mood, and all the reasons why we can think of why we're taught to do something a certain way. We talk pretty constantly while we practice (except when we dance rounds), sharing ideas and insights and asking each other to try different things. We're not to the point where swan and her partner are where they are creating their own dances, that's kind of the goal of all of this. We are still working with the syllabus -- but we're doing what we can with where we're at.

I really don't think it's something one can learn from a book, unless it's a book of mental exercises that make you start asking questions and drawing parallels and finding analogies. Something that gets you past the technical and the conscious thinking and into what happens in your heart and soul when you dance. swan's partner said of the waltz that when he dances it he feels like he's asleep and dreaming, and that his partner is dreaming too and they are dreaming the same dream together. I thought that was so beautiful I nearly started to cry when we were talking about it. So I asked them to dance in a way that showed that. They had to decide for themselves what to do, I couldn't tell them...but the mind is very powerful and so just thinking about some things can make other things happen, and suddenly their waltz became softer and more lanquid, like dandelion fuzz floating on the air. Then I looked at their foxtrot and told them that I thought that if there were no music that people wouldn't be able to tell one dance from the other. So they thought about it and added more sass and sparkle. Again, I couldn't tell them how to do it, they just did it. And later I said to the guy that the dancing looked very good, but that he could substitute any other equally skilled follower for swan and it would still look exactly the same -- what can he do, how can he present her to make the dance special to just him and her -- so that if we put paper bags of their heads we'd still know it was them just by the dancing?

He never actually answered me verbally when I asked these questions, he just would think for a bit and try things, and I would either shake my head that I saw no change or sometimes squeal with delight when I saw something different and new. And no, I'm not talking about choreography, I'm talking about something beyond that. It's so difficult to explain.

I'm sorry I'm not much help here. It all made much more sense when I was together with swan and her partner.

 

[swan]

Well, I'm not sure I'll be able to help much here either. Laura's pretty much described the 'process'. What Laura and I have in common is that we have studied lots of other things, including Chi, energy & yes, I often wonder how the Universe works & how I can put myself more into the flow & experience synchronicity & miracles!

We all have appreciation for music (I was trained as classical pianist since age 4 and often performed when I was younger). Always 'daydreaming' My partner is just very artistically inclined and also loves to perform.

So when the 3 of us got together - well, it was powerful beyond words. In fact, it was beyond words, as my partner didn't speak a word of English and Laura's Chinese was just couple of notches better than his English Laura did study 1 year of Chinese and she put it to good use, I must say.

I could only express that the energy flow among the 3 of us was just buzzing during that few days. My partner was really in tune with Laura in terms of her suggestions. He basically put his entire trust in her which really helped.

When I translated for him her suggestion, he'd just ponder & start experimenting. And all I did was to let go of my control (as I'm actually the technical one between the 2 when it comes to dancing & often I'd be the one who picked on techniques) and just tuned into his wavelength (I just used my intention, like more at the energetic level, nothing technical), and just followed along. I tried to immerse myself into the dream state during the Waltz & it really worked.

I wasn't sure if I described that feeling in another thread, but basically I felt like something was dancing us when the wavelength between the 2 of us was in synch. There were times I could feel that I would be about to go off balance, but something would pick me up & the flow just continued. Afterwards, my partner & I would discuss this, and he had no clue that I was out of balance as he swore he didn't pull or feel anything weird. The flow was just there.

Basically we put all techniques behind us, and all we're focusing on was to tell a story (by listening to the music & express ourselves through our dancing.)

 

[madmaximus]

Another perspective.

One cannot LEARN expression.
We are all BORN with it.
It is fundamental to being human.
It is built-in. Standard equipment.
Factory installed. No extra charges.

What we do learn are the TOOLS to make communication effective.
To me, expression is the act of of communicating emotion or disposition.
As babies we communicate our emotions through crying.
As we get older, we acquire a structure--language (whether spoken, seen, or felt).

Haven't made the connection yet? :?:

Take someone who has a powerful command of language and you will find somebody who can articulate their emotions, their dreams, their passion very well. Poets, painters, and composers come readily to mind. They have mastered their tools well (language, color, and musical structure respectively)--to the point that they become better than you and I at expressing themselves through their chosen medium.

Do you remember when you were learning your ABCs (language structure)? your focus was in learning how to create letters, and then words, then sentences, then paragraphs and so on. And then you eventually learned how to write communicate effortlessly about a variety of things. Laughter, sadness, passion, and so on...

When we first learn dance structure (technique), our focus is simply diverted from communicating what we're feeling--and turned to learning the structure. (That's why some of us feel lost when we're so saturated with technique). The feelings for the music and dance are still there. It is just not expressed. The focus returns as we become more proficient.

The level of expression is dictated by one's technical proficiency.

Powerful expression requires the effortless command of technique.

madmaximus

 

[DancePoet]

This is something I have been thinking about a lot lately - mostly because it tends to be a bit difficult for me. I can be rather self conscious - When I started dancing I was fairly big and while I am not "dancer thin" I am pretty normal sized at the moment. But back then one of my main concerns was looking inappropriate for my size. It's funny I would never judge another large person the same way I did myself but this was and is a big deal in my head. As you can imagine, this really, really stiffiled me. Since I dance smooth, expression plays an even bigger role than in standard where you can to some degree just hang out (ok all you standard dancers can come over and slap me now!) That makes it a major problem.

I know a couple who dances Cha-Cha and Rumba at the bronze level, and despite their size, they have obviously been working on their expression through dance.

My last pro partner was always telling me I needed to come up movements, expressions that felt right to me. However, when I would be working something out in practice he would frequently give me these 'what the h* was that looks" that sent me scurring back under cover.

I've discussed the issue frankly with my current pro and the way we are working on it currently is that who ever does the choreography (him, his partner, our coach) suggests a range of ideas and then I play with them in my solo practice and we eventually we settle on what ever works for us. I like it cause I don't have the pressure of coming up with something on the spot or risk being judged and yet if something new comes out of it I am free to play with it and bring it out in our practice. He's also really great at letting me down easy without making me feel stupid. "I can see why you would want to do that there but ..."

Sounds like your style may not have meshed well with the previous pro?

Also, I like how the new process sounds like it is working. When I was working on my first performance with an am partner last summer and into the fall, the pattern of steps was choreographed by an instructor, but the start and finished were mostly choreographed by me. I would listen to the piece of music, imagine what might be possible on a dance floor, bring the idea to a lesson, and then see work through trying to get the idea to jell.

I think the earlier you can start incorporating expression in to your dance then better, especially if it doesn't come naturally. However, I think some dancers, perhaps those for whom it does come naturally tend to go too far that direction and sacrifice good technique for expression. This can be easy to do at lower levels where you are still learning basic technique and good expression can to a degree distract from lack of polished technique. In my opinion that is why teachers tend not to worry about teaching it at this level. One of the most dissmissive critics of a dancer I ever heard was "all flash." It showed in their marks too the audience loved them the judges never gave them the time of day.

This sounds reasonable. I feel like the focus of the lessons should certainly be learning technique and moving on to more advanced patterns since this is what the judges will certainly look at first. Since I came to dance for it's social side and to express feelings through movement to music, it will be difficult for me to not spend some time on this. Perhaps expression can be occasionally worked on in practice, and perhaps even naturally expressed through remaining relaxed as I move through the technique on a competition floor.

At your level I wouldn't worry so much about working on it in your class time but give yourself some time to play with your choreography. One thing I do is try to do my routines several times back to back with very different music, a sweet waltz, a sad waltz, a country waltz see what the choreography says to you differently for each piece of music. Some will come more naturally than others so you may even want to try and spend some extra time dancing the music that feels awkward and find your own story in it.

I really like these ideas!

My partner and I have the luxury of practicing to a wide variety of music throught the computer setup that our studio has. We move through the a selection of pieces at one practice, and then a different set the next time. We were doing this to get familiar with songs we might here at a comp. I plan sharing your ideas, too.

 

[DancePoet]

Re: Learning Expression

I'm curious as to how Laura learned to do this?

That's the weird thing...I really don't know. I spent seven solid years working on nothing but technique as a Pro/Am, with some low-level amateur stuff sprinkled in that was also basically nothing but technique. In some ways it was killing me, but in other ways it got me to the point I am now where I can start exploring other things in dancing. Regardless, I have eyes, I have a heart, I love music. I don't know, it's all bubbling up out of the entirety of my personal life experiences (music lessons, DJing at raves, taking ballet class, watching ice skating, looking at art in museums around the world, thinking about how the Universe is put together, watching Blackpool tapes, reading about auras and chi and how the universe can be thought of as a giant hologram) -- all kinds of crazy stuff that just makes me "me" all lumped together. Maybe swan can explain better how I got here, as it's often easier for a third party to describe.

So it sounds like a grounding in technique really helped. And then the broad spectrum of other experiences combined and shaped to form the expression of feelings founded on top of the technique. 8)

Also, being very much a bronze level dancer, is it ok to work on the expressive side of dance while still learning the basic techniques?

I don't see why not, but the issue is do you have the technique yet to support how you want to express yourself?

My partner and I are only dancing at the Gold syllabus level now, but we are slowly going through everything we do and talk about WHY we do it and HOW it feels and how it fits into the music. We talk about phrasing, and mood, and all the reasons why we can think of why we're taught to do something a certain way. We talk pretty constantly while we practice (except when we dance rounds), sharing ideas and insights and asking each other to try different things. We're not to the point where swan and her partner are where they are creating their own dances, that's kind of the goal of all of this. We are still working with the syllabus -- but we're doing what we can with where we're at.

Most of the discussion that goes on between my partner and I revolves around getting the technique correct enough so that the dancing feels smooth, like it flows with less effort then when our technique is off. We talk constantly and this has developed naturally without anyone showing us what to do. It's nice to hear what you are doing Laura with your partner, and it does seem more advanced then what my partner and I are capable of at this point. The ideas you have shared motivate me further to improve so I can get to this level, too. Thank you! This is really huge!

I really don't think it's something one can learn from a book, unless it's a book of mental exercises that make you start asking questions and drawing parallels and finding analogies. Something that gets you past the technical and the conscious thinking and into what happens in your heart and soul when you dance. swan's partner said of the waltz that when he dances it he feels like he's asleep and dreaming, and that his partner is dreaming too and they are dreaming the same dream together. I thought that was so beautiful I nearly started to cry when we were talking about it. So I asked them to dance in a way that showed that. They had to decide for themselves what to do, I couldn't tell them...but the mind is very powerful and so just thinking about some things can make other things happen, and suddenly their waltz became softer and more lanquid, like dandelion fuzz floating on the air. Then I looked at their foxtrot and told them that I thought that if there were no music that people wouldn't be able to tell one dance from the other. So they thought about it and added more sass and sparkle. Again, I couldn't tell them how to do it, they just did it. And later I said to the guy that the dancing looked very good, but that he could substitute any other equally skilled follower for swan and it would still look exactly the same -- what can he do, how can he present her to make the dance special to just him and her -- so that if we put paper bags of their heads we'd still know it was them just by the dancing?

He never actually answered me verbally when I asked these questions, he just would think for a bit and try things, and I would either shake my head that I saw no change or sometimes squeal with delight when I saw something different and new. And no, I'm not talking about choreography, I'm talking about something beyond that. It's so difficult to explain.

I'm sorry I'm not much help here. It all made much more sense when I was together with swan and her partner.

No, this is totally powerful! I get what's going on here, even from your desciption. I am so psyched! I can not wait to share this with my partner!

:bouncy:

When I did a practice comp with my partner this past weekend, another couple was complimented by the judge on their tango really looking like tango. That if they turned off the music you could tell they were dancing tango. I totally get this! You have really inspired me! :notworth:

 

[DancePoet]

Well, I'm not sure I'll be able to help much here either. Laura's pretty much described the 'process'. What Laura and I have in common is that we have studied lots of other things, including Chi, energy & yes, I often wonder how the Universe works & how I can put myself more into the flow & experience synchronicity & miracles!

We all have appreciation for music (I was trained as classical pianist since age 4 and often performed when I was younger).
Always 'daydreaming' My partner is just very artistically inclined and also loves to perform.

This had me pondering my own background in music. As far back as I can recall my father always played music, and one of my grandfathers did the same till his dieing day. When he couldn't see anymore, he still had emotion through the music of old tapes and records, which is probably where my father got his liking of music. My mother's willingness to permit boys to share feelings as much as a girl has also had a strong effect on my ability to feel the emotions flow from the chemistry of our body. I travel a lot in a vehicle, mostly for work, and I have always spent the drive time listneing to music and expressing the feelings of music through singing. Dance is an extension of all this for me.

So when the 3 of us got together - well, it was powerful beyond words. In fact, it was beyond words, as my partner didn't speak a word of English and Laura's Chinese was just couple of notches better than his English Laura did study 1 year of Chinese and she put it to good use, I must say.

I could only express that the energy flow among the 3 of us was just buzzing during that few days. My partner was really in tune with Laura in terms of her suggestions. He basically put his entire trust in her which really helped.

When I translated for him her suggestion, he'd just ponder & start experimenting. And all I did was to let go of my control (as I'm actually the technical one between the 2 when it comes to dancing & often I'd be the one who picked on techniques) and just tuned into his wavelength (I just used my intention, like more at the energetic level, nothing technical), and just followed along. I tried to immerse myself into the dream state during the Waltz & it really worked.

I wasn't sure if I described that feeling in another thread, but basically I felt like something was dancing us when the wavelength between the 2 of us was in synch. There were times I could feel that I would be about to go off balance, but something would pick me up & the flow just continued. Afterwards, my partner & I would discuss this, and he had no clue that I was out of balance as he swore he didn't pull or feel anything weird. The flow was just there.

Basically we put all techniques behind us, and all we're focusing on was to tell a story (by listening to the music & express ourselves through our dancing.)

This all sounds truelly fabulous! I look forward to a time where I can experience stuff like this!

My motivation has dramatically increased with what has been shared here. Now I need to let it eek out in drips and drabs, and systematically move forward to accomplish my goals to reach this type dancing.

Thank you!

 

[DancePoet]

Another perspective.

One cannot LEARN expression.
We are all BORN with it.
It is fundamental to being human.
It is built-in. Standard equipment.
Factory installed. No extra charges.

Ok ... but this is where my view differs slightly. I would use the word "feeling" here instead of "expression" in that first sentence. I believe feelings are what we are born with, what makes us human, and it is expression of those feelings, the technique of expression that can be learned.

Perhaps technique needs to be divided in two, into the technique of expression and the technique of the physical movement itself?

Or perhaps dance is really all about these techniques combining and flowing together to create the true beauty of the feelings we have inside of us?

Yes, I like this second idea better.

I am on a very high cloud right now as I respond to all these magnificent posts above!

What we do learn are the TOOLS to make communication effective.
To me, expression is the act of of communicating emotion or disposition.
As babies we communicate our emotions through crying.
As we get older, we acquire a structure--language (whether spoken, seen, or felt).

Haven't made the connection yet? :?:

Yes! So there is the mechanics of technique and there is the expression of feelings though technique. I am over joyed to be discovering and shaping these ideas through what you have written.

Take someone who has a powerful command of language and you will find somebody who can articulate their emotions, their dreams, their passion very well. Poets, painters, and composers come readily to mind. They have mastered their tools well (language, color, and musical structure respectively)--to the point that they become better than you and I at expressing themselves through their chosen medium.

Do you remember when you were learning your ABCs (language structure)? your focus was in learning how to create letters, and then words, then sentences, then paragraphs and so on. And then you eventually learned how to write communicate effortlessly about a variety of things. Laughter, sadness, passion, and so on...

When we first learn dance structure (technique), our focus is simply diverted from communicating what we're feeling--and turned to learning the structure. (That's why some of us feel lost when we're so saturated with technique). The feelings for the music and dance are still there. It is just not expressed. The focus returns as we become more proficient.

The level of expression is dictated by one's technical proficiency.

Powerful expression requires the effortless command of technique.

Yes!!!

I need to go practice, before sleep, asap!

 

[Laura]

Or perhaps dance is really all about these techniques combining and flowing together to create the true beauty of the feelings we have inside of us?

Wow, that's beautiful. I think you've got it. One thing I'll add, though: I don't think it's just about the "pretty" feelings. We've got all kinds of feelings -- hurt, heartache, fear, anger -- and you might find those feelings useful too. swan's partner has a lot of melancholy in him. He expresses it so delicately and beautifullyin the waltz, which is exactly where you'd want to see it. I had to get him to chase it out of his foxtrot, which he did.

I guess this sort of thing is what makes dancig so theraputic to some people. All we're doing is taking what people might feel naturally and using it more consciously as a tool. That's part of method acting, I think, and many people will agree that there's a lot of acting going on in dancing!

I am on a very high cloud right now as I respond to all these magnificent posts above!

Wow, I am so happy for you, and happy that you're getting something from this. I'd love to keep talking about these kinds of things as we make more discoveries, so please let us know how things work out for you.

The level of expression is dictated by one's technical proficiency.

Yes, I agree that there is some correlation there. Good point.

I need to go practice, before sleep, asap!

Hahahaha! Or you could do like my partner does, and practice in your sleep. He says he'll fall asleep thinking about dancing, working out how to dance things or going over our choreography. It must be a good thing for him to do, because I swear he learns new amagalmations of patterns faster than anyone I've ever danced with who wasn't already a teacher. I never worry about him forgetting what we were just taught

 

[jon]

To thrown in a contrary opinion to most of this thread, Richard Kear (a high-level WCS competitor, and teacher here in the Bay Area) talks about emotional expression in dancing as primarily being acting, and cites specifics: for example, movements of the hip region are interpreted by viewers as sexual/sensual; movements of the heart/torso region are interpreted as romantic; and movements of the shoulders/head are (hm, spacing on this and can't find his notes, but communicate a more intellectual feel).

I'm with Richard on this. People who go out to perform or compete are not likely to be feeling all those changing emotions, every time. But they can still evoke those emotions in most of their audience, with the right technique.

 

[DancePoet]

Or perhaps dance is really all about these techniques combining and flowing together to create the true beauty of the feelings we have inside of us?

Wow, that's beautiful. I think you've got it. One thing I'll add, though: I don't think it's just about the "pretty" feelings. We've got all kinds of feelings -- hurt, heartache, fear, anger -- and you might find those feelings useful too. swan's partner has a lot of melancholy in him. He expresses it so delicately and beautifullyin the waltz, which is exactly where you'd want to see it. I had to get him to chase it out of his foxtrot, which he did.

Yes, I agree. Our feelings can be angry, fearful, happy, sad, even sexual. This is actually why I really like Tango. It seems to permit a broader spectrum of emotion then say Waltz or Foxtrot. But perhaps I am just not fully exploring the music of the other styles yet.

I guess this sort of thing is what makes dancing so theraputic to some people. All we're doing is taking what people might feel naturally and using it more consciously as a tool. That's part of method acting, I think, and many people will agree that there's a lot of acting going on in dancing!

Exactly. I believe it is an extention of the concious loving principles I read about. It is about letting yourself feel the feelings that are flowing form you mind in a concious manner, and portraying them openly and honestly to the outside world. Actors do this all the time.

I am on a very high cloud right now as I respond to all these magnificent posts above!

Wow, I am so happy for you, and happy that you're getting something from this. I'd love to keep talking about these kinds of things as we make more discoveries, so please let us know how things work out for you.

Yes, my explorations in the expression of feelings through technique will continue even though most of my focus will be on what I have now begun to call the mechanics of technique since I am still working at the bronze levels.

The level of expression is dictated by one's technical proficiency.

Yes, I agree that there is some correlation there. Good point.

This is why I need to continue working on the mechanics of technique so that I can then work more on the expression of feelings.

]

I need to go practice, before sleep, asap!

Hahahaha! Or you could do like my partner does, and practice in your sleep. He says he'll fall asleep thinking about dancing, working out how to dance things or going over our choreography. It must be a good thing for him to do, because I swear he learns new amagalmations of patterns faster than anyone I've ever danced with who wasn't already a teacher. I never worry about him forgetting what we were just taught

I should try this, but I usually find I sleep better if I just relax and role off to sleep rather then placing too much emphasis on anything.

 

[DancePoet]

To throw in a contrary opinion to most of this thread, Richard Kear (a high-level WCS competitor, and teacher here in the Bay Area) talks about emotional expression in dancing as primarily being acting, and cites specifics: for example, movements of the hip region are interpreted by viewers as sexual/sensual; movements of the heart/torso region are interpreted as romantic; and movements of the shoulders/head are (hmmm, spacing on this and can't find his notes, but communicate a more intellectual feel).

I'm with Richard on this. People who go out to perform or compete are not likely to be feeling all those changing emotions, every time. But they can still evoke those emotions in most of their audience, with the right technique.

Interesting perspective, and I believe this could be in line with the discussion here on this thread.

It is the best actors who often tell folks that they act from within, that they let there personal emotions rise to the surface of there body and channel them into their performance. And it is the best of them that can take on different personas through the use of mechanical/physical movement and at the same time express the feelings through the sound from their voice. We dancers have the music expressing feelings through sound, while we express the feelings through motion.

I know, despite my beginner proficiency level of dance, that I have my best moments dancing when I feel my body is smooth and I am letting the music pull my emotions out of me and into the flow of the dance itself.

 

[swan]

I'm with Richard on this. People who go out to perform or compete are not likely to be feeling all those changing emotions, every time. But they can still evoke those emotions in most of their audience, with the right technique.

I beg to differ...I agree one can act & have a good performance & perhaps even portray the characteristics and mood of the dance. Audience may even be stirred up & have a lot of 'oohs & ahs' on the great dancing because of the outstanding techniques.

However, it's those changing feelings from within & it takes the 2 in the partnership to emulate those feelings & the flow in exchange at the same time, that'd create the sparkle on the floor & truly touch the audience. That separates the great or excellent performance from good performance. And to that statement, I do believe any levels may and can experience this exchange of flow between the partnership. I've seen a bronze Rumba performance by a pair of youth dancers. It was just about the most breathtaking performance. Very sensual & I was very touched by it. And no, they did not execute those steps with superb techniques or anything, although very clean footwork & precise timing. It was the pure energy & expression of the couple & the beautiful piece of music they had chosen to express that attracted the audience.

Obviously, you DON'T and WON'T get that on a consistent basis. In fact, you may even get that very far & few in between. Even with the top couples, whether in comps or shows, you'd see this happening. Sometimes there'll be electrifying performance, and sometimes it's just great dancing w/ outstanding techniques & 'pleasing to the eyes'.

 

[tacad]

Decided again to move a likely tangent from another thread to it's own thread.

What? No hijack? :wink:

When I get the time to read this I'll be baack.