If you’re constantly trying show off “fresh and new” movement, Abraham explains that you’ve probably lost sight of the intention behind the choreography. Doing so requires a high level of trust and understanding behind the intention of the choreography. In the studio, he directs his dancers to move in conversation with the music, the choreography and the other dancers in the room. Photo by Laura Diffenderfer, courtesy AbrahamĪlong with freedom and authenticity, Abraham also stresses the importance of trust and intention when it comes to musicality. Kyle Abraham rehearsing An Untitled Love with Tamisha A. Are you listening to the music or are you busy counting?” “There are a lot of dancers who love to count,” he says, “but counting does not make you musical, it just makes you good with numbers. I just danced in a way that is, very much to me, what the heart of improvisation is.”Ībraham describes that freedom as coming from listening to the music deeply and reacting authentically. These early experiences with rave culture music shaped Abraham’s artistry, especially when it comes to improvisation: “I was really moving as a form of self-expression in a way that wasn’t about anyone’s approval or anyone telling me what to. I could also dance to the voices if there was singing involved, or I could dance to the melody.” The beats per meter are really fast when it comes to drum and bass and jungle, but I could dance to the bass if I didn’t want to move super-quick. “The thing that I like about drum and bass and soulful house is that there are so many different layers that I could dance and respond to. In fact, the artistic director of A.I.M says he has gravitated towards drum and bass, jungle and soulful house genres in the rave scene.
This chart illustrates basic combinations of the two elements.Though he played many instruments growing up-piano, French horn, cello and a “sad attempt” at the violin, he attributes his approach to musicality mostly to rave culture and social dances. Speed is how quickly or slowly you’re doing the move. Power refers to how much you’re tensing your muscles or how much energy you’re putting behind your moves and when. Two main things to utilize in order to create the “right” textures in dancing are: power and speed.
EXAMPLES OF MUSICALITY IN DANCE HOW TO
Got the feeling of the texture? Great! Now let’s talk mechanics – how to create these textures. That’s how you dance with the texture you imagine.” Then take that thing away, and pretend you’re still touching it. If you are choreographing or learning a piece, then a great way to understand your textures is to visualize! “Pretend you’re touching something. Listen to the music, listen to the counts, and try to match your textures to those. This will tell you how they want you to execute the movement.Ī “ ONE e and a TWO!” is much different from a “one…. When you take a dance class, pay close attention to how the choreographer sings the move. She does this to highlight the differences in sound she is dancing to within the song. Watch how Archie Saquilabon moves in his “Ante Up” piece. Examples of different textures of a piece Let’s take a look at some different textures in dancing. Textures in dancing refers to how the move feels on your body (when you do it) or how the move feels on the eyes (when you watch it). Now let’s take this literal translation of textures to what textures mean in dancing. Textures literally means “the feel, appearance, or consistency of a surface or a substance.”
Do you imagine these things feeling different? You should! That means they have different textures.
So let’s explore what textures in dancing are. Textures also help you depict the right intention and make your piece come to life as a whole. What we do know for sure is that using the right textures in dancing is key in matching your moves to the music. We hear the word textures in dancing all the time, but many of us interpret it differently.
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