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DOES YOUR CHOREOGRAPHY ALWAYS NEED A GIMMICK?

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When we choreograph for our students, particular multiple numbers in the course of a season, it’s easy to rack your brain coming up with concepts for those pieces. While we are often inspired by music, life experiences, various other art forms, people, etc. can also spark inspiration. Because we are also inundated with what we see at competition and on T.V. we might often think that without grand scheme concepts, our pieces are simply not extravagant or creative enough.

This is when we can often start comparing our studio’s pieces to others. One might wonder that without elaborate costumes, sets and props whether or not we stack up. Are our pieces exciting enough? Thought provoking enough? Entertaining enough? The answer is yes. And if thoughtful and done well, become a refreshing change of pace for the audience’s eye.

 I can’t tell you how many times I’ve judged at competition that I’ve seen piece after piece that has incorporated everything except the kitchen sink to try and “be original,” when it has fallen short except for presenting things we have seen a thousand times over from other studios. Now don’t get me wrong, there is a time and place for a strategically used set piece or prop, but it’s not a requirement. There are extraordinary numbers I’ve seen which might seem, “simple,” but have more texture, depth, dimension, nuance and thoughtful choreography than the former.

As a choreographer, sometimes stripping things down to a solid idea with solid technique, original music and choreography can transcend those pieces we’ve seen a million times like the nightmare that comes to life from under the bed, the tape over the mouths to signify silence, the straight jacket prop, the park bench set, etc. etc.

The point being, is this. Don’t get sidetracked from your artistry or what speaks to you. Don’t compare yourselves to what others may or may not be doing. Beautiful movement with a clear intention which is well rehearsed, understood and emoted by your dancers and has an all-around polished presentation will speak volumes to your audiences. It will be memorable. It will move them. Concepts and themes are wonderful because they give our dancers something tangible to grasp onto (especially for younger dancers,) but not every piece requires it. Movement for movement’s sake can bask in beauty too.

So, the next time you feel your, “simple” dance number might not stack up, remember not everyone needs a gimmick 100% of the time. Be versatile, show range and stay true to your choreographic vision!

Good luck,

See you in the dance studio,

Jess

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Author

Jessica Rizzo Stafford

Jessica Rizzo Stafford

Jessica Rizzo Stafford is a native New Yorker and graduate of NYU Steinhardt's Dance Education Master’s Program; with a PK-12 New York State Teaching Certification. Her double-concentration Master’s Degree includes PK-12 pedagogy and dance education within the higher-education discipline. She also holds a BFA in dance performance from the UMASS Amherst 5 College Dance Program where she was a Chancellor's Talent Award recipient. Jess now works extensively with children, adolescents and professionals as choreographer and teacher and conducts national and international master-classes specializing in the genres of modern, contemporary, musical theatre and choreography-composition. Jess’ national and international performance career includes works such as: The National Tour of Guys & Dolls, The European Tour of Grease, West Side Story, Cabaret, Sweet Charity, Salute to Dudley Moore at Carnegie Hall, guest-dancer with the World Famous Pontani Sisters and IMPULSE Modern Dance Company. Jess has been a faculty member for the Perichild Program & Peridance Youth Ensemble & taught contemporary and jazz at the historic New Dance Group and 92nd Street Y in NYC. She was Company Director at the historic Steffi Nossen School of Dance/Dance in Education Fund and in 2008 traveled to Uganda where she taught creative-movement to misplaced children. The experience culminated with Jess being selected as a featured instructor at the Queen's Kampala Ballet & Modern Dance School. She has conducted workshops for the cast of LA REVE at the Wynn, Las Vegas and recently taught at the 2011 IDS International Dance Teacher Conference at The Royal Ballet in London, UK. She is also on faculty for the annual Dance Teacher Web Conferences in Las Vegas, NV. Currently, Jess is a faculty member at the D'Valda & Sirico Dance & Music Centre and master teacher & adjudicator for various national and international dance competitions. Recently, she has finished her NYU Master’s thesis research on the choreographic process of technically advanced adolescent dancers and is the creator of “PROJECT C;” a choreography-composition curriculum for the private studio sector. Jess is also faculty member, contributing writer and presenter in the choreography and “how to” teaching segments on the celebrated danceteacherweb.com. For more info, visit her website at www.jrizzo.net.

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