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Creating a mindset for meaningful manifestation

Updated on April 7, 2016

In movement creation, ones perspective before creating any visual aesthetic movement beholds a process that incorporates both physical and mental experience. In researching previously molded works, you allow yourself to influence the choosing of which method you will use in manifesting your imagined product. Researching certain motives previous choreographers developed in their own experiences creates a new world that you can begin exploring on your own, so that you in turn can ultimately define your intellects reason for choosing such movement. In the process of conveying meaning, the choreographer embodies various roles on various levels of consciousness such as the practitioner; giving corrections to the dancers that they once found useful, or perhaps the role of a general leader; correlating present emotion and feeling for the dancers to interweave in the movement. Most importantly, the choreographer embodies a general role of a "contemplative critique"; judging each thought-upon idea silently before promoting it to the dancer. In either case, the choreographer in essence acts as both a speaker and guide, willingly overlapping any useful information with choreographic elements that reinforce but do not overcome the piece in eventually revealing itself as a masterpiece. Challenging your own boundaries is the only way to manifest new, genuine ideas that could be sculpted into your liking. It is a skill that applies to everything including simple everyday life; thinking before doing, and only doing if it benefits the majority in a positive, efficient method. Furthermore, the direct relationship to linguistics and culture influence a choreographer’s need and want to choreograph the piece in a particular way. Deidre Sklar states that “Movement knowledge is a kind of cultural knowledge. To speak of movement as a way of knowing implies that the way people move is as much a clue to who they are as the way they speak”[1].

Moving on, the crafts and skills needed for a successful journey include anything from patience, to an analytical intellect, that could be used as a clarification mechanism especially in post showing seminars where question and answers occur. The emerging choreographer must be able to rediscover previously felt emotions and “renew” them to a point where the once divine ideas become astral ones and astral ones then translate as mental ones; easily attainable, visions used to stitch the piece itself. Such skills can be attained by discovering certain areas that may have not been of importance before; binding yourself to the beauty of architecture, or perhaps nature will define such skills in a unique manor that will allow you to elaborate on during the process of creation. Helen Thomas stated that “The city seems to be a sort of visual space, or a coalescing nervous system, with an electronic memory of its own, remembering the semi conductor footsteps imprinted by humans, reconfiguring itself so rapidly as to almost avoid any “thingness”. True, this collection breathes a kind of fin de siècle mind…”[2] General methodologies are as important as the symbolism embedded within our culture, that will ultimately perpetuate the imaginary wave of arbitrary ideas we choose to select from accordingly while devising our creation.

In conclusion, it is important to take the differing factors into consideration that constitute the role of a choreographer before beginning any creative process, for failure to do so may cause frustration that may infringe upon authenticity of work. Understanding how to begin a creative process; researching, analyzing and separating previously contemplated questions and ideas will distill your thought process in a way that will surly manifest a masterpiece.

Works Cited

[1] Deidre Sklar. "Five Premises for a Culturally Sensitive Approach to Dance." Published in DCA (Dance Critics Association) News, Summer 1991. Web. 27 Apr. 2016. .

[2] By Helen Thomas. "Dance in the City." Ed. Joellen A. Meglin. Dance Research Journal Dance Research Journal (Summer, 2000) 32.1 (Congress on Research in Dance): 138-41. Web. 29 Mar. 2016.

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