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Dance: The Power Of Pauses

December 20, 2015 by Rachel Hellwig

"the opening of my dance" by snickclunk. Licensed under CC Attribution 2.0 Generic.
“the opening of my dance” by snickclunk. Licensed under CC Attribution 2.0 Generic.

by Karen Musey

There is always one thing I’d love to tell dancers while watching competition pieces:

Pauses are powerful. Could you find more in your piece?

Judges watch 2 + minutes of choreography that is often packed to the brim. Feeling the crunch to “fit everything in” and their adrenaline pushing them forward, the dancer is only able to half-finish a movement in order to get to the next in time.

I know dancers want to demonstrate as much as they can and choreographers want to give their dancers challenges they can grow into. I absolutely support you in wanting to grow and be your best self.

But how do pauses affect a piece of choreography’s impact on an audience?

Pauses in choreography allow for the dancer’s expression in a piece to change and evolve. If there are no changes in energy, the choreography can become indecipherable like a run-on sentence: the dancer and audience hold their breath and everyone wonders why they are exhausted after.

Audiences notice the dancer’s interpretation of the peaks and the valleys of the choreography. They feel the inhales and the exhales. They react to the energy dynamic of a go or a stop. The emotional quality and thoughts behind a comma, the excitement of an exclamation mark! The stillness of a period.

To hold space onstage with stillness requires vulnerability. It feels very powerful and creates anticipation. Being onstage with “nothing to do” can feel overly revealing. I will tell you though –

Every piece I’ve watched that won top awards had the dancer(s) commanding powerful pauses in their choreography.

What can you do to find and craft the pauses?

Understand The Intention Behind Your Choreography.

This is an important step whether you are in the process of picking your music, are in the midst of creation, or while perfecting the choreography.

Why was this particular piece of music or theme chosen? Is there an intention to explore a topic, a way of moving, a way of expression? How do you personally relate to the song/theme and how can you grow from it?

What if it is a foreign way of moving, expression or style that you do not yet relate to?

Will taking extra classes help you acquire a clearer competency of the style? Could watching current events or movies that relate to your subject matter give you a better comprehension of the idea? Could you discuss with your teacher/choreographer and peers how you can interpret a more truthful and revealing expression of the piece?

When you relate to and understand the intention behind your choreography, you will be able to break it down and find dynamic through pauses.

"to "freedom" from the prince of egypt soundtrack" by  snickclunk. Licensed under CC Attribution 2.0 Generic.
“to “freedom” from the prince of egypt soundtrack” by
snickclunk. Licensed under CC Attribution 2.0 Generic.

Get Comfortable With Stillness.

Improv is a great way to experiment with pauses. If you improv and can find places to be still, discovering and owning the pauses in your own choreography will be easy and fun!

Choose different pieces of music to improv to that have varied types of pauses. Some may be static and sharp; others might be subtle or lengthy. Having your teacher create artificial pauses by hitting pause while playing the music can also accomplish this (similar to freeze dance, but for improv!). Allow yourself to relax and breathe in whatever shape you have created – feel the architecture of the shape and be open and curious to what thought or expression that shape could be endowed with.

The more you explore different types of pauses, the more you will become creatively curious in how you shape them in your choreography.

Nervous Tension vs Powerfully Creating Space.

What is the difference between tensely holding a pose or feeling the shape of it and breathing into the space around you?

Sometimes tension in poses is beneficial and creates a certain feeling in the piece; other times it stops breath, creates anxiety and uproots the dancer from their connection with the floor. If a dancer tensely holds a pose without breathing and with nervous energy, they often have difficulty easing into the next part of the choreography and have to play catch up.

Knowing exactly how many counts your pause is and how you can continually fill and shape it with energy and breath will keep you grounded, focused and in command of your choreography.

Slow Down.

What if you are already working on a set piece and it is choreographically dense without discernible pauses? Yay! What a great challenge for you.

First, slow your music down to a speed that you can easily complete the steps with. The slower, the better. You can use Garageband or other music programs to quickly adapt the speed of your music. If you articulate your movement at a more workable pace, you will start to notice all the different types of little pauses that can be found in between each phrase of movement.

Then – when you are able to fully commit to and finish your movement with the phrasing in place, you can gradually start to quicken the tempo. You will have developed the coordination and clarity you need for a more defined, polished piece of choreography. The pauses, phrasing and artistry of the piece will be intact, leaving you feeling powerful about the interpretation you want to showcase.

~~~

By taking the time to investigate your choreography early on, you will create the possibility for fantastic performing opportunities down the road. Enjoy the journey


Karen Musey
Karen Musey

Contributor Karen Musey is a dynamic Canadian born, New York based performer,teacher and dance adjudicator. Her training includes study at Canada’s Royal Winnipeg Ballet Professional Division, The Banff Centre, EDGE PAC (LA), Upright Citizen’s Brigade, The Barrow Group, Kimball Studio, Canada’s National Voice Intensive, Comic Strip Live and more.

Karen Musey judges national and regional dance competitions and festivals across the United States and Canada. She was a Director/Choreographer Observership Candidate during the 2011/12 season with Stage Directors and Choreographers Union and has served as a rehearsal director and dance captain for KOBA Family Entertainment. Karen Musey is an ABT® Certified Teacher, who has successfully completed the ABT® Teacher Training Intensive in Pre-Primary through Level 5 of the ABT® National Training Curriculum. She is a U.S. Member of the International Dance Council CID, recognized by UNESCO.

Performing highlights – PHISH at Madison Square Garden; World Premiere of the Canadian Opera Company’s Das Rheingold (Wagner Ring Cycle); National Artist Program Gala for the 2003 Canada Winter Games; for HRH Queen Elizabeth II during the Golden Jubliee Tour; Chicago (Rainbow Stage); comedy short Foreign Exchange (72 Hour Asian American Film Shootout); music videos for The Guards and Malynda Hale; international tours and performances with The Young Americans, J.A.R. Productions and KOBA Family Entertainment; stand up and sketch comedy around New York; Bravo! documentaries, films and more. She is currently co-writing a play. www.karenmusey.com

Filed Under: 4dancers, Competition Tagged With: artistry, ballet competition, choreography, competition, dance competion tips, dance competition advice, improvisation, karen musey, pauses in dance, stillness in dance

Lessons Beyond The Barre

October 13, 2015 by 4dancers

Cara Marie Gary
Cara Marie Gary and Vlada Kysselova embrace after a performance. (Photo courtesy of Cara Marie Gary)

by Cara Marie Gary

In prepping for the theater today, I was reminded of a beloved teacher and started thinking of the insight she’s given me over the years. My earliest memory of her advice was when I was fourteen years old, competing in the VI Serge Lifar International Ballet Competition. It was the first time I had left the United States and traveled without my parents. I was immersed into a new culture and language while being severely jet-lagged from a lengthy flight to Kiev, Ukraine. But most importantly, this was the first time I learned an important lesson from someone I cherish dearly in the dance world. [Read more…]

Filed Under: 4dancers, Career Tagged With: 4dancers, ballet coach, ballet competition, ballet technique, cara marie gary, dancers, joffrey, joffrey ballet, leotard, Serge Lifar International Ballet Competition, sleeping beauty, stage makeup, tights, Vlada Kysselova

The USA International Ballet Competition Reunion Gala

July 10, 2012 by 4dancers

Adrienne Canterna & Rasta Thomas, Photo by Richard Finkelstein

Yesterday we heard from Hannah about the USA IBC and their “Reunion Gala” event coming up in mid-July. We also had Executive Director, Sue Lobrano share a little information with us about this special day…along with some photos.

What is the “Reunion Gala”?

The USA International Ballet Competition (USA IBC) presents a Reunion Gala between competitions bringing back former medal winners for a one-night performance.  Other events are also planned such as a dinner honoring the dancers, master classes taught by some of the dancers and a gala party following the performance.  All are open to the public.

How did the idea for this first come about?

The USA IBC takes place once every four years.  The idea of a gala in between competitions came about to keep the USA IBC in the public’s view.  It also provides jobs for our dancers.

Brooklyn Mack, Photo by Richard Finkelstein

What are some of the highlights of the gala? 

To me the highlights are what I talked about in question #1.  Parties to enjoy and mingle with the dancers , master classes taught by some of the participating dancers, but the real highlight is to  see these dancers once again after they have begun their careers.

Every four years the USA IBC brings the dance world to Jackson, MS for two extraordinary weeks of stunning performances by gifted dancers from around the globe.  The not to be missed Reunion Gala brings former IBC medalists together for one night of exciting, explosive dance.

4dancers also reached out to Carla Wall, IBC Board Member and long-time volunteer. Carla has been around since 1979, and she shared some of her thoughts on the event:

“For those who have attended IBC performances in the past, it brings back the thrill of seeing these superb dancers perform at the top of their game.  For those attending for the first time, the Reunion Gala is a perfect time to experience the artistry of some of the ballet world’s most recognized stars.  

 One of my favorite dancers of all the IBC competitions is Jose Carreno. He wowed the audience from the first time he stepped onto the stage in 1990 and was the  winner of the prestigious Grand Prix award that year. Carreno went on to become principal dancer with American Ballet Theater. He retired from that role last summer. It is a special privilege  to see him dance at this year’s Reunion Gala.”

Learn more about the Reunion Gala, find out who is performing, or purchase tickets here.

Filed Under: 4dancers Tagged With: american ballet theatre, ballet competition, jose carreno, reunion gala, sue lobrano, usa ibc

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