Technique with Choreography

Years ago, as I finished my Masters degree, I spent a lot of time accompanying dance classes.  At the university dance program where I worked I noticed something in particular. Every day, same teachers, same majors, same feedback, BUT in reverse situations.

Ballet or Cunningham technique class:

“Hold your frame/arms/feet like this and don’t break it.  This isn’t choreography class.  This is technique class.”

Choreography class:

“Break your frame/arms/feet like this and express this more.  This isn’t technique class.  This is choreography class.”

At the end of every semester, classes prepared a performance piece to share at an all-program concert/recital.  Each work was a combination of clean technical and expressive choreographed elements, customized to best tell a story of that class’s work over the semester.  It was fascinating to observe.

Not many years later I encountered “The 6 M’s” by Thomas Burritt, “Make a Musical Motion to Match the Musical Moment” in regards to gesture in percussion performance.

What I learned from the dancers and from Dr. Burritt is so simple:  Technique study teaches you so much about your body, about history, about producing a clean motion, an efficient gesture, a basically good tone or effect.  Choreography, however, tells a story.  It captures the attention and leads the observer.

Choreography is not the opposite of technique, it’s the intentional departure from the technique which enhances the story.  A layer added to the foundation.

Especially in solo and small chamber performance, I’m always challenging myself and my students to execute great tone through their technique.  I’m also challenging them and myself to enhance the music with motion that supports the story.  Adding a layer of meaning doesn’t take away from a layer of execution.  It elevates the whole experience.