My Process Creating Dance
There are so many ways to create dance and choreograph. Each has its own strengths and weaknesses. While I was in Australia I had a few questions from friends and peers as to my process, asking for some advice, so I thought I would give an insight as to my approach. Though it can vary my first point is to search for meaning.
The first place that I focus my attention and thought is in developing an idea. I ask the question of myself: what am I trying to express? The best ideas stem from a need or a deep burning desire… When I am quiet and take the time and space to just sit, feel and observe myself, there is often something deep inside of me that wants to see the light. A belief that is important to me or idea or observation that is bursting out of my core. It can be something that I would shout at the rooftops if I was given a chance, a theme that I could sit and talk about for hours. I have an inner need to express it… rather than, oh, that would be a good idea.
Of course there can always be limitations to what one can do. But I see these as a good thing that push creativity rather than stymie it. Sometimes the idea is externally dictated. This means I need to find my own perspective relating to it or a personal interest within the idea. I take this perspective, own it and then explore its meaning.
There can also be certain limitations and criteria due to the commission, dancers, budget, space and or time available to create. The framework is there and it is my desire to always make the most out of what is possible. It’s not to say that I shouldn’t be ambitious or demand more, but to work them to their limits. Though this framework is there, interestingly enough, it rarely affects my development of ideas tangibly.
Sometimes the idea also can be influenced or even constructed from pieces within the framework. Certain people, places, the space to be performed in or a musical track can provide inspiration, but then the end I make sure the idea stands by itself. It can be a curious interaction between two sides that develop both parts, but the idea definitely needs to be set before I move forward. It gives the impulse and direction even when the destination may be unknown. I know what the next step forward is!
Next comes a process of creativity with many questions to be answered. What are the facets of the idea that I find interesting and would like to express? Where and how can I find variation or contrast? Is there a narrative that I am expressing to make my point? Does the narrative make sense? I search for meaning and connection. A lot of the time it comes through association. For instance, drawing mind-maps really help here to get a visual concept and then a story line / piece order. With the mind-map I am starting the process of filling in the details. It is a process of top down work to start with a central point and then expand it and develop it into the minute. This repeats itself several times at different levels. The themes that spring out are connected and broad, subsections of the overarching idea, themselves containing sub-ideas that also have their own details. This can be feelings, conditions of the idea, experiments, pictures, visions in my mind, musical pieces that I feel represent the idea, a form or type of movement (ie. improvisation, clearly choreographed, duet, group mirroring, following…). I collect all are possible parts that I feel express the idea and refine them.
There is also a movement quality that I am searching for that represents the feeling expressed. A natural association with the state and its feel. It is really important that there is an authenticity to the movement, that naturally anyone can perceive the idea simply by observation, due to its coherence and our ability to read body language.
The sequencing or storyline is sometimes preset. Should I have any influence on how it develops, it is an intuitive process. Basically I am looking to take the audience on an emotional adventure where flow and contrast are balanced to create suspense and surprise. All of it must be believable.
It is at this point that I move into the studio and come to movement phrases, musical phrases, floor plans, beginnings and endings. A lot of this is inspired by spontaneity, though it can be preplanned too. As long as the idea behind what is being expressed is strong, allowing creative freedom within the tangible creation usually works well here. It is spontaneous ideas, the desire to play and experiment that works well. I believe that groups and working with the actual dancers can create more than I can alone, so I also bounce ideas off the people I am working with, set them tasks and ask them how they would interpret the phrases of movement. There are many moments that are thrown out or reworked. It is simply a gut feeling and an eye that I have developed for what works and what doesn’t.
In the forefront of what I am doing is to create with meaning. This means that every movement has a purpose, or a text to it. For every movement I ask myself why does the dancer do that? Does it fit with the idea to be expressed? Its reason can be superficial or deep, but having one creates connection and authenticity. By doing this it is allowing depth and connection to what I am trying to say, here filling in the actual minute details. They are always first created in draft form, then over the rehearsal process, developed and perfected.
Yes it is a complex and detailed process and that is the beauty of it. It’s what I am passionate about. I love and enjoy every moment from the inspiration to seeing a performance come to fruition. The depth of thinking and engagement and the effort given is very fulfilling and personally rewarding as I go through this process. If I am creating 1 minute of dance or 60, it is still the same. The only difference is how much I can expand and explore an idea in its presentation (meaning what an audience sees). The background work stays the same.
As I go through my next creation process, I will post snippets of ideas to give examples of what this all means!