My research is about searching for ways to lengthen a dancer’s performing career while using Laban Movement Analysis as the primary tool for research and solution. In defining “career longevity” for this specific research, I am focusing on preventing dance related injuries in order to lengthen the number of years of performing on stage. The average dancer stops performing in their 30’s. Increasing the longevity of movement ability positively correlates with increased performance opportunities and diversity in dance styles. Furthermore, more performance experience will allow the dancer to acquire more information that they can then use to teach, if they so choose to make the transition into education.
Primarily, I compared the differences in …show more content…
Hypermobility in the joints and extensions are idolized in the ballet industry and is the reason why a ballet dancer’s career is typically shorter than other dance industries. Pushing the body out of alignment for aesthetic purposes leads to injury. Body patterning should be the prime focus for the dancer’s movement capacity to succeed functionally, over aesthetic value, which can result in injury. Hypermobility in dancers tend to correlate with lack of strength. For example, hypermobility in the ankle joint can keep the body unstable when balancing on releve. The dancer may compensate by balancing out of alignment and unevenly distribute the weight on the toes, which will create extra stress on the metatarsophalangeal joints. “Gripping” the floor with the toes is also a result of hypermobility in the ankle joint which decreases the surface area to …show more content…
Analyzing Trisha Brown in “Watermotor,” the effort qualities are nearly opposite of classical ballet. There is free flow throughout the duration because shapes continuously pass through to the next. Therefore, there is a constant release in the joints in order for the body to weight shift when transferring from one position to another. Additionally, there is a decreasing pressure, which alleviates the weight in order to shift quickly. However, the dancer is grounded in plie so the distance from the floor is smaller and therefore easier to travel within the space. Quick time is a movement tendency of Brown, no shape is “held” and as a movement is fulfilled, she goes to the next. There is an indirect focus because Brown uses the weight of the head in her choreography, keeping it loose and moving it as frequently as her arms and legs. She sees the space as a whole and does not narrow in at a specific focus. Unlike ballet, experimenting with the head off center allows for head tail
Primarily, I compared the differences in …show more content…
Hypermobility in the joints and extensions are idolized in the ballet industry and is the reason why a ballet dancer’s career is typically shorter than other dance industries. Pushing the body out of alignment for aesthetic purposes leads to injury. Body patterning should be the prime focus for the dancer’s movement capacity to succeed functionally, over aesthetic value, which can result in injury. Hypermobility in dancers tend to correlate with lack of strength. For example, hypermobility in the ankle joint can keep the body unstable when balancing on releve. The dancer may compensate by balancing out of alignment and unevenly distribute the weight on the toes, which will create extra stress on the metatarsophalangeal joints. “Gripping” the floor with the toes is also a result of hypermobility in the ankle joint which decreases the surface area to …show more content…
Analyzing Trisha Brown in “Watermotor,” the effort qualities are nearly opposite of classical ballet. There is free flow throughout the duration because shapes continuously pass through to the next. Therefore, there is a constant release in the joints in order for the body to weight shift when transferring from one position to another. Additionally, there is a decreasing pressure, which alleviates the weight in order to shift quickly. However, the dancer is grounded in plie so the distance from the floor is smaller and therefore easier to travel within the space. Quick time is a movement tendency of Brown, no shape is “held” and as a movement is fulfilled, she goes to the next. There is an indirect focus because Brown uses the weight of the head in her choreography, keeping it loose and moving it as frequently as her arms and legs. She sees the space as a whole and does not narrow in at a specific focus. Unlike ballet, experimenting with the head off center allows for head tail