Choreography -Dance

 

Choreography is the art of making dances, the gathering and organization of movement into order and pattern. 

The  choreographers, who have been regarded as the authors and owners of their works in a way comparable to writers, composers, and painters.

 

India has 2 major dance forms,  classical and folk dance. The major difference between Classical and Folk dance is the origin.

Classical dance Bharatanatyam  has a deep-rooted relationship with the Natya Shastra where the specific features of each of the Classical dance forms have been mentioned.

Folk dance, on the other hand, emerged from the local tradition of the respective state, ethnic or geographic regions.

 

Choreographers’ motives and methods

The method of choreographers  works depend on their interest, or their impulses or motivations for doing so vary widely.  It may be that a particular dance has a function to fulfill, such as marking a celebration, or praying for rain. 

• The choreographer is simply responding to an outside stimulus—a piece of music that has suggested a structure or movement,  or interest of the choreographer in working with a particular dancer. 
• Or the stimulus may be the choreographer’s desire to express a particular concept or emotion or a fascination with a particular choreographic idea. or  a specific purpose.  

The three-phase in choreographic process

The choreographic process may be divided into three phases:

1.     gathering together the movement material,

2.     developing movements into dance phrases,

3.     and creating the final structure of the work.

 

GATHERING THE MOVEMENT MATERIAL

The  choreographer's work  depends on the tradition in which he or she works. For example, Bharatanatyam. Bharatanatyam contains different types of  'tradition', The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters. The text, describes the theory of Tāṇḍava dance (Shiva), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures—all of which are part of Indian classical dances.

 lasia tandav.

siva tandav 

The same is true for many of Indian dance forms; they may not strictly follow the traditional structure and sequence of movements passed down to them, but they remain faithful to their characteristic styles, retaining the traditional quality of movement and not introducing steps or movements widely different from the original.

hybrid

      DEVELOPING MOVEMENTS INTO PHRASES

A series of movements consider as a phrase. 

A phrase, loosely speaking, is a series of movements bound together by a physical impulse or line of energy and having a discernible beginning and end. Dance phrases vary both in length and shape

dance phrase

The factors work to make the spectator perceive 

1.  The first is the recognition of some kind of logical connection between the movements. Through the one movement flows easily and naturally into another within the phrase with good transitions . 
2.  Rhythm is a significant factor, and a recognizable pattern of movements.
3. Force and duration of a movement; thus, a hard, sharp movement has a strong accent, while a soft movement, has a weak one.                                 A phrase may begin with a very forceful movement, or maximum output of energy, that gradually comes to a pause.   These factors determine the way in  effect that it produces on, the spectator. A phrase has been constructed, the simplest ways  in which the same phrase is simply repeated, and accumulation, in which the original phrase is repeated with a new phrase added on each time.

https://www.youtube.com/watch?v=q4iCQw1AizY

 

CREATING THE FINAL STRUCTURE OF THE WORK

The third phase of the choreographic process, creating the overall structure of the dance. 

The music determines the structure of a dance work, too—by its length, its arrangement of fast and slow movements, and its treatment of theme.

If the work is to be a narrative piece, the plot will obviously determine the way in which the dance material is to be structured. 

It may have to follow a strict succession of events, create characters in a particular order, and bring the  climax at the proper moments. 

Similarly, if the dance forms part of a ritual, the material may have to strictly follow sanctioned form and procedure.

Finally, the structure of a dance reflects the tradition in which it is created and performed. 

 narrative dance

Modern dances are often much shorter, and a single program may include up to a half-dozen phrases.

 https://www.youtube.com/watch?v=JWhA3ldZcyY

   In a performance of the Indian dance form bharata natyam, sections of dramatic and abstract dance follow one another in strict succession for a period lasting up to four and a half hours, 

    while in the kathakali dance form of Kerala, for a single performance of  dance and music may go on for 16 hours.

https://www.youtube.com/watch?v=AwuAUXIZW7Q&ab_channel=Michael41967

 

Dance cinemas

1. Senthamarai (Tamil, 1962)
2. Thillana Mohanambal (Tamil, 1968)
3. Paattum Bharathamum (Tamil, 1975)
4. Sagara Sangamam (Telugu, 1983)
5. Mayuri (Telugu, 1985)
6. Manichitrathazhu (Malayalam, 1993)
7. Sringaram (Tamil, 2007)
8. Kamaladalam (Malayalam, 1992)
9. Kochu Kochu Santhoshangal (Malayal
10. Disco Dancer. © B.Subhash Movie Unit. ..
11. Navrang. © Rajkamal Kala Mandir. ...
12. Rab Ne Bana Di Jodi. © Yash Raj Films. ...
13. Naache Mayuri. © BCCL. ...
14. Aaja Nachle. © Yash Raj Films. ...
15. Dil To Pagal Hai. © Yash Raj Films. ...
16. Chance Pe Dance. © UTV Motion Pictures. ...
17. Naach.

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Dance

Dance

Dance, the movement of the body in a rhythmic way, usually to music and within a given space, for the purpose of expressing an idea or emotion, releasing energy, or simply taking delight in the movement itself. Dance is most commonly defined as a way of human expression through movement. dance can also be defined as a specific art movement, based on the expressive moves of the human body, dance is also much more. A number of theoretical definitions of dance define it as a conscious way of rhythmic movements of the body in a defined bounded space

 

Dance as a nonverbal language

 

The purpose of this anthropology of dance issue is to unfold various meanings and nuances of dance in contemporary societies, with different contributors with different examples from around the (dance) world illustrating how dance can be observed, investigated and theorized in all its variety.

Dance occupies an important place in the social structure of all human cultures throughout history. Cultural conventions partly determine the limits of expression. For example, the classical dance of India has more than 4,000 mudras, or gestures through which the dancer portrays complex actions, emotions, and relationships; these gestures are comprehensible to the audience because they have always been at the centre of Indian life and cultural traditions.

In classical ballet, however, the vocabulary of mimed gesture is quite small and is comprehensible to only a few informed spectators, thus considerably limiting its expressive range. Referring to the practical impossibility of communicating, through dance, the complex plots and relationships between characters .

While dance cannot communicate specific events or ideas, it is a universal language that can communicate emotions directly and sometimes more powerfully than words. The French poet Stéphane Mallarmé declared that the dancer, “writing with her bodyBecause dance movements are closely related to the gestures of ordinary life, the emotions they express can be immediately understood, partly through a visual appreciation of the gesture and partly through a sympathetic kinesthetic response

 

 

From the anthropological point of view, dance can be defined as a cultural practice and as a social ritual, whereby dance is seen as a means of aesthetic pleasure and a means for establishing ties and specific structure in the community.

 

 Dance as a social ritual can be considered in the light of the symbolic aspects of a specific culture and in the light of the processes of identification and differentiation through the meanings that it produces for the individuals in this culture.

 

 Dance always bears a specific meaning, which depends on the social setting in which it appears.

 

a.    For example: if in a particular dance a man turns a woman under his arm, in the literal sense, on the denotative level, this body movement conveys a meaning of a dance turn. But on the broader cultural, connotative level, this movement can talk about male domination and female subordination.

 

b.    In a certain segment of modern Western societies, women’s powerful and enthusiastic movement of hips and buttocks is labelled as obscene, excessive and signifying vulgarity and immorality, but this same movement in some segments of the same society indicates female confidence and self-esteem and serves as a  sign of female liberation and gender equality.

c.    Moreover, this very same hip and buttocks movement in ceremonial ritual dances of some African tribes can bear only the meaning of worship and glorification of woman’s uterus and thus of fertility of female being.

 

 

One argument like that dance as a specific language is a socially-historical phenomenon, dependent on the space and time in which it exists and dependent on the power structures that rule in that time. Dance is a learned cultural practice; Polhemus (1993: 8) says that societies create dances and that dance is actually a ‘metaphysics of culture’, because a culture of specific society is embodied in the forms of material and physical culture, and the latter is also stylized and schematized in the form of dance.

 

  

In the anthropological perspective, dance is dealt with as a cultural practice and a social life. There is much dancing all around the world. People dance for fun, pleasure, leisure, for money, for their jobs, for their self-expression, for the sake of tradition, for ritual purposes etc.

 

As such, dance should be examined as a part of everyday life, whether in Argentina, India, America, England, Jamaica, Senegal, Tanzania, New Zealand, Russia, Turkey, Slovenia or Australia.

 

Beside the presentation of dance in all these geographical contexts, different questions regarding dance in contemporary societies are also opened in this issue. In the context of globalization and some also in the context of the capitalist world market.

 

These dances – nowadays widely socially accepted – were at that time labelled as dances with entirely inappropriate moves, which could impair the morality of British society. In public discourses of that time one could find labels such as ‘degenerated and dirty moves’ or they were even described as ‘‘primitive, barbaric, eccentric and dissolute’’ dances.

 

Eg. Micheal Jackson

 

Regarding urban vernacular movement  in globalised Turkey at the edge of Europe and deals with multicultural issues of how difference is embodied and politicised in bodily movement in the gap between Istanbul’s Islamic and secular cultures.

 

An investigation of a northern Indian traditional dance, Kathak, in the globalised world is done by Sarah Morelli. She examines how the traditions of teaching this dance and the whole philosophy behind it have changed in modern conditions, due to the radical socio-political changes in India as well as due to the transplantation of this dance to America and its popularisation.

 

A similar case study of the transplantation of the Caribbean dances and culture to the British area is done the Caribbean migrants in London identify with music and dance from their Caribbean ‘homeland’. These dance-music practices help them to construct themselves as distinct from a dominant white culture.

 

 In a similar manner, A investigation the transplantation of the global dance culture, salsa, to the local Slovenian context. Their interest lies in examining salsa dance as a tool of interpersonal communication and as a global commodified popular culture when exploring the various social functions that salsa can perform in global, individualized, commercialized and highly competitive contemporary societies.

 

Yet another interesting perspective of contemporary dance practices such as  a new dance genre, flash mob dance, consisting of a collective dance event organized in public spaces through mobile phone and internet communication. She argues that such dance practices experience rapid global spread in consumer capitalism and effectively reconfigure urban spaces and performance sites

http://www.drustvo-antropologov.si/AN/PDF/2010_3/Anthropological_Notebooks_XVI_3_Pusnik.pdf

Basic steps and formations

Ballet and modern dance

The style and movement vocabulary of classical ballet is rooted in the five turned-out positions of the feet:

(1) heels touching and feet forming a straight line;

(2) heels apart and feet forming a straight line;

(3) one foot in front of the other with the heel against the instep;

(4) feet apart, one in front of the other; and

 (5) one foot in front of the other with the heel against the joint of the big toe.

Each ballet position https://www.youtube.com/watch?v=3TLSrI_hXEw&ab_channel=OpusArtehas a corresponding  position of the arms and hands.

 

 

Arabesque and attitude are positions in which the dancer stands on one leg. In arabesque the other leg (called the working leg) is stretched straight out to the back; in attitude, it is bent and may be extended to either the front or the back.

All of these steps may be performed in numerous enchaînements, or combinations, and with the dancers grouped in many different formations. In classical ballet the formations tend to be symmetrical, with circles or lines framing the main dancers at centre stage. 

Modern dance uses many of the steps and positions of classical dance but often in a very different style.

Folk dance

Many of the steps used in folk dance, a term historians use to describe European traditional dances, comprise small hops and skips; running steps; and more energetic Whether single or in pairs, dancers are usually grouped in circles (often two concentric circles moving at the same time) or lines. Within these groupings there are many specific formations; for example, four or more dancers hold hands and move in a circle, or dancers join hands to form an arch under which the others can pass.

Social dance

Except for display, social dances are rarely performed in any strict formation, although dancers may sometimes form themselves spontaneously into lines or circles.  Some of the best-known social dances are the waltz, fox-trot, tango, rumba, samba, and cha-cha.

 

The basic steps of the original rock and roll dances are performed in the traditional ballroom hold. Dancers may then “break” in order to perform different lifts and turns. For example, the man may hold onto the woman’s hand and pivot her under his arm, the woman may jump up with her legs straddling the man’s waist, or the man may catch hold of the woman’s shoulders and slide her between his legs.

 

Michael Somes and George Balanchine.

In most later rock dances, from the twist to disco, it is much rarer for people to dance as partners. There is also a greater stress on free arm and body movements than on set patterns of steps. Disco enthusiasts may incorporate elements of jazz, modern dance, and gymnastics into their repertoire, executing high kicks, turns, and even backflips.

 

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The Elements of Design

 There are a variety of graphic design elements to consider when creating any visual work of art, whether it be for interior design, a logo, an advertisement, or web design. The basic elements of design are:

1.      Color: Color helps establish a mood for your composition. Artists and designers use color to depict and describe the subject. Color is used by designers to portray mood, light, depth, and point of view. Designers use the color wheel and the tenets of color theory—a set of guidelines for mixing, combining, and manipulating colors—to create color schemes.

CColor PALETTES

color story

 

2.      Line: Line refers to the way that two points in space are connected. Whether they’re horizontal lines, diagonal lines, or vertical lines, lines can help direct the eye toward a certain point in your composition. You can also create texture by incorporating different types of lines such as curved or patterned lines instead of just straight lines.

 

3.       3. Value: In design, value refers to the lightness or darkness of a color. The values of a color are often visualized in a gradient, which displays a series of variations on one hue, arranged from the lightest to the darkest. Artists can use the various values of color to create the illusion of mass and volume in their work.

 

4. Space: Making proper use of space can help others view your design as you intended. White space or negative space is the space between or around the focal point of an image. Positive space is the space that your subject matter takes up in your composition. The spacing of your design is important because a layout that’s too crowded can overwhelm the viewer’s eye.

 

5. Shape: In its most basic form, a shape is a two-dimensional area that is surrounded by an outline. Graphic artists can use other elements including line, color, value, and shadow to give a shape the appearance of a three-dimensional shape.

 

1.  There are three types of shapes:
1. organic shapes which occur naturally in the world,
2. geometric shapes which are angular and mathematically consistent, and
3. abstract shapes that represent things in nature but aren’t perfectly representative.

 

6. Form: Form pertains to the way that a shape or physical configuration occupies space. Instead of creating form through three-dimensional physical shape, designers create the appearance of form on a flat surface by using light, shadow, the appearance of an object’s contours, negative space, and the surrounding objects around the subject matter.
7. Texture: Texture is one of the elements of design that is used to represent how an object appears or feels. Tactile texture is a physical sense of touch, whether it’s rough, smooth, or ribbed. Visual texture, on the other hand, refers to the imagined feel of the illustrated texture, which can create more visual interest and a heightened sensory experience.

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The Copy Elements and Their Relationship to the Advertisement-

1.  Advertising is all about communication. It’s about getting people to connect with your product or service at some practical or emotional level

 

The role of copywriters

Copywriting is a mental process the successful execution of which reflects the sum total of all your experiences, your spe[1]cific knowledge and your ability to mentally process that infor[1]mation and transfer it onto a sheet of paper for the purpose of selling a product or service

 Copy writers are the people employed to supply the text – otherwise known as copy – that accompanies the imagery in advertisements by clever way with words, and ability to originate ideas, which give an effective advertising. Copywriters provide an essential element in the creative process. That sounds a bit more dynamic. And picture this – it’s not enough just to be good with words. The most successful copywriters are individuals who are as comfortable with the visual as the verbal. That’s because, in creating advertising material, we’re trying to establish a connection with our various audiences through an influential combination of imagery and words.

 

Copywriting – a strange term for the original wording that copywriters are meant to produce since it suggests we’re simply copying down words.

 

As a copywriter you are meant to have a good command of language and to have developed at least a basic understanding of marketing and consumer psychology. These practical skills not only enable you to come up with effective concepts but also to explain them concisely and precisely for the benefit of account handlers and clients alike

 

1.    Typeface:

This element is really important. Each typeface has its own personality, emotion and legibility. So that it is essential to determine the combination of personality and legibility that will make our ad easy to read and inviting.

 

For instance  Serif type has those little curlicues whereas the other style of type called "sans serif" stay 'without curlicues. Serif type produced greater comprehension than sans serif type.

 

Another important factor is the legibility of all our typefaces in other parts of our ad such as the headline, sub headline and various headings.

 

Fancy type might look elegant to the type designer, but if it can't be read it has no value and finding the words difficult to understand.

 

The most important role a typeface has is to allow the greatest comprehension possible, and the second role, is to convey the image of a company.

 

2. 2.    First Sentence:

Keep our first sentence short, easy to read and compelling enough to cause the reader to read the next sentence.

 

 

3.3.      Second Sentence:

This sentence is almost as important as the first. We've got to maintain interest, so we must also create another sentence with a compelling reason to cause our reader to want to continue. Our only goal is to get the momentum going and create that buying environment.

 

4.    4.  Paragraph Headlines:

 

One of the graphic elements Headlines in a print ad,  are supposed to make the copy look less intimidating, and thus encourage the reader to read all the copy.

 But paragraph headings could introduce material in the paragraph that follows or they could have absolutely nothing to do with the copy underneath or the copy in the entire ad for that matter.

 

 

 The primary purpose of paragraph headings is to get the reader to read the copy by making the copy look less intimidating.

 

A secondary purpose might be to arouse curiosity.

 

5.     5. Paragraph Headines

A rule of thumb here is to explain a complicated product in a very simple way and explain a simple product in a very complex way.

 

The ad illustrates a way to present a simple product in a complicated way. A more complicated product in a very simple way.

 

Example the selling of camera, the advertiser should explained the camera to the customers, in a very simple explanation of what it could do for them. The  ad  should not about the technology inside but focused on the simplicity of the product and its use.

 

By explaining cameras in very simple and basic terms without getting too complicated, it increase the  ease purchase.

 

6.     New Features:

Highlight those features which make your product or service new, unique or novel. Here you are revealing not just the features of the product, but the features that distinguish it from anything else on the market.

 

7.     Technical Explanation:

A technical explanation will build confidence in the prospect. customer like, respect and trust. Buying is indeed a process of trust. The buyer's thought process might be really know our subject and fully understand the product category .

 

 Trust is always enhanced when the seller has become an expert at what he or she is selling. A seller must become an expert on the product in order to talk about it in technical language. people understand until they come to the seminar, they sense that we know what we are talking about."

 

 

8.    8.  Anticipate objections:

This is a very important element to consider when writing copy.

 

9.     9. Resolve objections:

It is advertisers’ opportunity and duty to resolve the objections too. We must be honest and provide alternative solutions or dispel the objections completely.

 A good example of anticipating objections is in that expensive electronic pinball game from Bally Manufacturing. The average consumer would raise the question about service. we resolved it in our ad.

     10. Gender:

Who is the consumer? Male, female or both male and female? Are they female golf players, lady pilots or professional women? Make sure there are no sexual or sexist comments that would offend any group and know your target audience so that you can communicate in their terms.   

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ADVERTISING HEADLINE

A headline is a word or phrase printed in large letters above the advertising message. Headline gives in brief a fair, idea of the contents of the copy. 

A good headline attracts attention and arouses interest. So that the reader would be induced to read the advertisement. 

Normally, the headline finds  the entire copy. Some advertising men believe that 50% to 75% of the performance of an advertisement must be credited to the headline. As people go through a newspaper or a magazine the headline is the only thing that attracts its attention. Thus the headline carriages the heaviest burden of attracting readers to the advertisement. 

 Role of Headline:

A headline plays a significant role in advertise by performing the following important functions :

 a. to attract attention of readers to the ad;

 b. to attract attention of the target consumers easily and quickly and to persuade them to read the whole of the ad; 

c. to create curiosity and interest in the ad;

 d. to make the illustration and the copy more meaningful; 

e. to introduce a unique selling proposition; 

f. to sort out useful ads from useless ads;

g. to serve as the essence of the whole ad copy.

 In the words of David Ogilvy, the advertising guru, “The headline is the most important element in most advertising. It is the telegram, which decides for the reader whether to read the copy”. 

 Essentials of a Good Headline :

1. Original : 

A good headline should be unique and should not be an immitation of any other headline. Originality of headline creates a separate interest in the minds of readers.

 2. Concise : 

A good headline must be brief i.e. it should not have more than 8 to 10 words and should form a maximum of two lines. 

3. Specific : 

The headline should be relevant and appropriate to the copy and illustration. It should convey the advertising message specifically and not vaguely.

4. Provocative : 

A good headline should be forceful enough to induce the readers to go through the copy and the entire advertisement.

 Classification of Headlines 

1. Benefits Headline : Such headlines indicates the benefits of the product or the service advertised. 

2. News Style Headline : It emphasises on the quality, performances, services, advantages of the product list this types, words like „Now‟. „Atleast‟ etc. are added to the headline.

 3. Advice Headline : It advices the customers to purchase a product or avail of a service which will be beneficial to them. e.g. “How to bake better cakes”. 

4. Challenging Type of Headline : This type of headline challenges the customer about the quality service, price, performance etc. Such headlines emphasis on the superiority of the advertisers product.. 

5. Selective Headline : A selective headline is directly appealed to a selected group of customers. It may be specially directed towards children, students, housewives to be used by those selected customers. 

6. Situation Headline : It puts the customer in a situation and enquires whether the prefers to be in such a situation. Such headlines supports the illustration. 

7. Label Headline : A label headline announces not only about the lable of the product but also the selling points. Such headlines are „introducing type‟ or „warning type‟

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