In Part 2, I established that although dancing takes advantage of natural associations between sound and movement, each dance is a cultural form that is expressed physically through a specific movement system. A bodily command of placement, balance, and timing within this movement system is required for musicality to be fulfilled in the form of […] Read more…
A novel may contain articulate sentences and brilliant plot twists, but if it doesn’t make us care about the characters or capture some truth in a way that resonates with us, we will not consider it a good novel. Similarly with dancing, even when a creative connection with the music is reached, our musicality will […] Read more…
In Part 1: Gathering the Senses, I started this series by writing that we need a more powerful idea of musicality that is at once more specific and more liberating. If you haven’t read Part 1 yet, I encourage you to do so before continuing. You may also be interested in completing the homework for […] Read more…
To go directly to the homework for a part in this series, use the following links: Part 1: Gathering the Senses Part 2: The Creative Element Part 3: The Emotional Element Part 4: The Somatic Element Part 5: The Relational Element Part 6: The Improvisational Element Part 7: Harnessing Musicality * * * There are […] Read more…
Musicality. Alongside connection, it is considered the most desirable quality in a dancer, yet we can’t seem to be able to define it in a satisfying way. Questions and frustrations abound regarding how (or even whether) it can be developed and taught, and the answers and ideas we have or are given are quite often […] Read more…