Of course, not every piece has to have a complex meaning, but there should be an immediate goal that's waiting to be accomplished through music and movement. With that, you will know where you want to go with the entire combination.
And what makes it all easier is to freestyle! But if I had to isolate the one piece of advice to give, it would have to be that you can't keep throwing moves away. There's a tendency most of us have when we're choreographing that we get dissatisfied and keep trying to find a better move for the same part of the song, that the choreography becomes unnatural. The routine is more fluid when you keep what you came up with, naturally, in the beginning.
It also helps to keep your momentum if you don't throw your moves away. This is something I had to work on myself until I learned from my mentors. It makes it a lot easier to start a rough draft of what you want! You catch every sound and it's easier to experiment with different syncopations".
And just have fun! We dance because we love to dance, because it feels good; when you're choreographing and something feels good, go with it! That was such a good class! Then apply it. Most likely than not, it was because it was taught well. Sometimes, choreographers' mentalities change when it comes to certain "hierarchy" of classes when it shouldn't. Listening to the song on repeat. Day and night; day and night. I want to get the exact feel of the song that I want to portray as well as the certain faint background beats that possibly slipped past me the first two times I heard the song before I start making the piece.
From that point connect your movements. If you choreograph move by move in a more forceful manner it's almost as if you are trying to put two puzzle pieces together that don't match. It sometimes causes choreography to look unnatural which in return could make the musicality look hollow.
For example, I always sit down when I choreograph and put the moves together in my head first and then try it. If it doesn't seem to flow, then I try something else.
A nice walk and "people watching" or even just gazing at a random phrase in a book- there's movement everywhere. From random passerby's subtle mannerisms to the curls and twists of the alphabet- there's sparks of inspiration in places you wouldn't think about if you hadn't just taken the time to breath and enjoy.
It's always a mental battle for me, but I always think about what everyone else is doing first. I like to be unique so I try not to do what everyone else is diong with the choreography music selection, vibe, movement, and presentation. When I have picked the song, I listen til I can feel what type of energy and mood the music is giving my body. Then I pick a setting. I put myself in a performance scenario on stage, music video, etc. After that whole process, the movements start to come.
I do all of that before I start to choreograph, because everything before inventing moves is the most difficult part. I believe that we are all individuals with our own unique personalities so I stray away from YouTube so that I don't unconsciously copy other people's choreography.
I feel lik ea lot of people dance like one another nowadays, and it's difficult to find something new and fresh. Everyone has different musicality and interpretations of a song, so it's important to showcase YOU through dance, not your favorite choreographer.
Learn things and recreate them in your own way. That's what Hip Hop is. There are always the big names we aspire to emulate, but choosing to not play on your strengths is a disservice to you! Questions to ask yourself: 'Who are you as a person?
As a choreographer? Now how can you bring out those things in your work? I listen to the song I plan on choreographing to for two to three days before I even touch it, sort of planning out what I want to do with my choreography. I began as a freestyle dancer, so I naturally allow my body to move in different ways even though I am listening to the same beat or music.
I like to imagine what I want to portray at the exact moment of the song into the choreography by experimenting what feels and looks best with my body. Nikko Alegre "For me, what helps most when making a piece is when I can relate to the situation described in a song. When I have that personal connection to a song it makes it easier for me to choreograph because then it's just a matter of outwardly expressing my feelings and thoughts- it's like I have ideas ready to go, now I just have to put them in action.
On top of making it easier, the choreography process becomes more meaningful to me because I've attached myself emotionally to that particular song. Believe in your own abilities and the countless hours of work it took you to create something original and beautiful. No matter how many YouTube hits you get, no matter how many numbers you have in a class or how many shoes may be thrown at you, you are someone's inspiration. Don't forget that. First things first, figure out your motivation.
What are you choreographing for? Is it a class? An audition? A video? So first 2 steps, find a reason and a deadline. Then start choreographing at least 2 weeks before said deadline. Pick a song. Listen to it religiously. Spend 5 hours choreographing 4 counts. Watch dance videos for inspiration. Be motivated. Come back the next day. Watch more dance videos. Wallow in self pity for 30 minutes. Choreograph 4 more counts over the next 3 hours.
Re-choreograph the last 4 counts—it should only take about 3 hours. Day 4: Come back with new motivation. Choreograph a whole 8 count in just 30 minutes. Does it look too much like Brian Puspos? Scrap it. Day try to choreograph. Nothing looks good. Brian Puspos sneers at you.
Its just the song. Maybe you should pick a new song? Theres no time to pick a new song. Day Pick a new song. Choreograph 2 full sets of 8. Day Shitshitshitshit. D Imagine Dragons My Universe feat. Creedence Clearwater Revival.
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