"Impulse" (working title), a new movement work The Spine* In her book, The Creative Habit, choreographer, dancer and artistic director, Twyla Tharp, writes of the importance of having a spine or initial idea for any creative work. This is not to say that the finished product will or needs to even slightly resemble the initial kernel of an idea. However, the spine is essential in providing the creative artist with a clear point of origin. Impulse: The Spine The initial idea for the piece as referenced in the working title is discovering and exploring impulses for movement, and up until this point I have concentrated this impulse to the torso/trunk area of the body. Much of dance and dancers, and our students are no exception, utilize/rely on the extremities for the primary means of movement expression. I want to focus on movement impulses generating along and near the spine and allow the initial impulse to emanate through the trunk out through the extremities, if possible. Project Description & Purpose Google Doc of IMPULSE Process/Notes Rehearsal Audio Current 'Anthony' Mix of Impulse Music (2012-05-01) 1st Rehearsal with Live Musicians (2012-04-04) Composer's Entire Piece with Pulse (2012-03-27) Composer's Entire Piece without Pulse (2012-03-27) Pulse 1 Pulse 2 Pulse 3 Impulse Dancer/Music Score - Updated 03-30-2012 Updated: 03-30-2012 Rehearsal Videos Due to the file size of some of these videos, they may take a few moments to load and view. If you are unable to view any of these videos, please try using a different web browser (Firefox, Safari, Chrome, etc.). 2012-04-12 St. Olaf College Transformations Event Showing with live musician Christiansen Hall of Music (CHM 140 - Orchestra Room) 2012-04-04 !st Rehearsal with Live Musicians 2012-04-02 Section B (Trio) to End 2012-03-14 Beginning to End - WITH Katie/Connor Duet (missing one dancer) Beginning to End - WITHOUT Katie/Connor Duet (missing one dancer) 2012-03-12 Beginning to End - rough & tentative order (missing 2 of 6 dancers) 2012-03-05 Anthony 1 & 2 Trio Canon 2012-02-29 Anthony 1 & 2 / Solo to Group Sequence Anthony 1 & 2 / Solo to Group Sequence to Stationary 7s Double Trios / Spoke & Wheel / Duple Meter Kneeling Canon Sextet in Triple Meter Locomoting Along Floor 2012-02-22 Connor / Katie Duet Megan / Steve Duet Kneeling Canon Quartet / (2 versions) Entrance to Canon Phrases with Music / (2 Runs) Canon Phrase After Entrance with Music 2012-02-15 Kneeling Sequence in Triple Meter (quartet) 4 Separate Solos in Triple Meter 4 Simultaneous Solos in Triple Meter (2 runs) 2 Simultaneous Solos in Triple Meter (2 Groups - Several Runs) 2012-02-08 Kneeling Sequence in Triple Meter (2 runs) ODD / EVEN Gestural Moments During Floor-level Locomotion SEQUENCE: 1) Entrance along floor 2) Crouches to standing 3) 2 Simultaneous group phrases 2012-02-06 Sequence of 1st Solos in 7s with pulse From Crouch Sequence in 9s with pulse 2012-01-26 Flashlight Exploration (condensed via cuts only editing) Solos from Shapes (Arm Pathways from Spinal Impulse) 2012-01-12 Crouching to Standing Sequence 2012-01-05 Crouching / Popcorn Group Sequence with Pulse - 3 Runs 2011-12-12 Group Sequence - 2 Runs 2011-11-30 Shannon & Kate Duet - 2 runs Steve Solo 2 - group - 2 runs Connor & Kate Solo 3 - Group Sequence - 2 runs 2011-11-28 Manipulating / forming Anthony Phrases 1 & 2 & Hybrid (various groupings) Connor & Kate Solo 3 as Group Sequence 2011-11-21 Locomotion Exploration At Floor Level (various groupings) Floor Level to Standing (various groupings) Floor Level to Kneeling Sequence (various groupings) Group Learns Kate Solo 3 Group Learns Connor Solo 3 1st Group Phrase Interrupted by Solo Material (various groupings) 2011-11-16 Extremity / Name Solos / Front & Side Views 2011-11-14 Shadow Duet - Megan & Steve 2011-11-09 Solos 1 & 2 Combined & Developed Shadow Duets & Trio Sequence of 1st Solos (group) 2011-11-07 1st Group Phrase - All 1st solos in sequence Anthony Phrase 1 - Group 2011-11-02 Combining 1st & 2nd Solo Phrases Anthony Phrase 1 - Group Anthony Phrase 2 - Group 1st Group Phrase - All 1st solos in sequence 2011-10-26 1st Group Phrase Kneeling - Several Versions Development of 1st Solo Phrases - Several Times Each 2011-10-24 Exploration of Shapes selected from printed sheet of paper at 'First Glimpse' showing - Torso to Extremities to Locomotion - Several Times Each 2011-10-12 Anthony Phrase 1 - 2 Groups - Twice Each 2011-10-10 1st Group Phrase - All 1st solos in sequence 2011-10-05 Solos: Standing & Seated 2011-10-03 Solo Improvisations - Outside 2011-09-28 Duets in Point of Contact with Dancer Intersecting Negative Space and Moving Camera-multiple operators 2011-09-26 Solo & Duet Explorations

Goals for Impulse

My Creative Process Restaging a Work (Process for Setting an Existing Work) As a member of the St. Olaf College Dance Department, I annually choreograph a work for Companydance, our student modern dance company. Typically the work is new, a premier, so to speak, never before seen or performed. Occasionally, I set or restage an older work of mine that has been performed by one or more previous generations of St. Olaf students. The restaging process for a work that has already been choreographed serves a number of purposes: It can give students the opportunity to perform works that have proven to be artistically effective, successful and popular (tried and true) It can give the dance department the flexibility to provide performance opportunities and challenges for certain populations of students as their needs and numbers dictate. For example, in 2006-07 the department had several men involved in Companydance, so I restaged a wildly popular and challenging work for men, Jock-ularity, that I originally choreographed during 1994-95. It can give me, as choreographer, a bit of a break during an especially busy academic term or year, because typically the restaging process is not as time intensive as the original creative process for any given dance. The previously mentioned Jock-ularity was also chosen to be set during 2006-07, because I was going to be learning, performing and rehearsal directing, Dreams (an historic modern dance work choreographed by Anna Sokolow in 1961), in addition to my regular teaching load. The restaging process was begun and completed in one term, but the original creative process spanned the better part of two terms. It can provide the choreographer with the opportunity to refine, edit and deepen the dance, as if it were an unfinished draft. Choreographing (Creating) New Work In choreographing a new work, I generally: Create original or source movement material with a consideration of intent, body actions, space, time and energy. Teach the movement to the dancers. Further manipulate the movement on the dancers' bodies. Design and direct the dancers' movements in space. Select or create a sound score to accompany the work. Assist in the design of costumes and lights for the work. Refine and rehearse the dancers' movements in preparation for performance. Questions About My Creative Process Below are a few questions that I have been asked about the process of creating a new dance. Feel Free to send me your questions (awr@stolaf.edu). Where do you get your ideas for a new dance? What comes first, the idea for your pieces or the movement? What challenges does the ephemeral nature of dance present when creating and learning movement? How do you choose your dancers? Answer: There is a Companydance audition process at the beginning of each academic year. Dancers are selected for projects for the entire year during these two day auditions. The Dance Department holds information sessions for Companydance a few days prior to the auditions, so student dancers get a sense of the opportunities and responsibilities with Companydance. How often do you practice? Answer: Generally, dancers in a faculty Companydance work rehearse four hours each week (two hours on two days each week). Generally there are no rehearsals during official school holidays and breaks. Where does the movement for your dances come from? How are your dances created? How do your dancers learn and remember the dance? What does that dance mean? What challenges does the choreographer face? Do you know what the finished piece is going to look like? How do you know when your dances are finished?