My beginning hypothesis

My initial hypothesis before the process begun was that images would be more influential when devising movement however through participation I have challenged my hypothesis and come to a different conclusion. I was able to experience the huge amount of choreographic ideas you can gain from just one word.

In conclusion

In conclusion:

This research has developed my tacit and explicit knowledge. The Qualitative data from the final project refection questionnaires show that the participants disagreed with which medium was most influential when helping them to generate movement. I would like to point out that all of the participants chose either images or words to be most influential and no one selected both equally. This enquiry has challenged the participants and myself to analyse how we have created movement in the past. By critically reflecting upon this process we have all decided that in the future we will explore with different mediums choreographically before we begin setting the material. This process has taught me that images and words can create a visual representation for audience members. During my focus group some said…‘I was able to make connections between the dialogue and the dance I was seeing but I was also able to relate the movement to the image that I was seeing’. This proves that there is a sensory connection to be considered between the eyes and ears. If I was to develop this research I would want to explore this further.

Laura Stanyer, Talks about Visualisation in dance performance and rehearsals

FRIDAY, 22 JULY 2011

Visualisation for Dancers

Your imagination is a powerful inner resource that you can tap into to achieve your best with greater consistency.  It can enhance the manifestation of your dreams and goals in dance and in life as it allows you to put yourself into the appropriate state of mind, be in the flow state where everything is effortless and flows beautifully.

The aims of visualisation techniques are to focus the dancer so that they are positive and confident in their ability and enjoy the experience of learning and performing and achieve their true potential.

Scientists have discovered there is an area of the brain called the pre motor cortex that is activated when you imagine your body moving, the area that plans movement so when you rehearse a dance skill or sequence in your mind you create neural pathways in your brain as if you were actually moving and performing the sequence. All without moving a muscle this means when you do perform the skill or sequence you should find it easier as the pathways in your brain are already in place.

Generally dancers spend most of their time physically training and rehearing for performance but they don’t spend enough time preparing themselves psychologically for the pressures of dance training, rehearsal and performance. Visualisation enhances your dance performance, this is especially important for the skills or strategies where there is little opportunity in daily training or rehearsal, the situations that only happen in performance.

Repeatedly rehearsing in your mind allows you to strengthen the neural pathways that will produce the step or sequence and help to refine your skills without putting the body through excessive stress. It enables you to rehearse anywhere.

Visualisation involves the dancer imagining themselves in a class, rehearsal or performance. The visualisations have the dancer performing the skill or sequence at their very best, enjoying the experience. Enter completely into the visualisation with all your senses: visual, sound, touch, smell and felt sense. Being in a totally relaxed state allows you to be receptive to visualisation.

BENEFITS OF VISUALISATION:

• Enhances learning and motivation
• Enhances self-confidence, helps to visualise success
• Create coping strategies in stressful situations
• Enhance focus, concentration and self-discipline

Just as you practice dance skills, visualisation needs to be practised on a regular basis for you to become highly skilled and can be incorporated into your training or daily routine.

VISUALISATION FOR REHEARSAL OF SPECIFIC MOVEMENTS

Visualisation used to learn and rehearse specific movements or dance skills enhances learning and performance. Visualisation can explore the mechanics of how to execute the movement and can allow a dancer to explore symbolic sense the quality or energy related to improve a particular dance skill. For example, whilst executing a pirouette a dancer may visualise spinning like a top.

VISUALISATION FOR REHEARSAL

Visualisation can enhance you learning ability when learning new movement sequences or choreography for performance. It can enhance the dramatic aspects of a dancer character within a piece of choreography by imaging the emotions or motives felt by the character they are performing. Rehearsing in your mind allows the body to rest while strengthening the neural pathways in your brain.

VISUALISATION FOR PERFORMANCE

To reach your true potential in dance it is important you have a high level of confidence in your ability to perform at your best consistently.  It is important to visualise yourself performing in a confident manner in full control of yourself excelling in you execution and feeling confident within the performance environment.

POSITIVE MENTAL ATTITUDE

Breaking negative behavioural patterns by the use of a trigger - a word, phrase or action can help to prevent negative attitudes when learning.

A trigger can be:

• A word or phrase spoken inside your head
• A physical action, for example squeezing first finger and thumb together
• A physical reminder, for example a wristband

When hearing, seeing or feeling the trigger you can shift your focus gaining a positive uplifting thought for a boost of motivation.

VISUAL PRACTICE: ROLE MODEL

Observing a professional dancer who has practised the skills countless times can give you an excellent role model to develop the same skill you are hoping to learn. You can visualise being them or performing the skills as they do.

VISUALISATION AND GOAL SETTING

Setting goals within training and performance is a useful tool to measure your progress. It provides an opportunity to improve your skills or learn new skills, technique or choreography. It allows you to review your training methods if you do not meet your original goals.

• Specific - Goals are focused on precisely what you want to achieve. For example: goal to improve jumps and landings
• Measurable - Assess your level of success so you can review your own progress. For example: a goal to improve the number of successful double pirouettes once you have achieved a successful single pirouette
• Accepted - You and your teacher or choreographer agree on what your goals are
• Realistic - You are able to achieve the goals you have set yourself
• Time limit - You should set target dates to achieve your goals. For example: goal in 2 months to be able to handstand unsupported
• Enthusiasm - You should be challenged and stimulated by your goal
• Record - Keep a written record of how and when you achieve your goal to assess your progress

VISUALISATION EXERCISES

 

How to use these audio guided visualisations

NEVER listen to this audio recording when driving or when you need to concentrate on a particular task.  Only listen when you can relax and not be disturbed from any distractions.

This audio recording will guide you into a state of relaxation, it is best to be comfortable and either sit or lay down in a comfortable place free from distractions.

We advise you listen to this audio recording through headphones for best results. To begin with, it is best to listen on a daily basis to develop your visualisation skills.

Audio running time: approx 20 minutes, as this audio recording is specially designed to become a part of your dance practice. 

Peak Performance Visualisation

Visualise actually attaining your best performance, such as receiving major recognition or a standing ovation and what it would be like.  Most success stories are first preceded by envisioning the success accomplished, visualisation is like role playing success.

Peak Performance Visualisation helps nurture strong belief in your self which provides the motivational fuel to put in the daily effort and discipline required to arrive at best achievements.

Peak Performance Visualization by lstanyer


Peak Performance Recall Visualisation 

Recall is a technique that allows you to recall a positive perfromance experience. By remembering and feeling the positive sensations your body will go into the experience of flow which enables you to be relaxed and focused and in control.

Recall an experience where you were at your peak in performance, feeling wonderful. Recapture the feelings, sounds etc. and enhance them make them more vivid in light, colour, positive feelings and sounds. Watch your own feature film of your best performances when you need a boost of confidence.

Peak Performance Recall Visualization by lstanyer

 

Visualisation practice empowers and centres you for performance, allowing you to enter deeply into the present moment and harness your true potential. Along with diaphragmatic breathing it calms and unclutters your mind leading you to a place of freedom and unselfconsciousness. Visualisation is a very personal experience and skill that takes practice to discover its depth and power.

Visualization Skills in Dance Practice by Laura Stanyer

 

Disclaimer: The information contained on this web page is intended as general guidance and information only. Laura Stanyer and its authors accept no liability for any loss, injury or damage however incurred as a consequence, whether directly or indirectly, of the use this information. All advice on this web page should only be used under the supervision of a qualified dance / fitness / healthcare professional.

My New Practice as Research Question:

There has been a shift in the direction that I have taken my research in. My initial area of study was into the collaboration between art forms and dance, during performance. I proposed to explore, ‘When creating dance choreography, is collaborating with art forms a good development within contemporary dance performance today?’ This area of research was too broad and it would have been near impossible to come to any result within the short time-scale. Therefore my area of enquiry has transformed into the following research question.

 

To what extent can visual representation and verbal communication enhance internal rhythm during the creative process?

Possible opening to the five minute work.

This beginning gives context to who Banksy is, after receiving my general public questionnaire it was evident that not many people knew who Banksy was so I felt that this was important to include. The dancers will be carrying red helium balloons on stage and then tying them to bricks on the floor around the stage.

Walking section created from a structure of a wall and the bricks

The middle of this clip shows a walking phrase. This was created from looking at a brick wall during the session and studying the angles and way a wall is put together. We all looked at a wall and that chosen traced a pathway by walking. We then put all of the phrases together and saw whether they would cross or interweave one another.

The second section of this clip shows two duets where one person is representing the balloon, trying to escape and lift into the air and then the other person is representing trying to stop that balloon from escaping and becoming free. I also shows the girl with the balloon trying to chase after her balloon.

improvisation around Banksy's history

Today we looked at the history of Banksy and the work that he has done. We noticed that some of his artworks have been taken down or covered up.

I asked the group to improvise with around this idea of work being taken off you or torn down.
Words such as Anger, frustration, force, fists and strength came to mind whilst devising this small section of movement.