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CHOREOGRAPHER

The Brain As Choreographer, Dancer And Spectator

July 11, 2016 By Respiro E Movimento · Follow us: Facebook · Twitter · Instagram · YouTube

brain ballet

The Choreographing Brain

Brain dominance begins early – 22 days after conception the spinal cord and brain appear. Week 4 the eyes, nose, ear and mouth form. Week 28 thalamic brain connections form to mediate sensory input. The brain is a three pound winked mutable (changeable) mound influenced by lived moving experience, bodily feelings, perceptions, culture, society, and the environment.

The brain is comprised of about 100 billion electrically active neurons (cells), each connected to tens of thousands of its neighbors at perhaps 100 trillion synapses (the spaces between neurons where information transfers can occur). These atoms of thought relay information through voltage spikes that convert into chemical signals to bridge the gap to other neurons.

Many parts of the brain make a dance

More than 400 studies related to interdisciplinary neuroscience reveal the hidden value of dance. For instance, we acquire knowledge and develop cognitively because dance bulks up the brain. Consequently, the brain that “dances” is changed by it. As neuroscientist Antonio Damasio points out, “learning and creating memory are simply the process of chiseling, modeling, shaping, doing, and redoing our individual brain wiring diagrams.”

Dance is a language of physical exercise that sparks new brain cells (neurogenesis) and their connections. We thought that humans had limited brain cells that decreased with age. But now, beginning my eighth decade, I’m still dancing—now flamenco, belly dance, jazz, and salsa!

The neuron connections are responsible for acquiring knowledge and thinking. Dancing stimulates the release of the brain-derived protein neurotropic factor that promotes the growth, maintenance, and plasticity of neurons necessary for learning and memory. Plus, dancing makes some neurons nimble so that they readily wire into the neural network. Neural plasticity is the brain’s remarkable abil­ity to change through­out life.

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Filed Under: BALLET, BALLET DANCERS, BRAIN, CHOREOGRAPHER, CHOREOGRAPHY, DANCE, DANCERS

Where Are the Female Choreographers?

June 27, 2016 By Respiro E Movimento · Follow us: Facebook · Twitter · Instagram · YouTube

agnes

It has become a rarity for ballet companies to present works by women, despite the large number of women in the field and the pioneers of the 20th century.

Women continue to be underrepresented in many positions of power in the arts, whether as directors in Hollywood, orchestra conductors, opera composers or even late-night television hosts. But the dearth of female choreographers at major ballet companies is perhaps more startling, given the prominence of women in the rest of the ballet and dance fields — and the way pioneering female choreographers helped shape ballet during the 20th century.

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Filed Under: CHOREOGRAPHER, CHOREOGRAPHY

4 Ways To Clean Choreography

June 21, 2016 By Respiro E Movimento · Follow us: Facebook · Twitter · Instagram · YouTube

CleaningChoreography

Know the Counts

In many group pieces, the counts are the glue that holds the piece together. Solidifying the counts in the dancers’ brains should be the first step in cleaning a piece, as it creates a framework for the rest of the cleaning. In order to make sure all dancers are in unison, or on the same count, take the piece one section (say 32 counts) at a time. Have the dancers perform the choreography while counting out-loud, and listen  for dancers who are off or unsure.

Break it Down

Performing a choreographed dance requires the coordination of many different elements. To solidify each, run the piece a few times, each time focusing on a different element. For example, do one run with only arms, do a second run with only formations and focus. Breaking the piece down like this will allow you to fine-tune these elements with less distraction.

Take Notes

Always watch a piece with a pencil and paper. Don’t yell notes at your dancers: often, this just causes confusion. Instead, write down corrections. Draw a line in the middle of your page. On the left side, write down individual notes and quick fixes (i.e. an incorrect arm position on a single dancer). On the right side, write more “big picture” issues, such as a messy unison section.

Talk it Out

The suggestions above deal with the technical side of a piece, but what about the artistry? I like to have at least one “sit down” conversation with my dancers about each piece. I give them a framework of why I choreographed the piece, what my inspiration was, and what I want them to portray. I then allow them to engage in a discussion with one another about what the piece means to them, and what they feel they portray. This facilitates a more personal connection between the dancers and the piece.

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Filed Under: BALLET, BALLET DANCERS, CHOREOGRAPHER, CHOREOGRAPHY, DANCE, DANCERS

What life is like as a Young Choreographer with The Royal Ballet

May 30, 2016 By Respiro E Movimento · Follow us: Facebook · Twitter · Instagram · YouTube

Filed Under: BALLET, BALLET DANCERS, CHOREOGRAPHER, CHOREOGRAPHY, VIDEO

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