This study investigates, through a detailed movement analysis of several choreographic works, whether Hofesh Shechter has created a new technique within contemporary dance today. The analysis utilises elements from both Adshead’s (1988) model for movement analysis and Stinson’s (2006) model for choreography: however adapting elements to consider the form and provide an evaluation through an external observation.
In conclusion this study has revealed that irrespective of era;
‘Art cannot be divorced from life – it is of life’s essence. The central subject matter of all art is emotional value not fact. The art which expresses emotional values in movement is dance. So to dance one must study and explore and know movement’
H’Doubler (1998, pxxix)
Table of Contents
1.0 Extended introduction
1.1 Influx of Modern Dance
1.2 Technique
1.3 Background of Hofesh Shechter
1.4 Hofesh Shechter’s perceived language of movement
2.0 Research Process
2.1 Hypothesis
2.2 Justification of Research
2.3 Research Design
2.4 Analysis
2.5 Process
3.0 Critical Review
3.1 Movement Analysis of Hofesh Shechter’s Choreographic Work
3.2 Discussion of the Movement Analysis Findings
4.0 Explicit Summary
5.0 References
6.0 Appendix
Research Objectives and Themes
This study investigates, through a detailed movement analysis of several choreographic works, whether Hofesh Shechter has created a new technique within contemporary dance today. The research aims to explore the unique aesthetic and structural components of Shechter's work, evaluating whether these elements constitute a distinct, codifiable technique or a evolution of existing dance traditions.
- Analysis of movement motifs in Hofesh Shechter's choreography
- Evaluation of the influence of percussion and rhythm on movement vocabulary
- Exploration of the relationship between individuality and community in contemporary dance
- Comparative analysis of historical modern dance techniques versus current contemporary practices
- Methodological development for the analysis of non-codified movement styles
Excerpt from the Book
Movement Phrase 3 The Perfect Human (2008)
A male dancer stands alone on the stage facing the audience, focusing outward. Throughout the movement phrase the body is free to gently writhe and wriggle, swaying somewhat from side to side, leaning back and forth, the knees twisting out and back in; however the body and hips never shift from facing front on. Both hands stroke up the sides of the rib cage (right hand on right side, left hand on left side) allowing the elbows to jut out. The elbows twist downwards so that the forearms are vertical and in front of the body; the hands have shifted towards the shoulders with the back of the hands curved. As the elbows push into the body the arms slowly unfold, the left arm straightens, crossing in front of the body with a flexed wrist, fingers stretched to the tips. The right arm crosses the body, on top of the left arm, briefly travelling up the left arm before the right fingertips, pointing downwards, appear on the right shoulder; the right elbow at shoulder level pointing to the right side. The right hand continues its journey, circling around the back of the head and before it reaches the left shoulder the arm straightens upright.
Summary of Chapters
1.0 Extended introduction: Provides a historical overview of modern dance pioneers and explores the conceptual definition of "technique" in contemporary dance.
2.0 Research Process: Outlines the qualitative methodology used for observation, combining analytical models to examine Shechter’s choreographic style.
3.0 Critical Review: Presents a detailed movement analysis of specific phrases from works like Uprising and The Perfect Human and discusses these findings.
4.0 Explicit Summary: Concludes that Shechter’s work may represent an innovative movement language, emphasizing the importance of form and internal rhythmic embodiment.
5.0 References: Lists the academic sources, books, journals, and visual material cited throughout the study.
6.0 Appendix: Contains a structured table summarizing the movement phrases analyzed across various works.
Keywords
Hofesh Shechter, Contemporary Dance, Movement Analysis, Choreography, Dance Technique, Body-Mind Techniques, Rhythm, Percussion, Modern Dance, Movement Vocabulary, Performance Studies, Movement Aesthetics, Kinesthetic Awareness, Israeli Folk Dance, Dance Education
Frequently Asked Questions
What is the core focus of this research?
The research focuses on investigating whether the contemporary choreographer Hofesh Shechter has established a new, distinct dance technique by analyzing his unique movement vocabulary.
What are the primary themes addressed in this work?
Central themes include the evolution of dance techniques, the influence of personal experience on movement, the role of rhythm and percussion in choreography, and the tension between individual and communal expression.
What is the main research objective?
The objective is to determine if Shechter’s specific approach to movement, which is often described as raw and visceral, qualifies as a new codified technique within contemporary dance.
Which methodology is applied to the research?
The study utilizes qualitative research, specifically non-participant observation and content analysis, by adapting established analytical models from Adshead (1988) and Stinson (2006).
What does the main body of the work entail?
The main body involves a granular movement analysis of selected phrases from Shechter's major works, examining their form, energy quality, and thematic connections to the choreographer's life.
Which keywords best characterize this thesis?
The work is characterized by terms such as contemporary dance, movement analysis, choreography, dance technique, and kinesthetic awareness.
How does Shechter's background as a musician influence his work?
Shechter's background in percussion informs his ability to internalize and embody rhythm, which manifests in his choreography as movement that responds directly to his own musical scores.
What role does Israeli Folk Dance play in Shechter’s movements?
The research suggests that the continuous, repetitive stepping patterns and pathways in Shechter’s work are influenced by the recreational and community-focused nature of Israeli folk dance.
What are the limitations of the analysis performed in this study?
The primary limitations included the reliance on secondary visual sources, such as promotional video clips of varying quality, rather than direct primary observation.
- Citar trabajo
- Kathryn Hughes (Autor), 2011, Dance Analysis - Technique within contemporary dance, Múnich, GRIN Verlag, https://www.grin.com/document/208125
