Litertaure Review C

Dance Imagery for Technique and Performance

(Eric Franklin)

Eric Franklin worked for many years as a professional choreographer and performer. He is the founder of the Institute for Movement Imagery Education, Lucerne and professor of postgraduate studies at the Institute for Psychomotor Therapy in Zurich, Switzerland. This book explores the value of imagery to the dancer’s training, an essential learning tool for establishing a greater understanding of alignment, artistic presentation, technique and awareness of dynamics and qualities of movement. There are three sections of the book; Imagery in Improvisation Exercises, Imagery for Dance Technique and Imagery in Choreography and Performance. I feel this literature is of great relevance to my inquiry as it examines the ways we can develop artistry through use of imagery in class and performance.

Imagery brings a sense of fun and creativity to class and students find this inspirational, not only does it broaden their awareness of what is being asked but it also aids memory. It is a tool that is commonly used throughout a dancer’s training, from preschool class up right up to professional level. Through my own practice as a teacher I am aware that it is necessary to cater for a variety for learning styles. When I first began teaching I would think of my own examples or use those I found useful as a student, however through experience I often encourage my students to come up with their own ideas. Images mean different things to each individual and Franklin illustrates that the images you create yourself have the most powerful effect. An image gives meaning to what we cannot create in words.

So how does it work? Franklin’s theory claims that an image is a partial representation of a greater reality. Imagery is not just for the aesthetic of a movement it is also used to understand how it should feel. ‘A symbol expresses something non-rational and indescribable in ordinary speech and language, since ordinary speech and language can deal adequately only with three dimensional realities. The symbol is a form of psychic energy with specific qualities.’ (Eugene Pascal, p200)

How can I use this concept within my classes to enhance artistic quality? The author recommends ideas for the preparation of performance that can be utilised in class. Focus and concentration are essential in developing visualisation skills and with practice the dancer can apply these strategies effectively. Franklin suggests examples that encourage depiction of character or ways to simply express openly through choreography. To acknowledge and convey a love of dance and practice expressing this in rehearsal can provide motivation to build on artistic skills in performance.

Envisioning certain clothes or costumes can encourage the dancer to feel a certain character, enabling them to stand taller and command more of a presence. Create a setting by imagining a scene, the performer can then convince the audience by bringing it to life through the performance. As described in the book, a method commonly used by performers is to visualise their surroundings, this might include even a fourth wall in place of the audience, this contributes to allowing the dancer to step into a certain role or scenario.

Considering my own experience when I dance, I imagine I am looking out across the sea and into the horizon, this enables me to project my eye line up and out. The image of the sea also instils a sense of calm within me which prevents me from feeling self-conscious. The following quote illustrates this idea, ‘By supplying missing realities we can re-create physical and psychological sensations at will. When this technique is successful, our actions become more sharply defined, and we bring about a heightened reality, a distillation of the truth.’ (Respect for Acting, Una Hagen p215)

The author describes the importance of achieving states of relaxation and deeper awareness, to be in control of one’s own movement, regulate breathing and practice of constructive rest. Relaxation for greater awareness can allow you to achieve more when your nerves are calm and fresh. ‘Taking time at the beginning of class to move beyond the pragmatic self and its immediate environment opens channels for new information and accomplishment.’(pviii)

Conclusion

Throughout my teaching career I have learned the value of using imagery in class and found it a highly successful strategy for teaching dance. This book has enabled me to understand this concept in greater depth. As a teacher of the ISTD (Imperial Society of Teachers of Dancing) my training included the use of imagery predominantly for achieving correct technique, however from reading this book I appreciate that imagery can be used in all aspects of training. I think as we focus so much on the physicality’s of dance we can forget the psychological impact on what we do. This book has enabled me to appreciate the power of imagination and its effect on the body. I therefore plan to include some of Franklins ideas within my artefact, which will be a lesson plan devised to focus on artistic development.

Franklin, E.N. (1996) Dance imagery for technique and performance. Champaign, IL: Human Kinetics Publishers.