Working for a Choreographer

Towards the end of my first semester in second year, many students are completing their choreography module. This means my peers have been acting in a role of superiority. Over the last few weeks, we have been in rehearsals to varying pieces. I shall discuss what it is like to work for a choreographer, both someone you know or a stranger, and tips on the process you will undergo.

A choreographer is a person who uses dancers to create a dance performance. They have the chosen stimulus and use a range of tasks and teachings to get the desired movement. Strong qualities include: having clear communication skills, staying calm, being authoritative, good listening skills and understanding, being prepared with tasks and movement, time-management as well as having a planned piece and relaying of ideas.

As dancers, you are to follow the instructions given and are another base of advice and knowledge to bring forward your ideas and ways of performing. In the start of the process, you will inevitably perform how you naturally move. This can alter the quality the choreographer asks of you or the group. As the rehearsals progress you will be asked to perform a way that best reflects the stimulus. You must be: engaged, on time, learning given material, doing what is asked of you, staying fit and healthy, utilising communication, listening and collaboration skills.

This rehearsal period, I worked with a close friend. Issues arouse with time management, and forming a respectful boundary within a friendship. This balance is shifted as you know more of the choreographer than you would someone you auditioned for. What must be remembered is that it is still a professional process that can affect your future, and that they have skills and knowledge you do not posses and will benefit from. This can be from a positive aspect of a new task, or a negative knowing how not to teach or do.

If the choreographer planned in advance with the dancers schedules in mind, like they did, then this routine needs to be maintained. As a dancer, being late will gravely affect your career and is something that needs to be sustained regardless of who you are working for and whether you are paid or unpaid. In the arts world information spreads fast, if you have been seen or heard to be late then others who you may wish to work with in the future will hold onto this viewpoint of you even if you are now the most time conscientious artist. If you are late, tension is caused in a group dynamic. It causes the choreographer to stress which will feed into the session. Trust will be lost of your verbal promise. This can result in the dancers feeling like someone is watching over their every move and cause irritation from lack of trust. You can become disengaged which heightens this issue. As a dancer it is therefore your responsibility to arrive 15 minutes early or be at

risk from losing your place in the piece.

You are expected to know the material you have been given before the next session. This has been planned so sessions can progress and keep within a time frame to allow for a polishing section before performance. If you do not keep with this time then it can affect the overall quality. You will learn which way helps you learn the material. Some people are blessed that they will do the movement, not practice and remember it after one run through. Even if you are this person do not rely on this method.

Flemming and Mills talk about VARK. Standing for Visual, Aural, Reading/writing and Kinaesthetic. Each individual learns with a combination of all four traits, but best learning is acquired through using two.

To learn a routine, I often have it filmed- feeding into the Visual aspect. This can be looked at as many times as needed and shows the quality that is asked of me, if recording the choreographer. Other ways of accessing this is to just watch a phrase before attempting to mimic it. When being taught a routine, listening to the words may help others. This is when each move is spoken such as: step left, up into passe, behind side front, lean... and so on. To technically minded dancers this may help, and when performing you can imagine the teachers voice saying it to you. After a task, you may write down what you have done, the task and results. This helps me knowing how I got into a movement, to retrace my steps to arrive at the finished result. This can also be used for a set-phrase by writing out the movement or using diagrams. Kinaesthetic is learning by doing. If a phrase is given to me I have to move as the choreographer does- even if this is in marking form. I am putting the movement straight into my body, allowing that aspect to learn the material, leaving my mind free for when I need to add corrections or performance traits. When I go down this route, I must go "full-out" with my movement after a few attempts to be fully embedded. If I mark for too long then my body personally struggles translating the movement and timing into full energy.

You can test which strand you are online. Many Youtubers give an online test for dance. Check out Katharine Morgan for visual or aural.

The process will undoubtedly be stressful for both sides, and there are ways to help minimise this. By sticking to what is required the process should run a lot smoother. If you are struggling picking up a section, mention this and get extra support. They would much rather you do this and be more than happy to help, then arrive the next rehearsal without the movement learnt. This feeds into communication, and even if it is not all in the body the choreographer knows you have been working on it by being told prior. Voice any issues you have privately in a calm and respectful manner. You are more likely to be listen to when your tone is even and you show understanding of the other person.

You will finally make it to the show day. When you step onto that stage all the hard work will be rewarded and finish in a blind of an eye. Rehearsals are like an iceberg. The audience only see the final product (what is above the water) but all the work to get there is hidden underneath. Rehearsals are long and draining but in a weird way we all love them. Work hard and you'll be onto your next one.