FMP: Dance Notation Further Research

Before moving forward to develop the animation further I wanted to explore dance notation further. I listen to Anna Trevien talk about Benish notation which is the form of notation I have been looking at throughout this project. I learnt that to learn notation doesn’t mean you have to have a background in dance, notation has actually been used to record movement in different industries like aeroplane engineering and architecture. Notation has become about movement in general rather than just about dance.

Within banish notation movements are record on a score which has 5 different lines. Each of the lines represent a proportion of the body. This allows the reader to understand which part of the body is moving. Relating this back to the symbols of rhythmic gymnastics I don’t think using a score would work as well in this sense as the signs are more symbolic rather than index signs if we are applying semiotic knowledge to them. (Index – show evidence of the object they represent.) (Symbols – Show no representation of the object it’s referring to) Based on this I feel that it wouldn’t suit the notation format to use a score for this project.

While listening I also learn that when reading notation you are reading as though you are the dancer not the audience. This means that a turn left means turn to your left not the dancers left. This was interesting as in rhythmic gymnastics there is no specific directional symbols to accompany the signs. The signs just tell you the element to perform and the handling that goes with in. However, in the animation I could show the direction but the way in which I animate the handling symbol to show the plane that the hoop might rotate on or the angle which the hoop should be thrown at.

Furthermore, Anna showed how floor plan often accompany notation scores to allow a choreographer to get a better sense of space on the stage, not just from score but also visually from this small diagrams. When I used to compete as a gymnast and choreograph routines, I would often draw the routine floor path to ensure that I was using all areas of the floor and that I wasn’t just going up and down continuously. I thought that this might be a nice way in the animation to show this layer of relationship between movement and space.

Overall by having more understanding of the dance notation will help me to develop both the animation and supporting content that I am producing for this project. I think with more development and information like this I will be able to develop a strong outcome and final project.


Reference

https://www.peopleoftheatre.com/spotlight/anna-trevien

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