As a dancer, if you are not dancing on time with the music, then you are not dancing although it might look like your dancing, your just randomly moving to no beat. When you are dancing by your self, you as a dancer have an established relationship with the music. When you are dancing with a partner, you have a relationship with your partner, and what is holding that relationship together is the music you both are listening to.
When you are not dancing on time you loose that connection with the music and the experience of dancing becomes shallow. It then becomes just random movement. The equivalent would be of someone banging on the drums Or playing whatever instrument with no rhythm, it holds no meaning; it just then becomes random noise. On the contrary, when you are dancing on time with the music it is the equivalent of making music, with your body.
You are being music, and the experience is much deeper. Musicality is important for all styles of pole dance in that it involves hitting the beats, but also in that it sheds light on the the importance of feeling your music. Many people may choose a song based off of what is popular or considered a good pole song. I think it is even more important to choose music you can relate to in some way.
For me, this is how I am able to come up with movements that feel natural to me, even if I am portraying a character outside of my usual choice. After that a dissection of the music occurs, listening to the song on repeat helps to grasp the layers within the music fully.
There are a few ways in which the music can be dissected dancers can examine tempo, melody, harmony, rhythm, volume, mood, and lyrics. Mood: Music can carry a particular mood be it happy, hopeful, adventurous, dramatic, sensual etc.
You can listen out for one of the items I listed in the music and create movement based on just that. Finding a layer within the music can provide inspiration for unexpected accents as well as points in the music where a movement may need to be more pronounced. Listening for all of the aforementioned details can be extremely helpful, and also overwhelming at the same time. Sometimes, just listening to the music and really paying attention to how it makes you feel can be the most important exercise of all.
Another helpful tool is your camera, filming yourself freestyling to the music and to particular points in the music brings about a better understanding of how your body moves to different styles of music. Thorny, syncopated music will force you to listen more carefully, exercising your brain's musicality muscle. Consider formally studying an instrument whose sound moves you. If that's beyond your budget, attend concerts. Many cities offer free performances in public parks.
Check out your town's event calendar and tap into the local music scene. You should also take a look at your playlists. Do you gravitate toward one genre? To expand your horizons, try exploring other types of music, especially jazz and classical. Learning to differentiate instruments will help you translate what you hear into movement, which will, in turn, give your dancing shade and texture. If you don't know the difference between a clarinet and an oboe, start with musical works like Sergei Prokofiev's Peter and the Wolf or Benjamin Britten's Young Person's Guide to the Orchestra , both of which break down each instrument in a symphony so you can learn to distinguish sounds.
Another way to hone your ear is to listen to recordings of the same score with different conductors and identify the differences between them. Robson swears by this exercise, which he picked up from his days dancing with Michael Jackson: Find a song you like and listen to it as you normally would. Then play it again, but listen only to the drum. Block out every other sound and follow the drum through the entire piece.
Does it change? Does it stay the same? Play the song a third time, focusing on another instrument, like the piano. Repeat this exercise until you've followed every instrument in the song. You'll be able to hear both the instruments individually and the tune as a whole. And you'll be able to freestyle and dance to rhythms you never heard before. It will change your life as a dancer. When you're breaking down a piece of music, do you find yourself counting it out or just listening to the general flow of the song?
Dancers often have strong feelings about counting, and they don't always agree. Sometimes counting is necessary, especially in corps work or when working with complicated scores. But fixating on counts can make your dancing seem mechanical. Some choreographers may not count at all. If you find yourself struggling not to count, look for other musical cues to help guide you.
For example, does a turn finish at the height of a crescendo? Does the choreography follow the bass line instead of the melody? The more comfortable you become with the music, the easier it will be not to count, so make it your goal to learn the music well enough to stop counting. While it's good to have your own ideas about music and movement, be prepared to set your aesthetics aside. In an audition or when learning a new work, every professional must be able to hear and interpret the music exactly the way the choreographer wants.
Imagine if the ensemble in Chicago chose to dance according to their personal convictions. How about the corps in Swan Lake? There would be musical anarchy! Even if you're a soloist, you may be expected to carry out a choreographer's specific version of musicality. It takes just as sensitive an ear to perform another person's vision as it does to choose your own interpretation of the music. It's also important to be aware of when and how your face expresses the emotion in the music.
Some choreographers will want you to use your face; others will want you to let your body do all the emoting. So how will musicality ultimately affect your movement? You'll be able to hear the subtleties in a score and interpret them with your body, and that will make you more interesting to watch. It's also more fun. Dancing is making music with your body. The call came after a lengthy audition process with Spielberg in the room, and the role, originated by Wilma Curley on Broadway in and later portrayed by Gina Trikonis in the film, was her biggest dream.
In fact, it's something Garcia-Lee says she manifested from the day plans for the movie were announced in January On top of her regular training, she would travel multiple hours each day to New York City and New Jersey for classes with Steps on Broadway and the Princeton Ballet School, respectively. Her bedroom walls were lined with cutouts from the pages of Dance Spirit , which served as inspiration for her goals. Her mother, Terri Garcia, was a professional dancer in the s she even danced Francisca in the West Side Story tour in , and Garcia-Lee was eager to follow in her footsteps.
Garcia-Lee went to high school at the University of North Carolina School of the Arts, where she studied first ballet and then drama. As a sophomore, she was cast as Graziella in her school's production of West Side Story. The magic of performing Jerome Robbins' iconic choreography never left her.
She's been banging on West Side Story 's door ever since. All the while, she held out hope that West Side Story would someday come her way. In , Garcia-Lee was considered for Graziella in the Broadway revival but didn't get the role after countless callbacks. After that, two more productions didn't cast her as Graziella. For the Broadway revival, she was only offered the opportunity to audition for the role of Anybodys. She turned down both opportunities in favor of other projects—she would wait for Graziella.
Despite the rejection, she was undeterred. So when Deadline published an article announcing the film remake, Garcia-Lee felt that playing Graziella was meant to be. At the audition, the casting room was filled with many of her friends and fellow Broadway darlings, like Eloise Kropp Cats and Jonalyn Saxer Mean Girls.
According to the film's choreographer, Justin Peck, Garcia-Lee quickly caught the eye of the creative team. I could sense that from the first audition. At the same time, she was committed to the Broadway run of Moulin Rouge! She spent much of the winter and early spring of trying to figure out how to do it all.
She asked if she could miss some rehearsals and most preview performances including the all-important first preview performance so she could film her scenes in the movie. I'll never forget Steven up on a ladder, then Steven halfway down the ladder, and then Steven on a rolling chair, Steven lying on the floor looking up at [the choreography] this way, Justin tweaking and tweaking.
Rehearsals for the iconic "Dance at the Gym" scene lasted two weeks. Before the work began, Garcia-Lee says, she familiarized herself with Peck's work as much as she could to get a sense of his style. However, I loved the challenge of it. Once rehearsals wrapped, filming for "Dance at the Gym" lasted six days, and according to Garcia-Lee, her feet never hurt so badly in her entire life. But that didn't stop her from soaking up the magic. Especially on the day she and her co-star Mike Faist Riff shot their duet.
We lost ourselves in the art. We finally got to the end of [the take and] Mike and I fell to the floor. Steven ran over to us, dove on the floor with us and smothered us with love. It was magic.
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