The inner life of a dance comes specifically from the movement, the rehearsal process, the intension, focus, direction, and energy of a piece. We’ve past the point of learning the “steps” of Panorama and are starting to work on the art of the piece.
We are a school of fish darting together in one singular moment; an army marching to a singular heartbeat; we are feminists, activists, freedom fighters.
The most challenging aspect of learning this kind of piece so quickly is the speed at which strangers must come together and unite energetically. In just twelve days thirty-five of us will have learned Panorama and built up a strong energetic and physical connection to each other in order to do justice to this work of art. Without the proper energy behind the movement, our steps mean nothing.
The rehearsal director plays a large role in uniting a corps of dancers. We’ve had the empowering opportunity of having Janet Eilber and Miki Orihara coach us through the process. Janet gave us strong images this morning. We used our voices to find power, and as we felt the vibrations of our own sound we marched in a space that was filled for the first time with a resounding energy. We have a long way to go but the valves from which our energies will flow, mingle, and strengthen have opened.
–If you are interested in reading more specifically about the process of being coached by Janet Eilber and the corrections and images she’s given us, please refer to the comment section of this post.–
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I’d like to mention some of our technical movement corrections that Janet gave us, so that us dancers can continue to think about them!
1) During prances, maintain 90 degree bend in arm
in order to allow a “snapshot” to be taken on the beat.
2) In our first contractions of the piece, be sure to stop sharply on each count (1, 3, 5, 7,
3) RUNS!
-Palms and arms flat
-flat backs
-bent knees
-feet small and close together
-weight forward
-move it!!
4) In the circle
- Maintain large even circle
- Feel as if a weight or magnet is pulling you to the center
- keep back upright and chest high, almost as if you and leaning on the person behind you (for the first set)
-PARALLEL feet!
-maintain cocked head in sideways walks
… And I’ll leave the rest to my fellow fishies!
some of the things that Janet had us think about for the corrections are:
1) Jumps- making sure that if you are in the first group jumping, you must start around the 6 of the 9 before you enter to make sure that you are jumping up on the 1 count
2)Runs- making sure that our arms are kept like you are holding a tray taking a lot of mini steps with your shoulders over your hips so your shoulders don’t move with your feet
3)Walks on stage- make sure you feel something strong and powerful, something that will get your energy up to make you feel the angst of trying to make a statement to the audience before you go on stage
I am totally with brigette on all of that. Those are key corrections that Janet gave today. I think that the emotional exploration of the piece was also very interesting. The difference in just running the piece and running it with an intensity, a demand for change was so drastic. Movements came much more easily when they were done with intention and power. It was a great rehearsal! Well done guys
“Make magic the moment you appear on stage”, Yuriko once said to me before a performance of Martha Graham’s early work “Steps on the Street.” Part of what she meant, I believe, was that the instant a dancer enters a stage he or she must be fully present, there’s no time left to prepare. The story, or the “inner landscape” the dancer wants to reveal to the audience must be vibrating inside of the dancer while he or she waits in the wing, ready to burst forth onstage and expel it.
The first movement of “Steps” is a simple shift to one foot in the silence of an empty stage. This shift singularly introduces the theme of the piece–Devastation-Homelessness-Exile. The specific emotion that Yuriko demanded to see from that shift was the feeling of “Alone,” to begin to illuminate how the leader, although a part of an ensemble, stands alone in her rebellion against uniformity and depression. As I attempted the entrance over and over unsuccessfully she would scream “That is your heel, that is not Aloooonnneee!” Meaning, when I shifted my weight with my left heel sticking out behind me, my movement said nothing it was just a heel. I had not infused my body enough with the emotion of “alone” so that it could be clearly felt by anyone watching me. She would then brilliantly demonstrate “Alone”; she had the unique ability to nail an emotion on the head with immediacy each time, to completely embody it, become it, proving it was possible to do, and leaving whomever was watching breathless and in awe.
I’m sharing my story of Yuriko as a parallel to yesterday’s experience in “Panorama” rehearsal in which another Graham legend Janet Eilber conveyed the same message through an exercise in vocalization. The exercise not only sparked our internal political fires, but unified us as a powerful force to command the stage and speak our message. She specifically referenced the preacher’s entrance in Graham’s “Appalachian Spring”, but it is true of all characters in the Graham repertory. It is the internal dialogue happening inside which oozes or explodes out of the dancer when he or she enters the stage, that makes the “magic” Yuriko referred to. The emotional essence of “Panorama” is different from “Steps”, but the point remains: The movements must not be considered simply as an arm position, a run, or a tilt of the head. Each of these physical positions or motions has a direct emotional correlation which must be clear to the dancer first, in order to be clearly felt by the audience. The entrance walk announces “I demand it!”, the shuffling run is an insistence, a thrust of the fist a demonstration of power and pride. Janet too has a dramatic gift and demonstrated how each dancer must know what ignites his or her own fire, how to “turn on” certain emotions in an instant. If we can all arrive at this place while we anxiously wait for our music to begin, Graham’s “Panorama” will never be a “museum” piece; it will be relevant, alive, and empowering.
Quick corrections for the switching lunge section and the 9’s of the trumpet and buffalo:
- quick count of how many for middle and right groups; starting with the right foot - 8, 5, 7, 3-hold, 7, 8, 5-hold, 8 with quick switches, 8, 4 and turn.
- lower self to sit on the left leg
- pivot on the right foot “away from the audience”
- CONTRACTIONS!
- legs are straight when bent over and in plie when looking up
* In general don’t forget the palms of the wrist are pushing outward. The wrist should be bent backward - not forward or straight on your wrist. Think of it as a right angle.
Everyone was working hard and sweating! Good job everyone!!
Brigette has done a great job of listing many of the corrections already for us. I would just like to add a few more that have stuck with me.
1. Push through the pelvis when moving through space.
2. Keep on the down beat, set in the music when first entering.
3. Try to glide on the lunges ( not picking up the feet)
4. To maintain a good parallel pull the heels slightly apart. This will activate the inner thighs.
5. Maintain small steps and a straight leg when we pull the feet back in the 5’s. Feet move on count 1, 3, 4
6. On all contractions pull the naval back, as if it is going into the back. The pelvis should be tucked under, and hips should be in line with the shoulders.
7. The Bison should include bent elbows, cupped hands, a contraction, straight legs, and the head should be dropped over.
Many people have already posted wonderful ideas that have to do with commitment to the movement, as well as intent. I am very proud of the group. Not only have we learned the choreography this week, but yesterday in rehearsal everyone was putting forth the effort to commit themselves to the movement. Usually when I am dancing and learning choreography there comes a time when it finally starts to feel good. Personally I have found that when it feels the best, it’s also the moment it has looked the best. Yesterday I had one of those moments. Panorama for me, felt the best it has, but I started to think that it might have been because everyone around me at the time was feeling the same way. Yesterday I felt the dynamic energy and with Panorama it became clear how important that was. It’s true we were working hard, but yesterday it felt like we were working as one( not thirty-five separate individuals.)
All of these corrections are wonderful and should be remembered whether we are marking the piece or running it full out. I must say that I am very excited to see how Panorama is coming together. The energy and commitment that everyone had on Saturday was fantastic. When we charged on stage demanding “it” I felt a wonderful energy surrounding me. I think we should all try to find what are “it” is individually so that we have more of a mental image to back our emotions.
To add on to everyone else’s comments:
When we are able to feel each others heartbeats we move as a whole unit, charging the stage. We should really try to feel the dancers around us moving so that we don’t have to search or look for them. Perhaps we should try it without the mirrors so we really rely on our memories and not the mirrors.
I already feel like we have progressed so far from the first rehearsal where we crashed into each other just walking around. The more we are conscious of the group as a whole and we move using our central core, the more the group will develop a core of its own.
If we continue progressing as we are and considering our emotions and demands before we dance, the performance at SPAC will be spectacular!
Congratulations on a hard day of work, keep it up I can’t wait to see where we take this piece.
It’s great to see so many of the corrections and ideas posted already. I loved how Janet was saying at the end of rehearsal that she wants this process of learning and performing Panorama to be something documented and remembered.. it cannot be just a momentary thing to be forgotten. So it’s perfect that we have this blog for doing just that.
Anyway, just a couple of things that stuck out to me:
~ It’s important to be really fired up before going on stage.. think of a cause or purpose that motivates you. After all, as Janet was explaining, the dance doesn’t start on count 2 like we all expected, it really begins before the music even starts.. with something inside each of us.
~ “We demand it” was the thought behind the entrance walks.
~ “Hear us” was the exclamation related to the contractions in the contraction/bison 9’s.
~ In the circle, think of leaning on the person behind you and keeping focused on the center of the circle as if it were a magnet pulling your inside wrist towards it.
Can’t wait for this week!! =)
While learning Panorama, by Martha Graham, Janet Eilber gave us some helpful suggestions on how to make the dance our own. For the small women, we were to make the walks apart of our own statement, repeat a mantra in our heads. This mantra could be a cause that we really believe in, or a negative situation that really inspired us to demand justice. When you’re fighting for someone that has been wronged, your attitude is steadfast and willful, and you put yourself out on a limb hoping to build support so that you can start whatever revolution as a strong united front. That is why Janet wanted us to have this vision in our minds of our causes because you stand up taller, shout a little louder, and be a lot stronger when you have that emotion welling up underneath. Your hands will push a little harder like they are pushing against a mountain with the intention of moving it. You’ll memorize your part knowing that the you have to be together in order to succeed and knowing that your only as strong as your weakest part. From those emotions come the motions. Without those emotions, there is still movement, but it is safe to say that it may be rather hollow and weak.
Now that we have learned all of the choreography for Panorama, Janet Eilber definitely gave our cast very productive corrections in our Saturday rehearsal. While we all still could improve upon the technical execution of Martha’s choreography, Janet helped us focus additionally on the artistic intentions behind the movement. By understanding the positive message of social reform indicated through the choreography, Janet gave us several phrases to chant while performing Panorama in rehearsal in order to drive our movement from a more emotional state of mind. After discussing the meaning behind Panorama, I think we all approach the choreography with a newfound energy. By understanding and addressing why Martha created the work of Panorama, the movement has the potential to truly move audiences. However, as Janet said, every dancer has the responsibility to the successfulness of the whole to collect one’s thoughts before beginning the piece and maintain strong focus throughout the entire performance.
I felt that towards the end of the rehearsal we, as a whole, had absorbed most of the information we had been told fairly well. There was definitely a more intense atmosphere that reflected the pieces message of uniting together to create change. Our walks were no longer a pattern counted in our heads, we had gotten out of out skulls and inward thinking and were pouring emotion into the piece.
I feel that once we have perfected the patterns of walking, running and jumping, this emotion will be able to applied to the whole piece and in doing so the piece will be taken to a greater level and hopefully we be able to make the audience feel the same intensity that we do.
The beginning of the rehearsal was a valuable review for the clarity of the steps such prancing and the wonderful assortment of jumps that we have to do. I feel that the review helped me perform these steps with more technical accuracy than before because I was finally able to take the time to watch myself execute them and see what I was doing wrong.
I also felt that the Panorama ” cleaning” rehearsal was very productive. While I know there is still work to be done, the piece as a whole is coming together well. If everyone focuses on their own corrections and concentrates on dancing together I think we will have a really great piece by Friday. While the closeness in proximity to the performance is daunting, I think that we are truly able to accomplish a great deal in a short amount of time. I think that most of the corrections have already been said, but to comment on a few without being repetitive, here are a few from what I remember:
1) really feel the contraction and put your whole body into it
2) get into character before going on stage
3) To get parallel feet remember to bring your big toes together, If they’re not together your feet will look turned out to the audience!
4) count but don’t show that your counting
5) Even when you’re not dancing on stage you’re still visible! not moving is still performing
All of the corrections mentioned so far are great in helping outline what we went over in rehearsal on Saturday. Besides specific corrections, two general areas that really define the piece are timing and motivation behind the movement. Both of these areas go hand in hand because the exact timing of all the dancers is a must behind the intention of the piece. The timing creates a powerful community of dancers with a common sense of space and direction. As far as the motivation behind the movement, Janet gave us many different ideas and phrases to base our movement behind. She also told us to be open to our own ideas of issues in which we felt strongly and encouraged us to use those as our motivation. One other area that made a huge impact on me in rehearsal was the use of focus. Once I was able to focus both my mental state and physical self, especially my eyes, I found a great sense of direction and motivation.
“I DEMAND IT”
-be relentless
Just reading through these comments, it is evident, and truly remarkable, to see how much of an ensemble we have become in just over a week, as brought up by Lauren in the original post and others. Everyone is working so hard and communicating with each other to bring this Graham masterpiece to life in such a limited amount of time. In terms of the Martha Graham technique, we have such a range of abilities and past experiences, from none to years upon years. We have differences in age, in education, in hometowns, etc. I personally just find it invigorating that we were brought together as a group to have to have the opportunity to pay tribute to a legend and entertain in such a gorgeous setting. We might as well be making the most of it, because after these three weeks, this particular group of dancers, with this particular energy and diversity, will never again exist.
Additional comments/corrections from today!
The Circle:
- maintain relationship to one another and center of the room (same spacing as if we were facing in and holding hands)
- rotate in your place to create lunge as opposed to stepping into/out of the circle
- side shuffles- I personally like to maintain contact with my fingers on the hips of those beside me, it prevents the spacing from collapsing
- keep head cocked to the right
- don’t let feet lose contact with the ground
- while spinning off stage (and during many other parts), remember you have an egg inside each elbow
- and remember: don’t stop spinning til you’re really off stage!
Cabrioles:
- ice cream scoop from left to right of hips to create shape
- focus out beyond your feet
Musicality!
- we’re often ahead of the music…really listen!
- say 9s in your head before entering to acclimate yourself to the change in time signature
- jumping 9- make sure to accent the up!
Contraction/Bisons:
- everyone rotates on the right foot!
Arm slices:
- profile head
- downcast eyes- do not look around!
- use center to eliminate wobbles/prevent movement from reverberating through body
- arm stops as if it’s hitting a wall at the top and bottom
Janet’s end note: faking the movement will only draw attention to you!
(and remember full hair and make-up for Tuesday’s open rehearsal!)
I will write the new corrections we got today from Janet and Miki.
1. Always dance it as if you are dancing by yourself. Do not shorten or mark any of the movements even when you are about to run off stage.
2. Make the circle smaller than we used to do. Fill the space when the tall ladies left.
3. The transition …. Miki said “cut in” rather than circling around to get to the place.
4. Travel a lot when you do the jumps (It’s the “ice-cream scoup” jump).
5. The arms should be “formal,” but not like ballet arms (That means not too rounded.)
I love reading these comments, everyone has done a wonderful job of recapping what we learned. I think the main things that stuck out for me were developing group unity and the intention behind the movement. Panorama requires a large number of dancers, which provides it with a lot of energy and definitely makes it a show-stopper! Janet has been telling us to do the entire piece as if it were a solo to make sure that every individual is flawless, and while one might think this might result in 36 dancers onstage with no connection to each other, it is impossible to perform this piece and not feel the group dynamic. This past semester I performed in a reconstruction of Doris Humphrey’s work “Drama of Motion”, and I’ve found that that experience has really helped me learn Panorama. Drama of Motion is about 12 minutes and I performed entirely in silence. Without the support of the music, we really had to learn how to breath and dance together as a unit. In Panorama, we jump, walk, and contract as a cohesive unit, standing strong against outside forces. Throughout this experience, learning this piece and watching company rehearsals, I have learned that the movement isn’t enough–one has to live it, breath it, be it. If you talk to any company member about their character in Clytemnestra you will see how invested they are in that character. I encourage everyone in Panorama to think about the piece, what it means to each of us, and what it means to all of us as a group. I think we are going to be amazing!!