Engaging Dance Makers with Structured Improvisation

Movement Workshop by Leslie E. Williams - Director and Associate Professor of Dance, West A&M University (Texas, USA). 

Leslie E. Williams Director and Associate Professor of Dance, MFA joined the West Texas A&M University(WTAMU) faculty in 2006 and became director in 2010. A native of the Texas Panhandle, she received her training at Interlochen Arts Academy and numerous summer programs. She obtained a bachelor of fine arts degree from WTAMU and a master of fine arts degree from the University of Michigan. Before coming to WTAMU to teach the next generation of young dancers, she danced with Peter Sparling Dance Company of Ann Arbor, Mich., while teaching in many colleges and universities in southeast Michigan. She counties to serve on the faulty of Interlochen Center for the Arts and Lone Star Ballet. With a passion for collaboration Williams works closely with glass blowers and other artists to create work and develop methods of cross training to insure long and productive careers. Leslie continues to serve dance in Higher Education as a National Board Member of American College Dance Association and an active participate of National Dance Educators Organization.

PRESENTATION OVERVIEW

How do we engage dance makers in creative exploration and lead them to identify their voice? Can structured improvisation break the ice and reveal the crystalline form beneath?

Advanced classroom improvisational exercises help upper-level dance students recognize the importance of “found” movement. Even though many of the students have been led through the same exercises in their early education, students benefit from advanced choreography classes that are based on exercises to which they have been previously exposed. Students appreciate the value and importance of the movement emanating from their natural movement style and their interpretation of the exercises. As advanced students they appreciate the value and importance of the exercises and the process of generating ideas and stories.

The proposed in-practice movement session will explore the exercises that have proven effective. Coupled with discussion of the advantages of using advanced improvisation to foster the choreographic voice for dance students, the session will expand on the original exercises.

Following Q&A session will cover the question of the placement of improvisation in the higher education curriculum and the usefulness of such exercises.