Sep 9 - Week 4 - Meetitn 7 / Energy
I
Warm Up
II
Unit: Elements of Dance
Theme: Energy
Introduction
Energy
moves us and we move it. Without energy dance cannot happen. It is a
matter of how much energy we put into it. There is always energy even
when we seem not to move. Today we will use straps to explore tension, force and weight. We will also explore flow and attack.
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Question 2
Why is energy important in dance?
Eastern and Western Influences on Performer Training at Eugenio Barba's Odin Teatret by Ian Watson
This emphasis on the actor is nowhere more evident than in Barba's
and the Odin's performer training. ... "as the use of opposing body tensions" to be conscious of the body's energy.
Question 4
Practice
1. Based on your exploration of movement with the straps, discuss what you felt.
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DANCE CENTER DANCE ENERGY The largest dance studio in the border triangle for children, young people and adults. The studio serves all dance enthusiasts from the district of Lörrach, Basel and Freiburg, located in Germany and Switzerland respectively. They celebrate dance competition. Their judges are professionals with backgrounds ranging from Broadway, film, and TV to classical ballet companies. They are also chosen for their ability to provide helpful critiques to dancers and teachers. They encourage dancers to pursue their dreams in a non-stressful and fun competitive setting.
Question 5
How would you describe this dance choreography in terms of energy?
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VI
Activity
Create an eight movement phrase in which you combine the two energies: sharp sudden and Smooth Sustained
Record it and post it on Discussion Board.
energy National Dance Competitions. https://energyndc.com/
X
Students' Work
Question 1:
While experiencing warm-ups, stops, and belts in modern dance, I came to appreciate
how vital these elements are to both safety and expression. Warm-ups are more than just
preparation. They constitute a ritual that tunes the body and mind into the present moment. I felt
grounded, centered, aware of my muscles and breath, and more attuned to movement. Skipping
this process showed me how vulnerable the body can be without proper preparation, not just to
injury but to emotional disconnect from the dance itself.
Working on stops and belts helped me understand control and energy flow. Practicing
“stops” made me feel the power of stillness — how pausing briefly at just the right moment can
make a movement speak louder. Belts, on the other hand, taught me how energy can be contained
or directed with intention, like a channel guiding motion through the body. These techniques
reminded me that dance is not merely about motion but also about contrast, control, and the
conscious use of energy. Altogether, they’ve deepened my respect for the composition of artistic
expression in modern dance.
Question 2:
Energy is what creates quality and essence in movement. It is essential in dance, because
through energy a simple gesture is transformed into one that is expressive and meaningful. It
stops being too much about what the body is doing, and more about how it does it. Energy
enables dancers to express emotion, intention, and dynamics. Soft or strong, fluid or abrupt, easy
or tense, these differences and variations in movement energy introduce contrast and texture,
imbuing the performance with meaning and depth. Energy is a measure of a dancer’s connection
to the music, the space, and own inner state, allowing movement to transcend technique and
become a full-bodied art of storytelling.
Question 3:
Watching the two videos gave me a new appreciation for movement and energy. Growing
up with Chinese parents, I had seen Kung Fu performances once or twice before in my trips to
China, but I never paid much attention to them when I was younger. In this opportunity, with the
lens of perceiving energy in dance, it is crystal clear how energy is handled in the different styles
of Kung Fu displayed in the first video, with movements focused on the channeling of energy
with an explosive finish to each movement; whereas the Wudang Tai Chi video shows the
channeling of energy in a more peaceful, meditating way.
Question 4:
The Wudang Kung Fu video showed sharp, focused movements in each form — Mantis
was fast and precise, Dragon was powerful and flowing, and Snake was controlled and smooth.
Each style used energy differently, and every motion had purpose behind it.
The Wudang Tai Chi 28 video was a big contrast. The movements were slow, continuous, and
peaceful, almost like a moving meditation. It felt more about inner balance and flow than
fighting. Watching both made me realize how much thought and control go into these practices,
and how deeply connected they are to expressing energy through the body.
This No Lie choreography presents us a charming and upbeat energy all the way from the
beginning to the end. The intention of charm and sensuality through playful femininity is clear,
with smooth but fast movements, emphasizing the girls’ waist with their own hands and the hips
with the sharp and pronounced jumps, steps and rounds. The girls feel good and want to be seen,
expressed by the arm carriage displayed with extensions above the head and round movements
ending at the core. The eye contact is direct and present at all times, which reinforces the
charming and sensual aspects in this choreography’s energy.
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