(D.E. Berlyne).
AND, this is what the choreographer sets out to achieve when selecting a piece of music for a dance work. Over the years, choreographers have been compelled to explore, experiment and share experiences through their creativity. And their motivation comes from various places.
The medium of music is one of the greatest motivating forces when creating a dance work. And becomes the choreographer's unique 'voice'.
"I am motivated by all types of music. I often listen to a work and if it grabs my emotions, then a dance concept gets conjured up in my mind," said Sabdiel Hardware, a young choreographer, who dances with L'ACADCO Dance Company.
"The music makes the dance...the elements of rhythm, tone, style must blend together", he told Showbiz.
In former days dance creators presented works which were considered either contemporary or traditional. However, Mr. Hardware feels if the dance is to be exciting for young viewers, it must be modern. So, he said, dance conceptualisers had to find new ways of communicating and improving basic vocabulary to make it fresh and innovative.
"Sometimes it takes a long time to select a piece of music which motivates and inspires a dance piece. We cannot keep doing things the same way, we have to create music as an artistic force," said Mr. Hardware.
Choreographers are influenced by tutors and other great maestros, but it is the mix of ideas and interpretation that makes the work outstanding.
"The music creates the mood, so it should be inspirational and interesting," said Arlene Richards, of the NDTC.
"Sometimes it will take months of listening before you find the right music. But you will recognise it once you hear it", she continued.
Choreographers, like musicians, conjure up images which may or may not strike the right chord with an audience.
The musician will score a piece of music before losing an idea, while the choreographer will internalise every sound and musical nuance. These creators search through various record collections and music repertory to find the right piece.
Collages
According to Miss Richards, "Sometimes you will have to use collages - put together various recordings - to get the right impact and to suit the concept".
In illustrating this point, Miss Richards made reference to a piece of music used in the NDTC's season of dance.
"In 'Cacoon' I used a variety of music which represent various stages of the dance concept, including birth, adolescence, adulthood and the finale. The dance has to end on a high, so the music had to suggest that.
"Most choreographers have no musical background. Some have a great penchant for works by the great masters, while others use any music which stimulates the emotions.
"I depend largely on my father's collection, but I'm also exposed to other collections."
Some choreographers get their ideas for the type of music they want to use through watching commercials on television, going to the movies where they get inspired by soundtracks, while some just listen to the radio.
"One also has to have a great sense of interpretation before attempting to use a piece of music for the purpose of choreography. But it should not take precedence over the movements. If the music is overpowering it sometimes kills the work", she concluded.
Meanwhile Barbara McDaniel, teacher, artistic director of Wolmer's Dance Troupe and founder/artistic director of Xaymaca Dance Troupe explained that care should be given to selecting appropriate for children groups. "The pieces should not be too emotional and sensuous, but instead be light and fresh", she said.
"Children love to hear music depicting the flow of water, thunder, flashes of lightning, rain drops pattering on roofs. They just go wild with those sounds," she said.
In speaking with a group of young choreographers it was revealed that dance movements are becoming more techno, and computerised, are becoming less abstract. And Mr. Hardware, for example, is becoming more captivated by Latin and Brazilian music, which he considers vibrant and full of energy.
On the other hand, creators like Miss Richards, are motivated by vocal and choral pieces. In fact for more than a year she has been seeking out works with black voices to accompany a dance concept depicting suffering and jubilation.
Most musicians and choreographers will concede that that both talents go hand in hand. Afterall a choreographer needs a 'voice'.
