By Danielle Jeal (Originally posted on Instagram in 2024)

Full transparency! Choreography does not come easily to me. I enjoy it deeply but I have discovered over time that what I am interested in is the dancer's internal process and the experience of moving through the work. I am less interested in the audience's experience or perception of my message. This took me time to understand, and while I regularly have the privilege of working with many artists who also want to create for the artistic experience of the dancer this work is (unsurprisingly) more difficult to fund. Therefore, much of my income generating choreographic work is with young dance artists learning to perform or performing for competition. By necessity I had to learn about what the audience is seeking in a performance, and how to build a piece that would hold up on stage. I broke down what each piece of effective choreography encompassed into 6 elements. I call them my "pillars of choreography."

6 Pillars of Choreography

• Blocking

• Levels

• Texture

• Balance

• Transitions

• Innovation

Here is what I have discovered or believe to be true about each element.

1. Blocking - The Positioning of Dancers on the Stage

Blocking is essential to ensuring each dancer is seen on stage, but more significantly blocking provides the base for transitions. To have an effective piece and performance Blocking and Transitions work in tandem to carry the audience's eye through your work. There are few blocking basics to lean on while you are developing your comprehension of blocking:

Windows

Partner Windows

"V" or Inverted "V"

Circle

Semi Circle

Circle with Soloist

Diagonal

Staggered Diagonal

Small Groups

Matched Groups

Unmatched Groups

2. Levels - The literal levels of the choreography.

There are three types of levels that I see frequently in effective choreography.

Inherent Levels - Inherent levels are the use of levels in the choreography. 

For example: when an arm is extended up, while the legs or body is bending low; this is an example of inherent levels because the choreographer is utilizing the height of the arm and the dropping of the body to create a balanced visual inside the movement.

Crafted Levels - Crafted levels are levels crafted into the piece with blocking or opposing choreography. 

For example:choosing to have select dancers jump while other dancers roll; this uses high space (where the dancers are jumping), low space (where the dancers are rolling), and negative space (the empty space between the jumpers and rollers) to craft a visual for the audience. 

Dynamic Levels - Similar to landscape levels, dynamic levels use time and space to develop dynamic visuals.

For example: Canons are an excellent example of dynamic levels; canons utilize consecutive timing to draw the audience's eyes across the breadth of the stage.

3. Textures - The quality of the movements in the piece.

   Textures are one of the hardest elements of dancing to teach and explain. Essentially, textures are the quality of the movement. That is to say the quality you give to the movement in the way you enact it, not the level of technique you bring to the movement.

Textures are endless and no two people interpret them exactly the same. But having a variety of textures in a piece of choreography is essential to keep the audience engaged and grounded in the material. Textures allow the audience to differentiate emotions, intentions, and movements within a piece of choreography.

Some texture examples:

"BOOM-KA!" Movements are likely sharp in texture.

Standing still is typically static.

Petit Allegro is commonly light and bright.

4. Balance - The thoughtful inclusion of all aspects and area of stage.

Balance is crucial in choreography. As an audience our eye is drawn to equivalence. Balance in blocking, levels, and textures is satisfying to view. Imbalance can also be a key element in developing story, presenting concepts, and highlighting moments in a dance. To employ imbalance, however, a choreographer must first establish balance, as imbalance is best defined in opposition to balance.

Examples of Balance:

• Blocking that employs both sides of the stage equally

• Choreography that travels adequately

• Movement that is balanced in textures such as: hard, sharp, and fast work paired with slow, static, and light material.

5. Transitions - The moments of shift in choreography.

   Transitions are the bridges built between one moment in blocking, movement, or concept and the next. Transitions are notoriously difficult and deeply appreciated when done well. Consider the moments of dance you have witnessed where one moment of movement suddenly became something new. Transitions are truly the stuff of magic, and a mark of exceptional choreography.

Examples of Transitions:

• Blocking changes (i.e. "V" to Windows)

• Movement changes (i.e. level and texture shifts)

• Concept changes (i.e. partnering to solo work)

The best way to develop transitions in your choreography is to watch and try! No way to know if something works well for you until you forge ahead and give it a go. The more opportunities you create for yourself to choreograph the stronger your choreography will become. Finally, watching greatness inspires greatness. Go out into your community and support your local dance artists!

6. Innovation - The ability to work outside the box and create truly new ideas in dance.

Innovation is the key to any truly spectacular piece. Have you ever watched a dance and thought "WOW! I have never seen anything like that." That is innovative choreography.

I firmly believe that innovation is sparked through freedom and confidence. To be free and confident in your choreography you must dedicate yourself to the work. Continue to choreograph, test out every tried and true technique, learn and master the rules of the game- then challenge them. The more frequently you challenge yourself, the more confident you will become, and with confidence brings freedom and inspiration.

Confidence is not the absence of failure but the courage to continue to try! (Someone far smarter than me has said this, but it never hurts to remind one another).

Happy Dancing!