Sharing the Dance

Neither the Mantic, nor the Sophic can adequately describe the impossibly intricate and incomprehensible beauty of the performing arts. As an active participant, patron, and perpetuator of the performing arts, I have come to find that, while not wholly owned by either school of thought, the performing arts can be considered the marriage of the Mantic and the Sophic, a place where clashing ideals come together in an illogical, yet completely wonderful way. I love it.

In my last post, I discussed my time as a student in the performing arts, namely my experiences as a dancer. Learning the generation-bridging folk knowledge of ballet shaped nearly the first 18 years of my life. But on January 12, 2011, I discovered that more important than the acquisition of folk knowledge is the imparting of folk knowledge. On that day, I learned that folk knowledge really only has meaning to me if I can share it with others. On that day, I became a choreographer.

Demonstrating a step from "Fortune Favors the Brave" (Aida 2011)

A key component in the dance and musical world, choreography has become essential to plot development in several modern Broadway productions (Choreography on Broadway). For multiple musicals, the choreography can either make or break the show. This certaily rang true of my high school's production of Guys and Dolls. Having recently quit taking formal dance classes in order to pursue musical theatre, I was devistated by the quality of the choreography in our show. Within two weeks after beginning choreography rehearsals, cast members were dropping the show like flies.

My original choreography notes for "The
Crapshooter's Dance" (Guys and Dolls)

As dance captain, I didn't want to let Guys and Dolls fall by the wayside because of its choreography. There had to be something someone could do; so I talked to the director. She had the same feeling as me, and although we both had no clue how to resolve the situation, I did have some ideas for the dance we were working on. With my director's permission, I went home that night and in a frenzied, all-night session, I choreographed my first dance. 36 hours later, I was asked to be the full-time choreographer for Guys and Dolls.
There are two kinds of folk knowledge. First, there is the kind of folk knowledge we learn. Dance was a form a folk knowledge I learned.

Teaching "Luck be a Lady" (Guys and Dolls)

Then there's folk knowledge we're born with. It's knowledge gained before this life began. Call it gifts, call it talents, call it anything you'd like.

For me, I call this folk knowledge choreography. Nobody taught me how to choreograph. Yes, I had taken dance classes, but I never received formal instruction on how one should listen to the music and from there create choreography. You can't teach someone to see images in their brain as they listen to audio and then interpret those images into physical steps.  You can't teach someone to so feel impassioned by a particular phrase that they have to manifest that feeling through movement. You can't teach that.

Rehearsing "Dance of the Robe Reprise" (Aida 2011)

Some of it comes from experience. Most of it comes from God. He is the great giver, and it is amazing what we can do with these gifts when we fully realize and put to use the unique gifts, the unique folk knowledge He endows us with as His children.


Now in the process of choreographing my third musical, Phantom of the Opera, I have come to understand that perfecting a dance or really, sharing any form of folk knowledge is like life. At first, things are hectic and wild and we don't have any idea what is going on; however, there is a plan. We know the plan. It has been laid out before us and if we will only follow and listen to those who know the plan better than us, we eventually can put that plan to use. The more we put it to use, the easier it becomes, and the more we are capable of understanding. That's not to say it ever becomes easy, but we understand enough that we can navigate our way through successfully. And in the end the results are worth it.