Volume 11 - Issue 49 / January 2022 277

DOI: [Link]
How to Cite:
Mostova, I., Yanyna-Ledovska, Y., & Semenova, N. (2022). An analysis of a choreographic work: fundamental and innovative
methodology. Amazonia Investiga, 11(49), 277-284. [Link]

An analysis of a choreographic work: fundamental and innovative

methodology
Аналіз хореографічного твору: фундаментальна та інноваційна методологія
Received: November 1, 2021 Accepted: January 12, 2022

Written by:
Iryna Mostova119
[Link]
Yevheniia Yanyna-Ledovska120
[Link]
Nataliia Semenova121
[Link]

Abstract Анотація

The article analyzes the methodology of У статті проаналізовано методику

professional critical analysis of dance art work професійного критичного аналізу
and outlines the prospects of development of this танцювального мистецтва та окреслено
vector of choreological activities. The purpose of перспективи розвитку даного вектора
the article is a goal-oriented description of хореологічної діяльності. Метою статті є
methods of professional analysis of цілеспрямований опис методів професійного
choreographic works in the context of habit аналізу хореографічних творів у контексті
training of choreographers’ critical thinking. The тренування критичного мислення
methods used are as follows: method of хореографів. Використовуються такі методи:
synthesis, systematic approach, method of метод синтезу, системний підхід, метод
structural analysis, method of analysis of musical структурного аналізу, метод аналізу
content, analysis of the specific character of музичного змісту, аналіз специфіки
audience perception, analysis of semiotic сприйняття аудиторії, аналіз семіотичних
components of the work, analysis of the dialectic компонентів твору, аналіз діалектики
of a choreographic text. The criteria for the хореографічного твору. текст. Критерії
analysis of choreographic works can be worked аналізу хореографічних творів можуть бути
out through the use of innovative technologies. it розроблені шляхом використання
is possible to make additional arguments based інноваційних технологій. можна наводити
on the experience of mathematical, music and додаткові аргументи, спираючись на досвід
linguistic methodology. The combination of математичної, музичної та лінгвістичної
innovative technologies with techniques that методики. Поєднання інноваційних
consider the quantitative and qualitative технологій з техніками, що враховують
indicators of dance, allows the analysis of a кількісні та якісні показники танцю, дозволяє
choreographic work to move to a new more аналізу хореографічного твору перейти на
evidence-based level. Further development of новий, більш доказовий рівень. Подальша
this applied research issue can be aimed at розробка даного питання прикладного
improving the theoretical apparatus of the дослідження може бути спрямована на
proposed innovative methods, or the вдосконалення теоретичного апарату
development of new techniques based on пропонованих інноваційних методів, або на
technical developments in the field of GPS- розробку нових методик на основі технічних
devices. розробок у галузі GPS-пристроїв.

119
Kharkiv State Academy of Cultural, Kharkiv, Ukraine.
120
Kharkiv State Academy of Cultural, Kharkiv, Ukraine.
121
Kharkiv State Academy of Cultural, Kharkiv, Ukraine.

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 Mostova, I., Yanyna-Ledovska, Y., Semenova, N. / Volume 11 - Issue 49: 277-284 / January, 2022
278

Keywords: methods of choreographic analysis, Ключові слова: методи хореографічного

choreographic work, critical activity, аналізу, хореографічна робота, критична
choreography. діяльність, хореографія.

Introduction

The training of professional choreographers is the monograph “Dance Composition: a Practical

based on understanding the range of general and Guide to Creative Success in Dance Making”,
special competencies that form the final list of considering important aspects and stages of
necessary skills. The list of professional dance creation, substantiates the specific
disciplines offered for the study is aimed, inter character of its analysis and highlights the basic
alia, at mastering the ability of artistic and critical principles of creating a perfect dance: knowledge
activities in the field of choreography. One of the of the structural elements of dance, mastering the
areas of artistic and critical activities is the methods of composition of a form, feeling and
professional analysis of a choreographic work, style conception – the author motivates to
which contributes to the development of analyze these components in understanding the
choreographic art in general, improving choreographic style (Smith-Autard, 2010). The
choreography skills, the habit training of practical guide to the creation of dance also
professional critical activity. The problem of reveals the problems of creating a motive, the
development of this vector of choreographer’s interaction of idea and style, analysis of the
activity is the lack of conceptualized methods of semantics of movement, stage interpretation of
dance analysis. An objective analysis of a the daily life movement and many others. “Dance
choreographic work still remains a discursive Composition Basics: Capturing the
theme, due to many particulate factors. The Choreographer’s Craft. First Edition” developed
present study collects the most relevant methods by Pamela Anderson Sofras introduces the
of analysis of a choreographic work, which were mechanics of creating a dance as exemplified in
developed in different historical periods of the analyzing the work of two outstanding
foundation of this field of study and make a choreographers. Describing the main stages of
competent analysis possible, excluding development and the creation of dance, the
subjective evaluations. It is through the author uses the structural method of analysis of a
conceptualization of convergent methods of choreographic work, thus revealing the special
professional comprehension of a choreographic aspects of the use of this method (Anderson
work that it seems possible for future Sofras, 2006). Katherine Flatt in “Choreography:
choreographers to acquire special competencies. Creating and Developing Dance for
Performance” also focuses on the analysis of the
The purpose of the article is a goal-oriented components of dance. The author explores the
description of methods of professional analysis process of an idea creation, the formation of the
of choreographic works in the context of habit context of movement, the geometry of stage
training of choreographers’ critical thinking. space and the importance of its understanding in
creating a dance, the structure of movement in
Theoretical Framework or Literature Review time and space, the mechanics of working with
music, the structure of forms and others (Flatt,
Defining “dance” as a cultural model, which was 2020). Thus, Katherine Flatt highlights the key
presented by V. V. Romm in his research “Dance aspects in the process of dance analysis,
as a Factor in the Evolution of Human Culture” regardless of the chosen technique. Considerable
enabled to consider dance as a symbol-code in a attention to dance is given in the author’s work
complex system of cultural signs, expanding the “The Skill of the Choreographer in Modern
methodology of dancological research (Romm, Dance” by V. Yu. Nikitin. V. Yu. Nikitin
2006). formulates the purpose of a competent dance
analysis, identifies the main components that
The analysis of a choreographic work in the need to be analyzed, and asks the concise
modern system of values, as well as due to the questions, the answers to which characterize the
significant development of forms of dance (Nikitin, 2020). The author also adheres to
performance, is greatly complicated by moving the principles of the method of structural analysis
away from the standard interaction of a of a choreographic work, which in his opinion is
choreographer, performer and spectator. The the most appropriate in the study of dance at
given three-phasal nature is reflected in the different levels of professionalism.
analysis of dance. Jacqueline M. Smith-Autard in

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It is important to note that this scientific work is dance analysis. An important science-based step
aimed at conceptualizing the methods of critical was the formulation of the latest dance
analysis of dance, developed by a particular methodology – the method of analysis of
choreographer and embodied by performers. In emotional harmonics, the method of studying
this case, the analysis of the “creativity” of dance using Viperpod.
dancers is not taken into account, considering
them as replicators. Therefore, the use of the Results and Discussion
proposed Lucie Clements’ Method of
Consensual Assessment Technique (CAT) has Mastering the profession of a choreographer in
not been the case here (Clements, 2018), because the field of modern education is based on three
this method is aimed at analyzing situational main principles: mastering the skills of dance
creativity. creation, performance and analysis. These three
principles have become fundamental and require
Methodology deepening the theoretical basis for a professional
analysis of a choreographic work. The theoretical
In the case of professional analysis of a study of dance has made significant strides from
choreographic work, it is recommended to use its inception to the use of modern computer
the methods that consider the object as a holistic programs. A dance conception not only as a
cultural phenomenon (method of synthesis, rhythmic movement or emotional manifestation
systematic approach and other general scientific has led to the constant improvement of
methods), as well as the methods aimed at approaches to its analysis. In understanding these
determining the special aspects of individual three principles of the choreographer’s
components of a choreographic work (method of profession, it is important to comprehend
structural analysis, method of analysis of musical “dance” as a form of human existence in time,
content, analysis of the specific character of space, circumstances and regulations.
audience perception, analysis of semiotic
components of the work, analysis of the dialectic The purpose of any analysis of a choreographic
of a choreographic text, etc.). This approach work is the need to define dance as a subject of
enables to assess dance as a cultural and artistic certain data relay, the role of dance in socio-
phenomenon from many perspectives, taking cultural changes of a particular country or epoch,
into account the peculiar features of types, recognition of dance as an artistic pattern in a
genres, forms and styles of dance. The outlined certain artistic period (without making a
methods are the most common among subjective evaluation), as well as highlighting the
professional critics of choreographic art, features of the choreographer’s style or the style
choreographers, practitioners and teachers. of the whole choreography school.
Specialists in the context of dance evaluation
during competitions and festivals are most often At the beginning of the analysis of the work it is
involved in this methodology. necessary to determine the main approach to this
process. It can be built based on the previously
The range of dancological methods today varies mentioned three-phasal nature of dance as a
from general culturological to choreological. For cultural phenomenon: analysis of dance in terms
the purposes of studying dance analysis methods, of its creation (analysis of the structure of dance),
a systematic approach was involved, combined in terms of the mechanics of its performance
with semiotic analysis as a basis for (analysis of the impact of performing skills and
understanding dance as a system, and the personality of the performer, time and space) and
formation of a three-phase principle in from the standpoint of its audience perception.
professional critical methodology. By
incorporating a systematic approach, it has been At the beginning of the analysis it is possible to
possible to consider the coordinated functioning determine the general features of dance, which
of all the subsystems of a choreographic work, are outlined in the feasibility of determining the
formulating the concept of further development idea of the work, its clarity and the characteristic
of dance analysis methods. In addition, the article aspects of its development during a
describes such methods as structural analysis, choreographic work; definition of style, features
analysis of musical content, analysis of the of its formation and canonicity; identifying the
specific character of audience perception, logic structure of the work. Using the method of
analysis of semiotic components of a work, structural analysis, the critic must determine the
analysis of the dialectic of a choreographic text, idea and form of dance (their interaction,
quantitative analysis of musical and interdependence), and outline the type to which
choreographic score – as a basic methodology of the choreographic work belongs. The idea of

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dance or image (emotional state) is always becomes the basis of dance: in folk dance, the
present and becomes the main goal of the author, natural movement is characterized by ethnicity,
which s/he pursues with reference to the creative in modern dance it reproduces a certain emotion
process (Kolnoguzenko and Mostova, 2019). An and is born from an instant state, in the ballroom
idea or emotion is embodied in a form dance it embodies the nature of culture or era, the
characterized by a set of certain structural gender-sensitive interaction, ethics and
components. It is the form during the aesthetics of relationships. Certainly, the author
demonstration of a choreographic work that will carries out considerable professional work before
be appreciated by the spectator and through its the movement becomes part of the dance. The
aesthetic perception s/he will comprehend the symptomatic pattern of human behavior
idea or emotional component (choreographic embodied in the movement requires
image). choreographic improvement, expansion,
dramatic and choreographic hyperbole,
At the next stage, it is requisite to focus on the academicization (depending on the type of dance
analysis of the features of the form: determine the and stage necessity). The analysis of the
specific features of the structure of horizontal movement, as a dance component, is formed by
dance drama (comprehension of the signs of the determining the nature of the movement, its
build-up, introduction, development of action, interaction with musical drama, the conformity
culmination and denouement of dance, of the movements of the idea and style of dance,
combining these parts into a single whole, the the reconciliation of dance with dynamic and
duration of these components), identify the static movements, the consonance between dance
structure of screenwriting, characterization of movements and patterns, features of the
artistic and choreographic images, the interaction movement development in different parts of the
of screenwriting, horizontal and musical drama. horizontal drama of the work. The analysis also
The conclusions obtained at this stage of the needs to determine how the choreographer-
analysis should be correlated with certain styles author used the potential for developmental
and ideas of dance, which directly emphasizes movement, with which elements the
the relationship of these components. In the choreographer complicated the movements and
scope of the analysis of the form it is appropriate created options for them (Smith-Autard, 2010).
to determine the features of the author’s use of The analysis of a dance pattern also takes into
specific techniques for structuring a spatial account its development in different parts of
composition (increasing, contrast, still frame, dance drama. It is also required to determine
polyphony, etc.): the relevance of their use, whether the patterns were interconnected,
interaction with musical drama, the impact on the whether they developed from simple to complex,
development of choreographic images. identify the mechanics of the interaction of
pattern and movement, outline exactly how the
Dividing the composition into the main author of the dance work uses the stage space,
components, it is essential to proceed to the next distributes the performers, shifts the attention
phase of a structural analysis: studying the from the mass of performers to the soloists,
features of dance movement (dialectics of dance whether he uses the shift of the point of
language) and the organization of performers on perception (whether the choreographer uses this
stage or any other space (analysis of stable technique rationally). The critic must analyze the
patterns, spatial movements). For many relationship of patterns in dance with the idea,
centuries, dance has been understood as a images and dance style. The presence and
cultural phenomenon in which historical, social specific features of the creation of the motive
and cultural information is stored and relayed in need special attention in the process of the
specific symbols-codes. The direct bearer of a analysis of dance movements and patterns, as
cultural text is a dance movement that is formed components of the dance composition.
(like any other text) based on a certain context. According to Jacqueline M. Smith-Autard, the
That is, dance is able to endow culture with a main motive is a dance phrase, which is formed
certain form and make the cultural meanings of a from the movements (or movement) given at the
certain epoch more objective. The flexibility and beginning of the composition and is artistically
stretching language relays kinetic, contact, evaluated and improved by the author
psychological, pragmatic information, and as (Smith-Autard, 2010). Thereafter, the original
part of its research, it is important to return from motive is developed, varied and clarified by the
the choreographic text to its context in order to author, by means of improvisation and use of
better understand the idea of dance. The accumulated performing experience. According
movement is born from the very life of a human to the lexical origin, the motive is a theme or
being and it is the natural movement that subject that especially dominates in the

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composition of the work of art. Glossaries also there is a need to form a methodological basis for
interpret the term “motive” as the main theme or choreological research, based on the objective
idea of the work; a certain artistic sample, a quantitative indicators.
characteristic feature of the work. In a
choreographic work the motive can be expressed Keeping in mind a rapid process of digitalization
in movement, pattern, compositional detail, of all spheres of human life, it is important to
compositional fragment, props, moving scenery predict the development of dancological
that becomes part of the composition. Analyzing methodology and offer innovative means of
the motive as a component of the work and an dance analysis.
indicator of its features, it is indispensable to take
into account the relevance of the motive, style Choreology, as a relatively young science,
and idea of the work, how often the motive is shaping the methodological apparatus is based on
relayed or duplicated, by what expressive means identical developments in the related fields.
the motive develops in time and space, whether Against the background of this thesis, the need
the development of the motive is correlated with for the formation of special methods for the study
the development of horizontal and vertical of dance and movement is increasingly outlined
drama, whether the motive is obvious to the in scientific practice, taking into account
viewer or recognizable at the level of inner innovative technologies. The lack of purely
feeling, whether the motive is embodied by all choreological methods of dance analysis can be
performers or affirmed in the choreographic filled by turning to the methodological practice
score of the soloist. of linguists or musicologists. The compensation
for the lack of dancological methods, due to the
An integral part of the structural analysis of appeal to the methodology of these scientific
dance is the study of the impact of performance fields, is caused by the morphological affinity of
features on the formation of the work. Paying dance, music and words.
attention to this aspect of the choreographic
work, it is appropriate to determine the influence Recently, the scientific community was offered
of performing skills on the embodiment of the to use the method of quantitative analysis of a
idea and choreographic images, outline how the choreographic work. This method is based on the
technical abilities of the performers influenced mathematical quantitative analysis and
the perception of the dance by the audience quantitative analysis of a linguistic work. Despite
(improved or worsened). a certain formality and fragmentation in the
approach to the study of the object, this method
Consistently, it is indispensable to analyze the as objectively as possible estimates quantitative
work from the point of view of the perceptual indicators, and also relies only on factual data in
style of the audience. It is important to the study. Shifting attention to the analysis of the
understand how the viewer perceives the dance opus by means of quantitative analysis, the
information encoded in the symbols, whether the significant objectivity is emphasized in obtaining
semantics of the symbols and images are the final results of the research process, which
reflected in the viewer’s worldview. It is also excludes the subjective interpretation of a
significant to analyze the psychological influence choreographic work by the critic and the use of
of external factors on the process of awareness of the terms “like”, “dislike” (Mostova, 2019).
a choreographic work. Such factors include: the Before using in dance studies (dancology), the
properties of the stage space, the saturation of the method of quantitative analysis has been used in
choreographic work with information, personal musicology: the researcher developed the
qualities of the viewer and his/her previous formula of “musical foot” (a fragment of the
experience. metrorhythmic construction of a musical phrase),
which was further analyzed on the principle of
In addition, it is meaningful to analyze additional alternating short and long “syllables”, enabling to
expressive means, such as musical determine the belonging to a particular form or
accompaniment, dance stage design, costumes. musical archetype. In linguistics, this method is
Thus, structural analysis covers almost all the involved in the quantification of language units.
components of a choreographic work, gives the In the realm of the study of a choreographic opus,
opportunity to identify specific features at a the quantitative analysis is used as a means of
sufficient level, as well as to create an idea of the studying the structure of dance, and is relevant
choreographer’s style. However, this method is for the analysis of minimal movement or any
not devoid of subjective evaluations and form of a dance work.
interpretations, as most of the conclusions are
based on the experience of the critic. In this case,

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The method of quantitative analysis of a displaying a choreographic text. For the

choreographic opus was developed and proposed quantitative method of analysis, the systems for
by N. Sargsyan. The principles of its application fixing a choreographic work of a “descriptive”
in the analysis of classical dance forms are group are suitable. But the increased criticism of
presented in her scientific articles “The the “visual” group of ways of fixing dances,
Quantitative Method of Analysis of which was relevant in the middle of the twentieth
Choreographic and Musical Elements (the Case century, does not reflect the actual situation.
of Music and Kinetographic Scores of Stoyan
Djoudjeff and S. S. Lisitsian)” (Sargsyan, 2016), Nowadays the expansion of video recording
“Methods of Analysis of Choreographic Opus opportunities of a choreographic movement and
Using Terms Applied in Musicology” (Sargsyan, choreographic work has reached a new technical
2015). The method proposed by N. Sargsyan is level. Related to this is the development of an
not possible without the use of a dance recording innovative methodology for analyzing a
system. In her research, the author turned to choreographic work. Video gadgets make it
recorded choreographic scores by the method of possible to see a movement or composition from
the Armenian choreologist S. S. Lisitsian (the multiple shots and angles at once, to fix the area
system of recording dance is described in the of resistance of a dancer during the performance
monograph “Kinetography (recording of the movement, the direction of displacement
movement)” (Lisitsian, 1940) and the Bulgarian of body weight, the movement of several dancers
musicologist Stoyan Djoudjeff (the dance simultaneously with a significant clarity of the
recording system is described in the monograph movement compilation, without learning the
“Bulgarian Folk Choreography” (Djoudjeff, speed of its performance. In addition, when
1945). Thus, the disadvantages of this method analyzing the movement of dancers, as well as
include the need for parallel development of the analysis of choreographic work, modern
musical and choreographic scores, as well as GPS-devices can be used. These are standalone
their further comparison, which requires basic Internet devices that are designed to perform a
knowledge of music literacy and solfeggio from specific function and do not require connection
choreographers. to an additional device; they are actively used in
sports to fix the strength and amplitude of the
Thus, the application of the method of dance movement, acceleration of the dancer, his
quantitative analysis of choreographic score is physical activity. Such devices today include
based on its comparison with the musical score Viperpod, developed by STATSports to account
and the feature analysis of the sequence of for the physical performance of football players.
choreographic movements. During the analysis Thus, video motion capture must be used with the
of a fixed musical and motor recording, the addition of the latest technology. However, for
formula of the sequence of movements, the so- the sake of clarity, the data collected by technical
called “dance foot”, is derived, which is subject devices need further decryption and presentation
to direct further analysis. The choreographic foot in the form of recorded data. Therefore, for some
is derived by the method of calculating the ratio convenience, the descriptive method of fixing the
and sequence of short and long syllables- dance is immediately used in the quantitative
movements that coincide with the musical foot. analysis. Improving the quantitative analysis
Fixed music and choreographic material makes it through the introduction of digital technologies
almost impossible to add a critic’s subjective will make the results more objective and will
vision to an analysis based on his or her accept the results of the choreological analysis as
worldview or life experience. The formulated factual information.
choreographic foot captures quantitative and
qualitative indicators of movement with Due to the active development of software in
mathematical accuracy, and the use of the most various fields of art, the process of creating
advanced systems for recording movements kinetograms (choreographic scores) is
allows characterizing movement from the simplified. European computer software
standpoint of its performance in time and space developers began to improve their computer
and determining its amplitude. software data in 1987, when it became necessary
to simplify and speed up the process of creating
An important stage in preparing for the a dance recording. At the beginning of the
quantitative analysis of a choreographic work is foundation of intellectual development in this
the process of creating a dance recording based field, three programs were patented that
on the use of sign systems. All the sign systems accelerated the drawing of kinetograms,
that have been formed today are included in the transferring them from paper to digital. The
so-called “descriptive” group on the principle of programs had certain shortcomings that needed

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to be eliminated as soon as possible: the program Burlington, it was possible to create schemes of
interface was inconvenient and difficult to use, it emotional arches and determine the most
was impossible to add new characters, only two common of them by the method of intellectual
programs ran on the Microsoft Windows analysis. The essence of the method was to
operating system. Over the years, the software determine the impulse of words, which allowed
has been improved, meeting the current needs of forming a graphic scheme. The method of
authors in the accelerated fixation of complex analysis of emotional harmonics can be used in
choreographic works. The latest LabaNotator the study of various types, forms and styles of
program 1.7.0. (Labanotation graphics edition) is dance. Given the concept that dance is a text that
based on the Microsoft Windows operating reproduces a certain context and relays the
system; it makes it possible to edit existing and information, as well as reconstructs reality
add new characters, create multiple layers of through emotional impact, influencing the
characters that can then be separated, moved and viewer’s consciousness, it becomes possible to
conveniently edited; the program has a analyze the emotional expressiveness of
multilingual interface (English, German, movement as a code. Transmission and recording
Croatian, Slovenian). The theoretical part of the the frequency of impulses of dance movements
program was developed on the basis of in the work, which is possible through the use of
R. Laban’s dance recording system (Preston- modern technologies, allows creating emotional
Danlop, 2002). The Macintosh operating system arches that reconstruct the idea of a
also has a fairly advanced program, based on the choreographic work in the graphic plane. Further
theoretical developments of R. Laban, analysis of a choreographic work from the
LabanWriter 4.7.2. The program has more than standpoint of the emotional structure of the dance
700 characters, has a differentiation of body will allow specifying the patterns based on
parts, indications of movement directions, levels objective data, according to which some dances
and types of movements, as well as the ways to are gaining popularity among the audience, while
indicate their duration. others are ignored.

Due to the use of innovative intellectual Conclusions

programs and the use of the method of
quantitative analysis, it is possible to Summing up, it should be noted that the criteria
conceptualize the author’s style during the for the analysis of choreographic works, having
analysis of a choreographic work, confirmation been developed over time by the prominent
of the dance affiliation to the type, genre, style dance theorists and practitioners of
and certain form, an analysis of the choreographic art, can be worked out through the
correspondence of the dramaturgy of a use of innovative technologies. Given the
choreographic work to the dramaturgy of music developed methods of analysis of the work,
(Mostova, 2019). which have already become fundamental, it is
possible to make additional arguments based on
Innovative computer technologies can also be the experience of mathematical, music and
applied in the case of studying the emotional linguistic methodology. The combination of
component of a choreographic work: the so- innovative technologies with techniques that take
called method of emotional harmonics analysis into account the quantitative and qualitative
(harmonic – an elementary component of a indicators of dance, allows the analysis of a
complex harmonic oscillation). This method was choreographic work to move to a new more
used within the framework of studying the evidence-based level.
emotional arches of literary works. The theory of
emotional arches was first proposed in 1995 by Further development of this applied research
Kurt Vonnegut, who graphically depicted the issue can be aimed at improving the theoretical
development of the emotional component of apparatus of the proposed innovative methods, or
literary plots. According to his idea, all the plots the development of new techniques based on
develop within the framework of graphic technical developments in the field of GPS-
schemes, which are not as many as it seemed at devices. The findings can be applied in the
the time. Kurt Vonnegut’s research initiated the practical activities of choreographers, teachers of
development of mathematical study of the professional disciplines, critics of choreographic
emotional component of a literary work. To date, art.
discussions have continued over the number of
emotional transitions, but thanks to the work of
Andrew Reagan and scientists at the University
of Vermont Computing Storyboard Laboratory in

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