A MOVEMENT MOMENT #8: Put on Your Audience Eyes

| February 17, 2010 | 1 Comment

Zip.  Zero.  Nada.  Negative.  Nuthin.

That’s how much colorguard exposure the Movement Chick has had in the past three weekends.

You see, Mother Nature has apparently gotten ahold of my planner and wreaked havoc on my show schedule, and I have consequently been iced/snowed/airlined out of South Carolina, Ohio and Northern Virginia.

Of course I am feeling sympathy for the teams not getting a chance to show off their stuff, but really… let’s talk about the tragedy of trying to reincorporate one’s self into the “real world” on several weekends in January.  Goodness, there’s sporting events and pancakes and house projects

…even some holiday called Valentine’s Day?  Who knew?

I have gained several a few pounds, painted my closet, been on 2 dates with my honey…good times. My children, however, are sorely tired of not getting their weekly Guilty Conscience Bribe payoff gift from whatever airport I’ve been dawdling in, and are really, quite ready for Mommy to leave town again thankyouverymuch

Kansas City, here I come.  Fingers crossed and toes pointed.

However, dear readers, because I am here to serve the movement needs of my adoring public audience I will reach into the depths of my mind and produce a sparkling moment of movement information.

Or maybe we could just swap recipes?

**Crickets**

Alrighty then.

Sometimes, I am shocked dismayed taken aback by some choreographic, errr, choices which, are, quite frankly,  ummm… let’s just say, not thought out too well.  There are some body angles which can distort a movement skill; show your performers in an unflattering light, and are really, sometimes, just WRONG.

Examples?  Well, of course~

  • Doing a Russian [center split] facing the front of the floor.
  • A needle stretch facing the back of the floor
  • Any ensemble balance or flexibility move [i.e. the aforementioned needle] in a tight form, unless you’re marching a drill team or gymnastics squad [hey, it happens]
  • The angle of a sit roll can make or break you, boys and girls.   Take a look at it – especially if your performers have a tough time getting out of the ground while maintaining integrity in the spine and not releasing the tailbone.  [Hey, I still want them working on the skill, I just want them turned the other way, pleaseandthankyou]

And, while I know watercolor ballet dresses are lovely and fluttery and diaphanous and fantastically floaty…

…they are NOT a good choice to be constantly in and out of the ground in.

If there is any movement in your book when the skirt of your uniforms is up around the performers’ heads, it’s time to change the movement or change the costume.

Really, I’ll beg.  Pinky Swear.

These are just a few examples, and there are countless more.  What I find interesting is choreographers don’t INTEND to put their students in an unflattering light; they are merely blinded by the light moment, as it were.

Put on your audience eyes, and carefully watch angles.  You may be surprised.

And finally.  I. Do. Not. Want. To. See. The. Performers’. Thong.  EV. ER.

Thank you for listening.
*tmc

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Category: Design, Drill & Staging, Movement

About the Author (Author Profile)

Cheryl Myers (aka “The (self-proclaimed) Movement Chick”) is a movement instructor, adjudicator and would-be rockette, living in the Fingerlakes area of New York State. Primary affiliations include the New York Federation of Contest Judges, and the Atlantic Indoor Association. She has most recently worked with Trumansburg High School, and is continually blessed by the opportunity to consult and adjudicate for circuits around the country. In addition to her pageantry career, Ms. Myers works in the accounting and insurance fields, and yes, is great fun at parties, thankyouverymuch. Her primary job, and that which she is most proud of, is raising her two beautiful children, a future dancer and drummer.

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