Dance/Drill Team has been a national phenomenon, captivating audiences for many years with bright, colorful costumes, creative props and eye-catching choreography both on and off the field. The Dance/Drill

Team has always symbolized the essence of school spirit and team unity. It has become an art form in itself. Just as the evolution of technology in the world today, drill team has evolved into much more than just half time entertainment. It has provided performance opportunities to millions of dancers of all ages through competitions, dance concerts, workshops, national sporting events, etc.

As we all know, choreography of the Dance/Drill Team has changed dramatically, demands for unique and innovative performance material is ever-present throughout the nation. Other dance genres (ballet, jazz, tap, etc.) have been incorporated and have expanded the basis for material in the creative process. But how can the various art forms continue to feed off of one another and add diversity to the work presented? How can the drill team continue to evolve artistically and challenge the minds and abilities of the dancers as well as the audience? How can the drill team keep up with "modern" times?

Well, perhaps there is an addition to the equation – modern dance. It has been seeping through the cracks and more and more people are discovering its value to the art of choreography, diversity of the dancers and innovative performances. The "unusual" is quite catchy these days and dancers everywhere are wanting more of it. It seems the dance is much more interesting with a "twist."

Not only does modern dance give most audiences something they haven’t seen before, it also expands the dancers’ imaginations and abilities to express themselves in new ways. Modern dance provides new techniques to approaching and choreographing movement, tools that can also be applied to creating work in other art forms. Competitions are tougher than ever, and the more expansive, innovative and creative a routine is in every element of performance (music, theme, content, variation, etc.) has the most impact. The old chasse, ball change just doesn’t seem to work anymore. So, how can drill team directors incorporate modern dance into their routines and creative processes?

I began my dance career in the High School drill team, became a World Famous Kilgore College Rangerette and began to study modern dance. I obtained a Bachelor of Fine Arts degree, followed by a Master of Fine Arts in Performance and Choreography in modern dance. Drill Team gave me the chance to dance, but modern gave me that and so much more: a chance to discover myself and unique ways to express the unique facets of my being through movement. The most exciting thing is that I have been able to fuse modern into the styles I had originally learned in drill team and, in turn, became a more diverse and well-rounded mover and choreographer. There are so many incredible ways to link the various dance forms and artistically feed the minds, bodies and imaginations of dancers.

I have compiled a few tactics and techniques that have been of substantial use to my choreographic process as a professional. I have been imbuing them into my work with dance/drill teams for many years. I believe dancers should push and expand their limits in every way possible in order to become more than what they think they can be. New approaches may seem difficult and somewhat awkward in the beginning, but

I have discovered them to be highly successful and useful as the basis for my creative process. Remember, these are only a few suggestions, so create new ones or mix and match! The more we open doors to the imagination, the more unique and exciting the creative process, and in turn, a winning result. Remember, videotape all choreography sessions, it is the most useful tool to remembering new movement. It allows the dancers to fully explore each exercise and gives them the chance to let the video do the memory work. Spontaneity is the key to each exercise.

Methods for Choreography:

1. Improvisation

A. With no formal structure, put on any type of music and begin to move in space. Release all inhibitions and let the body begin to move freely without any constraints or restrictions. Just dance in the space, whatever comes easily to the body. Let the body react naturally and instinctively, in its own timing, with no counts.

B. At first, you may begin using gestures or movements that are familiar. Try to take those movements and vary them in as many ways as possible, i.e. dynamics, rhythms, levels, shape, direction, speed, etc.

Tap into a new, expressive part of the self.

C. Become aware where, when and how one movement leads into another. Start remembering movements and slowly begin connecting them into a phrase that seems complete in thought and shape. Try not to set them to counts, go by your emotional rhythm.

D. Try to create several phrases this way, then connect them together. Although they may not seem to be related, create a transition between each that could tie them together. Sometimes they may not make sense, but these phrases could provide the basis for a longer dance.

E. Explore the following in each movement: eye focus, intent, quality, length of hold, different body parts, and energy in the movement.

F. Try this technique with a group of dancers, each doing their own thing. Then connect the phrases together.

2. Choreograph in silence, then try the phrases to many different music styles and selections. Try not to use music that is familiar. Notice how each song brings different qualities, meanings and dynamics to the movement.

3. Choreograph to a song that is inspiring and brings out certain qualities and emotions of the dancers, then set it to different music.

Try a whole new music style. (i.e. jazz to classical or drums)

4. Explore spatial relationships between dancers. Notice how different directions and the amount of space between the groups of dancers begins to increase tension or develops an emotional response to an observer and/or the dancers. As the dance begins to develop, the relationships in space will have impact and the underlying meaning of the dance could begin to develop within itself. Put two of the four groups close together, and isolate one in a corner. Clump them all to the side. Repeat one phrase three times at different speeds, then slowly separate and do another phrase at a different speed. Have a soloist repeat the same phrase. Try numerous variations.

5. Create stunts through weight-sharing and improvisation. Let stunts occur as a natural sequence and progression within the choreography. Try to create the stunt and its finish as one, easy phrase of movement that connects with the phrase before and after.

6. Multimeter: Instead of 8’s, choreograph phrases in silence in 7’s, 5’s, 10’s, etc. Put the phrases to music that has 8’s and notice how the different counts add dynamics and variation to the music as well as different meanings to the movement. Explore ways to connect them and fit it to the music in a unique way.

7. Pay close attention to the layers of a piece of music (upbeat, downbeat, etc.) Choreograph phrases to each part of the music and overlay with the spatial relationships and levels of the dancers. Have a soloist against a group of ten. A trio, duet and group of eight.

8. Choose a theme for a dance. Create literal gestures indicative of that theme. Take the gestures and abstract them (fast, slow, standing/lying, jumping, facing front/back, upside down, different body part). They still have the same impact and meaning, but they are varied in quality so that the movement isn’t literal and exaggerated in nature.

9. Separate into groups and have each group face a different direction. The people in front of the group begin to dance, the others follow and mock the movement; as the group changes directions, the new leaders immediately begin new movement. Develop phrases or even a whole dance based on various directions and leaders of the groups.

10. Have several dancers take a place in space, not close to one another. Have each one make a shape. Choose 2 or 3 shapes that are interesting, connect them and make a short phrase. Have them make another shape, repeat the process and connect it to the 1st phrase. Repeat the same process a third time, but have them in pairs and create a phrase that includes partnerwork.

11. Close your eyes and open a dictionary. Point to a word. Create a phrase that is indicative of that word. Select another and add to the phrase. Speak the word while dancing (fast, slow motion, spell it, whisper it, etc.).

12. Create a dance that uses one or several props. Take away the prop(s) and do the same movement without it. Change the music.

13. Imagery can be a powerful tool in creating movement. Imagine you are alone in the rain on a deserted railroad. You are at a circus petting the animals. You and a friend are playing hide and seek.

Create phrases indicative of these places and images. Be clear in movement and focus about the environment that you are in so that the essence and qualities of the movement is clear. Break one phrase apart and insert movements from another into various parts of that phrase. Repeat a gesture from the third phrase at the end of the new phrase, then retrograde the gesture and the entire phrase.

14. Have a group of dancers create a phrase that consists only of various rolls and kicks. Another group has to jump, lunge and lay on their backs in slow motion in a straight line. Another group must not move in the space and can only move the arms, upper body and head in any direction. Create new criteria and connect these variations into a dance. Keep what you like, take away what you don't.

Do’s and Don’ts (these are only suggestions):

Don’t:

*use popular or top 40 music, search for selections not heard very often

*give literal interpretation of a theme and gestures that exemplify it

*choreograph to the words of a song

*always dance in unison and face front

*prepare for stunts so the audience knows it is about to happen

*exaggerate emotions through facial expressions, let emotions come naturally

*choreograph half of a song, then repeat the entire dance

*put too many movement phrases in one dance, too much can lose impact

*wear costumes that are too literal and overpowering for the dance

Do:

*have a beginning, middle, and climax/conclusion

*expand a basic movement motif or phrase, show its development

*explore new ways to use the floor, and coming out of it

*play with rhythms and variations of the music

*change levels and directions of the body and focus

*create stunts to occur as a surprise to the audience, be unpredictable

*explore spatial and emotional relationships between the dancers

*use variations in numbers of dancers (solo, duet, trio against large group)

*layer the movement with dynamic and qualitative variations

*let the emotional qualities happen naturally as an expression from within

Performance Tips:

1. Energy & dynamics

Always go beyond where you think you should go. Be very expansive and generous in the use of energy coming from within the body and its relationship to the movement in space. Each movement and the dancer’s presence should be clear. The choreography should have a distinct quality and intent within each dancer.

2. Phrasing

Connect each movement both emotionally and physically. The "in-between" moments are the ones that have the most impact upon the audience. We forget how you got from one thing to the next. Show the audience "why" one movement is a result of another. This connection and clarity of choreographic decisions will create one long, fluid dance, instead of a bunch of "tricks." We know the tricks, show us why it was important for you to include it in the work. The power of a performer is to convey their inner process of connecting each movement that constitutes the dance. It shows us why it was created to begin with, and why it had to end.

3. Commitment to the idea or theme

Each dancer must be completely clear at all times about their commitment to the idea of the work and how and why the movement is being performed. What are they saying at every moment? Subtle qualities of any arm movement, change of direction or focus, level change, emotional change, etc. must be clear and consistent throughout the dance and within the whole group. The intent and commitment is what captures the audience and makes great performances.

4. Emphasis on Technique

Correct alignment and use of the body within each movement must be practiced daily. Use of the feet, length of the lower back, carriage of the arms and chest from the lower back, strength of the legs, use of inner thighs, use of the weight of the body into the floor, etc. is vital to the execution of any piece of choreography. The use of energy and concentration on how it is dispersed into each part of the body is the underlying basis of technique. Each performer must practice correcttechnique and uses of the body in order to expand one’s abilities and obtain performance qualities at a professional level.

5. Cleaning

Clarify all levels, angles, and directions of all parts of the body, arms, hands, legs, feet closures and eye focus. Define the various levels of energy in the subtle movements and shapes so that it is clear and consistent within the group at all times.

6. Expand class curriculum

Enable the dancers to expand their abilities by taking as many types of dance classes as possible. Take them to workshops, conventions, and bring in various types of guest artists. The more diversity in what they are exposed to, the more it will enhance their dance background and performance capabilities, taking the team to new levels of achievement. They will not only want to continue learning from professionals, but they will be able to teach and learn from each other as well.

In conclusion, modern dance is yet another way to enhance the expansive capabilities of the Dance/Drill Team legacy. Its principles and unique approaches to movement and choreography can be applied to other forms of dance as well. Modern dance can spark the imagination and allow one to speak what cannot be expressed in words. It has given me the capabilities and possibilities to discover the many facets of my personality and express them in ways I would have never imagined. Through my work, it has also allowed me to assist others in searching aspects of their soul, bring new parts of it forth and embrace it through the art of dance and choreography. Modern dance may not be for everyone, but it certainly can expand our minds, horizons and appreciation for a different art form.