Critical Thinking and Writing in Dance: Important Analytical Moves in a Movement Art

by Buffy Price, Chair, and Susan Shields, Dance Department

Most people would not associate critical thinking and writing with dance, a movement art. But both play a significant role in a successful dance program. Every dance class is focused on the mastery of skills and knowledge accompanied by self analysis and reflective thinking; journal writing is central to both of these critical thinking processes, especially in dance technique and composition classes. Students maintain a journal in each composition class, recording their methods as well as maintaining video footage of each step in their creative process. In their journals they describe what they are seeing, examine the choreographic devices they observe, analyze the elements that are successful, and make plans for editing and refining the material. They critique each assignment, judging its artistic merit. Finally, they learn to clarify and refine their aesthetic choices by critiquing in writing a variety of professional companies each semester.

Students also use writing in their technique classes to think critically; they must evaluate their performance and goals and clarify and refine their aesthetic choices by critiquing a variety of professional companies each semester. While it is common for a dance class observer to simply see a room full of students imitating teachers, in technique classes dancers acquire technical skill and take responsibility for their own artistry. Information from all course work is called upon and synthesized in the technique class. It is expected that the superior knowledge base acquired in other areas be transferred to the physical body. Students must incorporate body awareness and anatomical information learned in their Dynamic Alignment, anatomy and kinesiology and somatic studies classes, while exhibiting an understanding of music as studied in Rhythmic Analysis. They must incorporate spatial awareness of an internal and external landscape, while maintaining sensitivity to other movers. As in advanced study of any subject, an intelligent mover does not merely replicate information or steps, but applies the learned principles to fully engage in the movement by making it uniquely their own. Writing is an integral part of this synthesis process.

The constant self correction and internal critique occurring within a dancer—while moving—are impossible to detect until one speaks with a dancer who has just completed a grueling combination. The incessant voice inside barely allows him to disconnect and be “carried” away by kinesthetic pleasure, as it often appears a dancer is doing. It is a duality that few people experience, and it is part of the concentration that makes advanced dance wholly integrated. Students are often asked upon completion of a phrase what they will do next time to make something better. The self analysis is constant, the thinking is constant, and the moving is constant.

Critical thinking and analytical/reflective journal writing are also central to the B.F.A.’s five semester composition/choreography series. The learning of the choreographic craft is accompanied by an expectation of increased evaluative reasoning as students progress through the series. Each choreographic project asks that students clarify their intent, their purpose for creating this work. They develop material, i.e. a movement vocabulary, that they must manipulate and expand keeping in mind their particular point of view. They must constantly clarify and evaluate the relevance of the movement choices to the theme as they continue to demonstrate complexity and logic of development. In choreography there is no one correct answer. Rather students are challenged to consider the problem from an open-minded perspective; to use the skills they have learned while avoiding preconceived notions of what will work; in other words, to avoid the obvious or formulaic solution.

According to Marliese Kimmerle PhD and Paulette Cote-Laurence PhD in Teaching Dance Skills, an experienced dancer demonstrates consistency in performance, self-monitoring capability and an ability to adapt to unplanned situations rapidly and efficiently. Through a refined kinesthetic sense, the experienced dancer detects and corrects movement errors accurately and rapidly. They monitor their own performance and take responsibility for their own learning. Dance majors are challenged to develop clarity, accuracy, precision, depth, breadth, logic and open-mindedness both mentally and physically. Writing and critical thinking aid them in every step of this process.