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SUKKY'S DANCE TIPS
The Significance Of Color In Pageantry
The word Pageantry according to Oxford Dictionary means ‘A Spectacular Display” The aim of this tip is to focus on Pageantry as it pertains to Praise and worship with special emphasis on Praise dance. The important issue in pageantry is not the beauty, but the ability to interprete scripture or represent it in such a way that it compliments rather than contradict scripture. If the goal of the choreographer is beauty alone then we have failed if on the long run our whole presentation leaves the audience wondering about the scriptural connotation or representation of our piece. It is crucial that the Choreographer understands the consept of color in pageantry. Let us imagine that we have decided to incorporate or interprete the Biblical scene in Revelations 4: 4 Where the Bible clearly talks about the Crown of gold. Using silver to represent this scriptural scene then becomes a misrepresentation and portrays a lack of understanding on the part of the choreographer or dance director. Care and proper attention must be taken in ensuring that we send the right message across in our Pageantry pieces.
Sukky Macaulay Fagbohun
KNOW YOUR FABRIC
Fabric choice definitely plays a pertinent role in Effective Choreography. Garments constructed with stiff fabrics do not lend themselves to good dancing. Choose fabrics that are flowy and soft like silks, chiffon, and soft satin to name a few. Stay away from heavy brocades and Taffeta. Durability of fabrics is also very important. Some fabrics are very pretty and quite delicate, but such fabrics tend to rip easily.
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THE DANCE OF THE EVANGELIST
The evangelistic dancer is the dancer who uses the gift of dance as a route for reaching the lost. The type of songs to consider for this type of dance are songs that honor God. Such songs must also uplift Jesus, and emphasise the wonderful and loving sacrifice that He made for us on the cross..
The dancing evangelist incorporates prayer and altar call in the dance, so that people will have the opportunity to receive Christ as Lord and savior.
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WARFARE DANCE
The dance below is a sample of one of our many warfare dances. Notice that the song is a warfare song. In order to interprete the song appropriately, we incorporated many warfare moves like stabbing, stomping, shouting, cicling etc. Most important of all we used our flags as weapons of warfare. There is more to the flag than just waving it. When you wave the flag with a purpose, you can set the captives free by making declarations in the heavenlies.
Join me next time for another amazing dance tip.
http://myspacetv.com/index.cfm?fuseaction=vids.individual&videoid=42230676
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How to make a simple ribbon streamer
Items needed:
A. Soft blue and silver ribbons (found at local fabric store).
B. One (quarter inch) curtain rod.
C. Key ring
Instructions:
1. cut the ribbons into 7 strips (90 inches long or 2 and half yards long)
2. Attach a key ring to the holes at the tip of the curtain rod.
Fold the edges of the ribbons over the key ring and glue or sew in place.
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How To Spot The Demon Of Performance:
1. When you enter the battle field without preparation. (dancing without praying)
2. When you become physically and emotionally disconnected from the lyrics.
3. When it is apparent that God seems distant.
4. When the dance becomes an ordeal and your movements are senseless and un-coordinated.
5. When you find yourself struggling to gain the approval of those in the congregation.
6. When you vow to outdo the previous minister.
7.When you find yourself praying for the ordeal to end
8. When you lose your joy, dependence and reliance on the holy spirit.
9. When you find yourself acting rather than worshipping.
10. When you rate your performance by the intensity of the applause or enthusiasm from the congregation.
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CREATE MEANINGFUL CHOREOGRAPHY
It is important for the praise dance choreographer to create movements that complement the song and not detract from it. For instance, if the lyrics of the song say “We Bow” the choreographer must implement a bowing movement and not a leap or a spin. If the lyrics of the song says “in your presence is where we must be” then try as much as possible to end the dance somehow in the sanctuary with a bow, a kneel or a freeze. Rather than dancing off and out of the sanctuary. The dance will be much more impactful when the choreography makes sense.
Choreography and Modesty
The question of modesty is a crucial one for the kingdom choreographer. No matter how beautiful and captivating the choreographic piece, it will definitely lose its appeal if the garments are immodest. I recently viewed what would have been considered a beautiful worship dance in ballet. The choreographer incorporated a lot of high kicks but had the dancers dressed in gowns without tights, body suits or palazzo pants. You can guess what happened when the legs were raised.
My Tip: Always consider the garments when you choreograph. Try the dance out in your chosen garment t and make sure that it will work with your choreography prior to the dance ministration.
The Dance Of Death
Dance has the potential to impact either positively or negatively; it therefore has the potential also to produce life or death. An example of a dance that produced death was the carnal and sensual dance that was presented unto King Herod and His guests. The Bible records that it resulted in the be-heading of John the Baptist.
My Tip: Keep God as the central and focal point of worship. When the dance is motivated by a desire to entertain or please man, God ceases to be the focal point and the dance becomes a performance.
Put Your Best Face Forward The Choreographer must implement the importance of facial expressions in the dance. The dancer must be taught how to own the lyrics and believe the message that he or she is delivering. The audience can always tell when the dancer is not connected with the dance. It is advisable not to over dramatize but to convey the true emotion of the dance. Praise dance is about communicating the truth to the audience and not a make believe drama script. On the long run, it is the audience or congregation that is left to decide the effectiveness of the dance or its choreography. It is important for the choreographer to understand the danger that negative expression poses on the congregation. The emotions of joy, anger, sorrow, bitterness and pain are ones that could easily be seen or read on the dancer’s facial expression. The choreographer must not allow an angry or sad dancer to minister because the negative energy of sadness can be conveyed or transferred to the congregation, thereby creating a negative effect particularly if the message intended was a joyful one. Moreover it is easy for the audience to tell if the dancer was sad or angry. The dancer therefore needs to pay attention to his or her emotion and never minister when sad or angry. The dancer’s demeanor must be radiant, confident and free.
Sukky Fagbohun."Effective Choreography For Praise Dancers"
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