Originally posted on Jo & Kevin!
It’s that time of year again, when many of the instructors at Lindy Focus are working on choreography either for an evening performance or the grand New Years Eve show. Since I, too, am working on learning choreography, I figured I’d share my process with you.
Truth be told, I’d much prefer to learn choreography in person, however, most often that is not an option. I’ve had the priveledge of working with other talented, international travelers such as: Nikki and Shesha Marvin, Mikey Pedroza, Laura Keat, Nick Williams, Sharon Davis, Alice Mei, Thomas Blacharz, and Sarah Breck – to name a few – and more often than not, someone sends a video across the WWW and hopes the person on the receiving end can learn the choreography in full. In my last performance with Alice, I sent her my notes (I will give an example later), a few breakdown videos, and a link to me performing the routine.
Check us out! Alice was a freaking champ at learning all of the details! We probably got 4-5 hours of rehearsal time in together before our performance, but that is rather unusual. Honestly, if you can get a full hour with your partner before performance time, it’s a blessing!
So moving along. The wonderful, marvelous, and effervescent Evita Arce sent me a piece of choreography to learn and it’s a really fun number. The song is New Orleans Bump by Wynton Marsalis and the dancers in the video are trained, New-York-dancers. What this means is that I have my work cut out for me!
To be specific, I have been sent a rehearsal video that is done to music; I didn’t get any prior notes or counts or explanations or anything of the sort. The reason this might be on interest is that I’m going to learn exactly what’s on the video, including any mistakes the dancers made in the video. Since I don’t have confirmation on the movement, I sometimes have to find the common denominator between the dancers when their timing isn’t together. Fun times!
I’m going to give a rundown of my process learning choreography. This isn’t the only way to do it, but it’s how I am best able to learn/visualize the choreo on a number of different levels.
- Download the video so I can watch it forwards and backwards. This helps me break down transitions, tricky timing, or something much-too-fancy to see at realtime. I’m on a mac and I prefer using Quicktime over a different player because I can comb through the video second by second. Suuuuuuuuuper important!
- Get a hold of the song. Check Spotify, buy it on Itunes, check your personal music library, or get it from the choreographer.
- Breakdown the song. I first break it down into eight-counts so I can see how long it is. I go through it again and put in time codes. I go through it one more time and put in musical cues that can help me identify what is where. Here’s a screenshot of what that might look like.
So what are we looking at?
I have my downloaded Quicktime video (upper left), I’m playing the song off of Spotify (lower left), and I’m writing my choreo down in Evernote (righthand side).
- Now here comes the (potentially) difficult part: breaking down the movement 8-count by 8-count. What is helpful for me to know is what foot my weight is on (if you’ve taken classes from me you know how important this is), what my arms are doing, and what count something happens on. I don’t need all of that information on every 8ct, but I need at least one of those three things.
- After I annotate a few phrases, I’ll go back through the video and do the choreography with my body. I go through the sections slowly. First I need to know where my body is going, and then I need to learn to string it together with the movement on either side of it.
- Once I have a decent idea of where my body is going, I then put the video on and try to dance that section with the music at full tempo.
- Next, I break down a few more phrases, dance it, and put it to music. It doesn’t need to be perfect, but something that looks similar to the video
- Once I make it to the end of the choreography, I then try to run the routine while watching the video. I’m not worried if it’s a disaster. Again, I just want to be able to get through it.
- DAY TWO: Yup, this takes me more than one day if I’m really going to perform it. I put the video on and try dancing it again. This shows me what solidified and what didn’t.
- Go back to the sections that I can’t remember or suck at. I go through them slowly to build the muscle memory I am lacking. When I do this, I take my time.
- Once I can do it all the way through (again, it doesn’t need to be perfect), I turn off the video and do it just to music. When I find the next set of glitches I work through those (I’m always surprised how many visual cues I’m taking). This is helpful in order to attach the movement to the music. Again, I rework the sections I can’t remember or suck at.
- Almost there! Now I need to try it facing the other way! What?? Yes-sir-ree! I have found I can learn choreography faster when I keep myself positioned in one direction in a room. I know at certain points in the music I should be facing a certain direction. If you can get through your piece of choreo while doing the routine facing a different direction, you should be fiiiiiiine.
- Last step!! Dancing it in costume!! Perhaps that seems silly, but it makes a HUGE different. Every – do you hear me? – everyprofessional knows they should run their routines in the costume before taking the stage. If you learn the routine in flats but have to perform in heels, you’ll probably be surprised with where you balance is. If you’ve been practicing in one skirt but performing in another, you might not know how slippery the material is (that’s terrifying while doing aerials). That fun thing you’re planning on wearing in your hair? Yeah, that might get knocked off, stab you in the eye, or stab your partner in the eye. The thing is, you’ll never know unless you’ve had at least one run. So do it. Full costume. Underwear and hair pieces. Do it.
So there you have it! What do you think? Ridiculous? Amazing? Unnecessary? Fun?
ADVICE IF YOU’RE CREATING CHOREOGRAPHY TO SEND TO OTHER PEOPLE:
- Send the song along with the videos (yes, plural)
- Make a video with you performing the piece full out to music (don’t mark it, do it)
- If you’re feeling extra generous, do it again but facing away from the camera so someone doesn’t have to transpose
- Make a video with you walking through the movement with counts. Remember to say things like “the weight is on the right”, “left arm on 7″, “move downstage starting count 5″, etc.
- I’ve you’ve broken down the song, send that as well
Here is a short list of routines where I’ve had to do this:
Everybody’s Trucking – Choreographed by Sharon Davis
Evenin‘ – choreographed by Nathan Bugh
Blues – Choreographed by Sarah Breck
Shake that Thing – Choreographed by Hot Club Stomp
Honolulu – Originally performed by Eleanor Powell
”It turns out that the process of working toward a goal, participating in a valued and challenging activity, is as important to well-being as its attainment.” – Sonja Lyubomirsky