POST 188: wayne mcgregor

Wayne McGregor CBE is a British choreographer of contemporary modern dance and has been a post doctoral research fellow and now a professor of dance psychology. His work interests me as it provides the link between dance and science. His work is renowned for its particular vocabulary of movement, dance integrated with film and visual art and for its incorporation of computer technology and biological science. His work explores the relationship between movement and brain science.

His presentation interests me as he is working with elected dancers and using science at a level I could ‘play’ with in my masters project. What is so great about this clip is it gives an insight to how he works and the speed at which dance artists can interpret and recall kinaesthetic information.

Like the students I teach, he states that school and community dance are the first place where he was given opportunity to express his own voice and experiences. It shows he has an insuring mind as he recognises where he came from and how this has developed.

He now considers at a high order level the technology of the body and how to communicate this to an audience.

I defiantly cannot recall and construct choreography at the speed the dancer ms do but I can understand how he uses them almost as puppets shaping changing and analysing movement and its changes. I recognise the speed of his process links with how he shapes things in his mind I do this too.

His choreography is at the pinicle of what the curriculum for excellence aims to achieve. He connects the physical and mind based process of thinking through his work and interacts with a range of academics who decipher cognitive processes in different ways.

He rarely teaches choreography as many teachers do with the dancers as empty vessels which learn his choreography. Instead he uses three main methods which focus on the dancers prorioception of their body in 3D space. This kinaesthetic intelligence provides three versions of physical thinking.

1. Direct transfer of energy which replies on dancers ability to group and use information in a stimulus.

For example he moves and the dancers select and recall aspects of the movement they liked.

Dancers recall I general either overall shape or small detailed units. This they build into a personal phrase, like a storage bank.

2. Inferred movement. Dancers are given oaspects to think about (Labans actions) or are physically moved in space. Thus greater architecture and interpretation.

3. Task based movement.

Example; you are moving inside a letter “E” dancers make rescissions on how to move as a result of the environment changing height, direction, collapses.

I use basic versions of these tasks with the kids. But the initiative to try practice, observe and improve greatly benefits a dancers skills and alignment.



<a href=””></a>This seminar was by the lead in the company who is currently teaching me in Laban.





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