Mar 3 / 5 Rhythms: Lyrical

 

 

REVIEW

1. The five rhythms method is a movement method opened to anyone and everyone.

2. The dance is comprised of 5 rhythms which allow dancers to identify and release obstructions in life.

3. The sequence of the rhythms creates a wave that allows the dancer to reach a point of inner stillness.

The five rhythms or levels are: flow, staccato, chaos, lyrical and stillness.

a) Flow is dancing at the level of unconsciousness. The unconscious mind consists of the processes in the mind that occur automatically and are not available to introspection, and include thought processes, memory, affect, and motivation.So flow is dancing automatically, with all we are or have become, with all our baggage. In Gabrielle Roth's words it is the "wild flower." (The term was coined by German philosopher Friedrich Schelling).

• In class, we used the Yang style 24 movement form to illustrate qualities of flow that could inform the movement vocabulary of the dancers (My sources are the Taoist Tai Chi Society and Master G. Rubio).

b) Staccato is dancing at the subconscious level. The subconscious is that part of consciousness that is not currently in focal awareness. The dancer is just dancing and enjoying the dance without consciously processing in that moment what is going on, but he/she can recall the moment. (This term was coined by psychologist Pierre Janet).

• In class, we used Yoruba/Afro-Cuban sources to stimulate percussive movements that could facilitate the dance (My sources are Juanita Baro, Neri Torres and Marisol Blanco).
  

 c) Chaos is when the dancer delves into the realm of intuitive dance. Often referred to as got feeling, intuition is a form of unconscious knowledge, unconscious cognition, inner sensing and inner insight to unconscious pattern-recognition that appears in consciousness without obvious deliberation. It is not magical but rather a faculty in which feeling or guess is generated by the unconscious mind rapidly sifting through past experience and cumulative knowledge. It is the the ability to understand something instinctively, without any need for conscious reasoning. In dance, chaos is manifested through jerks, spins and releases, taking movement over the edge, yet totally grounded in one's feet (Roth & London, 1998).

• In class we use Skinner's Release Technique and Contact Improvisation Technique to generate jerks, spins and releases. (My sources are Keith Hennesy and Stephanie Skura)
  

References:

Roth, G. & London, J (1998). Maps to ecstasy: A healing journey. Nataraj Publishing

 

Question 1

Using your own words, summarize the meanings of the flow, staccato and chaos rhythms.

Unit: 5 Rhythms

Theme: Lyrical

 

I

Introduction

Continuing with our unit on the 5 Rhythms created by Gabrielle Roth, today, we will explore Lyrical. The term Lyrical Dance comes from the word “lyrical,” which means to have a poetic, expressive quality; expressing spontaneous feelings and deep personal emotions. Music used for Lyrical dance is usually emotionally charged and expressive and give dancers a chance to express a range of strong emotions through their dancing. Lyrical is often choreographed to a song about freedom or overcoming obstacles. Their movements attempt to show the meaning of the music. It is very passionate and can tell a story through movement. This style is becoming so popular because the audience can easily relate to the emotion of the dancer and the choreography. (1)

 

II 

Learning Objectives

 

• Understand the ideas behind Lyrical rhythm
  
• Explain the sensations generated as a result of Lyrical
• Gain awareness of the use of embodied movement-meditation in letting go
  
• Experience solo and group dance dancing Lyrical
• Reflect on the creative process at the end of the lesson
  

 

 III

 We make a circle & do:

 WARM UP

Stretching 

 

https://youtu.be/4fezP875xOQ?si=oklTyohmQFzjUITg

 

Tai Chi 

 

IV

 

Main Lesson

 

1

  According to 5 Rhythms

Lyrical happens when the dancer reaches his imaginative self in a communicative and lyrical way. This means that the dancer spontaneously expresses feelings and deep personal emotions in a symbolic, abstract and metaphoric manner. It is, in Roth's own words a type of "luscious lingering" (Roth & London, 1998, p.33). It is manifested through movement that is richly verdant, opulent and sensuous.(2)

 

 Question 2

What is the main difference between the general concept of lyrical dance as a style and lyrical as one of the 5 Rhythms?

 

2

Duncan Style Phrasing

https://youtu.be/VCR2n-p7nNo?si=Q6fQJHeChOIbTR2N

1.           Hand from solar plexus out
2. Hands on rib cage and infinite sign, then shifting weight stepping sideways
3. Swinging arms side to side below, side step
4. swinging arms side to side above, side step
5. Opening - to - close arms to go to the center of the circle
6. Opening arms as you go back to the edge of the circle 
7. Arms down to go up toward the center of the circle
8. Arms up to go down toward the edge of the circle
   

 

 

 

 

https://youtu.be/XqsG56Pws20?si=K1PkYQMNCPxKt2sP

 

 Question 3

In which way is Duncan style phrasing  lyrical?

 

3

 

Lyrical Rhythm

A Reminder

 

VIDEO (29:38 min)

 5Rhythms of Dance -Gabrielle Roth

Soundtrack Lyrical

  

Lyrical - Five Rhythms Wave

 

 

Question 4

After dancing to the Lyrical Soundtrack above, following the demonstration in the video, what do you feel in your body? Use details such as breath, range of motion, mobility, rhythm, energy, etc.

 

 

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4

 

LINK

Text: Maps to Ecstasy

Page 33

Question 5

 

Please, click on the link above, and click on page 33 to summarize the  meaning of Lyrical Rhythm in dance improvisation according to Gabrielle Roth.

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5

 

Five Scientific Steps

This is to honor the science minded students in our class.
The link below, explains how to become a better dancer just based on five basic ideas. 

 

5 Scientific Steps That Will Make a Better Dancer

Question 6
Please, explain how the steps mentioned above may relate to the way you move in space as you improvise dance.

7

 

Read the preface  of the book below.

 

Question 7

Summarize the preface of this book. Emphasize the benefits of  improvisation.

Choreography: A Basic Approach Using Improvisation 

Sandra Cerny Minton

Preface

https://www.google.com/books/edition/Choreography_4E/zGE1DwAAQBAJ?hl=en&gbpv=1&dq=Dance+Improvisation&printsec=frontcover 

Cerny Minton, Sandra (2018). Choreography: A Basic Approach Using Improvisation

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V

 

A Note to Remember

 This style is becoming so popular because the audience can easily relate to the emotion of the dancer and the his/her moving body.

VI

Case Study

Visualization

Energy Change

Change of levels (3)

Question 3

What is the purpose of this warm up according to David Gabriel?

 

 VII

 

ACTIVITY

 

 Movement Storming

 

Mirroring

Working in partners: Each student mirrors one specific student.They take turns in terms of who follows and who initiates the movement

Shadowing

One student at a time leads the group across the floor moving freely as the group shadows that one student. Each students has a chance to lead. (post-class reflection, try also slower moves)

Movement Phrase

3). Observe Video on Lyrical Rhythm

4). Create a new 8 moves phrase.

5). Add new phrase to previous phrases

6). Record phrase and post

Group Work

Students use their personal phrases and integrate them with the group dance improv.

 

VIII

Glossary

Lyrical: adjective. expressing deep emotion. “the dancer's lyrical performance”. synonyms: lyric · emotional. of more than usual emotion · adjective.

IX

Journaling

 

X

Sources

 

1. What is Lyrical Dance, and What is the Meaning Behind? Omaha School of Music and Dance. https://www.omahaschoolofmusicanddance.com/our-blog/lyrical-dance-meaning-lessons/

2. Roth, G. & London, J (1998). Maps to ecstasy: A healing journey. Nataraj Publishing

 3. Blom, L. A. (1988). The Moment of Movement. University of Pittsburgh Press. https://www.google.com/books/edition/The_Moment_Of_Movement/

4. Christ in the Storm of the Sea of Galilee. https://www.museothyssen.org/en/collection/artists/brueghel-jan-elder/christ-storm-sea-galilee

5. Anonymous / 'Saint Sebastian', 17th century, Italian School, Canvas, 120 cm x 55 cm, P03293.https://pixels.com/featured/anonymous-saint-sebastian-17th-century-italian-school-canvas-120-cm-x-55-cm-p03293-anonymous.html

XI 

Students' Work

 

William Brodsky

QUESTION 1: What is VTS?

 
Visual Thinking Strategies (VTS) is a learner-centered method that encourages deeper thinking and interpretation through looking at and discussing art. Rather than providing facts or predefined interpretations, VTS invites the viewer to observe closely, articulate what they see, justify their thoughts with visual evidence, and build upon others' perspectives. It’s designed to promote open-ended dialogue, creative inquiry, and deeper engagement with visual materials.

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QUESTION 2: Favorite painting from Lowe Art Museum’s Collections

 

 
The painting that stood out to me most was “The Sea of Galilee” by Jan Brueghel the Elder (assuming a piece like this is present in the collection). I was drawn to the sense of atmosphere and movement in the brushwork. The way the sea’s motion is captured made me imagine how the painting could translate into fluid, yet dramatic, improvisational movement. It felt emotionally dynamic—something I respond to both visually and physically.

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QUESTION 3: Intention of the VTS Process
The VTS process is designed to build critical thinking skills, empathy, and communication through art. By prompting viewers to justify their interpretations, listen to others, and re-evaluate their own assumptions, it helps students (and adults) learn how to observe thoughtfully, articulate clearly, and expand their understanding through dialogue. It emphasizes curiosity over correctness and empowers the viewer to participate in meaning-making.

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QUESTION 4: Applying the VTS Process
Chosen Painting: “Saint Sebastian” (Anonymous, 17th Century)

 

• What is going on in this picture?
  A figure stands tied to a tree, pierced by arrows. He appears calm despite his suffering.

• What makes you think so?
  His facial expression looks serene, and his posture isn’t tense—he’s not resisting.

• What more can we find?
  There is strong contrast between the light on his body and the darkness of the background, possibly to emphasize his spiritual strength or martyrdom.

• What makes you say that?
  The lighting feels symbolic—it draws attention to his figure as the central focus and adds a divine quality to his suffering.

• What did you see that makes you say that?
  The shadows fall away behind him, and there’s a faint glow around his head, which made me think the artist was emphasizing grace or holiness even in pain.

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QUESTION 5: Reflection on VTS and Learning

 
The VTS discussion method is incredibly valuable for children (and adults) because it teaches them to trust their own perceptions and be open to others. It avoids the pressure of being “right” and replaces it with curiosity. That makes students more likely to speak up, take creative risks, and connect emotionally with the material. As someone who responds to both visual art and dance, I see the crossover potential of VTS in improvisational movement—it builds the same kind of present-moment awareness and responsiveness we explore in class. In both, the goal is not to impose meaning, but to discover it through engagement.

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Article Summary — Teaching Dance Improvisation: A Beginner's Guide by Mathew Farmer

 
In the introduction, Farmer emphasizes the importance of creating a safe and supportive environment for students new to improvisation. He advocates for a process-focused approach rather than outcome-based evaluation, encouraging students to engage with their authentic movement and instincts. The goal is to help students feel comfortable taking creative risks and exploring movement without fear of judgment, similar to the ethos behind VTS. Improvisation, like VTS, becomes a tool for self-awareness, experimentation, and embodied learning.

 

 

Gabriele Pernigotti Nehme

VTS

VTS is a teaching method that uses critical thinking and open ended questions to understand the perception someone has on a specific art piece. Along this, the person also listens to others opinions and contribute to the perception. 

Art of Caribbean was the art I like the best since I come from a Latin background and we relate a lot to the Carribean culture. The colors of the painting reminded me of my country and the women in the painting describes our native people. 

The intention of this process is to understand the specific perception of each individual without being guided mentally or persuaded by something specific. 

• Observe a painting
• What is doing on in this picture? 
• There are a lot of women with colorful outfits carrying things. They seem to be working. 
• Facilitator paraphrases
• What makes you think so?
• Cause they are carrying things in their heads as natives do. 
• Facilitator paraphrases
• What more can we find?
• We can find fruits or bags. 
• Facilitator paraphrases
• What makes you say that?
• I see them in between the women 
• Facilitator paraphrases
• What more can you find?
• I see them kneeling down as if they are picking things from a field. 
• Facilitator paraphrases
• What did you see that makes say that?
• I see them working together to pick things up and with bowls with something that looks like wheat.
• Facilitator paraphrases

Write a reflection about the VTS- Discussion-Process and how it could help children to learn better?

This process helps children learn better because it allows them to let their creative ideas and personal conclusions come to live without limit or judgements. This helps them understand that there are no wring answers in art, the right answer is always their creativity and inspirations.