The TRIAD project (2001)
This project used internet to establish communication between dance students (9-18 year-old) from the United States, Portugal and England. They worked with internet communications to cosntruct choreographic pieces and to receive feed back about their dance classes. In this case, the internet was not used to communicate simultaneously. In this way, the students had time to analyze and comment their own and other classmates´in other countries with out the pressure of a real-time connection which tends to improvisation.
The TRIAD Project: using Internet communications to challenge students’understandings of choreography
SITA POPAT,
School of Performance and Cultural Industries, University of Leeds, Bretton Hall Campus, U.K.
(e-mail: pcusp@leeds.ac.uk)
The TRIAD Project presents an innovative approach to the use of Information and Communication
Technologies (ICTs) in the teaching of choreography. They formed an Internet dance community, sharing
their choreographic ideas via movies and text, and developing an original dance work. The asynchronous
method of communication encouraged a re ective attitude that supported the learning situation. Through
their efforts to explain their creative processes to peer groups via the dynamic Website, the young dancers
developed their personal understandings of choreography. The need to communicate clearly via text and
movies led to increases in the students’usage of dance-based critical vocabulary, and encouraged objective
appraisal of creative work. Discussion of the work by the other peer groups challenged the students to deal
with different dance styles and other choreographic approaches.
Back ground for the TRIAD project:
There are several examples both in performance and education of using real-time or
synchronous connections for choreographic work. Laura Knott carried out her experiments
with online live connections using Internet videoconferencing in 1998 with her World Simultaneous
Dancce project.
As early as 1995, Amanda Steggell was working on a project called M@ggie’s Love Bytes where
participants from around the world could join a group of dancers in a theatre with an audience and give
input to affect the improvised dance.
In the education world, artists such as Susan Kozel and Wayne McGregor have used live videoconference
connections as part of workshops and courses. However, although these types of synchronous connections
reflect the immediacy of performance or the studio situation, they rely on reactive rather than reflective
methods of response. To be involved in this way in the making of choreography requires improvisation or
quick decision making, whereas work that is carried out asynchronously allows time for re ection and
consideration. In the classroom, the teacher will commonly set a task and then allow a period of time for
experimentation and discovery before asking for presentation of an outcome. During that period, the teacher
might move among the students, offering suggestions or advice on an individual basis and returning after a
short time to view progress, in a manner akin to the asynchronous method of working. Although
synchronous multimedia technology does not have the ‘high-tech’ excitement of live synchronous
connection, this research indicates that it may be the more effective vehicle for the teaching of
choreography.
Research in Dance Education, Vol. 3, No. 1, 2002
This project set a preceding in the use of internet with educational purposes. Additionally, it took into account previous dance works using internet as a tool to work collaboratively between dance artists.Having an understanding about what have been done in the past in the dance field will be helpful to question those works with the objective to produce new interesting ways of using internet performances not only at a professional or university levels but also in regular schools.
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