EXPRESSIVE MOVEMENT &amp; CREATIVE DANCE PRACTICE IN TIMES OF QUARANTINE: THE #VIDLOP MOVEMENT

Lara-Aparicio, Mar; Mayorga-Vega, Daniel; López-Fernández, Iván

doi:10.22456/1982-8918.105802

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ESSAYS • Movimento 27 • 2021 • https://doi.org/10.22456/1982-8918.105802 copy

EXPRESSIVE MOVEMENT & CREATIVE DANCE PRACTICE IN TIMES OF QUARANTINE: THE #VIDLOP MOVEMENT

PRÁTICA DE EXPRESSÃO CORPORAL EM TEMPOS DE QUARENTENA: O MOVIMENTO #VIDLOP

PRÁCTICA DE EXPRESIÓN CORPORAL EN TIEMPOS DE CUARENTENA: EL MOVIMIENTO #VIDLOP

Authorship SCIMAGO INSTITUTIONS RANKINGS

Abstract

The situation created by the novel coronavirus disease has affected education worldwide, resulting in the urgent need for programs that promote physical activity at home and responsible use of internet-connected devices. This work provides a didactic proposal to perform Expressive Movement & Creative Dance (EMCD) at home adaptable to distinct educational levels and useful as a valuable online or face-to-face education experience even when the coronavirus crisis ends. The proposal is based on the Laban Movement Analysis, the Theatre of the Oppressed, and Lipdub. It seeks to develop students’ own artistic body language, emotional intelligence, healthy physical activity and social awareness. Furthermore, it intends to promote the creation of a new social movement (#VIDLOP) using art and popular media as empowering and democratic channels for building a better world. In conclusion, this may be a promising proposal to develop the EMCD and human awareness in challenging scenarios and distinct educational settings.

Keywords:
COVID-19; Social isolation; Physical Education; Health

Dimensions	Contents
Dimensions	Generals	Specifics
Expressive	Expressive alphabet	Research and awareness of: - movement depending on the body parts involved - support surfaces of the bodily attitudes and movement - muscle tension degree - gravity feeling - movement possibilities depending on spatial concepts - body rhythm (inner-outer) - Laban’s Effort qualities - body sound (vocal, non-vocal and instrumental) - objects’ use and experience
Expressive	Inner world
Communicative	Communicative alphabet	- Gestural language - Sound communicative components (intonation, intensity/volume, pause and speed) - Gestural and sound communicative rhythm
	Outer world	- Body simulation of moods, ideas, feelings or situations - Organization of the action with a beginning, development and end - Bodily symbolization - Object’s symbolization - Presentation of oneself before others
	Personal interaction	- Body dialogue - Synchronization - Complementarity
	Discursive exchange
Creative	Creative alphabet	- Fluidity - Flexibility - Originality - Elaboration
	Bodily creative techniques	- Bodily brainstorm - Body improvisation - Body synectics
	Creative process
Aesthetic	Aesthetic alphabet	As long as allows communication: - balance-unbalance - composition-decomposition - harmony-disharmony
	Aesthetic process	- More associated with discovery than with the reproduction of the current fashion - An element of expression and communication
	Aesthetic sensitivity

Component	Definition	Subcomponents-Practice
Body	It represents the movement’s background fabric and it is where the movement is born	Segments (e.g., head or torso), centers (e.g., of expressiveness or strength), actions (e.g., walking or turning), functions (e.g., receiving weight or driving movement), movements (e.g., flexion or rotation), shapes (e.g., elongated or round) and postures (e.g., open or tense)
Space	The body defines space by its mere presence and evolves in it	Directions (e.g., front or up), levels (high, medium and low), paths (e.g., curved or straight), dimensions (large-small) and categories (near-general)
Time	It manifests itself in the rhythm and sets the sequence of the development of each movement	Metric structure (e.g., pulse or accent) and non-metric structure (e.g., fast or slow)
Energy	Gives dynamism and contrast to movement	Time (sudden-hold), weight (heavy-light), exit (free-controlled) and space (direct-indirect)
Interrelation	From two participants	Role played (e.g., forming pairs or doing the same), relationship in the group (form-point of contact), in time (e.g., unison or canon) and in space (e.g., face-to-face or meeting)

Universidade Federal do Rio Grande do Sul Rua Felizardo, 750 Jardim Botânico, CEP: 90690-200, RS - Porto Alegre, (51) 3308 5814 - Porto Alegre - RS - Brazil
E-mail: movimento@ufrgs.br

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[1] CONFLICT OF INTERESTS

The authors have declared that this work involves no conflict of interest.