Emancipation of Expressionism: Structuring Devices

The choreography utilises motif development, where certain movements or phrases are repeated with slight modifications to enhance coherence and narrative progression.
Binary form is present in the piece with two clear, contrasting sections depicting different emotional states and dance styles.
Repetition is used effectively to reinforce key themes and motifs.
The utilisation of unison and canon also contributes to the overall structure of the dance, illustrating both unity and individuality among the dancers.
Contrast is another key structuring device used in the piece - between fast and slow movements, intense and gentle dynamics, and different group formations.
Climax occurs when all dancers perform the same movements at the same time, generating a surge of energy and intensity.

Emancipation of Expressionism: Movement Content

The piece includes a variety of actions such as jumps, turns, falls, and gestures that are distinct to hip-hop dance style.
Movements are often percussive and angular, reflecting the rhythmic nature of the music.

Dancers perform with sharp, sudden dynamics to create a sense of surprise.
Fluid movements are also present, marking a contrast and providing variety to the overall piece.

Dancers utilise the full stage space, moving between different levels and directions.
Formation changes are used frequently to maintain visual interest.

Relationships between dancers are shown through mirroring, following, leading, and independent movement.
The use of physical contact, visual focus and spatial distance also helps to demonstrate relationships among the performers and their environment.

Kenrick “H2O” Sandy makes use of abstract symbolism throughout his choreography.
Sandy effectively explores and communicates the concept of expressionism through dance, aiming to depict the emotional experience of the dancers.
The choreographer has a focus on physical skill and stamina, with the routines requiring high energy and precise execution.
As an experienced hip-hop dancer and choreographer, Sandy draws on a variety of hip-hop styles, combining them in innovative ways to create a unique piece.

The performance is designed for a proscenium arch theatre setting.
Despite being designed for this traditional stage setup, the piece also demonstrates abilities to perform in end stage, in-the-round, and site sensitive environments.
This versatility of the piece derives from its strong emphasis on movement and less dependency on specific stage settings or props.

The dance work is exceptionally suitable for filming, as the camera can capture the high-energy movements, intricate formations and facial expressions of the dancers in great detail.
Precision, synchronisation and spatial patterns can be highlighted by different camera angles and shots.
The confined space of the camera frame intensifies the viewer’s focus on the movements.