ARTISTIC EXPRESSION…..
Bringing the Freestyle to LIFE!!
http://www.youtube.com/watch?v=tkL2lCKxIkU
Artistic Expression is the conscious production or arrangement of
sounds, colors, forms, and movement in a manner that affects the
senses and communicates an emotion.
In the sport of baton twirling, Artistic Expression is created and valued in
three distinct areas: COMPOSITION, MUSICALITY, AND
PERFORMANCE.
Let us explore each of these areas and see how each is unique, yet
interlaced as components of a successfully woven program that fulfills the
requirements of artistry.
COMPOSITION
Composition is the ARRANGEMENT of all the ingredients of a
Freestyle that COORDINATES logically and appropriately with the
musical choice, character, theme, or concept. The main
considerations of COMPOSITION are:
 Unity: Do all parts feel as if they belong together or does
something feel awkwardly out of place?
 Balance: Are the modes of twirling represented with
complimentary baton and body harmony?
Focus: Are the ingredients situated with a sense of emphasis
that will be memorable and project importance?
http://www.youtube.com/watch?v=cEae9Lfq3y0 (Billy Bell,
Mad Hatter)
 Contrast: Are highs and lows, bound and free, tension and
release, hard and soft, etc., used to create interest and artistic
detailing?
 Staging: Is the placement on the floor of every element
strategic, giving the audience the best view of the ingredients?
 Risk: Is there a successful attempt at aesthetic and/or
emotional risk?
 Transitions: Are the entrances and the exits of the modes of
twirling woven and threaded seamlessly or does the program
possess visual “seams”?
http://www.immaculateheartacademy.org/Outside2/Art/Encke/V
C%20VISUAL%20COMMUNICATIONS/7%20ORGANIZING%2
0PRINCIPLES%20OF%20COMPOSITION.htm
Composition Proficiency
‘Composition is an arrangement, the putting together of things;
the creation of musical work and an artistic creation’
(Insert Composition Chart here)
MUSICALITY
Musicality in FREESTYLE has two main components: Receptivity
and Creativity.
Musical RECEPTIVITY is ones ability to receive, comprehend, be
sensitive to, and have a working knowledge of musical concepts like
rhythm, tempo, phrasing, and even mood. This is CONFORMITY to
the music and is inherent in all freestyles.
Musical CREATIVITY is the ability to connect with accompanying
music, interpret it, or phrase and add movement dynamics that relate
to music even in the absence of accompaniment, in a way that is
unique or interesting. This is INTERPRETATION of the music and
requires a maturity of movement that is acquired through training and
experience. Interpretive creativity is present when the viewer can
SEE the music in the athlete and ultimately FEEL the projected
emotion. At this level, the athlete transcends to “artist.”
Musicality in FREESTYLE then might be considered a measure or
degree to which an athlete is receptive and creative in his/her
translation or rendering of music through movement and twirling. It is
a key ingredient in an athlete’s display of artistry.
The main considerations of MUSICALITY are:
 Effortless movement IN TIME to the music (timing).
 Use of tempo, rhythm, and accents of the music that heighten
effects of the modes of twirling, therefore elevating its value.
 Appropriate style of movement to convey expression of music.
 http://www.youtube.com/watch?v=vvMOvsXZXY4
 Choreography projects aural-visual agreement.
 Appropriate use of tension/release, hard/soft, bound/free and
any other contrasts that enhance the musical composition and
further projects it to the viewer.
(Insert Musicality Chart here)
PERFORMANCE
PERFORMANCE is the ability of the athlete to “say something”
to the audience. This “dialogue” occurs successfully when the
audience is involved by being “drawn in” to the athlete’s
“message”.
Components of PERFORMANCE that should be recognized and
credited:
*Engagement of the audience/judge
*Embodied/sustained character, role, identity, style
http://www.youtube.com/watch?v=JItkRLVlf-c (spider
dance)
*Established/sustained MOOD
*Displayed VISUAL MUSICALITY as a PERFORMER and “human
supplement” to the soundtrack
*Communicated DETAIL, NUANCE, and ARTISTIC QUALITIES
*Demonstrated EXCELLENCE of baton/body skill…..PERFORMER as a
technician
(Insert PERFORMANCE CHART here)
THE EVOLUTION OF THE ARTIST……..Angelique Lambert
The great Angelique Lambert was truly an ARTIST in the world of baton
twirling. Let’s take a look at her evolution as an artist and see the
dramatic importance she placed on the ingredients of artistic
expression.
With all of her performances she relied on her impeccable technical
training to substantiate her work as an artist. Notice how technical
proficiency was always inherent in her work but the characterization,
musical sense, and performance captivation evolved to her signature
piece in 2000 where she brought a program of ‘abstract’ to the
competition floor… Enjoy……..
http://www.youtube.com/watch?v=YQZ_dm0cd0Y
(Angelique 1995)
http://www.youtube.com/watch?v=yAx0ecx_xWU
(Angelique 1996)
http://www.youtube.com/watch?v=IN4QOg4QSO4
(Angelique 2000)
And now, please enjoy the paradigm for Artistic
Expression in our sport, Arisa Tanaka.
As you watch, you will see the perfect blend of
composition, musicality, and performance COME TO LIFE
in a performance that encompasses all ingredients of
Artistic Expression.
http://www.youtube.com/watch?v=gNYhfTxXjWc (Arisa ’12)