Conducting the body: An Investigation into leading and guiding movement (in improvisation)

This is an investigation into how the art of conducting can be applied to the dancing body. During this process, improvisation will be the movement that is lead and therefore structured by this art form.

The main reason for this investigation is my interest as a musician in what it is that a conductor does, why it is so important that he does it right and why he is necessary in all stages... A conductor is initially an interpreter for the composer whether they are dead or alive, he must be able to reflect his knowledge of music theory/periods and have clear and natural musicality. He must also study and learn the piece (whatever it maybe) inside out including that of dynamics, pace, notation, orchestration etc. Therefore it would seem he is what keeps the whole orchestra together during performance but, the rehearsal process is given in order for the performers to also learn the piece inside out, so as said in 'The Art of Conducting' by 'Eugene Ormandy', 'In rehearsing the orchestra are playing not under a conductor but with him'. From this research I started to think that it could be possible to conduct the body but how would i go about it... I did a lot more research into different conducting technique's coming across that of choral conducting which uses more hand gestures and signals than that of beating metric time but there was very limited information on this area and so I spoke to a music professor Roger Heaton who told me to have a look at a conductor of free jazz by the name of Butch Morris.

Lawrence D.'Butch'Morris is the creator of Conduction. Conduction involves that of free jazz improvisation. He uses signs and gestures to 'instigate an event' therefore, anything can happen during the improvising process. Its seems that the primary reason for the creation of conduction was to 'find a common ground between orchestral and improvised music'. Butch describes this as being 'the opportunity for improvisers to improvise and interpreters to interpret the same material' and goes on to say that 'as musicians we all share a common language'. This statement of sharing languages set off the thought that a common language can be that of a similar one and that the language between dancer and musician are also quite similar but, for obvious reasons have completely different outcomes. So, it could be really interested to see how a dancer interprets a completely music orientated system of being lead through something. Conduction is a brilliant system to use in this investigation as it not only allows for the conducting of improvisation but it also aids structure throughout improvisation so as to create something more. Butch say: 'This logic will organise itself into structure and many substances that (can) exist in a composition' http://www.conduction.us/main.html (all statements on conduction were taken from this website)