Kinetic Lab Syllabus Document KINETIC LAB
Contemporary Dance Program
Intermediate Level
Ages 15–20 • 10-Month Course
Curriculum Philosophy
The Kinetic Lab is designed for the maturing intermediate contemporary dancer. This 10-month syllabus establishes a rigorous technical foundation while placing equal emphasis on personal artistry, somatic exploration, and collaborative composition. Rather than relying on rigid, repetitive sequences, students are trained to become thinking, adaptable movers capable of self-generation, collaborative editing, and professional stage performance.
Contemporary Technique
Release, floorwork, gravity play, and vertical agility. Development of intermediate movement integration, weight shifting, and dynamic alignment.
Physical Agency
Improvisation Sessions
Somatic listening, task-based scores, and spatial exploration. Cultivating physical spontaneity, spatial awareness, and intuitive phrasing.
Spontaneous Choice
Choreographic Composition
Manipulating space, time, force, and dynamics. Scaffolded prompts transitioning from individual motifs to complex group choreography.
Creative Ownership
High-Level Program Outcomes
Somatic Integration
Students develop an articulate relationship with their center, working floor-to-standing effortlessly while protecting joints and optimizing momentum.
Choreographic Voice
Dancers move beyond mimicry, learning to construct, edit, and talk about their own choreography and peers' work using structured feedback frameworks.
Collaborative Dynamics
Developing the capacity to share weight, read ensemble movements, and actively co-create in group contexts without immediate verbal instruction.
Performance Readiness
Understanding professional theatrical dynamics: staging, spacing, spatial scaling, projection, performance presence, and tech/lighting integration.
KINETIC LAB • CONTEMPORARY CURRICULUM PHASE 1: FOUNDATIONS & EXPLO PAGE 1 OF 3
CURRICULUM ROADMAP
Months 1–5: Developing Vocabulary & Inquiry
SEM-01
MONTH 1
Grounding
Gravity, Weight, & Release
Technique: Pelvis initiation, floor release, finding bone-stacking efficiency.
MONTH 2
Dynamics
Momentum, Flight, & Suspensions
Technique: Off-axis swings, weight suspension, dynamic floor entries/exits.
MONTH 3
Kinesphere
Isolation, Articulation, & Pathways
Technique: Segmental spine work (articulation), dynamic pathway extensions.
MONTH 4
Architectures
Space, Spatial Planes, & Direction
Technique: Directional transitions, spiral technique, high/medium/low level jumps.
MONTH 5
Contact
Counterbalance & Weight-Sharing
Technique: Leaning mechanics, giving and taking weight, contact points.
KINETIC LAB • CONTEMPORARY CURRICULUM PHASE 2: DEVELOPMENT & COLLAB PAGE 2 OF 3
CURRICULUM ROADMAP
Months 6–10: Synthesis & Showcase Showcase
SEM-02
MONTH 6
Structures
Choreographic Structure & Devices
Technique: Rapid direction shifts, endurance phrasing, quick floor recovery.
MONTH 7
Dialogue
Ensemble Connection & Framing
Technique: Unison-friendly material, dynamic rhythm synchronization.
MONTH 8
Concept
Showcase Development: Conceptual Layering
Improvisation: Thematic score exploration (focusing on raw emotional drivers).
MONTH 9
Craft
Showcase Development: Group Weaving
Rehearsal: Integration of student solos, duets, and ensemble sections.
MONTH 10
Present
Showcase Synthesis & Stage Performance
Refinement: Spacing adjustments, dynamic shading, performance focus workshops.
Formal Stage Showcase Standards
The showcase piece is an 8-12 minute ensemble choreography. It must incorporate: 1) Ensemble unison sequences, 2) Student-generated small group/duet sections, and 3) A distinct spatial architecture. Spacing rehearsals are held in weeks 37-38.
KINETIC LAB • CONTEMPORARY CURRICULUM PHASE 3: SYNTHESIS & SHOWCASE PAGE 3 OF 3
Kinetic Lab Slides KINETIC LAB SESSION 01 / MODULE 01
Choreographic Composition
Translating Impulse
into Architecture
A masterclass guide for intermediate dancers (ages 15–20) on generating, structuring, and staging original contemporary movement.
Contemporary Dance & Performance
Slide 1 of 5
THE CHOREOGRAPHIC TRIAD
CORE PRINCIPLES
1. Space
Manipulate levels (high, medium, low), dynamic spatial planes, circular vs. linear pathways, and active negative spaces between dancers.
Spatial Geometry
2. Time
Alter timing through suspension, deceleration (slow motion), rapid acceleration, rhythmic syncope, and silence as a kinetic driver.
Temporal Elasticity
3. Force
Play with gravity, weight-sharing, skeletal release, counterbalances, dynamic tension, and effortless momentum.
Effort & Weight
Kinetic Lab Curriculum • Foundations Slide 2 of 5
IMPROVISATION TO STRUCTURE
THE CREATIVE PIPELINE
From Impulse to Choreography
Improvisation is not random; it is research. We use task-based scores to bypass habitual movement patterns, discovering novel and authentic physical vocabulary.
Key Mindset:
"Suspend judgment during the creation loop. Generate mass first, edit and refine second."
1
Set the Score (Improvisation)
Apply strict parameters (e.g., "maintain contact only through the elbow").
2
Harvest & Repeat (Selection)
Isolate specific accidental movements that felt emotionally or physically resonant.
3
Apply Devices (Composition)
Structure the raw movement using retrograde, repetition, and spatial amplification.
Kinetic Lab Curriculum • Methodologies Slide 3 of 5
THEATRICAL ARCHITECTURE
SPATIAL BLOCKING
Performance Focus
Unlike studio practice, the stage has a front. Dancers must learn to scale their kinesphere—magnifying internal impulses so they reach the back of the auditorium.
Architectural Staging
Structure space dynamically using diagonal pathways (strongest theatrical lines), asymmetrical group cluster weightings, and contrasting structural levels.
Ensemble Dynamics
Juxtapose pure unison sequences with fluid, independent sub-group pathways. Use flocking structures to navigate complex staging organically.
Negative Space
Kinetic Lab Journal Document CHOREOGRAPHIC JOURNAL
Syllabus Practice Log & Concept Planner
STUDENT EDITION
Dancer Name
__________________________________________
Date & Class Phase
__________________________________________
1. Conceptual Spark & Creative Intent
What is the central theme, somatic feeling, or question driving your composition? (e.g., tension and release, mechanical vs. organic).
Clear background for handwriting
2. Core Motif Generation
Define three distinct, physical actions that form your core motif. (Ensure they use different levels and dynamics).
Action A (Initiation Point)
Action B (Level / Pathway)
Action C (Somatic Ending)
3. Motif Variations (Choreographic Devices)
Select and describe how you will manipulate your motif using choreographic devices.
Variation A: Retrograde (Reverse)
How will you physically reverse your core actions?
Variation B: Speed / Scale Expansion
How will changing speed or size alter the mood?
KINETIC LAB • CREATIVE DEVELOPMENT JOURNAL PHASE 2: MONTH 5-7 PAGE 1 OF 3
PARTNERING LOG
Month 5 Weight-Sharing & Balance Matrix
PARTNER: _________________
1. Contact & Vector Map
Map out the physical contact transitions. Describe the touch connection points, balance angles, and dynamic releases.
Phasing Contact Connection Points Somatic Sensation / Weight Ratio 1. Initiating Contact
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| 2. Shared Center (Balance) |
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| 3. Falling / Releasing |
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2. Center of Gravity Sketchpad
Use this empty box to sketch dynamic leverage angles, skeletal supports, or physical vectors during counterbalances.
Dancer Leverage & Gravity Alignment Sketch Area
Collaboration Reflection
What physical friction or resistance did you encounter in this partner work, and how did you resolve it?
KINETIC LAB • CREATIVE DEVELOPMENT JOURNAL PHASE 2: MONTH 5-7 PAGE 2 OF 3
STAGE STAGING & FEEDBACK
Ensemble Formations & Liz Lerman Responses
STAGE WORKBOOK
1. The Theatrical Spatial Matrix
UPSTAGE
Map ensemble placements, movement vectors, or negative spaces during your key transition sections.
Kinetic Lab Toolkit Document CHOREOGRAPHIC TOOLKIT
Teacher Guide & Improvisation Scores
Teacher Resource
Kinetic Lab Program
Teen Somatic Pedagogy (Ages 15–20)
Facilitating creative choreography for intermediate teenagers requires establishing psychological safety. At this development stage, dancers often suffer from self-consciousness, limiting authentic movement exploration. Ensure you: 1) De-emphasize aesthetic perfection in favor of somatic sensation, 2) Maintain rapid pacing during generation loops to prevent overthinking, and 3) Utilize non-verbal cues to transition between movement states.
Task-Based Improvisation Scores
1. The Sticky Point CONTACT
Partners maintain continuous physical contact at exactly one tiny point (e.g., index finger, hip bone). Dancers must transition between high and low levels without sliding the contact point.
Focus: Skeletal Listening
2. Vector Ribbons SPACE
Dancers imagine laser beams emitting from their joints (knees, elbows, head). They must physically trace elaborate, geometric lines onto the empty space, leaving a residual "ribbon."
Focus: Kinesphere Scale
3. Density Flocking ENSEMBLE
The entire group forms a tight cluster. Dancers follow the leader's spatial trajectory. As the speed accelerates, individuals peel off into solos and must re-enter the flock organically.
Focus: Spatial Clustures
4. Temporal Elastic TIME
Facilitate live vocal cues: "Suspension," "Retrograde," "Staccato Action," "Freeze/Decelerate." Dancers adjust their dynamic phrasing instantly while keeping their primary physical shape.
Focus: Dynamic Shading
Facilitator Observation Guide
Watch for "habitual patterning"—when a dancer falls back on their classical training routines (like default pirouettes or simple lines) when they feel insecure. Disrupt this gently by introducing restrictive scores on the fly (e.g., "now, perform your entire phrase without using your legs").
KINETIC LAB • CHOREOGRAPHIC TEACHER GUIDE PHASE 3: PERFORMANCE SYNTHESIS PAGE 1 OF 2
SHOWCASE PERFORMANCE METRICS
Staging Facilitation & Choreographic Rubric
Showcase Evaluator
Kinetic Lab Program
Staging Choreography & Structuring
During the showcase rehearsal phase (Months 8–10), the teacher's role transitions from director to editor. Students are divided into subgroups to generate 2-minute sections based on shared-weight themes. The teacher's primary task is to weave these student-led sections together, layering staging trajectories, and designing transitions that allow for seamless spatial changes.
Composition & Performance Evaluation Rubric
