Insight 7 investigates the positive aspects of negative (empty) space.

For many teachers it is easy to spot deficiencies in beginning to intermediate dancer. But what happens when a teacher encounters a dancer whose technique and artistry goes beyond the teacher's technique and artistry? The probable corrections the teacher can give will either be one of three things: little corrections that really do not further the advanced dancer's technique; stylistic corrections that are, at best, just differences in artistic taste; and, most common, just give the class and leave the dancer alone. A dancer at any level or expertise can be corrected. But does the correction directly impact their level of technique, and will it provide new levels of artistic excellence?

To coach a dancer who is accomplished as an artist and technician, a teacher must examine how the dancer moves through the empty spaces between movements. The most effective method of coaching very advanced dancers can be hinted at through the following illustration.

An audience convinces itself that it is watching a dancer dance. But this is not the case. The audience sees the dancer as a series of images moving through space. They assimilate the images and then, putting the images together in their mind, they interpret it as dance movements. Taking it a step further the audience can only see the contrast of the dancer's movement in connection to the space they move through. This space is mostly "empty" but provides the background in which the dancer seems to stand out. A better example is watching an ice skater on television. Have you notice when the camera is viewing the ice skater from a distance that you can get a sense of movement around the rink. But when the camera is doing a close-up of the skater and keeps pace with her, it seems as if the ice skater is not traveling the rink at all. This is because the camera is not allowing you to see the "empty" space the skater moves through.

Not looking at the dancer to find corrections is the key. To be able to do this you must shift your focus to the "empty" spaces the dancer is moving through. This ability to shift focus takes some training. Below I have two pictures that affect this type of perception. It is a demonstration of how the interpretation of shapes, images, sound, and motion can be purposely altered to give a heightened awareness of relationships.

Can you see a chalice in figure A? What about figure B? Does a chalice appear also? Now look at figure A. Can you see two faces in profile facing each other? What about figure B? Can you see the same thing? For me it is easier to see the profiles in figure A, and the chalice in figure B. Which is easier for you?

This is a simple exercise demonstrating how you can shift perception. As you gain mastery in this perception altering you will be able to see the movement of a dancer without looking directly at the dancer as they move. What stands out as inconsistent with the movement will be the place the dancer needs work. The empty spaces, that which is not seen but implied, has greater depth of vision than what is obvious. To impact the hidden areas within a dancers technique will always improve the obvious.

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Anthony answers some of your questions in this special section. You may email him at coach@danceart.com