RADS and the Choreographic Process

The raw material of dance

Before a choreographer worries about clever devices, they work with the raw material of dance, summed up by RADS: relationship, action, dynamics and space. Action is what the body does, dynamics is how it is done, space is where it happens, and relationship is how dancers connect. A choreographer also follows a process: starting from a stimulus, exploring movement, selecting and developing the best of it, structuring it, rehearsing, performing and reflecting. This module covers RADS and the choreographic process, the foundations every dance is built on.

The RADS words

Learn these before you choreograph anything. They name the raw material of dance and the journey from idea to stage.

Match each RADS part to an example

Action against dynamics

The two parts of RADS most often confused are action and dynamics. One is what the body does; the other is how it is done.

Which part of RADS?

A dancer performs a turn very slowly and gently, then again suddenly and sharply. The turn is the same, but the feel changes. Which part of RADS has changed?

• Dynamics
• Action
• Space
• Relationship

Choose RADS on purpose

Strong choreography does not use movement at random; it chooses each part of RADS to communicate an idea. If the stimulus is fear, you might choose sharp, sudden dynamics, a low use of space, and dancers pulling apart in their relationship. Name the choice and link it to the intention: what action, done with what dynamics, in what space, in what relationship, and why. Choice linked to intention is what lifts a dance from steps into meaning.

Pick the parts of RADS

RADS names the core components of dance. Select every one that is a part of RADS.

• Relationship
• Action
• Dynamics
• Space
• The costume budget

Order the choreographic process

Put the stages of the choreographic process in order, from the first idea to the final show.

• Respond to a stimulus for ideas
• Explore and improvise movement
• Select and develop the best material
• Structure it into a whole dance
• Rehearse it until it is secure
• Perform it for an audience and reflect

Complete the dance facts

What the body does, such as a jump or a turn, is the _____. How a movement is done, such as fast or slow, is the _____. Where movement happens, such as its level or pathway, is the _____. The starting idea a dance responds to is the _____.

One idea, four RADS choices

Suppose the stimulus is a storm. A choreographer works through RADS to make it real. For action, dancers spin, fall and recover, like debris in the wind. For dynamics, the movement is sudden and strong at the height of the storm, then slow and light as it passes. For space, they use low levels and scattered pathways, then gather high as calm returns. For relationship, they are thrown apart, then drawn back together. One stimulus, four deliberate RADS choices, and the storm appears on stage without a single prop. Reading and building a dance through RADS like this is the core skill of this unit.

Spot the dynamics

Tap the TWO descriptions that are about DYNAMICS, the how of a movement.

• The arm shoots out suddenly and sharply
• The dancer sinks slowly and gently to the floor
• The dancer performs a jump
• The dancer moves to the back of the stage

Choreograph the idea

You are choreographing a short dance. Make the best choice at each step.

• Your stimulus is loneliness. What is the best first step?
• You want to show growing panic. Which dynamics fit best?
• Two dancers should feel disconnected from each other. What relationship shows this?

Build a choreography point

Choose the word for each gap to complete one point about choreographic choices.

Quick-fire RADS check

Answer each question. You have three lives, and losing them all restarts the run.

Explain RADS and the process

A friend wants to choreograph a dance but does not know where to start. Explain RADS and the choreographic process so they can turn an idea into a finished dance.

• Explain what each part of RADS means
• Explain how dynamics differ from action
• Explain how to respond to a stimulus
• Explain the stages of the choreographic process
• Explain why RADS should be chosen to communicate an intention