Choreography 101 (Original title: Dance Choreography 0~61) is the general education course on fire dance performance for beginners. Using simple and easy-to-understand language and vivid examples, it introduces newcomers to the world of fire dance performances, systematically arranging them and scientifically evaluating them.

The content is divided into three stages: ‘Definition’ introduces the essential elements of fire dance performances and discusses its core values. ‘Construction’ follows a SOP approach, building a competent performance from scratch. ‘Deconstruction’ introduces methods for analyzing and critiquing performances, reconstructing a performance that surpasses the bare minimum.

This article primarily discusses fire dance and fire fans. Other performance styles, dance types, or fire dance props may draw insights from it, but some content may not be fully applicable. Readers should take this into consideration. *THIS IS A TRANSLATED ENGLISH VERSION OF THE ORIGINAL ESSAY*

The goal is for readers to start from a higher baseline, pursue a 100-point performance with 120% effort, and ultimately accept their 80-point selves.

A performance consists of three essential elements: the performer, the stage, and the spectator.

The Performer is the main subject, the conveyor of information, focusing on acting skills, including body, emotions, voice, and the necessary technical skills for props. The Stage is the setting and framework for the performance, providing space but also imposing limitations. The Spectator is the core of the performance, receiving and interpreting the message. Spectator perception includes observation, cognition, and interpretation, shaped by their self-awareness.

A fire dance performance consists of three essential elements: the fire dancer performer, the stage, and the spectator.

Performer in a fire dance performance is a Fire Dance Performer.

A fire dance performer consists of three essential elements: the person, the prop, and the fire.

Fire is an intense oxidation reaction during combustion that releases energy in the form of light and heat. Direct contact can harm the human body, so a medium (prop) is needed between the person and the fire. This makes fire dance a form of object manipulation performance.

A fire dancer is ‘a performer who dances with fire.’ Besides the ‘performer’ (the person) and ‘fire’ (prop and flame), is ‘dance’ important?

Performer construct performances, while spectator shape them. Spectator presence, cognition, and emotions define and give value to a performance. The diversity of spectator interpretations breaks the stereotype that a performance conveys only a single, fixed message.

The performer is the conveyor, and every message revolves around a central subject, the theme of your performance.

Spectators receive and interpret messages based on their mental age, background, and current state, influencing how effectively they understand the performance. The composition of the audience is a key factor in determining what message you should convey.

Fire dance is an object manipulation performance, so props (and fire) are the primary tools for delivering messages. The performer’s body and emotions also carry messages, while sound includes music, narration, and even the performer’s voice.

Humans perceive the world through five senses: vision, hearing, smell, taste, and touch. According to British research, 94% of daily perception is concentrated in vision and hearing. This is especially true for fire dance spectators. The spectator’s sense of smell typically only detects kerosene. And ideally, their sense of taste and touch should never be involved in a fire dance performance.

Messages conveyed through props, body, and emotions are received visually. Messages conveyed through sound are received auditory.

Most of the time, the spectator’s auditory perception is dominated by the performance’s music. If visual and auditory messages are inconsistent, it can lead to difficulty in interpretation or even failure in message reception.

‘Is being misunderstood the destiny of an expresser?’ has been an intriguing debate topic in recent years, with several brilliant exchanges on the debate stage. While this question may go beyond the scope of choreography 101, since we are discussing the conveyance, reception, and interpretation of messages, it seems fitting to bring it up. Perhaps at some point in the present or future, it may spark new reflections.

When you choose to express yourself (perhaps through fire dance in this case), your inner world undergoes countless layers of filtration, from your intent to your technique, and finally to the audience’s interpretation. Each spectator, carrying their own life experiences, views and interprets your performance in a way that often differs from your original intent. If misunderstanding is indeed the fate of an expresser, then perhaps our role is not to demand complete understanding from everyone, but to continue expressing. Over time, through experience and dialogue, a deeper resonance may emerge. This tension is, in fact, one of the very charms of art.

The performer with his emotional body controlling the prop on fire is performing on stage to music for the enjoying spectator.

Performance always carries risks. Fire dance performances have both pros and cons. Please read the instructions carefully before construction.

It is relatively easy to choose the music first and then decide on the theme. First of all, the music itself has a theme, its MV may also have a theme, and performances by others that have used it as a soundtrack also have a theme. They may all be sources of your inspiration. And when you choose this music, you probably already have a certain degree of concept before making the choice, and these concepts can also help you establish the theme.

It is relatively difficult to decide the theme first and then choose the music. Although there are countless musical forms in the world, the musical works that individuals are exposed to are still relatively limited. Although it is not impossible, it is not easy to find music that is truly suitable for this theme. However, it is a different matter if the artist or a professional can create a soundtrack tailored for the performance.

Some people list the three major elements of music, some list the four, five, eight, or maybe ten... But for fire dance, timbre, scale, rhythm, melody, lyrics, and structure, these six items have the most profound impact on performance music.

Timbre determines the texture of the music and affects the ‘style’ of the performance. For example: clean piano and string music are suitable for delicate and exquisite performance styles; distorted guitar and heavy metal music are suitable for rough and strong performance styles.

The musical scale determines the emotional depth of the music and affects the “atmosphere” of the performance. For example: major keys usually give people a bright, happy and positive feeling; minor keys usually give people a dark, gloomy and mysterious feeling.

The musical scale is composed of multiple pitches arranged from low to high, and the pitches carry the emotional factors of the music. For example: the high notes are sharp and tense, suitable for fast rotation or high throwing; the low notes are heavy and steady, more suitable for large and wide movements.

Rhythm is the backbone of music, affecting the speed of performance and the strength of movements. For example: fast and dense rhythms are suitable for intense and explosive dances; slow and interval rhythms can easily create tension and suspense.

Counting beats is the foundation of performance that can establish a stable sense of rhythm and ensure the accuracy of movements. Especially beginners need to count the beats strictly and practice controlling the rhythm of rotation. In group performances or the arrangement of multiple props, counting beats can ensure overall consistency and improve visual coordination.

Playing with beats is the freedom of creation that allows for more personalized interpretations of performances and flexibility within the rhythmic framework. Including reverse shot, extended shot, free shot and so on, making the performance more fluid and personal. Advanced choreography is often not just about moving to the music, but about having a dialogue with the music.

Melody is the soul of music and affects the ‘impression’ of the performance. For example: if the interval of the melody is continuous and smooth, it will make people feel smooth and stable, which is suitable for soft performances; if the interval of the melody has large jumps, it will make people feel lively and intense, which is suitable for performances with strong rhythm and impact.

Lyrics are a language layer attached to the melody, assisting the narrative of the music. Words are quite powerful and make music more concrete, so if the music has lyrics, the content of the lyrics can affect the storytelling of the performance. For example: If the lyrics describe a struggle, you can interpret it through movements with a strong sense of discontinuity; if the lyrics describe a dream-like scene, you can design a smooth and graceful dance posture.

The spectator’s ability to accept the lyrics is also an important consideration. For example, among the Taiwanese audience, Chinese lyrics are generally acceptable and English lyrics are partially understandable, but other languages are mostly not. Music in different languages can also affect the cultural atmosphere of the performance. For example: Japanese and Korean lyrics may have an anime or pop culture feel; Latin and Russian lyrics may create an epic feel.

Structure refers to the way a piece of music is composed, including how it unfolds, develops, transitions, and concludes. Form, on the other hand, is a method of categorizing musical structures. Common forms include binary form, ternary form, rondo form, variation form, and the most typical form in modern popular music.

Binary form (A+B): It consists of two sections, which usually create a strong contrast with each other. It is suitable for performances with dramatic changes or transitions.

Ternary form (A+B+A): It consists of three sections, where the first and third sections are either the same or have slight variations, while the second section usually offers a distinct contrast. This form is suitable for performances with emotional resonance, such as a progression where tension is followed by release and then a return to calm, creating a complete structure.

Rondo form (A+B+A+C+A+D): It consists of a main theme and several contrasting episodes. The main theme (A) remains consistent in the odd-numbered sections, while the episodes (B, C, D) continuously change. This form is suitable for performances with a central storyline that evolves through continuous variations.

Variation form (A1+A2+A3+A4+A5): It begins with a complete main theme, and the following sections develop and transform based on the main theme, while retaining most of its material. This form is suitable for performances that gradually evolve, such as starting with the same basic movement and adding different variations each time, like changes in speed, trajectory, technique, and so on.

Common sections in popular music forms include the intro, verse, pre-chorus, chorus, interlude, bridge, outro, hook, and dance break. A song may include only a few of these sections, and they can be arranged in various combinations.

Intro: Many pieces of music feature an introduction that introduces the sounds that will appear in the verse, usually dominated by instruments to set the atmosphere.

Verse: In vocal-centered songs, the verse typically has multiple sections with similar melodies but different lyrics. It mainly narrates the story and develops the emotions, serving as the core of the song.

Pre-Chorus: The pre-chorus serves as a bridge, connecting the verse and the chorus. It builds anticipation and prepares the audience for the emotional climax that follows.

Chorus: In vocal-centered songs, the chorus typically repeats in the same form with the same melody and lyrics, expressing the core message of the song. It is the most climactic and emotional part of the song.

Interlude: Often appearing after the chorus, the interlude is usually instrumental. Its melody may resemble the intro but with more complexity and depth, serving as a musical breath to provide space and transition in the song.

Bridge: The melody changes and typically differs from the verse, chorus, and interlude. It shifts to a new perspective, breaking the patterns established earlier, and creates suspense or a sense of anticipation for the next section.

Outro: Many pieces of music feature an outro as the closing section of the song. It may gradually fade out or end with a strong, decisive conclusion, often dominated by instruments.

Hook: In hip hop music, the chorus is often referred to as the hook, which originally means the catch in music. It refers to the most attention-grabbing and memorable part of the song.

Dance Break: In K-pop, a dance break is often inserted after the chorus, featuring music with a completely different melody and rhythm, usually without vocals. This section is specifically designed to showcase the dancers’ skills.

Qi (Introduction, Prelude): Sets the background and establishes the tone, allowing the audience to understand the theme and atmosphere of the performance. It could be the intro and the first major section of a pop song.

Cheng (Deepening): Continues the atmosphere set in the opening, gradually building and drawing the audience further into the experience. This could be the interlude and the second major section of a pop song.

Zhuan (Climax, Change): A sudden shift in rhythm creates a strong contrast, allowing the audience to feel the turning point in the storyline or emotions. This could be the bridge and the third major section of a pop song.

He (Ending, Resolution): The emotions are tied up, and the theme is fully expressed, leaving a lasting impression on the audience. This could be the outro of a pop song.

Jo (Prelude): Slow, atmospheric, and descriptive, it sets the scene and guides the audience into the world of the performance. This could be the intro and the verse of a pop song.

Ha (Development): The tempo increases, changes begin to emerge, and tension builds, drawing the audience deeper into the experience. This could be the chorus and the entire second major section of a pop song.

Kyū (Peak): The highest point, fast and intense, with an explosion of energy that brings the audience’s emotions to their peak. This could be the bridge leading into the outro of a pop song.

The worldview and characters are extensions of the theme, forming the background rules and character development. They are built up through action design, styling, and stage design.

“Willing suspension of disbelief” refers to the viewer’s temporary acceptance of the fictional settings and imagined world within a performance, even if they may contradict the logic of reality or natural laws. Unconscious or unintended breaches of the established worldview or character settings will directly lead to the collapse of this willing suspension of disbelief.

The direction of the performance comes from your choices, while the ability to perform comes from your effort.

‘Is choice more important, or is effort more important?’ is also a classic debate. Both choice and effort are crucial. Just as you choose to spend your time here to put in effort for a better fire dancing performance.

It’s your choice of fire dancing that leads you to put in effort toward mastering its techniques and knowledge. The abilities you develop through effort give you more options when preparing for a performance. You choose the moves and settings, and through continuous practice, you achieve the final result.

Choice determines the ceiling, while effort determines the speed. If the ceiling is too low, no matter how fast you go, you’ll hit the ceiling quickly; if the speed is too slow, a high ceiling becomes meaningless. Ideally, you should choose wisely first, then put in the effort. However, in reality, choices are rarely a matter of absolute right or wrong and are based on the information available at the moment. If your choices are limited, then use effort to create the best possible outcome.

Fire dance is an object manipulation performance, therefore mastering prop techniques is your most important skill.

Next, consider the other skills you possess that can be integrated into your fire dancing performance, such as: Dance-pop, Martial Art, Tricking, Contemporary Dance, Drama, Kendo, Honor Guard, Acrobatic, K-pop, and so on.

The horizontal axis (X) represents visual difficulty/effect, which can be understood as the moves that the audience perceives as more difficult or more appealing. The vertical axis (Y) represents the actual difficulty, which can be understood as the moves that take a longer time on average to master.

From the concept of linear correlation, visual difficulty/effect and actual difficulty are unrelated. Since the general audience (non-experts) cannot discern actual difficulty, choreographers typically only consider visual difficulty/effect when designing routines.

Listing the moves you master on the chart not only allows you to easily review your skills but also helps in arranging the correct content in the appropriate sections of a performance.

Choreographing through keyframes: Place the most important one, three, or five moments of the performance in the most critical positions within the structure. These moments could represent dramatic shifts, the climax, or the conclusion.

Reinforcing impression through repetition and stillness: The human brain tends to process repeated information, making repetition highly effective for memory. Spaced repetition of the same or similar segments can form the ‘Signature move’ of a performance. Additionally, freezing into a still pose after a specific movement creates a ‘Pose.’ This not only serves as a brief but impactful repetition of a single frame, leaving a strong impression, but also acts as a noticeable transition in the dance rhythm.

Rhythm is the time factor of dance movements, typically derived from the music. A performance with varying speeds, both fast and slow, creates a sense of breathing, making it a dynamic and expressive performance.

Expression is the energy factor of dance movements, a key element in shaping the performer’s image, and a bridge for the spectator to connect emotionally. Expression is not just the emotion on the performer’s face, but also how it integrates with the dance rhythm. It is embodied through the whole body, expressed via strength, speed, and range of movement.

Composition is the spatial factor of dance movements. It requires a thoughtful arrangement of color, lines, and movement paths, integrating the dance rhythm and expression to create an imaginative space on stage.

Performances often cannot choose the stage format but must adjust the performance design according to the stage format.

A proscenium stage refers to a stage where the audience is positioned on one side, and the remaining sides of the stage are obscured by physical structures. It is a box-like, enclosed stage that separates the audience from the performance area, with the greatest distance between the stage and the audience.

A thrust stage refers to a stage that extends forward into the audience area, with three of its sides exposed to the audience. This creates an open space, allowing the performance to be closer to the audience, with the audience surrounding the stage on three sides.

An arena stage refers to a stage where the audience is positioned all around it, typically with the stage located in the center of the theater. There is no proscenium or stage curtain in this architectural setup, allowing the performance to be in the closest proximity to the audience.

The stage coordinate system, commonly known as the stage grid, is viewed from the performer’s perspective looking towards the audience. The area closest to the backstage is called upstage, while the area closest to the audience is called downstage. The right side is referred to as stage right, and the left side as stage left. The center area is called Center Center (CC).

Stage lighting is not just for illumination; it is also an art form. It provides visual guidance, sets the scene, shapes the environment, and can even influence the spectator’s emotions. For example, bright yellow tones often evoke feelings of happiness and warmth, blue tones are commonly associated with sadness, and red tones can create strong emotions such as love or aggression.

Stage scenery functions in a performance much like lyrics function in music. Beyond the people, props, and fire, physical objects, backdrops, and projections vividly construct the worldview and characters, enhancing the narrative. If props need to be changed or fire needs to be lit during the performance, well-designed stage scenery can make the process seamless and natural, and it may even become a highlight of the performance.

Stage costumes are also an essential part of the performance, serving as a key tool in shaping the character’s external image and reflecting the style of the performance. During the performance, costumes that align with the theme are required, typically more elaborate than regular clothing or uniforms. Everyday clothing, such as tank tops, cotton T-shirts, polo shirts, or sweatpants, is generally not appropriate.

For certain specific performance themes, makeup and hairstyling are the core of a character’s visual image, and it is best to hire a professional designer for custom makeup. For performances that are less reliant on makeup and hairstyling effects, performers should at least do makeup and hairstyling suitable for an ID photo. This includes: getting a haircut in advance, styling with hair wax or mousse, applying a basic foundation with some concealing and eyebrow shaping, and touching up lip color before the performance.

Performance doesn’t have an absolute score, with no clear pass or fail, but there is certainly good and bad. No one would want their performance to be anything less than the best it can be.

Choreography requires consistent effort over time. By drawing inspiration from life, books, movies, music, and performances, you can expand your perspective and cultivate your intuition. Through persistent practice, you will ultimately shape your own unique style.

Selecting suitable music and theme to establish the performance structure. List the skill set. Prioritizing keyframes while enhancing impressions, arrange overall rhythm, expression, and composition, and refining choreography while enriching the worldview and character. Design lighting, scenery, and styling. And finally, review and improve the performance.

Performance always carries risks. Fire dance performances have both pros and cons. Please read the instructions carefully before deconstruction.

The spectator is the core of a performance. After the initial construction of the performance, try switching perspectives and reviewing it from the spectator’s point of view. Start with yourself, practice in front of a mirror, or record practice clips and replay them in slow motion for review. Then, ask friends for feedback, including both fire dance performers and those who have rarely or never watched a fire dance performance. Finally, consider the composition of your audience and refer to feedback from those with similar backgrounds.

Overall feeling refers to viewing the dance from a macro and emotional perspective, focusing on imagery and energy. It is about your feelings, whether you like it or not.

Details refer to viewing the dance from a micro and rational perspective, focusing on the texture of individual movements and the fine presentation of the performance. It involves a deeper breakdown and analysis, emphasizing what you like and what you don’t like.

Watching a performance is usually done from a distance to close-up approach: first, you experience the overall atmosphere of the performance from a macro perspective, and then you zoom in to analyze how the details support the performance.

The completeness of a performance refers to whether it achieves a unified, smooth, and organic integration across various aspects such as artistry, technique, emotional expression, and stage presentation.

Common questions include: Is there a clear central theme or storyline? Does the performance consistently maintain the emotional tone and style of that theme? Do the visual and auditory elements consistently support the overall concept? Can the spectator stay immersed from start to finish?

For a performance to become a classic, it not only requires exceptional technical skill but also unique artistic value and the ability to transcend the era with its influence.

Common questions include: Does it possess irreplaceability within the current time and space context? Has it reached the pinnacle of the field in the current time and space context? Has it innovated with groundbreaking dance language and choreography? Does it have far-reaching influence and potential for lasting legacy?

Projection (also known as presence or stage control) refers to the performer’s ability to use eye contact, body language, energy, emotion, and spatial awareness to captivate the spectator and draw their attention. This skill is not just technical, it is a combination of inner state and outer expression.

Common questions include: Does the gaze penetrate the space, rather than scattering or becoming stagnant? Do the movements extend into the space, maintaining momentum, rather than collapsing or stagnating? Is the breath synchronized with the energy, allowing it to flow naturally? Does the performer fill the space, making themselves the focal point of the stage?

Different props are influenced by factors such as material, weight, length, and fluidity, which in turn affect the visual impact and the dynamic sense of speed experienced by the spectator. In the case of fire dancing, long staff, fan, and sword are considered slow props, while poi and meteorite are fast props. The short staff and dragon staff are unique in that they could be used both fast and slow.

Music is generally considered to have a critical range of 80 to 120 BPM. Below 80 BPM is typically categorized as slow music, while above 120 BPM is considered fast music. Music between these two values depends on its genre. Pairing slow music with fast props or fast music with slow props is generally more challenging.

Common questions include: Are you struggling to keep up with the music (fast music paired with slow props)? Can you not slow down (slow music paired with fast props)?

Highlight refers to the moment that makes the spectator’s eyes widen and their hearts be stirred. Highlights are created through addition, enhancing the performance.

Common questions include: Are there high-difficulty techniques that make the spectator hold their breath in awe? Are there unexpected surprises for the spectator? Are the movements perfectly synchronized with the music (hitting the beats)? Is the performer’s emotion genuine and heartfelt (not forced, but living the character through the performance)?

Rationality refers to the coherence and authenticity of movements, situations, emotions, characters, and dance language, allowing the audience to believe in and immerse themselves in the performance. Rationality is achieved through subtraction, avoiding elements that detract from the performance.

Common questions include: Do the dance movements align with the natural logic of the human body? Does the dance style match the theme? Do the elements of the theme, stage, costumes, and music resonate with each other? Do the actions on stage have clear and reasonable intent? Do the character’s actions and reactions align with the story’s development? Is the emotion coming from within, rather than from superficial movement execution?

Visual guidance refers to using methods such as movements, lighting, formation, and direction of gaze to control the spectator’s attention, focusing it on key performers, emotional expression, or story development.

Common questions include: Does the direction of the performer’s gaze provide clear guidance (since the spectator often follows the performer’s gaze)? Do the gestures and body lines provide clear guidance (as the spectator is drawn to the biggest, fastest, or most unique movements)? Can the spotlight be used to emphasize the focal point? Can the use of negative space create focus? In group performances, is the formation effectively used to guide the spectator’s gaze?

The amount of information in the frame refers to the visual, emotional, and narrative information that the spectator receives from the stage at any given moment. Controlling the amount of information affects the viewing experience. Too much information may prevent the spectator from focusing and create a sense of confusion, while too little information may make the scene feel empty or monotonous.

Common questions include: Is there a clear primary visual focus? Does the information density vary to avoid visual fatigue? Is there information overload, or can unnecessary elements be simplified? Is there insufficient information, and can the richness of the scene be enhanced? In group performances, are the movements of all performers consistent?

When to ignite the props is a challenge that every fire dance performance faces. Lighting the props on stage, as part of the performance, must be done with consideration for rationality. Lighting them backstage requires consideration of the uncertainty between ignition and the actual start of the performance. The timing of ignition affects the prop’s heat and the effective burn time during the performance.

Common questions include: Does the ignition method align with the worldview and character? Is there a risk of the fire not lighting or lighting too slowly, and if this happens, what should be done? Is there a possibility of igniting the prop too early, causing it to become too hot or extinguish prematurely?

Prop changes in fire dance performances, aside from being part of deliberate choreography, may also be necessary due to the limited fuel absorbed by the fire props. A smooth prop change not only maintains the flow of the performance but also enhances the visual effect and strengthens the narrative integrity of the story. On the other hand, if the prop change is too abrupt or slow, it may disrupt the spectator’s experience and even pull them out of the performance.

Common questions include: Is the prop change integrated into the performance as part of the character’s actions? Are the props placed in a convenient and logical position? In group performances, can visual transitions be designed during prop changes, using changes in stage focus or group choreography for coverage?

Common fire dance special effects in Taiwan today include: Fire breathing, Fire gun, Fire explosions (exploding staff, poi, and meteorite), Ground fire (cleaning naphtha), Fire sparks (iron powder, titanium powder), Colored fire (alcohol solutions), Flash flames (lycopodium powder), Sparkling iron effects (cold fireworks, steel wool, fireworks, charcoal), Flash-burning paper, etc.

Common questions include: Do you understand the characteristics and dangers of the special effects? Are you proficient in the operation of the special effects? Are the special effects a highlight of the performance, are they rational, and are they necessary?

Special effects should serve the performance. Using them wisely, rather than blindly, ensures that you don’t invest excessive effort and money, or take on higher risks, without enhancing the quality of the performance. Rather than focusing on special effects, the audience cares more about the performer’s personal style and skill. Special effects can add the finishing touch, but they cannot replace true dance technique and performance tension.

Mistakes are almost an unavoidable challenge in live performances. A truly exceptional performer is not one who never makes mistakes, but one who can remain calm in the moment, turn the mistake into part of the performance, and even make the audience unaware of it.

Common questions include: When a mistake occurs, can you remain calm, avoid overreacting, and confidently continue the performance (audience reactions are usually smaller than the performer’s, and they may not even notice)? If a movement is unfinished, can you smoothly wrap it up instead of forcing a correction? If you forget a movement, can you improvise and find your way back, rather than freezing in place? If a prop falls, can you naturally integrate it into the performance through improvisation or pre-planned transitions? If there are issues with the costume, lighting, or sound, can you maintain the atmosphere and continue performing? In a group performance, if there’s a positioning error, can you subtly adjust with eye contact and small movements to return to the correct spot, without making large movements that disrupt the flow?

Make fire dance a part of life, make life a part of fire dance.