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How To Create Lyrical Dance


Teacher article



 1) Look at the age of the dancers. Sometimes it can be interesting to mix the ages but obviously if some of the dancers are younger that will certainly influence your style of choreography, music and costumes.

2) Decide on music. If you are planning to enter the piece in competition try to find something that the judges have not heard at every competition.

3) Choose appropriate theme for not only the age level but also the experience level.

 4) Decide if props are beneficial. Props can be a big asset if the port de bras are not very strong or if you are trying to create a specific storyline.


1) Ballet training is really a necessity. Simply because so much of Lyrical work needs the control and the ability to balance that studying ballet can give you. It also gives the dancers the grace and the skills to finish off their movements by pointing their feet or stretching their legs when needed.

2) Understanding use of space (spatial awareness). So often Lyrical stays rooted to a couple of spots on the stage, with the type of movement associated with Lyrical it is a wonderful opportunity to get the dancers to experience the freedom of using as much space as possible. It is also important for them to understand how using all of the stage in their movement can help them to connect with their audience.

3) Fluidity of movement. Very often the quality of the movement gets lost because the port de bras is not being worked from the center of the back and consequently all of the arm movements tend to have a stiff, tight feeling as if only worked from the shoulders. Getting the dancers to understand that their arms are like wings and their fingers are like feathers really helps them to improve on the fluidity of movement


1) Using partner work can only enhance choreography. If you do have boys there are some wonderful lifts either weight bearing if they have the strength or non weight bearing for those with less strength. Everyone always loves to see that connection onstage of a girl and a boy. If you do not have any boys there are ways to use partnering especially by making some interesting shapes and lines which can embellish your choreography

2) Changing formations frequently helps to make your choreography visually exciting. Using the stage in a variety of ways by using different dimensions and directions in your choreography can not only increase the dynamics of the piece but is also helpful when a little camouflage is needed!

"WHY IS LYRICAL ALWAYS SAD? " Lyrical dance is a wonderful way to help young dancers understand how to express themselves through their movement. Lyrical dance does not always have to be sad, in fact, unless dancers are in their late teens, it is easier for young dancers to express the elements of happiness, hope and a feeling of positive energy in their Lyrical work. Sometimes when young dancers are asked to express more adult emotions it comes across as very contrived and therefore loses its impact. Focus more on the quality and shape of the movement, rather than on using " tricks " that may work very well in a different type of dance, but that somehow seem out of place within the context of smooth Lyrical work. Look to find leaps and turns that compliment the character of the piece.


1) E.T. - performed by Boston Pops

2) Summertime - performed by Fantasia

3) Superman Theme - performed by Boston Pops

4) Reflections - performed by Eric Hansen

Combining all or some of these ingredients can help you structure an exciting, dynamic, Lyrical number full of fluidity, grace and emotion, one that is certain to be talked about for years to come.


Angela D'Valda Sirico

Angela D'Valda Sirico

Originally from England, Angela spent her early years in Hong Kong where she studied with Carol Bateman. She continued her training at Arts Educational Trust in England. After moving to New York City she continued her studies with Martha Graham and Matt Mattox. She appeared with the Matt Mattox Company and toured with the first Disney On Parade working with Disney and N.B.C. Contracted to the Teatro National of Buenos Aires she performed for one year and spent an additional year as a featured soloist at the Teatro Maipo, Argentina. Travelling to Madrid, Spain she worked for Spanish television in a weekly variety show Tarde Para Todos and from there decided to form her own Dance Company. With the Company she choreographed and performed throughout Spain in theatres, and on television. Angela met her husband Steve while working together on a television special The Valerie Peters Show filmed in Tampa, Florida. In 1979 they formed the Adagio act DValda & Sirico appearing in theatres, clubs and on television shows such as David Letterman, Star Search and the Jerry Lewis Telethon. In 1982 they were contracted to Europe and appeared in a variety of shows in Spain, Portugal, Sweden, Finland, Switzerland and Italy before going to London, England where they appeared as Guest Artists for Wayne Sleep (formerly of the Royal Ballet) in his show Dash at the Dominium Theatre. Angela and Steve have owned and directed their dance studio in Fairfield, CT. for the past twenty two years and in 2005 added music and vocal classes to their curriculum. Angela served as chairperson for the tri state panel of the Royal Academy of Dancing and is Co-author of a Partner syllabus currently used for teacher training by Dance Educators of America. She continues to adjudicate and teach for major dance organizations and choreographs for theatre, television and conventions and was commissioned by Boston Ballet 11 to choreograph the highly acclaimed Brother Can You Spare A Dime? DValda & Sirico are currently in production choreographing the opening to the National Speakers Association convention on Broadway at the Marriott Marquis for August of 2008. Angela is co-owner of Dance Teacher Web designed as an online resource for teachers worldwide.

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