CHOREOGRAPHIC OUTCOMES: IMPROVING DANCE COMPOSITION by Jacqueline Smith-Autard andJim Schofield, assisted by Michael Schofield. 2005.

Bedford Interactive Productions, j CD-ROMs (for PC) including Resource Pack with "Creative Practice Guidebook" and Smith-Autard's "Dance Composition" (^th ed, 2004). $j6o.

ogy itself, leaving ample room for people especially teachersto shape its role in learning. Choreographic Outcomes is described as a "comprehensive CD-ROM resource pack . . . aimed at improving student choreography through detailed study . . . [with] full access video of 8 dance pieces." Sounds simple, but do not let the attractive packComputer-aided instruction for dance is aging fool you. While the program can a hard sell. On the one hand, judging be used off-the-shelf to good effect, it is from the proliferation of dance technology- a teaching and learning resource that exrelated websites, dancers seem more inter- pands exponentially if one understands the ested in computer applications for perfor- logic behind its approach. In the interests mance than instruction. Not surprisingly, of full disclosure, I admit to a predisposidance is regarded by the educational soft- tion toward technological applications and ware industry as something less than a Smith-Autard's work in particular. Howniche market and therefore a low-priority ever, before now, I had not previously used investment. On the other hand, popular or beta-tested this program, so I came to it views of educational technology in dance with fresh eyes (and ears). tend to exaggerate both its promise and its The first thing you will notice about the peril. Advocates tout computers and the In- program is the high-quality production valternet as instant remedies for dry curric- ues. It is clear from the outset that this is ulum and didactic instruction. Alarmists a hefty piece of software with plenty of worry that computers will undermine cre- features and supporting materials that lie ative activity and the World Wide Web will just off the beaten path. The package inreplace teachers as the preferred source of cludes three CD-ROM discs, a Creative information. Practice Guidebook, and Smith-Autard's book Until recently, these states of mutual dis- Dance Composition (2004). The program ininterest and distrust among dancers, edu- cludes over a hundred movies and requires cators, and software-makers have resulted a lot of computer memory, so Bedford Inin a serious lack of imaginative, intelligent, teractive includes two different discs to aland effective educational uses of new tech- low the user two options: direct-use from nologies in dance. No more. Together with disc or full-install on user's hard drive. The Bedford Interactive (www.dance-interactive direct-use option downloads each movie .web.com), Jacqueline Smith-Autard's re- as you select it and thus involves a short cent forays into educational technology delay each time you click on a new movie. have produced a series of state-of-the-art If you can spare the 630 MB on your hard CD-ROMs for dance and dance education. drive, then I recommend the full-install These impressive computer resources com- option. You'll move more quickly through bine Smith-Autard's substantial knowledge the program and you can insert the Workwith Jim Schofield's commonsensical ap- sheets disc, which includes an electronic proach to the technology. Their most recent version of activity worksheets. A helpful inproduction. Choreographic Outcomes, avoids struction booklet walks you through these placing too much emphasis on the technol- options.

The potential of all these resources at the touch of one's fingertips is enticing. Unfortunately, I realized immediately that I could not access the CD-ROMs because I work on an Apple PowerBook with Mac OS X. The hardware requirements for Cho-. reographic Outcomes are quite reasonable, but a PC Windows environment is required. In my experience, many American dance students, teachers, and programs in higher education, use and stock computer labs with Apple computers. The market may be too small, or the cost prohibitive, but I sincerely hope Bedford Interactive has plans for a biplatform version in the near future.

The uncluttered desktop's attractive color and font scheme is one of the most appealing interface designs that I have seen in any educational software. The high-quality film and sound direction are impressive and essential. The solo performer, Lauren Potter, is a brilliant dancer of remarkable movement clarity and articulation. I found her lack of affect somewhat curious, but perhaps there was a conscious decision to focus on form versus feeling. Regardless, it is clear that Bedford Interactive engaged a dream team of dancers, educators, and designers to produce this work.

Though Bedford Interactive and I have You can start working with Choreographic different definitions of the term, I was parOutcomes by click-opening the source video, ticularly enchanted with the Universal Ac"Motifs For A Solo Dancer," which takes cess option. In some software design circles, you to a step-by-step analysis of the original universal access refers to software design that piece. The options include viewing the entire seeks to make new media accessible to everyfilmed solo, a universal access feature, a li- one; for example, creating "electronic curbbrary of key motifs, time analysis, and space cuts" for cognitively or hearing-impaired analysis. As a graduate student in the mid- persons (see wAvw.cast.org). Bedford Inter1990s, I participated in numerous usability active uses the term UniversalAccess to mean studies at Harvard University's Education a comprehensive, catholic look at all aspects with New Technologies project (http:// of the dance composition. On a single page, learnweb.harvard.edu). CD-ROMs were one has access to the whole solo dance: its the latest technology, and I learned phrases movement phrases, key motifs, and timlike "wayfinding index" and "universal ac- ing. So, for instance, if one wants to make cess" to describe the nexus between acces- a close examination of how the "tip" motif sibility, ease-of-use, navigation, and inter- develops into a "tip back into travel" phrase, face elements. Bedford Interactive deserves one can easily locate the motif, watch its development from a thumbnail video that high marks on all these design indices. pops up seamlessly into a full view, and lisOverall, Choreographic Outcomes takes ten to the precise musical phrase in which full advantage of what computers do best. The multiple representationsfrom dia- it occurs. In the space and time analyses grams to videosmake it highly accessible, sections, I yearned for a Labanotation score deepening the learning experience without to round out the phrase structure studies, sacrificing breadth of information. The but I suppose enough is enough. One has to ubiquitous views, perspectives, and thumb- make choices, and the choices are generally nail pictures make it easy to follow and fun splendid. to use. The logical structure, clearly marked I found that one of the more innovative buttons, and text directions support navi- choices included an "Outcomes" section: gation through the sophisticated analyses. that is, seven new pieces choreographed

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cal inquiry. Through a series of carefully constructed activities and worksheets, the Creative Practice Guidebook demonstrates how to use the technology selectively to present dynamic models of key concepts or to enable students to participate together in disciplined inquiry. I highly recommend this computer resource to dance professionals in private studios and higher education. Before buying the program, however, I suggest you review Smith-Autard's The Art of Dance in Education (2002). This seminal work will alert you to the conditions affecting teaching and learning, and highlight how technology might improve your practice. Next, be sure to use the supporting materials in concert with the discs. Together, the program and materials can promote the Clearly, Choreographic Outcomes is no kind of retention, understanding, and ac"plug-and-play" program. It is a sophisti- tive use of difficult conceptssuch as mocated, deeply intelligent, effortful endeavor. tif developmentthat are both crucial to The fact that it embeds many important further progress in dance and widely receducational insights and practices into the ognized as difficult to teach and learn. very fabric of the program should also come Finally, respect the process and take your as no surprise. Dance education is Smith- time. When used by knowledgeable dance Autard's bailiwick. This is an important instructors in a reflective, integrated way, I advantage, but also a real challenge to the have found that this new, interactive, poruser. There is no simple answer to how one table tool can extend instruction beyond makes effective educational use of new tech- the dance studio and significantly enhance nologies. Sometimes the tool seems attrac- student learning. tive, but exactly how to integrate it in pracEdward C. Warburton, tice is unclear. Fortunately, Smith-Autard University of California, Santa Cruz has brought her "A" game to this issue. She understands learning, how diversified it is, Works Cited and how important it is to develop methods Smith-Autard, Jacqueline M. 2002. The and materials that are as articulated and Art ofDance in Education. 2nd ed. Lonflexible as the individuals utilizing them. don: A8cC Black. For this reason, the accompanying sup. 2004. Dance Composition: A Practiport materials are key to the effective use of cal Guidefor Teachers. 5th ed. New York: this program. The Dance Composition book Routledge^A Theatre Arts Book. provides a clear framework for integrating teacher-directed instruction with opportunities and challenges for creative and criti-

by three different people inspired by the original solo motif. Details of participants are included in this section, which serves as a kind of credits-cum-comparison page. Here one can read about the director and choreographers, view the new works, review a detailed composition analysis, and compare the new works to the solo dance in a directed or search mode. The comparison modes place the outcome video next to the solo video, allowing the viewer to compare and contrast the phrases. Or, at least, I think that is the intention. This section is a great idea, but it seemed like a bridge too far for the computer. I was never able to make this function work to my satisfaction. Of course, it is entirely plausible that, after eight hours, I was losing my mind and my (borrowed) computer was losing its memory.

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