The Role of Props in the Freestyle Routines

By Dr Attila Szkukalek

There has been a lot of discussion about the use of props on some mailing lists recently. This prompted me to write down my thoughts about when, why and how to use props in freestyle performances.

Prop has many context / topic dependent meanings, as well as relevant dictionary definitions:

1. An article, except costumes and scenery, that appears on the stage or on screen during a dramatic performance.
2. Any movable articles or objects used on the set of a play or movie.
3. A theatrical property.
4. A characteristic trait or peculiarity, especially one serving to define or describe its possessor.

Source: The American Heritage® Dictionary of Idioms by Christine Ammer.
Copyright © 1997 by The Christine Ammer 1992 Trust. Published by Houghton Mifflin Company.

Since none of the above definitions gave me a clear clue as to when, why, and how props should be used in freestyle routines, I have also looked at the definition of the Costume:

1. A style of dress, including garments, accessories, and hairstyle, especially as characteristic of a particular country, period, or people.

2. An outfit or a disguise worn on Mardi Gras, Halloween, or similar occasions.

3. A set of clothes appropriate for a particular occasion or season.

Since movable parts (e.g. hat or furry things around neck, etc) of the costumes occasionally are also used in Freestyle performances as movable objects to cue certain moves of the dog or enhance, make noticeable the move of the handler, I decided to combine certain meanings of the above prop and costume definitions and come up with a

Freestyle definition of the prop:

An object in the ring which helps contribute to the Visual Perception, Understanding and Emotional Affect of the theme, artistic purpose and choreography of the routine.

Based on this definition, the use of the prop should be based on the following principles:

1. It should be an integral part of the choreography of the whole routine. For example, a prop should not be dropped in the ring as a left over product; it should stay an integral part of the scenery, costume, etc. even when it is not used as a prop. Dropping an object or part of the costume on the ring floor at the beginning of the routine, which the dog would retrieve at the end of the routine or the owner would collect it at the end of the routine would be an improper use unless that object would become part of the scene.

2. Enhances the scene of the routine’s artistic and emotional value:. The use of the prop elicits a scene of higher emotional impact than it would without the use of the prop.

3. In general the prop should be used in similar manner as it is used originally. However, some innovative uses might have greater impact than the original use; exception rather than rule.

E.g. using a baton in a marching routine and even cuing some move with it, I would consider as a proper use. Using a baton the same way during a ballroom dance routine would be an improper use. Pointing with the sword in front of the dog’s feet to cue a Bow move by the dog as a greeting at the beginning or end of a dance would be in general an improper use. Using the sword in a greeting manner by the handler to cue a greeting move e.g: standing on 2 legs by the dog would be a proper sword use.

4. It cues or mediates a move, in which case the principles 1, 2 and 3 apply for that particular move and which the dog could not perform without the use of the prop.

Eg. Front position dog facing the same way as the handler and walking forward. In this case, however, it is essential that the dog pays attention to or interacts with the prop only in line and exact time with the choreography and ignores it other times in line with the choreography.

The controversy about the use of the props in routines has been raised by performers using the props as target cues and reinforcers during the routine. The target cue use should not cause a great concern as long as the above principles are taken into consideration. The majority if not all of the moves are cued solely or in parallel (with auditory cues) by visual targets; mostly by the handler’s hand or arm movements, or to lesser extent, other body parts of the handler. However, from the training point of view, the technical difficulty of control arises from: Specific Target (Prop) is a stronger cue than < Hand Target < Other Body Parts Target < Auditory Cue. In general it is most difficult is to control the dog by auditory cues and the easiest is to control by specific conditioned targets, such as a target stick. So if judges compare the technical difficulty, they might take this into consideration and value the move technically higher if it was performed without a specific target / prop.

Props that can also be used as Rewards is a greater concern. In some routines the handlers use props that the dog tugs or fetches. With such props it is essential that the dog interacts with the prop only during the desired scenery and not at all other times. The use of such props has to be very clear. Judges might regard such props as rewards even if the specific dog does not find the interaction with the prop rewarding. Quite contrary, eg. we all might struggle with some dogs to teach them to retrieve.

And finally the most controversial use of props is the double purpose manner to both cue and to reinforce moves.

The perception if a particular prop is used solely for choreography purposes or also as a cue / reward / training aid within the routine will always remain to a certain extent subjective, depending on the individual judge’s view. Therefore performers should be very careful about the use of the prop. Props can enhance the routine and its marking significantly. However the improper use of props can lead to decreased marking in both the Technical Difficulty and Artistic Impression, and according to the rules of some organisations, it can lead even to disqualification.

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Copyright 2007 Happy Pets - Attila Szkukalek