car park

This is a short shot of me and emma just using pedestrian movement in the car park.

Dance and the moving image module

In our last term we are creating a dance for film piece. I am working with three other dancers and we have decided to film our piece in a car park. We  have used pedestrian movements with a focus on angles and lines in the body, to represent the lines and spaces in a car park. We have filmed on the roof of a car park with a variety of film techniques such as close ups, long shots, and used a variety in the number of dancers in the space at a time. We have used intricate foot work close ups as well as running, standing, and walking n longer shots to create different views within the car park. We then edited the shots to create a short piece using different kinds of editing for different effects.

Second year Pilates

Since beginning the course in 2010 I have always taken part in regularar Pilates classes, and during my second year of doing so I am really starting to feel the benefits in my over all practise. I feel I am now able to apply the principles of pliates at a higher level into my dance practice. I am more aware of my core stability and alignment in everyday life as well as when I am dancing. Exercises such as abdominal curls, rolling down, ballances, stretches, and also using the rollers to do exercises on have enforced my awareness of the spine, and head to tail connection in particular. This has really encouraged my development in my second year on the course.  

Being part of Recapture Dance Company

In my second term I was fortunate enough to be asked to take part in a dance film based project by Recapture Dance Company, formed by two third year students at Coventry University Melanie Davies and Kirstin Bardwell.

The pieces were filmed at Coombe Abbey, and then edited to create an installation piece with three screens showing the footage to audiences.

During the filming we were asked to improvise in different areas of coombe abbey, with a focus on the nature around us- such as the sounds, colours, and textures. Another aspect we focused on to influence our movement was the principles from Skinner Releasing Technique.

I really enjoyed being part of the company and being able to explore movement on site, with people I had not worked with before. I found that the way I moved was easily influenced by the space I was in, and I found new ways to do so. The final piece looked really effective, and showed how nature complimented our dancing, and how we complimented nature also.

Being part of this had made me want to explore site further, and appreciate the different outcomes when dancing in new places.

Body Space Image

Here is an image I find particularly influential when moving with the idea that the arms begin at the shoulder blades, and can move almost like wings.

  

‘The back is wide

Let the ribs open like wings from the spine

See the ribs are arms

Into which you can rest’

Tufnell, M., Crickmay, C.(1990) Body Space Image. Hampshire: Dance Books Ltd.

Skinner releasing technique reflection

After today’s Skinner releasing technique class I left feeling uplifted, relaxed, and aware of the whole of my body. There was a focus on suppleness, and shifting weight around the body, which then lead me to a smooth and fluid improvisation.

Reflections...

‘Our bodies are the reflections of our lives: sitting, walking, standing, we absorb the impact of each day. Each thought and sensation makes changes in the body.’ (Tufnell, Crickmay 1990).

Tufnell, M., Crickmay, C.(1990) Body Space Image. Hampshire: Dance Books Ltd.

New discoveries within Skinner Release Technique..

• Weighted
• Leaning
• Gravity
• valancing
• Travelling
• Relaxing
• Partner graphics
• Skull strings
• Softening
• Melting
• Tissues spreading
• Suppleness

‘Skinner releasing technique is the pioneering approach to dancing that has evolved from the simple principle that when we are letting go of habitual holding patterns we can move more freely, articulately and powerfully.’ (Sadler’s wells 2010)

Sadler’s Wells (2010) what is Skinner releasing technique [online] available from <http://londondance.com/articles/features/what-is-skinner-releasing-technique/>

Underscore

Last week we performed an underscore during one of our classes. We improvised while being fed constant information creating multiple layers within our moving. Such as images to focus on, movement qualities to use, and anatomical explorations within our own body.
I particularly enjoyed the underscore when we could introduce contact and discover the attractions and retractions to others movers, and allow our movement to be influenced by this. I find that looking at others can influence the group dynamic and therefore the way I want to move.
I found contact with the back wall, allowing things to happen not necessarily go to them.

'grazing'
'kinaspheres'    

lady herbert garden workshop

Lea, a third year student, took one of our improvisation sessions which took part in the Lady Herbert Gardens. We were asked to go to 5 places which we were particularly attracted to in the garden, and then create 2 gestures persnal to us and repeat them in these chosen places.

I discovered that my gestures differed slightly depending on which place I was in, therefore suggesting that use of surroundings/space can have an impact on movement.

The dfferent textures, colours, sights, sounds, and smells changed my mood and expression, and therefore creating small changes within my movement. In particular I found my movements became either smaller and more detailed, or larger and more expressive depending in the differents areas on the sight.

I have recently stared taking part in workshops set up by two graduated Coventry University dance students, along side my course. They will be re creating their final piece and doing a tour in local theatres. This will give me an insight into running a project and taking control of a company, which I will have to do myself in my final year, along side having fun taking part in the workshops. Here is a link to the companies website.

 http://www.abstractpicturesdancetheatre.co.uk/

Charlie Morrissey workshop

On February 6th we took part in a workshop taken by Charlie Morrissey which I really enjoyed! There was a main focus on contact improvisation which explored for most of the session. I felt like I got a lot out of this workshop and experienced some new ways of moving and explored some new images while doing so that I can use in the future while improvising or choreographing.

We warmed up by using several different improvisational scores, which Charlie devised for us. They were fairly fast paced which engaged my attention. Tasks involved melting into the floor, rolling on the floor, sliding across the floor, using contact to take others into melting on the floor with us, running, walking, and stillness. While doing this I had to particularly focus on spatial awareness, using all the space, using a variety of levels, and also being aware of my breath and how I was using my weight to influence my movement.

While using all these aspects to travel from one end of the room to the other in duets, I felt I experienced new ways of moving and exploring. Usually I find contact work quite challenging to keep focused and take risks however I felt a lot more relaxed and engaged after doing the warm up scores. We changed partners several times which enabled a new experience every time I travelled the space.

Gabi Router performance

On the 19th January, Gabi Router performed a solo piece in the Ellen Terry building. Here are a few things I witnessed, noticed, and enjoyed about the performance.

• Started with Gabi asking the audience to warm up- we were asked to stand up and take a few deep breaths, and just do a little moving on the spot, to wake up the body and the brain.
• Use of speech throughout. She started up close to the audience at the beginning. Different subjects were being explored and questioned, such as.. judgement, explored a dance piece, aspects of the space, imagination, humour, sound waves, props and other stage aspects, time, filling the space with words.
• She used eye contact and direct speech to the audience the majority of the time, creating an interaction with the audience, so they can be part of the piece and the explorations. 
• Use of gesture to compliment the speech and movement. Mostly no music, and speech throughout, however occasional sections of sound introduced. This gave it a more realistic feel, and it was the explorations of the artist that created the climax's, not just the music.
• Stillness and silence were used which allowed Gabi to be seen.
• Neutral lighting, with occasional lowering and brightening to compliment sections of movement.
• There was interaction with the whole of the space, talked about the whole space, and used contact with the back wall. This allows the audience to feel part of the space also, communicates the idea that the space is not just a place to perform, but part of the explorations as part of the piece. Feels grounded and creates and creates an involved and comfortable atmosphere.
• Sound paterning on the floor.  

Improvisation score

 Using this grid as an improvisation score in the space, we explored each section and then performed it as a group and had the option to move from one area to another as much as we wanted to, as well as the option to change/add to the rules. We decided to add echoing others' movement, and introduce stillness to the score.

Moving in a way that suggests a fear in life... Public speaking Being still and seen in a space with an audience	Moving in a way from our past moving experience... Tap Ballet Swimming Jazz Hip hop
Wild card- Expressing dreams and future hopes... Travelling  Moving without expectation Jumps- expressing freedom	Moving in a way we like/feel comfortable doing... Fluid Focusing on head to tail connection Use of breath Detail Floor work

I enjoyed this task as it was nice to have a chance to move in a way I used to, or particularly enjoy. This was really different to any other improvisation scores I have done on this course, which at first I felt a bit uncomfortable doing as usually I do not often get the opportunity to move in this way, however this inspired me to work harder and explore further, as I was having to think harder about the ways I was trying to move.  

What are we focussing on in term two of our second year...

Improvisation module:
This term I would like to focus on pushing my boundaries, and not being afraid to just follow through with new movement an see where it leads me, even if  feels uncomfortable or out of my comfort zone. I feel that working with unfamiliar people and scores or spaces will help me to do so. I would like to do this as I feel I do not come out of my comfort zone enough to explore new movement, and can tend to stick to the same movement when improvising. I think that by letting go of this habit I can create new and interesting movement, whilst also exploring my body and the space in new ways.


Technique module:
this term I aim to focus on how the use of weight can influence my movement. For example, how how weight can enable leading through certain body parts, and by doing so can create more definition and flow to my movement. In particular, when travelling through the space. I would like to focus on this area because I feel I can sometimes focus too much on either what movement I should be doing as part of a phrase, or if I feel I am 'doing it right' when improvising. therefore I can compromise my focus on how my weight can lead me with flow to the next movement. I also think a focus on the use of breath will do this also, which is a continual focus I have within my practise on this course.

First lesson back.. second term

We started back in the new term by taking part in a technique phrase class, starting with a improvisation score exploring the spine including focus on...
. Travel
. Spirals
. Floor and air
. Head to tail connection
. Straight lines
. Twists

We also did some partner graphics using the hands on our partners back. Focusing on the connection between vertebrae and the movements of the spine in relation to the rest f the body. We did this by vibrating the vertebrae with two fingers, using flat palms in prominent areas of the back that were moving, and brushing down the spine from head to tail.

We then focussed on an idea of 'gathering colours' while moving improvisationaly across the space. I had an image of pastel swirls being created as I moved across the space.

      


This brought back the awareness of the spine within the body, which I had had a break from focusing on during the Christmas holidays. I felt my bones, joints, muscles and brain waking up and left feeling prepared for my movement practise this term.

Improvisation jam

On the last week of term before Christmas all three years of dance students and the tutors came together to perform an improvisation jam, which was really fun! It allowed us to come together with other students I had not moved with before, and just experiment and explore with contact and relationships while moving. This was particularly fun and interesting as there was no expectations or criteria, we were just able to play around with movement without taking it too seriously or being graded etc.

We started by all moving individually in the space, as the sore gradually built up layers. We experimented with levels, direction, quality of movement, and then relationships and contact. Different types of music were also introduced to the score, which changed the levels of energy and atmosphere in the space. I found that I responded differently to different music, and sometimes my movement and mood completely contrasted depending on the music and energy of other movers.

Elements of the score I responded well to:

• Considering all parts of the space, such as the walls, and even the far edges of the space not just the middle. This was also useful for moments of pausing and/or witnessing.
• Brushing down others in the space. This could then lead to rolling, a change of level, following the person that brushed, or just an acknowledgement of another dancer that we may not have moved with before.
• All starting and finishing in the space together, which made me feel more comfortable and ready to move.

Overall this was a fun way to end the term, and just move how we wanted after a very tiring week during performance week :)   

The challenges of using speach during 'Walking piece'

I found it challenging at first to incorporate the use of speech within performance, as I have not done this before, so I had to work on my use of projection and letting go of fear of talking in front of an audience.


During one section we had to take it in turns to say a word from this list in order, while using a stomping action, jumping on the window ledge, and getting faster..

SPRIGHTLY
TIGHTLY
SLIGHTLY
NIGHTLY
SIGHTLY
BRIGHTLY
RIGHTLY
POLITELY

In another section we had to make out way around the corner, while brushing each other down and taking it in turns to say a tongue twister, then pass it on to another person in the group who then had to repeat it as fast and as clear as possible..

'SHE SIFTED THISTLES WITH HER THISTLE SIFTER'
'PLAIN BUN, PLUM BUN, BUN WITHOUT PLUM'
'RED LORRY, YELLOW LORRY'
'WHICH WRIST WATCHES ARE SWISS WRIST WATCHES'
'SIX SLEEK SWANS SWAM SWIFTLY SOUTHWARDS'
'ELLEVEN BENEVOLENT ELEPHANTS'

In another section we had to describe objects while moving in a turn table motion on different levels as part of the loops, and during the second time of doing so we had 'evolving walk' short moments- mine was a jump reaching back to touch my toes. Some of the objects were...

Cake
Car
Apple
Lift
Grass
Door
Hair straighteners
Socks
Table
Paper
etc..

A few Images of the rehearsal process

The 'here and there' section

coming down from the lift

'over the rooftops' walking on the walls

turn tables section

'sprightly' section

Brushing down, and tongue twisters

'here and there' section

the lift

Things to remember during performance

• Invite being seen
• keep seeing active in the room
• Each performance is an experience- keep learning no matter how small
• Get what I need from each performance, and don't settle for any less
• clear voice
• Taking time to do each section clearly and fully- not rushing
• laugh at my own serious intentions, even when those intentions are serious
• Be myself throughout- not trying to put on an act for the audience
• Enjoy each performance, and challenge myself throughout!