Experiantial Anatomy

We took part in a experiential anatomy class with Natalie Garrett. We focussed largely on the idea of somatic practice and how this is integrated within our practice and how it can develop our undertsanding of our body and how it moves and why.

Focus on touch- my body, the air, the room.
Instinct of sensations.. habitual, cultural etc
Flow
Music
Awareness of others and their moving
Feeling I am actually experiancing anatomy by practically doing it
Relationship between touch and breath
Sensation
Weight and gravity
Pressure points
Hot and cold
Lines and length in the room
In and out of awareness
Switching focusses voluntarily and involuntarily

Felt good to learn about anatomy while actually practicing it somatically instead of out of a book. Really connected with me and made me realise how much of our course is somatically based and how useful this really is to undertanding our body and really embodying the movement we perform.

Improvisation class with Polly Hudson

We mixed with the second year students to enable more experiance and involvement with other body's, feel like I am gaining more confidence dancing with people I have not danced with before.

combing a partners body- flattening the muscles
                                      - pads of the fingers
                                      - brushing
                                      - untangling
                                      - tissues
                                      - relaxing the muscles

While taking part in an improvisation where the whole room was moving and we could step out to observe, and use the combing as stimuli I wote observations in my journal...

. Travel
. Contact
. Continuous movement
. Brushing
. Observing/whitnessing
. Pressing weight on body parts
. Support from the floor
. Leaning
. Touch


I enjoyed allowing my body to do what it needed and to embrace other movers in the space.

'What do you want to achive this year in movement studies?'

. Even more focus and understanding of my body and the way I move. Deepen, develop and extend this knowledge.

. Take part in fequent complimentory practice along side my degree to further my understanding and fitness.

. More studio time to myself- so I can really embody what I learn during classes.

. Have more confidence in my body and the way it moves and allow it to explore fully into exercises

. Feeling like I have arrived in the room a little more.

First lesson back as third years

Back to the studio after a long summer break, we began with a skinner releasing technique session with Katye Coe. Brought back memories of being in the studio and how to use my body again. Remembering how to engage with my body and refreshing myself with our practice. Closing my eyes helped me to really feel what I was doing, which helped me reconnect with my body and all the joints, muscles, organs and tissues etc that are in it. Feeling refreshed and ready for a new term!

My journal

Here are some reflections I have scanned from my journal.

car shot

Here is one of our shots of a car, showing some movement other than our moving bodies in the car park.

Arrow shot

Here is a close up shot we used on a sign in the car park, so we could set the scene and the audience could see specific parts of the car park, and what e used as influnce to our moving.

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.