We started on the floor lying our backs, breathing, melting into the floor. We then began with leg swings. Ojeya asked us to let the leg swing move into another movement and another and another until we ended up back where we started. For instance, we used the momentum of the leg swing to move into the next 'logical' action. Flow. This exercise helps to create a sequence of movement that contains smooth transitions.
Ojeya then re-introduced a floor exercise we had not practised in class for a while. The exercise began with leg swings - flowed to sitting - into a shoulder roll - opening out long on our side - contract in - spin on buttocks- stop when facing the front - drop/roll to rest on back with soles of feet on floor (in line with sit bones).
'Autumn Leaf' improvisation exercise:
In pairs, one person is the 'wind' and the other the 'autumn leaf'. The autumn leaf moves in response to the winds 'tapping, pushing, pulling...' different parts of the autumn leaf's body. The wind should try not always initiate movement with their hands but explore nudging with their hips, or pushing with their head and so on...Each person should have experience both roles. In the next step the wind and the autumn leaf should discover moments of receiving and yielding weight into their partner, which can lead into lifts, holds and counter balances etc
Standing floor phrase - leg swings, second position, turning initiating with the hips, releve arms in high 'V', running on diagonal, jump leg in turned out position behind body and body parallel with the floor, push and run backwards.
Phrase moving across the floor in a diagonal (to new to describe).
Group contact Jam to finish!
Friday, 7 September 2012
Tuesday, 4 September 2012
Jolt rules!
The last couple of months I have been assistant teaching for the Jolt Dunedin dance classes. Jolt dance is a Christchurch based Mixed Ability Dance Trust that creates educational programmes and performance opportunities for people of all abilities. Our vision is to give people with disabilities a creative voice and promote mixed ability dance.
Nylla Ah Kuoi runs the Jolt Dunedin dance classes. Nylla has been an integral part of Jolt Dance Company since first joining in 2001. She is one of the core performers and has been instrumental in the development of both the Performance Company and educational programmes.
Jolt Dunedin has two classes for two different age groups. I can't remember the exact age range but I believe it is approximately 7 - 12 years and 12 - young adults.
I love being involved in the Jolt classes. Nylla always starts and finishes in a circle so that everyone can see each other and everyone is included. The classes focus on improvisation, creative movement and dance skills. Some examples of the skills include building shapes, working with partners, travelling across the floor in different ways, learning sequences of movement, and performance skills.
Nylla is such an engaging, fun teacher who has a large group of dedicated and talented young dancers. I would recommend these classes to anyone of any ability. If you wish to find out more about the classes feel free to email me and I will pass your details onto Nylla.
Email: hahnabriggs@gmail.com
Nylla Ah Kuoi runs the Jolt Dunedin dance classes. Nylla has been an integral part of Jolt Dance Company since first joining in 2001. She is one of the core performers and has been instrumental in the development of both the Performance Company and educational programmes.
Jolt Dunedin has two classes for two different age groups. I can't remember the exact age range but I believe it is approximately 7 - 12 years and 12 - young adults.
I love being involved in the Jolt classes. Nylla always starts and finishes in a circle so that everyone can see each other and everyone is included. The classes focus on improvisation, creative movement and dance skills. Some examples of the skills include building shapes, working with partners, travelling across the floor in different ways, learning sequences of movement, and performance skills.
Nylla is such an engaging, fun teacher who has a large group of dedicated and talented young dancers. I would recommend these classes to anyone of any ability. If you wish to find out more about the classes feel free to email me and I will pass your details onto Nylla.
Email: hahnabriggs@gmail.com
Tuesday, 14 August 2012
Dance Lab 13/08/2012
The University of Otago, Dance Lab is directed by Dr. Ojeya Cruz Banks. Ojeya, who has a background in contemporary dance and West African dance forms teaches 'Afro-contemporary technique' within Dance Lab. The Lab provides performance and choreographic opportunities for dancers as well as community classes.
I have been a member of Dance Lab in the past. I directed 'Cell' (2010), an interdisciplinary improvised performance and co-choreographed 'Chocolate Zucchini Cookies' (2011) for the Dunedin Fringe Festival. At present I attend Dance Lab's community classes.
For more info on the University of Otago community classes click here.
Monday, 13/08/2012
1. I arrived late, and caught the end of some stretches. We moved into legs swings lying on our backs. Ojeya asked us to use the momentum of leg swings to move/flow into another movement, then another, then another. She asked us to create a short warm up phrase in this way, starting from leg swings and ending on our backs ready to start the phrase again on the 'other side'.
2. We reviewed Ojeya's warm up floor phrase. This phrase begins lying on the back and utilises:
- initiations from the hips in order to roll,
- initiations from the foot in order to sit up from a foetal position,
- slow roll downs from a seated position to lying down,
- momentum of the arms to swivel on our bottoms,
- low squats, cartwheel,
- fall/slide into press up position,
- from lying in the stomach,
- swinging the legs around into a seated position.
3. Partner improvisation, pilot and passenger. Connection through shadowing. The pilot chooses a body part to explore movement that initiates from that body part. The passenger is not concerned with exactly copying the pilots movement but using their peripheral vision relates to and responds to the pilots movement with their own version and exploration. Follow, respond, compliment, contrast... Swap roles. Ojeya reminded us to play with timing more and to be aware when we were getting stuck in a familiar pattern.
4. We reviewed a centre phrase. Utilises:
- head and hands pulling away from each other,
- fall into push up position and quickly push back up to standing, head roll and steady one self
- Arm circles (bent at elbow), catch the arm with the opposite hand
- balance studies
- flat back
- push forward with the hips to initiate one to travel
- momentum of arm swings to turn and travel
- large glides backwards
- Jump turns
- turns slicing the air with the arm and pushing forwards with the hips
- casual walk in large circle
- leg kicks, slicing the air with the legs
5. Partner improvisation, pilot and passenger. Connecting through shadowing and pouring weight. Similar to exercise above, number 3. This time we both follow each other at the same time. Concentrate on a line that the other person is making with a body part and follow that with a different body part. Again not copying each other but responding to each other. This time we had to concentrate on playing with timing and levels. At times we might be on the same level and other times we should play with contrasting the levels. In addition to this we had to find moments of pouring our weight onto each other, taking turns at receiving the weight of our partner.
6. Ojeya wrote the following words on the white board: jiggle, swivel, sudden stops, melt, roll. She asked us to explore different ways of moving to each of these words on our own. We then took turns at leading the group moving across the floor on the diagonal. When leading we moved through the words in any order while the rest of the group followed, again not concerned with exactly replicating the leaders movement.
7. Diagonal travelling phrase. This phrase utilises:
- side gallops,
- ball change with upper body curved over and low to ground,
- turn, taking four steps to turn, holding arms out to second,
- swing arms (wrap around body) to help momentum. Jump to replace right foot with left foot, right step out to side, in high lunge,
- step forward reach the straight arms up over head and forward, bring it back,
- reach one up straight up towards ceiling, reach other arm up towards ceiling,
- move straight into phrase again, move all the way down the room.
I have been a member of Dance Lab in the past. I directed 'Cell' (2010), an interdisciplinary improvised performance and co-choreographed 'Chocolate Zucchini Cookies' (2011) for the Dunedin Fringe Festival. At present I attend Dance Lab's community classes.
For more info on the University of Otago community classes click here.
Monday, 13/08/2012
1. I arrived late, and caught the end of some stretches. We moved into legs swings lying on our backs. Ojeya asked us to use the momentum of leg swings to move/flow into another movement, then another, then another. She asked us to create a short warm up phrase in this way, starting from leg swings and ending on our backs ready to start the phrase again on the 'other side'.
2. We reviewed Ojeya's warm up floor phrase. This phrase begins lying on the back and utilises:
- initiations from the hips in order to roll,
- initiations from the foot in order to sit up from a foetal position,
- slow roll downs from a seated position to lying down,
- momentum of the arms to swivel on our bottoms,
- low squats, cartwheel,
- fall/slide into press up position,
- from lying in the stomach,
- swinging the legs around into a seated position.
3. Partner improvisation, pilot and passenger. Connection through shadowing. The pilot chooses a body part to explore movement that initiates from that body part. The passenger is not concerned with exactly copying the pilots movement but using their peripheral vision relates to and responds to the pilots movement with their own version and exploration. Follow, respond, compliment, contrast... Swap roles. Ojeya reminded us to play with timing more and to be aware when we were getting stuck in a familiar pattern.
4. We reviewed a centre phrase. Utilises:
- head and hands pulling away from each other,
- fall into push up position and quickly push back up to standing, head roll and steady one self
- Arm circles (bent at elbow), catch the arm with the opposite hand
- balance studies
- flat back
- push forward with the hips to initiate one to travel
- momentum of arm swings to turn and travel
- large glides backwards
- Jump turns
- turns slicing the air with the arm and pushing forwards with the hips
- casual walk in large circle
- leg kicks, slicing the air with the legs
5. Partner improvisation, pilot and passenger. Connecting through shadowing and pouring weight. Similar to exercise above, number 3. This time we both follow each other at the same time. Concentrate on a line that the other person is making with a body part and follow that with a different body part. Again not copying each other but responding to each other. This time we had to concentrate on playing with timing and levels. At times we might be on the same level and other times we should play with contrasting the levels. In addition to this we had to find moments of pouring our weight onto each other, taking turns at receiving the weight of our partner.
6. Ojeya wrote the following words on the white board: jiggle, swivel, sudden stops, melt, roll. She asked us to explore different ways of moving to each of these words on our own. We then took turns at leading the group moving across the floor on the diagonal. When leading we moved through the words in any order while the rest of the group followed, again not concerned with exactly replicating the leaders movement.
7. Diagonal travelling phrase. This phrase utilises:
- side gallops,
- ball change with upper body curved over and low to ground,
- turn, taking four steps to turn, holding arms out to second,
- swing arms (wrap around body) to help momentum. Jump to replace right foot with left foot, right step out to side, in high lunge,
- step forward reach the straight arms up over head and forward, bring it back,
- reach one up straight up towards ceiling, reach other arm up towards ceiling,
- move straight into phrase again, move all the way down the room.
Blindscape
Blindscape, Next Wave Festival 2012, May 19 - 27
Skye Gellmann: Initiating Creator
Kieran Law: Co-creator
Dylan Sale: Game Programmer
Thom Browning: Sound Designer
Gareth Hart: Producer
"Our personal technologies have become an extension of ourselves. Blindscape looks to exploit that connection to engage its audience in a visceral environment that disintegrates the real and virtual boundaries."
We (the audience) are provided with an iPhone, pre-loaded with a specially designed Blindscape App, to allow us to enter a 3D audio-virtual reality as we enter the performance space. We enter a dark space and are encouraged to explore corridors, doorways and landscapes. We are told we must use the sounds to guide us to 'pockets of light', when 'successful' the phone lights up and helps us to view fragments of a spectacular yet elusive circus.
More info, click here.
Darkness
Light source, sauce
Move towards the sound, getting louder and louder, LIGHT!
Two rough hand made balls, one big and one small
Physicality
Musculature
Climbing
Falling
Central pole
Progressively physically interactive
Gaze, you look at me, I'll look back at you
Instructions
Non-verbal communication, gesture
Winners and Losers
Opposition, blue vs red
Groups, categorised by colour
Group tasks
Cooperation
Compatibility
Play
Rough Housing
Games
Dancing, grooving
Running behind curtains, where are you?
Water
Beach
Carnival
Fire Works
Dreams
Confusion:
Am I doing it right?
Should I shake my iPhone too?
Why is mine black and theirs blue?
Is my confusion part of the thematic exploration?
Is this the end?
Should I walk through the curtain into the light?
If I'm the first one to try and I'm wrong, I'll look stupid...hesitate...hesitate
Friday, 22 June 2012
Tumutumu, Puaka Matariki Otepoti Dunedin 2012
Louise Potiki Bryant performs her latest work Tumutumu with Taonga Puoro played live by Richard Nunns and a recorded sound track by Paddy Free and Richard Nunns. The work also includes video design by Louise Potiki Bryant and Paddy Free.
The Tumutumu is a Taonga Puoro, a percussion instrument, which is made from various types of stone including pounamu, and other materials such as bone and wood. The tumutumu is common to southern New Zealand, used particularly in whare wananga (houses of learning) to accompany intoned learnings. Bryant's work takes inspiration from her relationship with a particular tumutumu made from Pohutukawa wood found on the West Coast.
Bryant presents her work as nine stages representing the cyclic nature of life, she titles as: Karanga, Letting Go - Part 1, Ipurangi/Birth, Becoming, Dying, Transforming, Shedding, Letting Go - Part 2 and Rebirth.
I have taken three of Bryant's workshops over the years, in which she taught aspects of her movement aesthetic that she describes as arising from Tāne-rore, the son of the sun, and Hineruhi, who ushers in the day at dawn. "Te Haka-a-Tānerore is the name for the shimmering of the air on a hot summer day. It is the mythical precursor for the wiri in dance and also of the poi." and Hineruhi "is the deification of the dawn light and the term ruhi which appears in her name may have some connection with Rūhī-terangi which is a small star that appears near Antares" (Charles Royal, 1998).
Bryant embodies Tane-rore and Hineruhi at different times through out her performance. Seeing her as Tane-rore makes me feel excited like when I discovered the character Starbuck from the sci-fi series Battlestar Galatica. These two women embody characteristics I wish to find within myself.
Bryant's performance appears other-worldly, with movement, lighting, set design and videography soundly bringing together the motif of the tumutumu.
I felt privileged to witness what seemed like such a deeply personal and spiritual journey. I believe it was the section titled Letting Go - Part 2, the oval video screen shows a Maori woman submerging from water up to her neck. She wipes the hair from face and performs a pukana. I couldn't describe how Bryant is moving in front of the screen at this moment however both video and movement seem like one. I found this moment intensely overwhelming (and had to cry to feel some sort of release).
After watching this performance I had a terrible sleep and have felt out of kilter all day. I realise I was a bit triggered by some memories of a Maori woman I used to know...I think perhaps the emotions surrounding the situation in which I knew this person are something I need to let go.
I apologise this review seems to be more about myself than Bryant's actual performance but I guess her performance made me reflect inwardly? I could try and describe the aesthetics and apparent meaning of each section however this performance is such a sensory experience I'm struggling to find the language to describe the movement and all that it entailed.
The Tumutumu is a Taonga Puoro, a percussion instrument, which is made from various types of stone including pounamu, and other materials such as bone and wood. The tumutumu is common to southern New Zealand, used particularly in whare wananga (houses of learning) to accompany intoned learnings. Bryant's work takes inspiration from her relationship with a particular tumutumu made from Pohutukawa wood found on the West Coast.
Bryant presents her work as nine stages representing the cyclic nature of life, she titles as: Karanga, Letting Go - Part 1, Ipurangi/Birth, Becoming, Dying, Transforming, Shedding, Letting Go - Part 2 and Rebirth.
I have taken three of Bryant's workshops over the years, in which she taught aspects of her movement aesthetic that she describes as arising from Tāne-rore, the son of the sun, and Hineruhi, who ushers in the day at dawn. "Te Haka-a-Tānerore is the name for the shimmering of the air on a hot summer day. It is the mythical precursor for the wiri in dance and also of the poi." and Hineruhi "is the deification of the dawn light and the term ruhi which appears in her name may have some connection with Rūhī-terangi which is a small star that appears near Antares" (Charles Royal, 1998).
Bryant embodies Tane-rore and Hineruhi at different times through out her performance. Seeing her as Tane-rore makes me feel excited like when I discovered the character Starbuck from the sci-fi series Battlestar Galatica. These two women embody characteristics I wish to find within myself.
Bryant's performance appears other-worldly, with movement, lighting, set design and videography soundly bringing together the motif of the tumutumu.
I felt privileged to witness what seemed like such a deeply personal and spiritual journey. I believe it was the section titled Letting Go - Part 2, the oval video screen shows a Maori woman submerging from water up to her neck. She wipes the hair from face and performs a pukana. I couldn't describe how Bryant is moving in front of the screen at this moment however both video and movement seem like one. I found this moment intensely overwhelming (and had to cry to feel some sort of release).
After watching this performance I had a terrible sleep and have felt out of kilter all day. I realise I was a bit triggered by some memories of a Maori woman I used to know...I think perhaps the emotions surrounding the situation in which I knew this person are something I need to let go.
I apologise this review seems to be more about myself than Bryant's actual performance but I guess her performance made me reflect inwardly? I could try and describe the aesthetics and apparent meaning of each section however this performance is such a sensory experience I'm struggling to find the language to describe the movement and all that it entailed.
Wintering, Next Wave Festival 2012 (Review)
Wintering, choreographed by Aimee Smith, performed by Rhiannon Newton and Jenni Large. Original sound scape by kane Ikin, Craig McElhinney and Ben Taaffe.
Inspired by her visit to the Arctic, Smith explores themes surrounding the fragility and strength of an iced landscape.
Each component of the minimalist set is well thought out. The bleached blonde bops of the performers dressed in shades of grey, the stark white floor surrounded by black walls, the low white lighting, and an icy sound scape all created a chilling atmosphere (not to mention the freezing draft of the entrance I felt from my ushers chair).
For me I was most intrigued by the beginning at which point it took the dancers about 15 minutes to spiral (from the floor to standing and down again) and roll their way towards the audience. Strong and solid iceburgs slowly pushing their way through the ocean. I was also moved by the rigid, sharp movements that invoked images of icicles transforming as they melted into liquid.
Contrasts in time, quality and levels created a strong dynamic relationship between the two dancers. They moved cohesively together and demonstrated fluid partnering work. At times I lost interest as some elements were overly repetitive. I would love to see this work again after further development and editing.
Overall, the dancers appeared dehumanised into various ice formations; drifting, disintegrating, colliding, smaller parts breaking away, icicles melting, forever morphing, liquefying and freezing solid again only to drift off into blackness leaving behind a stark and chilling space.
Inspired by her visit to the Arctic, Smith explores themes surrounding the fragility and strength of an iced landscape.
Each component of the minimalist set is well thought out. The bleached blonde bops of the performers dressed in shades of grey, the stark white floor surrounded by black walls, the low white lighting, and an icy sound scape all created a chilling atmosphere (not to mention the freezing draft of the entrance I felt from my ushers chair).
For me I was most intrigued by the beginning at which point it took the dancers about 15 minutes to spiral (from the floor to standing and down again) and roll their way towards the audience. Strong and solid iceburgs slowly pushing their way through the ocean. I was also moved by the rigid, sharp movements that invoked images of icicles transforming as they melted into liquid.
Contrasts in time, quality and levels created a strong dynamic relationship between the two dancers. They moved cohesively together and demonstrated fluid partnering work. At times I lost interest as some elements were overly repetitive. I would love to see this work again after further development and editing.
Overall, the dancers appeared dehumanised into various ice formations; drifting, disintegrating, colliding, smaller parts breaking away, icicles melting, forever morphing, liquefying and freezing solid again only to drift off into blackness leaving behind a stark and chilling space.
Stamp Work Shop VI
Unfortunately I was sick for the fifth work shop. A fellow participant explained that in the fifth work shop there was a focus on sound and movement. Additionally, they reproduced the video of the performers from the 1931 Mexican Day of the Dead, then recreated their own version.
Following is a description of the sxith and final work shop with Brook Stamp. For more detailed descriptions of the exercises please refer to the post titled Stamp!
"Moving Blind with Observation"
We finished the way we had started the very first work shop. Brooke really encouraged us to use sounds, to use our breath to help produce sounds. To find sounds that are deep within us. I worked on this through out the exercise. I concentrated using breath and movement to push out sounds and I found my self-conciousness about doing this slipping away.
"This is an Action"
We began moving through the space in our own time in our own way but after a while we transitioned into a circle so we could share our dance with each other. Brooke bought the following words into the circle: replicate, compliment and contrast.
"Authentic Words" & "Directing"
We split into three groups and spent maybe five minutes writing down authentic words. Taking turns we called out (and wrote down) what ever word came to mind. One person from each group then read out the list of 'authentic' words to the rest of the group.
In groups of 4/5 we choose 10 words from all three lists. One group gave their list to another group to read out so they could move and respond to their own chosen words, ie one group performing and one group directing.
We then shortened our list to five words. We added three types of energies and three spatial elements. Again with one group moving/responding (performers), another group (directors) read out the performers new list. Brooke asked both performers and directors to be aware of the dynamics between the performers and make consciousness decisions about the words and/or combination of words to use, when to use them and to whom the words were directed at.
Brooke discussed how the above exercise can produce layer upon layer and at some point the director can begin to strip back once they realise the essential elements.
Following is a description of the sxith and final work shop with Brook Stamp. For more detailed descriptions of the exercises please refer to the post titled Stamp!
"Moving Blind with Observation"
We finished the way we had started the very first work shop. Brooke really encouraged us to use sounds, to use our breath to help produce sounds. To find sounds that are deep within us. I worked on this through out the exercise. I concentrated using breath and movement to push out sounds and I found my self-conciousness about doing this slipping away.
"This is an Action"
We began moving through the space in our own time in our own way but after a while we transitioned into a circle so we could share our dance with each other. Brooke bought the following words into the circle: replicate, compliment and contrast.
"Authentic Words" & "Directing"
We split into three groups and spent maybe five minutes writing down authentic words. Taking turns we called out (and wrote down) what ever word came to mind. One person from each group then read out the list of 'authentic' words to the rest of the group.
In groups of 4/5 we choose 10 words from all three lists. One group gave their list to another group to read out so they could move and respond to their own chosen words, ie one group performing and one group directing.
We then shortened our list to five words. We added three types of energies and three spatial elements. Again with one group moving/responding (performers), another group (directors) read out the performers new list. Brooke asked both performers and directors to be aware of the dynamics between the performers and make consciousness decisions about the words and/or combination of words to use, when to use them and to whom the words were directed at.
Brooke discussed how the above exercise can produce layer upon layer and at some point the director can begin to strip back once they realise the essential elements.
Stamp Work Shop IV
"This is an Action"
For a more detailed description of this exercise please refer to my post title Stamp!
We spent 20 minutes in action with Brooke often calling out "If you find yourself in a rhythm, begin again, begin again, begin again." After some time Brooke asked us to spontaneously form duets and continue - without necessarily indicating to our duet partner that we were dancing 'with' them. She then asked us to form a trio followed by a group dance.
Send and Receive: Brooke asked as to send and receive actions, without always being aware of who we were sending actions to and receiving actions from.
We were asked to form two parallel lines, some distance apart and 'communicate' with the person opposite us. With an image of being alien to each other. Our communication tool was movement.
Brooke asked the two groups to move from parallel lines into two groups/clumps while remaining opposite each other. Now instead of one individual communicating with another individual we were 'one' as a whole group communicating with another group. A more collective approach.
"Portraits"
Brooke instructed us to spend five minutes on our own to decide on three different portraits/shapes. We were asked to avoid obvious human gestures. As one large group Brooke called out gestures (1,2,3) and explored with the timing between each portrait change.
We then split into two groups and took turns at performing and observing. Each group was further divided into three colours: pink, green, blue. The first group to perform, the greens had to change every 5 seconds, pinks every 10 seconds and blues every 20 seconds. After a few minutes of this Brooke asked the greens to change every 10secs, pinks every 20secs and blues every 30secs.
The second group to perform were asked to be aware of the people in the group that were given the same colour and to change together at any point after any length of time. We were asked to make decisions on when to change portrait based on reading the whole group visually, e.g. in order to play with contrasting levels, to have moments of every one in stillness or in motion or contrasting between motion and stillness...
Thinking about time
We watched a you tube clip of three dancers during the Mexican Day of the Dead festival, 1931. Again Brooke asked us to think about time and performance. The video demonstrated repetitive, trance like movement. All three men performing the same short sequence over and over again but never in exact unison rather they were on their own individual time frame.
"Directing"
For a more detailed description of this exercise please refer to my post titled Stamp!
We split into two groups and one participant from each group lead the group with their own ideas based on the work shops thus far. The person that lead the group I was in lead a directing exercise of calling out three words and playing the order of the words, the combination of the words. He sometimes gave the whole group a word(s) or part of the group or an individual.
End of work shop discussion
Brooke encouraged us when leading such as exercise to provide words that indicate a certain state, to explore different combinations and sequences. She explained that at some point we would have to make decisions about combinations of words, the order of words and the length of performing each state.
Idea one:
I could give the whole group one over-arching word, 'collective unconsciousness'. To move as if their minds were connected, still individual in some respects but connected to each other on some level. I would ask the group to start very close together, and as a group explore the entire space at their disposal. The second word I would give is fractal, then the next three words would examples of fractals in nature.
Idea two:
Using the portraits exercise I could provide a three words to inspire three portraits such as: vanishing point, permeable and consumption. The portraits might be individual or in partners. I would use the portraits as starting points for further exploration. If I called out permeable, participants would move into that particular portrait hold for any length of time before exploring the word in action.
Gala and I came up with a list of words that we could play with:
perspective: vanishing point
break beat
collective unconsciousness
hood
disconnection
consumption
permeable
quality
For a more detailed description of this exercise please refer to my post title Stamp!
We spent 20 minutes in action with Brooke often calling out "If you find yourself in a rhythm, begin again, begin again, begin again." After some time Brooke asked us to spontaneously form duets and continue - without necessarily indicating to our duet partner that we were dancing 'with' them. She then asked us to form a trio followed by a group dance.
Send and Receive: Brooke asked as to send and receive actions, without always being aware of who we were sending actions to and receiving actions from.
We were asked to form two parallel lines, some distance apart and 'communicate' with the person opposite us. With an image of being alien to each other. Our communication tool was movement.
Brooke asked the two groups to move from parallel lines into two groups/clumps while remaining opposite each other. Now instead of one individual communicating with another individual we were 'one' as a whole group communicating with another group. A more collective approach.
"Portraits"
Brooke instructed us to spend five minutes on our own to decide on three different portraits/shapes. We were asked to avoid obvious human gestures. As one large group Brooke called out gestures (1,2,3) and explored with the timing between each portrait change.
We then split into two groups and took turns at performing and observing. Each group was further divided into three colours: pink, green, blue. The first group to perform, the greens had to change every 5 seconds, pinks every 10 seconds and blues every 20 seconds. After a few minutes of this Brooke asked the greens to change every 10secs, pinks every 20secs and blues every 30secs.
The second group to perform were asked to be aware of the people in the group that were given the same colour and to change together at any point after any length of time. We were asked to make decisions on when to change portrait based on reading the whole group visually, e.g. in order to play with contrasting levels, to have moments of every one in stillness or in motion or contrasting between motion and stillness...
Thinking about time
We watched a you tube clip of three dancers during the Mexican Day of the Dead festival, 1931. Again Brooke asked us to think about time and performance. The video demonstrated repetitive, trance like movement. All three men performing the same short sequence over and over again but never in exact unison rather they were on their own individual time frame.
"Directing"
For a more detailed description of this exercise please refer to my post titled Stamp!
We split into two groups and one participant from each group lead the group with their own ideas based on the work shops thus far. The person that lead the group I was in lead a directing exercise of calling out three words and playing the order of the words, the combination of the words. He sometimes gave the whole group a word(s) or part of the group or an individual.
End of work shop discussion
Brooke encouraged us when leading such as exercise to provide words that indicate a certain state, to explore different combinations and sequences. She explained that at some point we would have to make decisions about combinations of words, the order of words and the length of performing each state.
Idea one:
I could give the whole group one over-arching word, 'collective unconsciousness'. To move as if their minds were connected, still individual in some respects but connected to each other on some level. I would ask the group to start very close together, and as a group explore the entire space at their disposal. The second word I would give is fractal, then the next three words would examples of fractals in nature.
Idea two:
Using the portraits exercise I could provide a three words to inspire three portraits such as: vanishing point, permeable and consumption. The portraits might be individual or in partners. I would use the portraits as starting points for further exploration. If I called out permeable, participants would move into that particular portrait hold for any length of time before exploring the word in action.
Gala and I came up with a list of words that we could play with:
perspective: vanishing point
break beat
collective unconsciousness
hood
disconnection
consumption
permeable
quality
Thursday, 21 June 2012
Stamp Work Shop III
At the end of the the second work shop Brooke talked about time and temporality.We were shown the last few minutes of the film 'Stalker' directed by Andrei Tarkovsky to provoke our thoughts about how we work with action in and through time. Brooke also questioned the common framing of contemporary dance performance as an hour approx. show where audiences view only the end product of an often lengthy creative development period. She questioned how could the audience receive more insight into choreographic process? Such provocations have lead me to start thinking about time, in particular non-western and non-human centric perspectives of time. For instance, what is a plant's perspective on time and how can this inform choreography and performance?
Workshop three was held on the 10th May 2012:
"Shake Shake Shake"
Brooke asked us to shake for 15 minutes. By shake I mean shake our entire bodies in different ways, on different levels, in different parts of the room, while standing still or while moving. Brooke also gave us permission to use our voice while shaking. I allowed a little of my voice to come out, although I felt myself feeling rather self-concious. I don't want to be bothered by what the rest of group is doing but I did find it difficult to let my voice out when a large portion of the group remained non-verbal. Voice and movement is something I would like to explore more. Sometimes I feel like my throat constricts similar to when I'm intimate (too much information?), feeling anxious or sharing something deeply personal.
After shaking for 15 minutes the entire group came together in an embrace.
For a more detailed description of the following exercises please refer to my post titled Stamp!
"This is an Action"
We began this exercise differently than previous workshops - we started in a circle. Brooke stated we could enter in duets (although could be more or less). She called out provocations through words and instructions and invited participants to do the same. Provocations could be anything from the colour 'blue' to the instruction of 'compliment'. Occasionally when only one person was in circle in action Brooke would say, "This is your dance, this is your gift to us" and they would explore their dance in solo for a few minutes.
Near the end of this exercise Brooke was pushing us to "break" the space. I felt like she was challenging us to move away from safe modes of moving I perceived we had fallen into.
At the end Brooke asked as to take notice whether we tended to participate or observe. She emphasised that there is no right or wrong but rather an observation. I observed that I tended to observe more but still participate often. I never once called out a word or instruction.
I felt shy today. Observing all of the young, freshly trained and confident dancers. I felt like I had passed my expiry date and I'm only 33 years old! Later talking to Grace, a writer and performer (maybe in her 40s) who continues to explore ideas and formulate projects, I was reminded about my own philosophy and love moving with people of all demographics. Especially those who have not gone down the 'traditional' dance training path.
"Directing"
In groups of 4/5 we discussed "what it is to make". Brooke gave us one guideline, "This is not a therapy session". We then wrote a list of words that we felt came out of our discussion. Each group gave their list of words to another group (the directors) to call out as they moved and responded to the words. The directors could call a word out to the whole group or some of the group or an individual. They could also combine words that were on the list. The groups that were not 'performing' or 'directing' at the time sat and watched.
The participates appeared very relaxed; everyone seemed to open up, have fun and play with this exercise. Participates allowed themselves to be 'human' (as opposed to 'dancers'), including me!
Workshop three was held on the 10th May 2012:
"Shake Shake Shake"
Brooke asked us to shake for 15 minutes. By shake I mean shake our entire bodies in different ways, on different levels, in different parts of the room, while standing still or while moving. Brooke also gave us permission to use our voice while shaking. I allowed a little of my voice to come out, although I felt myself feeling rather self-concious. I don't want to be bothered by what the rest of group is doing but I did find it difficult to let my voice out when a large portion of the group remained non-verbal. Voice and movement is something I would like to explore more. Sometimes I feel like my throat constricts similar to when I'm intimate (too much information?), feeling anxious or sharing something deeply personal.
After shaking for 15 minutes the entire group came together in an embrace.
For a more detailed description of the following exercises please refer to my post titled Stamp!
"This is an Action"
We began this exercise differently than previous workshops - we started in a circle. Brooke stated we could enter in duets (although could be more or less). She called out provocations through words and instructions and invited participants to do the same. Provocations could be anything from the colour 'blue' to the instruction of 'compliment'. Occasionally when only one person was in circle in action Brooke would say, "This is your dance, this is your gift to us" and they would explore their dance in solo for a few minutes.
Near the end of this exercise Brooke was pushing us to "break" the space. I felt like she was challenging us to move away from safe modes of moving I perceived we had fallen into.
At the end Brooke asked as to take notice whether we tended to participate or observe. She emphasised that there is no right or wrong but rather an observation. I observed that I tended to observe more but still participate often. I never once called out a word or instruction.
I felt shy today. Observing all of the young, freshly trained and confident dancers. I felt like I had passed my expiry date and I'm only 33 years old! Later talking to Grace, a writer and performer (maybe in her 40s) who continues to explore ideas and formulate projects, I was reminded about my own philosophy and love moving with people of all demographics. Especially those who have not gone down the 'traditional' dance training path.
"Directing"
In groups of 4/5 we discussed "what it is to make". Brooke gave us one guideline, "This is not a therapy session". We then wrote a list of words that we felt came out of our discussion. Each group gave their list of words to another group (the directors) to call out as they moved and responded to the words. The directors could call a word out to the whole group or some of the group or an individual. They could also combine words that were on the list. The groups that were not 'performing' or 'directing' at the time sat and watched.
The participates appeared very relaxed; everyone seemed to open up, have fun and play with this exercise. Participates allowed themselves to be 'human' (as opposed to 'dancers'), including me!
Tuesday, 19 June 2012
Stamp Work Shop II
Wow it has been a month since my last blog! I think I can be forgiven since I moved back to New Zealand in that time. Moving countries is exhausting especially twice in 6 months. I have much to catch up on with my blog but considering I am now unemployed and a kept woman (thanks Gala honey) I'm sure I will have plenty of time!
Below is a description of the second workshop held by Brooke Stamp on the 03/05/2012:
"Group Sense Circle"
The beginning of the session involved the entire group standing in a circle holding hands. Brooke insists our circle is symmetrical and informs us she is particular about circles (cute). Anyway as we are holding hands we are asked to focus on our breath. Brooke then brings our attention to various aspects of space:
- to those in the circle we can see in our peripheral and central vision.
- to the space beyond the circle.
- to space in the centre of the circle, we focus on a spot on the floor.
- keeping our gaze on the spot on the floor we bring our attention to the 'potential energy' outside circle and then inside the circle. In physics potential energy is the stored energy of position possessed by an object (see http://www.physicsclassroom.com/class/energy/u5l1b.cfm).
- we bring our attention attention to our hand, the heat/energy created by holding hands with another.
- we focus on our inner body and the movements within our bodies: small muscular adjustments, digestion, breath and so on.
- we move our hands to the lower back of the person on either side of us and focus on the heat between our hands and the back.
- we bring our attention to the movements of the group as a whole: the adjustments, sways, twitches and so on.
For a more detailed description of the following three exercises please refer to my
previous post titled Stamp!
"Moving Blind with Observation"
This exercise is completed in the same way as the first workshop however this time the observer thinks of and remembers three words after observing the mover. We are asked not to put too much thought into the three words just what ever comes to mind. We don't discuss the three words with our partner but are asked to remember the words for later in the workshop.
"This is an Action"
We engage in 15minutes of individual action similar to the first workshop. We then develop upon the exercise with two more additions:
- The group splits in half, with half observing and the rest moving. Brooke asks us to start with an action and calls out 'change', 'change', 'change' to take us out of our immediate/habitual way of moving. After some time she calls out 'This is now your dance', we are asked to repeat the action, explore the action, do the opposite of the action. Then the group swaps roles.
- Again we start with an action and Brooke calls out 'change', 'change', 'change' and after some time 'this is now your dance'. Repeat, explore your action. STOP. Now do the memory of your dance. Then we swap roles. Brooke resists giving too much explanation for her instructions instead encourages us to individually interpret the instructions. My perspective on performing the memory of my dance is that of a ghost dance or the shadow, or an after thought...
"Directing"
This is where we bring back the three words from the Moving Blind with Observation exercise. The director calls out their three words for their group to respond to:
- The director begins by calling out the words in their chosen order. We swap until each person has been the director.
- The director then calls out their words in any order and can develop a pattern or a rhythm. Swap.
- We come together as a large group and label our words 1, 2, 3. With all groups performing in the same space the director from each group calls our their words in any order, developing a pattern/rhythm including stop. Swap. What I like about this part of the exercise is that the control the director had is taken away as their voices are drowned out by the other directors. Because all of the directors are calling out 1, 2, or 3 (which corresponded to the original words), the movers had to decide in the moment if they heard their director calling out or another director. Often the movers mistakenly react to directors from other groups, ignoring their own directors. The confusion and lack of control is a great consequence!
Below is a description of the second workshop held by Brooke Stamp on the 03/05/2012:
"Group Sense Circle"
The beginning of the session involved the entire group standing in a circle holding hands. Brooke insists our circle is symmetrical and informs us she is particular about circles (cute). Anyway as we are holding hands we are asked to focus on our breath. Brooke then brings our attention to various aspects of space:
- to those in the circle we can see in our peripheral and central vision.
- to the space beyond the circle.
- to space in the centre of the circle, we focus on a spot on the floor.
- keeping our gaze on the spot on the floor we bring our attention to the 'potential energy' outside circle and then inside the circle. In physics potential energy is the stored energy of position possessed by an object (see http://www.physicsclassroom.com/class/energy/u5l1b.cfm).
- we bring our attention attention to our hand, the heat/energy created by holding hands with another.
- we focus on our inner body and the movements within our bodies: small muscular adjustments, digestion, breath and so on.
- we move our hands to the lower back of the person on either side of us and focus on the heat between our hands and the back.
- we bring our attention to the movements of the group as a whole: the adjustments, sways, twitches and so on.
For a more detailed description of the following three exercises please refer to my
previous post titled Stamp!
"Moving Blind with Observation"
This exercise is completed in the same way as the first workshop however this time the observer thinks of and remembers three words after observing the mover. We are asked not to put too much thought into the three words just what ever comes to mind. We don't discuss the three words with our partner but are asked to remember the words for later in the workshop.
"This is an Action"
We engage in 15minutes of individual action similar to the first workshop. We then develop upon the exercise with two more additions:
- The group splits in half, with half observing and the rest moving. Brooke asks us to start with an action and calls out 'change', 'change', 'change' to take us out of our immediate/habitual way of moving. After some time she calls out 'This is now your dance', we are asked to repeat the action, explore the action, do the opposite of the action. Then the group swaps roles.
- Again we start with an action and Brooke calls out 'change', 'change', 'change' and after some time 'this is now your dance'. Repeat, explore your action. STOP. Now do the memory of your dance. Then we swap roles. Brooke resists giving too much explanation for her instructions instead encourages us to individually interpret the instructions. My perspective on performing the memory of my dance is that of a ghost dance or the shadow, or an after thought...
"Directing"
This is where we bring back the three words from the Moving Blind with Observation exercise. The director calls out their three words for their group to respond to:
- The director begins by calling out the words in their chosen order. We swap until each person has been the director.
- The director then calls out their words in any order and can develop a pattern or a rhythm. Swap.
- We come together as a large group and label our words 1, 2, 3. With all groups performing in the same space the director from each group calls our their words in any order, developing a pattern/rhythm including stop. Swap. What I like about this part of the exercise is that the control the director had is taken away as their voices are drowned out by the other directors. Because all of the directors are calling out 1, 2, or 3 (which corresponded to the original words), the movers had to decide in the moment if they heard their director calling out or another director. Often the movers mistakenly react to directors from other groups, ignoring their own directors. The confusion and lack of control is a great consequence!
Saturday, 19 May 2012
Stamp Work Shop I
Stamp, not Stomp...I've been taking a choreographic workshop series facilitated by Brooke Stamp, an improvisation based choreographer: http://brookeamitystamp.tumblr.com/.
I just participated in workshop four of the six session series and have enjoyed every minute of it. I'm looking forward to putting her process into practise in my choreographic development.
Workshop One: 26th April 2012
(nb I have given my 'titles' to exercises/tasks give to us in these workshops)
"Moving Blind with Observation"
In pairs, participant a. moves through the space with their eyes closed while participant b. observes. Observer should move participant a. through touch if in danger, however allow them to come into 'safe' contact with another blind mover without interruption. At the end of the 15mins participant a. (mover) and participant b. observer, beginning with the mover, discuss their experience. Stay away from judgement, e.g. "you looked beautiful when you...", "I liked it when you..." Swap Roles.
"This is an Action"
15 - 20 minutes of individual action. Keep the following phrases in mind while moving:
- This is not an exploration.
- This is not an improvisation.
- This is not a creation.
- This IS an action.
- If you find yourself in a rhythm, begin again.
- Begin again, begin again, begin again.
We began by walking. Through out Brooke would call out the above phrases, as a reminder.
"Directing"
1. In groups with one participant as the 'director', the director calls out commands and the rest of the grous spontaneously respond. Can call out anything, such as "blue" or "collapse" or "squabble". Brooke told us when to rotate roles; the time between rotation grew shorter and shorter.
2. This time the 'director' moves, create actions. The rest of the group responds in anyway; no judgement, no right or wrong. Brooke asks us to keep three words in mind: 'Replication', 'Unification', 'Complimentary'. Brooke calls out to rotate, and non-verbally another participant takes on role of 'director'. The time between rotations grew shorter and shorter. There were times when I had no idea who was directing or if in fact I was directing, but this simply added an amusing layer to the exercise.
I just participated in workshop four of the six session series and have enjoyed every minute of it. I'm looking forward to putting her process into practise in my choreographic development.
Workshop One: 26th April 2012
(nb I have given my 'titles' to exercises/tasks give to us in these workshops)
"Moving Blind with Observation"
In pairs, participant a. moves through the space with their eyes closed while participant b. observes. Observer should move participant a. through touch if in danger, however allow them to come into 'safe' contact with another blind mover without interruption. At the end of the 15mins participant a. (mover) and participant b. observer, beginning with the mover, discuss their experience. Stay away from judgement, e.g. "you looked beautiful when you...", "I liked it when you..." Swap Roles.
"This is an Action"
15 - 20 minutes of individual action. Keep the following phrases in mind while moving:
- This is not an exploration.
- This is not an improvisation.
- This is not a creation.
- This IS an action.
- If you find yourself in a rhythm, begin again.
- Begin again, begin again, begin again.
We began by walking. Through out Brooke would call out the above phrases, as a reminder.
"Directing"
1. In groups with one participant as the 'director', the director calls out commands and the rest of the grous spontaneously respond. Can call out anything, such as "blue" or "collapse" or "squabble". Brooke told us when to rotate roles; the time between rotation grew shorter and shorter.
2. This time the 'director' moves, create actions. The rest of the group responds in anyway; no judgement, no right or wrong. Brooke asks us to keep three words in mind: 'Replication', 'Unification', 'Complimentary'. Brooke calls out to rotate, and non-verbally another participant takes on role of 'director'. The time between rotations grew shorter and shorter. There were times when I had no idea who was directing or if in fact I was directing, but this simply added an amusing layer to the exercise.
Friday, 6 April 2012
Sadness
So I went for a paid ushering job at the Arts Centre Melbourne. Didn't even get an interview :( Sadness! I feel like I'm never ever going to get paid work within the Performing Arts field. In Dunedin I had too much going on, then I move over here and four months later I haven't even been able to score a single interview. Sigh!
If anyone actually reads this blog, advice right now would be much appreciated. I'll give you a box of chocolates :)
Ok enough complaining. My first performance with Weave Movement Theatre is coming up this week, very exciting. The show is called, Done to Perfection, and is a non-linear story about a mad scientist who builds a machine to create the perfect human. Click here for an introduction to the scientist. A fitting theme for a company that has such a diverse range of performers. Of course it goes horribly wrong with terrific consequences. Other sub-themes include control; relationships between man-made and nature; and conformity/normalcy. These themes are commonly explored in the arts and media but to be honest they are themes I enjoy diving into - considering my Masters thesis explored how dancers with disabilities can challenge the 'classic' body (and how they sometimes unwillingly reinforce the 'classic' body).
So if you live in Melbourne you should come to the show. Check out Weave's website: weavemovementtheatre.com.au
xo
If anyone actually reads this blog, advice right now would be much appreciated. I'll give you a box of chocolates :)
Ok enough complaining. My first performance with Weave Movement Theatre is coming up this week, very exciting. The show is called, Done to Perfection, and is a non-linear story about a mad scientist who builds a machine to create the perfect human. Click here for an introduction to the scientist. A fitting theme for a company that has such a diverse range of performers. Of course it goes horribly wrong with terrific consequences. Other sub-themes include control; relationships between man-made and nature; and conformity/normalcy. These themes are commonly explored in the arts and media but to be honest they are themes I enjoy diving into - considering my Masters thesis explored how dancers with disabilities can challenge the 'classic' body (and how they sometimes unwillingly reinforce the 'classic' body).
So if you live in Melbourne you should come to the show. Check out Weave's website: weavemovementtheatre.com.au
xo
Tuesday, 20 March 2012
Still finding my feet!
So I have not caught up on the last couple of months, as I said I would, oops. In today's post I'm going to share a couple of links. Firstly, I will be performing for the first time in Melbourne in April with Weave Movement Theatre, YAY!! Weave is a fantastic community dance theatre group made up of talented performers. I'm learning a lot about working with diverse range of people and the dance technique employed in warm ups, training and work shopping (I'll blog about this at a later date). Here is the is link to Weave's website, including information about the upcoming show: http://weavemovementtheatre.com.au/?page_id=57.
Secondly, I met Lotus Etrog while ushering at TheatreWorks. Lotus is part of an Israli Theatre Company, Tziporela: http://www.tziporela.com/. The company was in Melbourne for a couple of weeks and performed at TheatreWorks on Sunday 18th, March, 2012. I found myself amongst an audience of people, predominantly Hebrew speaking watching a hilarious show of skits with dialogue predominantly in Hebrew! Although I couldn't follow a lot of skits much of the show incorporated physical theatre and dance so I was able to follow along. The company promotional material explained they combine many theatrical forms in order to translate cross-culturally, and they do this well. The skits explore politics, relationships, love, stereotypes, culture from their own perspectives and personal experiences. I must say my own preconceptions of Israli culture were challenged throughout the show with the inclusion of female nudity and explorations of non-heterosexuality. I have to end this here as my clumsy girl friend cut her finger rather badly and we have to go get her poor finger stitched up!
Secondly, I met Lotus Etrog while ushering at TheatreWorks. Lotus is part of an Israli Theatre Company, Tziporela: http://www.tziporela.com/. The company was in Melbourne for a couple of weeks and performed at TheatreWorks on Sunday 18th, March, 2012. I found myself amongst an audience of people, predominantly Hebrew speaking watching a hilarious show of skits with dialogue predominantly in Hebrew! Although I couldn't follow a lot of skits much of the show incorporated physical theatre and dance so I was able to follow along. The company promotional material explained they combine many theatrical forms in order to translate cross-culturally, and they do this well. The skits explore politics, relationships, love, stereotypes, culture from their own perspectives and personal experiences. I must say my own preconceptions of Israli culture were challenged throughout the show with the inclusion of female nudity and explorations of non-heterosexuality. I have to end this here as my clumsy girl friend cut her finger rather badly and we have to go get her poor finger stitched up!
Monday, 27 February 2012
Dancing in Melbourne
I decided to start this blog on my move to Melbourne from my safe, cozy home in Dunedin, New Zealand. My girlfriend, Gala, and I want to explore the artistic and cultural opportunities that Melbourne has to offer. I moved to Melbourne early December, 2011 and I'm just getting to write my blog now as it has taken some time to start feeling relaxed and settled enough to think about writing. Gala and I are still do not have enough hours to be able remain in Melbourne more than a month but I feel quietly confident that everything will work out.
This week I will catch up on what I've been up to over the last couple of months: a review of the Midsumma show I ushered for, 'Unanswered!'; dancing with integrated dance theatre group, 'Weave'; dance classes at Dancehouse; and the choreography I am working on in the tiny space that is my room (cause I just need to create movement).
This week I will catch up on what I've been up to over the last couple of months: a review of the Midsumma show I ushered for, 'Unanswered!'; dancing with integrated dance theatre group, 'Weave'; dance classes at Dancehouse; and the choreography I am working on in the tiny space that is my room (cause I just need to create movement).
Subscribe to:
Comments (Atom)