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.
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