Tuesday 13 December 2011
Thursday 8 December 2011
INFLUX - Performance Project
Working on always noticing the feedback from your visual field and allowing it to be refreshed.
Working on seeing the other people in the room in your visual field, choosing to see them practising what you are practising.
Working on always retaining the capacity to laugh at you own serious intentions, even while those intentions remain serious.
Working on keeping your awareness of all your cells gathered up with you as you travel.
Working on always noticing the feedback from your visual field and allowing it to be refreshed.
Working on seeing the other people in the room in your visual field, choosing to see them practising what you are practising.
Working on always retaining the capacity to laugh at you own serious intentions, even while those intentions remain serious.
Working on keeping your awareness of all your cells gathered up with you as you travel.
Light and Shadow
A moment frozen in time
Working with INFLUX
Some ideas from Performance Project:
http://www.youtube.com/watch?v=JZshZp-cxKg
We have been working with the quite complex idea of using the numbers 1 - 12 in any order to create movement. We then used the rhythm from the Sesame Street music to create emphasis and nuances within the movement. Great fun and an interesting idea, but very complicated to get in my brain!
Some ideas from Performance Project:
http://www.youtube.com/watch?v=JZshZp-cxKg
We have been working with the quite complex idea of using the numbers 1 - 12 in any order to create movement. We then used the rhythm from the Sesame Street music to create emphasis and nuances within the movement. Great fun and an interesting idea, but very complicated to get in my brain!
IPP2 Exploration
Reflective Writing on Exploration: Working with Materials
Sitting in the space, I am aware of two objects on the floor in front of me. One is a small, hand-held torch; the other is a length of soft, multi-coloured material. They offer to me the ideas of:
Practicality... function... texture... shape... structure... movement... light source... covering... exposing... folding... comfort... memory...
I do not know where to begin, so I simply start to move.
I began firstly to move with the soft, fluid cloth as this seemed more accessible to me. A lot of my initial images were focused around the properties of the material; how it folded and rippled when moved through the air, and the shapes it created on the floor when released. I tried to mimic this fluidity and folding in my own body, falling softly in and out of the floor and curling up next to the material in the space. I quickly became absorbed in this process and began to see it as more of an act of play with my object rather than an exploration of the material’s properties. The prevailing theme for me during this workshop was the idea of taking apart and bringing back together;
‘...in working creatively with materials or objects from disparate sources we partially (or wholly) let go of their usual significance and their normal place in the world, in order to discover new connections and meanings arising between them.’
M. Tufnell and C. Crickmay. (2004) A Widening Field. (Page 157).
This concept allowed me to really enjoy coming up with new possibilities and a fresh view on the mini sketches I was creating with my objects. One image that I particularly enjoyed working with was simply gathering up the material into a bundle and releasing it again on the floor, watching it expand out again. I developed this idea so that I gathered the cloth up into a bundle under my stomach when lying on the floor, so that it could not be seen. I then slowly began to pull the fabric out from underneath my body creating what I hoped was a collection of images ranging from an offering to the group of my internal thoughts and feelings, to perhaps the more base anatomical image of internal organs such as the intestines. Working with the torch I found more challenging. Perhaps from an aesthetic view point I was initially less drawn to this object. The idea of working with a light source however was fascinating for me and stimulated many images for movement, greatly inspired by our previous workshop explorations with artist Christian Kipp using light from a projector. Having seen an image of an installation piece by artist Cornelia Parker entitled ‘Cold Dark Matter: An Exploded View’ (1991), I am also keen to experiment with the idea of shadow and moments frozen in time. I began very simply with the torch, turning it on and off, rolling it across the floor, highlighting different parts of my body. I then started to explore more deeply with these images. In particular I enjoyed turning on the torch and pressing it to my skin. This created a beautiful amber patch of light around the torch as the light melted through the layers of my skin. Another moment I enjoyed real connection with was when rolling the torch along the floor I began to mimic this movement by rolling alongside it, following the light. This moment felt free, playful and child-like and I loved the symbolic moment as the torch gently came to rest and illuminated a part of my body as I came to rest in front of it. Although I briefly played with the idea of moving with both of my objects at once, I found it very hard to manipulte and move at the same time and the images I was creating with them did not feel as comfortable or personal. However, I did enjoy alternating between the two objects as, for example, the image of covering parts of my body with the material were juxtaposed with the image of using the torch to reveal and draw attention to my body. The opposite dynamics of my two objects informed and inspired my movement and were I to carry on this exploration I would like to develop this idea of switching between hard, rigid, tough objects and soft, malleable objects. I would also have liked to investigated the different components of my light source, taking it apart, seperating it and pulling it together again. I found working with these objects very complimentary to the way I move and think as an artist. Even though I was not working on my own in the space, I found myself becoming more and more involved in my own process and less available to the space and people around me. During previous experiences working with objects I experienced a desire to pre-plan and perhaps over-think what I could do with my object. In this experience however, I was able to lose my pre-conceptions about my object and simply allow it to inform my movement rather than my movement inform what I did with the object. This was an unfamiliar and exciting way of working for me and the movement material I discovered out of this fresh approach felt right and secure in my own body.
Sitting in the space, I am aware of two objects on the floor in front of me. One is a small, hand-held torch; the other is a length of soft, multi-coloured material. They offer to me the ideas of:
Practicality... function... texture... shape... structure... movement... light source... covering... exposing... folding... comfort... memory...
I do not know where to begin, so I simply start to move.
I began firstly to move with the soft, fluid cloth as this seemed more accessible to me. A lot of my initial images were focused around the properties of the material; how it folded and rippled when moved through the air, and the shapes it created on the floor when released. I tried to mimic this fluidity and folding in my own body, falling softly in and out of the floor and curling up next to the material in the space. I quickly became absorbed in this process and began to see it as more of an act of play with my object rather than an exploration of the material’s properties. The prevailing theme for me during this workshop was the idea of taking apart and bringing back together;
‘...in working creatively with materials or objects from disparate sources we partially (or wholly) let go of their usual significance and their normal place in the world, in order to discover new connections and meanings arising between them.’
M. Tufnell and C. Crickmay. (2004) A Widening Field. (Page 157).
This concept allowed me to really enjoy coming up with new possibilities and a fresh view on the mini sketches I was creating with my objects. One image that I particularly enjoyed working with was simply gathering up the material into a bundle and releasing it again on the floor, watching it expand out again. I developed this idea so that I gathered the cloth up into a bundle under my stomach when lying on the floor, so that it could not be seen. I then slowly began to pull the fabric out from underneath my body creating what I hoped was a collection of images ranging from an offering to the group of my internal thoughts and feelings, to perhaps the more base anatomical image of internal organs such as the intestines. Working with the torch I found more challenging. Perhaps from an aesthetic view point I was initially less drawn to this object. The idea of working with a light source however was fascinating for me and stimulated many images for movement, greatly inspired by our previous workshop explorations with artist Christian Kipp using light from a projector. Having seen an image of an installation piece by artist Cornelia Parker entitled ‘Cold Dark Matter: An Exploded View’ (1991), I am also keen to experiment with the idea of shadow and moments frozen in time. I began very simply with the torch, turning it on and off, rolling it across the floor, highlighting different parts of my body. I then started to explore more deeply with these images. In particular I enjoyed turning on the torch and pressing it to my skin. This created a beautiful amber patch of light around the torch as the light melted through the layers of my skin. Another moment I enjoyed real connection with was when rolling the torch along the floor I began to mimic this movement by rolling alongside it, following the light. This moment felt free, playful and child-like and I loved the symbolic moment as the torch gently came to rest and illuminated a part of my body as I came to rest in front of it. Although I briefly played with the idea of moving with both of my objects at once, I found it very hard to manipulte and move at the same time and the images I was creating with them did not feel as comfortable or personal. However, I did enjoy alternating between the two objects as, for example, the image of covering parts of my body with the material were juxtaposed with the image of using the torch to reveal and draw attention to my body. The opposite dynamics of my two objects informed and inspired my movement and were I to carry on this exploration I would like to develop this idea of switching between hard, rigid, tough objects and soft, malleable objects. I would also have liked to investigated the different components of my light source, taking it apart, seperating it and pulling it together again. I found working with these objects very complimentary to the way I move and think as an artist. Even though I was not working on my own in the space, I found myself becoming more and more involved in my own process and less available to the space and people around me. During previous experiences working with objects I experienced a desire to pre-plan and perhaps over-think what I could do with my object. In this experience however, I was able to lose my pre-conceptions about my object and simply allow it to inform my movement rather than my movement inform what I did with the object. This was an unfamiliar and exciting way of working for me and the movement material I discovered out of this fresh approach felt right and secure in my own body.
What Lights up?
What part of your body lights up for you and moves you through space?
What part of the space you are in lights up and draws you to it?
An image that helped me during this exercise was the idea of many strings attached to every part of my body. If one of the strings gets pulled then that part of the body follows bringing the rest of you with it! Where am I drawn to? How can I change this, challenge myself?
What part of your body lights up for you and moves you through space?
What part of the space you are in lights up and draws you to it?
An image that helped me during this exercise was the idea of many strings attached to every part of my body. If one of the strings gets pulled then that part of the body follows bringing the rest of you with it! Where am I drawn to? How can I change this, challenge myself?
Tuesday 29 November 2011
IPP2
Over the past few weeks we have been experimenting with materials and different forms of light source.
Workshop with visual artist Christian Kipp;
I had a fantastic experience in this workshop! Working with the concepts of a moving light source and still images moving across the walls and over the body was captivating - I only wish it could have lasted longer! We initially started with the projector slowly moving the projected images over the walls around the space. At first we were very cautious of breaking the image by putting ourselves in front of it - we were enjoying these beautiful images too much! However, as we began to move in response to the images and came into contact with the light it became obvious to us that we could give a new quality to the image as it was projected on our own bodies. We played with the texture, structure, shapes as the image was moved across the wall, becoming distorted around the corners of the space, going in and out of focus as the projector moved close to and away from the wall. I found the stimulus of the textures of the projected image over our skin particularly interesting and inspiring for movement. This is definitely an exploration I would like to continue with in the future!
Workshop with visual artist Christian Kipp;
I had a fantastic experience in this workshop! Working with the concepts of a moving light source and still images moving across the walls and over the body was captivating - I only wish it could have lasted longer! We initially started with the projector slowly moving the projected images over the walls around the space. At first we were very cautious of breaking the image by putting ourselves in front of it - we were enjoying these beautiful images too much! However, as we began to move in response to the images and came into contact with the light it became obvious to us that we could give a new quality to the image as it was projected on our own bodies. We played with the texture, structure, shapes as the image was moved across the wall, becoming distorted around the corners of the space, going in and out of focus as the projector moved close to and away from the wall. I found the stimulus of the textures of the projected image over our skin particularly interesting and inspiring for movement. This is definitely an exploration I would like to continue with in the future!
Thursday 10 November 2011
Some reviews...
So recently I've been to a few performances/exhibitions, either as part of my course or simply out of curiosity and a desire for inspiration!
As part of my IPP module, I went to see an exhibition at the Mead Gallery in Warwick Arts Centre. The exhibition consisted of three seperate artists work;
1) Mel Brimfield, 'This is Performance Art' - I found this work extremely confusing! Her theme was the idea of performance art and the relative difficulty and unreliabilty of documenting this art form. To achieve this she created works across different medias including film and pop culture, mimicking the work of previous artists. It was only after many discussions with collegues that I finally started to see the very complex issues surrounding her work - a very talented artist and very inspiring in terms of her multimedia approach to her work.
2) Dickinson and McCarthy, 'Greenwich Degree Zero' - This piece I found particularly fascinating. The concept of this piece was to take an event in history (an attempted but failed bomb plot on the Royal Observatory in 1894) and change this history using cleverly rendered newspaper cuttings, adapted film and photos and journal pieces to create an alternate reality. Working in this way is fascinating and thought-provoking and created work that was faultlessly believable!
3) Tom Hunter, 'Untold Stories' - This again was a rather complex exhibition of work for me to understand at first as it seemed to have so many layers to it. This piece was a series of photographic canvases, all paired together to show themes of topic or colour or atmosphere perhaps. The themes that I percieved in this work were those of nostalgia and connections to home as these photos were taken in and around the artist's home town. Antoher theme was of myths and legends, as the artist used the work of other artists who had captured the images of myths and mythical gods etc. The photographs themselves were wonderful to simply look at and enjoy for their movement, colour and atmosphere!
As part of my IPP module, I went to see an exhibition at the Mead Gallery in Warwick Arts Centre. The exhibition consisted of three seperate artists work;
1) Mel Brimfield, 'This is Performance Art' - I found this work extremely confusing! Her theme was the idea of performance art and the relative difficulty and unreliabilty of documenting this art form. To achieve this she created works across different medias including film and pop culture, mimicking the work of previous artists. It was only after many discussions with collegues that I finally started to see the very complex issues surrounding her work - a very talented artist and very inspiring in terms of her multimedia approach to her work.
2) Dickinson and McCarthy, 'Greenwich Degree Zero' - This piece I found particularly fascinating. The concept of this piece was to take an event in history (an attempted but failed bomb plot on the Royal Observatory in 1894) and change this history using cleverly rendered newspaper cuttings, adapted film and photos and journal pieces to create an alternate reality. Working in this way is fascinating and thought-provoking and created work that was faultlessly believable!
3) Tom Hunter, 'Untold Stories' - This again was a rather complex exhibition of work for me to understand at first as it seemed to have so many layers to it. This piece was a series of photographic canvases, all paired together to show themes of topic or colour or atmosphere perhaps. The themes that I percieved in this work were those of nostalgia and connections to home as these photos were taken in and around the artist's home town. Antoher theme was of myths and legends, as the artist used the work of other artists who had captured the images of myths and mythical gods etc. The photographs themselves were wonderful to simply look at and enjoy for their movement, colour and atmosphere!
Tuesday 11 October 2011
Saturday 8 October 2011
Sunday 3 April 2011
IPP Presentation
How and why does a memory (or each telling of a specific memory) change over time?
How will you remember this moment in 5 minutes time? How about an hour? A week? A decade?
In what way is your memory of an event different to somebody else's memory of the same event?
How will you remember this moment in 5 minutes time? How about an hour? A week? A decade?
In what way is your memory of an event different to somebody else's memory of the same event?
IPP Presentation
Two key themes:
SITE
MEMORY
"To move the work is to destroy the work"(Serra, 1994)"To move the site-specific work is to re-place it, to make it something else"
(Nick Kaye, Site-specific art)
Presentation Evening
Memories written down for me by others and left in the space for me to find...
My ideas board!
SITE
MEMORY
"To move the work is to destroy the work"(Serra, 1994)"To move the site-specific work is to re-place it, to make it something else"
(Nick Kaye, Site-specific art)
Presentation Evening
Memories written down for me by others and left in the space for me to find...
My ideas board!
class notes
15-03-11
Warm up:
Surfaces of the body in contact with the floor. Walking round - see each other's eye colour!!
20 counts in and out of the floor.
Running and jumping - very warm - need to work on CV system! Taking a walk through the space, rolling down and taking weight on hands, jumping low through the space... found this VERY challenging! Need increased strength and stamina.
Warm up:
Surfaces of the body in contact with the floor. Walking round - see each other's eye colour!!
20 counts in and out of the floor.
Running and jumping - very warm - need to work on CV system! Taking a walk through the space, rolling down and taking weight on hands, jumping low through the space... found this VERY challenging! Need increased strength and stamina.
Improvisation Class
Polly Hudson 14-03-11
Free Writing - "As I walk..."
As I walk I notice I do not look out as I should but instead I look to the floor... why do I do this? Insecurity? Self-consciousness?
As I walk I notice others in the space walking around me... I notice how they walk and I wonder how I am different...I notice the speed of my walk and my breathing as it starts to quicken... As I walk, I notice the sound of my feet as they make contact with the floor, and I make a conscious effort to soften them to reduce the noise... I notice the texture, temperature of the floor and the casual swing of my arms by my sides.... As I walk I am aware how my movement is influenced by the choice of music... I find an awareness of the other people in the space and begin to biuld relationships with them... curling and un-curling...spiralling together...
Free Writing - "As I walk..."
As I walk I notice I do not look out as I should but instead I look to the floor... why do I do this? Insecurity? Self-consciousness?
As I walk I notice others in the space walking around me... I notice how they walk and I wonder how I am different...I notice the speed of my walk and my breathing as it starts to quicken... As I walk, I notice the sound of my feet as they make contact with the floor, and I make a conscious effort to soften them to reduce the noise... I notice the texture, temperature of the floor and the casual swing of my arms by my sides.... As I walk I am aware how my movement is influenced by the choice of music... I find an awareness of the other people in the space and begin to biuld relationships with them... curling and un-curling...spiralling together...
class notes
14-03-11
Movement Score: try to get every part of the foot, leg, pelvis, spine, arm, head in contact with the floor.
Found this a very physically inspirational stimulus and enjoyed trying to find new ways to make contact with the floor while warming up my body at the same time and effectively grounding myself ready for further movement. This exercise also prepared me mentally for class and I found it therefore easy to change routines from right to left side and move with confidence.
Movement Score: try to get every part of the foot, leg, pelvis, spine, arm, head in contact with the floor.
Found this a very physically inspirational stimulus and enjoyed trying to find new ways to make contact with the floor while warming up my body at the same time and effectively grounding myself ready for further movement. This exercise also prepared me mentally for class and I found it therefore easy to change routines from right to left side and move with confidence.
Energy...
What is energy?
a source of power..... a chemical reaction...... a presence.......... a force.......... a creation of something....... the ability to do work........ the ability to exert
Where do we gain energy from?
The sun - plants - nutrition - respiration to break down glucose - either stored as glycogen or utilised in the muscles as energy...
We need energy to function, to live...
a source of power..... a chemical reaction...... a presence.......... a force.......... a creation of something....... the ability to do work........ the ability to exert
Where do we gain energy from?
The sun - plants - nutrition - respiration to break down glucose - either stored as glycogen or utilised in the muscles as energy...
We need energy to function, to live...
class notes
heart beat increasing... breath coming faster and faster... pelvis to the floor - dropping my centre of gravity...using my knowledge - sails...spiralling...head-tail connection
Sails Routine Feedback:
Good fluidity and sails and head-tail connection shown throughout. Try to relax neck muscles in rolling moment but otherwise very well done.
Sails Routine Feedback:
Good fluidity and sails and head-tail connection shown throughout. Try to relax neck muscles in rolling moment but otherwise very well done.
Monday 7 March 2011
Andrea'a Session
07/03/11
Feedback from partner work:
Routine:
Good fluidity, very good flat back in press up and downward dog positions, head could be slightly higher however...
Jumps!
Straight back and good line until turn-out position, knees are improving! Just be careful in parallel...
Feedback from partner work:
Routine:
Good fluidity, very good flat back in press up and downward dog positions, head could be slightly higher however...
Jumps!
Straight back and good line until turn-out position, knees are improving! Just be careful in parallel...
Hannah Starkey - "Twenty-Nine Pictures"
Warwick Arts Centre, 01/03/11
Some really beautiful, creative and inspring pieces of photographic artwork...
COLOUR
CHARACTERS
NARRATIVES
PLACES
PATTERNS
MIRRORS
REFLECTIONS
FEMALES
SHADOWS
Themes within Hannah Starkey's work:
absorbtion
stillness
women and female representation
quiet
relationships
Some really beautiful, creative and inspring pieces of photographic artwork...
COLOUR
CHARACTERS
NARRATIVES
PLACES
PATTERNS
MIRRORS
REFLECTIONS
FEMALES
SHADOWS
Themes within Hannah Starkey's work:
absorbtion
stillness
women and female representation
quiet
relationships
The 3 masses!
Session with Katye Coe, 01/03/11
Opening and folding in the hip joint, pelvis or head falling to the floor, sending the other to the sky...
Partner work (with Hannah G-M)
Move across the space while being aware of the 3 masses as well as SAILS!! Creating a short repeatble sequence of movement with this stimulus...
Feedback:
Dragging feet - wasn't aware I was doing this!
Where is your eye-line when moving across and around the space? Don't let it drop to the floor uneccessarily...
Opening and folding in the hip joint, pelvis or head falling to the floor, sending the other to the sky...
Partner work (with Hannah G-M)
Move across the space while being aware of the 3 masses as well as SAILS!! Creating a short repeatble sequence of movement with this stimulus...
Feedback:
Dragging feet - wasn't aware I was doing this!
Where is your eye-line when moving across and around the space? Don't let it drop to the floor uneccessarily...
Some thoughts and reflections for third year project rehearsals!
Chameleon Arts Company
Stimuli: dreams and what do you do when you can't sleep....
"Sometimes I awake only with the knowledge or the sense if you will that I was somewhere else last night... where, when, how, why and with who my head will no longer tell me...."
"I knew that I had had a dream last night... in the early hours of the morning... I remembered faces and people... I got up slowly and rubbed my eyes and began to move around my room... all of a sudden the faces had disappeared and I was left only with the memory of something forgotten..."
Stimuli: dreams and what do you do when you can't sleep....
"Sometimes I awake only with the knowledge or the sense if you will that I was somewhere else last night... where, when, how, why and with who my head will no longer tell me...."
"I knew that I had had a dream last night... in the early hours of the morning... I remembered faces and people... I got up slowly and rubbed my eyes and began to move around my room... all of a sudden the faces had disappeared and I was left only with the memory of something forgotten..."
Sunday 27 February 2011
Need to work on:
I do still need to focus on getting my knees in alignment over my toes when in pliet... especially in parallel position...
Is this simply bad technique and a habit i've got into or is my physical build hindering me?
Does anyone know any methods for working on this problem?
(Notes from Journal)
I do still need to focus on getting my knees in alignment over my toes when in pliet... especially in parallel position...
Is this simply bad technique and a habit i've got into or is my physical build hindering me?
Does anyone know any methods for working on this problem?
(Notes from Journal)
Sails!
This was a very interesting class focusing on the front and back surfaces of the body and the volume/space in between...the three dimensional dancer!
SRT and Gossamer Threads
In our latest Skinner Releasing class with Florence, we explored the imagery of gossamer threads - a line of very fine, spider web-like material which can stretch and condense as you move, but if you move too rapidly or with too much force it breaks...
Through the use of this imagery we moved as if the line was attached to both middle fingers...
For me this introduced a whole new style of moving - I felt as if I was moving delicately but at the same time I was condensing and expanding... The imagery of the thread also gave me energy in my fingertips - I was using all of my body while I moved... a very enjoyable class!
Softness... fluidity... melting... breathe... expanding... condensing
Through the use of this imagery we moved as if the line was attached to both middle fingers...
For me this introduced a whole new style of moving - I felt as if I was moving delicately but at the same time I was condensing and expanding... The imagery of the thread also gave me energy in my fingertips - I was using all of my body while I moved... a very enjoyable class!
Softness... fluidity... melting... breathe... expanding... condensing
Sunday 6 February 2011
Investigation with Paper Portraits
As a continuation of our work with paper portarits, I along with another student, Oana, wanted to explore different ways of creating scores with our work and using the paper to roll in...
We began by first going over our previous material stimulated by our portraits... We then explored movement on, underneath and around our 'movement portraits'... The most interesting moment in this exploration was lying underneath the paper and using the rips and tears in the paper to reveal parts of the body...
This section is intended to symbolise our own selves, our personality and our own movement interests...
We then moved on to investigate how it would feel to use someone else's portrait... looking at how they move and what areas of the body they are most fond of... we made contact with parts of the portrait to stimulate movement in the others body...
We also wanted to investigate the possibilities of doing the roll in paper as a duet... This made it difficult to roll and explore and we were very dependent on each other, responding to each others moments of stillness as well as the speed of the roll... I think this looked really effective especially when we both emerged from the paper.
This section is intended to symbolise us bringing together our two personalities, combining our movement, experiences and going on an adventure together...
Tearing off pieces of the paper we created a physical representation of our 'hearts'. These we then offered to each other as a symbol of friendship...
A really enjoyable and intriguing experience!!
We began by first going over our previous material stimulated by our portraits... We then explored movement on, underneath and around our 'movement portraits'... The most interesting moment in this exploration was lying underneath the paper and using the rips and tears in the paper to reveal parts of the body...
This section is intended to symbolise our own selves, our personality and our own movement interests...
We then moved on to investigate how it would feel to use someone else's portrait... looking at how they move and what areas of the body they are most fond of... we made contact with parts of the portrait to stimulate movement in the others body...
We also wanted to investigate the possibilities of doing the roll in paper as a duet... This made it difficult to roll and explore and we were very dependent on each other, responding to each others moments of stillness as well as the speed of the roll... I think this looked really effective especially when we both emerged from the paper.
This section is intended to symbolise us bringing together our two personalities, combining our movement, experiences and going on an adventure together...
Tearing off pieces of the paper we created a physical representation of our 'hearts'. These we then offered to each other as a symbol of friendship...
A really enjoyable and intriguing experience!!
It is always important to reflect back on my movement and see where I need to improve - this is how I will develop as a dance artist. Taking the idea from the Siobhan Davies Archive, http://www.siobhandaviesreplay.com/, I am trying to record myself moving as much as possible - This really helps my development and it has been quite surprising what I have found out about myself!!
Observations of a Siobhan Davies piece:
Looking through the Siobhan Davies Replay archive, I was able to compile a 'scrapbook' of pieces of work I found interesting. This included videos showing studio improvisations during rehearsal as well as final filmed performances to an audience. I already had a connection to a couple of the pieces, such as 'Wyoming' and 'Bird Song' having studied them previously, but it was fascinating to see the huge range of works that I had never seen before and read about the stimuli for each of them.
What interested me most about the archive was not watching the final performances but rather watching the rehearsals in the studio space. There is something very appealing and special about seeing snippets of the raw movement that ultimately ends up in a full length performance. One rehearsal video I saw used thin plastic rods attached to the costume of the artist, which bent as she moved them and created some truly beautiful shapes around her body, framing her as she moved and manipulated them.
Observations of a Siobhan Davies piece:
Looking through the Siobhan Davies Replay archive, I was able to compile a 'scrapbook' of pieces of work I found interesting. This included videos showing studio improvisations during rehearsal as well as final filmed performances to an audience. I already had a connection to a couple of the pieces, such as 'Wyoming' and 'Bird Song' having studied them previously, but it was fascinating to see the huge range of works that I had never seen before and read about the stimuli for each of them.
What interested me most about the archive was not watching the final performances but rather watching the rehearsals in the studio space. There is something very appealing and special about seeing snippets of the raw movement that ultimately ends up in a full length performance. One rehearsal video I saw used thin plastic rods attached to the costume of the artist, which bent as she moved them and created some truly beautiful shapes around her body, framing her as she moved and manipulated them.
Studio Practice
WORK ON FEET!!!
During this exercise I was focusing so much on my arm placement and upper body allignment that I became flat footed and careless with my legs and feet...
Studio Practice
Natalie's Floor Routine
I need to improve: my lines and placement - complete each movement
What I think I did well: softness and melting into the floor
Studio Practice
Natalie's Choreography
Need to work on: fluidity and continuous movement
What I think I did well: Release amd breathing into movement
SRT Class
04-02-11
Skinner Releasing Technique with Florence
This was a brilliant class for me - I felt myself really connecting to what Florence was saying, the imagery she was using...
Marionette Strings - suspending the head, the knees, the hands and so on - this visual stimulus really made me move in a different way and pay attention to my body moving, I felt lighter and more balanced in my movement, imagining my head to be floating up the sky even when melting into the support of the ground.
Partner Graphic - With a partner we went through several exercises that improved our alighment and awareness of the body. One of the most interesting exercises for me suspending our partners torso by placing our hands underneath the persons last ribs and gently lifting upwards, taking the weight of their torso. This felt odd but seemed to release the tension I was feeling in my chest...
Skinner Releasing Technique with Florence
This was a brilliant class for me - I felt myself really connecting to what Florence was saying, the imagery she was using...
Marionette Strings - suspending the head, the knees, the hands and so on - this visual stimulus really made me move in a different way and pay attention to my body moving, I felt lighter and more balanced in my movement, imagining my head to be floating up the sky even when melting into the support of the ground.
Partner Graphic - With a partner we went through several exercises that improved our alighment and awareness of the body. One of the most interesting exercises for me suspending our partners torso by placing our hands underneath the persons last ribs and gently lifting upwards, taking the weight of their torso. This felt odd but seemed to release the tension I was feeling in my chest...
Saturday 29 January 2011
Improvisation Class
27/01/11
Lecturer - Polly Hudson
Free writing with the starting words - "I am me..."
Lecturer - Polly Hudson
Free writing with the starting words - "I am me..."
I am me, only me and yet all of me... there are many different forms of me... all these forms show through at different times to different people in different places... I like to move because I am me... I am free to move and think and breathe and speak and discover... I am my bones and my tissues, my muscles, my nerves and my blood, ready and waiting to move...
Going to see a show!
Tuesday 25th January 2011
I and three others went to Warwick arts centre last Tuesday to see a professional company performance - Danish Dance Theatre, performing three short pieces of work - Enigma, CaDance and Kridt.
This work was fascinating and inspiring to watch. It was a combination of ballet and contemporary dance and was both tremendously powerful and beautifully elegant!
I and three others went to Warwick arts centre last Tuesday to see a professional company performance - Danish Dance Theatre, performing three short pieces of work - Enigma, CaDance and Kridt.
This work was fascinating and inspiring to watch. It was a combination of ballet and contemporary dance and was both tremendously powerful and beautifully elegant!
![[Untitled]001[1]](http://farm6.static.flickr.com/5019/5398650794_de40eb22f4.jpg)
'Paper Portraits' 3
This week we explored the idea of the sculpture of the body - in a very literal sense!
We first rolled and bound ourselves up in a large roll of paper. We then explored the movement possibilities in this state, investigating and discovering how the paper restricted or influenced our movement and how it moved around us...
The paper eventually began to tear and fall apart around us... As it did though, it made some fascinating costumes, as parts of the paper fell away while others remained...
Some thoughts while witnessing...
three-dimensional statue
We first rolled and bound ourselves up in a large roll of paper. We then explored the movement possibilities in this state, investigating and discovering how the paper restricted or influenced our movement and how it moved around us...
The paper eventually began to tear and fall apart around us... As it did though, it made some fascinating costumes, as parts of the paper fell away while others remained...
Some thoughts while witnessing...
body parts appearing and disappearing
stillness
dead body
bed, safety, comfort
three-dimensional statue
cocoon, chrysallis
emerging
ripping
escaping
Some thoughts while exploring...
I thought initially that I would feel claustrophobic inside the paper - bound up really tight without being able to see, I was therefore a bit apprehensive!
However, once I started rolling I really enjoyed it and found it comforting the have the paper around me...
The whole experience inside the paper was a lot lighter and more giving than I thought it would be and I really got into exploring the movement possible in this 'sculptural costume'...
I didn't want to finish or leave my paper costume!!
Thursday 20 January 2011
"Paper Portraits 2"
Developing our work from the previous week, we explored the meaning of a self-portrait in a more literal sense.
We were asked to draw a representation of ourselves on the paper, drawing the body including layers such as bones and organs. However, we were only allowed to draw using our mouth and feet to hold the pen!
This was a fascinating exercise that allowed us to really concentrate on the parts of the body that were important to us as individuals. We could then use these portraits as a movement score to develop a short movement phrase. This was great fun and very interesting as even though the picture was me, it also wasn't me and made me move in a different way to how I would normally...
We were asked to draw a representation of ourselves on the paper, drawing the body including layers such as bones and organs. However, we were only allowed to draw using our mouth and feet to hold the pen!
This was a fascinating exercise that allowed us to really concentrate on the parts of the body that were important to us as individuals. We could then use these portraits as a movement score to develop a short movement phrase. This was great fun and very interesting as even though the picture was me, it also wasn't me and made me move in a different way to how I would normally...
Sunday 16 January 2011
Second Year's Performance Review!
On the 8th, 9th and 10th of December I was audience to three separate and individual performances by the second year dancers at Coventry University.
Although this assignment calls for a review of only one of these performances, I cannot limit it to just one! So here is an overall review of and reflection on all three performances!
CHAMELEON DANCE COLLECTIVE
The first performance, created in collaboration with Kirstie Richardson included a solo performance by Kirstie called 'At the age of 40' and was shown as a work in progress. It was fascinating to watch a professional artist performing and her solo was full of humour as well as, for me personally, some rather profound emotional moments. Her use of vocal was interesting and supported her movement. Kirstie represented the theme of marriage and role of a wife through her vocals; “I’m married”, “I shouldn’t be” and the use of props – in this case a large white piece of paper with the words “I want to be”. This piece of work was very interesting to watch and made a good introduction to the main show.
For the student performance, the audience was escorted around the building to different areas where the performance had already begun. These areas included stair cases and music rooms as well as class rooms and corridors. Although I have seen site-specific work before, it was very interesting in terms of the range of movement possible in all of these places that I walk past or through on a daily basis. The individual performances themselves, whether as a solo, duet, trio, or group, were based primarily on contact improvisation with some set material inter-woven. The lighting was used very effectively in these performances, casting shadows against the walls and one of my favourite moments in particular was the use of the piano to make sound as the performers climbed across and along it. The dancers slowly congregated in one specific area of the building. This was a fascinating idea, however, the number of people in the audience and the small space made it difficult to view the work.
SO WE DANCE
This student performance, created in collaboration with Rick Nodine, was performed in the main studio space and had a very different quality and energy to it in comparison to the Chameleon Dance Collective. The audience were led into the space to see the performers already running across the space as if in preparation. The opening sequence to this performance was captivating as the dancers ‘fell’ into the space, either individually or as part of a pair or group. This was very visually exciting to watch as the dancers moved into a series of high energy contact work, with lifts, jumps and rolls across the space. This section of the performance gave the illusion that it would be different every time it was performed which gave it a very special transient quality. The pace of the performance then slowed to allow for a series of duets, trios and groups using set movement material. I found the movement very intriguing to watch and at a slower pace was able to appreciate each movement. The remaining performers, when not directly involved in the movement material would observe and appear as an on stage audience, directing our attention towards the movement. The performance then developed once again into a very fast paced and highly physical routine using all dancers and covering the whole space. The movement contained the dynamic and forceful imagery of martial arts and was very powerful to observe in unison. This was the climax of the piece and concluded with a quiet solo as the rest of the company observed and the lighting slowly faded out.
EDEN DANCE COMPANY
This piece of work called ‘Inhabitation’ and created in collaboration with Alex Howard was yet again very different to either of the two previous works and yet also contained many fascinating ideas and images for the audience. The performance was already in progress when the audience was shown into the space. We were invited to walk around the room viewing the installation – this involved large plastic sheets on the floor, a pile of fur coats and a row of wellies along one side of the room. The piece incorporated the theme of exploring the environment around us. The performers therefore used both improvisation and set material to explore the space around them – climbing over and crawling under the plastic, wrapping themselves in the curtain surrounding the studio space and so on. Individually the dancers then collect and put on their own fur coat and wellies and form a group near the exit of the space as they wait for the audience to put on their coats. We were then led across the city as part of the performance along ‘streets both old and new’ until we reached Lady Herbert’s garden where the final sections of the performance take place. As the audience we were given a fascinating aerial view of the performance, standing on a bridge platform as the dancers moved beneath our feet. The dancers continued to explore this new environment in much the same way as they had in the studio space, using a combination of improvisation and set material. The piece culminates in a group section using contact, trust and balance exercises in the outside space. This was intriguing to watch as they moved in the environment around them with an honest and true sense of exploration and a sense of no boundaries.
Although this assignment calls for a review of only one of these performances, I cannot limit it to just one! So here is an overall review of and reflection on all three performances!
CHAMELEON DANCE COLLECTIVE
The first performance, created in collaboration with Kirstie Richardson included a solo performance by Kirstie called 'At the age of 40' and was shown as a work in progress. It was fascinating to watch a professional artist performing and her solo was full of humour as well as, for me personally, some rather profound emotional moments. Her use of vocal was interesting and supported her movement. Kirstie represented the theme of marriage and role of a wife through her vocals; “I’m married”, “I shouldn’t be” and the use of props – in this case a large white piece of paper with the words “I want to be”. This piece of work was very interesting to watch and made a good introduction to the main show.
For the student performance, the audience was escorted around the building to different areas where the performance had already begun. These areas included stair cases and music rooms as well as class rooms and corridors. Although I have seen site-specific work before, it was very interesting in terms of the range of movement possible in all of these places that I walk past or through on a daily basis. The individual performances themselves, whether as a solo, duet, trio, or group, were based primarily on contact improvisation with some set material inter-woven. The lighting was used very effectively in these performances, casting shadows against the walls and one of my favourite moments in particular was the use of the piano to make sound as the performers climbed across and along it. The dancers slowly congregated in one specific area of the building. This was a fascinating idea, however, the number of people in the audience and the small space made it difficult to view the work.
SO WE DANCE
This student performance, created in collaboration with Rick Nodine, was performed in the main studio space and had a very different quality and energy to it in comparison to the Chameleon Dance Collective. The audience were led into the space to see the performers already running across the space as if in preparation. The opening sequence to this performance was captivating as the dancers ‘fell’ into the space, either individually or as part of a pair or group. This was very visually exciting to watch as the dancers moved into a series of high energy contact work, with lifts, jumps and rolls across the space. This section of the performance gave the illusion that it would be different every time it was performed which gave it a very special transient quality. The pace of the performance then slowed to allow for a series of duets, trios and groups using set movement material. I found the movement very intriguing to watch and at a slower pace was able to appreciate each movement. The remaining performers, when not directly involved in the movement material would observe and appear as an on stage audience, directing our attention towards the movement. The performance then developed once again into a very fast paced and highly physical routine using all dancers and covering the whole space. The movement contained the dynamic and forceful imagery of martial arts and was very powerful to observe in unison. This was the climax of the piece and concluded with a quiet solo as the rest of the company observed and the lighting slowly faded out.
EDEN DANCE COMPANY
This piece of work called ‘Inhabitation’ and created in collaboration with Alex Howard was yet again very different to either of the two previous works and yet also contained many fascinating ideas and images for the audience. The performance was already in progress when the audience was shown into the space. We were invited to walk around the room viewing the installation – this involved large plastic sheets on the floor, a pile of fur coats and a row of wellies along one side of the room. The piece incorporated the theme of exploring the environment around us. The performers therefore used both improvisation and set material to explore the space around them – climbing over and crawling under the plastic, wrapping themselves in the curtain surrounding the studio space and so on. Individually the dancers then collect and put on their own fur coat and wellies and form a group near the exit of the space as they wait for the audience to put on their coats. We were then led across the city as part of the performance along ‘streets both old and new’ until we reached Lady Herbert’s garden where the final sections of the performance take place. As the audience we were given a fascinating aerial view of the performance, standing on a bridge platform as the dancers moved beneath our feet. The dancers continued to explore this new environment in much the same way as they had in the studio space, using a combination of improvisation and set material. The piece culminates in a group section using contact, trust and balance exercises in the outside space. This was intriguing to watch as they moved in the environment around them with an honest and true sense of exploration and a sense of no boundaries.
Thursday 13 January 2011
Cecilia Class - Improvisation and Reflection
"Empowerment"
"Passion"
"Celebrating the Individual"
"Inclusion"
"Translate"
"Facilitate"
"Creativity"
"Passion"
"Celebrating the Individual"
"Inclusion"
"Translate"
"Facilitate"
"Creativity"
Wednesday 12 January 2011
'Paper Portraits'
In our Dance and Theatre sessions we have now started a new line of work with 'Paper Portraits'.
Guest artist Florence Peake introduced us to the combining of movement and art using large bare sheets of paper and pens to create our 'portraits' of movement.
We each had a turn at moving across the paper, doing whatever movement came naturally. The others in the group would illustrate the movement on the paper around the mover through lines, swirls, dots, scribbles and so on. This was a facinating and very enjoyable exercise which created amazing and intimate pieces of art work.
We were then able to use these illustrations as scores to create new movement phrases.
Guest artist Florence Peake introduced us to the combining of movement and art using large bare sheets of paper and pens to create our 'portraits' of movement.
We each had a turn at moving across the paper, doing whatever movement came naturally. The others in the group would illustrate the movement on the paper around the mover through lines, swirls, dots, scribbles and so on. This was a facinating and very enjoyable exercise which created amazing and intimate pieces of art work.
We were then able to use these illustrations as scores to create new movement phrases.
Theatre Workshop - Object Animation
We have now started the new topic of Object Animation. As a starting point we explored the natural movement of newspaper - how it crumples up and expands again, how it moves when you blow past it and so on!
We then explored how we could twist and fold the newspaper in order to make creatures and objects that we could use to tell a story...
This work was very interesting and great fun!
We then explored how we could twist and fold the newspaper in order to make creatures and objects that we could use to tell a story...
This work was very interesting and great fun!
Monday 10 January 2011
Alexander Technique Time
A few inspiring quotes from articles on the Alexander technique:
"the principle of non-doing"
"gravity became something to work with, and be supported by, rather than to lift out of or defy"
"I was no longer making dance happen but allowing movement to flow through me"
"It is a way of being, an undoing of bad habits to uncover the relaxed ease inbuilt in the 'action blueprint' we were all born with"
"the principle of non-doing"
"gravity became something to work with, and be supported by, rather than to lift out of or defy"
"I was no longer making dance happen but allowing movement to flow through me"
"It is a way of being, an undoing of bad habits to uncover the relaxed ease inbuilt in the 'action blueprint' we were all born with"
First Day of TERM 2!
Okay... it is the first day back after the christmas break. I have truly missed the dance space and all the people here. I start to move again but it is not quite the same - I feel like I have lost something over the holiday, a sense of self perhaps... an awareness of the body moving in space...?
I move with a caution and clumsiness that irritates me! I want to just pick it all up again in a second. I know it will come back to me eventually but how long will it take?
All that said however, I am SO pleased to be back!
I move with a caution and clumsiness that irritates me! I want to just pick it all up again in a second. I know it will come back to me eventually but how long will it take?
All that said however, I am SO pleased to be back!
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