UNBREAKABLE FORCES
Solo Performance:
"Unbreakable Forces"
Demonstration: Creative Process
Throughout the duration of the first three weeks of semester one, rehearsals consisted of collaborative work in small groups and pairs, in order to create a piece as a cohort to be performed at Essentially Dance 20. Within our groups, we were influenced and inspired by the concept of ‘moving like a jellyfish’, after watching Elise May perform a jellyfish-like movement on the floor. Our creative process stemmed from this initial movement idea and allowed us to produce new movements from tasking and improvising. Due to COVID-19, these rehearsals now took place at home under new circumstances. Through reflecting on the initial concepts created in the studio, I developed and adapted these ideas to create my own work called ‘Unbreakable Forces’.
WEEK ONE:
Emma and Taylor ‘Jellyfish’ duet
https://www.youtube.com/watch?v=NIDt07EsXtw&list=PLz4Aei7zuy4akyXzXE15xkCoXeD9wh6rF&index=15
Concept: The concept of this task was to gather ideas from Vanessa’s initial choreography and produce a duet that incorporated similar themes.
Inspiration: The inspiration for this task was the horizontal galloping action from the floor in a standing position.
Choreographic process: We took the action of the movement through the body from a horizontal position to a vertical one and played with how that movement worked. We then used the choreographic device, retrograde, to create a back and forth effect in the movement phrase. After receiving valuable feedback from Vanessa, we were able to manipulate certain movements in order to enhance and challenge the phrase.
Sensations: As either Taylor or I move, the other dancer responds by feeling and naturally reacting to how they move. The use of breath can also be incorporated by initiating a sensation in the body to which the limbs respond. Through the form of body contact, Taylor and I were also able to feel and sense our movement cues.
Development to solo: By taking these sensations of body contact, I have incorporated movements where I respond to my body contact with the floor. An example of this in my solo is when my body only responds to when my toe taps the ground (see video #2)
#1 'Jellyfish' Duet
#2 Body Contact
When contracting and releasing along the floor, Vanessa used imagery to explain the sensation we should feel when doing so. The pulse of a jellyfish was used as an example.
Whilst learning this movement sequence of pushing and contracting the upper body, we experimented with the idea of resistance against a wall to allow for the correct dynamic to be dispensed.
Emma, Kai, Madi, Ana and Grace ‘Moving Tablau’
https://www.youtube.com/watch?v=dRQ4ZIEjY9s&list=PLz4Aei7zuy4akyXzXE15xkCoXeD9wh6rF&index=8
Concept: A still image of connection that's constantly broken and reformed. The introduction of a new element interrupts and rearranges from one form to another. This constantly influences the dynamics involved in the image, causing unpredictable changes of shape and connections.
Inspiration: The inspiration for this piece was drawn from a short video Vanessa showed the class of two former EDC dancers. Elements of counterbalance, manipulation and weight bearing were our main focus when choreographing.
Choreographic process: Two dancers started by creating a shape using counterbalance, a third dancer then interrupted this shape and placed themselves into it. This would either completely or only slightly alter the original shape. This process continued until all five dancers were integrated into the tableau. This was initially improvised in small sections. Each time returning to the beginning to either repeat what had happened or change it. Once happy, the movement was set and rehearsed.
#3 'Moving Tablau'
WEEK THREE:
Emma, Kai, Ana and Madi ‘Moving Tablau Part 2’
https://www.youtube.com/watch?v=rVU8EKEi3zE&list=PLz4Aei7zuy4akyXzXE15xkCoXeD9wh6rF&index=9
Concept: A still image of connection that's constantly broken and reformed. The introduction of a new element interrupts and rearranges from one form to another. This constantly influences the dynamics involved in the image, causing unpredictable changes of shape and connections.
Inspiration: The inspiration for this piece was drawn from a short video Vanessa showed the class of two former EDC dancers. Elements of counterbalance, manipulation and weight bearing were our main focus when choreographing.
Choreographic process: Two dancers started by creating a shape using counterbalance, a third dancer then interrupted this shape and placed themselves into it. This would either completely or only slightly alter the original shape. This process continued until all five dancers were integrated into the tableau. This was initially improvised in small sections. Each time returning to the beginning to either repeat what had happened or change it. Once happy, the movement was set and rehearsed.
Development to solo: When looking at the content in ‘moving tablau part 2’, I can see links to my solo choreography. For example, there are many movements that involve one person’s force onto another to allow them to respond and create new shapes. Acknowledging that my choreography is done as a solo, I took inspiration from this concept of force and thought of ‘external forces that initiate my movements’.
#4 'Moving Tablau Part 2'
Emma and Madi ‘Standing, Non-Contact Work (Nervous Twitch) duet’
https://www.youtube.com/watch?v=PP36T7lv8Uc&list=PLz4Aei7zuy4akyXzXE15xkCoXeD9wh6rF&index=2&t=0s
Concept: With implementing the rule of further distance, we created a duet based on our feelings towards the potential effects and outcomes in regard to COVID-19.
Inspiration: The inspiration for this piece transpired from the group talk we had with Vanessa prior to tasking. Having spoken about the potential risks associated with this virus, we both decided to create a standing, non- contact work with an assortment of percussive dynamics (seen as almost twitches) to portray our apprehensive and agitated feelings.
Choreographic process: The choreographic process undertaken was seen as an almost ‘back and forth effect’. Taking it in turns to add a particular movement to formulate a phrase, we either suggested new movement or manipulated/ altered each other's movement to allow for dynamic variability, contrast and flow.
Sensations: After receiving valuable comments from Vanessa, we established a common theme of nervous twitching in our work. For me personally, I sensed sharp dynamics that allowed certain body parts to react.
Development to solo: this particular duet that Madi and I choreographed has been my main influence and stimulus when creating my solo. I was always inspired by this duet we created and was interested in exploring the various pathways of movement as an individual. In my choreography, there are several movements that have transpired from this concept of twitching and in turn has become a focal concept in my solo. Video #6 presents a compilation of sections in my solo that have been inspired by this concept of ‘twitching’.
#5 'Nervous Twitch' Duet
#6 'Twitching' Inspired
Full Group Practice ‘Vanessa’s Choreography Scores’
Concept: Vanessa explained that she is fascinated with the concepts of nature and how this stimulus assists us in finding new pathways through our bodies that are organic.
Inspiration: The movement idea stemmed from different ways we as a group could move across the floor. Through this sequence, we have been encouraged to draw inspiration from the movement process of a crab moving horizontally.
Choreographic process: we individually explored what this meant to us and how to place it into our bodies. Vanessa then watched what we discovered and chose the movement she liked best. This was then taught to the rest of class.
Sensations: Entrance (sliding along the floor). Vanessa mentioned that the movement looked like a crab. Our arms and legs should work in sync to move smoothly along the floor
Development to solo: The end few movements of this score with the ‘horizontal galloping’ and rolls has been implemented into my solo also at the end (see video #8)
#7 Full Group Practice
#8 'Horizonal Galloping' in Solo
WEEK FOUR:
I started to create my own solo material inspired by any aspect previously done in the studio
Concept: Didn’t really create to a concept but was rather thinking of similar movements to Madi and my duet about nervous twitching
Inspiration: The inspiration for my choreography came from Madi and my duet we created in week 3 about ‘Standing, Non-Contact Work (Nervous Twitch)’
Choreographic process: In order to create this work, I reflected back to week 3 when Madi and I collaborated to create a duet. I took inspiration from some of the movements and dynamics within and was able to create something new.
#9 Solo Choreography - First Draft
Once showing my choreography to Vanessa, I received some feedback and ideas to implement, in order to improve my work. After taking this on board, I found that I ended up transitioning from my original idea to another.
My new material now consisted of movements that stemmed from the idea of a magnetic force: magnets in the fingertips that draw together to be connected. An external force pulls them apart, however through the power of the magnetic field, they attract back together, hence the title of the solo, 'Unbreakable Forces'.
WEEK EIGHT:
Emma, Ana and Kai ‘Solo Material Performed Together on Zoom’
https://www.youtube.com/watch?v=6BD5AvytkLY&list=PLz4Aei7zuy4akyXzXE15xkCoXeD9wh6rF&index=24
After performing my duet on zoom to my peers, there were similarities between Kai, Ana and my solo that was seen, such as ‘using the space around’.
Full Group Performance ‘in our new small groups one after the other’
https://www.youtube.com/watch?v=CXNIOGvLOcE&list=PLz4Aei7zuy4akyXzXE15xkCoXeD9wh6rF&index=27
#10 Emma, Ana and Kai Solos (zoom)
#10 Full Group Performance (zoom)
INSPIRATIONAL STIMULUS:
On April 23, Vanessa collaborated and shared with the whole group some stimulus relating to jellyfish. These sources provided several explanations and quality information on the jellyfish species. They also presented aesthetic footage of the fascinating life these creatures experience, underwater.
In terms of my solo material, I was captivated by the subtle and delicate pulse the jellyfish exhibited. I therefore felt the urge to include this movement idea into my work, using my hands as the jellyfish (see video #11)
#11 'Jellyfish Inspired Hands'
As a group, we communicated and came up with some words that came to mind when watching the stimulus:
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Contraction
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Pulse
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Evaporation (disappear)
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Suspended in space, floating
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Brainless – calm
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Fluid & boneless
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Blooms – coming together
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Cool jellies
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Powerful – yet dumb - Intelligence without a brain
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Venomous
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Immortal
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Boneless, brainless, bloodless
Though I have only incorporated a minimal amount of aspects in response to this concept, I went further to research information on my dominant concept of magnetic forces.
What is a magnetic force?
A magnetic force is the attraction or repulsion that arises between electrically charged particles because of their motion. It is the basic force responsible for such effects as the action of electric motors and the attraction of magnets for iron (Encyclopedia Britannica, 2020).
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Magnetic field
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Magnetic forces
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Opposites attract
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Repulsion
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Attraction
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Flux
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Electromagnet
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Magnetoreception
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Rebound
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Physics
Similar to the process with the jellyfish stimulus, I took notes of key words that came to mind:
After analysing these sources, I became further invested in my concept and solo, which in turn created a rawer experience for myself as the dancer.
MUSIC:
When selecting music to accompany my solo, I felt it was important to choose something that would complement my work. In this process, I reflected on the concepts in my solo such as magnetic forces and sea life, and then noted down once again, a few key words to consider when choosing music:
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Thunder
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Ocean
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Waves
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Crashing
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Storm
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Electricity
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Force
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Fast/hectic
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Suspense
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Unsteady
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Unpredictable
Having a desired song idea in mind, I searched through Youtube, Google Play Music and Spotify, imagining my solo in correspondence to each song. I came to a clear decision to use music called “String Quartet No. 2” by Joby Talbot, which is a composition using instruments from the string family. The song provides a slightly unsteady beat and includes sections of suspension, both of which I was aiming for.
Chosen Music (Full Version)
VIDEO PROCESS:
To create the final product of my work, I performed my solo several times, each time getting filmed from a different frame/angle in the space. Once finished, I edited the videos, added the music, and created, “Unbreakable Forces”.