First Year: Creative Session 2
At this point in time with my solo, I have choreographed 1 minute altogether. I have created small motifs which include the symptoms of the disorder such as kicking, flailing arms, pushing and jumping out of bed, which will be performed as just jumps.
However, I have had an issue with my music as it was removed off sound cloud inconveniently so I have started to choreograph without my music at the moment. In my opinion, I feel choreographing movement without music or accompaniment is actually really beneficial as you can fully focus on your stimulus and base your movement solely on that and not the music.
My first section, I have fully focused on the symptoms of the disorder like I have mentioned above, I have also explored into further research into polysmnography and the pattern in the graph the patient created whilst going through the study. During a recent 1-1, I have decided that I won't be using that pattern in the graph throughout my whole piece which was an idea of mine when I first discovered. So I have decided to chose a section in the graph to use as movement material for a section in my solo piece and I will work on how to make it clear for the audience watching my choreography.
With my chosen practitioner, Crystal Pite, she had the most similar style to my own as I wanted to base it fully on contemporary and not have many balletic moves in my piece as my stimulus and my final idea of sleep doesn't involve intricate footwork or placed positions for example.
In my first research task when I first looked into the stages of sleep, the words that described SWS was slow and relaxed muscles which for me straight away linked to Pite's choreographic style.
This has helped me create movements for example; relaxed muscles when I roll on the floor and loose arm movements.
However, I have had an issue with my music as it was removed off sound cloud inconveniently so I have started to choreograph without my music at the moment. In my opinion, I feel choreographing movement without music or accompaniment is actually really beneficial as you can fully focus on your stimulus and base your movement solely on that and not the music.
My first section, I have fully focused on the symptoms of the disorder like I have mentioned above, I have also explored into further research into polysmnography and the pattern in the graph the patient created whilst going through the study. During a recent 1-1, I have decided that I won't be using that pattern in the graph throughout my whole piece which was an idea of mine when I first discovered. So I have decided to chose a section in the graph to use as movement material for a section in my solo piece and I will work on how to make it clear for the audience watching my choreography.
With my chosen practitioner, Crystal Pite, she had the most similar style to my own as I wanted to base it fully on contemporary and not have many balletic moves in my piece as my stimulus and my final idea of sleep doesn't involve intricate footwork or placed positions for example.
In my first research task when I first looked into the stages of sleep, the words that described SWS was slow and relaxed muscles which for me straight away linked to Pite's choreographic style.
This has helped me create movements for example; relaxed muscles when I roll on the floor and loose arm movements.
It is very impressive how you have used the inconvenience with your music to your advantage and I think that the movements that you create with only your stimulus in mind will be very purposeful and effective. It may be useful to include a photo of the section of the graph that you have selected to help explain your idea? Are there any choreographic devices that you have included which link to Crystal Pite's style?
ReplyDeleteFor the choreographic devices, I have used improvisation to see what my body does naturally and I have also included repetition.
DeleteTo see the graph you mentioned, see below:
https://htinsleyhope.blogspot.com/2019/11/first-year-further-research-on-final.html
You have made a good start to your reflective post and have clearly described where you are currently at within your work. In relation to the criteria, I would say that this post currently sits around the 3:1 mark. For further development, discuss how your current creative process may differ to the process you used at the start of your development. I would also like you to discuss your movement in relation to your practitioner further. Are there any aspects of your choreographer’s creative process that you will use to inspire your own work? Within your post you have briefly mentioned a challenge you have recently faced. What will you do now you have been faced with this challenge? It would also be great to see a video of your creative passage inspired by your chosen choreographer as well as creative work you have created in relation to your stimulus and research.
ReplyDeleteThankyou Miss Norman.
DeleteOne aspect that I have been inspired from Pite's creative process is involving her family and friends in the rehearsal process. I have included some of my friends to watch my piece and receive feedback from them which I then focus on for next lesson. This technique has been very beneficial to me as it's from an audience perspective.
I liked how you have involved your practitioners style in your choreography, I also like how you are staying away from balletic movements, i feel although this will be very effective on the audience. Can you include any photos or videos to really expand and develop the readers understanding?
ReplyDeleteI am unable to do so I'm afraid. My old phone has broke so previous videos from choreography sessions we have taken part in I do not have.
DeleteIm intrigued by what you said about choreographing with no music. How much choreography did you produce while you had no music and how did you find putting that choreography to the music? Was it easy to fit them together? Were there any occasions where highlights in the dance coincidentally matched any highlights in the music?
ReplyDeleteI was actually able to create a fair bit of choreography with no movement. From previous experience in A-level Dance, we first had to create our pieces without any music so we were solely focusing on the movement and the intention behind it.
DeleteThere is not really an key highlights in my piece. What I would say would be the change of sleep stages, from slow relaxed movements to sharp and faster movements could maybe be my highlight.
This blog post was well written and easy to follow. As you aimed to avoid all classical movements, did you find this a challenge? if so how did you overcome it?
ReplyDeleteI actually did not find it as hard as I first thought it would be. I have had a lot of contemporary training in Graham and Cunningham prior to this school so I used my skills I have received from there and included them into my piece.
Delete