Body Language!

Abstract, exaggerated versions of the body language research used in a Merce Cunningham 'Chance' improvisation.



There is something missing. No connection between dancers. How do we fix this?

Circle Two!

After revisiting the drawn score we are now looking at how you react around your friends.

80% of communication in non-verbal....


Body Language...
Lying / Uncomfortable - no eye contact
Bored - fidgeting
Annoyed - crossed legs, rocking
Superior - head tilted back
Judgmental - head tilted forward
Lying / Nervous - touching of the face

Getting There!

Here I can clearly see my improvement, my head is higher than it was before but could come up a little more and my arms are in a better position. One thing I have noticed watching this myself is that I tend to do each movement separately rather than flowing through. I will work on this for next time.

Archives!

Siobhan Davis Archive...


I started flicking through some of the material but didn't quite understand the relevance other than the 'snippeting' of material until I came across the Jerwood Bank works. Unfortunately there wasn't much work that I was able to "scrapbook" however it lead me onto another Siobhan Davis site. Here I found the links between Jerwood Bank and what we are trying to achieve with the blogs unbelievably strong. I have returned several times to this site as it shows examples of blog work the dancers were asked to do during the creation of this piece. Especially after feedback when I have been told my writing is too formal I can refer to this site to get a feel of how to write personally but clearly.

http://jerwoodbank07.siobhandavies.com/category/dancers/deborah-sarah/

Knee's and Toes!

In ballet I was told I have a good turn out which is something I always thought I struggled at. This says to me that perhaps its my ankles that are pronated as opposed to my knees as in turn out my legs are aligned.



Here I am demonstrating my practice of self correction however my knees now seem too far outwards. I don't understand where the pronation is. I will continue to work with this and the taking of photos to help me on my way to finding correct alignment.

Working in a New Way!

Reacting to the sounds, smells and sights. Not necessarily in connection with one another, just to get a feel or impression of the site in the body.




Often I see a connection between us as dancers but I don't know if it would be strong enough without the site to simply copy the movement. My question is, what to do with this material? I am swaying towards picking out key moments to create a phrase to play with in the space.


(This is the first time I have improvised in a public space and I feel so inspired by this multi-sensory stimulus! I will definitely be visiting this in the near future)

Curling Spines!

Feedback...

• Head is too low in press up position
• Arms are too relaxed and therefore too high in leg swings
• Hip lifts slightly in box position
• Spine curves are nice

Dannielle Jefferies

How do I keep my balance and my hips square?

What you will!

Eden Dance Project!

There was definitely some influence of Pina Bausch’s work present as the idea of de-centralization is something that shone through the piece. Having a large number of dancers in the space with no central character or clear ‘front’ meant that the audience have a decision as to what they see in the space and what they chose to ignore.

  Eden took us on a literal journey. Half way through the piece the dancers donned big furry coats and lead the audience out side. The audience moving with the dancers brings awareness to the blurring of audience space and dancer space. The viewer now has their own decisions to make as to when and where they move to and in turn why?       

    

  Showing art in public space can be challenging as you cannot account for public reaction. Many on lookers shouted at the dancers and they must then make a choice as to how to embrace this and how controlled. Eden chose to ignore these comments and carry on in a professional manner but I wonder if this is the right choice. Site specific work is to involve the whole site so do the public count as part of that environment or are they, like the dancers, an intruder and therefore do not count.

  Some choreographers do not want to portray a specific meaning and this is a prime example. The use of props and variety of site alongside an abstract movement vocabulary meant that this was far from to the point minimalism and often became clouded with imagery. This promoted a curiosity from the viewer as the meaning is often unclear and your clarity with seeking meaning is questioned.

  Therefore each audience member takes from the piece what they wish and the ‘free to roam’ aspect ensures that everyone has a different experience selecting to stand or see what they will. Eden successfully pushes audience boundaries and seeks to engage them physically in new and exciting ways.  

Interview with the Choreographers!

Is it important for the audience to know the meaning or should it be left up to interpretation?

Rolling Knee's!

The rolling of the ball gives me cramp in the underside of my foot, I'm hoping that this will become less frequent the more I practice. I spoke to a friend studying Physiotherapy and she mentioned PRONATION??

Inner Circle!

Improvisation


"The personal experience of tissue is called embodiment and is a vital part of the study and practice of BMC. First we study the tissue, using pictures, texts, or anatomy books to formulate an image of the structure. Then we go on a movement journey, called a somatization. People lie or sit comfortably in the room. Some move and others work in stillness. The facilitator guides the group on a journey inside their bodies. Participants notice the sensations in their bodies and the feelings and images which arise in these places. "

https://bmcassociation.org/AboutBMC/BodySystems



Listening internally to... breath, vibrations, heartbeat, humming, bones creak.

[Preferably watch in mute]

Duet Score!

"Bringing internal or landscape sounds somehow draw us to the whole environment" - Important to our piece as we want the audience to be aware of the space in relation to us and the world around it.

Choreography Duet Starting Point!

My life and the worlds life are deeply intertwined; when I wake up one morning to find that a week-long illness has subsided and that my strength has returned, the world, when I step outside, fairly crackles with energy and activity... Likewise, when a haze descends upon the valley in which I dwell, it descends upon my awareness as well, muddling my thoughts, making my muscles yearn for sleep. The world and I reciprocate one another. The landscape as I directly experience it is hardly a determinate object; it is an ambiguous realm that responds to my emotions and calls forth feelings from me in turn.

(p33) The Spell of the Sensuous, David Abrahms

PHENOMENOLOGICAL WORLD!

"Being in the world" where person and world are mutually constitutive

defined by directed-ness, embodiment and worldliness

is my experience of ... the same as yours?


[ we understand a cat as a whole not just by sound - senses as a whole ]