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Dance Composition E journal
Transcript of Dance Composition E journal
Final Product and Reflection
Once I was inspired I performed research, developed my ideas and started to plan my dance piece.
I determined there were two types of isolation. For example the isolation experienced by the explorers in finding the magnetic south pole was unselfish and in search of a dream. The opposite of this is the isolation where the person is selfish. For example the person does not let anyone in and pushes people away.
From this I developed my main idea in developing my composition; the isolation experienced by a person who is selfish and pushes people away as apposed to letting people in.
Developing the Initial Ideas
Change of levels:
high, middle or low.
The first choreographic device used was change of levels. The levels of this dance indicate the stages and moods of isolation where the dancer goes from happy to a feeling of sadness. Sadness is represented with a low level. Therefore the motif is performed once at a high level and than repeated at a low level. Despite this towards the end of the repetitive phrase the dancer again performs at a high level. This represents the feeling of relief as the dancer pushes people out of her life because she thinks it's for the best.
A motif is a short dance phrase in which can be reoccurring. This forms the structure of the dance piece. Once the motif is developed it is manipulated using choreographic devices. For example a dance motif can be manipulated using the choreographic device retrograde, where the motif is performed backwards.
In this motif the choreographic devices used were:
Force: vary the amount of force used in producing the movement.
Change of levels: high, middle or low.
Fragmentation: use only part of the motif.
These choreographic devices represent and are a symbol of isolation during this motif. For example the levels are a symbol of the moods experienced by someone who is isolated from the world around them.
use only part of the motif.
vary the amount of force used in producing the movement.
The second Choreographic device used was combination where force was combined with fragmentation. Therefore part of the motif was performed with either more or less force in the movement.
For example the movement chosen was a kicking motion. This was performed once with a floppy sensation and when repeated the kick became strong and powerful. This represents the power felt by the dancer when they were pushing people out of their life and the frustration felt towards those people.
The Journey of a Composition:
use only part of the motif.
The third and final choreographic device used was fragmentation where only four movements of the motif were utilised. The movements used were the running motion, the kicking motion to take you into a turn and the roll of the head. These movements were combined and traveled in a circle where the dancer pushes away people from all directions. In result the dancer creates a dome shape where she is unable to escape and becomes 'isolated'. Eventually as the movement brings her to face the front her body has slowed right down until the dance and her feelings disintegrate into nothing.
The task given was to create a motif inspired by Wayne McGregor's piece DYAD 1909 and using 2 to 3 choreographic devices manipulate it to form an original composition.
After watching Wayne McGregor's piece DYAD 1909 I was inspired in many ways and from these inspirations a dance piece grew.
Some ideas that were inspired by DYAD 1909 were:
The tasks used to develop new movement phrases.
The theme of 'issolation'.
McGregor's thought process.
When creating the dance piece I utilised tasks such as the stealing task to develop my dance piece and discover new moves. During the stealing task in class we were able to watch others as they improvised and created short movement. It was interesting to see the different thought processes involved and the different movements that came out of this thought process. For example every move I saw performed by others were different and it was exciting to try new things. When I was improvising it was challenging to have to come up with movement under pressure whilst others were watching me to discover new movement themselves.
While McGregor created DYAD 1909 he performed 3 steps. His first step was to utilise a task in which would create movements to reflect upon his ideas, for example the founding of the magnetic south pole and the founding of the Ballet Russe. Therefore for me to utilise a task in order to develop and find new movement coincides with Wayne McGregor's thought process.
Developing the Initial Ideas
Aesthetic Qualities of this Dance Piece
When teaching Meagan my composition it was interesting to stand back and actually view my composition as apposed to being in it. Whilst watching I was able to change around some movements that either didn't flow or was not appealing as an audience member.
This allowed the dance piece to grow even more and become aesthetically appealing for the audience. Some examples of things that influence the aesthetic quality of my composition include:
The theme of isolation used- the audience is able to determine where in the composition this theme is reflected upon and what movements represent this theme.
The choreographic devices used- these allow the motif to grow into something interesting. For example the motif is performed normally and than it changes and progresses into something exciting.
Selection and Refinement of Movement
After the research and improvisation stage I selected and refined certain movements to create a motif.
To select these movements I chose those that related to the theme of isolation. Therefore I chose kicking, pushing and running movements. Whilst at this stage to assist in developing my motif I used a variety of music which allowed freedom to how the dance was performed.
This coincides with McGregor's thought process during the creation of DYAD 1909 where he followed set guidelines and had a theme. Despite this although there were rules he tried new things and had freedom whilst choreographing his piece.
Today when performed the dance looked beautiful. Meagan danced it to the best of her ability and it was the best performance I had seen yet. Although when performed as a duo, like Miss Lisa suggested, the dance looked even better and finally felt completed. Our body shapes are the same, therefore when Meagan and I performed the composition as a duo our movements synchronised producing a clean and precise piece. If I was to broaden the creativity of this piece I would play around with the placing of the dancers where we would be at opposite sides of the room and possibly mirroring one another. Furthermore I would attempt at having one dancer doing the normal motif with the other performing the manipulated motif where levels are present. This would create a sense of conflict as the two dancers are essentially performing the same thing but at different levels. I found that when performed as a duo the feeling also changed. For example instead of being sad and lost the dance became upbeat and relaxed.
Challenges and Changes
During the process of planning, selecting and refining, creating the motif and manipulating the motif many changes were made. After teaching Meagan the composition I changed things to suit her body and to make the dance aesthetically pleasing to the audience. Many parts of the dance were boring and did not flow on from the previous movement. Therefore I added a loco motor movement, for example a turn or roll, to add excitement and feeling to the dance.
The music I used for the composition was a Piano Guys cover of Paradise. The part of music to which Meagan performed to did not have words or a set beat. This was challenging as I could not set timing whilst teaching the composition but could only watch and inform her if she was going too fast or too slow. Despite this I allowed freedom to how fast or slow she performed it. Therefore Meagan was able to take her time and extend each and every movement to express her feelings. This reflects on McGregor's piece DYAD 1909 where his music, composed by Olafur Arnalds, did not have words and majority of the time did not have a set beat. When developing his dance he generally taught the dancers a phrase and allowed them to determine their own timing to the music.