Month: November 2016

Exploring new anchor points was useful to the whole class – however focusing on the front of the body now distracts us from all our knowledge on rolling onto the back/ other parts of the body. Working with new frames and new anchor points made it hard for me to balance on a body, as I am not used to working with these movements. It was difficult to listen to bodies whilst exploring follow-on movements – only suitable whilst moving at a slow pace to keep the connection between bodies. Moving at a slow pace is in my comfort zone which I tend to stick with.

Observing the 4-man jam was inspiring to watch and to identify new movement material from my peers. Slow-going movements establish on-going connections and explorations which I needed to work on myself. Keefe states “Just think of the endless variety of ways in which the dancers may move.” (232, 2003). New movement feels fantastic if carried-out correctly – nevertheless, because there are many variations of movement, I find it uneasy listening to my partner and accept that I will not be prepared for some actions. Still, this task opened my eyes to see how a jam is supposed to run.

Focusing on the weight and alignment of the pelvis seemed smooth as a soloist, exploring the lower kinesphere in depth. However, I found this image of the pelvis to wonder whilst dancing in duets and focus on the new material we have learnt. Next week I am determined to attempt more trios to challenge myself and experience different bodies in the space.

 

Keefe, M. (2003) What’s the score? Improvisation in everyday life. Middletown, Connecticut: Wesleyan University Press.

This week we delivered our research lab to the class, we challenged the class by asking: How does the change of pace and momentum affect contact in duets?

We set two different exercises for the class to practise their contact and to help explore new platforms and movement. Starting on a low kinesphere aided finding platforms on the body – therefore they could apply this to different kinespheres. We then added different kinespheres moving across the space at faster pace – changing the music to influence their movements.

From our view – the pace maintained the same throughout the experiment. Therefore, our question failed. However, the feedback was different to our visuals.

The feedback we received:

• Found it difficult to move at fast pace and they could not explore movement at the high pace.
• The only fast pace movements could be explored on the higher kinesphere.
• Students was not aware of the higher kinesphere in the exercise.
• Move at fast pace independently before going into fast pace-contact.
• The music had slight impact on the atmosphere and pace.
• Slower pace helped explore new anchor points and new movement material.
• Fast pace led to more communication to keep surrounding people safe.

I also found this feedback relatable, from demonstrating in this experiment. I found at times it was uneasy to work in the space at this pace.

 

The jam did not work for me. Having a bad day/week affected my performance in duets, so I decided to use my improvisation knowledge last year to keep my body active as a soloist. Tried to focus on gravity whilst working in duets but I preferred to work alone this week. A quote I thought about this session was:

“I don’t usually think about how to keep from falling, but rather, how to use the momentum or a quick push off a nearby surface to help me arrive on the ground in a safe manner”. (Curtis & Ptashek, 1988, 157).

This is helpful advice to know during duets – when accidents do happen; to keep moving on and making something of the fall.

Sunday 13^th November we travelled to Dance4, Nottingham, for a workshop with Feet off the ground dance. I had an incredible time working with new practitioners and new movements in my body in such a positive, welcoming atmosphere.

 

Curtis, B. & Ptashek, A. (1988) Exposed to Gravity. Contact quarterly/Contact Improvisation Sourcebook I. Vol 13.

Comparing the two videos before class helped me understand the standard of contact we are heading towards. Christenson’s The Play of Weight (2009) is slow paced and fluid with activation of the eyes. In addition, the male is mostly the under dancer and acts as the anchor. Whereas Mäkinen and Akkanen (2011) are quick paced exploring a variety of kinespheres, both having a chance as the over/under dancer. Both videos show momentum, body control and effortlessness which I attempted in class.

Moving across the space felt natural in my body this week. The atmosphere in the room was creative and experimental – this meant everyone was willing to try new things in partners. This week I focused on maintaining momentum with my partner – I tried this out with numerous new partners and it was a new sensation which felt natural but adventurous. Working with new partners meant experiencing new movements and exploring different rolling points which prepared me for the jam.

I found I still worked well as the under dancer but pushed myself to try act as an over dancer – which worked surprisingly well for me. I took on last week’s feedback and released my body, using the breath to melt into bodies. I felt what it was like to sustain my body in the air with a partner which required core strength – in future I will take any opportunity to be the over dancer as I am usually the under.

The jam exploded the positivity this week. Our confidence and trust has gradually grown as a whole this week. I personally found this jam difficult to remember all skills we have learned to date, but the energy maintained for the full jam which made me forget about my faults and helped me proceed dancing.

 

 

Neige Christenson (2009) The Play of weight. Available from: https://www.youtube.com/watch?v=Ltq6y06E8ew [accessed 8/11/16].

OmegaBranch (2011) Contact Improvisation Mirva Mäkinen & Otto Akkanen. Available from: https://www.youtube.com/watch?v=YMLbWxujoGw [accessed 8/11/16].

Focussing on weight and counter balance progressed significantly in the 3 hours. I tried to stick with the same partner for the majority of the lesson – I found it easier to lift/be lifted by someone a similar build to myself.  Leavers and Anchors is important to think about whilst taking weight. I found I work better as an anchor and I kept myself well-grounded, I believe this is due to being uncomfortable in the air as I am trying to protect my spine, as there is a chance of a lift failing and causing injury.

I also learned that momentum was key for this session in particular. Without the momentum during a lift, it would fail – which I unfortunately experienced during travelling across the room by pulling at the wrist. After verbal communication we eventually acknowledged the problem and managed to execute the movements well. Other examples where momentum is crucial are: lifting partner over the shoulder and rocking side to side – lifting the partner on the hip and outside edge of the thigh. Keeping momentum in mind made the lifts flow much easier and it was a sense of a natural feeling to lift my partner, and to be lifted. The video below shows how our momentum made our movement flow continuously.

The last 30 minutes of class we had a mini contact jam. I applied my knowledge from today’s lesson and tested some of the new movements with different partners. I found this slightly rocky to begin due to not being used to different bodies. I entered the space as much as I could, I found that my peers were afraid to try out what we learned today. Very little happened in the space and the atmosphere was not the best I have experienced. It was tough for the same people to improvise in the space because I am moving with the same people each week – I want to experience movements with new people.

I received feedback after this class, where I identified that I am not fully released whilst being lifted which can be dangerous – this is due to not working with my partner before, so I need to build trust before going up in the air. Lepkoff states “…by the time an intention has become realized in a physical action, it is too late to alter how this action is played out”. (1999). Going up with the intention of trust will change my reaction of being lifted – hopefully having this intention of trust will help me release my body.

 

Lepkoff, D. (1999) What is release technique? The movement research performance journal. Available from: http://www.daniellepkoff.com/Writings/What%20is%20Release.php [accessed 6/11/16].