WEEK 9 Music to my ears

Musicality- Can it hinder or help your creativity?

For the first time in our improvisation journey, we were able to include music into our work. It came to our attention that music can sometimes be the drive to our movement and act like an invasive director rather than an accompaniment.

We worked a little bit on juxtaposing the music with our improvisations. For example, if the music was made up of tribal drum beats, our opposing movement would be gentle and fluid rather than surrender to the music and follow the heavy sharp beats of the drum and vice versa.

Although we spent such little time on this, I took this from the class and transferred this rebellious skill into the jam session a few days later. Coming from a balletic background, I used my knowledge and habitual fluidity to go against the drum track. On reflection, it sounds strange. To knock out habitual movements associated with sound... with the balletic habitual movement that I have been blocking out for weeks. I must admit, it looked awfully strange.

However, when we used music that we knew I found that we would almost forget about all of our theory and we just moved. We still maintained our knowledge of habitual movements, space, time, relationships etc. but that is what it had become... knowledge! As if it had sunk into our brains that our bodies finally understood without massive amounts of concentration needed.

Have we, as a collective, clicked? Do we understand how to improvise as one?

WEEK 8 A New Look

In this week's blog post, I wanted to take a pitstop and look back at my improvisation journey.

At the beginning of my journey, I said that I hated improvisation and that I would panic every time I was put on the spot. For the past few weeks, I feel that I have somewhat gained knowledge of improvisation at an entry level and maybe in the next years, I might progress into a more advanced level of improvisation. But for 8 weeks practical work, readings and writing I've learnt more that I expected.

Recently, we've moved on from habitual movement being the main focus to scores. What are scores? How they can be used? How can they help or hinder creativity? This week's lesson I found harder to grasp. The assigned reading about RSVP cycles by Anna Halprin was, to me, an introduction but not a clear guide.

RSVP refers to all elements of improvisation. Resources, Score, Valuaction and Performance

In class, we played with this RSVP cycle- like we usually do. We were given instructions on creating a score and drew our interpretations on paper and passed them to each other to perform. This was a lot more difficult than I imagined because although we knew what our score was, other groups would see it differently and we would see something we didn't expect. This made it clear that no matter how clear a score may be, someone will always interpret it differently to what you intended.

WEEK 7 Whats the Score?

Can a score be a helper or a hindrance?

I feel like I've understood the readings by Millard and Husemann and today in class, we put it into perspective in a physical sense. We played with the techniques that were used in both papers. My favourite was from Husemann's paper. A score method called it's better to, which included verbal interactions which triggered a physical response. This method was carried out by a string of statements that had no relevance to each other and each statement would evoke movement that would show the statement. For example, one might start with 'It's better to eat cheese' and the dancers will create movement that links to this and another might follow that with 'It's better to be a bird' and so on. This was a really fun way to let go because we all, as a collective, felt stupid but we were doing it together. To me that's the best way to bond and build confidence in our actions. 

Following that, It's better to became more of a game, similar to what we did with the beanbags in week one. It gave us the opportunity to work as a group with everyone taking part which is something we don't usually do. One of my biggest insecurities when improvising is being judged and watched, so this exercise really helped me loosen up and and have fun with it! Sometimes it's better to be an observer, sometimes it's better to think about yourself instead. 

Bibliography:
Husemann, P. (2005) The Functioning of Thomas Lehman's Funktionen. Dance Theatre Journal, 21 (1) 31-35.

Millard, O. (2015) What's the Score? Using Scores in Dance Improvisation. Brologa 40, pp 45-56. Viewed 12 March 2017

WEEK 6 A Different Type of Mime

"Why do I move?" "What makes me move?" " What does this moving mean to me, if not others?" (Nelson 2003)

The reading assigned was a report by Lisa Nelson, and I found this reading difficult. Not because of the terminology, but the introduction and the concept of a score baffled me. To me, a score has always been present but I have never noticed it. Similar to a constant noise that over time you've gotten used to and forgotten about.

A score, from what I understand, is the idea of motivating movement by inspiration. Like a creative dialogue that includes emotion, imagery, anatomy, etc... the list goes on.  For example, a score could be to show the emotion of happiness or anger or intimidation which could lead to a dynamic value to movement. Another example is to improvise with the idea of movement that leads with a part of the body, like your left knee, or the top of your skull.

This piece of writing by Nelson, made me realise that in ballet terms, this would be miming. I remember when my dance teacher would shout that I've been heartbroken, and I cannot live without the love of my life while I was rehearsing La Sylphide. But in this case, miming just got intense to a whole other level and instead of mimicking a scenario, I am creating my own scenario through the foundations of a score.

Bibliography:

Nelson, L (2001) Seeds of a Dance Practice. Unpublished. Available from https://tuningscoreslog.files.wordpress.com/2009/11/before-your-eyes.pdf  [accessed 6 March 2017]