- Describe (giving practical examples) how you have developed two of the original motifs by varying the actions, space, dynamics and relationship content.
For Motif 2, I have developed the chair motif by changing the dynamics and varying the action, not covering a great space because the actions are done on a chair. The motif development starts with the dancer sitting on the chair facing stage left. Then it starts with the dancer brushing her right hand through her hair and leaning off the chair slowly. Turn to face the audience, leaning off the back of the chair and two arms raise to the left side with the left above the right, this is done with strength and arms are rigid. Getting off the chair, turn to face stage right and left leg rises to attitude position gradually, right hand is holding the back of the chair for support and the left hand stretches forward with fluidity.
For Motif 1, I have taken the idea of the feeling of a collapse as the dancer often builds up movement before suddenly collapsing. by simply taking this idea, I have implemented this idea in a few of my movements - for example, instead of doing a side tilt normally, I decided to keep my leg in the tilt for a suspended moment before suddenly collapsing.
- How have you used original and varied action content within your choreography? Describe in detail using practical examples.
At first glance, the motifs in my composition are not obvious because I have thoroughly developed and mixed all the ideas from the 3 motifs together. For example, from Motif 2 (The Chair), I have used to same hair brush and the same hand gestures and movements throughout my whole piece, and it is not performed on a chair either. I have used original movements that have not come from the motifs and incorporated small gestures to link it to the motifs making the movement content original yet still linking to the motifs.
- Have you got contrasts in dynamics in your dance? Define the term dynamics and describe (giving a practical example) of two contrasting dynamics used within your choreography.
I would define 'dynamics' as the way in which a movement is executed including the speed, fluidity and sharpness. For example, a ballet would stereo-typically have dynamics including gentle, slow and graceful while a hip-hop piece would normally be described having dynamics such as fast, jerky and sometimes robotic.
In my dance piece, two different and contrasting dynamics I have used include a sequence of movements that is strong and jerky, and another sequence that is slow and fluid.
Strong and jerky sequence --> I stick my right leg to the side at an awkward angle while my arms are straight and strong on my right side, with the left hand above the right. This is done twice, very strongly and getting to the position quickly.
Slow and fluid sequence --> On the floor in a half split, I bend backwards and bring my right arm around in a circular motion slowly. After, I roll on the floor before fluidly getting up - at the same time my right hand stretches upwards as if I had pulled myself off the floor.
- Describe how you have used space, levels, pathways, entrances and exits effectively. (Give two practical examples and draw a clear floor pattern)
Looking at my floor plan, I think through the dance there is a lot of travelling and quite a lot of space used. Also, there is a wide range of levels throughout the dance as there are moments where I am on the floor, others where I am just standing, another where I jump and finally at the end of the dance I stand on the chair.
- How and to what effect have you used repetition and development, contrast and variation and union/canon in your piece?
Repetition --> sometimes certain actions are repeated twice to enhance its effect. For example, there is a section where I stick my arms to the side at an awkward angle with my right shoulder protruding out. I shuffle back into this position after doing it once, to further emphasise the movement.
Development --> it is quite obvious that from Rosas Danst Rosas to my final dance piece, there are many sections that I have developed until it has become almost unrecognisable. Most of the motifs have been developed using addition and subtraction, extremes of space and changing to dynamics.
Contrast --> The only times I have highly contrasted movement content include moments where small and slow movements are done, followed by fast and big jumps are done. Having these two actions one after the other highly contests the two and emphasises both movements.
Union/Cannon --> It is not possible to use union or canon as this is a solo composition.
- Is there a climax to your dance, and are there highlights leading up to it? What impact does this have on the observer?
There is a climax in my dance because of the clear structure in the music that builds up to the climax - a louder and more emphasised section of music. During the climax, I perform a jump to complement the music. I think the tension before the climax leads to a higher excitement and interest in the dance for the observer.
- Is there a clear structure to your dance? (Binary, Ternary, Rondo) Describe.
I think my dance carries the Ternary structure as it starts on the chair, followed by a centre section and then an end section that finishes the dance on the chair again. A ternary structure is described to be a composition in 3 sections that is ABA. In my opinion, the structure to my dance is quite straightforward as it starts on a chair, and ends on a chair. However, my middle section takes up the bulk of the composition and the beginning and ending chair sections are shorter.
- Have you chosen an appropriate accompaniment to enhance your dance? (Describe in detail commenting upon the musical structure, tempo, nuances in style and whether or not you have directly correlated the music with the movement vocabulary)
The accompaniment I have chosen is entitled 'Breath and Life' by Audiomachine. It was my favourite song to choose for the task as there was a clear structure to it - a beginning, middle, end and also a climax. The movements I perform are often correlating with the music as I think this creates a better effect for the audience - to have both the movement and also the sound produce the same effect. The tempo of the accompaniment varies throughout the song, ranging from a more slow tempo to quite a quick one afterwards. Sounds used in the accompaniment are mostly electronic sounds, as well as a steady beat. There are also choir voices in the background.
- How have you used the feedback from your teachers and peers to bring about improvement?
I have always taken the advice and feedback from my teachers and peers to try and improve my piece because I think it is important to look at my dance from another person's point of view. For example, I have been told to include greater and more exaggerated dynamics. As a result, I have tried and developed my motifs to include a greater range of dynamics such as more contrasting speeds i.e. : fast and slow, gentle and jerky.
- Evaluate your own choreographic process. Comment upon your personal strengths and weaknesses as a choreographer during the process of composition.
In my opinion, I have had quite a successful choreographic process. A strong point is that I am willing to restart and remove a movement and section of dance if I am not satisfied. If I was unwilling to change the movements that I do not like, I may end up being rather unsatisfied with my final dance. On the other hand, a weakness I have realised that I have includes the fact that I find it difficult to ensure that the movements I am choreographing link to the motifs I have been provided with as sometimes I tend to go on tangents.
- What is your personal opinion of the end result - are you pleased with your composition? If so why? If not what are the areas of development to work upon as a choreographer.
Overall, I am very content with the end result and I like the overall effect of how the music works together with the movements. Particularly, I am very happy with the fact that I have managed to link many of the movements from the motifs, as mentioned before, I tend to forget about the motifs. As I have managed to bear the motifs in mind, even in the smallest detail, I can still see a taste of Rosas in my composition.
