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group- yellow+red

solo- blue+purple

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Jaded is a 10 minuet piece in a show called echoes showcasing various pieces and each groups interpretation of fashion throughout the decades and how we showcase that through dance.

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Creative Director - A person who sees the overall creative input from start to finish of the piece. My role will be to fully understand the stimulus of our piece and to make sure each piece embodies the creative brief.

Friday 1st November

- Starting rehearsals I have contributed ideas to make sure we are sticking to the stimulus, that being the journey of burnout with dancers. I had an idea after the upbeat jazz funk at the start of the performance, three dancers walk in wearing the finally outfit and stand and stare and intimidate the dancers who were dancing and expressing themselves freely. Signifying how dancers are potentially feeling forced to dance or act a certain way due to upcoming trends and a change in popularity in styles. A suppression in freedom with dancing and strict rules on what we as dancers should/need to look like in order to be popular.

This idea was inspired by free your mind as they had an upbeat section with their dancers and a group of dancers came in wearing suits and glasses moving in identical order to signify their a group and they stared and intimidated before moving into the matrix section of their performance.

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Monday 11th Nov

Tuesday 12th Nov

We all came in out of timetable on Monday to rehearse and got multiple dances finished, everyone came in and we worked well as a team to make strong progression

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Injuries and teaching strategies and their effects on pre professionals in training  

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Injuries and teaching strategies and their effects on pre professionals in training  

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APPENDIX 32

Please see an attached link which describes a more in depth analysis on the reoccurring theme of injuries and teaching strategies that happen throughout the film Whiplash. And how i have related that to dancers in training to inspire and closely relate to my personal career therefore creating inspiring themes for my concept video.

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APPENDIX 0.1

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APPENDIX 1

Jaded meaning - the feeling of boredom and exhaustion due to doing the same thing a repetitive amount of times.

Portraying the use of iconic fashion trends, music and dance styles throughout the 1980s to present day and futuristic implications for the finally.

Inspired by the life of dancers the piece will be up for interpretation as we see the dancers go through the decades in a studio. Seen rehearsing styles, the performance starts super high energy with a dark contrast towards the end.

With creating this piece we hope to leave our audience with questions and to delve deeper into themselves to find the answer, are we supressing our dancers of expression?

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TXSTMUSICALTHEATRE (2017)

APPENDIX 2

High energy jazz

Heavily inspired by the Chorus Line musical, more specifically the song "I hope I get It."

The video attached was performed by the Texas State University when they performed their modern take on the 1975 Broadway musical. The musical consists of 17 Broadway dancers journey auditioning for a chorus line.

We will be using the use of mirrors, costume, individuality presented by each dancer, music and journey through a dancers life and headspace facing the challenging notions of the industry.

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"I Hope I Get It"- A Chorus Line @ Texas State University

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Michael Jackson also known as king of pop became infamous for his one after another chart topping songs from Billie Jean, Thriller and Beat it to name a few. His music inspired people to get up and dance, in the 80s it wasn't about being incredible at dance if you wanted to join in with no prior experience you could.

Music heavily inspired and helped the dance scene to grow including Michaels Thriller music video with the thriller dance choreography

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"It wasn't just an expression; it was a lifestyle."

This quote expresses how dance in the 80s spread like wildfire and was popularized because people truly loved it.

The evolution of 80s dance culture (2024)

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Starts with instrumental music dancers walk in one by one with bags water bottles in hand, mirrors are in the back facing the audience. dancers face the mirrors checking their hair, some are stretching as if they are getting ready to start class.

In the corner is an old fashion radio player, someone presses off button and warm up music stops and they say "everyone standing in positions ready!" then presses play to new song and all dancers face the audience and break out into high energy ensemble.

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APPENDIX 4

Friday 1st November,

Today I created this choreography towards the piece.

This choreography would possibly be put in after the opening dance which is high energy jazz and Lucy’s tap solo.

As the performance transforms the music gets darker and the meaning of the piece flows into a darker meaning of a dancers burn out. We didn’t want the music or shift in mood and choreography to be to sudden so this piece will foreshadow the ending.

The intent behind this piece is to be intimidating and a contrast to the high energy beginning. To foreshadow the dancers will eventually become burnt out.

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Friday 8th November

Today I put my choreography on a group of 7 of my peers, I like the bigger group as I feel it adds to the tension. This piece is the piece before the finally, so it needs to add tension to our finally piece which will be are climax.

In this piece the dancers are loosing expression and there movement becomes more clean and staccato which is contrasting the beginning pieces in our performance.

My experience so far

I have had positive experience working with my dancers and choreographing on others, I feel I am confident in leading and directing pieces.

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I feel confident I have contributed to every piece in our performance, from adding in cannons or adding more movement. If my peers are stuck with movement I will suggest ideas. I feel I am constantly working with my peers to make this a great performance.

I feel as creative director I have done well in relating back to are stimulus and with each piece contributing ideas that fit with the narrative of our overall performance.

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Friday 29th November

80's Jazz Opening

90's Jazz Funk

Bloodstream

2000's Commercial

Bloodstream

Futuristic Commercial

Futuristic Contemporary

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80’s Jazz

APPENDIX 3

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APPENDIX 7

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APPENDIX 8

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APPENDIX 9

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APPENDIX 10

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APPENDIX 11

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APPENDIX 5

Unfortunately due to personal reasons we have lost one of our members going from 9 to 8.

Thankfully we have been working really hard as a team and every Monday in November we have gone in and done an extra rehearsal.

with this extra rehearsal we have been able to adapt all the dances and thankfully there was no drastic changes necessary.

Unfortunately all week I haven't felt well enough to attend university and currently the show is next week, I have continued to have good communication with my team throughout my illness. Fortunately we are in a good position where my absence isn't to crucial as I am confident with all choreography and next week I will work hard to catch up on anything missed.

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APPENDIX 6

Wednesday 27th November

We performed Infront of the whole year, with us coming in every Monday for extra rehearsals throughout November we are in a really good position.

We decided we are feeling strong and confident in the choreography enough to actually test out the costumes, we noticed we were the only group to trial costume throughout the run.

The costume defiantly added extra stress and highlight some issues in the quick changes, there were a few points we didn't make it on stage in time for the routines.

However this has put us in a good position for fixing these errors to make sure on Thursday it can go as well as possible. To fix the issues we are going to be taking dancers off earlier and for some of the costumes we have made them more simple and easier to change into.

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APPENDIX 33

I took note of the feedback Jasmin gave us and sent it into our group chat, and asked everyone to use it as a guide for future sessions. We have already ticked of this list and now in the position to be cleaning the dances as we are happy with the material and storyline intentions.

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This abstract dance piece explores the evolving journey of dancers through the decades of dance history, transitioning seamlessly between iconic eras—from the high energy of 80’s jazz to the rawness of contemporary and commercial styles. As the piece progresses, the choreography becomes increasingly distressed and frantic, symbolizing burnout and exhaustion. The dancers' struggles  highlights the tension between artistic ambition and the overwhelming demands of their craft, summarising in a powerful statement on perseverance, resilience, and the cost of creative passion.

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APPENDIX 34

Unfortunately we lost a member due to personal reasons, but thankfully due to us working well as a team and having strong communication skills we were able to quickly adapt are dances and move forward quickly.

Due to being in a good place because for the majority of the process we came in every Monday for additional rehearsals. We felt confident in are performance and the progress we were making.

Unfortunately I also became ill in the same week of a members absence, I communicated everyday with my team and they adapted and changed any pieces on my behalf for me.

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For movement quality and dynamics I am inspired by Malou Linders.

"Malou is an Amsterdam based choreographer and educator that aims to portray dancers in the strongest way possible. Through her choreography she likes to evoke a combination of sensuality, mystery and power."

Linders , M. (2024) Choreography & training, Malou Linders. Available at: https://maloulinders.com/ (Accessed: 13 December 2024).

Although Malous choreography, classes and intensives are usually taught in heels I still take inspiration from her overall quality of movement and how her choreography portrays her dancers.

It was important that my dancers for my piece felt powerful and presented a powerful demeanour as this piece is the transition into the darker section of our performance.

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“CONTROLLA” Drake | Choreography by Christin Olesen & Malou Linders

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Linders , M. (2024) Choreography & training, Malou Linders. Available at: https://maloulinders.com/ (Accessed: 13 December 2024).

The evolution of 80s dance culture (2024) Newretro.Net. Available at: https://newretro.net/blogs/main/the-evolution-of-80s-dance-culture (Accessed: 12 December 2024).

TXSTMUSICALTHEATRE (2017) YouTube. Available at: https://youtu.be/R97Iml6f9GA?si=5BQMTmbcQMh2xW6- (Accessed: 12 December 2024).

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The lighting throughout are performance Jaded starts with bright colours then transitions into dark and shades of green to emphasise the burnout through the technique of lighting strategies. The gradual loss of colour symbolizing how the dances are also loosing expression in themselves and their movement.

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APPENDIX 13

This was my original idea however I have completely changed this idea. Despite still liking this idea, I feel I will have more creative freedom with my new idea.

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APPENDIX 18

costume inspiration worn by Andrew Neyman (movie protagonist)

Climax of the movie, will also signify the climax of my concept video

please read attached link of a deeper and in-depth description of why I chose this costume from Andrew as inspiration.

please see link here

Document4.docx

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casual outfit for opening on the left and on the right is gym outfit for workout scene, please see attached work document for more in depth description on why I chose these outfits and how they portray the movie and its story telling.

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I chose for my final outfit, black tights, white shirt, Laduca heels.

The outfit was easy to dance in and I was happy with my final outfit, if I was to do it again I would put a black tie with the outfit and maybe a black blazer.

Here you can see the outfit before the "crash scene" or climax the suit is clean then I used fake blood in an effort to create similar impact to the movies after the car crash scene. The blood signifies desperation as a career driven character that will stop at nothing to pursue their dreams.

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APPENDIX 20

song Caravan by Juan Tizol and Duke Ellington

I chose this song as it is the song Teacher (Terrence Fletcher) repeatedly uses when training his band for performances, there are multiple intense scenes used with this song to foreshadow the films ending with Andrews drum solo and well anticipated success also being to the song Caravan.

an example of tension built through the use of the song is when Terrence says to student and protagonist Andrew Neyman

"Were you rushing or were you dragging?Oh my dear God - are you one of those single tear people? You are a worthless pansy-ass who is now weeping and slobbering all over my drum set like a nine year old girl!" REFERENCE HERE

a quote to show one of the many verbal abuses directed at Andrew by Terrence, signifying their toxic and intense relationship as student and teacher. Terrence said this to Andrew when the band was collectively practicing the song , the abuse was directed at Andrew causing him to cry from embarrassment.

As Andrew later performs and has incredible success to this song later on in the film it raises the question of whether the treatment, although toxic and stress inducing, from Fletcher was all with good reasoning in the end.

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final creative brief for concept "Whiplash"

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APPENDIX 14

final idea

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costume ordered

fake blood

white shirt

drum sticks

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To my interpretation the drumsticks in the movie further amplify the story telling of the ongoing desperation in Andrews character. In the first few scenes we see Andrews drumsticks are clean just your usual drumsticks. As tension builds in the film we see Andrews become bloody as his hands blister and bleed from endless practice sessions in order to impress Fletcher and get a spot in Fletchers band, the Shaffer Conservatory Studio Band.

The sticks represent Andrews decline in mental health and personal well being, as in the beginning he is motivated however his life is not yet consumed by his craft. The more the film perseveres so does his decline in his mental state and an increase in desperation for self perfection in his craft.

In my concept the drumsticks will be used to also signify the rapid decline in mental state and desperation for success told through movement and through the use of props.

I will start with the drumsticks clean and no blood, seen throughout the visual in the background. I have created motifs around the sticks to represent the motivation yet no desperation as of just yet. As my concept continues I will be using fake blood to add the affects similar to the films with the amplified desperation as Andrew trains until the sticks are bloodied.

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APPENDIX 15

Please see attached link for my piece structure over view

piece structure year 2 solo.docx

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The obstacle-

The obstacle that Andrew faces in the film is a Car crash that leaves him bloodied and injured before his big performance. In my concept video I wanted to showcase an obstacle that although not physically damaging still will affect and create a challenge for my character in this piece.

The first letter being a rejection letter stating that unfortunately there will be no further continuation for my characters involvement with a large company. As my character is seen throughout working tirelessly this rejection affects them greatly. I will visually show this affect through the change of costume with blood on it, symbolising the costume from the film after the crash.

The second letter that ends my piece is the acceptance letter into my characters dream job. Whiplash provides social commentary on the lengths individuals can go for the sake of success, damaging mental health, destroying personal relationships and even pushing through physical injuries. The film questions whether in the end its worth all the sacrifices made, which is left up to the viewer to decide.

The ending of Whiplash has inspired the ending of my piece as my character similar to the films, after all the pain and hard work is granted with the success they dreamed off.

Andrew (film) gets his drum solo and validation from Terrence.

And my character gets the acceptance letter for there dream job.

However it is up to the viewer to decide whether after all the work, sacrifice and potential injuries the dedication to success is worth it.

I have decided to have my character to be completely emotionless after receiving the acceptance letter, it is often that dancers loose passion after beating the love out of it by taking it to seriously so i aim to create this impression on my viewers.

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APPENDIX 28

Motif ( a short movement phrase that can be developed through the use of choreographic devices)

As movie protagonist Andrew is an aspiring drummer and is seen countless times in the movie practicing solo drumming. I have created a foot tapping and hand drumming motif.

There is a moment in the film where Andrew is shouted at by his family for constantly tapping rhythms on the table, this signifies even when around family he is constantly focused on his craft. Emphasising the take over affect drumming has had on his personal life as well as his aspiring career.

I will first be performing the foot tapping and hand drumming motif with emotions of joy, desire, motivation and happiness. I will be showcasing the motif with little energy as i would like to develop this motif to be much more extreme towards the end of my concept for a dramatic effect and to represent the decline of my characters mental state. Relating to how Andrews mental state was declining through the film with the more he was mentored by Terrence, sacrifices he made and injuries he pushed through.

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APPENDIX 24

The reason I chose this space for filming is because the gym is in my apartment so it is easily accessible, free and I am aware of the quietest hours for filming.

15th March-

After filming my gym scene, i am pleased with the location i chose. If i was to use this space again i would make more use of the entire gym as opposed to the one room i chose this time.

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main choreography and main location space - indoor 

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main choreography and main location space - indoor 

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APPENDIX 25

This space is in my apartment complex so it is easily accessible, free and usually has no one else in it, so it was perfect for filming my concept.

I am really pleased with the visuals i was able to capture using this space and definitely will keep it in mind for future projects. To expand for future projects i would consider filming at night time as the lighting is much different and sets a different tone.

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main choreography and main location space - outdoor 

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main choreography and main location space - outdoor 

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APPENDIX 26

Whilst choosing an outdoor space i needed to be careful with the weather, i would like my concept to be shot in the sun as i feel that would fit the tone and dynamic of my piece very well. I have been on top of checking the weather for Saturday and it seems like it will be sunny which is perfect for my piece.

The space is clean and has nice decoration and layout which works well for the visual aspects of my piece as i want it to be as visually appealing as possible.

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Setting and location i have chosen not to go forward with:

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Setting and location i have chosen not to go forward with:

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APPENDIX 27

This was my original location, located in the Northern Quatre in Manchester town.

I was initially intrigued by this space due to the graffiti walls, structured buildings and busy setting with civilians.

However i chose not to use this space as after visiting i realised that it was to busy to film with how many people where there it wasn't realistic.

Thinking of time efficiency i decided that a much less busy location would be important for me to quickly and efficiently capture my choreography without disturbing others.

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APPENDIX 29

here is the motif developed through the use of emotions and props included.

At first the motif is used with just my hands i then have chosen to add drumsticks.

the drum stick motif starts in the first costume change after watching the tv screen filled with inspirations.

The drumsticks are clean, i am excited to be using them and dancing with them.

As the climax hits the drumsticks are bloodied and the movement has become much more frantic and change of tempo with choreography when using them.

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APPENDIX 23

I have created a visual for the tv screen in my location, my character walks up to the screen and watches drumming pioneers on screen. such as Duke Ellington which links to my piece as he is the original creator of song Caravan. Also showing clips of Buddy Rich, which in the movie is Andrews biggest inspiration and Buddy is consistently mentioned by Andrew throughout.

I chose to add drum pioneers that relate to the movie and Andrews character as i feel it sticks to the theme.

The tv screen scene plays out that my character (myself) walks up to the screen in casual clothes witnessing the pioneers on screen. The camera then pans from the screen back to me wearing my first costume change, that being the suit inspired by the movie alongside drumsticks as my prop.

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APPENDIX 30

here’s a video showing the development of my tapping motif throughout my concept video

Choreographic devices used-

Repetition (repeating a movement or phrase to highlight importance)

Size (condensing or expanding movement)

Tempo (varying the speed, creating sense of new emotions for example excitement, calm or urgency)

Rhythm (manipulating timing and patterns with movement)

Quality (altering the way movement is performed)

Fragmentation

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APPENDIX 16

piece overview-

please see attached link for my piece overview, explaining the important scenes and inspirations I have taken from the movie and themes I will be showcasing throughout my concept piece.

https://boltonuni-my.sharepoint.com/:w:/r/personal/nr18ocd_bolton_ac_uk/Documents/Year%202%20choreographic%20devices%20solo.docx?d=w1d05ad89450e4eaf8bd0ace7b3467054&csf=1&web=1&e=ooYfIu

The movie is about how the pursuit for success can consume your entire life, joys, dreams, identity and relationships.

There are many interpretations of the film, it shows a toxic relationship between Andrew (protagonist student) and Teacher (Terrence Fletcher). Andrew is desperate for Fletchers approval, however Fletchers approval is extremely difficult to earn and may never even come.

I personally interpret the film the show the resilience and power of Andrew whilst still telling a cautionary tale about how excessive sacrifice for the idea of artistic perfection can dramatically alter ones life and personal well being.

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1st March

Here are some clips that i trialled whilst in my original location which i have now changed.

These were filmed in the Northern Quatre, i am trialling movement and using the space to see what it would look like on film.

Although i liked the area it was to busy to film here, i can be seen trialling the foot tap motif as well which i have decided to stick with for my final piece.

I was experimenting with angles and have taken some inspiration from these clips for my final visual.

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APPENDIX 31

In order to gain more knowledge into the creative processes of choreographers, "A Choreographer's Handbook" by Jonathan Burrows offers insights on the complexity that is making dance performances. Burrows, an internationally renowned dancer and choreographer states:

"Choreography is a negotiation with the patterns your body is thinking." ​Burrows, J. (2024)

This book serves as both a personal reflection in Burrows journey and a professional guide for other professionals within the entertainment industry.

25th Febuary started choreography

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why i chose a film as inspiration- Appendix 

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why i chose a film as inspiration- Appendix 

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APPENDIX 17

​I loved the movie whiplash upon first watch, i love the visuals, editing, intense script and storyline.

In Book

"The Art of Watching Films", Joseph M. Boggs and Dennis W. Petrie sate that film analysis enhances our experience when watching movies and expands are appreciation by engaging us intellectually and creatively. The analysis of movies we love leads to a deeper understanding and enjoyment of the films we enjoy to watch. Boggs, J.M. and Petrie, D.W., (2020).

Further highlighting my reason for choosing the movie whiplash to use as a stimulus and theme for my concept video.

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APPENDIX 12

I hope you enjoy watching this as much as i enjoyed creating it!

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APPENDIX 35

I chose to not add this section into my final piece, i chose also not to edit the clips how i would have in the final concept. However here are some of the clips i took for the workout scene.

I hope you can see from these clips my original inspiration and reasoning for why i chose to originally do this scene.

However for visual purposes and story telling of my piece i feel it visually looked better to not add these clips.

Instead of this scene i have decided to add more emphasis on my motifs, that being my drum motif with the clean drumsticks. I feel pleased with how the replacement scene looks and i do feel i made the right decision to change it.

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here are some editing techniques i have trialled through cap cut to emphasize tension and stress in my concept visual. This clip is my ending and i wanting to build the tension through the use of visuals and music also.

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Dance , L. (2024)

Short clip shows how actor Miles Teller when playing character Andrew Neiman in Whiplash actually suffered from injuries and exhaustion as real drum practice went into the role.

This further amplifies the notion that creatives will do what it takes for success at their craft as actor Miles put himself through pain and rigorous training to perfect the role as Andrew.

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Miles Teller trained like a beast for Whiplash

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In this scene in the film we see Andrew practicing on his own, he trains until his hands bleed and becomes so frustrated he smashes his drum set and sticks.

He is training past the point of pain and injury, further suggesting he has lack of self boundaries and will stop at nothing to get his success.

Award Clips , A. (2017)

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Bleeding Hand and Smashes Drum | Whiplash (2014) | 1080p HD

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Reference list solo-

Angelov, V. (2023) You, the Choreographer: Creating and Crafting Dance. Abingdon: Routledge.

Award Clips , A. (2017) Bleeding hands and smashes Drum Whiplash , YouTube. Available at: ://youtu.be/7pA_xYbJIbM (Accessed: 07 April 2025).

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Boggs, J.M. and Petrie, D.W., (2020). The Art of Watching Films. 10th ed. New York: McGraw-Hill Education.

Burrows, J. (2024) A choreographer’s Handbook. London: Routledge, Taylor & Francis Group.

Cavendish, P 2013, The Men with the Movie Camera : The Poetics of Visual Style in Soviet Avant-Garde Cinema of The 1920s, Berghahn Books, Incorporated, New York, NY. Available from: ProQuest Ebook Central. [7 April 2025].

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Dance , L. (2024) YouTube. Available at: https://youtube.com/shorts/fuZTZS1NVB8?si=QQevTi3I5jL-FUSG (Accessed: 07 April 2025).

Flatt, K. (2015) Choreography: Creating and Developing Dance for Performance. London: Royal Ballet and Opera House Enterprises.

Gow, J. (1994) 'Mood and meaning in music video: The dynamics of audiovisual synergy', Southern Communication Journal, 59(3), pp. 255–261. Available at: https://doi.org/10.1080/10417949409372943 (Accessed: 10 April 2025).

Lemoyne, J., Poulin, et al. (2017) Analyzing injuries among university-level athletes: prevalence, patterns and risk factors. Journal of the Canadian Chiropractic Association, 61(2), pp.88-95. Available at: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5596969 [Accessed 7 April 2025].

Mendes-Cunha, S. et al. (2022) ‘Dance-related musculoskeletal injury leading to forced time-loss in elite pre professional dancers – a retrospective study’, The Physician and Sportsmedicine, 51(5), pp. 449–457. doi: 10.1080/00913847.2022.2129503.

Nicholson, R.K. (2021) Fierce and delicate: Essays on dance and illness. Morgantown: West Virginia University Press.

Schaie, KW (2005), Developmental Influences on Adult Intelligence: The Seattle Longitudinal Study, Oxford University Press, Incorporated, Cary. Available from: ProQuest Ebook Central. [7 April 2025].

Smedley, N 2014, The Roots of Modern Hollywood : The Persistence of Values in American Cinema, from the New Deal to the Present, Intellect, Limited, Bristol. Available from: ProQuest Ebook Central. [7 April 2025].

Teachout, T. (2004). All in the Dances: A Brief Life of George Balanchine. Harcourt.

University of Bristol, 2025. [online] Available at: https://www.bristol.ac.uk/library/subject-support/libraryskills/referencing/ [Accessed 7 April 2025].

Zadina, J (2014), Multiple Pathways to the Student Brain : Energizing and Enhancing Instruction, John Wiley & Sons, Incorporated, Newark. Available from: ProQuest Ebook Central. [7 April 2025].