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Evaluation - Advanced Choreographic Skills

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I created this sequence to explore how internet algorithms feed into people’s morbid curiosity. The dancers see what is assumed to be a person getting hit by a train. Two dancers in a mechanical way begin to encourage the other to look at the scene.

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The ‘fights’ where developed to look more authentic and intentional. We did this by improvising a fight every rehearsal so the dancers could get more comfortable and come up with new things to add or change to their sequence. This made the fighting in the final result look a lot more realistic.

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I decided to use the song Kraddy - Into the Labyrinth for its jarring sound that demands the listeners attention. I feel like this sound correlates to my theme as it relates to this feeling of being unable to look away.

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I had my dancers write down different things that can bring someone pain. I had them number each one so another dancer can pick three out at random and create a sequence from them. Movement from this task will create one sequence which is later repeated to represent what you witness coming back to haunt you.

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In class we experimented with contact improvisation by reacting to another persons touch. I decided to use this in my own choreographic practice (LO3) by telling my dancers to act out a “fight”, it’s a great technique to see what movement occurs naturally. I feel that contact improvisation is useful as a starting point you can then structure. It helps to create  flowing, fluid movement.

Contact improvisation is a technique that involves dancers improvising with each other in the space. They react to each withers touch and body to create movement.

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Learning To Avoid Death / Contact Improvisation

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Learning To Avoid Death / Contact Improvisation

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The dancers will learn how to avoid death by watching each other’s movement.

Using contact improvisation techniques I had the dancers act out a fight two times. The first time two dancers are being observed by the other so that the second time, the dancer that was originally observing is allowed to escape the situation alive.

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The personality types that make you more morbidly curious

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The personality types that make you more morbidly curious

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As a way to involve my three dancers I’ve given them each one of the elements that may make someone more morbidly curious:

1) The state of numbness and dissociation
2) Rebellion and adrenaline seeking
3) The fear, anxiety and paranoia we feel about our own deaths

I asked the dancers to use this as stimulus to move around the space.

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My dancers are all dressed in black as it is the colour of mourning and death in many cultures. It also has connotations of death approaching with figures such as the grim reaper. There is also a nod to respecting the deaths that have used for clicks online.

The dancers all dress according to the personality type I assigned them. Dissociation is dressed plainly and simple, drawing no attention. Anxiety/paranoia is wrapped in tape, representing being constricted and trapped in their own fears. Rebellion is dressed extravagantly with many accessories and stand out pieces, desperately trying to separate themselves form the other dancers.

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Research - The characteristics that make someone more morbidly curious / Morbid curiosity helping us avoid death / Watching death will help us avoid it

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Research - The characteristics that make someone more morbidly curious / Morbid curiosity helping us avoid death / Watching death will help us avoid it

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https://www.sciencedirect.com/science/article/abs/pii/S0191886921005183

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Exploring morbid curiosity; what it is, who's most likely to experience it and why it's a phenomenon to begin with. Also exploring how internet culture has made morbid curiosity more dangerous with the circulation of violent media.

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I explored the use of ‘timing’ in class by developing a sequence I made with a partner. We developed a sequence we created by adding moments of stillness, changing dynamics and exploring our rhythm responses to different music. We focused heavily on challenging our own concept of ‘timing’ in dance, making me evaluate how I create my own choreography. I feel I can now create outside of the timing that solely derives from music and experiment within alternative time frames for movement.

‘Timing’ in dance can relate to counts derived from music, rhythm or lack thereof and correlates to dynamics through the speed of certain movements.

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Putting tape on the floor to dictate where movement would go was a task that made me reevaluate choreographic possibility. After exploring ‘space’ in class I feel that in my own choreographic practice I would be more inclined to force myself into awkward situations, not taking the predictable route throughout every sequence. Especially when travelling.

’Space’ in dance can refer to your environment, personal space, central vision and peripheral vision. It provides us with where we can travel and what we can interact with.

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LO1 - Post Modern Techniques (Stimulus) 

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LO1 - Post Modern Techniques (Stimulus) 

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In groups we where asked to create a piece using three objects as a stimulus. It was intriguing to see how these objects can be taken in both a literal and metaphorical sense. I now believe that anything can be used as a stimulus for movement. I would like to use stimuli for future choreography projects as it’s great tool to gain unique movement. I also felt it was an exercise in creating spontaneous movement.

The use of stimulus is a post modern technique which uses an idea, object, music, writing, picture etc. to inspire movement.

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In class we explored ‘chance’ by writing down and numbered certain body parts before being given a randomised numbered order to work with. I enjoy ‘chance’ as a post modern technique as it can create limitless possibilities for movement. I used ‘chance’ with my dancers for my own project (LO3), having them all write down creative ways to feel physical pain and giving three of them at random to another dancer to create a sequence.

‘Dance by chance’ is a post modern technique which gives the choreographer or dancers randomised material to work with. This can be done through things such as rolling a dice or flipping a coin.