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This is my padlet for Unit 2 Creative Structures and Processes.
You can find attached reflections, observations as well as footage of three different creative processes such as: The protest project, Sake's composition classes as well as Lola's composition classes. I would advise to read my padlet starting with the Protest Project then Seke's composition classes and finally Lola's.
My essay is also attached to the right.

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Strategies we came up with to create a sense of coherency / cohesiveness in our short solos/duets:

Repetition of patterns
Working with spatial pattern or creating a specific tension in space

Use of eye contact / a specific use of focus
Following a linear progression (i.e from small movements to bigger ones, working on a crescendo)
Loop structure (start and end in the same way)
Setting up a clear and identifying goal (i.e. to cross the space)
Working through cause and effect
Setting up a geometrical or mathematical logic
Creating systems, loops, cycles
Deciding on a specific way to embody all movements (i.e. being wobbly, floaty or resisting against the floor)
Creating a narrative
Setting up a series of rules that can be identified by the spectator
Embracing randomness and sticking to it until it makes sense

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These are notes from Eva's feedback that I took after a rehearsal :

As an audience not seeing a protest anymore. Seeing rather more motifs, care, intrusion, manipulating

Where is the protest?

What is the context? Does is makes sense?

Need to underline what is constant, coherent and the directions

Realising what we have produced and work on it again not just dropping the material

Look at footage of Friday the 21st of Jan and other days.

Map the structure, less and less material can be new

Make rules and guidelines

Deeply understand, the journey and frame of time

It is very attractive to start new things because it is full of possibilities. There is Home space like a hub in the centre.

Moments in the centre, what do they bring to the piece, what's there purpose.

The pace picks up so as the energy. How forceful, how loud, how gentle, how orderly, how messy, how neat...
We need to think about the intentions it can be hard when we're in improvisation all the time.
We are all visible in the space as a group but also individually. When we're all trying to feed the project with ideas there is a kind of main character feeling which disconnects everyone from The GROUP!!

Movement: flocking (listening-watching- encountering the space, the temporality, sensations, feel the space)

Identity, a collective, unity, togetherness, it’s about the us, solos, leader or follower or opposite.

See what something is going to lead to.

Notion of COLLECTIVE!

A Bond is created through the scarf.
Remaking the bond/ Breaking the bond : Creates a bond. Linked, chained, boundary

Intertwining, Being reactive, moving as a group.

Sound:

What’s the focus? SILENCE?
What is it about tension that also implies something is going to come. Calmness, interesting type of calmness, the movement changes the calmness, focus, be more observant of each other! Helps tuning in.

Using new dimensions, different agencies, invisible conflits, the phone, the observers, the commentators.

Are we keeping the same roles, switching, looking at it, commenting on it.

Support, barriers, lying on the floor.

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This is an audio version of the reflection I wrote on the organic and juxtaposition development in composition. 

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Reflective Audio on Organic and Juxtaposition Development 

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Reflective Audio on Organic and Juxtaposition Development 

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Organic and Juxtaposition development self- directed session

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Organic and Juxtaposition development self- directed session

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On the first day we met Lola she asked us about what we thought about movement and its specificity.
These are some of the words/ Ideas we mentioned :

Dynamics
Duration
Speed
Musicality
Rhythm
Volume. Range of movement
Levels
Directions
Distance / proximity
Use of space. How much does it travel?
Are we producing sound (vocals, percussion etc) ?
Use of weight
Amount of force or muscular tension
Form / position
Shapes
Focus
Relationship—between bodies, with objects, with the space, with music...

Is there contact?
How does the movement start? How does it end?
Use of repetition / motif
Is it abstract? Is there a narrative? Are there symbols? images?
Type of action
How does the movement make the mover and the audience feel?

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The link to the composition class with seke 

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The link to the composition class with seke 

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https://drive.google.com/file/d/1Fjynj_-2DBx4yk_XLUB5-us_lxIKhtMY/view?usp=sharing

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In this hour-long class, we explored moving without stopping and making eye contact with people.

The movement could be anything there was no preferred style, any type of movement. We had to make eye contact with people in duets; these were some of the tasks given by Seke:

-Finding a way to never be at the same rhythm/opposite

-Doing the same movement/copying/listening to the other

-Stopping when the other is moving

Seke guided us for 40 mins, he gave us instructions to follow. Therefore, the movement in itself was free to be whatever, where ever, (Whenever), and however.

I would qualify it as like a huge playground.

When we were near the end we mixed all of the instructions and let it be more random and self-directed.

We talked after the improvisation; We said that in this group (B), we find it easy and conformable to share and explore together. The topic of comfort in dance and especially in improvisation came to the table. We are always told to go beyond our comfort zone, why can't we stay within that?

I agree, we were comfortable in that improvisation and in the climax part of it which created and displayed more of a unified group than just duets. Therefore, we as a group often get trapped within that climax which is great because we let things happen without any judgment or criticism. But, how do we get in and out of that feeling? What are the parameters? What is the longevity of a material, and for how long or short...are we going to hold this for? These parameters are like tools that build improvisation. As viewed in previous sessions, making a score, setting tasks, giving ideas, and rules, and saying yes to everything.

I felt like the sessions with Seke in group B were so easygoing.

After the protest project, I could feel a difference in the dynamics, the ideas, the relationships between all of us.

We were more at ease in coming in and out of a material or a task given within the class.

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Link to an extract from a 15mins video 21/01/2022 (Day 5)

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Link to an extract from a 15mins video 21/01/2022 (Day 5)

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We talked and came back a lot on this video/Improvisation as a reference in the group. As I mentioned earlier in my reflection, the process in itself was the most nourishing part but if I had to think about our most interesting, intricate, and original version, it would be this one.

We talked with the group as well as with Tom and Eva and we all agreed that we couldn't base our standards on that rehearsal because the improvisation changed every day depending on the space we were in, but also, the state of mind of each person which drastically influenced the energy of the group. Changing studios was interesting because we got to see how the group adapted itself and how it influenced the piece depending on the light, the sound, the architecture, and the objects within these spaces. Many factors made the piece evolve and change all along this process.

I think that's what made it so valuable, the fact that we continuously had to adapt and think about what could happen next, forced us to see and work with the space and the people within it.

In my opinion, that's why it made the project so relevant because there was a connection in the structuration and development of the project that was inspired or maybe resembled one of a protest.

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Protest Project Improvisation    SD 480p

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On Monday The 17th of January 2022 we started the protest project with teachers Eva and Tom. We started by thinking in groups, about what made us angry in general and then shared it. From that discussion, we dived into the project by creating material. We used symbols, and statements but also situations we could have encountered or experienced... In addition, we thought about protests and what we knew about them. For instance, where do we see protests, how are protests done or executed, why do protests exist and what do protests provoke, etc.

We discussed a lot about the parameters that make a protest. Tom Hastings gave us references that made us think about the context but also the methods and tools to create a protest. Eva Recacha guided us in the embodiment of our ideas that also were complemented and confirmed by the information given by Tom. One document that helped me in the process of making, was the Manual-Training for Direct Action, "Training for Nonviolent Responses in Social Conflict: A Manual for Trainers" written by G. Lackey and Others.

From that document, we started establishing instructions and rules that structured the protest and allowed it to be performed in a way that was carefully thaught about. Also, because we chose to be all together in the project we needed some form of plan to follow. This manual helped us to make our score.

For instance, from the very first day, we used stillness, standing, walking, sitting, and lying on the floor.  Already, these four elements were a lot of material even though they seemed like nothing. Therefore, we found ourselves creating more and more material every time we were doing a run-through. That is where the project got a bit overwhelming, because we had so many ideas and everybody wanted to add new things but we were losing the essence and I felt sometimes a bit uncomfortable with how we treated the subject. But, the talks in groups and most importantly with Eva and Tom guided us through these times. We saw the project evolve with time and the ups and downs allowed us to understand what went wrong and right. I valued the process so much more than the final product, even though it was fun to present it to the public, I gained a lot from the experience in itself. As I discuss in my reflection on Seke's classes, I felt like after the protest project our understanding as a group but also as individuals of the parameters of composition, had impressively grown and took a whole new direction, full of creativeness and playfulness.