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To conclude my performance on the 21st, I want to start using the Gibbs Reflective Cycle to discuss how the day went and what I drew from the experience (The University of Edinburgh, 2024).

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One of the most famous cyclical models of reflection leading you through six stages exploring an experience: description, feelings, evaluation, analysis, conclusion and action plan.

Below is further information on:

The model

Gibbs' reflective cycle

This model is a good way to work through an experience. This can be either a stand-alone experience or a situation you go through frequently, for example meetings with a team you have to collaborate with. Gibbs originally advocated its use in repeated situations, but the stages and principles apply equally well for single experiences too. If done with a stand-alone experience, the action plan may become more general and look at how you can apply your conclusions in the future.

For each of the stages of the model a number of helpful questions are outlined below. You don't have to answer all of them but they can guide you about what sort of things make sense to include in that stage. You might have other prompts that work better for you.

Description

Here you have a chance to describe the situation in detail. The main points to include here concern what happened. Your feelings and conclusions will come later.

Helpful questions:

Example of 'Description'

Feelings

Here you can explore any feelings or thoughts that you had during the experience and how they may have impacted the experience.

Helpful questions:

What were you feeling during the situation?

Example of 'Feelings'

Evaluation

Here you have a chance to evaluate what worked and what didn't work in the situation. Try to be as objective and honest as possible. To get the most out of your reflection focus on both the positive and the negative aspects of the situation, even if it was primarily one or the other.

Helpful questions:

What was good and bad about the experience?

Example of 'Evaluation'

Analysis

The analysis step is where you have a chance to make sense of what happened. Up until now you have focused on details around what happened in the situation. Now you have a chance to extract meaning from it. You want to target the different aspects that went well or poorly and ask yourself why. If you are looking to include academic literature, this is the natural place to include it.

Helpful questions:

Example of 'Analysis'

I think the reason that our initial division of work went well was because each person had a say in what part of the assignment they wanted to work on, and we divided according to people's self-identified strengths. I have experienced working this way before and discovered when I'm working by myself I enjoy working in areas that match my strengths. It seems natural to me that this is also the case in groups.

I think we thought that this approach would save us time when piecing together the sections in the end, and therefore we didn't think it through. In reality, it ended up costing us far more time than expected and we also had to stress and rush through the rewrite. I think the fact we hadn't planned how we were writing and structuring the sections led us to this situation.

I searched through some literature on group work and found two things that help me understand the situation. Belbin's (e.g. 2010) team roles suggests that each person has certain strengths and weaknesses they bring to a group. While we didn't think about our team members in the same way Belbin does, effective team work and work delegation seems to come from using people's different strengths, which we did.

Another theory that might help explain why we didn't predict the plan wouldn't work is 'Groupthink' (e.g. Janis, 1991). Groupthink is where people in a group won't raise different opinions to a dominant opinion or decision, because they don't want to seem like an outsider. I think if we had challenged our assumptions about our plan - by actually being critical, we would probably have foreseen that it wouldn't work. Some characteristics of groupthink that were in our group were: 'collective rationalisation' - we kept telling each other that it would work; and probably 'illusion of invulnerability' - we are all good students, so of course we couldn't do anything wrong.

I think being aware of groupthink in the future will be helpful in group work, when trying to make decisions.

Conclusions

In this section you can make conclusions about what happened. This is where you summarise your learning and highlight what changes to your actions could improve the outcome in the future. It should be a natural response to the previous sections.

Helpful questions:

What did I learn from this situation?

Example of a 'Conclusion'

Action plan

At this step you plan for what you would do differently in a similar or related situation in the future. It can also be extremely helpful to think about how you will help yourself to act differently - such that you don't only plan what you will do differently, but also how you will make sure it happens. Sometimes just the realisation is enough, but other times reminders might be helpful.

Helpful questions:

If I had to do the same thing again, what would I do differently?

Example of 'Action Plan'

Different depths of reflection

Depending on the context you are doing the reflection in, you might want use different levels of details. Here is the same scenario, which was used in the example above, however it is presented much more briefly.

Short example of Gibbs' reflective cycle:

Feelings:

Adapted from
Gibbs G (1988). Learning by Doing: A guide to teaching and learning methods. Further Education Unit. Oxford Polytechnic: Oxford.

This article was published on

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One of the most famous cyclical models of reflection leading you through six stages exploring an experience: description, feelings, evaluation, analysis, conclusion and action plan.

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Welcome!

This Padlet is laid out left to right in a rough chronological order and top to bottom in terms of Pre-work, each choreographer, and conclusions.

Colors mean:

White - work that culminates to serve each of the choreographers or were results from the more than one choreographer

Blue - relating to research about Twyla Tharp

Yellow - relating to research about Jerry Mitchell

Red - relating to research about Sean Bankhead

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We did this as a group activity to get those brainstorming muscles working again. I think within the 1st or 2nd week back from the Christmas break. The task was to write out our complete project. And while I wasn't sure on the details just yet, I knew I wanted to do something with four choreographers just as a classmate had shown four screen dances in different modalities in a previous assessment.

There are also a few inspiration quotes that I thought of during class that I wanted to hold onto.

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I came across this phrase when combing through the well put together archive on Twyla's website. This phrase stuck with me and remains the thesis (so to speak) in interpreting Twyla's style. (Twyla Tharp Dance Foundation, 2024).

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I. Boogaboo
Wright with Tharp, Rudner

II. Shreveport Stomp
Rudner, Wright

III. Mournful Serenade
Rudner

IV. Black Bottom Stomp
Rudner, Tharp, Wright

V. Smoke House Blues
Rudner, Tharp, Cohn, Curry, Garcia Lorca, Wright

VI. Strokin' Away
Tharp and Rudner, Cohn, Curry, Garcia Lorca, Wright

VII. Blue Blood Blues
Wright and Rudner, Tharp, Cohn, Curry, Garcia Lorca

VIII. If Someone Would Love Me
Rudner, Tharp, Cohn, Curry, Garcia Lorca, Wright

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I. Boogaboo Wright with Tharp, Rudner II. Shreveport Stomp Rudner, Wright III. Mournful Serenade Rudner IV. Black Bottom Stomp Rudner, Tharp, Wright V. Smoke House Blues Rudner, Tharp, Cohn, Curry, Garcia Lorca, Wright VI. Strokin' Away Tharp and Rudner, Cohn, Curry, Garcia Lorca, Wright VII.

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Dance Composition: A Practical Guide to Creative Success in Dance Making

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Dance Composition: A Practical Guide to Creative Success in Dance Making

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Dance Composition (Smith-Autard, 2004) underpinned this research because never before had I taken tine to scrutinize over what makes movements into a codified style. While this book is an amazing foundational tool, I feel it was important for me to spend time with this book because I haven’t spent time dissecting the elements that culminate into a style from a dance perspective yet in my academic journey. Dance composition book served as the foundation by guiding me in how to examine choreography with the details and intricacies as well as broke down Labanotation which provided clarity and the opportunity to build a framework to explore other notation styles.

Reference: Smith-Autard, J. M. (2004). Dance composition: A practical guide to creative success in dance making (5th ed.). Routledge.

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I felt myself going everywhere and spreading myself to thin in terms of keeping my research under control by the time I began to explore Jerry Mitchell. It was much easier to put it in one long continuous word document.

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I Notice that I’m Noticing helped by: (Doughty, 2019)

-pointing me to look more concretely at the direct moment and to account for everything that I was noticing

-To really pause and take a look at the finer details

-To know that whatever I notice is unique and may not be noticed by others, but that doesn’t mean it is any less justifiable

-To continually have a source of re-direction by asking myself “What am I noticing?” so that I was not mentally imposing wandering thoughts

Reference: Doughty, S. (2019). I notice that I’m noticing (V. L. Midgelow, Ed.). Oxford University Press.

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Twyla Tharp: Making Television Documentary

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Twyla Tharp: Making Television Documentary

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Not completely knowing where to start and wanting to incorporate more documentaries into this project, I decided to explore Kanopy. The notes that I've taken show what I think to be important in bold. My eyes just scan text quicker and faster in bold; but it's not for everyone. (Mischer, 1980)

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Kanopy - Stream Classic Cinema, Indie Film and Top Documentaries

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Transcript: So, I'll have - When I'm watching the people that I've chosen, I'm going to have to pay attention to how they use, not only space but, time. And the construction of where they put the bodies in space? how the bodies relate to space? and the placement of their formations can also say clues about their message. If that was intentional or not? ...

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Twyla Tharp Making Television Dance Documentary Notes from Kanopy

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This PDF of my handwritten electronic journal shows the individual movements of my blank template, how I numbered them, and the random order I put them in utilizing the Picker wheel in the next post. I did not keep any certain choreographer in mind while picking, I assigned them after the fact.

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This wheel picker includes the individual "moves" that I chose to be in my Blank Template. I was inspired by Merce Cunningham's Chance Dance to help add randomness into this project (Merce Cunningham Trust, 2021).

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Picker Wheel - Spin the Wheel to Decide a Random Choice

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Picker Wheel is a wheel spinner for a random picker. Various functions & customization. Enter choices or names, spin the wheel to decide a random result.

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I learned the hard way that it is not always the smartest idea to go record a voice note when it is windy outside.

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In hindsight, I decided that this was too much of a hassle for myself to make transcripts for my long-winded voice notes. So I did not make very many.

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This documentary which chronicles her life is serving as the main foundation and jumping off point for my investigation into her style. (Cantor, 2021)

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For decades, Twyla Tharp has astounded the world with her trademark, unprecedented ingenuity. Now 79 years old, Twyla is entering a new phase of her life - but she hasn't stopped moving. Interwoven with her storied career and prolific works, Twyla Moves sees legendary choreographer Twyla Tharp navigate her latest creative challenge: making a dance for a world plagued by the Covid-19 pandemic.

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After watching the "Twyla Moves" documentary, I had a flashback to one of the extra goodies from my Lilo and Stitch DVD 2-pack (ooo so retro). The animators talked about the body shapes as a part of Sander's animation style. For this film, all of the characters have heavier set limbs on the distal part of their limbs. I thought that this was a great visual representation of Twyla's movement style because I notice that her forearms and calves tend to carry more weight as they move through space. (Character Design References, 2023)

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Lilo & Stitch is an animation movie produced by Walt Disney Feature Animation and directed by Chris Sanders and Dean DeBlois, in 2002. The movie was the second of three Disney animated features produced primarily at the Disney-MGM Studios in Walt Disney World near Orlando, Florida.

The film's story revolves around two individuals: a Hawaiian girl named Lilo Pelekai, who is raised by her older sister Nani after their parent's deaths, and an extraterrestrial creature called Experiment 626, who is adopted by Lilo as her "dog" and renamed "Stitch". The creature, who was genetically engineered to cause chaos and destruction, initially uses Lilo to avoid recapture by the intergalactic federation after him, but they develop a close bond through the Hawaiian concept of ʻohana, or extended family, causing Stitch to reconsider his intended destructive purpose in order to keep his newfound family together.

Production of Lilo & Stitch began with then-Disney CEO Michael Eisner deciding that, in the wake of a number of high-profile and large-budget Disney animated features during the mid-1990s, the studio might try its hand at a smaller and less expensive film. The idea was inspired by the production of Dumbo, an economically-made 1941 Walt Disney film produced in the wake of the more expensive Pinocchio and Fantasia. Chris Sanders, a head storyboard artist at Disney Feature Animation, was approached to pitch an idea. Sanders had created the character of Stitch in 1985 for an unsuccessful children's book pitch and had to now develop a concept that featured the character in an animated film. The storyline required a remote, non-urban location, so the movie was originally intended to take place in Kansas. Sanders's decision to change the film's setting to the Hawaiian island of Kauaʻi was an important choice in defining the plot more clearly. No other animated feature had ever taken place on any of the Hawaiian islands before. In Sanders's words: "Animation has been set so much in ancient, medieval Europe, so many fairy tales find their roots there, that to place it in Hawaiʻi was kind of a big leap. But that choice went to color the entire movie, and rewrite the story for us".

Dean DeBlois, who had served as "story co-head" in Mulan (1998), was brought on to co-write and co-direct Lilo & Stitch, while Disney executive Clark Spencer was assigned to produce. Unlike several previous and concurrent Disney Feature Animation productions, the film's pre-production team remained relatively small and isolated from upper management until the film went into full production. The character and set designs were based on Sanders's personal artistic style. While the animation team visited Kauaʻi to research the locale, their tour guide explained the meaning of ʻohana as it applies to extended families. This concept of ʻohana became an important part of the movie. DeBlois recalls: "No matter where we went, our tour guide seemed to know somebody. He was really the one who explained to us the Hawaiian concept of ʻohana, a sense of family that extends far beyond your immediate relatives. That idea so influenced the story that it became the foundation theme, the thing that causes Stitch to evolve despite what he was created to do, which is destroy". The island of Kauaʻi had also been featured in such films as Raiders of the Lost Ark, and those from the Jurassic Park trilogy. The Disney animators faced the daunting task of meshing the film's plot, which showed the impoverished and dysfunctional life that many Hawaiians lived during the then-recent economic downturn, with the island's serene beauty. The actors voicing the film's young adults, Nani and David, were Tia Carrere, a local of Honolulu, and Jason Scott Lee, who is of Hawaiian descent and was raised in Hawaii. The voice actors assisted with rewriting the Hawaiian characters' dialogue in the proper colloquial dialect, and also with the task of adding Hawaiian slang terms. One innovative and unique aspect of the film is its strong focus on the relationship between two sisters: Lilo and Nani. Making the relationship between sisters into a major plot element is very rare in American animated films.

In a deviation from several decades' worth of Disney features, Sanders and DeBlois chose to use watercolor-painted backgrounds for Lilo & Stitch, as opposed to the traditional gouache technique. While watercolors had been used for the early Disney animated shorts, as well as the early Disney features Snow White and the Seven Dwarfs (1937), Pinocchio (1940), and Dumbo (1941), the technique had been largely abandoned by the mid-1940s in favor of less complicated media such as gouache. Sanders preferred that watercolors be used for Lilo & Stitch to evoke both the bright look of a storybook and the art direction of Dumbo, requiring the background artists to be trained in working with the medium. The animation itself was all based on 2D work as the budget lacked funds to incorporate computer-generated imagery. The character designs were based on Sanders's personal drawing style, eschewing the traditional Disney house style. Because of the limited budget, details like pockets or designs on clothing were avoided in the animation process, and as they could not afford to do shadows throughout much of the film, many of the scenes took place in shaded areas, saving the use of shadows for more pivotal scenes. The film's extraterrestrial elements, such as the spaceships, were designed to resemble marine life, such as whales and crabs. One planned scene in the film involved Nani, Pleakley, and Jumba hijacking a Boeing 747 airliner and piloting it in a cartoonish manner through a city. However, following the September 11 attacks with only a few weeks left in production, this scene was revamped at a large cost to have them use Jumba and Pleakley's alien craft instead, revamping the airliner's design to look like an alien spacecraft, though the final design still has engines that resembled the 747's jet engines, according to Sanders. Even after this adjustment, the team had enough budget for about two additional minutes of animation, which was used to create the epilogue montage of Lilo, Nani, and Stitch becoming a new family.

The pictures on this page are a collection of artworks created for this movie.

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Lilo is a lonely Hawaiian girl who adopts a small ugly "dog" whom she names Stitch. Stitch would be the perfect pet if he weren't in reality a genetic experiment who has escaped from an alien planet and crash-landed on Earth.

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(Character Design References, 2023)

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(Character Design References, 2023)

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(Character Design References, 2023)

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After starting my initial readings, I decided that I needed to create some scope to this project. This was the first of multiple stabs at creating my own chart to help categorize and detail the stylistic elements I was noticing (Doughty, 2019; Smith-Autard, 2004).

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I was still getting my feet under me at this point in the process. I wasn't cataloguing my work in a consistent format and I was going through a "feeling stuck" phase in finding a thorough enough scope with the allotted time that I had. Again, I try to get closer at making my perfect chart.

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I felt like I was ready to go try on my research, thus far, and see where my progress was at. During this day, I took a few videos of Twyla's works from her website and did a rapid fire of soaking in stimulus then directly trying it on for size. I would watch a video a few times soaking in what I was noting. Then I would immediately go and improvise with it. Trying to put it into my body. It was a little rocky to start, but I found it to be useful way to do practice as research.

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I also started piecing together the blank template I made with her style. It was a lot for my brain and I only got through about a 3rd of the template, but I can see the path I need to take in order to finish this. I do feel that these 'practice as research' sessions that I do with their styles are successful when I have videos pulled up in tabs ready to go on my laptop. That way when I loose track during the session, I can immediately go right back to the source and refresh my memory.

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20240207 135157First Chunk of Twyla's Template

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Every Little Movement has a Meaning All Its Own

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Every Little Movement has a Meaning All Its Own

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This chapter in Researching Dance: Evolving Modes of Inquiry served as a pick me up when I was stuck part way through navigating Jerry's material by helping me realize the direction that I’ve chosen this project could be life-long, so it’s alright to narrow the scope and focus on particular aspects (Brennan, 1999). I came to realize and become comfortable with the fact that I was not going to capture every single detail that ever existed with each of my choreographers. But, it was more important to make my best effort to capture what I thought was important about each choreographer knowing that it would be shaped by my viewpoint and frame of reference. Upon this realization, I felt comfortable with the scope of the project and confident that it was not spiraling out of control.

Reference: Brennan, M.A. (1999). Every little movement has a meaning all its own. In S. A. Fraleigh & P. Hanstein (Eds.), Researching dance: Evolving modes of inquiry (pp. 283 – 308). Dance Books.

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Idea of making the simple stickfigure stuffed bodies to represent the main ideas of each choreographer. 

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Idea of making the simple stickfigure stuffed bodies to represent the main ideas of each choreographer. 

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[insert picture of all three of them] During lecture one day, Evelyn was explaining to us to question more about how to relate our academic and practical research in new/imaginative ways. I was thinking that for most of my life, I've explained my choreography through visual and auditory means. Why not use my sewing skills and do tactile? So, I decided to make little dolls that represented each of the choreographers.

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Finishing Twyla's template: Talking though it

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Finishing Twyla's template: Talking though it

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20240216 103415Talking through Twyla's Template

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20240216 103753Run Through of Twyla's Template

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This first rehearsal corresponds with the Feb 26th notes in the Rehearsal Notes document. 

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Teaching and Rehearsal with Twyla's Template Feb 26th

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Teaching and Rehearsal with Twyla's Template Feb 26th

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*Note: not all rehearsals were recorded

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This unedited one-hour video shows me teaching and running through Twyla's and Jerry's templates.

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This video corresponds with the Feb 23th notes on the Jerry Mitchell Research document.

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I was interrupted that day and I came back to work. Subsequent notes are in the lower part of the Feb 23rd box in the Jerry Mitchell Research document.

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This first rehearsal corresponds with Feb 26th Rehearsal Notes

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Teaching and Rehearsing Jerry's Template

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Teaching and Rehearsing Jerry's Template

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This was our first rehearsal in 005 where we were all together and had space to move. Corresponding notes are in the Rehearsal Notes Doc

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Similar to the research I did with Jerry Mitchell, I found it much easier to keep all my research contained within one document.

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I had a lot of trouble connecting with Sean's style at this point in time. So I took many videos in an effort to begin to feel more comfortable with it.

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On the same day, I felt frustrated and wanted to get it out of my system. I had a few spare moments and decided to work in the stairwell that was a bit out of the way and had a larger landing. It was like I had a shadow of a sensation hanging off of me and I just had to get it off. I fell back on my Funk roots and played around with isolations. I am unsure if I will incorporate these into the final product. But, I was engaging with the material and settling my frustrated heart.

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Oh! I was not having it today. I felt disconnected with the style and felt like I was never going to get this at all. I was in arthritis pain that day, but I felt like I couldn't hide behind my disability. I had to get into the studio and come out with something done.

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Frustrated in the Studio (again... but more)

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Frustrated in the Studio (again... but more)

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20240229 141403 Sean Template Part1 2nd attempt

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Throughout this project and the last few, I would occasionally roam the shelves of the Seaborne library just to see if anything would catch my eye. On one of these visits, i happened to pick up "Planes of Composition" edited by Andre Lepeki and Jenn Joy. And in this book, I happened to gravitate toward the chapter called "Creative Endurance and the Face Machine: Roseanne Spradlin's Survive Cycle. (Hmm... I wonder why :P) I was entertained by the vivid descriptions of the Survive Cycle work, many of which I would like to revisit for the Major Practical Project, I was more entranced by the chapter's conclusion. It reads:

And what do the faces have to do with the ongoing cyclical process of weaving and unweaving? The face, in that it is made up of so many shifting and collapsing parts, strives to be a whole. The endavour of the face to put the tics, grimaces, sighs and gazes together though never really successful, makes explicit with ever subtle shift both the unraveling of the whole and the inevitable process of remaking - restless, surprising and fraught with significance. ... Just on the other side of destruction is regeneration; the possibility of a new, mysterious task. (Davies-Anderson, 2009, p. 207)

I was in an unhappy place with my position with Sean's template. This paragraph gave me hope. I was relieved that not only did another artist recognise that there is significant struggle with art, you can also put it on display. I was comforted that I could struggle with Sean's template for awhile and be just fine. I hold onto the last sentence in particular for its reminder of the cycle of life and subsequently the process of creating choreography too.

Reference: Davies-Anderson, V. (2009). Creative endurance and the face machine: Roseanne spradlin’s survive cycle. In A. Lepecki & J. Joy (Ed.), Planes of composition dance, theory, and the global. (pp. 192 – 208). Seagull Books.

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March 5th. I had some spare time on my hands and it was nice. So why not try to come up with Sean's template a little more semented in my mind before our rehearsal on Friday March 8th.

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This video corresponds with March 4th notes

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Rehearsal March 4th Twyla's Template 095445

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This rehearsal corresponds with March 4th Notes

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Rehearsal March 4th Jerry's Template 095230

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This video corresponds with March 11th notes

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(The University of Edinburgh, 2024)

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McKaela Spradlin - Gibbs Reflective Cycle

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(The University of Edinburgh, 2024)

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McKaela Spradlin - Gibbs Reflective Cycle

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(The University of Edinburgh, 2024)

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McKaela Spradlin - Gibbs Reflective Cycle

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(The University of Edinburgh, 2024)

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McKaela Spradlin - Gibbs Reflective Cycle

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(The University of Edinburgh, 2024)

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McKaela Spradlin - Gibbs Reflective Cycle

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Having some of the same feelings that I was having with Jerry's template. I was also feeling that I wasn't easily able to capture the essence of Sean's style without having some sort of backing track. Despite my apprehensions, Dom luckily wanted a challenge. I asked him for a short 1min hip-hop style beat at around 116bpm. And he delivered. He was inspired by J Dilla, Kanye West and Jamal Fincher Jones (Polow da Don). During the presentation, I and my dancers performed Sean's template to this song.

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McKaela's Broad Analysis of a Choreographer Chart - Sean

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McKaela's Broad Analysis of a Choreographer Chart - Sean

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The culmination of my research for Sean Bankhead's style is in this document. Here, I take inspiration from my investigations into the different dance notation styles to inspire me to shape my own chart to conceptualize and organize his style's attributes. I used this chart whilst finalizing the choreography with my dancers before we performed on March 21st.

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SEAN BANKHEAD McKaela's Broad Analysis of a Choreographer Chart

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McKaela's Broad Analysis of a Choreographer Chart - Jerry

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McKaela's Broad Analysis of a Choreographer Chart - Jerry

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The culmination of my research for Jerry Mitchell's style is in this document. Here, I take inspiration from my investigations into the different dance notation styles to inspire me to shape my own chart to conceptualize and organize his style's attributes. I used this chart whilst finalizing the choreography with my dancers before we performed on March 21st.

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JERRY MITCHELL McKaela's Broad Analysis of a Choreographer Chart

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McKaela's Broad Analysis of a Choreographer Chart - Twyla 

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McKaela's Broad Analysis of a Choreographer Chart - Twyla 

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The culmination of my research for Twyla Tharp's style is in this document. Here, I take inspiration from my investigations into the different dance notation styles to inspire me to shape my own chart to conceptualize and organize her style's attributes. I used this chart whilst finalizing the choreography with my dancers before we performed on March 21st.

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TWYLA THARP McKaela's Broad Analysis of a Choreographer Chart

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In this video, I explain and show Sean's Doll that made an appearance in presentation.

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In this video, I show Twyla's Doll that made a brief appearance in my presentation.

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In this video, I show Jerry Mitchell's doll that made a brief appearance in my presentation.