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Working together as a group was imperative to ensure the success of this project. The combination of choreographers worked seamlessly together despite the contrasting styles they brought. We worked together as a unit, rather than two individuals, as we matched on how each moment will work into the storyline.

I think the key was communication, as we were on the same page for how we envisioned the narrative to be portrayed so when we collaborated; it felt like one brain producing the work. Of course, we had some blips where we each had to be open minded throughout each others ideas, but we worked as a team to really listen to what the other person had to say and in some cases adapted the idea to suit the project. In some instances, this actually helped us to create better ideas than originally thought, such as different perspectives of the scenes and logistical elements.

In terms of collaboration with Alyssa for costumes, I expressed to her that I want to portray individuality and she understood what I meant by this completely. She gave us all options and inspirations of clothing that would be appropriate for the piece as well as having good functionality throughout.

A great deal of collaboration happened between myself and Clotilde (the group manager). Our collaboration worked seamlessly throughout due to good communication, she would tell us what we need to do and in what time frame, then I'd communicate back with availabilities. We kept our collaboration as professional as possible, as we each had such big roles and it was sometimes hard to listen to what the other person needed and wanted at certain times, when we were so focused on other factors. Nevertheless, it helped to smoothen out the whole process and lead to more forthcoming spontaneous ideas for the piece.

Lastly, the collaboration between choreographers and videographer was hugely imperative to creating our final piece. We had to precisely relay how we wanted certain scenes to be encapsulated. This worked as I wrote out a scene by scene storyline with added camera work that I deemed necessary. When it came to the filming day, some things had to be changed based on lighting and location, meaning my vision had to be compromised in some ways, but I had enough trust in George that he would ensure the scene be captured in the best way possible.

To conclude, our collaboration was generally quite a smooth process with little to no tension throughout. We all learnt a lot about time management as a group and how to appropriately handle our time. This was in fact our biggest struggle due to us being a larger group with no free time out of university. Despite this, we worked together professionally with the time we had, efficiently coming together before/ after class to film some of the content.

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The videography and editing of this music video really inspired us throughout our piece. We enjoyed the way the camera caught raw emotions and experiences throughout and we wanted to replicate that in our own work.

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This concept video inspired us throughout the use of space and choreographic elements. We enjoyed the different perspectives of the camera, showing Sebastian’s view, then the dancers, then everyone. It really struck us as audience members and influenced us to want a similar idea in our piece.

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FE!N BY TRAVIS SCOTT - A DANCE VISUAL BY SEBASTIAN SKOV

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In order for everyone to be on the same page I wanted to check that the cast understood the direction in which we wanted this piece to go. This meant checking everyone's intentions in which they were moving behind.

Ultimately, I didn't want to tell the cast how I wanted them to behave instead I opted for natural and raw responses to the actions made. Therefore, in order to achieve this, there were moments in filming where I'd give sparse detail about what was going to happen so that they would react naturally. For example; in the scene where the main character explosively shouts at the ballet teacher, the only information I disclosed to the teacher and the ensemble cast was that the main character would walk out of the room. This helped to create a more striking and emotive atmosphere when the character was suddenly verbal and appeared to be more visibly impacted by the situation.

Upon reflection, this was a very effective tool and gave results immediately that were easy to read through the camera. Initially, I was concerned that the cast might react in the opposite way and be too confused throughout the process, but I believe that the stimulus and storyline was relayed thoroughly enough for them to portray the correct unique emotions within themselves.

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To explain the music choices, we wanted the music to reflect the journey the main character was on to help aid the narrative. The concept of music is subjective to individuals, it can be used for means of escapism, for comfort or enjoyment. When music is combined through narrative dance it adds an element of pathetic fallacy and adds greater meaning to the movement, inspiring emotions in the audience as well as the dancers themselves. The second song 'Midnight Mischief' by Jordan Rakei and Tom Misch was an appropriate choice to relay feelings of confusion and evoke sadness whilst the dancer is ignoring the inspiring dancers around them. The music is full of flutes/ drums/ violins and doesn't follow many traditional melody patterns, its rather erratic yet controlled throughout. We used this idea to relay the overwhelming cluttered mind of the main character and to emphasize their feelings of loneliness even though there are people around them.

The last song 'Do For Love' by 2PAC, heavily contrasts to the previous song with its steady rhythm and familiar hip-hop beats, causing a huge atmospheric shift as well as physical shift within the characters and storyline.

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For the choreography side of the creative process, it was down to Hettie and myself to create and teach. The way in which we did this was different however, for example, personally I like to listen to the music and improvise to what I can hear and create movement vocabulary from that. I then like to test it out on somebody to see how my choreography looks on others to understand if I need to modify it or add more depth to it. Whereas, Hettie likes to create on the spot and trial different ideas with the dancers present. Using both of these techniques we taught the choreography within the week which allowed us to then focus on experimenting with different formations and use of space to help pull the piece together. During this process in filming we had to collaborate with George and Clotilde to ensure the message would still get through to the audience throughout the use of different locations and camera angles.

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In order to ensure everyone was on the same page at the start of this process, we thought it would be a good idea to have a meeting and discuss how we wanted to envisage this narrative. During this meeting we created some story boards to define the relationship between what we wanted and how we could relay that to an audience member.

Staying within the concept that dance is an enjoyable social event first and foremost, we decided to have the main character distinguish how the harsh emotions of pain and loneliness can be relieved by the support and finding joy in what you do. This narrative starts with a dismal scene of withdrawal from the dance world and distances the character from the idea of support. It later progresses to an expressionistic emotional outburst to portray the overwhelming storm of feelings within the dancer as she is figuratively disconnected from her body. As the storyline progresses, a stark contrast is created, due to the character slowly being influenced by the surrounding dancers and finding support through their artistic passion and love. This interaction creates emphasis in dancing from the soul and helps to transform the main character back to a passion filled individual connected with themselves again.

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The audience that we have in mind for this project are dancers of all age/ ethnicity/ level/ etc. who sometimes feel lost within their dancing and who struggle to find themselves. That's why we chose a narrative structure for this piece as its imperative to articulate our message to the audience.

It enables us to play on situations and emotions that are familiar and relatable. We are all human beings going through different experiences and choosing different artistic paths, but ultimately we all share familiar experiences of feeling lack of self-worth and limitations throughout each individual journey. Yet we always remind ourselves that there is a glimmer of hope, through inspiration of others or support or finding peace within. These raw experiences are something we wanted to hone in on and explore throughout our piece.

In fact on filming day, we managed to reach our audience as members of the public who happened to be dancers joined in with our ending sequence, just to share their passion with us.

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Initially to kickstart this process we decided that we must establish our artistic concept and goals within this project, also what our individual roles would be. Quickly and efficiently we decided that I would be in charge of creating the music mix, Hettie and myself would be in charge of choreography and directing, Clotilde would be the group and location manager, Alyssa would be costume and makeup designer, Tuscany would be the health and safety manager and George would be the videographer assisted by Webbe Chu (the owner of the camera we used).

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We finalized our artistic concept, deciding that we would spiral off the initial idea that Hettie and myself proposed to the group: created after a discussion that we had previously about our lives as dancers. Our aim of this project is to reignite the notion that dance is a social movement that was created for people to connect and communicate, yet we still let the constrictions of techniques be detrimental to our enjoyment and freedom within dance. Furthermore, we wanted to explore the relationships between dancers and camera: the idea that different angles and physical engagement with the camera can create different perspectives of scenes and distortions of movement. Therefore this project will follow a narrative format and will take form as a short film video.