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Devising and Planning Process - Appendix 39

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Devising and Planning Process - Appendix 39

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Week one was devoted to devising the concept of our piece, going off in small groups to develop motifs and material. We also spent time choosing music and developing costume and aesthetic ideas which would provide a stimuli and creative intention when developing choreography. Olly also taught us a section of choreography to provide a starting point. This process was a positive experience as we all listened to each other and were open-minded with how we could collaborate all these ideas together. However, at some points we had too many ideas and confused ourselves but through using a time-line to create a narrative we resolved this, which also enabled us to organise our ideas chronologically.

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Creating / Experimentation For Our Initial Idea

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Creating / Experimentation For Our Initial Idea

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Me and Summa have been working collaboratively to create motifs which we can then develop and use for our piece. So far we have been choreographing the robotic/ AI section and we have choreographed motifs without music and then developed them through changing the tempo to fit the timing and changing directions within formations before setting it to the group which is evident within this clip. Unfortunately, as mentioned throughout this padlet we didn’t end up using this material as it was too dependent on our old concept.

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Creating/ Experimentation For Our Initial Idea

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Visual Aesthetic - Costuming / Makeup / Lighting

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Visual Aesthetic - Costuming / Makeup / Lighting

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‘Dystopia involves Utopia’s opposite: a nightmare, ultimate flawed world, or ‘a society worse than the existing one’.’ (Wilson, S.R. 2014) We used this perception of the meaning of dystopia to influence how we were going to showcase a lot of suffering and hierarchy in our interpretation of an imaginary society in the future.

‘Dystopian fiction emphasises scenarios that may never happen and that we certainly do not wish’ (Rueda, J. 2023) This reference emphasises our intention for our performance and our hope to prevent this idea, of the future becoming reality, through using an outburst of rebellion.

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The Use Of Choreographic Devices - Appendix 8

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The Use Of Choreographic Devices - Appendix 8

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Motif - ‘Spiked hands’ to reinforce the theme of being under control.

Motif Embellishment - We embellished the motif to fists instead of ‘Spiked hands’ when showing we had joined the rebellion.

Simple Cannon - We used cannons to highlight the forming of a rebellion.

Unison - This was used to represent the militant future with no individuality.

Contact Work - Used to show the emotional and physical human connection. This was opposing to the militant future which visually showcased a contrast.

Call and Response - Following movements when Olly was in control, then repeated the same with Summa but with the motif embellishment.

Fragmentation - Used this idea to break away from the ‘clone like’ future.

Contrast - Contrasting styles to represent diverse topics.

Mirroring - We often mirrored sections of movement throughout battle-like sections.

Accumulation - Throughout the piece the ensemble transcended from under the dictators (Olly) power to the rebellion.

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Notes from the first session, when brainstorming what time periods we would like to cover, along with styles, costume and themes.

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Continuation of notes from the first session.

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We spent the second week individually carrying on with motifs as well as learning motif’s created by Lola, Emma, and Hannah, and finalising devoting themes to each person. We decided this would be the most effective way to work but when it came to creating movement, formations and costume everyone would be able to have input. I found this to work well as it prevented confusion on over-complicating a topic as well as keeping a collaborative effort. This worked well as we designated the sections equally whilst considering everyone’s strengths for example, me and summa are both strong at hip-hop and so we can represent robotic unison movement the best, melle very good at contemporary and so human connection is an element that she would excel at, and olly is strong within vogueing and wacking which correlate with fashion.

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We started this week by beginning to teach mine and Summa’s choreography. This is the first week we showed our choreography to our peers and from this we received our first feedback. This was that compared to other performances because our concept was complex it was difficult for the audience to understand. I believe this to have been caused by working on choreography individually and some people forgetting the creative intention of their section as well as a lack of communication from the group when learning choreography that didn’t fit the narrative. Therefore, we began to discuss what we would be able to do to change this and set targets to go back to our devising process at the start of the next session. To prevent the same issues reoccurring, next time we decided that we would create all choreography as a group whilst in the studio sessions instead of preparing choreography before we came in.

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This week proved to be the most pivotal for us as we went back and devised a simpler concept, we started reworking choreography that we could implement the new theme into. However, as mine and Summa’s section was very dependent on the narrative we decided to not use any material and instead we would contribute through providing choreographic input through other sections and take new roles such as stage managing. This taught us valuable lessons which we would utilise for the remainder of the module such as being open to change or new ideas and not to be precious over work we had created and instead to do what would be best for the final performance and the groups progression.

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Brainstorming of ideas for mine and Summa’s section on Technology.

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Our first section of choreography we learnt.

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Choreography about status through classes that we learnt for our initial concept.

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Choreography we learnt for our initial concept the societal topic for this dance was power of females.

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The music I mixed for mine and Summa’s section for our original concept.

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The Reality Of An AI Future - Appendix 36

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The Reality Of An AI Future - Appendix 36

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(West, D.M. 2018) States how AI has been provided with the same human capacity for contemplation, judgement and intention, and because of these skill sets they are able to respond with traditional responses from humans. This provided us with insight to make choreographic choices when representing being stuck in an AI future that resemble qualities of humans. To do this we showcased how the ensemble automatically followed the leader which are both tendencies shown by technology and modern day life.

This source, also highlights how ‘Algorithms are coming for your job-they only ask for electricity. Algorithms are already reading, processing, and trading the news even before the photons have hit your retina.’ (West, D.M, 2018) This emphasises the importance of keeping self-awareness, human connection and individuality within the future to prevent the over-taking of technology of human lives. Which are aspects we have taken into consideration when showcasing the sections on the importance of human connection.

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Orwell’s Literature is known as a dystopian classic, predicting a future ruled by an over-controlling government, involving themes of rebellion, self-awareness, resistance and manipulation. These are key themes we have included within our interpretation of a futuristic setting. We have used certain quotations from his literature to verify our predictions and emphasise the need to prevent a dystopian future similar to this occurring, such as:

‘If you want a picture of the future, imagine a boot stamping on a human face- for ever.’ (Orwell, G. 1949)

We have used this idea to influence our portrayal of a militant society adhering to a hierarchy, as well as informing the performance quality and artistic choices, such as having Olly portray a higher power.

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Reworking choreography to implement the new concept, not making it so forward facing and instead having Olly manipulate our movements. As well as Eve and Melle starting to break out.

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Workshopping new ideas with the intention of our storyline decided to stem all our movement from the concept - Including runways, infinity signs, and ‘spiked hand’ movements. Here is when we accidentally came across a new narrative of using Summa to form a rebellion. When she breaks out from the choreography in this section, our intention was for this to be Melle’s subconscious wanting to be freed and then remaining under Olly’s control.

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Continuing to rework choreography, utilising the contrast between Olly and Summa as well as Melle and Eve breaking out and Summa using contact with them - holding there heads to visualise her now in control of their minds.

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Documentation of us starting to work on the final section. This is the ‘battle section’ of the two forces, the ‘clone like’ ‘AI Controlled future’ and the Rebellion for a freer future. During this section everyone will join the rebellion.

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Developing the structure for the introduction, Eve being transcended into the ‘clone like’ future by Olly using Melle to draw Eve’s attention for the longing of a human connection, within the realm of an AI controlled world.

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A rough draft of our structured ending, where even though at this point everyone has joined the rebellion. We are using ‘spiked hands’ when Olly is in front of us to trick him into thinking he is still in control. Until we change to fists when we’re behind him (This is the movement that represents the rebellion). We then rip the black lace from him which shows that Summa is now in control this is emphasised when she re-enacts the call and response whistle scene from section 2 when Olly was in control, and then we exit leaving him alone on stage.

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My choreography for the house section, this is when everyone has joined the rebellion and is in the ‘freer future’.

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Continuation of footage from the first show run.

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During the fifth week of our project we finalised the whole piece, solidified the introduction and ending and cleaned the piece before our first show run. This was a really successful event where we received feedback that the concept was clear and understandable as well as being visually clean. However, we had a few spacing issues but as we were in a positive place before the final week these were issues I would resolve through being stage manager. Since the show run we cut out a section of music as we felt it didn’t add anything to the piece however we reworked the choreography to make it obvious that the rest of us were joining the rebellion. To do this we decided that Melle, Eve and Summa would manipulate our movement to visually show this. We also received insight off Jasmine where she suggested that we would create more of a way to show that human connection is the force that starts the rebellion and not the other way round. We set targets to work on this next week and we would achieve this through more stops and starts within the choreography, as well as continuing to clean the performance to keep it strong.

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Our first look at what our costumes would look like.

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We began the final week by trying costumes and starting to run our piece in them. As well as changing Olly’s outfit to match ours as we felt this provided a more futuristic, militant feel. Whist trailing this we encountered minor problems such as our feet getting stuck in certain movements therefore we trial and errored how to make our movements smooth such as using weight transfers. I showed my experimentation on how we could have our hair and everyone agreed that would be a good idea to include. We then continually worked on our targets set for last week to clean the piece. As our movements are quite static we just had to ensure that with movements such as flat backs we were all at the same angle. During this final week we had a full day of show runs and we received some final feedback as a year to think about during our final rehearsal this was to not leave any dead space on the stage, perform more, and include more transitional moves to make the flow smoother. Our feedback as an individual group was to continue our structured freestyle section within the trio to make the link that human connection is the force building the rebellion. As well as to add more of a focus on heads when during the battle section, this will prevent such forward facing choreography and build the narative. This was our first show run in costume, we didn’t encounter any problems. Along with cleanliness and spacing being a strength and working for us.

Final rehearsal and changes, by this time the piece was clean all that was left to do was to work on the feedback given during the previous show run. We added transitional movements to keep the piece more seamless such as the ‘AI robots’ coming across the back during the trio, clarifying where our focus is on the battle section and changing that intention to be directed at one another as well as making the heads we did have strong. To also prevent such forward facing choreography we changed my house section so we are all facing towards one another in a circle to signify that we are unite as well as in various directions, hopefully these last minute changes will solidify our narrative and allow our piece to come to life.

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Footage from our first show run in costume.

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Continuation of our first show run in costume.

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This is the final battle section which through receiving our feedback we would like to build upon this and emphasise the ‘battle-like’ feeling through our focus being towards each other and more interaction. We set targets to make these final changes in the last couple of sessions before the show.

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The process from tech runs, to pre-show runs, to the final performance was a very rewarding experience. As a group we worked very efficient during our tech run, being able to run our piece on the stage a total of 3 times, this was due to the collaboration of me (the stage director) and Olly (the creative director) setting markers where to stand. I gave these markers using the wings at side stage, lines on the floor, and seats in the audience. As Olly was center for majority of sections he stood out of the picture and clarified if the spacing looked correct from the front. This proved to work very effective as we had eyes both on the floor and out of the picture.

The final performance - Our lighting went perfectly with the blackout happening at the correct moment during our performance which prevented the breaking of character and completed the narrative in a strong manner. In addition to, all our final changes amplified the performance. The only minor issue was the lace props failing out of pockets and so if we were to complete this module again we would set targets to keep them off-stage until the final section to prevent this distraction.

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Changes and added transitions from our final rehearsal, this was to create a more seamless transitional performance. 

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Changes from the final rehearsal, clarifying and changing heads to build on the intention of it having a battle-like feel.

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Final Rehearsal footage changed and adapted house section when we have all joined the rebellion. Changed the directions, intention of it being circular to show we are united.

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Continuation of show footage - The final section, the black-out, and my choreography.

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Appendix 1 - Devising and Planning Process

Appendix 2 - Stimuli / Inspirations

Appendix 3 - Creating/ Experimentation for our initial concept

Appendix 4 - Individual Contributions

Appendix 5 - Visual Aesthetic

Appendix 6 - Dystopian Creative Brief

Appendix 7 - Dystopian meaning

Appendix 8 - Choreographic Devices Used

Appendix 9a, b - Brainstorming notes from the first sesion

Appendix 10 - Timeline from the Initial narrative

Appendix 11 - Brainstorming ideas for mine and Summa’s section

Appendix 12a,b,c- Footage of Choreography we learnt for our initial concept

Appendix 13 - Mine and Summa’s music mix for our initial concept

Appendix 14 - Reworking choreography to implement the new concept

Appendix 15 - Workshopping new ideas with the intention of our storyline

Appendix 16 - ‘Spiked hands’ style specific movement

Appendix 17 - Continuing to rework choreography

Appendix 18 - Documentation of us starting to work on the final section

Appendix 19 - Developing the structure for the introduction

Appendix 20 - A rough draft of our structured ending, where even though at this point everyone has joined the rebellion

Appendix 21 - My choreography for the house section, this is when everyone has joined the rebellion and is in the ‘freer future’

Appendix 22a, b - Our first show run footage

Appendix 23 - Our first look at costume

Appendix 24a, b, c - Our first show run in costume footage

Appendix 25 - Footage from our first show run in costume, where we received the most feedback on

Appendix 26a,b,c - Footage of changes from final rehearsal

Appendix 27a and b - Footage from final performance

Appendix 28 - Lighting Cue Table

Appendix 29 - Show week 1 group reflection

Appendix 30 - Show week 2 group reflection

Appendix 31 - Show week 3 group reflection

Appendix 32 - Show week 4 group reflection

Appendix 33 - Show week 5 group reflection

Appendix 34 - Show week 6 group reflection

Appendix 35 - Tech runs and Show day

Appendix 36 - The Reality Of An AI Future

Appendix 37 - Contextual References

Appendix 38 - Reference List

(SOLO)

Appendix 39 - Devising and Planning Process

Appendix 40 - Stimuli/ Inspirations and Contextual References

Appendix 41 - Visual Aesthetics

Appendix 42 - Choreographic Devices Used

Appendix 43 - Advancements Throughout Process

Appendix 44 - Creative Brief

Appendix 45 - Michael Jackson Choreographic Reference

Appendix 46 - Experimentation with beginning

Appendix 47 - Continuation of experimentation with beginning

Appendix 48 - Jazz Funk/ 70s Advert Main Choreography

Appendix 49 - Draft Choreography for the modern day effect

Appendix 50 - Experimentation with prop for the modern day effect

Appendix 51 - Scratch Night Feedback

Appendix 52 - Experimentation with using laducas

Appendix 53 - Continued Experimentation with using laducas

Appendix 54 - Key Choreographic Devices Used In Piece

Appendix 55 - Continuation of section 3

Appendix 56 - Continuation of section 3

Appendix 57 - Initial Filming of Section 3

Appendix 58 - Experimentation with choreography on stairs

Appendix 59 - 70s Advertisement to be shown on TV

Appendix 60 - Inspiration/ Reference for ‘Coffeeography’

Appendix 61 - Inspiration/ Reference for short-cropped clips and transitional elements for section one

Appendix 62 - Jungle4Eva and CDK Company Inspired Movements Used In My Piece

Appendix 63 - Weekly Choreographic Devices Reflective Logs

Appendix 64 - Filming Plans

Appendix 65 - Continuation of filming plans used

Appendix 66 - Draft of my ‘Coffeeography’

Appendix 67 - Experimentation with motif/ motif development

Appendix 68 - Shots used during experimentation with benches

Appendix 69 - Week One

Appendix 70 - Week Two

Appendix 71 - Week Three

Appendix 72 - Week Four

Appendix 73 - Week Five

Appendix 74 - Week Six

Appendix 75 - Week Seven

Appendix 76 - Week Eight

Appendix 77 - Final Filming and Editing

Appendix 78 - Jessie Hormbrey Final Solo Performance Link

Appendix 79 - Written Reflection

Appendix 80 - Bibliography for Written Reflection

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Stimuli/ Inspirations and Contextual References - Appendix 40

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Stimuli/ Inspirations and Contextual References - Appendix 40

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Visual Aesthetic - Costume, Lighting and Makeup - Appendix 41

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Visual Aesthetic - Costume, Lighting and Makeup - Appendix 41

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Choreographic Devices Utilised - Appendix 42

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Choreographic Devices Utilised - Appendix 42

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Advancements Throughout Process - Appendix 43

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Advancements Throughout Process - Appendix 43

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The World of Coffee - Choreographic Devices Creative Brief

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Michael Jackson Choreographic Reference - Appendix 45

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Michael Jackson Choreographic Reference - Appendix 45

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Pond, S.F. (2013) states how Michael Jackson during his 1973 performance with Jackson 5 took on a ‘dancing machine persona’, which caused a sensation where short after robot-influenced dances such as the campbelllock (or locking), waving, popping, and electric boogaloo emerged on the west coast and became part of dance vocabulary for freestyle dance. Due to this fact, I have been inspired to use his influence of waving when creating motifs and have this motif evident within both eras within my solo to show the impact of his influence and symbolise how 70s culture is eternal similar to the title of my piece ‘eternal energy’.

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Experimentation With Beginning - Appendix 46

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Experimentation With Beginning - Appendix 46

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I started creating mock videos, filming the beginning of my piece. At this point within the process I was using improvisation to experiment with how visuals will look. This is where I plan to use the influence of Emiliano Jimenez for the editing and short cropped clips. However, I plan to develop these videos and use his inspiration by having someone else film them and move the camera between transitions to create more of an illusion similar to how Emiliano Jimenez does.

(This is section 1 of the mock clip)

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Continuation Of Experimentation With Mock Clips - Appendix 47

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Continuation Of Experimentation With Mock Clips - Appendix 47

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Whilst improvising and reflecting upon footage produced I have decided that I would still like to keep this movement pedestrian like and steer away from dance as shown in this clip. However, I would like to put more emphasis on the acting and aim of this section which is to showcase being tired and miserable and potentially making the sections choreographed with pedestrian movement working to timings as supposed to improvising. However, I believe that when working with transitional edits with the camera this will come together.

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Jazz Funk/ 70s Advert Main Choreography - Appendix 48

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Jazz Funk/ 70s Advert Main Choreography - Appendix 48

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I have begun devising the main choreography sections for my piece, this segment of choreo is for the 70s advertisement which will be played on the TV. Whilst creating this motif I took inspiration from my 2 stimuli being Shay Latukolan and CDK Company expressing movement which is energetic, technically precise, incorporating slight hip-hop fusion styles and emotionally evoking through it’s theatrical nature.

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Draft Choreography for the Modern Day Effect -  Appendix 49

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Draft Choreography for the Modern Day Effect -  Appendix 49

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I drafted a motif to be used within section 3, the present day, I started of using house as a base to begin this section in order to set the tone but also experimented with aspects of locking and tutting and so had the idea to incorporate these themes as well. I started without any props to solely focus on the base choreography.

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Experimentation With Props For The Modern Day Effect - Appendix 50

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Experimentation With Props For The Modern Day Effect - Appendix 50

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I decided that for the most natural effect the easiest thing to do when incorporating a prop would be to freestyle and later to go back and refine what works and what hinders the movement or aim. And so this clip is my first attempt of working with the prop.

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Similarly to the previous process, week one was devoted to devising and brainstorming concepts. I began exploring creative ideas which I found putting a theme together was quite challenging as a lot of my ideas were contrasting. I explored conceptual topics that had a deeper meanings as well as looking at more commercial based ideas or music videos for artists. However, I was very inspired by Jungle4Eva and CDK Company’s movement style and I was leaning towards how this would work in a concept and so I believed the idea of using a campaign would be a great start. During this time I began researching more into Jungle4Eva and CDK Company to build more of an image of the types of movement they include in there pieces and so I could start envisioning what commercial I would like to do a piece on. I feel that this had a positive outcome as I could start to see how this piece would come together and look whilst imaging different campaigns from headphones, to food, to coffee. The plan for the following week is to decide on a campaign theme, begin looking at music and planning a timeline as what is a usual 30 seconds advert will now be 3-4 mins and so this is another aspect to consider.

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Week Two is where I started to envision my piece and create timelines and a clear chosen topic for my piece. During this time I expanded my campaign idea and collaborated a multitude of things I enjoy into one in the hope that my emotional responses through this process would be joyful and excited to work on this project overall impacting my performance positively. I spoke to my peers and tutors about certain theme ideas I had for this campaign some being headphones, speakers and coffee and ultimately decided that coffee would be the best choice. This is because I could incorporate various props, different time periods, a projector and styles into this campaign and possibly explore the way coffee is eternal. I began using the aspects of props I wanted to include to construct a timeline around my piece which would overall encourage my progression efficiently and allow me to begin workshopping with movement. Here is where I used the idea of different time periods and having the idea of a coffee advert influencing me to get coffee in a modern day setting but having this coffee advert be me in the 70s to create that 3rd person mirrored effect. I began exploring music from this era as well as looking at coffee adverts from this era to see the types of clothes and settings it is filmed in. Overall this session had very positive outcomes as even though my idea is still blurry I now have various aspects I can workshop and create with in hope to pull it all together. For next session, I plan to develop a clear start, middle and end and from there can start to fill in the gaps.

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The sessions this week concluded of working on creative methods, exploring with choreographic devices and depicting what ones I would like to utilise. We chose contrasting words for example, minimal, confident, gooey, and floorwork, and used this idea to enable creating contrasting movement motifs. As well as creating motifs without music instead of being reliant on sound and I plan to use this idea when working with props to not be so limited. Initially, I found this difficult to feel inspired to create which in turn limited my creativity however, the more differentiating words I chose the more innovative motifs I created were, which positively affected my performance.

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Experimentation With Using Laducas - Appendix 52

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Experimentation With Using Laducas - Appendix 52

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Section 2 of my piece is Jazz/ Jazz Funk influenced and so I thought to further contrast the modern day effect of coffee I could utilise a pair of Laducas. However, when experimenting with this I found issues especially within the floor work section as you can see from this clip and so along with issues to do with costuming and also the space of the set I decided to rework this section and not use floor work.

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Continued Experimentation With Laducas - Appendix 53

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Continued Experimentation With Laducas - Appendix 53

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This clip is a draft of the reworked choreography section for the 70s advert taking away the floor work and added more technical Jazz movement as well as using Jungle4Eva’s motif sequence from ‘Keep Me Satisfied’ to further enhance and link my inspiration to my piece.

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Key Choreographic Devices Used In Piece - Appendix 54

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Key Choreographic Devices Used In Piece - Appendix 54

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This is a continuation and the final draft of my choreography block for Section 3, I have used and continue to plan to use the choreographic devices of: Retrograde, Improvisation, Accumulation and Augmentation. When refining the draft work created and plan to do this through: Changing directions, the sequence of movements and levels to overall advance the concept of my piece.

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Continuation From Section 3 - Appendix 56

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Continuation From Section 3 - Appendix 56

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Initial Filming of Section 3 - Appendix 57

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Initial Filming of Section 3 - Appendix 57

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What I like:

The opening section - The timing went really well, the set encourages the idea being portrayed.

I love the idea of using benches and stairs, However, I will re-edit these playful sections as I feel it’s to forced instead of being more ‘advertised’ movement.

I wouldn’t change anything movement wise I do feel like it is free in sections it needs to be and I feel like the camera angles do compliment the idea and movement with it not all being forward facing.

What I want to change:

The first transition wasn’t as seamless as I planned it to be, This might be to do with how every edit within the video is using the same tool and so I plan to play around more with the editing techniques and different platforms.

I want to change the ending, I was deciding whether to keeping my original idea of seeing someone tired (slumped over a bench or sleeping whilst reading a magazine) and giving them a coffee, however this felt again very choppy opposed to being seamless. So, I feel the most effective way to end the piece is to extend the last bit of music, put the walk of in slo motion and fade it out, as the whole 3-4 minute piece is already very compact with content and I believe the idea has already been portrayed.

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Experimenting with performing choreography on stairs -  Appendix 58

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Experimenting with performing choreography on stairs -  Appendix 58

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During week 4 I began to develop my creative brief this enabled me to put into perspective and visually see my end goal for the piece as well as noticing any gaps I was unaware I had. These consisted of: editing styles and locations and therefore I began to envision these and brainstorm to solidify the overall aim. At this point there are still a lot of questions throughout my process but I’m finding that this is enabling me to expand and add to my idea especially when working on my timeline. Such as adding an idea of seeing the 70s advertisement through a shop window.

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Week 5 consisted of the beginning of mock filming for section one this enabled me to watch back how sections would flow and what transitional elements I wanted to add. Upon reflection, I feel the mock draft did showcase the themes I wanted it to however, the aim of convincing tiredness was something I plan to exaggerate when filming properly. I also plan to have someone else hold the camera to enable the short clips to be more seamless and would like to work to the music, set timings and create a filming plan to ensure enough footage of each clip. Furthermore, I began drafting choreography during this week for both the 70s advertisement and the modern day section as well as incorporating a prop and using accumulation. Initially, I thought choreographing for the 70s advertisement section would be easy however I felt this base choreography wasn’t influenced enough by CDK Company and Jungle and so moving forward I plan to watch footage, find movements they use which fit with my piece and recreate and develop their motifs. When incorporating the prop into the modern day section I found it to be very natural as house has very free arms and so I could experiment freely however, I will have to reevaluate the locking section when I have chosen a location due to the floor work and if I choose to do this outside it may be unachievable.

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Week 6 consisted of experimentation to advance my piece such as using laducas within the 70s advertisement during this I faced challenges such as having to change the floor work section however, this then became an opportunity for me to use more Jungle4Eva and CDK Company inspired movement as I had set myself targets to do so to enhance my stimuli links. I also finalised location and costumes and worked on motifs to put into sections and set out to complete all choreography so I could focus on filming and editing.

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This week I have finished choreography for the modern day section, put motifs into play, and visualised changing and adapting directions, levels and dynamics to showcase choreographic devices the strongest. I also started to work on the beginning section of the 70s advertisement and used influences from Larkin Poynton and Jonas Willerding ‘coffeeography’ where I took inspiration by having the start of the advertisement sat down. I experimented using a tea spoon with the mug however, due to the fact my motif turns the cup upside down I had to adapt this. As all choreography is now solidified, as planned next week I will begin filming and edit together the first draft.

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I started filming Section 3 of my piece this week and here is a clip of how it went. I also tried to film sections of choreography in different settings such as the stairs however, this did not fit very well and so I kept it the same. Upon Reflection, I would like to try and edit on a different app such as Cap Cut as I feel there is more effects that I can utilise. Also, I feel like this might help with the seamless effect I am aiming to create.

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70s Advertisement to be shown on TV - Appendix 59

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70s Advertisement to be shown on TV - Appendix 59

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Inspiration/ Reference For ‘Coffeography’ - Appendix 60

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Inspiration/ Reference For ‘Coffeography’ - Appendix 60

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Poynton, L.(2025) COFFEEOGRAPHY [Instagram] [Accessed 12 March 2025].

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Inspiration for Short-Cropped Clips and Transitional Elements for Section One - Appendix 61

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Inspiration for Short-Cropped Clips and Transitional Elements for Section One - Appendix 61

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Jimenez, E. (2023) (No) Solo en el hotel. [Instagram] [Accessed 8 April 2025].

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Bibliography for Written Reflection - Appendix 80

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Bibliography for Written Reflection - Appendix 80

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The final filming for my piece ran very smoothly I think this is because I created in depth filming plans to follow as we went along which displayed time slots for different parts of choreography/ pedestrian movement along with different angles I wanted to film in. This proved to be very efficient and enabled me to get a good amount of footage to choose between when editing. I am especially happy with how strong my 70s advertisement on TV turned out I feel that this reads very well and I like how during the editing I decided to zoom in and bring the advertisement into the full frame and then zoom back out again. In my opinion, this builds upon the contrast used within my piece as well as keeping the audience engaged and following along with the narrative. Overall, I am very happy with how my vision came to life and how I have met the aims of my piece. Changing the app in which I edited on also meant I could add writing to the advertisement which I think elevated the campaign. However, If i was to partake in this project again, I would set targets to have more interaction and show the audience me drinking the coffee as well as adding more to the ending. I would consider changing the ending of my solo piece to a montage of what I felt like during the morning before the coffee to highlight the difference in mood due to promote the product I am campaigning further to the target audience.

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Jungle4Eva and CDK Company Inspired Movements Used In My Piece - Appendix 62

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Jungle4Eva and CDK Company Inspired Movements Used In My Piece - Appendix 62

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Jungle4Eva and CDK Company Inspired Movements Used In My Piece

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Weekly Choreographic Devices Logs - Appendix 63

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Weekly Choreographic Devices Logs - Appendix 63

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Continuation Of Filming Plans Used - Appendix 65

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Continuation Of Filming Plans Used - Appendix 65

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Draft of my ‘Coffeeography’ - Appendix 66

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Draft of my ‘Coffeeography’ - Appendix 66

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Experimentation with Motif/ Motif Development - Appendix 67

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Experimentation with Motif/ Motif Development - Appendix 67

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Jessie Hormbrey Solo Performance Link - Appendix 78

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Jessie Hormbrey Solo Performance Link - Appendix 78

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Shots Used During Experimentation With Benches - Appendix 68

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Shots Used During Experimentation With Benches - Appendix 68