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Similarities and differences of contemporary classes

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Similarities and differences of contemporary classes

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Arran's and Jason's classes offer very different tools to take forward into future training however, share some similarities.

Throughout Arran's classes there is a heavy focus on developing the technique of more general transferable skills. Whether this be transferring to my own practice, improvisation class or ballet. For example, I have refined improvisation of stable structures for floor work (for example tripod and different levels of bridge) and developed a further understanding of how these shapes can be fitted together in numerous sequences creating a some strong safety net options for improvisation from which I can also access my own movement. Also expanding into my internal universe to take some effort out of legs and expand from cheekbone to get off the floor. This is a useful theory to consider during flying low where there is constant transitioning from floor to standing at a fast pace which can become enduring on the legs.

Juxtaposing Arran's looser structured class, Jason appears to focus more on energy, quality and dynamics by setting intricate phrases and delving into the details. For example, he often draws my attention to ensuring the arms and legs bend to same degree  ensuring the the same level of energy is invested into both areas of the body and arms wrapping close squeezing the space out around the body. As well as finding infinite variations of dynamics including slicing, pulling and isolating.

Both Arran and Jason's classes share the want for extension.  This quality can apply to timing as well as physically in the body, and singular body parts as well as the entire body. However, Arran uses this quality for efficiency of moving where as in Jason's its a stylistic choice. By developing a sense of extension I can use it effectively to travel in and out the floor with ease and increase the anesthetics of elongated lines and bring more elements of surprise in relation to timing.

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This is an example of one of Jason's phrases. Throughout the phrase I consider:
- equality of angles on arms and legs
- grabbing and pushing the space
-  extending moments of pause
- contrasting moments of light qualities with strong and grounded emphasis
- Arran's sense of extension and expanding of the internal universe to find ease in transitioning out of low, leg strength demanding positions

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During this class improvisation I demonstrate some of the basic structures such as tripod, seated tripod and hook showing an example of how these shapes can be fitted together, repeated and varied. Enabling me to perform a phrase of Arran's ground based style efficiently but also give me more options to take into improvisation class.

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During this class improvisation I am demonstrating how using extension I am able to access irregular balances and transition to floor level with ease.

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Although during Arran's classes I still make a conscious effort to include these base-line structures and philosophies I can see them creeping into my own improvisational practice completely separate to the technique class. I can similarly see Jason's impact of varied dynamics and extension applied to my own material. This shows me that I have embodied these shapes and philosophies to the point where I can access them without consciously making an effort and proves that they are useful and transferable. For me this is the most solid proof of embodiment and understanding and what satisfies me the most as I can see the teachers impact and fully understand its value taking it forward into future training.

This recording shows a self guided improvisation throughout which I believe I tune into Jason's range of dynamic qualities and sense of extension to create aesthetic lines. I also use Arran's philosophy to lean onto the negative space/the external universe to find irregular balances and expand into my internal universe to be able to transition off the floor with ease. Where as before I used my long limbs as an excuse as to why its hard for me to access the floor I now feel confident transitioning in varied pathways giving me more options thus improving my improvisational style.

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Throughout the online period I have been working in domestic spaces such as living rooms and bedrooms which have presented their own challenges. Elements such as objects, lay out and floor surface has had some negative impacts however, also lead to developing my ability to adapt. I think that this skill is hard to fine tune without encountering a real restriction (such as limited space in this case) but is so important in a dance career when tackling a injury, when improvising or during partner work if something doesn't go to plan. And so although in some classes I might not have seen clear immediate physical improvements,  looking at it retrospectively I think that this has improved an equally important skill.

Working in studio settings and home settings have very clear impacts on elements such as performance, expansion and quality of movement to highlight this I have recorded myself performing the same phrase of movement in my bedroom and in a studio.

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Embodiment can be described as a tangible or visible form of an idea, quality or feeling. By embodying movement more accurately I can be sure I am gaining a better understanding of the technique, executing the movement in a safe way avoiding injury. To look at the development of embodiment I recorded myself performing Jason's tendu exercise over three classes to see how my embodiment and performance of the movement developed over a period of time and gaining more detailed information.

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This recording shows one of my first attempts of this exercise after learning it minutes before. It is clear that I am using a lot of energy to concentrate on what move is coming next producing moments of unclear movement. I am also using the class demonstration to prompt me resulting in 1 dimensional focus  and little performative quality. However, by this point I have embodied the basic series of movements and my naivete allows me to attack the movement with a sprightly nature.

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Attempt 2 was recorded a couple of days after being originally taught the exercise. For me this gap between attempt 1 and 2 is very important as the movement language has been able to sit in my body and coming at it with a stronger idea of what I am aiming to achieve means I am further able to embody the movement. I believe I have further embodied the movement accurately performing the exercise but also pulling out more details.
Before performing the exercise Jason drew attention to elements such as the dynamic quality particularly in the opening counts having a sense of smooth grounding but with punctuation as well as being distinctive about whether I am moving my body as a whole or incrementally.
I believe this recording opposing the first shows a large development of embodiment as Jason's desired qualities becomes more visible and I add further layers of detail such as varying dynamics.

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Throughout the movement there is a sense of care and sensitivity resulting in a slightly slower paced series of movement. This stems from the awareness of objects such as the lamp and the bed being in very close proximity.
As well as affecting the quality of movement from the outside it also impacts my internal thought process. Drawing increased awareness of my own body parts in space allowing me to execute the staple structures of the technique  (such as tripod baby bridge and half bridge) more accurately giving me a stronger structure and a stronger sense of personal clarity of movement. If I am able to obtain the heightened internal awareness this could aid me when performing more complex inverted movement where my body can become confused as it is less natural. I believe this would be really helpful as contemporary is becoming more diverse and it is becoming more expected for dancers to be able to execute these complex moves.

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When comparing this to the small space version it is clear to see that I approach the movement with more attack and confidence resulting in the movement being more expansive and and free flowing. Also offering more of a sense of performance with the raised focus. However, returning to a studio environment after training in a bedroom for a prolonged period of time with the absence of a mirror has meant it's become a very distracting, engrossing object. Throughout this recording I notice my focus becomes very flat as I get lost in the mirror assessing the shapes and lines I am creating. Although it is a useful tool I need to draw on the self awareness I have developed over the online period and have more confidence relying purely on sensation that my body is in the right place.

It is also interesting to note that I  learnt  and practiced this phrase in a small space yet the movement comes across expansive. I have adjusted quickly to the space using the movement to fill it.

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Attempt 3 shows more subtle developments from the outside however, as the performer my perception of the movement continues to evolve. I feel more confident to attack moments of sharp and contrasting them with moments of grounding softness. By this stage my muscle memory has somewhat developed and I am now able to put energy  into executing the details as well as challenging my self and putting my own stamp on it. I think embodiment also encompasses  a sense of ownership. I have taken on board Jason's knowledge and I am starting to find my own personal qualities and ideas surrounding the movement.
When going about this I like to set myself mini challenges whilst performing the exercise, whether this be exaggerating the sharpness, changing the timing of the punctuation or really pushing the timings. I feel what sits well with my body and integrate it into the exercise. For example, in this recording I decided to try and compliment the intricate foot work with subtle changes of focus and travel as much as possible on the steps that allow me to.

From attempt 1 to 3 I think there is a clear sense of progression of embodiment that can be seen as a viewer but also on a cognitive level as the performer. This process takes time but by having some limitations such as space and reduced interaction I think it has given me the space to think about detail and experiment gaining a deeper level of embodiment.