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TB1 W5 - October 25th 2023 - Bounces and Rocks

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TB1 W5 - October 25th 2023 - Bounces and Rocks

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In the classes leading up to the W5 milestone recording, we explored some basic grooves of hip hop, such as bounces and rocks. These are the two fundamental movements that build up the foundation of most hip hop steps. They are exercises that teach you how to be grounded through your knees and chest. Once we understood how to execute the movement, we were then able to incorporate our arms and legs, as well as different directions. From learning these steps, I was able to embody the beats and the rhythms of the music, and then apply it to a movement phrase like the one above.

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Polyrhythms are two or more contrasting bears being played simultaneously. For example, you can have a basic eight - count playing, and then have the same beat but in double time playing alongside the original. In the video above, I am exploring these polyrhythms by showing the tempos through our feet and our arms. This was a  particularly hard exercise for me because executing two different tempos simultaneously was more of a psychological challenge than a physical one, as I had to pay close attention to the polyrhythms of each song we practiced to. Through this exercise, I learned how to develop my ability to execute complex movement.

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Kpanlogo is a style of West African traditional dance. It originated from Ghana, and was popularised in the 60’s. This particular dance style focuses on chest and hip thrusts, as well as chest and waist rotations. These moves can be considered as foundational, as most West African steps start from or incorporate the chest, waist and hips. Through this exploration of movement, I learned how to separate and differentiate certain movements through the use of my spine. For example, as seen in the video above, by thrusting my chest outwards when using my arms, I am able to make my movements look bigger as there is more power to it, whilst simultaneously undulating my spine.

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Azonto is both a dance and music genre from the Greater Accra Region of Ghana. Deriving from Kpanlogo, Azonto is a popular style of Afrobeats that is founded in a two - step movement. It also uses a lot of body opposition, such as the twisting and bending of the body. From the two - step, Azonto has evolved from everyday actions, such as boxing, or praying. From the phrase above, I learned how to maintain the grounded nature of the steps whilst exploring the variations. Anatomically, I also developed my ability to move multiple parts of my body simultaneously in various directions whilst making the movement my own.

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Composition of Showpiece (1) - TB1 W5 - November 2023

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Composition of Showpiece (1) - TB1 W5 - November 2023

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Through the composition of this piece - and through the exercises leading up to it - I have improved my technique by developing the physical differences between grounded and light movement. For example, the opening move of this piece sits low in the knees and requires downward motions to execute it properly. Following this, it then moves on to an upwards movement, which requires the body - particularly the chest and arms - to create an upwards motion. This contrast in levels as well as anatomy helped to develop my understanding and application of textures and movement quality, creating visual contrast in the piece.

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Two - step Variation Grooves - TB2 W3 - January 2024

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Two - step Variation Grooves - TB2 W3 - January 2024

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These two - step variations explores timing and added layers of movement to create bigger and more complex movements. Built up from the two - step of Azonto, these variations are more focused on the upper body. One movement in particular - called the Mohammed Ali - is a movement that mimics the action of boxing. It uses the arms and the use of levels to embody the boxing motion. This is particularly a social groove that can be executed in different ways, but the main goal is to maintain its foundation, which is the two - step groove. The way in which gear variations can be executed is through the use of timing. As most of the variations are done on an upbeat with upwards motions, we can play with the rhythm and when we start them in a sequence, such as on an ‘and’ count instead of an ‘eight’ count.

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Exploration of Grooves on an Upbeat - TB2 W4 - January 2024

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Exploration of Grooves on an Upbeat - TB2 W4 - January 2024

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“An upbeat is the last bear of a measure, which leads to the downbeat of the next measure” (https://classicalguitarshed.com/musical-upbeat/#:~:text=An%20upbeat%20is%20the%20last,measure%20is%20called%20a%20downbeat.)

In this video, we explored movements on an upbeat. This would be opposite to movements directed on a downbeat. Through this exploration, we focused on upwards motion whilst travelling across the space. We were given imagery to help us embody this upwards motion, as if we are scooping something over our heads. It is a soft but intentional style of motion. This helped me to embody different ways of moving outside of the common ‘eight’ count downbeat, creating illusions within my performance. With this exercise, I struggled to practice the motion on the left side, as my left side felt less comfortable than the right side. It was made harder because of the upbeat, but I managed to maintain the motion by breaking it down, moving from the feet, to the upbeat, and then finally incorporating my left arm.

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Azonto/Grooves Phrase - TB2 W4 - January 2024

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Azonto/Grooves Phrase - TB2 W4 - January 2024

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The video above shows a combination of moves we have learned so far as part of our milestone. It showcases moves such as the Azonto two - step, Keke, the Mohammed Ali, and the Power Blow. Here, I am able to move seamlessly from one move to the next. With more practice, I was able to start performing the movements rather than just doing them, as I gained more confidence in what I was doing, and through the techniques given to us, I was able to execute the sequence at a better quality.

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Exploration of ‘And’ Beats Pt 1 - TB2 W5

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Exploration of ‘And’ Beats Pt 1 - TB2 W5

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In the video above, I am practicing movement on an ‘and’ beat, meaning instead of starting a move or a sequence on a ‘one’ count, I am starting on a count before that. This sequence includes moves such as ‘Let’s Go There’ and ‘Kupe’. These moves are full body, and use a lot of hand and body percussion. Through this exercise, I learned how to implement various tempos into my body. I also developed my ability to move multiple parts of my body simultaneously, as seen in the first and last move in the video. From this short phrase, I also improved the use of my feet, as I was mainly working through my toes and the top part of my foot, as well as through speed. I struggled with the last move however, as it required me to shift my weight quickly onto my left foot on an ‘eight’ count, whilst following straight after to catch the ‘and’ count with both my right foot and my arms. This particular move was also somewhat grounded, as I had to bend my standing leg in order to do the move properly. Despite the difficulty, it improved where I grounded myself anatomically, as well as my ability to contract my chest, working through the cervical part of my spine.

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Exploration of ‘And’ Beats (Pt 2) TB2 W6 - January 2024

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Exploration of ‘And’ Beats (Pt 2) TB2 W6 - January 2024

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Here you can see a longer sequence, with various use of levels. I am also working on my use of directions and body placement, as these moves are diverse in terms of their execution.

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In this video, you can see how I have applied the techniques learnt in class to this show piece. Through the practice of grounded grooves, alongside my development of ‘and’ beats, I was able to embody this choreography quickly and with little difficulty, as I already understood what the piece required from me.

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This video is a key example of the major milestone that I have achieved. This show piece represents clearly how far I have developed, from learning the foundations, to performing the social grooves. Here, you can also see how my confidence has built as well, and how differently my body moves compared to when I first learnt the steps.

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Butterfly Phrase - TB1 W5 - October 2023

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Butterfly Phrase - TB1 W5 - October 2023

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Head - roll Phrase - TB1 - W5 - October 2024

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Head - roll Phrase - TB1 - W5 - October 2024

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Tendu Phrase (Variation 2) - TB1 W5 - October 2023

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Tendu Phrase (Variation 2) - TB1 W5 - October 2023

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Head - roll Phrase (Pt 2) - TB1 W5 - October 2023

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Head - roll Phrase (Pt 2) - TB1 W5 - October 2023

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Side Phrase (Pt 2) - TB2 W5 - February 2023

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Side Phrase (Pt 2) - TB2 W5 - February 2023

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Composition of Showpiece 1 - TB1 W9 - November 2023 

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Composition of Showpiece 1 - TB1 W9 - November 2023 

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Composition of Showpiece 2 - TB2 W9/10 - February 2024

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Composition of Showpiece 2 - TB2 W9/10 - February 2024

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Footwork with Bart Simpson Variation - TB1 W5 - October 2023

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Footwork with Bart Simpson Variation - TB1 W5 - October 2023

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Polyrhythms (Developed) - TB1 W5 - October 2023

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Polyrhythms (Developed) - TB1 W5 - October 2023

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Bart Simpson with Partners - TB1 W4 - October 2023

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Bart Simpson with Partners - TB1 W4 - October 2023

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Composition of showpiece 1 - TB1 W8 - November 2023

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Composition of showpiece 1 - TB1 W8 - November 2023

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Bounces and Rocks Variation (Pt 2) - TB1 W6 - December 2023

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Bounces and Rocks Variation (Pt 2) - TB1 W6 - December 2023

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Social Grooves Phrase - TB2 W1 - January 2024

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Social Grooves Phrase - TB2 W1 - January 2024

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Exploration of Freestyle - TB2 W4 - January 2024

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Exploration of Freestyle - TB2 W4 - January 2024

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Exploration of Up - beats and Down - beats - TB2 W7 - March 2024

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Exploration of Up - beats and Down - beats - TB2 W7 - March 2024

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Composition of Showpiece 2 - TB2 W9 - March 2024

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Composition of Showpiece 2 - TB2 W9 - March 2024

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Tendu Phrase (Variation 1) - TB2 W5 - February 2024

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Tendu Phrase (Variation 1) - TB2 W5 - February 2024

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As contemporary is a style that I have limited experience and training in, it was the only technique that I struggled with. With my limited flexibility, the technique classes were beneficial to me the most, in regards to developing my anatomical capabilities. For instance, the first three videos show how my physicality was at the beginning of the year. In the butterfly phrase, the movement focused on opening the hip flexors and working through the spine. Through rotating my hips - and with the added arches and curves of my spine - I was able to loosen up my joints, ready for the other phrases that require me to engage with the lower half of my body, as well as working on my full body extensions. The head roll phrase challenged my ability to use up my full kinesphere, pushing me to create space between the upper and lower halves of my body. This phrase focused a lot on rotation and being grounded in the right places, as it required me to sit in my knees and plant my feet as to create stability for the upper body to move freely, and achieve the intended stretches throughout my torso. With the tendu phrase, I learned how to open up my body and be more fluid in my movements, as it focuses on movement happening on a stationary standing leg. It also taught me how to engage my core, as I noticed that when I don't engage it, my movements are unstable and I tend to lose my balance more. This was also another beneficial exercise that pushed me to extend how far my body can reach, especially when I am in deep pliés, as I am also working on my body control -  i.e. how smoothly can I transition both my energy and weight from a low to high position. With the second tendu phrase, I developed my flexibility in my feet, as I was working through each part by pushing and extending through the ground. It also gave me a chance to better my turn out, and work towards creating a definitive difference between a parallel position and a first position. The side phrases were a welcome re - introduction to contemporary floor-work and moving in and out of the floor. They served as different methods in which I could engage the use of my head to propel me in and out of different movements. These phrases also taught me how to ‘take up space’, and use what is being given to me when I'm moving across the room. Overall, I believe that my contemporary technique has been the most challenging but the one where I feel I have progressed positively since the beginning of the year. I believe that my application of the techniques I have acquired to set choreography has also evolved over the year, and I believe that there is visual improvement to my skill set.

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Freestyle Compilation - TB2 W4 - January 2024

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Freestyle Compilation - TB2 W4 - January 2024

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As hip hop is the style that I am most trained in, the classes that I have done over the year felt like stages of refinement. I experienced little to no challenges picking up steps in choreography, as I was already both mentally and physically aware and capable of executing the steps. I was able to reintroduce the foundations of hip hop to my body, and further expand my current skill set. However, despite my current capabilities, there were smaller techniques that I had never practised before, which eventually became a small challenge to overcome. One of them was polyrhythms. This was something that really challenged my comfort zone, as it was difficult for me to pick up the simultaneous movement, and when I encounter something new that I am unfamiliar with, I tend to shut down and shy away from it. Yet, through practise and encouragement, I was able to familiarise my body with the movement, and am now able to execute it to a standard I am happy with. After further reflection, however, I found that the biggest challenge for me in hip hop, was my ability to freestyle. Freestyle is always an aspect of hip hop that I have struggled with, as I tend to overthink in the moment. I naturally forget all that I have learned, and resort to an internal panic. In addition, I am also heavily influenced by the music that I am free-styling to, which has often been a hindrance to me, because I limit myself to the beats and structure of songs that I know, which isn't pushing me to improve. However, through our free-styling sessions during TB2, I found more confidence to freestyle, as each week would always start with a simple walk around the circle (cypher) as a starter, then we will level up to actual movement. This was a welcoming practise, as I started to worry less about my ability to freestyle, and started to move in whatever way I felt in the moment. This confidence then transferred to other smaller techniques we did in class, as it boosted my performance quality. It also enabled me to choreograph my own solo in our end of year showpiece, which came about with unexpected ease and comfortability. Because I was sat in the grooves of foundations of hip hop, the classes I did only elevated what I already knew, progressing me into a more skilful and versatile hip hop dancer.

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