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This article tells a young persons true story of addiction, this helped us get in to character for our piece.

Phoenixhouse.org. (2012). Savannah: A True Story of Addiction, Treatment, and Recovery | Phoenix House. [online] Available at: https://www.phoenixhouse.org/news-and-views/true-stories/true-story-savanna/ [Accessed 10 Dec. 2019].

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I was only ten when my drug use started. Both of my parents are active addicts, so it was my mom who got me into it. She's always acted like a teenager, more like a friend than a mom, and she gave me pills for the first time. I was living with her back then and I started using consistently-taking a bunch of pills, smoking weed, and drinking a lot. The pills were my main thing: Percocet, Vicodin, a lot of downers. I struggled with depression and my parents' physical and verbal abuse, so then I started abusing myself with the drugs, cutting, bulimia, anorexia, and the guys I kept bringing in and out of my life. I started acting out like your typical teenage drug addict, stealing and sneaking out at night, but it was all pointless because my mom was high all the time and didn't even notice.

By age 13 I was living in a shelter with mom and my youngest sister. The cops found me there and took me back to my dad's. He was very abusive and his own drug of choice was uppers, so I started doing a lot of coke, meth, and ecstasy those next three years. Those became my drugs of choice. In July of 2009 I ran away from where I was living with my dad in south Texas. I don't remember all of it, just that I took Xanax, woke up in downtown Houston, and never went home again. At that point I didn't have a "drug of choice" anymore-it was just whatever anybody had, whatever was in your hand.

In Houston I contacted an old using buddy and started staying with her and her mom. Her mom and my mom used to get high together, so when I was living with them we'd all get high together. A few weeks later my grandparents found me and got custody of me, so I moved in with them. The very next day I snuck out, bought a bunch of drugs and did them all: coke, pills, liquid codeine...all this crazy stuff. I wound up at a park where I went into the bathroom because I felt like I was going to have a seizure. That's when I caught my reflection in the mirror and nearly jumped out of my skin. My eyes were sunken in, I was black and blue, I had cuts all over...I didn't recognize myself. I literally thought it was someone else in the bathroom with me, that's how bad it was, and I was terrified-I thought it was a monster. I realize now that I hadn't looked myself in the eyes ever since I'd started getting high.

When I went outside the cops were there; they tackled me and sent me to juvenile hall, where I failed every drug test imaginable. I remember the lady doing my intake-she looked at me and her eyes were so sad, like she was thinking, "What on earth have you been doing to yourself?" The next day I met my Probation Officer, and of all the POs in Montgomery County I got a notoriously hard-ass one. She told me that she was going to flip a coin; if I got heads I got to go to Phoenix House, if I got tails I went to a psychiatric program. I happened to land on heads.

I started treatment at the Houston Outpatient and Prevention program, and I met my counselor, Rudy. I'd get so angry at him, yelling, like "Why do you even care!? I don't understand why you're even bothering!" But Rudy said, "I'm not going to give up on you," and he didn't. Not even when I relapsed. Not even when I got arrested and sent back to juvie. There I was: 15 years old, without any friends or family, and I just wanted more than anything to overdose on heroin and die. That's when I finally got on my knees and prayed. I don't think I actually said anything, and if I did I don't remember it. But I got this overwhelming sense that even though my lawyer, my PO, Rudy, my friends, and my family could all give up on me...God wouldn't. So I wasn't going to give up on myself.

I'm not a religious person, but that moment was my first experience of spirituality. And that same day, Rudy came to visit me. I was SO happy to see him because for the first time I felt like I actually had a chance. I was like "Rudy! Guess what?! I realized I'm an alcoholic and a drug addict!" And he was like, "I'm glad you finally figured that out." Rudy really went to bat for me about going back to treatment, and I got back in. I finished my treatment at Phoenix House and participated in the Cornerstone Recovery program as well. I've been sober since 2009, coming up on three years in October.

Since I've gotten sober I've had my mom come in and out of treatment and my life, my sister too. I've lost a lot of family and more friends than I can count to this disease of addiction. But at least I haven't lost myself. Sure, I've had bad moments-I went through a breakup around the same time that a close friend of mine died, but I didn't let that send me back out there to using. Nothing's been easy, but recovery is the best thing that's ever happened to me.

There wasn't a specific event that saved my life; it was my own spirituality and surrender that did it. I know without a doubt in my heart that if I'd continued using I'd be dead. Not in trouble, not in jail- dead. I remember sitting with my first sponsor and being so ashamed to tell her that I'd never felt happy in my entire life. She was like, "It's ok, you will be." And she was right. Today I work as a project coordinator for a corporate moving company and I live with my boyfriend, who has four years sober, in downtown Houston. I go to meetings regularly and work with my sponsors and sponsor other teens. I'm completing an internship in wilderness-based recovery at Cornerstone. And it's all downhill from here; I'm only 18, I've got a whole life in recovery ahead of me! I'm like, dude-what great stuff is going to happen next?

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I was only ten when my drug use started. Both of my parents are active addicts, so it was my mom who got me into it. She's always acted like a teenager, more like a friend than a mom, and she gave me pills for the first time.

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The source speaks of addiction from a psychological pain of view and the affects it has on the brain such as depression and anxiety. Psychology Today. (2019).

Addiction | Psychology Today UK. [online] Available at: https://www.psychologytoday.com/gb/basics/addiction [Accessed 30 Nov. 2019].

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A person with an addiction uses a substance, or engages in a behavior, for which the rewarding effects provide a compelling incentive to repeat the activity, despite detrimental consequences. Addiction may involve the use of substances such as alcohol, inhalants, opioids, cocaine, and nicotine, or behaviors such as gambling.

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This web page explains what addiction is as well as what causes it, the affects it has and how to get help. It also gives statistics about addiction and states that 1in 3 people are addicted to something whether it be the internet, drugs or gambling etc. which is a significant amount of people.

nhs.uk. (2015). Addiction: what is it?. [online] Available at: https://www.nhs.uk/live-well/healthy-body/addiction-what-is-it/ [Accessed 2 Dec. 2019].

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Addiction is a common problem, but help is available.
Addiction is defined as not having control over doing, taking or using something to the point where it could be harmful to you.

Addiction is most commonly associated with gambling, drugs, alcohol and smoking, but it's possible to be addicted to just about anything, including:

work - some people are obsessed with their work to the extent that they become physically exhausted; if your relationship, family and social life are affected and you never take holidays, you may be addicted to work

internet - as computer and mobile phone use has increased, so too have computer and internet addictions; people may spend hours each day and night surfing the internet or gaming while neglecting other aspects of their lives

solvents - volatile substance abuse is when you inhale substances such as glue, aerosols, petrol or lighter fuel to give you a feeling of intoxication

shopping - shopping becomes an addiction when you buy things you don't need or want to achieve a buzz; this is quickly followed by feelings of guilt, shame or despair

What causes addictions?

There are lots of reasons why addictions begin. In the case of drugs, alcohol and nicotine, these substances affect the way you feel, both physically and mentally. These feelings can be enjoyable and create a powerful urge to use the substances again.

Gambling may result in a similar mental "high" after a win, followed by a strong urge to try again and recreate that feeling. This can develop into a habit that becomes very hard to stop.

Being addicted to something means that not having it causes withdrawal symptoms, or a "come down". Because this can be unpleasant, it's easier to carry on having or doing what you crave, and so the cycle continues.

Often, an addiction gets out of control because you need more and more to satisfy a craving and achieve the "high".

How addictions can affect you

The strain of managing an addiction can seriously damage your work life and relationships. In the case of substance misuse (for example, drugs and alcohol), an addiction can have serious psychological and physical effects.

Some studies suggest a person's risk of becoming addicted is partly genetic, but environmental factors, such as being around other people with addictions, are also thought to increase the risk.

Behaviours such as substance misuse can be a way of blocking out difficult issues. Unemployment and poverty can trigger addiction, along with stress and emotional or professional pressure.

Getting help for addictions

Addiction is a treatable condition. Whatever the addiction, there are lots of ways you can seek help. You could see your GP for advice or contact an organisation that specialises in helping people with addictions.

You can use the following online directories to find addiction treatment services in your area:

To speak to someone anonymously about any type of addiction, you can call the Samaritans free on 116 123.

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Addiction is a common problem, but help is available. Addiction is defined as not having control over doing, taking or using something to the point where it could be harmful to you.

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Jasmine showed us this image during a choreographic task and my group and I all agreed it reminded us of a butterfly but in a sad way. We created a sequence based upon this stimulus and then later developed it in to the beginning of our piece.

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We also used this poem as part of our auditory stimulus because the story he tell of addiction and the way he tells it is very inspiring and it gave us ideas for movements.

YouTube. (2015). Drug Addiction: My Goodbye Letter to Drugs Spoken Word by David Sigal HD. [online] Available at: https://www.youtube.com/watch?v=tzIr7D_e-po [Accessed 6 Nov. 2019]

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Drug Addiction: My Goodbye Letter to Drugs Spoken Word by David Sigal HD

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This glossary helped me better understand different choreographic devices and different ways to create choreography.

Artsonline.tki.org.nz. (2019). Glossary / Dance / Pedagogy / Teaching and Learning / Home - Arts Online. [online] Available at: http://artsonline.tki.org.nz/Teaching-and-Learning/Pedagogy/Dance/Glossary [Accessed 11 Nov. 2019].

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Back to the 'Jump link' navigation, at the top of the page

A glossary of dance terms from the NZ Curriculum.

abstract movement: movement to represent an action - not mime.

accent: emphasis

accumulation: a choreographic device or structure where new movements are added to existing movements in a successive manner, for example, A, AB, ABC, ABCD.

āhua: form, as applied to Māori performing arts.

air pathway: a pattern made in the air by the use of body parts (for example, arm, leg, head).

American postmodern dance: a form of modern dance that emerged in the 1960s and in which choreographers experimented with concepts and forms that challenged existing dance traditions.

art work: a product of art-making activity (for example, a haka, ballet, hip- hop performance).

asymmetry: a shape made by a dancer or dancers that has no line of reflection (mirror line).

augmentation: a choreographic device where movements are made larger in space or time.

beat: underlying pulse

bharata natyam: a form of Indian classical dance.

body awareness: a dance element that comprises focus on body shapes, body base, body part, locomotor and non-locomotor movements.

body base: the part of the body supporting a dancer in a balanced position (such as two feet, or one hand and one foot).

body parts: arms, legs, head, fingers, ankles, elbows, knees, shoulders, toes, wrists

body percussion: sounds made using parts of the body (e.g., foot stamping, thigh slapping)

body shape: curved, straight, open, closed, symmetrical, asymmetrical.

butoh: an expressionistic, avant-garde dance form that originated in Japan after the Second World War.

call and response: a structural device most often associated with African dance and musical forms; one soloist or group performs, and the second soloist or group performs in response to the first.

canon: a choreographic device or structure in which movements introduced by one dancer are repeated exactly by subsequent dancers in turn.

capoeira: a Brazilian dance form based on a type of martial arts.

chance: a choreographic process in which movements are chosen at random or randomly structured to create a movement sequence or a dance.

choreograph: to create dance by selecting, inventing, and arranging movement motifs and sequences

choreographic device: a specific way of manipulating movement to develop dance choreography (for example, repetition, inversion, accumulation).

choreographic process: the method (for example, teacher direction, group collaboration, collage, chance) by which choreography is developed.

choreographic structure: the way in which movement is organised and shaped to create a dance (for example, ABA , theme and variations, narrative).

communication: conveying or transmitting meaning within a particular context.

contact improvisation: a genre of modern dance based on spontaneous movement and the exchange of weight between dancers.

counter balance: a balance for more than one person, where each person relies on the others to maintain their shape.

culture: understandings, patterns of behaviour, practices, values, and symbol systems that are acquired, preserved, and transmitted by a group of people and that can be embodied in art works.

dance elements: body awareness, space, time and energy, relationships

dance practices: a collective term that refers to the techniques, conventions, protocols, and principles associated with a particular dance form, genre, or style.

dance work: a product of dance making activity (i.e., haka, ballet, hip hop performance)

direction: forward, backward, right, left, up, down

duration: long, short

elements of dance: the key components of movement (for example, space, time, energy, relationships, body awareness).

embellishment: a choreographic device where detail is added to a move, such as a hand gesture or an arm movement.

energy: a dance element that focuses on the weight, texture and flow of movement, for example, float, swing, sudden, smooth, sharp, percussive, vibratory, explosive.

ensemble: a group working on or performing dance together

floor pathway: a direction taken across the floor (zigzag, curved, straight, diagonal).

focus: where a dancer is looking; concentration on the task.

form: the choreographic structure or structures that shape a dance work; or a broad term that refers to a specific type of dance (for example, theatre dance, folk dance); or a particular practice, style, or genre of dance.

general space: space in the overall dance area that is shared by all dancers.

genre: a specific category of dance that has a tradition or history and is identifiable by specific characteristics, social functions, and cultural contexts (for example, romantic ballet, hip-hop, kapahaka).

graphic notation: notation in which movement is represented by shapes and lines.

hononga: linkage, as applied to Māori dance.

idea: a visual, auditory, or kinaesthetic concept, or a combination of these, within an arts discipline.

improvisation: spontaneous movement in response to a stimulus.

interpretation: analysis or appreciation of meaning in an art work by a viewer; or the particular meaning communicated by the performer of an existing art work.

kapahaka: a Māori dance or action song group.

kinaesthetic signs and symbols: movement, gestures, and body language.

leap: a jump from one foot to the other foot.

level: the height in space at which a dancer is moving (for example, high, medium, low).

locomotor movement: movement in which the body travels across space (for example, running, creeping, rolling).

ma'ulu'ulu: a Tongan or Samoan group dance.

meaning: what an artist expresses in an art work; or what a viewer understands and interprets from an art work.

melodrama: overly dramatic, larger than life.

mokowā: space, as applied to Māori performing arts.

motif: a brief movement or gesture that can be developed in a variety of ways

movement motif: a movement or gesture that can be elaborated upon or developed in a variety of ways in the process of dance choreography.

movement patterns: recognisable, repeated movements or movement sequences

movement phrase: a series of movements linked together to make a distinctive pattern.

movement sequence: a series of movements, longer than a phrase but shorter than a section of a dance.

narrative structure: a choreographic structure that tells a story.

nekehanga: movement, as applied to Māori performing arts.

non-locomotor movement: movement in which the body remains anchored to one spot by a body part (for example, bending, twisting, stretching).

pathways: patterns created in the air or on the floor by the body or body parts as a dancer moves in and through space.

personal movement vocabulary: an individual's patterns of movement, which can be identified and extended through improvisation.

personal space: the "space bubble" around the body, extending as far as the body and body parts can reach, without travelling.

range: near, far, big, small

relationships: a dance element that focuses on how the body relates to itself, to others, and to the dance environment.

repetition: a choreographic device in which movements or motifs are repeated.

retrograde: a choreographic device whereby movements or a motif are performed backwards (like a rewound video).

reversal: the performance of the movements of a motif or sequence in reverse order (but not in a backwards direction).

rhythm: pattern, breath, steady, irregular

rhythmic: pertaining to movement patterns in time; these patterns often reflect the accompanying music's rhythms (i.e., distinctive combinations of note durations, accents, and silences)

rondo form: a choreographic structure (ABACAD, etc.) in which contrasting sections alternate with a recurring section.

sasa: a Samoan dance in which rows of (often seated) dancers perform rapid, synchronised movements in time to the beating of slit drums, tins, or rolled mats.

sequence: a series of movements, longer than a phrase but shorter than a section of a dance

social text: an art work that refers to the society or culture in which it is made and that reflects the dynamics within that society or culture.

space: a dance element made up of level, size, range, place, focus, direction, pathway.

style: the recognised manner or distinguishing way in which a dance is made and communicated and according to which it is interpreted; style is often associated with a particular performer, performance group, choreographer, or period.

symmetry: a shape made by a dancer or dancers that has a line of reflection (a mirror line).

tableau: a still shape created by a group of dancers.

taiaha: an ornately carved Māori spear, usually made of wood; or the art of using this weapon.

tauhanga: body stance, as applied to Māori performing arts.

te reo kori: a programme that develops basic movement skills using such equipment as poi, rakau, and whai.

technologies: equipment used to help create, present, explain, document, view, interpret, analyse, or learn about dance works, including dance props (for example, a taiaha, scarf, chair), electronic media (for example, video, computers), and production technologies (for example, lighting, costume, sound).

tempo: fast, slow, increasing, decreasing

theme: the subject, topic, or underlying idea (e.g., water, anger, drug use, a narrative, a particular image) on which a dance or section of a dance is based

text: any expressive work (artistic or otherwise) that can be "read", whether it uses words, images, or sounds.

time: a dance element made up of rhythm, tempo, beat, accent.

unison: dancers moving at the same time doing the same movements.

vocabularies: steps, movements, sequences, and ways of moving, which may be personal (for example, in creative dance) or particular to a dance form (for example, folk dance).

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Glossary / Dance / Pedagogy / Teaching and Learning / Home - Arts Online

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Back to the 'Jump link' navigation, at the top of the page A glossary of dance terms from the NZ Curriculum. abstract movement: movement to represent an action - not mime. accent: emphasis accumulation: a choreographic device or structure where new movements are added to existing movements in a successive manner, for example, A, AB, ABC, ABCD.

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This image explains some  of the different types of stimuli that can be used when creating a dance and how to use them.

I.pinimg.com. (2019). Dance Stimuli. [online] Available at: https://i.pinimg.com/474x/47/ed/5c/47ed5c7516d3c0c39a6ccd19526f410b--dance-teacher-dance-class.jpg [Accessed 20 Oct. 2019].

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On this document we notated the choreography as we went along which helped with our retention of the choreography.

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In this interview Ainsley Rickets explains his unique contemporary fusion style. Some quotes that inspired us are:
“the audience to feel something”
“comes from emotion and feeling”
“not scared of ugly shape"

YouTube. (2020). TGD Finalist Ainsley Ricketts explains his style of dance. [online] Available at: https://www.youtube.com/watch?v=Lwts8EC6vaI [Accessed 14 Jan. 2020]

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TGD Finalist Ainsley Ricketts explains his style of dance | The Greatest Dancer

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In this piece Ricketts' uses lots of embellishment/small intimate movements and strong dynamic which makes the piece very effective and helps to emphasise specific parts of choreography so we took inspiration from this to help emphasise certain parts of our narrative.

YouTube. (2020). Ainsley aims to impress idol Todrick in breathtaking Audition. [online] Available at: https://www.youtube.com/watch?v=cJPLzeS1z5w [Accessed 11 Jan. 2020]

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Ainsley aims to impress his idol in breathtaking Audition | The Greatest Dancer | Auditions Week 2

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This choreography uses different tempos and speed to create a climax, we took inspiration from this for our piece to create a climax.

YouTube. (2019). Captains mesmerised by Dane Bates Collective's exceptional skills. [online] Available at: https://www.youtube.com/watch?v=iNlNcNM2v4s [Accessed ]

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Captains mesmerised by Dane Bates Collective's exceptional skills - The Greatest Dancer | Auditions

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Dane Bates uses lots of fluid floor work in this video that we took inspiration from and used in our piece.

YouTube. (2018). Never enough | Loren aldred | The Dane Bates Collective. [online] Available at: https://www.youtube.com/watch?v=Rr3J7okR03I [Accessed ]

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Never enough | Loren aldred | The Dane Bates Collective

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We performed our final piece for the rest of year 2 and received audience feedback.

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This was our first rehearsal using our costumes.

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These are some of the notes Jodie wrote about the piece when she stepped out to watch it.

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End of Recovery choreography part 2.

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End of Recovery choreography part 1.

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We created this choreography with the intention of using levels as a choreographic device to represent the positive thoughts winning the battle.

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Recovery choreography showing the positive and negative thoughts battling each other.

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These are the costumes we wear for our piece.

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Recovery choreography using mirroring as a device to demonstrate that we are all thoughts in Alex's head.

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This is the brief we show to Tali to help her understand our piece.

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Unsteady choreography that Ruby created.

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Recovery choreography that Alex created, showing the negative thoughts dominating the positive thoughts.

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Poem and Unsteady Choreography - 22/11/19

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Poem and Unsteady Choreography - 22/11/19

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This is the choreography we created for Unsteady when Alex was absent so we sent this video in to our group chat so she could learn it while she was absent.

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This is our simultaneous cannon for Unsteady performed all together.

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Me and Leighonie Tick Section - 22/11/19

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Me and Leighonie Tick Section - 22/11/19

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This is mine and Leighonie's choreography for the simultaneous cannon in Unsteady.

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This is the cumulative canon section we created for the poem when Alex was absent.

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This is the start of our piece that we took inspiration from the stimulus task for.

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These are our initial ideas for our piece that we have sent to Jasmine.

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We used this poll in our Facebook group chat to decide which songs we wanted to use for our piece.

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This is the previous motif I created with retrograde.

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This is the motif I created to use different choreographic devices on to develop it to help me better understand the devices and figure out which ones I liked.

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 Loose reverting overlapping canon- 11/10/19

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 Loose reverting overlapping canon- 11/10/19

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This is my motif I created with loose reverting overlapping canon using different parts of my body instead of different dancers.

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This is the motif I created to develop with canon of different parts of the body.

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This is the sequence we created after being shown different stimuli (stimulus was *6).

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Improvisation call and response cannon task - reverting overlapping cannon.

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Improvisation call and response cannon task - reverting non-overlapping cannon.

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This video gives statistics about current drug use and states that there are over 190 million users world wide, more so among adults under 30 years old.
We thought it was important to portray the story because the issue is surrounding us here in Manchester. This piece would be set as a flashmob to raise public awareness about the issue surrounding us on a daily basis.

YouTube. (2019). Drug Abuse, Causes, Signs and Symptoms, Diagnosis and Treatment. [online] Available at: https://www.youtube.com/watch?v=b6Dte96WdqM [Accessed 2 Nov. 2019].

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Drug Abuse, Causes, Signs and Symptoms, Diagnosis and Treatment.

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We are using this poem as part of the music for our piece, we have taken inspiration from the lyrics to create our movement.

YouTube. (2013). "Addiction Poem" A Message of Hope. [online] Available at: https://www.youtube.com/watch?v=Fl1E1fVDt1s [Accessed 28 Nov. 2019].

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YouTube. (2019). Addiction (Kurzgesagt Archived video). [online] Available at: https://www.youtube.com/watch?v=C8AHODc6phg [Accessed 2 Nov. 2019].