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１.1. Challenge your memory

2 Focus on salient features

3. The order in which the story develops

4. Get her point of view.

5. Remember the actions related to the theme.

6. Emotional choreography

7. Help find the same frequency in a piece.

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Keywords and snippets, music

The same rhythm,

Break it up. Come in, Canon,

People changed the lights

Alternately,

Flexible story

Why do we tell stories about people's lives, different rhythms of thinking,

Each fragment can contribute to the formation of the next story

How to talk about life,

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task:

responses

title dance

same dance

Give each other three different themes, two people choose one from the six themes to improvise the dance, the other person to imitate.

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１.The music did not affect the impromptu movement

２.Pictures form memories in my brain that give me ideas

３．In a cooperative dance, the memory is reflected in the bodyAnd pay attention to other people's reactions

４．Common memories combined

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1.The memory is not clear in the dance

2.Whether to add music to the impromptu dance

3.Two people's memories overlap in an unpredictable way

Whether the picture inspires the action of the association

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space:campus center

custume: Loose T-shirt

time: 10 mini

performance: Improvisational dance

music:　instrumental

objects:paper whiteboard

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Look into the past

Maybe we chose different roles

Step out of character

Is there a compromise?

Create conflict

What I don't like, making things difficult.

What are your strengths in problem solving?

Character matters

Contractual relationship

I like drawing,

Gender and personality. The extreme right of democracy

Political and economic models teach you,

Your thoughts drift like a ship

The creation of flow,

How do you usually start a choreographic collaboration?

interaction

philosophy

inspiration

Art belongs to life

Your thoughts drift like a ship

The creation of flow,

How do you usually start a choreographic collaboration?

interaction

philosophy

inspiration

Art belongs to life

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Ｄream

1.We work through what we draw and then find the right elements to dance to by improvising dances based on what we draw from each other。

２.One person dances and the other person paints, and the dancers improvise based on the drawings that the other person has drawn.

Two people draw together and then two people do an impromptu dance together based on the drawing.

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１．What you're talking about in the video is essentially separating and then coming together, what's esntially separating coming together?

２．And you said that many things can not be done in the shadow, what is this shadow?

３．Do you think people's personality will affect the effectiveness of cooperation?

3.What are your expectations for cooperation?

4.I think everyone has own strengths in cooperation. What do you think are your strengths in choreography?

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hybrid aesthetic

braid his ideas Bouncing ideas off each other

Offer feedback without forethought.

Take the time to listen.

Egalitarianism

Shared Roles

Divide and Conquer

Improvise

Problem-Solving

playtime

collaborator complement each other

a cohesive vision

Play to Your Strengths

Trust the Process

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Modifying the strong vision with he had begun.

Creative briefs are used to clearly communicate the heart of the idea to your collaborators

Collaborators to fill the "holes" of your weakness

One clear-cut way to tackle a collaborative project is to divide the work up.

They rely on a rigorous process of watching, reflecting and layering. “Often, it’s one of us dancing and the other one watching, but it also involves a lot of dancing together with nobody watching—and sometimes it involves a mix of those things

t’s about how the DNA of the two might be spliced to make a new thing.

actively imagine what someone else is imagining in their head.”

ideas come together in a more organic way, and you don’t get so stuck in an idea that it’s a fight in order to break it.”

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Noyale Colia Stefanie sachswnmaier , Collaboration in Performance Practice Premises : workings and Failures, I WANT TO WORK WITH YOU BECAUSE I CAN SPEAK FOR MYSELF: The Potential of Postconsensual Collaboration in Choreographic Practice,Martina Ruhsam.（p75）

Noyale Colia Stefanie sachswnmaier , Collaboration in Performance Practice Premises : workings and Failures, Asking ‘What is Collaboration?' on Behalf of Jerzy GrotowskiKris Salata .(p179)

Liz Lerman , Dance works Stroies of creative Collaboratio: Dances for Places and Their People, (p147)

Robin,k. wilson, M. Jennifer, B. and Marc , J . Puducing dance a collaborative art with HkProple Access, (p21-24. p38)

Leggat Roper, Marin, Somatic-Based Choreographic Collaborations Between Dancers from the United States and India.2019(p1-8)

Studying Choreographic Collaboration in the Wild In: Designing Interactive Systems Conference 2021 (DIS ’21) New York, USA (p3-4)

Ayman .M, Leonor .B, Robin L and Bashar .N,Requirements-Driven Collaborative Choreography Customization ,ServiceWave 2009, ICSOC 2009(p1-15)

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Research:Collaborative choreography