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Leadership Quiz/ Belbins team roles. What role I Identify with.

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Leadership Quiz/ Belbins team roles. What role I Identify with.

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https://www.123test.com/team-roles-test/id=D1WSJT0UA01Z&version=

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Smith-Artaud's The Creative Process in Dance Composition model (2010, p126):
I have used this model to help develop the planning of my workshop. Reflecting on the difference between using objective knowledge and skills as well as subjective creative outputs and how I can combine the two to form new processes of teaching and taking leadership. Moreover this model has allowed me to consider new ways of working as well as how to translate my skills into a workshop plan that will support the progression of others. Promoting my willingness to be flexible and explore new ways of learning, for example taking risks, letting my feelings explore new approaches as well as intertwining established ideas and reworking them to fit my mode of teaching. In conclusion this model has widened my prospective of pathways I could use to support the creative process.Showing me how to intertwine my pre-existing knowledge into making my workshop and way of taking leadership more personal and signature to me.

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Stimulus for our teaching workshop- Cornelia Parker’s Cold Dark Matter

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Stimulus for our teaching workshop- Cornelia Parker’s Cold Dark Matter

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Buttersworth, J. 2004 Teaching Choreography in higher education: a process continuum model. Research in dance education 5 (1), 45-67

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Images of dancers embodying and recreating Cornelia Parker’s Cold Dark Matter

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Images of dancers embodying and recreating Cornelia Parker’s Cold Dark Matter

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Joining both groups together and exploring what happens. (Video 1)

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Joining both groups together and exploring what happens. (Video 1)

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 Feedback and Reflections from Leadership Workshop (19/10/21)

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 Feedback and Reflections from Leadership Workshop (19/10/21)

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-Utilise clear use of choreographic devices within the workshop.
-Find out where on the Democratic Demographic scale we are as a group.
-Good use of questioning and providing feedback during the session.
-Develop choreographic language to help give more structured and professional terms.
-Consider where I position myself as choreographer in the working space.
-Consider how to make connections and build relationships with the dancers we are choreographically working with (How do we place the dancers in the space?)

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Rehearsing Site Specific Work- Prior to Performance

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Rehearsing Site Specific Work- Prior to Performance

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Site Specific Work- Practise Run of Final Performance.

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Site Specific Work- Walking through the Townhouse

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Site Specific Work- Walking through the Townhouse

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Final Performance of Site Specific Work- Transitioning Floors

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Final Performance of Site Specific Work- Transitioning Floors

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Manipulating set choreography using choreographic devices and relationships.

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Manipulating set choreography using choreographic devices and relationships.

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Voice Recorded Feedback for Leadership Workshop

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Voice Recorded Feedback for Leadership Workshop

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"Have a strong vision of where you want to go and not get too distracted from that"(Sillis in Winship, L. (2015). This quote inspired me, as when reflecting on my leadership workshop I found as long as I had assurance and was assertive in myself, the dancers naturally began to too.

Using Gibbs (1998) model of reflection I have been able to reflect on my workshop and create a action plan of my development furthering on from this. I believe my feedback will support my development to reconsider the construction and layout of the workshop as well as improve my professionalism and presence in the space. Next time I will consider the placement of the room. Where I locate myself and my dancers in the space, helping to form relationships. As well as where I place myself as choreographer in the working space to enable all my dancers to be able to see and hear me.

In relation to the outcomes of the workshop, I believe in reflection it was a great success. I surprised myself with the final outcome and how from one stimulus so much material can be produced and then embellished. There was a lot of involvement from all year groups, collaboration and a diverse range of styles being appreciated and explored which was so lovely to see. All dancers were committed and the energy in the space soared as the workshop went on. Considering this the material created could evolve into a piece. How I would do this would be as shown in video 1, where both groups began exploring with what happened when forming a larger ensemble. For me this is when I needed to observe as a choreographer and take a choreographic approach, to embellish the movement, make suggestions and challenge concepts. I would also use setting a score, inspired by Tyfenll & Crickmay (1990,p90-91). To help explore a framework to extinguish the movement and explore manipulating and experimenting with the movement.

If I was to work on this choreographic idea again I would remove the improvisation circle or have this towards the end of the class instead of at the beginning. This would be due to the fact people did not feel comfortable to go into the centre, making themselves feel as if they are being watched and vulnerable. On the day I had to quickly adapt and resolve the situation, I did this by opening up the space and making the improvisation travel around the room as well as giving dancers the permission to stay on the spot and close their eyes if this helped them to channel the inner body movement. As well as hope to ease people into the class and form a sense of togetherness. Setting a improvisational circle as one of the first tasks was a mistake, however I have learnt from this as even at university level an exercise like this can be very daunting.

In reflection I feel you have to observe as a choreographer when setting tasks or scores to see how your dancers are interpreting them. This way you are accessible to promote creativity and use rhetorical questions to extract the curiosity from your dancers. What I was looking for as choreographer was collaboration, relationships beginning to be formed throughout the workshop. As well as if everyone was getting involved and felt comfortable as these were the main priorities. Furthermore when the dancers were improvising, through a choreographers lens I was looking for there strengths, stylistic qualities and individually in which I could work with, for example in a group piece.

In the book A Widening field by Tufnell & Crickmay, forced pace is explained as "Sometimes we need deliberately to break our habit of pace or duration, to go outside the boundary of what we normally do or regard as reasonable"(Tufnell and Crickmay, 2004). Using this to reflect on the workshop has allowed me to see how structured it was, surprising me by tasks I thought would take for example 15 minutes only took 5. Therefore next time to impact my teaching and choreographic development by using a variation of time limits to "create crisis, which rouses the brains resources: the compulsion towards haste overthrows the ordinary precautions, flings everything into top gear, and many things that are usually hidden find themselves rushed into the open"(Tufnell and Crickmay, 2004).

Overall I worked professionally as a choreographer, with the organisation and leadership skills to conduct a workshop. This work has impacted my development as a choreographer by getting a insight into working with different abilities and ages as well as having to be adaptable and quick thinking. To resolve problems for example the cypher in our lesson plan.

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What did you contribute to the project? What was your role?
During this project I believe I contributed my own choreographic visions and used my own style to help influence and create choreography. I took a leadership based approach to this project, using my creative mindset to inspire the others in my group and motivate them to form a piece of work that was meaningful to all of us. Moreover I contributed my pre-existing knowledge of choreographic devices and tools to help stimulate choreography. But more importantly I felt like I used my interpersonal skills to form a togetherness in the group. It become apparent this made relationships within the group stronger and as we got more comfortable with each other we had the willingness and confidence to explore with new ideas and ways of moving.

How did you function as a team?
As a team we took a sensitive approach to the task. Ensuring from the beginning we communicated our boundaries whilst working with triggering concepts. We collaboratively decided what topic we felt connected to as well as passionate raising awareness about. Throughout the choreographic process we all had the opportunity to input our own ideas and make suggestions as to the way we worked. We used teamwork to support each others visions, forming a professional and mature environment to ensure everyone felt comfortable to be expressive and show individuality through their own dance style.

Who created tasks?
During the process we all helped to create and influence choreography. We did this by labbing, completing improvisational tasks,as well as all coming up with a count of 8 each to phrase together into a motif. During rehearsals we would have one person stand out and watch each run through to see if there was areas of development and make suggestions as to how we could embellish the choreography. We collaboratively structured the piece to form a reciprocal ABA structure. Allowing the beginning to foreshadow the end. This impacted the piece of choreography, helping to show the narrative of having a glimpse into the life of someone diagnosed with ADHD.

Did you use time efficiently?
Reflecting back I believe as a group we was slow at getting started. We used a lot of time discussing ideas instead of trying them out. However I feel this was due to the awkwardness at the beginning, as some of us had not worked with each other before. Moreover as a group I believe we used our time wisely to support the development of the piece, allowing allocated time in each rehearsal to film footage. In addition we took responsibility for completing tasks at home for example choreographing 8/16 counts prior to next lesson, to maximise our time in the studio space.

Did you know what skills each other had in the group? How well were they used?
Before starting the project we discussed our individual strengths and how we could use this to impact and influence the productivity and progression as a group. Firstly we all had to channel putting ourselves into the minds of the younger generation,creating a piece of work suitable and targeted towards that age group. By establishing our own performance skills,teaching and leadership skills as well as choreographic ideas we worked together to productively form a piece of organic work that represented us as individuals as well as collective. Reflecting on the process I believe we all opened up about experiences, impacting the performance to be expressive and show raw emotion whilst considering our own personal stories.

How well did you communicate?
"We can ask what movements are considered appropriate or even necessary within a specific historical and geographical context"(Desmond, J.C., 1993). Which is exactly what we did. As a group we discussed the sensitivity of the piece and how each movement had to be purposeful, in order to have respect for the topic. We communicated well as a group verbally, listening to each other, allowing us to all stay engaged and build up a trust with one another. We also communicated via group chat to help support each other whilst completing individual tasks at home, as well as sending over footage to help develop learning.

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Discussion panel prior to the performance.

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Discussion panel prior to the performance.

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(Desmond, J.C., 1993). Embodying difference: Issues in dance and cultural studies. Cultural Critique, (26), pp.33-63.

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Duet with Khyrese working on Relationships

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Duet with Khyrese working on Relationships

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I began the process by working on the solo part of my piece. The intention was to spotlight a individual with schizophrenia, showing their emotions, mannerisms, behaviours and struggles of everyday life. I chose a spoken word for this part of the piece, as I wanted it to be expressive and emotive. In the first video (myself in blue) you can see where I began exploring the music and labbing, seeing where my body would naturally go. Then I would gradually start setting the movement to form a short motif. During this process I enjoyed dancing with my eyes closed, I felt as if I could feel the music and embody the movement to my full capacity. My feedback was to explore gestural movement further, the lyrics and the movement to correlate more. As shown in video 3 and 4, I used this feedback to develop my work, choreographing in more literal and gestural movement. It impacted my work by making the movement more purposeful with a meaning, relating more to my intention and portraying schizophrenia through a ordinary individual, not a dancer.

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Experimenting with movement and discussing our stimulus

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Choreography that was not used for the hallucination trio however helped to see my dancers abilities.

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Choreography that was not used for the hallucination trio however helped to see my dancers abilities.

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First explorations of the Solo Section. 

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First explorations of the Solo Section. 

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Using (Lavender, L ,2010) intention framing model I have been able to reflect on each stage in the making process. This has helped me to ensure that each section of my piece relates back to my stimulus and intention.I have used this model of reflection whilst watching back videos as a way of adapting, embellishing or removing choreography to fit the purpose of the piece. During this lesson myself and my dancers worked on the beginning and final stage of the piece, finalising choreography and making transitions to link the narrative of the piece together. Using this model has also encouraged me to consider and think about how I hope for my audience to feel and take away from my performance. I wanted my piece to allow audiences to reflect and consider the effects of schizophrenia on the body and mind. Making them feel as if they had been transported into the body of a individual l suffering with the mental illness. Overall I was inspired to create awareness. Moreover (Lavender, L ,2010) has made me reconsider my development of different styles in the piece. Impacting my work to add in elements of drama and physical theatre.

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Choreographic quick notes for Trio section.

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Choreographic quick notes for Trio section.

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This rehearsal I was working with the dancers in the trio section of my piece. The intention was to show a schizophrenic episode. Creating the illusion of having hallucinations and showing an auditory and sensory overload. As choreographer I envisioned this section to be vastly contact work. Using Schon's "reflection-in-action, which lies at the heart of Schon's view of how experience essentially teaches us"(Munby, H., 1989). Schon's reflection in and on action has allowed me to week by week progressively develop the contact work in my piece. I began by setting a score, for example exploring dynamics, textures, adding in movement of stillness, balances and encouraging when safe to do so exploring lifts. This brought the contact work to life and allowed it to have more of a weaving pattern.

This week I had a tutorial with Stephen my lecturer and discussed how I was having difficulty getting my contact work to look effortless and for my dancers not just using the hand or the arm. But I wanted my dancers to consider new ways and larger surface areas and balance points to take risk. Stephen attending my rehearsal on this day to assist me with how to use structured improvisation to develop and impact my work. Therefore after setting a score, I put music on and allowed my dancers to begin moving using contact work. Stephen suggested whenever I see a opportunity to interfere and develop the movement or a movement I liked and wanted to remain in the phrase, to say pause. This impacted my work and way of thinking as a choreographer. My dancers repeating this multiple times, naturally started to set the material and at the same time I was able to make adaptations and mould there bodies into what I visioned.

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Discussing critical incidents: complex/unexpected or planned during the choreographic process.

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Discussing critical incidents: complex/unexpected or planned during the choreographic process.

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Mini Project. Additional studio rehearsal.

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original tech sheet but adaptations were made on the day.

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original tech sheet but adaptations were made on the day.

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Rebecca Hewitt- DC6012 Technical Cue Sheet NEW!!!! (3)

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Lavender, L (2010) Intention Framing for Choreography in Oliver, WR. (2010) Writing about Dance. USA: Human Kinetics pp52-54

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Duet with Joe Continuing on Working With Relationships

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Duet with Joe Continuing on Working With Relationships

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When working with khyrese our chosen intention was to create a duet focussed on repelling and attracting, just like magnets. We was both intrigued with how we could show this through the use of contact work. We used falling and catching and lead and follow to show us both being stuck in a magnetic field or force. As you can see in the video(video 1) we use repetition to keep gravitating back towards each other. The walking together at the beginning with the strong focus, resembles our magnetic forces pulling us together, in which after this we remain in contact throughout. We challenged ourselves by trying out new pathways of round,by through for example when khyrese goes over my back. Using larger surface areas to explore balances. Referring to (Blom and Chaplin, 1989 , p111-116) myself and Khyrese have collaboratively worked together to implement new modes of structuring choreography for example simultaneously or cumulative or overlapping structures. Our inspiration when creating this was PUSH by Company Chameleon. "The piece explores the complex nature of our psychology – how at times we push to exert dominance and control, and at other times choose to submit and step back"(PUSH by Company Chameleon. 2020). In relation to mine and Khyrese duet we explored magnets attracted to each other and how the body can use larger surface areas to connect, repel, push, pull and hook. Overall I used my knowledge from when working in larger groups in a directed task set by stephen, to then employ this knowledge into the process of making the duet with khyrese. Self conducting my own learning and impacting the commitment to the work.

Let's Move: Types of Cannon - Blom and Chaplin (1989, p111-116).
https://www.youtube.com/watch?time_continue=5&v=jhuq3ZcMODg&feature=emb_logo

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Mind Map exploring ideas inspired from PUSH ,dance work created by Company Chameleon

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Mind Map exploring ideas inspired from PUSH ,dance work created by Company Chameleon

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Company Ones Choreographic Intention and Themes.

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Company Ones Choreographic Intention and Themes.

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To create a thought provoking piece about white privilege in relation to the American government and their reaction to Kyle Rittenhouse. We want the audience to feel uncomfortable and reflect on the themes.

Themes
I am no racist - teen cleared over protest killing news paper article.
white privilege
hierarchy
law in america
emotions- anger/confusion/aggression/disagreement.

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Using Bruna Martinuzzi article on leadership styles and how to find my own I have been able to identify my on leadership style and way of working. Firstly I have authoritative."The authoritative leadership style is the mark of confident leaders who map the way and set expectations, while engaging and energizing followers along the way...In a climate of uncertainty, these leaders lift the fog for people. They help them see where the company is going and what's going to happen when they get there"(Martinuzzi, 2021). In reflection this strongly correlates to my leadership approach as a dance artist. Naturally my leadership helps to provoke productivity, strive for the best and motivate those around me. In challenging situations, I am able to overcome these by using my leadership to set standards and goals for myself which reflects onto others. Reflecting on the mini project I have used my confidence and strong leadership skills to overcome challenges, for example disagreements, setbacks and deflation in the process. Authoritative leaders "take the time to explain their thinking: They don't just issue orders. Most of all, they allow people choice and latitude on how to achieve common goals".(Martinuzzi, 2021). However in reflection if I had to select another role I may be, I would say a coaching role, as my leadership naturally gravitates towards a teaching role supporting those around me.

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"While in all performance mediums our focus is on bodies in space, it is the dance where we focus on where and how that body moves"(Sayer and Sayer, 2013)

During this workshop I developed as a creative artist. Firstly I have learnt new professional vocabulary for example shins and mids, overheads, strobe lights and gobos. I will be able to use this new knowledge to take with me into my carer after leaving Kingston and will help me work collaboratively with lighting technicians to bring my visions to life. There are multiple possibilities with using lighting. Such as coving parts of the body, different colours for different emotions, experimenting with the intensity percentage to create a specific mood or atmosphere.  As well as using spotlights to section a individual, create shadows and also use gobos to form shapes and patterns reflected onto the floor.

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This Padlet will reflect on my development and progression throughout Creating Dance 3. Showing weekly reflections of workshops, labs and experimental tasks to support me in the creation of my final piece. In addition, this Padlet will highlight my significant learning experiences and relate them to relevant theories and dance practises to support my learning.

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Prior to the final performance our feedback was to try and make the gestures more exaggerated in order show gestural movements of everyday life. We took this feedback and developed the piece by repeating the gestural movement and making the movement travel instead of stationary. This impacted the piece by making it more engaging, helping to highlight the context of everyday life before the shooting took place. My development as a choreographer began when using the newspaper article as a starting point. This was not a stimulus I had tried using before however helped extract quotes and use visual images to impact the way in which I began creating with my group. As a group we collaboratively worked together to overcome mental block and disagreements. I used my leadership skills to try and explore using these disagreements as a way of adapting and moulding choreography to work for everyone.

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Blom and Chaplin (1989,p111-116) Let's Move: Types of Cannon

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Martinuzzi, B., 2021. Leadership Styles and How to Find Your Own. [online] Business Class: Trends and Insights | American Express. Available at: <https://www.americanexpress.com/en-us/business/trends-and-insights/articles/the-7-most-common-leadership-styles-and-how-to-find-your-own/> [Accessed 10 May 2022].

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Munby, H., 1989. Reflection-in-action and reflection-on-action. Current issues in education, 9(1), pp.31-42.

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National Theatre, 2015. Frantic Assembly Masterclass: Building Blocks for Devising. [video] Available at: <https://www.youtube.com/watch?v=gUqZPfGIX6U&t=96s> [Accessed 11 May 2022].

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PUSH by Company Chameleon. 2020. [video] Directed by K. Turner and A. Missen. Without Walls and Dance Manchester.

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Sayer, R. and Sayer, R., 2013. Dance Lighting Introduction - On Stage Lighting. [online] On Stage Lighting - Stage Lighting Tutorials, Information and How To. Available at: <https://www.onstagelighting.co.uk/lighting-design/dance-lighting-introduction/> [Accessed 10 May 2022].

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(Sillis in Winship, L. (2015). Being a Dancer: advice from Dancers and Choreographers. London: Nick Hern Books. p123)

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Smith-Artaud's The Creative Process in Dance Composition model (2010, p126):

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Tufnell, M. and Crickmay, C., 2004. A widening field. Alton: Dance, p.112.

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Tyfnell&Crickmay (1990, p90-91) A Score for working with dancers: A framework developing movement with other dancers.

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Wilkie.F (2002) Kinds of Place at Bore Place: Site-Specific Performance and the Rules of Spatial Behaviour. New Theatre Quarterly, 18, pp 243-260 p257

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Wilkie, F (2004) Out of Place. The Negotiation of Site Specific Performance. University of Surrey. School of the Arts. Thesis submitted in fulfilment of the requirement of the degree of Doctor of Philosophy. Access courtesy of British Library. March 2011. p58

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Using Wilkies model shown above I have been able to question "How far does a performance work within the rules of a place and how far is its presence necessarily changing them?" (Wilkie.F, 2002). This quote suggests to me how site specific work pushes boundaries. Site specific work is  unpredictable which is exciting and brings a whole new presence, energy at atmosphere to a location. I have reflected upon this quote in the process to impact my development as a dance artist, encouraging myself to take risk when choreographing in a new space, see it as a opportunity to explore using these spaces and finally I wanted to create the feeling of being subconsciously transported to the new presence when people of the public are watching the dance work.

The model above has enabled me to understand the difference between site sympathetic, site generic and site specific work. Reflecting upon this I have recognised how me and my group used site morphology to explore the space. Using physical and verbal explorations as a starting point to create choreography as well as shapes and objects. For example we used the shapes and textures of the chair legs.