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I love the way that this group travels around the stage, losing control. This is something that i will be developing throughout my personal choreography.

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The way that this group use repetition and develop this is something that want in my piece. This will show all the times that my mum and dad were unsuccessful when trying for a child.

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These dancers in this dance are incredibly in sync with each other. This is exactly what i want in my piece, there should be a leg, arm or eyeliner out of place.

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I love how the choreography is very grounded and weighted. I believe that this will show the struggle of being old that you cant have a child over and over again. The negative thoughts going through there heads at the time would of dragged them down. this is the sort of movement that i want representing this.

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My piece is based on a couple that love devote themselves to each other. The bond between each couple has to be there and show the love between each other. The characterisation is something that i want my girls to take note of.

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When watching this piece i love the way that there are different groups and they all come together in a unison section. The movements that get them into unison is something that i will be putting into my own piece. The difference between doing all different moves into a unison section is something that i love as a choreographic device.

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I love the way that he tells a story through his choreography, showing many different emotions and telling a story is something that i really aspire to do throughout my choreography. You can clearly understanding the story with all of his piece, bit especially this piece...

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Dane Bates Collective Take On Hollywood | The Greatest Dancer

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The emotion that the girls are showing in this piece is clear and stands out as a positive feature. The body language that they show through there movements helps portray the emotion on stage. This is a clip that i will be making my dancers watch as i want this sort of emotion throughout the whole of my piece.

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"During the course of the term, I feel like I have gained strengths after strengths with Lauren’s lessons and her choreography piece. Since I started pointe over 4 year ago, I always struggled with the simple technique of pointe for me to adapt and get better and I feel like Lauren has taken this and created exercise in the lesson to pacifically help my individual needs. I have gained confidences as well as strengths to do complex movements and add performance skills to creates an entertaining and enjoyable piece. Within each session, Lauren comes prepared with notes and a lesson plan on what technique we are improving on the day. We start with a long and upbeat warm up to get the body moving and for us to not prevent injury. I highly give credit for this as I have suffered from bad injuries due to poor warm up and I’m glad that Lauren has taken this to consideration to keep her dancers safe. I feel open to speak my mind and give opinions for each lesson and I always know that Lauren will listen and take notes for next session. Additionally, she ends with a good cool down to bring us back together but to also reflect on what we have learnt.
During her choreography piece, I always felt that Lauren had such creativity within her dancers. She stride to push each and every dancer so we could should show are best ability as performers. Like her lessons, she came prepared and on it for every session and was able to adapt to our needs or/and ability. I always had a good time as well as being worked hard and could feel a sense of success from each session. Lauren could always give us encouragement especially when we would come unwell or not prepared and knew how to keep the lesson going smoothly. I would highly recommend Lauren for lessons or choreography especially after this term. She has truly push the
Boundaries of teaching and created an atmosphere to cherish."
Holly Lambert

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Choreographers that have influenced me...

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Choreographers that have influenced me...

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Throughout this process, i have been looking through different choreographers looking at there style and what makes there work stand out compared to other choreographers. One choreographer in particular is Dane Bates, he shares his choreography all over social media holding workshops all over the UK and sometimes travelling to Greece. I love the way he uses pure emotion and the way he choreographers around the emotion. His style is a fusion between contemporary and lyrical jazz. He has recently just put a group of girls into a competition that was aired on BBC and they came in 3rd place. The devices he uses throughout his pieces, makes sure that there is never stillness and the stage always has something going on. The girls that are in this group are insanely talented, as you can see in these youtube clips they use unison a lot and are so in sync with each other, it makes your hairs stand up. This is something that i want in my choreography throughout making sure that they have the same effect on stage. I will be using this group as an example to my group for my choreography.

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Can the Dane Bates Collective dance their way to 75%? | The Greatest Dancer

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When planning these pieces, i like to get into a studio and dance the sections myself and get a feel for the movements. I believe that if the choreography doesn't feel right yourself then you should give this to my group. As i am dancing, i like to make notes and create the choreography with them alongside influences from my favourite choreographers. If i didn't like the work that created on the group i scrapped it and started again. If i don't like what i have created i will not stick with it, i will simply just get rid of the idea. I also like to take inspiration of the girls when they are improving in different sections. I take this and develop this into my own choreography. I need to make sure that i stick with one style when choreographing as i always slide back into lyrical jazz. I just need to keep reminding myself of the style, as this is something that I've had to change a few times during my year of choreography. I

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My piece is based on a true story so i wanted to make sure that my piece doesn't miss anything out and also make sure that the structure makes sense for the audience to understand the piece.
Section 1- Waiting/reading the negative pregnancy test
Section 2- Individual improv section
Section 3- Showing love between the couples/losing control
Section 4- Separate showing the pain they went through individually
Section 5- Unison/lift section
Section 6-Walking/Spoken language
Section 7- Repeat/develop section 1
Section 8- 3 different duets
Section 9- unison showing positive test
Section 10- Still moment with spoken language
Section 11- End fall/position

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Choreographic devices is something i have really focused on throughout planning and rehearsing the piece. I wanted the piece to be full of developments, making the piece interesting and not boring. One of the devices that i have used throughout my piece is receptions. In my opinion, repetition can be boring if its not developed  in a piece, especially in a task where we have to choreography 10-15minutes. The reason that i choose to use repetition is because i wanted to show the many times that my mum and dad did a pregnancy test. I wanted to make sure that the audience is aware of this. The second time that i used the clock section i developed this by changing the dynamics and speed. I added in solos to the section, showing that mum and dad were trying to hide there emotional and be strong in front of each other. Another choreographic device that i used throughout this process was improvisation. The girls that i am working with for my piece work really well when improvising, this is a skill that doesn't intimidate them. I love letting the girls have 16 counts of improvisation as they can let out there emotions that the feel when portraying the story. Although, the 17th count is something that i want all the girls to do the same to bring them all back together. I use this technique a few times during my piece as i believe this is extremely effective and works well when i want the girls to express the emotion more. This also helps me to make more different choreography, i watch back the girls improvisation and take movements and develop them into a different motif. Another choreographic device is using different levels. I use this throughout the whole section. This is something that i personally like to see in a piece of choreography. I use the different partners to develop each other. For example, the middle couple, would be standing, back stage left couple would be on there knees and backstage right would be sat down . This shows three different levels at the same time on stage. Adding different heights to the piece gives more of interesting image and isn't so planned and placed. Having a 10-15 minute piece and using one level would be extremely boring to watch adding no depth at all.

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Throughout this week i have been looking and deciding on different costumes that i feel will suit my piece. I want the outfits to look very casual and pedestrian not a typical dance piece. I needed to make sure that the audience know who is representing my mum and dad. I decided to keep the colours neutral with a touch of mustard, the dress i have decided for the girls to use is long sleeved and is black and mustard. The dancers that are representing my dad will wear black culotte trousers and a black high necked leotard. i chose to put the girls in that dress because it is a typical dress that my mum would of worn 19 years ago. I didn't want anything tight fitting for the girls to wear as i feel like i need to show a true idea of femininity.
As you can see in the video recording, the outfits look good together and doesn't detract any attention from my dancers. I wanted to add a section of choreography to the ultra sound section. I feel like there needed to be more dancing and more of a build up to the climax and end spoken language. I added movements that i feel represented relieve and happiness. This meant that this week i needed to add around 30 seconds of music to allow for the extra choreography. This will be a task that needs to be done over this week so the dancers can go from start to end in costume with all the choreography.

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This week i have been able to get my music edited so the girls can go from start to finish without having any pauses. They were then able to be more fluent, emotion i feel will be easier to carry on throughout the piece instead of keep pausing. After watching last weeks rehearsal on video i know the sections that i need to work on throughout this session. I need to work of the reverted canon section. Reverted canon is when all the dancers start dancing at the same time with different movement. This wasn't looking the way i wanted it to so i spent 20 minutes going through each movement making sure that for every count the dancers had a different movement. I also need to vary the movement between the dancers that are stood next to each other. So the canon effect really works. After examining this section the effect really works and is something that develops my original choreography motifs. Canon is a choreographic device that links to my story as i see this as repetition going on and on. Which is what my parents had to go through when trying to conceive a baby. They tried several times. I also think that spoken language is something that links to my piece as many couples keep this to themselves, there isn't a lot of support that is given to couples that cant produce babies.

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My main aim for this weeks rehearsal was to finish the piece allowing me to have plenty of rehearsals to polish my piece. I had many different ideas in terms of the ending i wanted to try a few options and then pick which ending i thought was best suited. I also wanted to ask my dancers what option they felt was the best to dance with the correct emotion.
After many discussions with my group we came to the decision of using gestures instead of using dancing movements. My piece is heavy dance based and i wanted to make sure that the end of the piece doesn't blend with the rest of the piece. i wanted to make sure that the spoken word that has been recorded is the main focus at the end stage and the dancers will be using gestures that link to what is being said. Because i have chosen to use gestures at this point t, i will be replying on the girls using emotion throughout. In this rehearsal, i was missing a student due to illness. i will allow time for next week to go over this section a few times before finishing. By the end of this lesson, i was able to see my piece start to finish. From this lesson, i needed to take note of the length of the tracks i was using so i can properly blend my music with the correct times.

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This week, i really wanted to make sure that my piece had enough choreographic devices included. I made small little changes to the piece that included eyeline line, direction, levels and formations. I needed to make sure that the formations looked right when half of the girls are wearing different costumes, i want the stage to look organised and neat, especially with the costumes. I want to see the clear difference of being randomly scattered and a clear set formation. I made sure the girls knew the choreography, so i made them perform the piece without the mirror in front go them. From this task, i was able to see which parts of the choreography needed a bit more time on, and that would be the focus on learning. From the repeated clock section i knew i had to change the dynamics as i was portraying a different
emotion. The emotion i wanted to portray was relief and overwhelmed with happiness. So the movements were elevated and quick which contrasts to the movement that the girls have been used to during the current piece of choreography. The music also changes into the ultra sound music effect. This i something that in my opinion really helps the audience to understand the story.
I have left the choreography with only the last section to finish.

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During week 12 and 13 my main aim was to get all the girls confident with the piece and make sure the the music that was added in previous weeks is the correct length and fits with the choreography. I was able to see all my dancers and make sure that they have all caught up with the changes that i made in the previous weeks along with the new choreography. i was pleased with how this please is looking and am happy with putting this on stage. The girls were also able to perform the piece in the black space as there was a session where the black space was free. The girls were then able to place themselves in a position where was right for them. They were able I feel like the risks that i have taken over the past weeks have really paid off and overall looks exactly how i visioned it at the start of this process. i have been challenged by my tutor and this has given me a piece of choreography that i am extremely proud of.

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This week i had a piece that was already polished and was around 5 minutes long. I was planning on finishing 7 minute 30 seconds of my choreography.I started this week with the spoken language section, where all the girls had to say a few words that they feel like my parents would say during this process, that would hit the audience hard throughout the section. The list that the gils created was..
-I just want to be a mum
-I just want to be a dad
-Im Heartbroken
-Im not good enough
-Gutted
-Devastated
I then split these up between the six girl and this is what they need to say when walking back into a different section. The girls need to project there words when talking as they aren't loud enough over the music. I need the girls to speak up louder for the section to get the full effect i want it to have. I wanted to use repetition and repeat the clock section. This is when they show the part of the journey where they find out the test is positive. This is where i will be able to develop my choreography and make sure that we can clearly see the difference between the two clock sections. I have developed this by making sure that they are using different dynamics. The speed of the movements doubled in speed, which adds to the climax and creates a different atmosphere on stage. The tense atmosphere to finish the story line is something that i was keen on showing through my choreography. The girls went through the beats of the music and made sure that they were all in time between themselves. As you will be able to see in my video recordings the 2 sections look very different yet still has the same material included. I felt like the piece had a lot of duet and group work throughout, and needed some solo material. This is something that was added to this developed choreography.
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This week i haven't created any choreography as i wanted to make sure that the focus is on the developments and improvements that were given to me in week 5. This lesson is 100% focused on improvements and developments and i will be asking for my tutors opinions of these at the end of the session. I first took the chairs away from the girls and adapted the movements to suit the floor, this didn't really take me long to do and i actually felt like i could do more movement without the chairs, as they restricted me, this also helps me develop in terms of levels. I needed to change the way the girls perform the pulsing movement making sure that they don't perform this in unison and go at different speeds adding detail and making it less predictable. Throughout this week i was able to sit and look for a different piece of music that i feel will not delay the dance movements, for example, pauses. I don't want my dancers to feel like they need to pause in the music. I found a piece of music which has a quicker beat to it allowing the girls to move faster to the music. I am much happier with the outcome of this change and happy with how this has turned. I made sure that all the girls knew that there legs are held at 90 degree, not lower or higher.

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This week, may tutor was able to watch what i have created so far and give me feedback to improve it. Before my tutor watched my piece i wanted to make sure whatever i have done so far that it is polished and looks neat, and the girls are confident with the content. I got a lot of feedback from the
My feedback was...
-Take the chairs away. At the start of my piece the clock section and the unison section uses chairs. This is something that my tutor felt weren't needed in the piece and made it more real if the dancers used the floor as there seat. So i will be adapting this in next weeks section.

-At the start of the piece, my dancers are performing a pulsing movement that was performed in unison. To add more depth the dancers will now do this at all different speeds. Again this could represent the different emotions. For example, anger u would use fast sharp pulses, where as sensitive you would do slow, delicate movements. This is something that i will be focusing on in next weeks rehearsal.

-I need to change speed and dynamics throughout the whole of my piece. My tutor found it very much on one line and it didn't really grow from what she has seen already. We spoke more in-depth with this issue, and agreed that the music is something that needs to be changed to be able to get the change in dynamics. I will have this week to find a different sound track which will hopefully sort out the dynamic issues.

- I need to make sure that when the girls lift there leg to arabesque that they do this in unison and make sure that there legs are at the same height to create a sold clear line. This line is what represents the negative sign on a pregnancy test. I will be making sure that the girls are all hitting there legs at 90 degrees, no higher or no lower.

- The girls need to make sure that they aren't waiting for the next section and is never awkward stillness. This makes the piece look very stop and start and does show fluidity what makes a piece look polished. I believe that the music will really help with this issue as i feel like it need a quick beat behind the music. The original music has still moments in which is hard to choreograph through them. So hopefully once i have changed my music there will be less pauses within the choreography. This is also the same when the girls are executing the lift they hold a pause before going into it. I need to work out what will make the girls more fluid whilst going section to section.

-My tutor said that the Dancers need more purpose whilst dancing the piece. For example, hitting there partners back in the long line. They need to look like they mean it and are frustrated and not hold back because the audience won't understand the story. This i hope will happen once they are more confident with the choreography. Characterisation is also linked to this and needs a lot of work

All of these issues will be solved by next week and will all be develpped with more detail. This will be my biggest priority next week over creating more choreography.

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In todays rehearsal, we recapped the waiting/clock section and added embellishments. I developed this section by introducing canon. Instead of performing this section at the same time i put the girls into an order that i feel looked right on stage. As the girls were now confident with this section i was expecting them to include emotion and act out the scene the way i pictured it. At this point the girls are fully aware of the story that i am telling throughout the section. And i am also aware that the girls are ready to move on to the next section of the piece. This large section is where the girls are dancing in unison. Within this section i wanted to portray the frustration and devastation that my mum and dad had to get through time upon time. I repeat a gesture throughout the piece, which shows the different struggles that my parents went through. The feeling of the woman body not being good enough and failing as a woman is what my mum was going through. I portrayed this as a soft contraction holding the stomach. As a male, my dad felt like he needed to be strong for my mum so he felt he needed to find the correct balance between showing and keeping emotion. I shown this with a similar gesture, instead of holding the tummy the male characters hold there heads. By the end of the lesson i had created around 2 minutes and 30 seconds, which starts me off at the next section in week 4 of the rehearsal process. I feel like this week i have understood and realised that viewing my choreography from a different angle can help me set different formations and get a different view of the piece.

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The first thing that i did in todays lesson is recap what we did in week 3s rehearsal. The girls didn't have an issue with remembering this and this allowed me to be ahead of the plan allowing more time for choreography. I needed to do a transition between the girls leaving the stage and the unison section. I wanted the girls to be individual and show the way that they would portray the emotion through dance. There interpretation means that they are able to express the story the way that they want. I gave the girls 10 minutes to create 24 counts of movement, that links to my intention. The students then performed to me there 24 counts one by one. It was clear form this that they are understanding the style and pathway that i am wanting to go down with this choreography. The girls then linked this into the transition. I wanted there to be a canon effect and split the girls up into groups. My first two girls had 24 counts to perform there motif, the next two girls then had 16 counts, the last 2 girls had 8 counts to perform. They then finished with the same position. The final end position looked so slick and was extremely effect as they all were doing separate movements in different directions then ending with a grasping movements. In my opinion, i feel like this looks effective on stage and draws the audience in after the stage looks busy and random the linking pose brings it all together.

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In todays rehearsal, We started by giving out the roles out of my mum and dad. Three girls need to play the role of my mum and the other three girls need to play the role of my dad. I needed to make sure that the male roles were able to lift the girl roles, making sure that they do this without struggling. I wouldn't want the girls to struggle with any lifts or partner work or it will look messy and wouldn't look professional how i want it. Nobody struggled with this and i was able to put the taller girls as the male role making it look more of a realistic couple. We first started on the clock/waiting section where we are acting out when my mum and dad found out they weren't successful in making baby. This was an on going process that the faced throughout the long hard process. My parents went through so many pregnancy tests after and after each other, this is why i will be using repetition as my main choreographic device. I placed the girls in three different corners of the stage and set them with three different emotions that they faced throughout the disappointment. Holly and Beth had sadness , Mary and Lucy had showing affection and Nicole and Mikaela were showing anger and frustration. As you can see from the rehearsal videos they all use different gestures to represent there individual emotion that they have been given. They did this section then went into a unison section where all the different are mixed together, which represents the mind set that they had when getting the news. Whilst portraying this section i used chairs to add a different dimension to the piece.

I was really pleased with the outcomes of todays lesson and the students really worked hard for me, understanding what i am trying to get across to them. This lesson has really inspired me to create the content for this piece.

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Infertility is a contemporary style piece that’s based on a true story that’s personal to me. I have chosen 6 dancers from level 3 that I feel will portray the journey that my parents have been through when trying to conceive a child. It shows the different stages of being devastated when being unsuccessful time upon time. The dynamics of the dance portray the love between a couple, the patience they had to endure along with the frustration, hurt and the pain of constant failure. Mum and Dad were desperate for a family, a baby to love unconditionally, to watch grow, make new memories, the more they wanted this the further away their dreams felt.... drifting into the distance..... time passing by.......still nothing.  The world of science and biology became a whole new world.... opened so many doors, gave so many options but never comforting, never 100% assured. When going through the first stages of IVF mum and dad came to the conclusion of adopting as IVF wasn’t working. When they stopped thinking science, biology kicked in..... natural procreation occurred. This is where a miracle happened and they found out they were successful in creating not one baby but two. They felt like they were the luckiest alive and the love and support they have for each other is something I only dream of having. Throughout this piece you will see the pure emotion from the dancers as they go through each step of the journey. My parents are my inspiration and I can’t thank them enough for the support they have given both me and my twin sister.

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Final pieces of music that will be linked together...

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Final pieces of music that will be linked together...

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Final Pieces of music that will be linked together...

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"Broken Hearts" (Extended Orchestral Version) by Michael Ortega

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Final Pieces of music that will be linked together...

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Final Pieces of music that will be linked together...

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Health Chat: Why Can't We Get Pregnant: Male and Female Infertility Issues

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Gabrielle Union Opens Up About Infertility

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What It's Like To Know You Can't Have Kids

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Videos/choreography that has inspired me for my own choreography...

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Videos/choreography that has inspired me for my own choreography...

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Videos/choreography that has inspired me for my own choreography...

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Videos/choreography that has inspired me for my own choreography...

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Videos/choreography that has inspired me for my own choreography...

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Videos/choreography that has inspired me for my own choreography...

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Videos/choreography that has inspired me for my own choreography...

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Dance Quest - Unsteady - Choreography by Monica Francis

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Amanda Cathey | Unsteady | Contemporary Duo

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Videos/choreography that has inspired me for my own choreography...

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

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During this first week of rehearsals i called the girls in for half an hour to explain the process and made them aware of the amount of work that will be expected of them. I will also be making sure that the students understand the sensitive subject and the story that i will be telling through my choreography. I made sure that the girls are available during the set rehearsal times and are willing to be dedicated to myself and the piece. From todays session, i have learnt that i need to change my choreography and pointe class to ensure that all my chosen dancers are available at this time. I really didn't want to change my dancers as i believe i have picked 6 dancers that are reliable and will tell the story in the way i picture it. I was willing to change the time and didn't make any difference to my lesson plans and action plan that i created. I created a contract for my dancers to set some rules just to make sure my rehearsals are used to the best ability.
From this session, i was confident that i have chosen the correct dancers and I'm looking forward to making this piece come to life.

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To show a clear difference between the two genders i want them to wear separate different outfits. One showing a masculine look and another showing a feminine image.
Females- Holly, Mikaela, Lucy
Males- Beth, Nicole, Mary
The girls that are playing my mums role will be wearing a mustard coloured dress with ribbon around there hair. There hair will be half up and half down. The girls that play the male role will wear a black high necked leotard with 3/4 length clots. There hair will be in a low pony tail. When i got the girls to try this on i could clearly see difference and looked and suited the piece as its very natural and real, this is why i wanted low key costumes that doesn't take away the attention from the emotion that the girls are portraying.

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This piece of writing is written by my mum and dad explaining the hard times that they went through when trying to conceive a baby. This piece of writing will be played over the music during my choreography. In my opinion, i feel this adds a person touch and creates more emotion that any other spoken word about infertility. I will be getting two musical theatre students to read this out, i will record this and add it to my music. Another option, that could of worked for this piece was to have live spoken word with two actors at the front of stage. I feel like this was going to draw attention away from my dancers and would be too much on stage with six other dancers. So i have decided to use my six dancers for a section that uses spoken language. The girls are split into 2 sections half playing my mum and half playing my dad. These are the lines that they are saying whilst we dance...
-"I just want to be a mum"
-"I just want to be a dad"
-"Why us "
-"im not good enough"
-"im heartbroken"
-" Im not good enough"

This is the speech that will be pre-recorded...

"The moment we were told we couldn’t have children you’re world kind of falls apart. You just assume that you will be able to have children, it’s almost a given. You look round and see friends and family bringing little bundles of joy into the world and we were desperate for our own. To be told No was devastating. I can remember it as clear as day walking out of the consultants office at the hospital with us both in tears trying to grasp the realisation that our dreams had been taken away from us.

A month later the Mr Artley our consultant came back to us with a  6 month treatment that gave us a small chance of having children. We tried test after test and everytime it came back negative. Then on the last day of the 6 month treatment period our dreams were realised and the test was positive.

A very nervous 9 months followed, and we had the twins on the 6th January 1999. The most precious gift a parent can receive."

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Clock- Tic Toc
https://www.youtube.com/watch?v=Bv_J0j9hr0E

Waiting room
https://www.youtube.com/watch?v=e5TDOANnNNk

Ultra Sound (Baby Heart)
https://www.youtube.com/watch?v=NV9lPu5vO14

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Videos/choreography that has inspired me for my own choreography...

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Stunning Performance From Dane Bates Collective Make Dance Captains Emotional  | The Greatest Dancer

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Date  | Lesson Plan
17/01/19 | Brief about the piece
31/01/19 | Rehearsal- 1 minute of choreography
07/02/19 | Rehearsal- 2 ½ minutes of choreography
14/02/19 | Rehearsal- 5 minutes of choreography
28/02/19 | Rehearsal- 6 minutes of choreography
07/03/19 | Rehearsal- 7 minutes of choreography
14/03/19 | Rehearsal- 8 minutes of choreography
21/03/19 | Rehearsal- 9 minutes of choreography
28/03/19 | Rehearsal- 10 minutes of choreography
04/04/19 | Rehearsal- Go over the piece
11/04/19 | Rehearsal- Polish the piece
12/04/19 | Dress Rehearsal
02/05/19 | Rehearsal- Polish the piece
03/05/19 | Rehearsal- Polish the piece
07/05/19 | Dress Rehearsal
08/05/19 | Performance

This is taking out all half terms and holidays that are within the academic year.

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According to the Centers for Disease Control and Prevention (CDC), infertility affects about 12% of all people of reproductive age—women and men—in the United States attempting to get pregnant. Other estimates suggest that the numbers are even higher.

Causes of infertility range from: environmental factors, such as exposure to chemicals or smoking; to physical factors, such as blocked fallopian tubes or obesity; to conditions that prevent production of sperm or mature eggs, such as low or high testosterone.

There is also a range of current treatments for infertility, including medication, surgery, and assisted reproductive technologies, such as donor insemination and in vitrofertilization. Although the success of these therapies depends on the individuals and their health status, current therapies enable many people to conceive who would not have been able to do so without assistance.

Addressing issues related to infertility in both men and women is a central part of the NICHD mission. The Institute conducts and funds research on various aspects of infertility, including (but not limited to):

Causes of infertility

Therapies for treating infertility

Demographics of infertility and its treatments

Economic impact of infertility and its treatments

Conditions and disorders that cause, contribute to, or are associated with infertility

The NICHD also supports several research networks that study fertility and infertility, as well as programs that train investigators in current techniques and technologies related to infertility research. Several recent studies and ongoing research activities, some described below, illustrate some of the Institute's efforts on this complex topic.

https://www.nichd.nih.gov/newsroom/resources/spotlight/061512-infertility

Infertility is when a couple can't get pregnant (conceive) despite having regular unprotected sex.

Around 1 in 7 couples may have difficulty conceiving. This is approximately 3.5 million people in the UK.

About 84% of couples will conceive naturally within a year if they have regular unprotected sex (every 2 or 3 days).

For couples who've been trying to conceive for more than 3 years without success, the likelihood of getting pregnant naturally within the next year is 25% or less.

Getting help

Some women get pregnant quickly, but for others it can take longer. It's a good idea to see your GP if you haven't conceived after a year of trying.

Women aged 36 and over, and anyone who's already aware they may have fertility problems, should see their GP sooner.

They can check for common causes of fertility problems and suggest treatments that could help.

Infertility is only usually diagnosed when a couple haven't managed to conceive after a year of trying.

There are 2 types of infertility:

primary infertility – where someone who's never conceived a child in the past has difficulty conceiving

secondary infertility – where someone has had 1 or more pregnancies in the past, but is having difficulty conceiving again

Read more about how infertility is diagnosed.

Treating infertility

Fertility treatments include:

medical treatment – for lack of regular ovulation

surgical procedures – such as treatment for endometriosis, repair of the fallopian tubes, or removal of scarring (adhesions) within the womb or abdominal cavity

assisted conception – this may be intrauterine insemination (IUI) or in vitro fertilisation (IVF)

The treatment offered will depend on what's causing your fertility problems and what's available from your local clinical commissioning group (CCG).

Private treatment is also available, but it can be expensive and there's no guarantee it will be successful.

It's important to choose a private clinic carefully. You can ask your GP for advice, and should make sure you choose a clinic that's licensed by the Human Fertilisation and Embryology Authority (HFEA).

Read more about how infertility is treated.

Some treatments for infertility, such as IVF, can cause complications.

For example:

multiple pregnancy – if more than 1 embryo is placed in the womb as part of IVF treatment, there's an increased chance of having twins; this may not seem like a bad thing, but it significantly increases the risk of complications for you and your babies

ectopic pregnancy – the risk of having an ectopic pregnancy is slightly increased if you have IVF

What causes infertility?

There are many possible causes of infertility, and fertility problems can affect either the man or the woman. But in a quarter of cases it isn't possible to identify the cause.

In women, common causes of infertility include:

lack of regular ovulation, the monthly release of an egg

blocked or damaged fallopian tubes

endometriosis – where tissue that behaves like the lining of the womb (the endometrium) is found outside the womb

In men, the most common cause of infertility is poor-quality semen.

Risk factors

There are also a number of factors that can affect fertility in both men and women.

These include:

age – female fertility and, to a lesser extent, male fertility decline with age; in women, the biggest decrease in fertility begins during the mid-30s

weight – being overweight or obese (having a BMI of 30 or over) reduces fertility; in women, being overweight or severely underweight can affect ovulation

sexually transmitted infections (STIs) – several STIs, including chlamydia, can affect fertility

smoking – can affect fertility in both sexes: smoking (including passive smoking) affects a woman's chance of conceiving, while in men there's an association between smoking and reduced semen quality; read more about quitting smoking

alcohol – for women planning to get pregnant, the safest approach is not to drink alcohol at all to keep risks to your baby to a minimum; for men, drinking too much alcohol can affect the quality of sperm (the chief medical officers for the UK recommend men and women should drink no more than 14 units of alcohol a week, which should be spread evenly over 3 days or more)

environmental factors – exposure to certain pesticides, solvents and metals has been shown to affect fertility, particularly in men

stress – can affect your relationship with your partner and cause a loss of sex drive; in severe cases, stress may also affect ovulation and sperm production

https://www.nhs.uk/conditions/infertility/

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The idea that i have for my personal piece is to portray the story of my mum and dad trying to create a family. My aim for this piece is to portray the struggles and the tough emotions that my parents went through going through infertility issues. I have six dancers and they will all be put into couples one will play my mum and the other will play the role of my dad. This role will stay for the whole of the piece and not change. My aim is to show the story through different sections of the story...
Section 1- Waiting/reading the negative pregnancy test
Section 2- Individual improv section
Section 3- Showing love between the couples/losing control
Section 4- Separate showing the pain they went through individually
Section 5- Unison/lift section
Section 6-Walking/Spoken language
Section 7- Repeat/develop section 1
Section 8- 3 different duets
Section 9- unison showing positive test
Section 10- Still moment with spoken language
Section 11- End fall/position

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Youtube video....
https://www.youtube.com/watch?v=zSgkuqaZJfo
What captures the audience?
In my opinion, the contact work really captures the audience as they clearly tell a story between them both, the bond and chemistry really helps with drawing the audience. Although this is dance for camera, they are performing this piece of choreography as if nobody else is in the studio with them. The lifts are also something that draws the audience into the piece, the advance lifts have the audience on edge and the transitions are effortless making the piece easy to watch not being on the edge of your seat.

What is the Structure?/When is the climax?
The structure to this piece, is very clear and gradually gets reaches the climax as the piece/sections go on. The piece starts off very slow and controlled, then the dynamics change and the speed is a lot quicker building them up to the climax. This also links with the song and how it builds the tension within the music. The movements get more advance as well as the emotion. The pure emotion and facial expressions tell the story and the feeling of the piece alone without the dancing.

What choreographic Devices are used?
The use of contact work is probably one of the most used devices throughout this piece of choreography. The unison sections are so clean and they dance so similar with very fine detail. The developments with different levels also really stand out using different levels constantly changing with fluent transitions.

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-Holly Lambert
-Bethan Gratton
-Lucy Bourne
-Maryanne Altelawy
-Mikaela Cleal
-Nicole Wilkinson

All dancers are from Year 1 + 2 Level three Diploma.

These dancer have all agreed to take part in my choreography and signed the contract that i have created for the dancers, this secures them for the rehearsal process.

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This contract will be given to all my dancers and will be signed by themselves before starting rehearsal. From this i will be guaranteed that all my dancers will be committed and focused during my rehearsal process.

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You can see the costume on the video evidence week 1. They wore something that i feel fits the theme of feeling alive. I like this theme to the colour blue. The girls wore turquoise leotards and a turquoise lyrical skirt.
The costumes in my opinion were extremely effective on stage and linked well with the piece.

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Week one-
The feedback from todays lesson was to make the movements more challenging/advanced. This was something that i took onboard and changed for the next following week. I needed to get a balance of making the build up to the climax challenging but still effective.

Week two-
After my tutor watched this weeks work, she wanted me to change the directions of the dancers changing the formations. Her opinion was that the dance was a little bit too focused on the front and i need to challenge the choreography to different angles of the stage. So i changed the formations and made my dancers perform in different corners facing the sides of the stage
. I feel like me making those changes made a massive impact on the dance as it made it more dynamic and less predictable. Adding suspense and tension to the audience.

Week Three-
Todays feedback was very positive and got very little negative feedback. I personally feel like the only thing that the piece is really lacking is emotion. I want the girl to really add feeling and use there body language to express the emotion. I have told the girls to read and research the poem over the week so they start to understand the emotion that i want from my choreography. I have chosen movements that make it easier to express the wording in the poem.

Week Four-
This week i didn't get any feedback due to not having a tutor. After watching the girls in the videos i feel like they need to be more clear on where the arms are going. The focus was more based on there legs. I have told the girls that they need to practice in there independents and make sure that there arms are all in sync.

Week five-
The feedback that i got from my audience was very positive. I wanted to make sure that i got a different opinion of the piece. There feedback was to make sure that the piece was more fluent and didn't have little gaps. This was due to bad timing. The song was changed the week before so the girls needed a little bit of time to get used to the timing. This will be sorted by week six.
My tutors final piece of feedback was to change the different unison sections for example...
-Loose Canon
-Cumulative Canon
-Simple Canon
-Simultaneous Canon
This is another development of my unison sections making it more of an interesting watch, instead of using the traditional use of canon.

Week Six-
Todays feedback was that i need to make sure that the body language connects to the poem and make it link to it. This will be my challenge for the week and to re think of new physical movement that my dancers can do on the spot. This was the only criticism this week. Im really proud with how the piece is looking and how it links back to my stimulus. Im looking forward to seeing the finishing piece in week severn.

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Film
A young girl with beautiful eyes named Chiyo lives in Yoroido, a raggedy little fishing village, in a raggedy little house with her raggedy little family—mom, dying of bone cancer; sister, who is older but not attractive; and dad, who is basically useless. Because dad can't raise two girls alone, he sells them to a local businessman, Mr. Tanaka. Chiyo thinks she is being adopted, but she ends up with a family she never expected—a family of geisha in Kyoto, a long way from Yoroido.

Chiyo lives in an okiya, which is a fancy word for geisha boarding house. The okiya is run by Mother, a stern, often cruel, businesswoman. What's her business? None of your business.

Actually, it's geisha, and since we're reading the Memoirs of a Geisha, we get to hear all about it. Little Chiyo starts as an indentured servant, doing housework and following the orders of the house geisha, Hatsumomo. When she isn't cleaning toilets or being bossed around, she attends geisha school with her young friend, Pumpkin. Here's the geisha school curriculum: dancing, Japanese guitar playing, tea service.

Jealous Hatsumomo is desperate to get Chiyo out of the okiya. She tells Chiyo where her sister has been taken—to a whorehouse across town. Chiyo attempts to escape, but injures herself in the process. She is removed from school and doomed to be a maid in the okiya forever. And she never sees her sister again.

One day, while running errands for Hatsumomo, Chiyo meets a kind businessman: the Chairman. He gives her some spare change and a handkerchief, and she sniffs that square of cotton so much we're surprised it doesn't get stuck up her nose. With each whiff of Chairman's musk, she hopes he will one day adopt her. It doesn't happen, but she gets an adoption of a different kind—Hatsumomo's rival, Mameha, comes to the okiya and adopts Chiyo as her little sister. She also teaches her how to stun men with just a look from her gorgeous eyes.

Mameha doesn't help Chiyo because she has a big heart. She does it because she wants a big purse. Mameha makes a bet with Mother: Chiyo will pay off all her debts, or else Mameha gets nothing. If Chiyo does it, Mother will pay Mameha double. Mother needs a new pair of okobo (those are shoes) so she makes the wager.

Chiyo returns to geisha school, and she excels at all of it. She dances, she plays music, and she pours tea like a pro. She becomes a geisha and gets a new name: Sayuri.

But being a geisha isn't all pouring drinks and dancing. To earn a big paycheck, Mameha auctions Sayuri's mizuage to the highest bidder. She orchestrates a bidding war between Nobu, who is a business partner with Sayuri's beloved Chairman, and Dr. Crab.

What's mizuage? It's a fancy term for "virginity." Dr. Crab wins the bidding way—like eBay for underage girls—and Sayuri grits her teeth through the process. Once that is done, the next step is to find a danna. A danna is a man who purchases exclusive rights to a geisha. Nobu wants to be Sayuri's danna, but Sayuri hopes the Chairman will purchase her.

Throughout all this, Hatsumomo continues smearing Sayuri's reputation. Mameha turns the tables on Hatsumomo, though, spreading rumors that she is mentally unstable until she actually goes crazy and is expelled from the okiya. Sayuri never sees her again.

Neither Nobu nor the Chairman becomes Sayuri's danna. World War II breaks out, and Sayuri takes a general as her danna, so that he may help the okiya during the war. But the war is worse than expected, and the entire geisha district is shut down. Sayuri flees to the estate of Nobu's friend until the war ends and Nobu brings her back to Kyoto.

Nobu wants to be Sayuri's danna, but Sayuri still wants her precious Chairman. She formulates a plan to betray Nobu and get him to hate her. She will sleep with a sleazy Minister and have Nobu catch her. She asks Pumpkin to bring Nobu to the rendezvous point, but Pumpkin brings the Chairman instead. Sayuri is humiliated.

But her plan still works. Nobu hates her, and the Chairman doesn't care that she was with another man, because that's what geisha do. Also, he's glad Nobu is out of the picture, because he wanted Sayuri ever since he first saw her (when she was still a child, so: ew). It was he who asked Mameha to adopt her and mold her into the geisha she is today.
https://www.shmoop.com/memoirs-of-a-geisha/summary.html

After watching and reading about this film i would focus more on the higher archy and how they get treated differently to the lower archy.  I would do this by maybe interpreting a slave story. Using two sets of different dancers that show two different classes. I would use a song that is used in the film and maybe use quotes and put them over the music. I would use the style contemporary to portray this choreography.

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Audio

The music portrays an action shot movie which sounds aggressive and also gives off a feeling of fighting. I would link this too war. An idea that i could use, could be to portray a terrorist attack or a scene in the world war. This again would need dancers that aren't shy or showing emotion and to tell a story. I would use the audio as the track to dance to. I could but certain voices over the music to help tell the story.

An idea could be to portray the shooting that happened in Paris...

Timeline and location of the November 13-14attacks:
Stade de France
-- Approximately 9:20 p.m. - An explosion occurs outside Stade de France, a sports stadium in Saint-Denis, a suburb north of Paris. French President Francois Hollande is in the stadium watching France play Germany in a soccer match. He is safely evacuated. As the attacks continue to unfold over the next three hours, Hollande declares a state of emergency, closing the country's borders.

-- 9:30 p.m. - A second explosion occurs outside the stadium. Both blasts happen on the same street, Avenue Jules Rimet.

-- 9:53 p.m. - About 400 meters from the Stade de France, a third blast occurs on Rue de la Cokerie.

-- A total of four people are killed: three suicide bombers and a man who had been walking by.

La Petit Cambodge and Le Carillon
-- 9:25 p.m. - Gunmen, armed with assault rifles, kill 15 people at the intersection of Rue Alibert and Rue Bichat, in the 10th district of Paris. Many of the victims were gathered at Le Petit Cambodge, a restaurant, and Le Carillon, a bar.

Café Bonne Biere
-- 9:32 p.m. - At the corner of Rue de la Fontaine au Roi and Rue du Faubourg du Temple in the 11th district of Paris, five people are killed in a shooting outside Café Bonne Biere.

La Belle Equipe
-- 9:36 p.m. - Attackers arrive at the restaurant La Belle Equipe at 92 Rue de Charonne. Gunmen fire their assault weapons on people sitting outside the eatery. Nineteen people are killed.

Comptoir Voltaire
-- 9:40 p.m. - A suicide bomber blows himself up inside the restaurant Comptoir Voltaire at 253 Boulevard Voltaire in the 11th district.

-- One person inside the restaurant is seriously injured and several others are slightly injured.

Bataclan
-- 9:40 p.m. - Three attackers armed with assault weapons arrive at the Bataclan concert hall. The gunmen enter the small concert hall and open fire as a performance is underway by the US band Eagles of Death Metal.

-- Ninety people are killed.

-- 12:20 a.m. - French police storm the Bataclan. Three terrorists are killed during the police counterassault.

Timeline following attacks:
November 14, 2015 - In an online statement, ISIS claims responsibility.

November 15-16, 2015 - French fighter jets bomb a series of ISIS sites in Raqqa, Syria. France has been conducting airstrikes against ISIS targets since September as part of a US-led coalition, but analysts say the timing of the new airstrikes is likely not a coincidence.

November 16, 2015 - In a speech to a joint session of parliament, Hollande urges lawmakers to approve a three-month extension of the nation's state of emergency, with new laws that would allow authorities to strip the citizenship from French-born terrorists and provisions making it easier to deport suspected terrorists.

November 18, 2015 - French authorities raid an apartment building in the northern Paris suburb of Saint-Denis. The apartment is a purported hideout of the suspected ringleader of the attacks. During the raid, a suicide device is detonated and bullets are exchanged for almost an hour. One floor of the building collapses, and there are three fatalities.

November 19, 2015 - It is confirmed that the body of Abdelhamid Abaaoud, the ringleader of the Paris attacks, was found in the rubble of the apartment that was raided on November 18. A female relative of Abaaoud, Hasna Ait Boulahcen was also killed in the raid. The third person killed, who is believed to have detonated the suicide device, has not been identified.

November 20, 2015 - French Prime Minister Manuel Valls announces that the death toll has risen to 130. Additionally, he says that in the past seven days, 793 searches have been carried out across France. During these searches, 174 weapons have been seized and 107 people detained.

November 23, 2015 - In Belgium, authorities charge a suspect, arrested during raids in the last 24 hours, with participating in activities of a terrorist group in connection with the Paris attacks.

November 23, 2015 - France launches its first airstrikes from an aircraft carrier against ISIS.With the addition of carrier-based aircraft to its fleet, France now has 38 aircraft carrying out bombing raids against ISIS.

December 17, 2015 - Officials briefed on the investigation tell CNN the terrorists used encrypted apps, including Telegram and WhatsApp, to plan the attacks.

March 18, 2016 - Suspect Salah Abdeslam is wounded and captured following a gun battle with authorities in Belgium. Four others are also arrested in the anti-terror raid.

April 8, 2016 - Suspect Mohamed Abrini is arrested in Belgium along with two other people during a police sweep in the Anderlecht district of Brussels.

November 8, 2016 - French officials tell CNN they have identified the suspected coordinator of the attacks as Oussama Atar. He is believed to have directed the Paris attacks and the March 22 Brussels attacks. The attacks in the Belgian capital killed 32 people and injured more than 300.

November 12, 2016 - The day before the first anniversary of the Paris terror attacks, the Bataclan reopens with a performance by Sting.

April 23, 2018 - Salah Abdeslam, the only survivor of the cell alleged to have carried out the attacks, is sentenced to 20 years over a shootout with Belgian police days before he was arrested in March 2016. He is found guilty of attempted murder in a "terrorist context," a spokesman for the Brussels prosecutor says.

https://edition.cnn.com/2015/12/08/europe/2015-paris-terror-attacks-fast-facts/index.html

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"OFFENSIVE" AGGRESSIVE WAR EPIC MUSIC Military Cinematic Powerful soundtrack

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Visual/Ideational
Schizophrenia

Schizophrenia is a severe long-term mental health condition. It causes a range of different psychological symptoms.

Doctors often describe schizophrenia as a type of psychosis. This means the person may not always be able to distinguish their own thoughts and ideas from reality.

Symptoms of schizophrenia

Symptoms of schizophrenia include:

hallucinations – hearing or seeing things that don't exist

delusions – unusual beliefs not based on reality

muddled thoughts based on hallucinations or delusions

changes in behaviour

Some people think schizophrenia causes a "split personality" or violent behaviour. This is not true.

The cause of any violent behaviour is usually drug or alcohol misuse.

Read about symptoms of schizophrenia.

When to seek medical advice

If you're experiencing symptoms of schizophrenia, see your GP as soon as possible. The earlier schizophrenia is treated, the better.

There's no single test for schizophrenia. It's usually diagnosed after an assessment by a mental health care professional, such as a psychiatrist.

Read about diagnosing schizophrenia.

Causes of schizophrenia

The exact cause of schizophrenia is unknown. However, most experts believe the condition is caused by a combination of genetic and environmental factors.

It's thought that some people are more vulnerable to developing schizophrenia, and certain situations can trigger the condition.

Read about the causes of schizophrenia.

Treating schizophrenia

Schizophrenia is usually treated with a combination of medication and therapy tailored to each individual. In most cases, this will be antipsychotic medicines and cognitive behavioural therapy (CBT).

People with schizophrenia usually receive help from a community mental health team, which offers day-to-day support and treatment.

Many people recover from schizophrenia, although they may have periods when symptoms return (relapses). Support and treatment can help reduce the impact the condition has on daily life.

Read about treating schizophrenia.

Living with schizophrenia

If schizophrenia is well managed, it's possible to reduce the chance of severe relapses.

This can include:

recognising the signs of an acute episode

taking medication as prescribed

talking to others about the condition

There are many charities and support groups offering help and advice on living with schizophrenia. Most people find it comforting talking to others with a similar condition.

https://www.nhs.uk/conditions/schizophrenia/

If i was to create a piece on this illness i would need dancers that would be able to portray deep emotion. The music for this would be busy and i will over lap different voices which will relate to the change in behaviour that people go through with this illness. I would us one main character as the patient and use everyone else as a demons and the side effects that people go through.

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This is the song that i am using for my choreography piece. Before my final decision i listened to many different versions of the song.
https://www.youtube.com/watch?v=gP0uG4zot24

Other options i used during rehearsals...
This is me original song
https://www.youtube.com/watch?v=CjxugyZCfuw

This is me karaoke version
https://www.youtube.com/watch?v=ChshzWNdots

Live Orchestra version
https://www.youtube.com/watch?v=UaCMjUGDvfo

The reason i changed my music from a version with lyrics is because i didn't want the focus on the song and not on the stimulus (Magic of Aliveness). In my opinion, the music has a magic feel to it and allows the audience to feel positive and uplifted. This is how the poem is linked to the piece, the poem gives you a positive vibe. I have linked this to my choreography by using elevated movements and using the correct emotion.

I also decided to get rid of the lyrics and use spoken word. Spoken word is a device that i personally feels gives a powerful vibe to the audience and is something that is different in choreography. If i used the lyric version the spoken language and poem wouldn't make any sense which would then give off mixed emotions and not follow a particular pathway. This was also part of my feedback from my tutor, i took this advice and made sure that i changed it.

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I have really enjoyed creating a piece thats based upon the stimulus that i have chosen. I was able to have the freedom to express how i felt about my chosen stimulus. I was able to use my imagination and explore with my dancers. Week by week i was about to develop my choreography using many different devices.

When i choreograph my next piece, i would want to make sure that i challenge my dancers into more solos and duet work. I would also want to include different styles to juxtapose the piece making it more interesting.

Overall, i am really proud of my final piece and how my dancers took to my choreography. I wanted to challenge and stretch my dancers and from feedback i feel like i have done this well to my best abilities. Choreographically, i would change there solos so they are all doing there solos at the same time. I believe that would make the piece more interesting on stage and add a different dimension to there piece.

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As a choreographic device, i got the girls to improvise and dance however they feel to the piece of music expressing there emotions. I feel like this helped me as a choreographer and made me learn more about my dancers and the limits i can push them to. I added elements of there improvisation to my piece and developed them by changing dynamics and formation. Having material created for me allows me to explore and add and change things where i feel is necessary.

In my piece, i have allowed my dancers to have 16 counts of improvisation, where the dancers can express there emotions at the time. Each time the dancers improvise they change there 16 counts. I will be able to see three different versions over the three different shows.

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This week i have my music and poem all blended together, this allows me to fit the gestures i have been planning to do with the girls to music. I want this to be a change of complete dynamics i want them to be sharp and pedestrian. I dont want the movement to be based around dance. This section is based on how to tell a story/explain the poem using gestures and emotion. This will be the final link between the poem and the choreography.

The girls all had a section each to speak they will then perform gestures that link to the poem. This was a 10 minute exercise that holds a lot of power. I wanted them to not move off the spot and stand still then bow there heads when they have performed all gestures.

In terms of choreographic devices, i repeated some sections of the piece just with different dynamics. for example i took sections from there solos, changed direction and dynamics which suited the climax.

I also just polished the piece and made changes to the piece that just made it neater(head facing the correct direction, angle of legs and arms.

i feel confident leaving this piece the way its being performed and im also happy with how this has turned out and links with the poem.

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During this week i have been developing ideas for the music. My final decision, is the cello version of "This is me". I needed to make this track faster to make it go to the correct time the dancers are used to with the original sound track. It took the dancers time to get used to this version but i am overall really happy with how the piece sounds.

Spoken language is something that i still want to include as i feel like this would be the largest link between the poem and the piece. In this lesson, i recorded the girls reading the poem. During this week, i will fade this at the end of the track.

I envision the poem being said in a spotlight in the middle of the stage with dancers performing gestures that link to the verses that are being said by the girls. To create a powerful atmosphere on stage, i want the dancers to use gestures to explain the poem one by one. I don't want there to be a lot of movement as it will then contrast from the high energy piece to standing gestures, it juxtoposes itself. I will be creating the gestures this week whilst my music is being blended with the poem. This will then mean by next week the whole piece will be finished allowing me to polish the piece 2 weeks before the final performance.

This week, i managed to record my piece in many different angles allowing myself ti look at it in many different ways. The main thing that i want to change is the formation. I realised that the formations that i have created through out the piece are very predictable and aren't very adventurous or pushing any boundaries. So there are sections where i have changed the way the dancers are facing and performing to. This was something that i needed to keep seeing facing different angles until i was confident and happy with all the dancers. this also gave the dancers a different scene to perform to.

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In todays lesson, i started with a list of different covers of the song and played them whilst my dancers were dancing and seeing which cover suited the piece the best. This was a tricky challenge as i was struggling to decide. I asked for my dancers opinions and we got together and chose a cello version that was a beautiful piece of music.

https://www.youtube.com/watch?v=gP0uG4zot24
This version is a more classic piece but has the same beats as the original. I still wasn't 100% with the song and wanted to make it more energetic than just the cello as i found the version slower and didn't really reach a climax. So to stop this issue i played another karaoke version over the top lapping the two tracks. So i got the benefits from the cello version and the climax from the karaoke version. This worked well in my head but when dancing was extremely difficult to dance to as you can hear two different sets of beats. At this point, i just wanted to find the correct piece of music that i was happy with. An idea was bought up that i make the cello version quicker. This finally worked perfectly and i was happy with the overall song. From this point i was able to carry on creating the piece. The change of track meant that the dancers had to adapt some movements this was either...
-change in dynamics
-change of canon
-Repetition
-Variation
-Development

I didn't add any choreography in this lesson i just adapted and developed the motifs that i have already choreographed as i needed to make sure that the original piece went with the music and didn't change in terms of speed.

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During this week i have been working with the music trying to find a karaoke piece that fits the timing of my choreography. This was a challenge and took a long time to find one that fits well. This meant that i had to make the version slightly faster to match the original piece.

In todays lesson, i was able to add many more devices developing motifs from week three. The music was different which meant that i was able to change the movement dynamics to suit the music.

I hate to change the movements that were elevated into more of a slow anti climax moment without elevation.

We spent most of the lesson working on the unison section, making sure that all of the dancers were in unison allowing the canon section to juxtapose each other. I used many different styles of canon...
-Loose Canon
-Cumulative Canon
-Simple Canon
-Simultaneous Canon

I found that researching the different canon devices allowed me to explore the features in depth allowing me to add more material with a twist each time.

I did really struggle with the version of the song and i didn't really gel with it. I now need to have a look at different style of the song. I want to stick to the same song as this has a deep meaning and in my eyes matches the poem perfectly. I need to find a few version.

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During the week i have been creating and improving my piece. I have been working hard in the studio working on developing my motifs. I have also been reading the poem making as many links to the poem as possible. This week i have planned to do an improvisation session where i will ask the girls to improvise for 2 minutes to the song and i will be able to get ideas and inspiration from the girls. I will take note of parts and special points where i will take the material and make it my own. For future reference i will record the improvisation session.

From all of this material i got another minute of choreography. This material was already developed and didn't needed to be touched. The dancers picked up this quickly which helped me to build the piece quicker.

I took note from my feedback and made the material harder and more challenging for the dancers. I had to explore with there levels and get them in positions what i imagined and work around it. I got more hands on this week and more involved in the movement.

My feedback today was something that i really had to think about. My tutor wanted to change the music. My song choice was "This is me" from the greatest showman. I wanted to choreograph my piece to this song as i believe this links massively to my stimulus and is the pathway i wanted to go down. When listening to the lyrics in the piece they can relate to the poem with the positive vides it gives off. The poem is based around feeling alive and uplifted which is exactly what the song is about. I love the fact that the music has a few different moments that reaches a climax. When i read the poem i believe that the end verse is the climax and is powerful to read.

"this is where you create
this is where you are born
this is where you thrive
this is why we are alive"
This is the last verse of the poem, i can make a link to this by a verse in the song...

"I am brave
I am Bruised
I am who I'm meant to be
This is me "

They link together by having the same attitude and same energy. The dancers picked up on this and gave them uplifting energy which helped them to perform with confidence and stamina.

Although, my tutor didn't like the lyrics in the song as she thought it took the attention away from the poem. So for next week i will try the karaoke version, with spoken language on top of the song. This would then make a stronger link between the song and my stimulus. This is something that i will work on in week four of my choreography.

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We started this lesson off with recapping what we did last week. After watching the choreography on my phone a few times i wanted to change some things slightly to add in choreographic devices. For example, different levels. I changed the movements from on there knees to standing. This adds different levels and heights to the piece making it more interesting to watch. It is also more aesthetically pleasing to the eye as an audience member.

During the rehearsals, i realised that watching my choreography from different angles allows me to change my ideas and lets me see the piece from a different angle.

This week all four of my dancers came to rehearsal with a 16 count solo that they thought represented this poem. I was able to watch all four solos and get the girls to learn them. I then was able to put a twist to there solo and give them all a device where they had to change there solo to suit the device. The four devices were...
-Levels
-Retrograde
-Simultaneous canon
-Change od dynamics

As a group we all changed the 16 counts with a different device. We had to adapt, change and add the movements to allow it to flow motif by motif. I needed to add movements that help the fluidity of the piece which means there won't be any stop start moments. I also had to change a few of there motifs to suit the style more and make it more jazzy and less contemporary.

At the end of the lesson i wanted professional feedback and an opinion on what i could do to improve it, so i asked my tutor.
The feedback i got from my tutor was...

-i need to make sure that i use different styles of canon to make it more interesting and less stillness.

- Make the movements more complexed and at a higher level.

- Change some movements to make it look less contemporary

From this feedback, i now need to go home and change and create material that will improve the piece.

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Todays lesson, was the first lesson of my choreographic journey. Previously to this lesson i evaluated the possible dancers i could use and chose my top four dancers. The dancers i had picked, all suited the style of dance i decided to base my piece on, lyrical jazz. I spent most of this lesson talking to my dancers through the brief and my idea and the intention of the piece. I also wanted my dancers to know what the emotion was that i wanted to get over to the audience, as this was on of the most important factors i needed the girls to understand. Once they understand, i will be able to see my stimulus come to life. The girls really liked the concept and were willing to be apart of the choreography. We went over the days and hours of my rehearsal times and all agreed on Thursday mornings. I was then able to chreograph the first 30 seconds of the piece. I was really impressed with how the girls applied there emotions to the stimulus.

My starting position represents the first few lines of the poem. For example, all the girls were facing different directions in a cluster in the middle of the studio. This portrays the feeling of being surrounded. I wanted the stimulus to be uplifting but then still has links   of the wording in the poem. I also linked the choreography to
"filling the body from the bottom of the spine" .
I linked this to my choreography by using different choreographic devices. The device i used for this quote is levels and canon. These really helped to create the energy on stage. The simple little developed moments added to the atmosphere and tension on stage. One of the most important factors for me was to keep the piece interesting with lots of surprises and a high level of energy. My main aim was to make the audience feel uplifted and alive.

I was able to teach all the girls the choreography set and have some time left for me to explain to my team what i want from them next week. I want the girls to create a 16 beat solo about what makes them feel alive and uplifted. This will then give me four different outlooks and styles to work with for week two of my choreographic Journey.

Overall, i was really pleased with how my first 30 seconds looks and what it represents. I am able to constantly link the movement back to the poem with is one of my biggest aims . i am now looking forward to starting this journey to create my own piece of work.

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Headline

"Why do you live in a country that you loathe?': Piers Morgan slams professor calling Winston Churchill a racist after US astronaut was forced to apologise for quoting Britain's wartime PM"

This is a headline that was put in the paper and on the ITV news. The headline was based upon racism. I could show a story of bullying between different religions and beliefs. T he music would be sad and slow. I think that spoken language would be a good material to use and would portray the situation clearer. The piece would be very pedestrian and more physical theatre. I feel like this would be the best way to portray the scene i would want to create.

And grade school students aren’t the only black children facing harsh forms of school discipline. Even black preschool students are more likely to be suspended than students of other races, the U.S. Department of Education found. The agency reported that while blacks make up just 18 percent of children in preschool, they represent nearly half of preschool children suspended.

“I think most people would be shocked that those numbers would be true in preschool, because we think of 4- and 5-years-olds as being innocent,” Judith Browne Dianis, co-director of think tank the Advancement Project told CBS News about the finding. “But we do know that schools are using zero tolerance policies for our youngest also, that while we think our children need a head start, schools are kicking them out instead.”

Preschool children sometimes engage in troublesome behavior such as kicking, hitting and biting, but quality preschools have behavior intervention plans in place to counter these forms of acting out. Furthermore, it’s highly unlikely that only black children act out in preschool, a stage in life in which kids are notorious for having temper tantrums.

Given how black preschoolers are disproportionately targeted for suspensions, it’s very likely that race plays a role in which children teachers single out for punitive discipline. In fact a study published in Psychological Science in 2016 suggests that whites begin to perceive black boys as threatening at just 5 years old, associating them with adjectives such as “violent,” “dangerous,” “hostile” and “aggressive.”

The negative racial biases black children face and the correlated high suspension rates result in African American children missing a great deal of school. This can lead to them falling behind academically, including not reading at grade level by third grade, and eventually dropping out of school. Pushing children out of class increases the chances that they will have contact with the criminal justice system. And a 2015 study published on children and suicide suggested that punitive discipline may be one of the reasons suicides among black boys are rising.

https://www.thoughtco.com/how-racism-affects-public-school-minorities-4025361

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Ideational

Seven Deadly Sins
Sins

People have always been immoral, shiftless, and self-gratifying. For ages, humankind struggled to find a conceptual system to operationalize their spiritual shortcomings.

Pride is excessive belief in one's own abilities, that interferes with the individual's recognition of the grace of God. It has been called the sin from which all others arise. Pride is also known as Vanity.

Envy is the desire for others' traits, status, abilities, or situation.

Gluttony is an inordinate desire to consume more than that which one requires.

Lust is an inordinate craving for the pleasures of the body.

Anger is manifested in the individual who spurns love and opts instead for fury. It is also known as Wrath.

Greed is the desire for material wealth or gain, ignoring the realm of the spiritual. It is also called Avarice or Covetousness.

Sloth is the avoidance of physical or spiritual work.

http://www.deadlysins.com
If i was to chose this as my final stimulus i would explore the 7 different sins with lots of different styles of dance. i would want to use severn different dancers. Then want a powerful unison section at the end the show that they are all different but all deadly. The lighting would be very dark and red, the music would be loud and dramatic with the severn different sins repeated and gets faster and faster until it reaches a climax. I would have the back drop flashing with the symbol that is portrayed in the image below.

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Poem

MAGIC OF
ALIVENESS

magic abounds
allow it and feel so surrounded
feel the internal vibration of all that is
and all that ever was
filling the body from the bottom of the spine
an explosion
eruption
expansion of divine desires
rippling up
and throughout every cell
every atom
up to the top of the head
shooting up to they sky
as a beautiful waterfall
that falls back upon thee
this is where you create
this is where you are born
this is where you thrive
this is why we are alive

– shilow

http://shilow.co/magic-of-aliveness/

I have chosen to focus my stimulus on this poem, because i created more visions and bonded with the poem. The poem was something that i would choose to read and enjoy doing so. I had many different ideas of what i could focus the choreography on. Idea one was to create the piece on Ted Hughs life and link this into the poem. This was something that i would have to do a lot of research for. When reading the poem i asked peers how they interpreted the poem. The responses i got were...
"Feeling proud to be alive and making the most of every minute"
Jess Haddon

"I read it in the sense of reaching to the climax of an orgasm"
Dawn Turner

"When i read this poem i create an image of climbing a mountain and reaching a point where your relived and proud of making that achievment"
Demi Wallis

My final decision was to interpret this piece in a way that shows positivity on life not think of the negative parts. This was something that i was really excited to choreography an uplifting dance. The style that i decided on doing was jazz lyrical. Personally i feel like this style would be able to portray by idea in the perfect way with style and character. Although, the dancers will not be representing a character they will be repressing the emotions/feelings of being alive.

I find choreographing to music a lot easier than putting choreography to music. So the first thing that i did was find a piece of music that suits my stimulus . After researching a few different pieces of music, my final and favourite song was "This is me" from the greatest showman"

i wanted there to be spoken language in my piece as from my experience spoken language makes a piece powerful and is a device that is different and stands out. Hopefully, this will also show the passion from the dancers. I chose girls that would be able to do both spoken language and jazz lyrical. This piece that i am wanting to create is very technical so i want to make sure that the dancers are to a high standard. I am wanting four dancers to be apart of my stimulus piece.

My four Dancers are...
Holly Lambert
Nicole Wilkinson
Beth Gratton
Lucy Bourne

One of the giants of 20th century British poetry, Ted Hughes was born in Mytholmroyd, Yorkshire in 1930. After serving as in the Royal Air Force, Hughes attended Cambridge, where he studied archeology and anthropology, taking a special interest in myths and legends. In 1956 he met and married the American poet Sylvia Plath, who encouraged him to submit his manuscript to a first book contest run by The Poetry Center. Awarded first prize by judges Marianne Moore, W.H. Auden, and Stephen Spender, The Hawk in the Rain (1957) secured Hughes’s reputation as a poet of international stature. According to poet and critic Robert B. Shaw, “Hughes’s poetry signaled a dramatic departure from the prevailing modes of the period. The stereotypical poem of the time was determined not to risk too much: politely domestic in its subject matter, understated and mildly ironic in style. By contrast, Hughes marshaled a language of nearly Shakespearean resonance to explore themes which were mythic and elemental.” Hughes’s long career included unprecedented best-selling volumes such as Lupercal (1960), Crow (1970), Selected Poems 1957-1981 (1982), and The Birthday Letters (1998), as well as many beloved children’s books, including The Iron Man (1968). With Seamus Heaney, he edited the popular anthologies The Rattle Bag (1982) and The School Bag (1997). Named executor of Plath’s literary estate, he edited several volumes of her work. Hughes also translated works from Classical authors, including Ovidand Aeschylus. An incredibly prolific poet, translator, editor, and children’s book author, Hughes was appointed Poet Laureate in 1984, a post he held until his death. Among his many awards, he was appointed to the Order of Merit, one of Britain’s highest honors.

The rural landscape of Hughes’s youth in Yorkshire exerted a lasting influence on his work. To read Hughes’s poetry is to enter a world dominated by nature, especially by animals. This holds true for nearly all of his books, from The Hawk in the Rain to Wolfwatching (1989) and Moortown Diary (1989), two of his late collections. Hughes’s love of animals was one of the catalysts in his decision to become a poet. According to London Times contributor Thomas Nye, Hughes once confessed “that he began writing poems in adolescence, when it dawned upon him that his earlier passion for hunting animals in his native Yorkshire ended either in the possession of a dead animal, or at best a trapped one. He wanted to capture not just live animals, but the aliveness of animals in their natural state: their wildness, their quiddity, the fox-ness of the fox and the crow-ness of the crow.” However, Hughes’s interest in animals was generally less naturalistic than symbolic. Using figures such as “Crow” to approximate a mythic everyman, Hughes’s work speaks to his concern with poetry’s vatic, even shamanic powers. Working in sequences and lists, Hughes frequently uncovered a kind of autochthonous, yet literary, English language. According to Peter Davison in the New York Times, “While inhabiting the bodies of creatures, mostly male, Hughes clambers back down the evolutionary chain. He searches deep into the riddles of language, too, those that precede any given tongue, language that reeks of the forest or even the jungle. Such poems often contain a touch—or more than a touch—of melodrama, of the brutal tragedies of Seneca that Hughes adapted for the modern stage.”

Hughes’s posthumous publications include Selected Poems 1957-1994 (2002), an updated and expanded version of the original 1982 edition, and Letters of Ted Hughes (2008), which were edited by Christopher Reid and showcase Hughes’s voluminous correspondence. According to David Orr in the New York Times, Hughes’s “letters are immediately interesting and accessible to third parties to whom they aren’t addressed… Hughes can turn out a memorable description (biographies of Plath are ‘a perpetual smoldering in the cellar for us. There’s always one or two smoking away’), and his offhand observations about poetry can be startlingly perceptive.” The publication of Hughes’s Collected Poems (2003) provided new insights into Hughes’s writing process. Sean O’Brien in the Guardian noted, “Hughes conducted more than one life as a poet.” Publishing both single volumes with Faber, Hughes also released a huge amount of work through small presses and magazines. These poems were frequently not collected, and it seems Hughes thought of his small-press efforts as experiments to see if the poems deserved placement in collections. O’Brien continued: “Clearly [Hughes] needed to be writing all the time, and many of the hitherto uncollected poems have the provisional air of resting for a moment before being taken to completion—except that half the time completion didn't occur and wasn't even the issue… as far as the complete body of work went, Hughes seems to have been more interested in process than outcome.”

Though Hughes is now unequivocally recognized as one of the greatest poets of the 20th century, his reputation as a poet during his lifetime was perhaps unfairly framed by two events: the suicide of Plath in 1963, and, in 1969, the suicide of the woman he left Plath for, Assia Wevill, who also took the life of their young daughter, Shura. As Plath’s executor, Hughes’s decision to destroy her final diary and his refusal of publication rights to her poems irked many in the literary community. Plath was taken up by some as a symbol of suppressed female genius in the decade after her suicide, and in this scenario Hughes was often cast as the villain. His readings were disrupted by cries of “murderer!” and his surname, which appears on Plath’s gravestone, was repeatedly defaced. Hughes’s unpopular decisions regarding Plath’s writings, over which he had total control after her death, were often in service of his definition of privacy; he also refused to discuss his marriage to Plath after her death. Thus it was with great surprise that, in 1998, the literary world received Hughes’s quite intimate portrait of Plath in the form of Birthday Letters, a collection of prose poems covering every aspect of his relationship with his first wife. The collection received both critical praise and censure; Hughes’s desire to break the silence around Plath’s death was welcomed, even as the poems themselves were scrutinized. Yet despite reservations, Katha Pollitt wrote in the New York Times Book Review that Hughes’s tone, “emotional, direct, regretful, entranced—pervades the book’s strongest poems, which are quiet and thoughtful and conversational. Plath is always ‘you’—as though an old man were leafing through an album with a ghost.”

Though marked by a period of pain and controversy in the 1960s, Hughes’s later life was spent writing and farming. He married Carol Orchard in 1970, and the couple lived on a small farm in Devon until his death. His forays into translations, essays, and criticism were noted for their intelligence and range. Hughes continued writing and publishing poems until his death, from cancer, on October 28, 1998. A memorial to Hughes in the famed Poets’ Corner of Westminster Abbey was unveiled in 2011.

https://www.poetryfoundation.org/poets/ted-hughes

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Ideational

Ideational

Parallel lives are said to be non-physical 'lives' that mostly are very different from the life you live. They express aspects of your being that often are complementary to your own life. If you are very rich now, you would lead a parallel life in which you are very poor. (...) In this fashion many aspects of life are lived simultaneously: you are a criminal somewhere, a handicapped person, a retarded person etc.

ideational-

ADJECTIVE

Relating to the formation of ideas or concepts.

‘policy has been shaped by both material and ideational factors’

https://en.oxforddictionaries.com/definition/ideational

[ U ] the activity of forming ideas in the mind:

Taking these drugs might increase suicidal ideation.

​

[ C ] an idea of something in someone's mind:

What I'm hearing is my ideation of how the joke is going to go over with the audience.

https://dictionary.cambridge.org/dictionary/english/ideation

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Monotony Poem

One monotonous day is followed
by another monotonous, identical day. The same
things will happen, they will happen again --
the same moments find us and leave us.

A month passes and ushers in another month.
One easily guesses the coming events;
they are the boring ones of yesterday.
And the morrow ends up not resembling a morrow anymore.

Constantine P. Cavafy

Monotony-

Definition - What does Monotony mean?

Monotony can be physical or mental. In the physical world it is the repetition of the same movement over and over. It becomes a mechanical act that the individual does not have to think about. Factory workers performing the same task relentlessly can say their job is monotonous. In the workplace mental monotony can be performing the same task without thought to how it is being done. In either situation, monotony can drastically lower employee morale and increase the risk of accidents.

https://www.workplacetesting.com/definition/1494/monotony

Biography of Constantine p. Cavafy
A Greek poet, published only about 200 privately printed poems. Cavafy has come in recent years to be regarded as a the greatest Mediterranean poet of modern times.

He who longs to strengthen his spirit
must go beyond obedience and respect,
He will continue to honor some laws
but he will mostly violate
both law and custom.
(from 'Strengthening the Spirit', 1903)

Constantine P. Cavafy was born Konstantinos Petrou Kavafis (or Kabaphs) in Alexandria, Egypt, into a wealthy merchant family. Originally the family came from Constantinople, Turkey, where Cavafy lived from 1880 to 1885. After his father's death in 1872 he was taken to Liverpool, England, for five years. Apart from the years in Istanbul (1882-85), he spent the rest of his life in Alexandria. "Whatever war-damage it's suffered,however much smaller it's become, it's still a wonderful city," Cavafy once wrote of his cosmopolitan home town - perhaps not without ironic attitude. When the family's prosperity declined, Cavafy worked 34 years intermittently as journalist, broker, and in the Irrigation Service, from which he retired in 1922.

Enjoying his family's respectable position in the cosmopolitan society of Alexandria, Cavafy led an uneventful life of routine, which was interrupted only by short trips to Athens, France, England, and Italy. His first book was published when he was 41, and reissued five years later with additional seven poems. He published no further works during his lifetime.

As a writer Cavafy was perfectionist - he printed his poems by himself and delivered them only to close friends. The poems had sometimes handwritten corrections. Main themes in his works were homosexual love, art, and politics. He started writing poetry under the influence of late-Victorian and Decadent European models, but then abandoned his attempts to compose in foreign tongues.

Fourteen of Cavafy's poems appeared in a pamphlet in 1904. The edition was enlarged in 1910. Several dozens appeared subsequent years in a number of privately printed booklets and broadsheets. These editions contained mostly the same poems, first arranged thematically, and then chronologically. Close to one third of his poems were never printed in any form while he lived. 'One Night,' written 1907, was one of the erotic poems Cavafy wrote during the years in Alexandria, and referred to a passing sexual encounter. It showed the poet's devotion to a sensual pleasure, free and joyous.

In book form Cavafy's poems were first published without dates before World War II and reprinted in 1949. PIIMATA (The Poems of Constantine P. Cavafy) appeared posthumously in 1935 in Alexandria. Cavafy died on April 29, 1933 in Alexandria. Nowadays the cafés that the poet frequented on the Rue Misalla (now Safiya Zaghlul) have been largely replaced by shops.

"What is shocking about Cavafy's writing is the absence of Mediterranean or eastern imagery... He was cut off from the Arabic and Islamic world, and his eastern side is suspended." (Marguerite Yourcenar in The Atlas of Literature, 1996)
Cavafy composed rhymed as well as free verse, but never loose, unstructured, or irregular poems. He used iambic, eleven-syllable measures, including the popular fifteen-syllable verse of the demotic tradition. After giving up experiments with different literary models, Cavafy mixed the demotic and pure Greek called katharevousa, and used his wide knowledge of the history of East Roman and Byzantine empires as the basis of his themes. In 'The God Abandon's Anthony' he used Shakespeare's play Anthony and Cleopatra and Plutarch's Life of Anthony to describe sense of loss through the fictive voice of an unknown person who addresses Mark Anthony:

Like in Oscar Wilde, aestheticism and skepticism marked Cavafy's work. One of his central motifs was regret for old age: "You will not find other places, you will not find other seas. The city will follow you. All roads you walk will be these roads. And you will age in these same neighborhoods; and in these same houses you will go gray." (from 'The City') Past and present, East and West, Greek and 'barbarian' were fused into sophisticated commentaries on paganism, Christianity, and decadent modern world. Cavafy sketched a rich gallery of historical, semiobscure, or fictitious characters, whom he used as personae acting, or being discussed, in the episodes of his poems. Often his style was dramatic, as in the famous 'Waiting for the Barbarians.' Among his confessional poems with homosexual theme is 'The Bandaged Shoulder,' much admired by Lawrence Durrell.

Cavafy's poems have been translated into English, French, Italian, and German, and several other languages. The 1963 Nobel laureate George Seferis was his ardent admirer, E.M. Forster persuaded T.S. Eliot to publish several Cavafy's lyrics in The Criterion in 1924. The English novelist John Fowles has remarked that Cavafy is for him the great poet of the Levant.

http://famouspoetsandpoems.com/poets/constantine_p__cavafy/biography

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Claustrophobia

This image is portraying claustrophobia as an illness. I could portray this image in many different ways. For example, i could use this illness and portray it in many different ways. I personally feel like contemporary dance would be the best style to portray the emotions and feelings that comes with the illness claustrophobia. I believe that using props would help show the panic feelings that people would experience when claustrophobic. Using choreographic devices, i would reach a climax that would portray a panic attack which reinforces the fear of the illness. One of the main issues that people with claustrophobia suffer with is small spaces. To make this dance unique, i could use a sleeping bag and show the struggle of feeling closed up. I would then get the dancer to escape from the bag and realise into a phrase where it would show a panic attack/losing control. I would use different sound effects like crowds of people, train noises or any loud noises that can trigger a panic attack. The lighting i would use would be a spot light which would then represent the aloneness that people feel once having an attack. The releases of it being hard and a day to day task when you are amongst people that aren't suffering from the illness.

What is claustrophobia ?
Claustrophobia is the irrational fear of confined spaces.

It's normal to fear being trapped when there's a genuine threat, but people with claustrophobia become fearful in situations where there's no obvious or realistic danger.

They'll go out of their way to avoid confined spaces, such as lifts, tunnels, tube trains and public toilets (see below for a full list). However, avoiding these places often reinforces the fear.

Some people with claustrophobia experience mild anxiety when in a confined space, while others have severe anxiety or a panic attack. The most common experience is a feeling or fear of losing control.

It's estimated that around 10% of the UK population are affected by claustrophobia during their lifetime.

Triggers of claustrophobia

Many different situations or feelings can trigger claustrophobia. Even thinking about certain situations without exposure to them could be a trigger.

Common triggers of claustrophobia include:

lifts

tunnels

tube trains

revolving doors

public toilets

cars with central locking

car washes

shop changing rooms

hotel rooms with sealed windows

planes

If you've felt anxious during the last six months about being in a confined space or crowded place, or if you've avoided these situations for this reason, it's likely that you're affected by claustrophobia.

MRI scan anxiety

If you have claustrophobia and you need to have an MRI scan, let the staff at the hospital know before the day of your appointment.

They may be able to give you a mild sedative, or advise you to speak to your GP for a prescription.

In some cases, you may be able to attend an open or upright MRI centre, designed for people with severe MRI anxiety. However, these clinics are often only available privately.

Symptoms of claustrophobia

Panic attacks are common among people with claustrophobia. They can be very frightening and distressing and symptoms often occur without warning.

As well as overwhelming feelings of anxiety, a panic attack can also cause physical symptoms, such as:

sweating

trembling

hot flushes or chills

shortness of breath or difficulty breathing

a choking sensation

rapid heartbeat (tachycardia)

chest pain or a feeling of tightness in the chest

a sensation of butterflies in the stomach

nausea

headaches and dizziness

feeling faint

numbness or pins and needles

dry mouth

a need to go to the toilet

ringing in your ears

feeling confused or disorientated

If you have severe claustrophobia, you may also experience psychological symptoms such as:

fear of losing control

fear of fainting

feelings of dread

fear of dying

What causes claustrophobia?

Claustrophobia is often caused by a traumatic event experienced during early childhood. For example, adults may develop claustrophobia if, as a child, they:

were trapped or kept in a confined space

were bullied or abused

had a parent with claustrophobia

Claustrophobia can also be triggered by unpleasant experiences or situations, such as turbulence when flying or being stuck in a tube tunnel between stations.

A child growing up with a parent who has claustrophobia may develop claustrophobia themselves, by associating confined spaces with their parent's anxiety and feeling helpless to comfort the person they loved.

Treating claustrophobia

Most people with a phobia are fully aware that they have one. Many people live with claustrophobia without having it formally diagnosed and take great care to avoid confined spaces.

However, getting help from your GP and a specialist with expertise in behavioural therapy, such as a psychologist, can often be beneficial.

Claustrophobia can be successfully treated and cured by gradually being exposed to the situation that causes your fear. This is known as desensitisation or self-exposure therapy. You could try this yourself using self-help techniques, or you could do it with the help of a professional.

Cognitive behavioural therapy (CBT) is often very effective for people with phobias. CBT is a talking therapy that explores your thoughts, feelings and behaviour and develops practical ways of effectively dealing with your phobia.

Speak to your GP to find out if CBT would be suitable for you and whether it's available on the NHS in your area. Read more about accessing therapy on the NHS.

Coping with a panic attack

If possible, stay where you are during a panic attack. It could last up to an hour, so, if you're driving, you may need to pull over and park where it's safe to do so. Don't rush to a place of safety.

During the attack, remind yourself that the frightening thoughts and sensations are a sign of panic and will eventually pass. Focus on something non-threatening and visible, such as the time passing on your watch, or items in a supermarket.

The symptoms of a panic attack usually peak within 10 minutes, with most attacks lasting between five minutes and half an hour.

https://www.nhs.uk/conditions/claustrophobia/

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Visual

As this is a visual stimulus, i need to focus on the images that are shown through the picture. The Image is off a clown in a vintage circus. When i look at this image, i create choreography that is based upon animal cruelty. I would create a piece that is showing the audience the amount of animal abuse that can or did happen within in a circus. This would be a hard piece to create emotionally, i would need to use dancers that wouldn't be sensitive to the situation but would be able to portray the emotion to the subject. In my head i see the piece with projections of the subject with dark and red lighting. Id tell a story and show two sides of what there is to a circus back stage and what the audience sees.

Elephants, tigers, and other animals that circuses use to entertain audiences do not stand on their heads, jump through hoops, or balance on pedestals because they want to. They perform these and other difficult tricks because they’re afraid of what will happen if they don’t.

To force animals to perform, circus trainers abuse them with whips, tight collars, muzzles, electric prods, bullhooks (heavy batons with a sharp steel hook on one end), and other painful tools of the circus trade. Video footage of animal training sessions shows that elephants are beaten with bullhooks and shocked with electric prods. Circuses easily get away with such routine cruelty because the government doesn’t monitor training sessions and handlers are cautious when they’re in public.

Constant Confinement

Circuses travel nearly year-round, in all weather extremes, sometimes for days at a time. While in transit, the animals are confined to trailers or trucks, where they may not have access to basic necessities, such as food, water, and veterinary care. Elephants are chained, and big cats are imprisoned in cramped, filthy cages, in which they eat, drink, sleep, defecate, and urinate—all in the same place. And there’s no relief once the animals reach a venue, where they remain caged and are chained in arena basements and parking lots.

Danger to the Public

Frustrated by years of beatings, bullhooks, and shackles, some elephants snap. And when an elephant rebels, trainers can’t protect themselves—or the public.

Elephants have bolted from circuses, run amok through streets, crashed into buildings, attacked members of the public, and injured and killed handlers. The elephants have been injured, too, and some have been killed in a hail of bullets.

During a 2014 Moolah Shrine Circus show in Missouri, for example, three elephants escaped from their handlers in the children’s rides area after becoming stressed by circus noise. Loose for about 45 minutes, they damaged multiple cars in the parking lot before the handlers were able to regain control of them. It wasn’t the first time an elephant had run away from a circus. A few years earlier, an elephant named Viola had escaped from the Cole Bros. Circus in Virginia. She’d bolted from handlers and charged directly past a line of people waiting to buy tickets, sending some sprinting toward the parking lot.

Other animals, such as tigers and zebras, also try to make a break for it when they get an opportunity, running through city streets before being recaptured.

Circus Bans

Because of concerns about animal mistreatment and public safety, a growing number of communities are banning or restricting the use of animals in circuses. And cities all over the country are banning bullhooks.

Animal-Free Circuses

Public demand for cruelty-free circuses continues to grow. James Hamid Sr., a prominent producer of Shrine circuses, has said:

As we look into the future, we see all circuses moving to non-animal productions. Over the last 20 years, both through strict regulation as well as changing public sentiment, performing animal acts have begun to be a thing of the past.

There are loads of exciting and innovative productions that dazzle audiences without animal acts. Click here for a list of animal-free circuses.

What You Can Do

When the circus comes to town, hold a demonstration to inform the public that demeaning stunts performed by animals in the ring are the result of behind-the-scenes abuse. Let your local news outlet know about the suffering that animals used in circuses endure. For detailed information about specific circuses, including U.S. Department of Agriculture citations and dangerous incidents, click here.

Start a campaign to ban wild-animal acts or to amend the cruelty-to-animals ordinance in your community so that it includes language forbidding the use of bullhooks and other manual, mechanical, and chemical devices intended to cause pain and suffering.

Avoid all circuses that use animals. Talk to friends and family members, particularly those with young children who might be especially inclined to go.

For other ways that you can help, check out “Steps to Take When the Circus Comes to Town.“

https://www.peta.org/issues/animals-in-entertainment/circuses/

# data[].attributes.body
Kinesthetic/Visual

This image shows the different systems that we have has humans in the body. For example,
- Digestive System
- Skeletal System
- Lymphatic System
- Respiratory System
- Muscle System
- Endocrine System
- Circulatory System
- Nervous System
- Reproductive System
This image shows that the human body is made up from many different systems that all connect together to become one.

I could show this image through dance by concentrating on one of the systems in depth. The research that i have done for each system shows me what the system does and medical facts around it. I could use movements that show the flow around the body. I could use different dancers, for different systems. I would use projections on the screen to help portray the story I'm telling, as this could come across in a different way very easily. Another idea i could use, would be to focus on the heart and use this for a love story linking it in with a broken heart. I could use a few dancers to show two different love stories. I could also choreograph a dance that includes the Nerve System, and show someone with anxiety and how they get over day to day issues. I could also create a dance that is is based upon the growth of a human that is based on the Skeletal system.

Research About Digestive System
The digestive system is a group of organs working together to convert food into energy and basic nutrients to feed the entire body. Food passes through a long tube inside the body known as the alimentary canal or the gastrointestinal tract (GI tract).
www.innerbody.com/image/digeov.html

Research about Skeletal System
The skeletal system is the body system composed of bones and cartilage and performs the following critical functions for the human body: supports the body. facilitates movement. protects internal organs. produces blood cells.
https://cnx.org/contents/48d80d4f-3c79-411f.../The-Functions-of-the-Skeletal-System

Research about Lymphatic System
The lymphatic system is part of the vascular system and an important part of the immune system, comprising a network of lymphatic vessels that carry a clear fluid called lymph directionally towards the heart.
https://en.wikipedia.org/wiki/Lymphatic_system

Research about Respiratory System
The human respiratory system is a series of organsresponsible for taking in oxygen and expelling carbon dioxide. The primary organs of the respiratory system are lungs, which carry out this exchange of gases as we breathe.
https://www.livescience.com/22616-respiratory-system.html

Research about the Muscle System
The muscular system is an organ system consisting of skeletal, smooth and cardiac muscles. It permits movement of the body, maintains posture, and circulates blood throughout the body.
https://en.wikipedia.org/wiki/Muscular_system

Research about Endocrine system
The endocrine system is a chemical messenger system consisting of hormones, the group of glands of an organism that carry those hormones directly into the circulatory system to be secreted to distant target organs, and the feedback loops of homeostasis that the hormones drive.
https://en.wikipedia.org/wiki/Endocrine_system

Research about Circulatory System
The circulatory system of the lungs is the portion of the cardiovascular system in which oxygen-depleted blood is pumped away from the heart, via the pulmonary artery, to the lungs and returned, oxygenated, to the heart via the pulmonary vein.
https://en.wikipedia.org/wiki/Circulatory_system

Research about Nervous System
The nervous system is a complex collection of nerves and specialized cells known as neurons that transmit signals between different parts of the body. It is essentially the body's electrical wiring. Structurally, the nervous system has two components: the central nervous system and the peripheral nervous system.
https://www.livescience.com/22665-nervous-system.html

Research about Reproductive System
The reproductive system or genital system is a system of sex organs within an organism which work together for the purpose of sexual reproduction. Many non-living substances such as fluids, hormones, and pheromones are also important accessories to the reproductive system.
https://en.wikipedia.org/wiki/Reproductive_system

# data[].attributes.body
Audio
https://www.youtube.com/watch?v=HRklWPkftiA

This youtube video is of a young lady that is portraying her personal view on girl with eating disorders. She shows this through talking about her own struggles and pain that she goes through with an eating disorder. She focuses on the struggles when dating a girl with an eating disorder. When watching this video you can truly feel the emotion that she is putting across to the audience. The piece of the spoken language is extremely detailed and it really makes you understand the pain that people have to go through that unfortunately have got an eating disorder or mental illness. The sort of language that she uses portrays the frustration and sadness you can here it through her voice.

In terms of how i could put this into a dance i would portray a story of a girl that shows her struggle dating boys alongside her eating disorder. I would love lyrical jazz/physical theatre style to show the story, and dance to the words that she is confidently speaking. i would use props, like a table and chairs and set it out like a restaurant and show the fear girls have when sitting down. I would also use spoken word for example, the dancers would repeat certain words that are powerful.

Research about Eating Disorders

Types of eating disorders

The most common eating disorders are:

anorexia nervosa – when you try to keep your weight as low as possible by not eating enough food, exercising too much, or both

bulimia – when you sometimes lose control and eat a lot of food in a very short amount of time (binging) and are then deliberately sick, use laxatives (medication to help you poo), restrict what you eat, or do too much exercise to try to stop yourself gaining weight

binge eating disorder (BED) – when you regularly lose control of your eating, eat large portions of food all at once until you feel uncomfortably full, and are then often upset or guilty

other specified feeding or eating disorder (OSFED) – when your symptoms don't exactly match those of anorexia, bulimia or binge eating disorder, but it doesn't mean it's a less serious illness

OSFED is the most common, then binge eating disorder and bulimia. Anorexia is the least common.

Do I have an eating disorder?

If you or people around you are worried that you have an unhealthy relationship with food that's affecting your eating habits, you could have an eating disorder.

Symptoms of eating disorders include:

spending a lot of time worrying about your weight and body shape

avoiding socialising when you think food will be involved

eating very little food

deliberately making yourself sick or taking laxatives after you eat

exercising too much

having very strict habits or routines around food

changes in your mood

You may also notice physical signs, including:

feeling cold, tired or dizzy

problems with your digestion

your weight being very high or very low for someone of your age and height

not getting your period for women and girls

You can read more about the specific symptoms of:

anorexia

bulimia

binge eating disorder

It's important to remember that even if your symptoms don't exactly match those for anorexia, bulimia or binge eating disorder, you may still have an eating disorder.

Warning signs of an eating disorder in someone else

It can often be very difficult to identify that a loved one or friend has developed an eating disorder.

Warning signs to look out for include:

dramatic weight loss

lying about how much and when they've eaten, or how much they weigh

eating a lot of food very fast

going to the bathroom a lot after eating, often returning looking flushed

excessively or obsessively exercising

avoiding eating with others

cutting food into small pieces or eating very slowly

wearing loose or baggy clothes to hide their weight loss

Getting help for an eating disorder

If you think you may have an eating disorder, even if you aren't sure, see your GP as soon as you can.

They'll ask you questions about your eating habits and how you're feeling, and will check your overall health and weight.

If they think you may have an eating disorder, they should refer you to an eating disorder specialist or team of specialists.

It can be very hard to admit you have a problem and ask for help. It may make things easier if you bring a friend or loved one with you to your appointment.

You can also talk in confidence to an adviser from eating disorders charity Beat by calling their adult helpline on 0808 801 0677 or youth helpline on 0808 801 0711.

Getting help for someone else

It can be difficult to know what to do if you're concerned that someone you know has an eating disorder.

People with an eating disorder are often secretive and defensive about their eating and their weight, and they may deny being unwell.

Let them know you're worried about them and encourage them to see their GP. You could offer to go along with them.

Read more about talking to your child about eating disorders and supporting someone with an eating disorder.

The eating disorder charity Beat also has information on:

what to do if you're worried about a friend or family member

what to do if you're worried about a pupil

what to do if you're worried about an employee

supporting someone with an eating disorder

Treatment for eating disorders

You can recover from an eating disorder, but it may take time and recovery will be different for everyone.

After being referred to an eating disorder specialist or team of specialists, they'll be responsible for your care.

They should talk to you about any other support you might need, such as for other mental or physical health conditions you have, and include this in your treatment plan.

Treatment will be different depending on the type of eating disorder you have, but will usually involve some kind of talking therapy.

You may also need regular health checks if your eating disorder is having an impact on your physical health.

It may also involve working through a guided self-help programme if you have bulimia or binge eating disorder.

Most people will be offered individual therapy, but those with binge eating disorder may be offered group therapy.

Read more about the different treatments for:

anorexia

bulimia

binge eating disorder

Treatment for other specified feeding or eating disorder (OSFED) will depend on the type of eating disorder your symptoms are most like.

For example, if your symptoms are most like anorexia, your treatment will be similar to the treatment for anorexia.

What causes eating disorders?

We don't know exactly what causes eating disorders.

You may be more likely to get an eating disorder if:

you or a member of your family has a history of eating disorders, depression, or alcohol or drug addiction

you have been criticised for your eating habits, body shape or weight

you're overly concerned with being slim, particularly if you also feel pressure from society or your job – for example, ballet dancers, jockeys, models or athletes

you have anxiety, low self-esteem, an obsessive personality, or are a perfectionist

you have been sexually abused

https://www.nhs.uk/conditions/eating-disorders/

'How do I tell him a simple restaurant meal requires hours of prep: ensuring I have exercised an adequate amount to feel ‘deserving’, combing through the menu online beforehand, calculating calorie content? Spending two hours putting the agonising, relentless, exhausting inner torment I get if I so much as look at a menu down to being ‘picky’.

So when a Tinder bio contains the word ‘foodie’, it’s an automatic swipe left (although I’m pretty sure I’d still find that annoying if I was eating disorder-free).

Sounds shit, doesn’t it? Welcome to the single world according to me. The world of a woman trying to rebuild her life – hopeless romanticism included – after years in an abusive relationship with her own head. Sometimes depression. Always anorexia.

It’s not like I have completely given up on dating and men since I became what I’d term a ‘functioning anorexic’ – I still work, socialise, teeter just above the BMI danger zone but exercise obsessively and excessively – at the age of 22.

I’ve had flings and flirtations and even one fairly serious relationship since the eating disorder took hold but these have been largely doomed. Only with hindsight can I look back and understand that in every case, I was choosing my eating disorder over them.

The moment it felt like someone was getting close enough to get in the way of my military-esque regime of exercise and barely eating, or question my behaviour, things would unravel."

https://www.refinery29.com/en-gb/2017/07/160192/dating-with-an-eating-disorder