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

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

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

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

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

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

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

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

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

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

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

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