This included brainstorming ideas for lighting, costuming, concept of each section, choreography starts and submitting our chosen concept for our piece.

After a group discussion, it was discussed a character choice that I should play the part of Rihanna.

From this I took the initiative to start working on time stamps for songs. I wanted to use for the commercial section and shared with the group.

My submission was successful and I took on the role of Rihanna and main choreographer of my section.

The piece was a house party theme inspired by Diddy (Sean Combs, American rapper and producer) allegations, and the celebrities that encountered these parties and the impact.

Rihanna was a focus of being taken over with control from Diddy & “his crew” representing men, that wonder these parties and use their power to their advantage. Rihanna was going to break free from this curse with her redemption ark escaping being trapped in a room and interrogated to facing them head on in a dance off claiming victory. Transitions into hard and the words represent taking her power back, her redemption.

skeleton structure:

I’ve used time stamps for sections, brainstorming atmosphere concept and beginning steps.

Dayna and I are assigned co-leaders

I have the assistant role, the second hand task of making sure assignments, tasks, notes are being set and achieved.

One of my ideas that I implemented was a rehearsal recap for each rehearsal onwards.

This was for anyone who had missed out on a rehearsal, that they are catching up and aware of what’s been done in each rehearsal.

And a recap to refresh our brains on what has been set and what needs to be done.

As we were all using the space to work on different sections, I worked on this section with Lucia, adding the choreography onto her and workshopping movement/spacing for the other dancers in the section when I teach everyone else the choreography.

This helps me regulate in my brain what the section needs for choreography concept.

My process is to create choreography first, then stop and make notes of each section. Marking and drawing spots with time stamps and description, highlighting different angles and transitions.

Throughout this process, I’ve changed my choreography if I wasn’t happy with it or things changed with numbers. I’ve made notes drafts of choreography in my notebook.

I volunteered on cooking and setting up, I decided to cook traditional Tanzanian street food. The students who helped out worked very hard on this project, from cooking from scratch to serve hundreds. Spending money on ingredients, using time after university for this to have food fresh for the next day led to late nights of cooking and prep. I also contacted my parent for some traditional clothing to be sent through post to represent during the day.

We did so well for our unfortunate circumstances with the lack of help from peers.

The money will be split equally between the people who contributed.

I made a spider diagram of her experiences in early 2000’s era. Where she was raised, how she got signed, her early career etc.

I started brainstorming ideas to make an intro pack in the audio and have Rihanna hold the space (dressing room/backstage concept).

I decided that I wanted to use the second half of roll it and just change the first half into the pre chorus - chorus onwards. The same structure, added adjustments and new ideas.

I took the initiative on sorting out costumes.

As a group we felt that we had finished the piece well but needed more cleaning and refining time.

Seeing everyone else’s pieces really helped us have a better insight to our project. Being inspired by movement and how they approach their work. It showed inspiration and honorary of the hard work.

Gave us a shock as we didn’t realise the impact of our piece.

This will help us with organising what to do order of each item and how many.

Sent to group for double checking.

I sent this to Bee (costume organiser) to help with communication knowing what we need.

Anna & Dayna will be working on the final edit.

Such as Jay z's record label, they represent the men interrogating Rihanna. Jay z's signature but not Rihanna’s, blood fingerprint to correlate the gritty atmosphere.

The conversation was about whether or not the jazz section should have heels or not. I took initiative during our (29/11/2024) rehearsal to work on time frames for costume changes to edit in the audio so we can use the heels.

The miscommunication was that “I suggested to scrap the heels and it’s my fault that the jazz section hasn’t been worked on”, but how is that the case when I put in the work to fix this transition.

I personally felt this didn’t make any sense and people decided to jump on accusations rather than address it with me first.

If the leader/choreographer of the section doesn’t take initiative to work on their section, that is on them. I put in the work to fix their problem and it’s not even my section. At the end of the day, I had a conversation with the group and made it clear my actions with being more organised to ensure the group is prepared is not a negative impact.

We then received notes from Jasmin afterwards which made us really think as a group.

Rihanna intro:

• facing the back, putting my top on etc (backstage vibes) doesn’t have enough impact for Rihanna and who she is. Needs a more standout clear moment, engagement with the audience.

Roll it:

• messy and formations aren’t in the right place.

• Feels a bit too random and too much at once.

• Be less aggressive with transitions/acting. Less is more in terms of rushing the acting, slow down and focus on how it makes more sense to an audience.

• Simplicity switch, break down the structure and add more details that are clearer.

Overall the section itself needs a more simple storyline with the movement so it can read even better. Incorporate Rihanna’s vulnerability create her story in the piece.

I spoke to Jasmin afterwards for some clarification. I felt a bit better about this after the conversation, Jasmin mentioned simplicity throughout the movement and transitions which can allow transparency for the storyline to shine through. She also mentioned not to change the audio.

Unfortunately I didn’t get to do much, as we received communication we weren’t allowed to change the audio. This was due to the fact of lighting cues already being implemented with the track. This was understandable and I immediately went back to the roll it track.

I incorporated my old choreography and new details and added changes for the storyline.

Lucia, Lydia and Kenny worked on the grime section. Implementing new choreography.

Cara, Erin, Taliyah and I collaborated on the interrogation scene. We removed the prop and chair, and made it more of a realistic Rihanna moment with her vulnerability coming through in a public eye with paparazzi.

The ending had a better structure with my old choreography implemented.

With new added transitions and formations into the ending added, we had a piece that reads more.

With new choreography implemented and last minute changes, I wasn’t nervous just intrigued on what the outcome would be.

Co leaders (Dayna and I) arrived on time and the rest of the cast was running late.

This led us to having limited time on stage.

Tech run wasn’t as smooth as the lights we originally had reflected onto the old section of roll it/second half of the piece that has changed now. Our goal was to find the light on stage and re work the structure of the second half to relate to the lights on stage.

Schedule for the day:

• run through with lights on stage.

• BE READY FOR QUARTER TO 1, First proper run in the space.

• SHOW.

Watch the video and talk through different intros/exits, directions on stage, right & left wing etc. This was to ensure there’s a better understanding of the space and Kenny feels less stressed. I wrote down notes for my side of things and Kenny did the same. We both felt better after this, with the new changes/structure. I like to have things in order in my brain so it’s not overwhelming.

I made sure during backstage to let my group know I’ll be downplaying the vulnerability moments. My improv movement will change as I’m close to the cast I didn’t want to throw them off on stage. I used initiative to clarify personal note changes with my group.

For Rihanna, I received great feedback from my director. Explaining that she can see me implementing last minute notes into the piece and I took initiative on really well.I’m very proud of myself for pushing through with this project, despite an injury on both knees and new medication affecting my process of information and mental health. I worked so hard and deserve to give myself flowers for achieving such a great outcome for my performance.

For inspiration on dance circles/freestyle movement.

DJ Kool Herc represents the journey of hip hop dance evolving in the community. With the technique 'the merry-go-round'. He created a community on the dance floor, with his extended rhythms as breaking came to life and pushed the boundaries of dance battles. As well as early hip hop foundations being created on the dance floor.

The brief is early 2000'S era, reflecting onto Dj Kool Herc's work. I wanted dance battles/freestyle movement for the environment of the section. Having choreography that reflected the old school energy and creating that atmosphere with moments of dance circles/battles implemented into the choreography.

Filled with 2000's dance movie scenes/battles, I originally created this playlist as a brief for my peers, to have a look and take inspiration from as this concept is out of their comfort zone.