We discussed a lot about the parameters that make a protest. Tom Hastings gave us references that made us think about the context but also the methods and tools to create a protest. Eva Recacha guided us in the embodiment of our ideas that also were complemented and confirmed by the information given by Tom. One document that helped me in the process of making, was the Manual-Training for Direct Action, "Training for Nonviolent Responses in Social Conflict: A Manual for Trainers" written by G. Lackey and Others.

From that document, we started establishing instructions and rules that structured the protest and allowed it to be performed in a way that was carefully thaught about. Also, because we chose to be all together in the project we needed some form of plan to follow. This manual helped us to make our score.

For instance, from the very first day, we used stillness, standing, walking, sitting, and lying on the floor.  Already, these four elements were a lot of material even though they seemed like nothing. Therefore, we found ourselves creating more and more material every time we were doing a run-through. That is where the project got a bit overwhelming, because we had so many ideas and everybody wanted to add new things but we were losing the essence and I felt sometimes a bit uncomfortable with how we treated the subject. But, the talks in groups and most importantly with Eva and Tom guided us through these times. We saw the project evolve with time and the ups and downs allowed us to understand what went wrong and right. I valued the process so much more than the final product, even though it was fun to present it to the public, I gained a lot from the experience in itself. As I discuss in my reflection on Seke's classes, I felt like after the protest project our understanding as a group but also as individuals of the parameters of composition, had impressively grown and took a whole new direction, full of creativeness and playfulness.

We talked with the group as well as with Tom and Eva and we all agreed that we couldn't base our standards on that rehearsal because the improvisation changed every day depending on the space we were in, but also, the state of mind of each person which drastically influenced the energy of the group. Changing studios was interesting because we got to see how the group adapted itself and how it influenced the piece depending on the light, the sound, the architecture, and the objects within these spaces. Many factors made the piece evolve and change all along this process. 

I think that's what made it so valuable, the fact that we continuously had to adapt and think about what could happen next, forced us to see and work with the space and the people within it. 

In my opinion, that's why it made the project so relevant because there was a connection in the structuration and development of the project that was inspired or maybe resembled one of a protest. 

The movement could be anything there was no preferred style, any type of movement. We had to make eye contact with people in duets; these were some of the tasks given by Seke: 

-Finding a way to never be at the same rhythm/opposite

-Doing the same movement/copying/listening to the other

-Stopping when the other is moving

Seke guided us for 40 mins, he gave us instructions to follow. Therefore, the movement in itself was free to be whatever, where ever, (Whenever), and however.

I would qualify it as like a huge playground. 

When we were near the end we mixed all of the instructions and let it be more random and self-directed. 

We talked after the improvisation; We said that in this group (B), we find it easy and conformable to share and explore together. The topic of comfort in dance and especially in improvisation came to the table. We are always told to go beyond our comfort zone, why can't we stay within that? 

I agree, we were comfortable in that improvisation and in the climax part of it which created and displayed more of a unified group than just duets. Therefore, we as a group often get trapped within that climax which is great because we let things happen without any judgment or criticism. But, how do we get in and out of that feeling? What are the parameters? What is the longevity of a material, and for how long or short...are we going to hold this for? These parameters are like tools that build improvisation. As viewed in previous sessions, making a score, setting tasks, giving ideas, and rules, and saying yes to everything. 

I felt like the sessions with Seke in group B were so easygoing.  

After the protest project, I could feel a difference in the dynamics, the ideas, the relationships between all of us. 

We were more at ease in coming in and out of a material or a task given within the class. 

It is very attractive to start new things because it is full of possibilities. There is Home space like a hub in the centre.

Moments in the centre, what do they bring to the piece, what's there purpose.

The pace picks up so as the energy. How forceful, how loud, how gentle, how orderly, how messy, how neat...
We need to think about the intentions it can be hard when we're in improvisation all the time. 
We are all visible in the space as a group but also individually. When we're all trying to feed the project with ideas there is a kind of main character feeling which disconnects everyone from The GROUP!!

Movement: flocking (listening-watching- encountering the space, the temporality, sensations, feel the space) 

Identity, a collective, unity, togetherness, it’s about the us, solos, leader or follower or opposite. 

See what something is going to lead to. 

Notion of COLLECTIVE! 

A Bond is created through the scarf. 
Remaking the bond/ Breaking the bond : Creates a bond. Linked, chained, boundary

Intertwining, Being reactive, moving as a group. 

Sound: 

What’s the focus? SILENCE?
What is it about tension that also implies something is going to come. Calmness, interesting type of calmness, the movement changes the calmness, focus, be more observant of each other! Helps tuning in.

Using new dimensions, different agencies, invisible conflits, the phone, the observers, the commentators. 

Are we keeping the same roles, switching, looking at it, commenting on it.

Support, barriers, lying on the floor.