It enables us to play on situations and emotions that are familiar and relatable. We are all human beings going through different experiences and choosing different artistic paths, but ultimately we all share familiar experiences of feeling lack of self-worth and limitations throughout each individual journey. Yet we always remind ourselves that there is a glimmer of hope, through inspiration of others or support or finding peace within. These raw experiences are something we wanted to hone in on and explore throughout our piece.

In fact on filming day, we managed to reach our audience as members of the public who happened to be dancers joined in with our ending sequence, just to share their passion with us.

Staying within the concept that dance is an enjoyable social event first and foremost, we decided to have the main character distinguish how the harsh emotions of pain and loneliness can be relieved by the support and finding joy in what you do. This narrative starts with a dismal scene of withdrawal from the dance world and distances the character from the idea of support. It later progresses to an expressionistic emotional outburst to portray the overwhelming storm of feelings within the dancer as she is figuratively disconnected from her body. As the storyline progresses, a stark contrast is created, due to the character slowly being influenced by the surrounding dancers and finding support through their artistic passion and love. This interaction creates emphasis in dancing from the soul and helps to transform the main character back to a passion filled individual connected with themselves again.

The last song 'Do For Love' by 2PAC, heavily contrasts to the previous song with its steady rhythm and familiar hip-hop beats, causing a huge atmospheric shift as well as physical shift within the characters and storyline.

Ultimately, I didn't want to tell the cast how I wanted them to behave instead I opted for natural and raw responses to the actions made. Therefore, in order to achieve this, there were moments in filming where I'd give sparse detail about what was going to happen so that they would react naturally. For example; in the scene where the main character explosively shouts at the ballet teacher, the only information I disclosed to the teacher and the ensemble cast was that the main character would walk out of the room. This helped to create a more striking and emotive atmosphere when the character was suddenly verbal and appeared to be more visibly impacted by the situation.

Upon reflection, this was a very effective tool and gave results immediately that were easy to read through the camera. Initially, I was concerned that the cast might react in the opposite way and be too confused throughout the process, but I believe that the stimulus and storyline was relayed thoroughly enough for them to portray the correct unique emotions within themselves.

I think the key was communication, as we were on the same page for how we envisioned the narrative to be portrayed so when we collaborated; it felt like one brain producing the work. Of course, we had some blips where we each had to be open minded throughout each others ideas, but we worked as a team to really listen to what the other person had to say and in some cases adapted the idea to suit the project. In some instances, this actually helped us to create better ideas than originally thought, such as different perspectives of the scenes and logistical elements.

In terms of collaboration with Alyssa for costumes, I expressed to her that I want to portray individuality and she understood what I meant by this completely. She gave us all options and inspirations of clothing that would be appropriate for the piece as well as having good functionality throughout.

A great deal of collaboration happened between myself and Clotilde (the group manager). Our collaboration worked seamlessly throughout due to good communication, she would tell us what we need to do and in what time frame, then I'd communicate back with availabilities. We kept our collaboration as professional as possible, as we each had such big roles and it was sometimes hard to listen to what the other person needed and wanted at certain times, when we were so focused on other factors. Nevertheless, it helped to smoothen out the whole process and lead to more forthcoming spontaneous ideas for the piece.

Lastly, the collaboration between choreographers and videographer was hugely imperative to creating our final piece. We had to precisely relay how we wanted certain scenes to be encapsulated. This worked as I wrote out a scene by scene storyline with added camera work that I deemed necessary. When it came to the filming day, some things had to be changed based on lighting and location, meaning my vision had to be compromised in some ways, but I had enough trust in George that he would ensure the scene be captured in the best way possible.

To conclude, our collaboration was generally quite a smooth process with little to no tension throughout. We all learnt a lot about time management as a group and how to appropriately handle our time. This was in fact our biggest struggle due to us being a larger group with no free time out of university. Despite this, we worked together professionally with the time we had, efficiently coming together before/ after class to film some of the content.