Test padlet by

The body as material

salexander95 — 2022-10-10 14:06:14 UTC

Rainer seems to be working out her own body, and how it can move, in real time. Without distractions such as set, light, sound, subject matter or the persona/character of the performer, what is brought to the foreground is movement itself. The longer you watch the more the work intrigues, as it initially seems 'simple' but then you realise that some of the movement coordinations are very challenging, and that the dancer is extremely exacting in their rhythmic choices.

Other tasks explored this week

salexander95 — 2022-10-10 14:18:19 UTC

Putty duets
Wayne McGregor's TED talk and directing in 'real time'
My 'advance' of a task
GAP session

Who are you? How do you move?

salexander95 — 2023-10-05 15:56:45 UTC

We have been getting to know each other; how we move, what previous dance experience we have, facts about us and drawing on past experiences; all as subject matter for the dance. The performer (I) is therefore central to the dance, and it feels like a self-portrait. The trio/group form has allowed for connection, conversation and collaboration, and has provided a support to me in my performance.

The task has made me wonder about how comfortable I am sharing my personality/experiences in a performance context. it's been interesting to try this, and to witness others' portraits, but I don't feel that comfortable yet.

Seeing the two professional works '52 portraits' and 'Veronique Doisneau' by Jerome Bel (links attached) gave me some ideas about how a portrait might be developed further and in different ways. Whilst the Jerome Bel work presented a very clear biography of the ballet dancer, who spoke directly to the audience throughout and led us through her experiences, 52 Portraits is much more ambiguous in its portrayal of the different artists/choreographers.

Flora Wellesley Wesley

salexander95 — 2023-10-05 16:06:05 UTC

This solo gave an insight into the dancer's feelings when she dances. It's rare to know how dancers feel when they dance because they are often the vehicles for meaning for the choreographer. To foreground the dancer gives the dancer agency and recognition.
The dance sequence that Flora performs doesn't match the structure or words of the accompanying song, causing slight confusion for the watcher. What do these gestures mean? Are we supposed to try to find meaning in them or accept them as they are? The structure of the repetition is intriguing because it's complex.

Dance! The Most Incredible Thing about Contemporary Dance

salexander95 — 2023-10-06 08:58:15 UTC

My reflections:

Improvisations/ tasks

salexander95 — 2023-10-06 09:08:13 UTC

Creating movement from my signature. Playing with space (facings, levels, size) action (trying with different body parts) then creating a conversation with two other dancers, fragmenting the sequence and adding pauses.
Improvisation warm up - walking, running, standing.

Seke Chimutwengende

salexander95 — 2023-10-06 10:54:35 UTC

Seke's work 'It Begins in Darkness', presented in the UT on 26th October, resonated with me greatly...(say why, analyse the work, comment on the choreography, the performances, look into the processes behind the work etc.)

Ecological crises

salexander95 — 2023-10-06 10:55:45 UTC

GAP - Eden Leo

salexander95 — 2024-10-02 11:43:44 UTC

What interested me about Eden's approach to making dance was...