There are also a few inspiration quotes that I thought of during class that I wanted to hold onto.

Reference: Smith-Autard, J. M. (2004). Dance composition: A practical guide to creative success in dance making (5th ed.). Routledge.

This Padlet is laid out left to right in a rough chronological order and top to bottom in terms of Pre-work, each choreographer, and conclusions.

Colors mean:

White - work that culminates to serve each of the choreographers or were results from the more than one choreographer

Blue - relating to research about Twyla Tharp

Yellow - relating to research about Jerry Mitchell

Red - relating to research about Sean Bankhead

And what do the faces have to do with the ongoing cyclical process of weaving and unweaving? The face, in that it is made up of so many shifting and collapsing parts, strives to be a whole. The endavour of the face to put the tics, grimaces, sighs and gazes together though never really successful, makes explicit with ever subtle shift both the unraveling of the whole and the inevitable process of remaking - restless, surprising and fraught with significance. ... Just on the other side of destruction is regeneration; the possibility of a new, mysterious task. (Davies-Anderson, 2009, p. 207)

I was in an unhappy place with my position with Sean's template. This paragraph gave me hope. I was relieved that not only did another artist recognise that there is significant struggle with art, you can also put it on display. I was comforted that I could struggle with Sean's template for awhile and be just fine. I hold onto the last sentence in particular for its reminder of the cycle of life and subsequently the process of creating choreography too.

Reference: Davies-Anderson, V. (2009). Creative endurance and the face machine: Roseanne spradlin’s survive cycle. In A. Lepecki & J. Joy (Ed.), Planes of composition dance, theory, and the global. (pp. 192 – 208). Seagull Books.

-pointing me to look more concretely at the direct moment and to account for everything that I was noticing

-To really pause and take a look at the finer details

-To know that whatever I notice is unique and may not be noticed by others, but that doesn’t mean it is any less justifiable

-To continually have a source of re-direction by asking myself “What am I noticing?” so that I was not mentally imposing wandering thoughts

Reference: Doughty, S. (2019). I notice that I’m noticing (V. L. Midgelow, Ed.). Oxford University Press.

Reference: Brennan, M.A. (1999). Every little movement has a meaning all its own. In S. A. Fraleigh & P. Hanstein (Eds.), Researching dance: Evolving modes of inquiry (pp. 283 – 308). Dance Books.