Burrows, J. (2010) A choreographer’s Handbook. Milton Park, Abingdon, Oxon: Routledge.

Forsythe, W. (2006) One flat thing, reproduced2, Numeridanse tv . Available at: https://www.numeridanse.tv/en/dance-videotheque/one-flat-thing-reproduced (Accessed: 10 December 202AD).

Graham and Hoggett (2014) The Frantic Assembly Book of Devising Theatre. London: Routledge.

ISTA Copenaghen, Steve Paxton’s work demonstation, 1996 (2009). YouTube. 21 November. Available at: https://www.youtube.com/watch?v=Kdcu3t3Z8NA&t=1s (Accessed: 10 December 2023).

The power of vulnerability | Brené Brown | TED (2011). YouTube. 3 January. Available at: https://www.youtube.com/watch?v=iCvmsMzlF7o (Accessed: 08 December 2023).

Smith-Autard, J.M. (2004) Dance composition. New York: Routledge.

Using tools from our workshops with Stephan exploring relationships and trust I wanted to pull from these to enable us to showcase relationships through our contact as each character has a unique way of interacting with Hugo.

Myself and Taylor found ourselves exploring taking and giving weight using initiation from our arms to backs, I discovered how a simple rolling lift from my back onto Taylors initially was  difficult to achieve if our body alignment was incorrect through preparation, therefore rehearsing and walking through the body mechanics of each lift enabled us to understand where we needed to be correctly to create the right trust for one another. 

Sporadic thoughts I decided to write down during this process were...

1) Unusual vocabulary of movement 

2) What body part is moving

3) Feeling vulnerable

4) Successive and simultaneous 

5) Revisiting movement, how it changed once we added direction and space into the equation. 

>  Space-  after a while of moving, a phrase started to become familiar in my body. Using space I tried to make it small to begin with as it slowly expanded to an overly exaggerated visual. Appreciating my body to mind connection to develop my movement through extremes of shrinking and expanding, allowed me to explore possibilities to find a medium. This manipulated movement in some ways I really enjoyed and internally I felt more connected to how I was moving. However, it also highlighted some movements that I preferred moving through a larger dance kinesphere rather than smaller, and vice versa. However, my takeaway was becoming aware of both kinesphere as a choreographer. 

> Action, Dynamics- Ultimately allowed me to figure moments in my phrase where stillness or slowed down tempo can really heighten/ intensify a phrase. Equally finding a similar balance through climax of movement when I feel a faster pace can be very effective to use.

(Burrows, 2010, pg.26) also discusses 'Cut and Paste' as an effective means by which a choreographer can explore the initial movement of improvisation, which can soon be filtered, developed or manipulated in a way that perhaps 'cuts' or expands motifs. However, highlighted previously is going through the process of using the extra space to remove, retrograde, repeat particular phrases that can result in being aware of what works and what does not. Reminding myself to push a medium of improvisation that can continually push me from staying within my dancers box of vocabulary. It is important  to remember 'cut and paste' as well as improvisation is not the only means to produce material. (Burrows, 2010, pg.26). 

Welcoming myself back into the choreographic space is tiring but needed. There's a sense of comfortability and belonging that was found. (Brown, 2011) discusses the power of vulnerability as a being for a powerful purpose in life. Being aware of why and how we numb ourselves because although it's not a comfortable feeling, Brenae mentions how it is necessary to experience vulnerability. We numb vulnerability  but we need to find belief within ourselves, so you believe we are enough. Listening to this podcast has gifted itself to make me more aware of how self deprecating I can be when creating, decision making and so on. Moving forward I want to utilise diving down the rabbit hole of the human mind to see what random variables I can nudge and deliver to find useful directions and not be afraid of taking risks.

Some thoughts I wrote down through this process were

• Valid perspectives of seeing the performance. 

• Would each performance be unique if we were performing this particular piece consistently 

• How can we invite different possibilities?

This experience has inspired me to take away different directions creatively and adopt a choreographic leadership role. Ability to produce material in a short amount of time. Ability to collaborate with other dancers that can utilise their unique style and bring them together.

It is important to reflect on what I have personally gained as an artist and explored in terms of tools used when creating choreography and how certain choices can expand possibilities. Learning how active my responsibility is within my choreographic leadership among others in group projects. Understanding my development so far can only benefit me for future collaborations that employ choreographic tools and theory as means of research for when I dive deeper into group projects. Learning about choreography has needs of adapting an active way in which we learn to choreograph. Just by reading, watching or hearing about doesn't ultimately teach us to choreograph. (Blom and Chaplin,1982, pg.3) Being grateful for failure but also honour improvisation as a tool for setting choreographic explorations. 'Our Approach will be to provide situations, in the form of improvisations, where learning results from experience', Boom and Chaplin, (Approach, pg.5) 

1) limitations of dancing on a bed compared to in the studio

2) unable to fulfil our initial idea of filming one shot

Using our tools explored within Lami Yovenburg workshop helped us to define our character and relationships between each other. We asked ourselves collectively who our character was, what is their story in relation with how we portray her on screen. Pulling from the Yami workshop helped us to really build and portray a character which assisted with generating intention behind our movement and experimenting with certain camera angels. The beginning shot of myself is close up which we wanted to start with as my character was someone who is very needy and jealous so enjoys the attention, having a close up section helped to create this atmosphere of someone who isn't afraid of closeness.