https://padlet.com/jessiemason18055/s9fa0dj066cx Duet en-us 2017-11-28 22:47:28 UTC 2025-10-18 15:40:47 UTC hello@padlet.com jessiemason18055 https://padlet.com/jessiemason18055/s9fa0dj066cx/wish/211204339 The partner I will be developing my duet material with is named Ashleigh Dilling. 
Together we have both come up with a stimulus based on visual. By elaborating on this duet visually, we have chosen to present our stimulus with pictures, movement, colour and shape as a idea of the dance. When first given the task of coming up with a stimulus, myself and Ashleigh had trouble with looking for a specific stimulus as we was very uncertain what stimulus we wanted to develop on and express our ideas to. In order to make a final decision on our stimulus, we felt it was very beneficial to give a different idea for each kinaesthetic, visual,auditory and ideational so we had a wider idea on developing and thinking. For using auditory stimulus we give a idea of a beat song to work with as we could have expressed different dynamics, levels and directions as a duet within a contemporary piece. When thinking of ideational stimulus we had a concept of communicating war and loss which helped us have a idea of maybe elaborating on the Manchester Attack and the cause and affect it had on the world. Although these ideas we had interpreted were very effective, we didn't feel we had a connection to the duet that would both show a effective and convincing dance to these ideas. In conclusion, we both thought that making a decision in that lesson would make us feel like we had rushed and not thought carefully and being able to expand on our ideas. 
From watching closely within the routine, '6 Breaths' choreographed by Rafael Bonachela, I was able to take notes that there was different duet sections and solo moments, a flow of dynamics, question and answer, a use of contemporary and ballet technique, and close interaction and also being spacial. By taking these notes I feel it is vital and beneficial that these ideas could be collaborated and used within our duet. ]]> 2017-11-28 22:47:43 UTC https://padlet.com/jessiemason18055/s9fa0dj066cx/wish/211204339 jessiemason18055 https://padlet.com/jessiemason18055/s9fa0dj066cx/wish/211208457 As a duet, we have chosen to use visual stimulus to portray our ideas. A potential idea we have now come up with and will start to enhance our development on is of a painting we found on google of a half killer whales tail coming out of a ocean. The visual idea of the painting can come across as simple, but we have chosen to give the painting a concept of being unseen or half noticed. By interpretation on this idea, there could be a structure of one dancer having calm, free and light dynamics whilst gesturing floating and gliding dynamics, whereas there could be a conga faction and interfering chaotic slicing, sudden and direct dynamic to show the different ideas and rippling similar to a ocean. 

Fast Fire Feedback 
After performing the section me and Ashleigh had designed, we felt it would be beneficial to continue the process by adding within rather then adding on. I felt this idea helped alor during our practice as we was able to add in moments of eye contact, different levels of rolling, sharp dynamics and moments of stillness and pause. When communicating our dance idea, I feel I am able to understand the intention of being unscene as when we start on the floor we use a range of eye contact, rolling into different direction and facing different ways of the audience in unison. Due to designing a piece of material without being accompanied, for the next session we practice we must set a target on how it goes from the floor and how we can present the stimulus further. ]]> 2017-11-28 23:16:11 UTC https://padlet.com/jessiemason18055/s9fa0dj066cx/wish/211208457 jessiemason18055 https://padlet.com/jessiemason18055/s9fa0dj066cx/wish/211211862 When working with Ashleigh I feel we both want to achieve the best of our ability and work towards our aim to to communicate our stimulus. I feel we are both work together with reasonable times to book studios and we are able to communicate and value eachothers contribution to the duet. From developing our duet, we have been able introduce different relationships as a solo or partner and perform moments of mirroring, question & answer and a variety of different formations and movements. Ways in which we have developed out motif throughout the dance so far is by changing the dynamics so they flow from being sharp to smooth and interacting with eachother  so perform senses of contact by using different body parts. Similarly, the motif has been developed by both of us changing our levels and reversing the order of the arm sequence and mixing bits for different areas of motif within the duet. 

Fast Fire Feedback
When given our feedback, we felt very positive that Craig felt there was a good vibe from our stimulus. In contrast, we observed from Craig and peers in the class that there was a good use of Question and answer occurring which was effective to what our stimulus is pushing to represent. For further developing our duet, we must now consider what our accompanyment will be and how it will help support our stimulus. ]]> 2017-11-28 23:41:23 UTC https://padlet.com/jessiemason18055/s9fa0dj066cx/wish/211211862 jessiemason18055 https://padlet.com/jessiemason18055/s9fa0dj066cx/wish/211214542 Within today's lesson, me and Ashleigh had accomplished a great deal of choreography and felt we was in a position where we was free to connect different choreographic devices. A device we focused on in this lesson was simultaneous canon. When doing this, myself and Ashleigh referred back to the arm movement we did previously, in a different level, and did the same motif at the same time but started at different points but landed both at the same level ready for the continuing move. When completing a minute and a half of our duet, it was vital that we kept practicing on our timing, movements and connections in order to understand our stimulus and developed on how we could improve the movement or levels. 

Fast Fire Feedback
By not necessarily improving or adding on, by adding within the duet we must think about different motif actions such as turning, falling, moments of stillness and travelling in canon or unison to captivate and emphasis our stimulus and how the waves in a ocean crash up against eachother. Another idea we can reflect about is how we can show fall and catch with recovery and suspension to give a rich connection with the stimulus. When exploring with different concepts of contact, we must also consider that all body parts and how we can I tertwangle between each other and respond quickly to change within the music. 

- As a duet, we have decided on a accompanyment named 'Brotsjór' by Ólafur Arnalds. To further develop our duet, we must now fit both music and dance together to adapt our stimulus idea. ]]> 2017-11-29 00:01:16 UTC https://padlet.com/jessiemason18055/s9fa0dj066cx/wish/211214542 jessiemason18055 https://padlet.com/jessiemason18055/s9fa0dj066cx/wish/211217558 A colour scheme that will be considered for our duet will be very narrative to the ocean atmosphere and may feature colours such as blue, white, black,purple,silver and grey ]]> 2017-11-29 00:23:10 UTC https://padlet.com/jessiemason18055/s9fa0dj066cx/wish/211217558 jessiemason18055 https://padlet.com/jessiemason18055/s9fa0dj066cx/wish/219436099 Within today's lesson, we was able to discuss our costume choices when performed on stage to emphasis our stimulus. From reflecting, I felt this lesson was highly beneficial for both of us as we were able to go through our duet and focus on having the correct shift in weight, the moments of timing when applying unison and to enhance certain sections so that our spacing is more eye pleasing when performing on stage. Before starting the whole duet, me and Ashleigh had produced a section of choreography which we wanted to apply into our the duet but we found it difficult to add into the dance. However, when we thought we had finished out duet we almost felt that it wasn't the end, which was where this section of the choreography was able to flow through. By exploring this part, we recorded and slowed it down so we could determine our timing, direction and correct placement of both arms and legs. ]]> 2018-01-08 16:50:11 UTC https://padlet.com/jessiemason18055/s9fa0dj066cx/wish/219436099 jessiemason18055 https://padlet.com/jessiemason18055/s9fa0dj066cx/wish/219456033 As a duet, we have chosen to go with jet blue matching leotards to emphasis our stimulus of 'ocean' as it helps with the idea to watch the flowing of different dynamics and movement to become more real. When working together we enjoyed the silence of our movements were able to connect with each other without being accompanied as we can understand eachothers  breath and timing, and connection and focusing. Our spacing is progected with being strong as they can either be lengthy or close together. The facial expressions determined in our duet were very serious and focused as we were understanding the importance of eachtoher breath and show the emotion and connection between us. 

Feedback when observing other duet performances. 

When Commenting on Ellie and Kyles duet, I was able to notice how they explored their relationship with their stimulus with focus, eye contact and physical connection when shifting eachothers weights. 

As Erin and Kellyanne performed, I understood a rich connection to the 'movement' stimulus, and that they were able to perform structured improvisation with a change of dynamics and body parts rather then the dance being set. Furthermore, their all blackcostumes  were used efficiently as I was focused on the movement. 

In my perspective, Sophie and Teleri give a contrast to the stimulus as they were able to respond to change, and give different opponents of repetition, canon and question and answer to shine their stimulus through. ]]> 2018-01-08 17:27:05 UTC https://padlet.com/jessiemason18055/s9fa0dj066cx/wish/219456033 jessiemason18055 https://padlet.com/jessiemason18055/s9fa0dj066cx/wish/219475533 During our studio performance for our duet, one aspect that went well was how we explored our stimulus with different physical connections and could accompany eachothers breath and timing to understand the connection with the movements. An example within our routine of this was how we started in a mirroring position and could determine our timing through our breath and musicality. We showed our 'ocean' stimulus by starting on the floor and giving a visual idea of having calm, rippling arm gestures like sn oceans motion whilst processing sustained dynamics to help set the water environment. Furthermore, as the soundscape began to develop, it became more clear our dynamics and speed also needed to be sharp and more quicker compared to the more softer dynamics as we had to emphasis the crashing of waves, and how chaotic a ocean is when being crashed up against rocks. By showing this, we stood equally apart mirroring eachtoher with large movements and contractions starting to take place whilst we then developed into different levels as Ashleigh dropped to the floor and I jumped on the air to the auditory stimulus. When working together, an ideal way on processing our choreography was to not let our accompaniment lead us to 'adding on' but for us to have our moments of watching eachother so we could focus on eachothers breath when in both solo and duet parts as we enjoyed the silence of our movements as our relaxing process could then start to build into intellectual movements. An example of this was when we developed from the floor in unison to mirroring eachtoher before Ashleigh shifted my weight to a different stronger spacing. Although this process felt beneficial in our practice time, when performing in our studio assessment I was able to anazlyse that the change in music had an effect on the routine as although it we showed natural movements, it wasn't always the case in certain parts where it flowed. An instance in our duet where this occurred was when we were duplicating and mirroring eachtoher on the floor that my dynamic felt it didn't have the correct extension to follow our stimulus compared to when we practiced without the sound scale and only mainly focused on eachtoher breath. Another idea that we hadn't always focused on was having the correct spacing as we showed different levels but always in the centre or one behind eachtoher. A way I would further develop this idea was to maybe start in further back in the right corner as it can be more eye pleasing, and to not always come back together to interact but to intertwine and overlap eachothers spaces to significantly show the chaotic and wave rippling of our stimulus. Additionally,there were many attempts where me and Asheleigh had recorded certain sections within the routine and slowed them down so that we could watch eachothers correct placement, timing, extensions on legs when turning directions. Although this was highly beneficial, this could be further developed by recording more sections and processing them to be more stronger and accurate to give a more clear and professional duet in our studio assessment. 

In relation to showing my stimulus, me and Ashleigh chose a ocean blue leotard to help develop our movements as they set the scene which helped us to focus as blue represents the colour of the sea and is associated with depth. If we were to further develop on our lighting when performing I would go with very narrative colours such as blue, grey, purples to help give a feature that doesn't distract the movement but gives a very earthy and water atmosphere of the rocks and ocean as this would be realistic and potentially work. ]]> 2018-01-08 18:07:23 UTC https://padlet.com/jessiemason18055/s9fa0dj066cx/wish/219475533