Dynamics

In Monday's technique lesson we had Mona again, and were going over the exorcises and phrases we did with her last time. I found the main focus for me was concentrating on the dynamic feel of the movement.
Whilst thinking through the main phrase of movement I felt the more I prolonged and suspended certain movements, then the sharper dynamic contrast when I dropped and the momentum was able to carry me more.

I also got quite confused with the timing in the main phrase as some parts are quick and sharp and others are soft. To make the most of the movement and the counts I needed to slow some parts down and go through my maximum. For example, whilst kneeling on the floor and brushing around from behind to in front of myself, to maximise this movement and use all of the counts I made sure I was reaching out as far as I could instead of cutting it short.

Also linking to my use of dynamics and giving moves quality I thought about Rebekah’s lessons and how I tend to rush through the movement and not think over the dynamic qualities. To help me with this I need to use my breath to calm myself and stop rushing. As holding my breath and forgetting to breathe at certain moments makes me tense up and rush more.

The body emotion

In Wednesday’s class we were concentrating on our tail bones and our head to tail connectivity. We were thinking about how our tail bone and head is connected by our spine and feeling in our bodies how this connection made us want to move. At the start of the lesson just warming up our bodies this made me really exaggerate my torso movement and use my spine to its maximum.

http://polestarpilatesasia.com/pilates-continuing-education/ceu-study-options/pathokinesiology-of-the-lumbar-spine

During the lesson I kept thinking about my head to tail connection and it made me think about my core distal as everything is connected to my centre in someway and thinking about my head/tail connection reminded me of my relationship with my limbs and how each one is connected to my centre and has a relationship with the other.

In this class I also realised to let emotion come out in our movement if that’s how we feel. As we do classes every morning and I concentrate on feeling the flow of the movement sometimes the movement can create a feeling that I can express through a certain phrase. To really feel the movement flow can cause me to express an emotion which therefore gives the movement a real sense of freedom.

In the reading ‘Motion and emotion’ it talks about how our emotions are ‘doorways’, and some of the stronger emotions are ‘gateway’ emotions that permeate the entire body like fear or anger for example. These emotions lead to more diverse emotions and sensations (e.g. relief) and protect us from some feelings that are overwhelming. I can think about myself personally reading this as I can see how feeling sadness or loss is sometimes followed by frustration and anger, to protect ourselves from the overwhelming feelings of sadness that can lead to depression.

Linking emotions to dance can increase out resources to work with; and can ‘open more doorways’.

“When we can surrender to a feeling of participation in out emotions, creativity abounds” pg 198.

Letting you feel certain emotions and work with them to create movement and choreography that if you were feeling another emotion at the time; would not have been created.

I was particularly interested with the exorcises at the end of this extract that track our emotions in the body. Using breath, sensing emotions and the physical changes that they cause in our bodies. One exorcise notices the capacity to change mood with mind and asks me to ‘talk myself’ into a bad mood, and then again into a good mood. Noticing what happens to my body; get hot, get irritable and fidgety or remain calm and serene. This can then be linked to movement and posture, as there are certain postures which can cause an emotion. E.g. upright and weight above the legs will feel energetic whereas slouching with shoulders hunched and head slightly hanging will cause a sad and calm emotion. ‘Movement affects mind, and mind affects movement’

Eye flight

Today I read an interesting collection of independent artists talking about how they approach a practice of presence in performance. I was really interested at the different views as I have thought about me being present as a performer. I am going to talk about a couple that I really found interesting and connected with.

Wendy Houstoun. Performer, director, filmmaker. (2003)

Houstoun talks about performances she enjoys being ones that create ‘danger’ for the spectator. She enjoys the feeling of ‘not knowing’; where you can sense something is going on but you cannot see it. The idea of choreography not being ‘obvious’ and holding mystery for the audience really interests me, as I sometimes think I am too literal whilst choreographing and really enjoy pieces of work that make me think about what’s really going on. Houstoun also says a performance can be “more about what you hold back than what you give. Allowing people to witness. I like to think of it as hiding in front of something”

Mary Prestidge (2003)

The idea of presence in performance is clear as Prestidge talks of performers being ‘real’ and how she is hooked on and attracted to somebody’s journey when they are truly engaged in what they are doing. “I like to see people as real as possible.” When I think of a performance being ‘real’ I think of something really raw and the performer being genuine; truly connected and have a purpose for being on the stage, moving the way they are moving and feeling the way that they portray.

Maedee Depres (2004)

I was really interested whilst reading Depres’ ideas of presence as she speaks about the performer ‘giving their all’ which is something I have wrote about me as a performer and dancer numerous times. She says a performer ‘gives their all’ due to a learnt channelling of energy to project a choreographic meaning to an audience (which entails talent, of course).

She speaks also of the use of focus and the eyes as a performer. “The role of the eyes provides a vehicle for that clarity of intention” this is something that I am also interested in as I struggle with my use of focus in my technique. Knowing where my focus is and using my eyes as part of the choreography rather than an ‘add on’ will help me portray meaning and clarity to my movement.

First class with Juliet

In our first class with Juliet I realised how I definitely need to build the strength in my thighs; as she asked us to hold a certain position in plie and I really struggled to stay without shaking or straightening my legs.

I can do this by getting down into my legs more during class and pushing everything to my maximum. I also need to apply the idea of pushing beyond myself and finding my maximum movement during all technique classes. For example during travelling phrases instead of just stepping out to where I usually would, I need to shun forward to further than myself and make the most of the movement and how far my leg can reach-stop playing it safe!

Another point I noticed in Juliet’s lesson that affects me across the board in technique is my mindset. I’ve noticed that if I feel confused or unsure about a certain phrase this will affect how I dance. Juliet made us imagine that when we ‘performed’ the movement in lesson we were actually performing at an audition or on a stage and I noticed how much this changed my mindset which in turn changed how I attacked the movement. I think as a class we are so used to dancing with and in front of each other that I’m personally very comfortable in lessons and maybe this is why I don’t push myself as much as I should. Using the idea of ‘performing’ the movement in lesson made me think about it in a different way and attack the phrases with confidence that showed in my body and gave the movement more intention.

something old, something new..

Something old, something new…

Today I read an interesting reading talking about eclecticism in postmodern dance. As at first I was unsure what eclecticism actually was so was really intrigued at Joshua Monten’s description of it. He says that eclecticism is a distinguishing feature of postmodern dance, and is a mixture of different dance styles and languages that choreographers draw upon to make a new language of their own.

He gives an example of Alvin Ailey’s revelations; as there are lots of different sections, a broad range and demanding on performers. Despite this the movement language and choreography is reflective of Ailey’s techniques and very consistent to the company style (an outsider could have seen the work and guessed it was from Ailey’s company; which is in no way a bad thing) but therefore is not eclectic.

Monten goes on to talk about Tywla Tharp and how she was ‘a pioneer for using eclectic methods of dance composition.’ She did this by drawing movement ideas from a number of sources, using unlikely combinations whilst thriving for something ‘new’. She wanted a different way of moving instead of just a range of different moves.

Monten also talk about himself as a dance performer, and how he was trained in a great number of techniques. These techniques proposed specific and varied demands on the dancer, and in his experience he found he got confused. For example he had advanced training in ballet, then the next day would have training in caopeira, and found that his kicks in caopeira were light, and had a ballet essence to them.

This made me think about myself as a dancer, how I am being trained in a number of techniques and whether I feel confused at all. Although I find different aspects of every class difficult and struggle with certain things in every lesson, I don’t think I am confused, as the outline and feeling of my classes are very clear.

Nowadays I think many dancers are trained to be versatile, and have the ability to do a number of varied and sometimes contrasting techniques. Monten uses the term “hired body” as a dancer who is trained to be versatile and would be the prime choice for post-modern choreographers who choose to be electic.

Tharp talked about this when she said she suffered from being eclectic as she had ‘too many options.’ “To fly straight into an arabesque with no hesitation or to hold the body serenely in balance for eight pirouettes demands a solid, unquestioned technique”

As Tharp was trained in many techniques I imagine that she would have faults in ballet where a dancer who trained only in ballet would not. Where she triumphs though is her ability to use her many technique experiences and her dance background to combine these and make a new language that has not been seen before.

Mona

Today we had technique class with Mona as Juliet is busy working with Ballet Lorent.
I really enjoyed this mornings class and was excited by a new way of moving and new technique exorsizes. As we have the same lessons and teachers every week I feel i should make the most of every other technique class we have with a different teacher.

As it was a new class and new movement i tried to make a concious effort to apply what I have been in other lessons. The main thing in this lesson that i felt i needed to improve and to think about more was keeping my shoulders down in my back. In the warm up exorsizes during arm swings when I raise my arms above my head i tend to tense up my shoulders. I need to work on releasing them so they're down in my back.

In this class I also realised that if i'm confused or need to go over anything that I should just ask. We also used peer feedback in this lesson which i found really usefull, as watching other people and seeing what they can do better made me think about my own technique and use of dynamics in movement. I think watching whilst other people work can be as helpful as marking it through myself by the side.

In the exorcise below I really needed to use my core stability and hopefully doing this everyday will improve my core strength.

“Just push through it!”

On Friday we had Rebekah for Graham technique for the first time this semester, and although I’m sure these lessons will get easier over time, I was very glad it was on a Friday so I could rest the next day!

As it was the first lesson I was quite intimidated by the new material but I’m sure over the weeks the exorcizes will become second nature to me. I picked up the steps quite quickly but need to be more confident with the movement to be sure of the dynamics and flow. As my back was feeling a little stiff I used the time before class and the stretches at the beginning of class to really stretch out my back. If I’m still feeling seized up I should take the time before class to work through this so I can dance safely without injuring myself.

With this particular technique lesson I am going to work on building up my strength in particular. As we did a ‘sixes’ exorcize (knelt on the floor but keeping our sits bones away from our feet, and moving our back)

I could feel that my quadriceps were very shaky and I found it hard to keep movement fluid as was struggling to keep upright and balanced. I found it particularly difficult to push my hips forward whilst keeping my hands on my feet, I’m sure I’ll find it easier the more I keep doing this exorcize as my quads will build in strength.

Using My Core

In Wednesday’s technique lesson we were continuing looking at the ideas of Peggy Hackney. This week we were looking at ‘Core-Distal Connectivity’.

The exorcizes at the beginning of lesson got me thinking about our 6 limbs; arms, legs, head and tail. To move with all 6 in mind was a very unusual sensation for me personally and I tried to keep that sensation throughout the class. Within phrases I used the sensation of energy flowing out through each of my limbs to help keep my balance. Instead of trying to stay completely still I felt the energy passing through my limbs as if I was still moving.

I read the chapter of Hackney’s book about Core-Distal Connectivity to give me a greater understanding of her ideas. I was interested in the idea that was touched upon in class of individuality of the limbs and integration of the whole. At the beginning of this chapter she gives one of principles of Bartenieff fundamentals: “The whole body is connected, all parts are in relationship. Change in one part changes the whole. When we acknowledge relationship between parts of the body, it makes possible both differentiation of the parts and integration of the whole.”

Reading this made me think about the connections I make within my body, and how I think of my limbs as being separate from each other, whereas this principle is expressing the idea of thinking of all of them being linked. My right arm to my back, to my shoulder, to my spine, to my hips and to my left leg. The idea that not any part of my entire body is completely isolated as my body is an entire entity. always connected, and how finding the strength in the core allows me to be connected and in control of all of my limbs.

This image, taken from 'Making Connections' by Peggy Hackney shows the relationships of core to limbs and limbs to core.

Irmgard Bartenieff, manuscript, The Art of Body Movement as a Key to Perception, 1979.

Hackney, P. Routledge. Making Connections. 2002. Pg 40 and 67.

Ballet, Ballet, Ballet…

Had the second ballet class of term this morning, and although I was slightly more familiar with being at the bar again, I know I have a lot of work to do.

We seemed to spend more time at the bar today than last week, I was actually pleased as I really enjoy working at the bar and can really feel my body working. After last week’s lesson I had really sore feet and ankles the next day and I think tomorrow they’ll be even worse. I have to keep working them just as hard to strengthen them again. As I am rather inexperienced with ballet I find it really difficult to pick up the more advanced exorcizes quickly, to help me with this I am going to go over the bar work in my spare time and before and after lessons. The more I practice, the more familiar I will be with the movements and can concentrate on myself rather than looking around to check if I have the steps right.

In the images above at the bar I really need to think about keeping my hips and shoulders square, my torso is on top of my legs and not spiraling at all. Being aware of my turnout from the backs of my thighs so I don't sink into my legs causing my hips to go off from square. My focus is key in these images and I must remember that my head facing gives the idea of facing out rather than twisting my torso and my right shoulder coming back.

As we came away from the bar and we worked on our pirouettes, adagio and jumps I felt like I was still working really hard, using my breath and focus to really get into the movement. When we moved on to travelling sequences though, I got very frustrated with myself. I know that I have done all of the steps before, but to perform them in sequence I become very confused. Glissade, sissonne, assembles…to do these separately and to explain I’d feel quite confident I would get them write and perform them well. In class though when we are asked to travel across the room my coordination is shot and I become really confused. As I try to work the pattern out I can become even more frustrated, stumble and not perform full out. To better approach the last part of the class I need to attack the movement as I would in any other class, despite the fear I’m going to do it wrong. To do the steps wrong with conviction is better than holding back and getting the steps right. The only way I am going to familiarize myself with them is to keep practicing!

First week down!

First week already over, and it went far too quickly! Starting to feel quite nervous about third year, after the first introductory lessons of each module and the explanations of all the work we have to do…I need to get organised!

Classes this week were really fun and I’m sure I’m going to really enjoy Liz’s lessons. We were introduced to the work of Patty Hackney in our first lesson and we’ll be exploring her ideas for the next 6 weeks. These ideas are from her book ‘Making Connections’ and describes 6 of the body patterns in all of us, developed since when we are embryos in the womb. The first lesson was concentrated on the first connection, with breath. We did a few exorcises concentrating on breath on are own and in partners, I enjoyed the partner work and trying to synchronise each other breathing pattern as it made me really aware of my breath and how it affects my use of suspension and release. When we started moving and learning phrases I concentrated on my use of breath to help me and used it to emphasize certain parts, elongate and maximize them, or to drop the energy with a quick release of breath. When I was under pressure though I noticed I panicked and concentrated on the steps rather than my use of breath. I need to concentrate on my breathing even more under pressure, as this will calm me and energize my movement, giving the phrase rhythm and flow.

I especially really enjoyed release technique on Thursday, I’d forgot how intense those classes were and felt good at the end of the lesson as I pushed myself through tiredness towards the end of the class, so was satisfied with what I’d accomplished. From being out of practice in the summer I need to work extra hard these next couple of weeks to keep my hips square, especially during tondues, I have a bad habit on sinking in to my supporting leg and jerking my hip back and forward. I also had the same problem as ballet and need to concentrate in all classes on keeping my shoulders down and square.

Whilst learning new phrases I tend to tense up which is what causes me to lift my shoulders. To help me correct this I need to use my breath to keep my body energised and myself calm and more able to adapt my shoulders and hips easily. In this lesson I also realised how when we’re given time to go over movement, I often go towards the back or side of the studio where I have limited space. This causes me to move about a lot and not run through the movement full out, I tend to mark the steps so I remember them and sure I have them right, but not get a real feeling for the movement. It’s my aim in these classes to use my time productively and practice the phrases to my full ability, so not only do I learn the steps, my body is familiar with them and I can gain a better understand of what I need to work on.

I also want to work on using all of the counts of music to fill out the phrase, as today I rushed through the movement in a panic to get it right. With one floor phrase in particular in Geoff's lesson the last 4 counts are simply moving from a sitting position to lying back down on the floor with my knees up.

To use up all 4 counts I must really engage my centre to slowly go down to the floor, and not just rush down and have counts left over.

My first post!

In this blog I am going to talk about my personal development in my third year module ‘advanced technique’. I’ll write about my personal goals I am going to set myself, my feelings towards my own development, and artists and readings that have interested me etc. Hope you enjoy!

For the first couple of days back into technique I have to admit it was hard getting back into routine and I really started to ache mid week, but it was really great to be back in the studio with everybody and I felt really excited for the on coming year and to push myself to my maximum ability in technique.

In this module I hope to achieve a better understanding of my body and of myself as a dancer, to develop a more mature approach to dance and dance technique and work on my weaknesses to benefit my dance across the board.

From technique lessons last year I know that one of my weaknesses is I’m seen as a ‘safe dancer’ and don’t tend to push myself and stay in my comfort zone. I need to use my momentum to its maximum instead of holding back, I can use the exorcises in class warm up to help loosen my body more so I am physically able to go as far as possible. I think my main problem with holding back during class is my attitude towards lessons, I think I am a ‘safe’ dancer and will tend not to do something full out if I fear I’m going to fall or do it wrong, by the end of this semester and this module its my target to be more fearless in moving. By doing this I will attack phrases will more power and hopefully build on my technical ability.

From the first couple of technique lessons I also realised I’ve slipped back into some old habits over the summer. Over the next couple of weeks I need to make a conscious effort to keep my shoulders down and my hips and chest square. In ballet for example whilst in arabesque I tend to twist my back and have one shoulder behind instead of keeping my shoulders square and using my head to emphasize.

I feel my strengths are seen most in release technique, my ability to suspend and give weight. I think I am good at using my breath to feel the movement and create moments of stillness and release. I look forward to these lessons this term.

Technique is key for a dancer not only as a performer but across the board, a choreographer needs understanding of the dance form to make work and a teacher must be technically able themselves to be able to teach. It’s these reasons and many more I will discuss that I believe technique is crucially important not only in this degree but in any path I follow after graduation.

Bring on third year!