Blog Post Seven - Creative Development: A Reflection On My Process So Far

To begin creating movement I looked at the choreographic process of using imagery inspired by Wayne McGregor. I analysed the stimulus in detail looking at different shapes and how this could be translated into movement in the body. This really helped me think about the contrast of sharp angular lines to the soft malleable state of the water. I created small phrases of movement that used contrasting dynamics whilst finding asymmetry in the body to communicate our theme of reflections and perspectives. Throughout this creative process I also asked myself questions such as, what if this movement was a certain colour - this helped me think about different emotions I could implement behind the movement.

1 November 2021 - YouTube

8 November 2021 - YouTube

I also workshopped chance choreography in our lesson and explored how I could use this to create movement I wouldn't have thought of otherwise. Personally I found this process quite time consuming. However An aspect of his work I did really like was how he works with the music and movement separately. The music I have selected for my choreography is 'You' by Petit Biscuit. I really liked this musical score as it begins quite timid and clam and builds up throughout the song coming to a climax before calming down again. I felt this could help convey the message of the piece and also link to the cyclical structure of repeating the beginning motif again at the end to show the continuous cycle of thoughts.

I began experimenting creating the movement without assigning it to a particular part of the music. I found this really helpful in terms of the stimulus as I was able to add quick striking dynamics in the movement that contrast with the gentle flowing musical score I have chosen. I felt this also helped reflect the contrasting elements in the stimulus. This way the music isn't influencing my movement and taking away from it but rather communicating and complementing the themes and ideas, whist also adding layers of different dynamics.

We explored the top and tail in pairs during class, inspired by Mathew Bourne. I really liked this way of creating movement as you had two different people's choreographic styles coming together. I want to incorporate this technique into my choreography towards the end sections. I think this would be a really beneficial and a good way to show distortion within the body which will be really relevant to the stimulus themes. For example, the thoughts disconnecting from the body in terms of body dysmorphia and not truly understanding what we ourselves look like.

After receiving some feedback, my main aim for concern was the theme and message not being communicated enough through the movement and the steps being to "pretty" and not having enough relevance to the piece. Therefore I have altered certain movements to be more literal. For example instead of a balletic placed arm I have used a literal gesture such as clenching the stomach with a contraction to communicate how we are not happy with the way we look and perceive our self in the mirror. Another piece of feedback I received was to think about the placement of eyeline, weather I was looking with a low eyeline on purpose to communicate feelings of anxiousness and low self esteem. Therefore I re-visited some of the choreography and picked certain moments to look towards the floor and certain moments to look straight forwards to portray myself looking into a mirror.

I have begun to think about adding choreographic elements of chosen practitioner Akram Khan into the movements I really liked his use of fast pasted choreography then moments of stillness where then a gesture may occur. Our piece is quite fast paced therefore I have started to implement this in to the sections of choreography to give a slight pause. This sometimes works against the fast tempo of the music known as dynamic interaction, in which the music tempo could be quite fast passed and energetic, but the movement could have little to no dynamic. (Flatt, 2019) I feel this helps communicate a sense of business in the mind but the uncomfortable feeling of that one thought keeps replaying in your mind.

References - 

- Flatt. K (2019) Choreography: Creating and Developing Dance for Performance, Chapter Five - Choosing and Working With Music, Pg. 118, Accessed: 14/20/21

Bibliography - 

- Flatt. K (2019) Choreography: Creating and Developing Dance for Performance, Chapter Five - Choosing and Working With Music, Pg. 118, Accessed: 14/20/21

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