To support me in reflecting on my experiences in this journal as effectively as possible, I have used the Gibbs Reflective Cycle, by Professor Graham Gibbs, first published in his 1988 book Learning by Doing (Crowe Associates, 2020).

Description:

Today we have been introduced to improvisation, which is not a movement activity that I have participated in before.  In the book Moment of Movement, Dance Improvisation, the authors state that ‘Dance improvisation fuses creation with execution. The dancer simultaneously originates and performs movement without preplanning. It is thus creative movement of the moment.’ (Blom and Chaplin, 1998, P. x) Simultaneous ‘creation with execution’, as the authors put it, is out of my comfort zone. The dance classes I have attended previously have always involved a set choreography and following a routine. I would describe today’s class as a guided improvisation to music. We were all creating spontaneous movements that were different from each other, with verbal and visual guidance from the tutor.

Feelings:

At the beginning of the class, I felt awkward and anxiously observed the tutor and my peers for direction in relation to what movements to make. I felt slightly embarrassed, not knowing how to move my body, very aware of all the other people in the room potentially looking at me. However, after my initial trepidation, I began to feel myself loosen up, as I listened to the music and allowed my body to move freely to the beats.

Evaluation:

I feel my biggest problem was my conscious mind was too involved, I was struggling to let go and allow my body to take over. At points, I observed as a group we were united in our movements and then at other times we almost divided into subgroups. It was nice to experience the variation and I can understand how improvisation could be used to break down barriers and bond a group of people.

Conclusions:

My conclusion from speaking to my peers, is that everyone was having a similar experience. We all felt relatively awkward at the beginning of the session, but this did ease as the session progressed. As we continue to get more comfortable with our own bodies and with each other, our inhibitions will lessen, and our confidence will grow.

Action:

I need to work on clearing my mind and following the music without pre-empting every movement I make in improvisation.

RELAX!

Bibliography

Bernardet, U., Fdili Alaoui, S., Studd, K., Bradley, K., Pasquier, P. and Schiphorst, T. (2019). Assessing the reliability of the Laban Movement Analysis system. PLOS ONE, [online] 14(6), p.e0218179. Available at: http://Assessing the reliability of the Laban Movement Analysis system [Accessed 22 Jan. 2020].

Blom, L. and Chaplin, L. (1998). Introduction. The moment of movement. 1st ed. London: Dance Books, p.ix – xi.

Burrows, J. (2010). A choreographer’s handbook. 1st ed. Oxon: Routledge, pp.8 – 26.

Bussell, D. (2000). The ballet book. 2nd ed. London: Dorling Kindersley Limited, pp.14,15.

Carter, C. (2000). Improvisation in the Arts. The Journal of Aesthetics and Art Criticism, [online] 58(2), pp.181-190. Available at: https://www.jstor.org/stable/432097?seq=1 [Accessed 22 Jan. 2020].

Crowe-associates.co.uk. (2020). Gibbs reflective cycle | Crowe Associates. [online] Available at: https://www.crowe-associates.co.uk/coaching-tools/gibbs-reflective-cycle/ [Accessed 22 Jan. 2020].

Mercecunningham.org. (2020). Cunningham Technique – Merce Cunningham Trust. [online] Available at: https://www.mercecunningham.org/the-work/cunningham-technique/ [Accessed 22 Jan. 2020].

Movedancewear.com. (2019). What is the Cunningham Technique. [online] Available at: https://www.movedancewear.com/blog/what_is_the_cunningham_technique/387/ [Accessed 22 Jan. 2020].

Nadel, M. and Miller, C. (2014). The dance experience. 3rd ed. New York: Praeger, pp.111-115.

Wilkinson, A. (2015). The Benefits of Supplementary Training for Dancers. [online] Trinity Laban. Available at: https://trinitylaban.wordpress.com/2015/11/28/the-benefits-of-supplementary-training-for-dancers/ [Accessed 22 Jan. 2020].

Discuss the connection have you found between improvisation, the techniques covered and your choreographic practice? How are they related?

The journey of choreographing my solo over a period of weeks, has helped me to understand the connection between improvisation, technique and choreography. Improvisation helps to warm up my body, to feel more confident and comfortable in my own skin. I found improvisation was a good starting point as I needed to explore how my body moved before layering on a technique. Burrows refers to using improvisation and choreography as ‘cut and paste.’ (Burrows, 2010, P.26) In improvisation, we create our material and gather a set of movements, then in our choreography we cut and paste the movements to piece them together.

I began by taking on my character’s persona (the evil queen) and used improvisation to explore movement. I was able to lose myself in the improvisation and allow my body to take over, rather than rigidly setting the choreography. Improvisation enabled me to explore the sensation and the emotions first, then I was able to layer on the aesthetic.

When choregraphing, I explored the Laban effort theory in how I used movement in my characterisation and proceeded to inject this into my piece. For example, I used Wring near the beginning of the solo, in a lighter, feminine way, then it became heavier towards the end when I used it again as my character started to lose control.

My subconscious exploration in improvisation then transitioned to conscious application of techniques I had learnt in classes and decisions of the movements I wanted to include. To aid me in this, I recorded myself when improvising, so I could observe myself and decide which movement to carry across and/or reshape in the choreography.

After engaging in improvisation, technique classes and choreographic practices, I started to see them overlap in all 3 areas. After a few weeks of learning a technique, I would then notice on reflection that I had used it unconsciously when participating in improvisation. When choregraphing, I was coming up with new movements because I had been exploring the way my body moves in improvisation and learning new techniques. If I was struggling with a movement in a technique class, sometimes it would help to attempt the movement whilst doing improv and forget the technique involved. For example, I struggled to learn a barrel turn in technique class and after several attempts I was getting frustrated and those negative feelings became a psychosomatic response any time we were working on this movement. However, when engaging in an improvisation class, my body spontaneously did a similar movement. Although it potentially looked a bit sloppy, it helped me to tap into the feel of the movement, so that I could then layer the technique on later.

Explain the importance of experiencing a variety of different ways of moving during dance training.

As a performer, it is extremely important to be diverse. By reducing yourself to one style of dance or training, you are limiting your opportunities in the professional world and in developing as a performer. For example, in Musical Theatre, the musical could be from any time period or genre, requiring varying forms of dance such as jazz, tap, ballet, contemporary, commercial, etc.  Having a diverse range can only expand a performer’s repertoire, broaden their own experience and open up more opportunities. Additionally, different styles of dance are going to work different parts of the body in varying ways. For instance, ballet technique is taught to many types of dancers, to provide a solid foundation and improve strength, flexibility, posture and alignment. Also, studies suggest that fatigue can make dancers more susceptible to injury and additional fitness training can prevent/delay the onset of fatigue. (Wilkinson, 2015)

Give an example of a specific challenge you faced in either Release (contemporary) or Cunningham technique. How did you adapt your approach to work on overcoming this challenge?

26^th November 2019

Description: 

Following a gymnastics movement gone wrong, I injured my heel bone on my right foot.  This caused severe pain and inflammation and I had to keep it elevated for a few days and wear a supportive bandage.  A week later, I went to my dance session in release technique. Participating fully in the class presented a challenge as it made it difficult for me to fully engage with all the footwork and movements, as I could not put any pressure on my right foot.

Feelings:

Before I started the dance class, I was worried about how I was going to be able to engage and about causing more damage and delaying my recovery.  I was relieved that I could participate fully in all the arm and floor work. I was apprehensive about lots of the movements though, which caused a rigidity in my body and tightening of my muscles.

Evaluation:

The positive aspect of this injury occurring was that it forced me to adapt my movement, which is likely I will have to do again as injuries can sometimes happen in training and performance. It forced me to move in a different way and to stop being right side dominant. Also, I was able to relate to one of my peers who had been battling with an injury for weeks and I could empathise with his frustration. Additionally, when I did sit out to rest, I was able to observe and offer feedback to my peers. However, I did over-exert myself a little, because I didn’t want to sit out, and I was in pain for the rest of the day.

Conclusions:

I need to work on not allowing myself to get so stressed and anxious if an injury occurs again. I noticed the anxiety caused my muscles to become tense, which is not conducive to a good dance performance and could make me more susceptible to further injury. I need to develop my skills in self-regulating my stress levels, through breath work, meditation and relaxation time. Also, I should have used ice packs more and increased time self-massaging my foot.

Action:

• Meditate once a day to improve self-regulation of my own mood.
• If an injury occurs again, I need to commit more time to actively recovering (elevation, ice packs, massage, physio).
• Make a conscious decision to focus on the positive aspects of all situations
• Listen to my body more and rest when my body is signaling me to do so.

Being able to improvise movement is important for performers.

In the eighteenth century, improviisatore was recognised as an English word, which may have been derived from the Italian word improvvisatore, which was ‘a word for a poet who recited verses that he composed on the spur of the moment.’ (Carter, 2000) As performers, being able to react spontaneously is vital. Improvisation can increase a performer’s ability to come up with movement on the spot, which will make it easier to cover mistakes on stage.

Improvisation helps you to get comfortable in your own body and advances your range of movement by enabling you to discover new pathways.  If a dancer only does fully choreographed pieces, they may only be following someone else’s movements and not exploring what their own body can create.  Improvisation can help a performer to gain confidence and lessen their insecurities of other people looking at them and feeling a sense of judgement.  The freedom of movement in improvisation allows for exploration and to relinquish ideals of perfection and acknowledge mistakes as a necessary part of the creative process.  

Briefly explain the main principles of Cunningham technique. Argue how this technique could be useful for all performers.

The Cunningham Technique was created by Merce Cunningham, to provide a form of training for the dancers in his company. One of its key concepts is to ‘create strength and flexibility of the body and the mind.’ (Mercecunningham.org, 2020) The main principals are:

Strengthening and flexibility – This includes exercises for the torso and legs, either in coordination or opposition. The exercises develop a dancer’s flexibility without distorting their body shape, so that there is a lower risk of injury. The technique draws on ballet principles in relation to arm positioning, foot work and movement.

Spatial Awareness – This principle helps a dancer use their body in space. For example, the environmental space, spatial awareness of the other dancers around you, maintaining balance, moving in multiple directions and moving your own body parts in different directions.

Rhythmic accuracy – This is developed in classes by using a variety of tempos and meters. Rhythmic accuracy is important for dancing with music, especially in a group piece where movements must be synchronised (Movedancewear.com, 2019).

All dancing requires flexibility, strength, spatial awareness and rhythm. Therefore, the Cunningham technique can be used to strengthen and condition all dancers, regardless of their style. The technique improves the posture and alignment of the spine. All movement radiates from the spine, as it is the central axis that moves our limbs around and is vital for all dancers accentuate the alignment of the spine. Also, Cunningham widens the length and breadth of the arm span and can invoke a sense of internal power, which can be used to strengthen any dancer’s performance.

Give a brief history of dance from 1900 to present day. Comment on how cultural changes within the dance world gave rise to different dance techniques.

The dance world has undergone dramatic changes over the last century. One of the major contributory factors driving these changes is technological advances and social media. This dramatic cultural evolution has shaped the new age we live in and dance is no exception.  Videos of dance from all over the world are accessible on YouTube, Instagram, livestream, Facebook, etc. As a result of this, the breadth of information that is available on types of dance has been dramatically widened for artists.  The ease of free access on the internet also makes dance more accessible and inclusive. For example, some people may not be able to afford £50 for a ballet concert ticket, but they could still view a concert online, on DVD or in a cinema.

The modern ease of international travel is another important factor in increasing accessibility and enabling a cross pollination between dance communities. Choreographers and dancers can integrate from all over the world, attend workshops and concerts in different countries. This interculturalism has encouraged many artists to push their own boundaries, expand their vocabulary and techniques, and not feel bound to stick to one genre. As a result of this, many forms of dance have become international. This is supported by Nadel and Miller in their book, ‘The Dance Experience’, who state that, ‘Major companies worldwide present styles as diverse as classical ballet, ballroom dancing, hip hop, tango, and tap, and their participants literary know no society boundaries.’ As well as the widespread diversity of dance available across the world, it is also open to people from all walks of life, regardless of their status or background (Nadel and Miller, 2014, P.111).

1. How well do I contribute positively to the class?

I always aim to participate fully and be encouraging to classmates.  I do offer positive feedback, but I could make a concerted effort to do this more often. I try to be positive in general, which can be difficult when things are on your mind outside of university. However, if I’m feeling low or negative due to difficult circumstances, I try to use that emotion in the dance. I feel that my personal best moment of improvisation was a day when I was feeling overwhelmed due to personal circumstances. I lost myself in the improvisation and got deeper into it than I have done previously.

2. Did I meet any of my personal goals?

My personal goals were to improve my general dancing skills/techniques, agility, flexibility and confidence. I have developed in all these areas and I have learnt a variety of techniques and vocabulary around dance. I have gained confidence, as previously I would have been far too anxious to perform a solo piece in front of people!

3. What are my strengths? What are my main areas for improvement?

I feel my strengths are core strength and I’m quite flexible and athletic. My main areas of improvement are developing my technique, following dance routines and retaining each move. Some moves I see, then do. However, with some movements and particularly sequences of movements, I experience a mental block. I watch, but I don’t retain and/or I find it difficult to replicate the movement. Routines are a key area I want to continue to work on.

4. What moments was I most proud of myself?

There was one session where I was severely mentally drained and emotional. However, I had the best improvisation experience, as it became a form of escapism. Also, in that session I held a plank for over 2 minutes without much difficulty. Despite my mindset, I was able to channel my negative emotions into a positive outlet and I became ultra- focused and it gave me extra endurance. I’m proud of this because I pushed myself physically, but also remembered my own mental resilience.

5. How will I use what I’ve learned in the future?

All the skills I have learnt are transferable in my field as a triple threat performer. For example, the Laban theory I have learnt can be implemented in acting when thinking about movement for characterisation. Also, when learning new dance movements, I can consciously consider the Laban movements I am incorporating or if it would be beneficial to inject more defined Laban efforts. The ability to improvise is important for all performers and is a skill I will continue to explore in singing, acting and dancing. I have developed my confidence in dance and movement, and I can carry this confidence across to other avenues of performance. Also, I have learnt dance is about so much more than technique and it is possible for anyone to dance. Acting and characterisation are important in dance, to tell a story and invoke an emotional response in the audience.

Description:

Today we had our summative assessment for this module and performed our solo piece.

Feelings:

I am relieved that the assessment has now been completed. I feel disappointed that it wasn’t 100% my best, but perhaps it was 100% of what I can give at this moment in time, due to personal circumstances.

Evaluation:

The first half of the piece went well, but the second half felt rushed and I had to improvise as I lost my way a little. I spent more time developing the first half of my solo than the second half and this affected my performance.

Conclusions:

If I faced this assessment again, I would spend more time on the second half of my piece to make sure it was equally as strong the whole way through. I would analyse my use of space more extensively and critically. I did add in some pauses and slower, more feminine, movements, but I feel I could have accentuated this more and added in some jagged movements.

 Actions:

In my next dance piece, I will:

Draw out a map and mark out which areas I have used, so it is visually apparent which spaces I am overusing or neglecting.

Keep a reflective journal on my own rehearsal time outside of classes, so I can track the time I am spending on each section and evaluate my use of rehearsal time.