Blog: 2/3

We started in lines of five set behind each other with a jumping exercise to find some awareness of our bodies at the start of the class and see how well we can work as a collective, finding stillness in different parts of the task. We then went into the space to get used to our surroundings like the beginning of most lessons, as a way of finding our own stiffness and to start moving, it also helps us gain awareness of each other whilst moving. We were given instructions: fold, favourite, centre and look which helped us start to work with each other whilst moving and be attentive in the space.

Imagery.

We were all set to improvise using different images to focus our movement on. For example:

-legs as knives

-head and tailbone touch

-arms as spaghetti

-nose lower than lower body

-cells in the body racing

I found this particularly interesting for my body as I wasn’t able to use most of my habitual movement as it didn’t relate to the image. I thought it was a good way to move away from that kind of movement and maybe venture into other dynamics or shapes that you would never have thought to use, “inhabit their visualization” (Buckwalter, 2010). I preferred to use to ‘cells racing’ image as I was able to incorporate my whole body in that movement and I wasn’t restricted to any particular body part.

We were separated into groups and each chose one of the above to use.

Group One – Cells Racing

I noticed that it was less habitual, which was something that I’d noticed in my own body and that the dynamics between all the dancers were very similar, the pace didn’t vary until the dancers became out of breath. If the movement was to be more internalised for this image “visualizing is often a difficult skill to learn… people ‘visualize’ differently, combining different senses” (Buckwalter, 2010), then breathlessness could be prevented and the image could be sustained for longer.

Group Two- Legs as knives

I had little observation for this one except that we spent a lot of the time on the floor as it felt easier to move our legs around the way we had envisioned and used a lower kinesphere.  Like group one, each dancer in the group had similar dynamics, we used sharp dynamics with our image.

“The dance is a direct experiencing of the image rather that its imitation through movement.” (Buckwalter, 2010)

We were given methods to start changing our improvisations within scores: accumulation, diminishment, retrograde and echoing. This is something I need to start imbedding in my memory whilst improving as a need to remember other methods that will make my improvisation more spontaneous and less monotonous.

Thick Skinning.

We learnt this method as a way of staying close to another body and using energy off them in your own improvisation. [ENTER VIDEO] I think it is strange to see bodies connecting with each other and using others without it being a choreographed duet and there being very little awareness of where the body will be going next. There is also the idea of bodies connecting and working together whilst being spatially apart, which I think is quite interesting as it resonates as a method that we have already touched upon so we will already have some experience in this, but we just have to develop it. The pace was noticeably slower than other improvisations I’d watched, which is something that I have to be aware of as I am working with other bodies and have to be aware of the in order to remain safe.

When we used thick skinning in a group improvisation, I found this method particularly difficult as I wasn’t sure how comfortable other dancers were with the idea and how much movement I was allowed without it breaching into contact improvisation. Throughout, I found the line very difficult to comprehend and sometimes withdrew on some movements that I felt I wanted to explore as I was worried I was pushing into the contact barrier. This method is a lot easier with people that you have a connection with, I found that I was particularly experimental with Emily as we are able to predict each other’s movement fairly easily and we have an awareness of each other with no drawbacks. I find some people in the group more difficult to do this kind of method with that others as if I’m not fully aware of their movement, I am slightly apprehensive about what they are comfortable with.

This method highlighted for me that I need to work on my concentration skills in improvisation when I get stuck in a certain place or run out ideas and when I do run out of ideas, I struggle to stay connected with my partner and see if I can get any inspiration from them or let them lead the movement.

Bibliography

Buckwalter, M., 2010. Composing while dancing: An improviser’s companion. Madison: University of Wisconsin Press.