par Karen Abigail Il y a 3 années
164
Plus de détails
· Hoe zet je jouw concept om op de vloer? Wat voor ideeën/ oefeningen heb jij daarbij?
I bring the concept to the floor by creating a space where the dancers can reconnect to themselves through the breath, heartbeat, and circulatory system. I do this to create a safe space where dancers can reconnect to the present moment in gratitude, acceptance, and joy. I use imagery to evoke a sensory experience and to find a release of tension or emotions. For this, I use guided meditation, shaking exercises, and rave moments—every rehearsal, I give a lot of time to this, reconnecting to the present moment of being. After this, we step into playtime. We play with different art forms: music, dance, and painting. We research in a playful way connections between these art forms, how they react to each other, and how they support each other. These moments are extraordinary because the relationship between the dancers also becomes more robust and more transparent. Out of this exploration, the dancers create material separately and together. And then I make choises. I bring change to every movement material created by giving the dancers the assignment to compress the timing, spacing, or movements. I can also provide them with the task of adding undulation in the head or the whole spine. I make these decisions based on what I feel is missing or could make it more interesting to watch.
· Welke werkwijzen zijn er en van wie? Met welke werkwijzen komt jouw werkwijze overeen? Wat is jouw aanpak/ wat zijn jouw werkwijzen? Wat is je aanpak/ werkwijze als je denkt aan o.a. jouw gekozen dansers m.b.t. je concept. Denk aan onderzoek in beweging, techniek, vormgeving, muzikale aspect, compositie, etc. En waarom?
-Will provide the book Body intelligence meditation by Ged sumner to the dancers so that they can be learning outside of rehearsal.
-I will create space for meditation sessions with Dory at the beginning of the rehearsal. (Inspired by Melvin Fraenk in the process of "Influx")
-Rave sessions at the beginning or end of the rehearsals. (Inspired Dayna Morales during the process of "Soul Search")
-Making the dancers physically stronger by doing a short dancing workout inspired by Floorwork.(Inspired by Anne Suurendonk during the process on "Influx")
-I will share with them my movement vocabulary during warm up and by teaching them choreography.
-Assignments where they can create choreography based on words and drawings. (Inspired by Anne Suurdendonk during the process of "Influx")
-assignments where they can connect to each other through music and dance.
-dancers teaching choreography to each other. (Inspired by Melvin frank and Anne Suurendonk during the process of "Influx")
Bringing the dancers in contact with their sexuality through dance. (Inspired by Ohad Naharin's dance pieces)
And creating choreography out of the connection within the body (inspired by William Forsythe)
I see all of these working methods like a base this helps me create a scratch. From there I adjust things according to my taste with help of compression. Compression of movements, space and time.
· Hoe wil je het eruit laten zien? Scenografie, idee over licht, kleur, sfeer, referenties aan andere voorstellingen etc.
Kostuums:
Female dancer in a fancy long red dress.
Male dancer: dressed as a homeless person or in a suit.
Light: Cozy dark or a sunrise morning light.
Location: A setting that tells a story like a living room or outside in the city or a pitch black surrouding where all you see is the dancers in spotlights.
Decor: A guitar
Geluid: Guitar music made by dancers and humming also made by dancers.
Kleuren: yellow red beige blue
Dynamics: repetition - compact small fast - connection between dancers is subtle.
Composition: two separate spaces that work is synchronicity and that affect each other.
Choreography: Made by me and by the dancers.
Movements: Inspired by drawings, Floorwork, undulations.
· Planning (schema): tijdsplanning van het begin tot eind.
26-Feb until 9-April
One rehearsal per week of 2 hours.
Every Friday evening.
In total: 9 rehearsals - 18 hours
19 Feb - 26 Feb - 5 Ma - 12 Ma - 19 Ma - 26 Ma - 2 Ap - 9 Ap - 16 Ap
· Begeleiding; wat wens je van je begeleider, wat zijn je hulpvragen e.d.?
How can I add more layers to the piece?
I envision a piece that is minimalistic and pure. I see a girl in a dress and a homeless guy. I see despair and interaction between music and dance. No storyline. A piece that wherever you zoom in you will surprisingly find the same patterns or essence like a Mandelbrot.
6 min long 2 dancers
Musician losing himself to his own music
Dancer playing music with different body parts.
Freewriting:
Kostuums:
Female dancer in a fancy long red dress.
Male dancer: dressed as a homeless person or in a suit.
Light: Cozy dark or a sunrise morning light.
Location: A setting that tells a story like a living room or outside in the city or a pitch black surrouding where all you see is the dancers in spotlights.
Decor: A guitar
Geluid: Guitar music made by dancers and humming also made by dancers.
Kleuren: yellow red beige blue
Dynamics: repetition - compact small fast - connection between dancers is subtle.
Composition: two separate spaces that work is synchronicity and that affect each other.
Choreography: Made by me and by the dancers.
Movements: Inspired by drawings, Floorwork, undulations.
What is the connection between different art forms? Can a musician also dance as free as a dancer? Can the dancer learn to play as free as a musician? Can the dancer also sing with their bodies? I'm not thinking about the techniques or perfection of the execution. I am merely thinking about the small similarities that connect all the art forms. In this case, I found a musician and a dancer/ theater/ singer. How can they both communicate and learn each other, not the techniques but rather the struggles and the beauty of their journey? For example, the beauty of one simple note? Or the beauty of simply and richly breathing.
Makers Mindmap
· Omschrijf jezelf als maker
As a maker, I have a curiosity for creating an atmosphere. This is my starting point. Everything else comes to be an ingredient that adds harmoniously by giving it contrast. I also search for deepness in the material. In this research, I value specific details: When I see the genuine look of the dancers when they transition from one exercise to another or when they just finished an exploration. To drop the act and be human are moments that I find very hard to reproduce. But it is still these genuine moments that inspire me as a choreographer. My quest is also in the exploration of a build-up. How long can something grow or die? My movement material is inspired by male and female sensuality. (research gaga) On the practical side of being a choreographer, I dare to change things no matter if it's last minute. I let myself be inspired by my senses that delight in small ordinary experiences.
· Omschrijf je visie als maker
My vision as a creator is the never-ending search of what my "now" wishes to express. My personal explorations and whatever I might be going through in a season are what moves me to create. My vision is to fearlessly create from my truth. Creating in that state and allowing the creation to grow with our ever-present friend: Change.
· Welke inspiratiebronnen/ grote voorbeelden en waarom?
Anne Suurendonk - Movement qualities & Werkwijze
Ohad Naharin - Movement qualities - Sexual energy - Embodiment - Space choreography - Raw energy
Peeping tom - Theater and scenography - costumes - Raw energy.
Roser López Espinosa: Floorwork - Partnering work
Reflectief
· Beschrijving van wat jij, als maker, hebt gehaald uit de verschillende lessen en modules, zowel praktijk als theorie.
I Learned a lot from artistic research by Jimat. During this module we spend plenty time researching a choreographer. I also used the knowledge I gained from Lot's lessons. These clases consisted in analysing dance. This gave me insight on how important it is for me to create an atmosphere for the audience.
Lot- (Theory on working with Amateurs)
· Beschrijving van wat jij, als maker, uit de kerstvoorstellingen hebt gehaald.
Work smart, not hard. Embodiment is the key. Don't wait for the teacher or choreographer to inspire you or motivate you. Be your own drive. Dare to create with different qualities. Dare to improvise. Be responsible for the material you create. Dare to be fully present when rehearsing. No Fear!
Overig
Analyse van overige maakprocessen, eventuele feedback, linkje(s) filmpje(s) van jouw stukken, e.a.
Feedback of Melvin for my piece in the first year: Dare to bring also your movement qualities in your piece.
John Wooter:
Ten eerste moet ik je feliciteren met een schitterend eindproduct. Vanaf de repetitie die ik bezocht zag ik een bevlogen kunstenares aan het werk. Je oog voor details en je kunstzinnige kijk op het geheel is van absolute klasse.
De wijze waarop je je dansers meeneemt in jouw fantasie is een film op zich. Maar vooral hoe speels je
aan je dansers regieaanwijzingen geeft en deze net zo makkelijk weer aan een kant schuift geeft blijk van een innerlijke tevredenheid en vertrouwen. Zonder dat zijn we als vakmensen vaak overal en nergens. En ik kan niet anders zeggen dat de dans, je choreografisch en filmische inzichten in combinatie met het verhaal als een flow samen kwamen.
De timing waarin het verhaal zich film technisch afspeelt houdt de kijker enorm betrokken bij wat zich tussen de twee karakters afspeelt. Ook zij spelen het spel goed mee. En voor amateurs hebben ze een topprestatie weten neer te zetten.
Ik vraag me altijd bij dit soort processen af wat er echt door de maker heen gaat.
Nee, op alle fronten betreffende de competenties heb je kennelijk voldoende kunnen ontdekken om jezelf artistiek te kneden. Je bent vakbekwaam, hanteert een professionele houding, je staat stevig in je schoenen en je blijft vooral jezelf.
En dat is wat ik zo mooi te volgen vindt in je film. Ik zie duidelijk een drie eenheid. De relatie tussen drie mensen, terwijl er een onzichtbaar blijft. De camera is duidelijk een weerspiegeling van jezelf. Of ik nou de man volg of de vrouw. Of ik naar de weg kijk of de pilaren die de tunnel ondersteunen. De gitaar, de kleding, het water. De camera is wat mij betreft constant in gesprek met jou. En tegelijkertijd met iedereen die het
gesprek wenst te volgen.
Je moet voldoende hebben geleerd of inzichten hebben verkregen om te beseffen, dat dit niet zomaar even een proces was. Maar vooral, althans dat denk ik heb je vooral veel over jezelf ontdekt. Je artistieke/emotionele DNA is volgens mij te keer gegaan. Maar het proces van leren is wat mij betreft het belangrijkste om mee te nemen. Koester dit moment. Ik zie of hoor je snel...
Patrick Acogny:
I see lost souls. A feeling of melancholia or nostalgia. A feeling of something they lost, a longing. It burdens them, but at the same time, it's almost joyful when they leave the wall. The location and music contribute to a mixed feeling of between heaven and hell. If the goal was to create a sense of loss and melancholia, it was achieved. I liked the dancing. I'm not always sure of how the guitar and the lady create a meaning. I like the interaction that they have. I'm not always sure about the meaning of the storytelling or the fragments of the storytelling. I got this feeling of being lost somewhere. Many layers were mesmerizing for me that made me want to look and look again and again to find new details. It's delicious but at the same time disturbing. I enjoyed it. I couldn't always make sense of the story. What seems to matter here is the emotion that could arise from seeing it.
Mumtaz Djorai:
I googled the translation of the title of your piece and the definition google told me really came through my screen. The meaning I found corresponded with how I felt while watching it. It was like I re-lived the feeling I experienced but this time through your piece even tho it wasn't "real Life"
Elisha Yuno:
I really liked your piece I have seen many songs and albums with the name Saudade but non really made me feel what the word means like what you created.
My Dancers:
Learned a lot from this experience, very grateful and feel more confident in their skin.
· Beschrijf vorm, inhoud, artistieke motivatie en werkwijze. Verwerk de concrete ervaringen en inzichten die je tijdens het proces en de presentatie opdeed. Wat waren de wijzigingen op je concept gedurende het proces? Wat heb je geleerd van het gehele proces?
Looking back, this project is separated into two parts the process and the product.
The process started as something very gentle, very pure, and joyful. I was enjoying and intrigued by how I was facilitating my dancers to arrive in their bodies. It felt like the dancers were likewise fascinated by the world within. They were always very eager to learn, explore and listen. I gave them space after every journey to write for themselves their discoveries. I could really see the growth by the end of the process. In the beginnning I could notice how it was hard to be free in movement and in being completly. But by the end of each rehearsal they felt more confortable. They were more confident to show the material that they created. They were more confident when raving to be crazy. They were also more confortable when speaking about their experiences when they liked or didn't like something and why. We reached a point in the process that I felt like the dancers missed a raw sexual energy that could make it interesting to watch so I focused one rehearsal on connecting to this energy. But first I gave them the assignment to do a meditation naked in their rooms and proceed to do a rave by themselves also naked. they were allowed to use a mirror to see themselves. When we met in the next rehearsal they shared their experiences and that it was confronting but also freeing. I coudl see a change when they danced that day during the rest of the rehearsal.
After this inward exploration we always went into expression through playing music, drawing, and singing. And this started shaping how the piece would look. The dancers created movement materials out of this exploration. However, because we couldn't rehearse so much there was not much time to play. So I had to create a lot of material outside of the process. This disturbed the flow of creations because now there was a big gap between things that we were discussing in rehearsals about body awareness and the storyline, spacing and choreography of the piece. I went into this process to create together with m y dancers but I would have wnated to have more time to actually dig deep into playing with the material.
But it was a process where I got inspired by my dancers. I was proud to see the growth because even tho there were not many rehearsals, they grew and opened up. They showed professionalism and excitement when filming in public. And they shared with me at the end of the process that they are taking a lot of things that they learned with them. For this, I'm grateful.
