A Reflection of Choreographic Tasks / Processes

Within the first practical choreography lesson, we started off by establishing the learning objectives to help keep our understanding and thought process open and in line with the requirements of the choreographic module. Additionally, we looked at defining what the module looked like and what the oncoming process entailed, to ultimately enable us to be consistent throughout our choreographic classes. We protruded onwards by looking at 6 distinctively different photographic images, which would later become the stimuli for our choreographic pieces. The photos range in colours, qualities and designs, creating a variety of interpretations and concepts for each individual image, enabling us to think more creatively and innovatively.

(Ban, S. 2010) (Cosba, L. 2017) (Kurucz, P. 2017)

                 

Within the next practical choreographic lesson, we were sorted into groups of three (our groups which we would collaboratively choreograph our solos). The photographic images that we explored in the previous lesson solidified as the stimuli for our choreography, with our picture being the Glam Jail. We explored the different ideas in the previous lesson, so as a group we revisited this and mapped out some of our favourite ideas.

(Ban, S. 2010)                               (Clement, M. 2013)                (Schaller, A. 2019)

                             

We then identified the practitioner Merce Cunningham as we were going to explore the Chance method he used to generate movement material. We watched a video documenting the stylistic features of Cunningham, which outlined how he blended “precision and artistry” and “embraced technology within his works.” (The Six Sides of Merce Cunningham, 2017). I was particularly drawn to the idea of randomness and chance acting as a form of improvisation to help create movement, which lent itself nicely as we then identified the Chance Method used by Cunningham. This method is used to join unpredictable movements together and fuse them with layers of choreographic devices to, inevitably, enable more creative and complex ways when choreographing. In our groups, we noted down three lists with six different words, one list containing varying actions, choreographic devices as well as relationships. The teacher rolled the dice, providing alternate combinations of numbers which we then correlated with our lists. I believe that this method of producing movement material worked efficiently because it forced us to explore choreography more creatively and willingly, furthermore expanding our ideas and the ways in which we can show our ideas within the movement. The Chance Method helped expand my knowledge and choreographic thinking additionally, in which I sought to layer the choreography with an eclectic amount of devices and relationships to make the choreography have more depth and meaning behind each movement.

References:

Ban, S. (2010). Available at SAROLTA BAN – highlike

Ban, S. (2010). Available at 25 Surreal Photo Manipulations by Sarolta Ban | Bored Panda 

Clement, M. (2013). Available at MICHELE CLEMENT – highlike 

Cosba, L. (2017). Available at Lorena Cosba - Identity & CULTURE (weebly.com) 

Kurucz, P. (2017). Sao Paulo, Brazil. Available at GLAM JAIL — POL KURUCZ 

Schaller, A. (2019). Metropolis. London. Available at Alan Schaller 

The Six Sides of Merce Cunningham (2017). Video. Walker Art Centre. Minnesota. United States. Available at The Six Sides of Merce Cunningham - YouTube