Partnering...

Some partner work :)

Ballet II

Contemporary Dance VIII

Dancer: Nora Meldere

Contemporary Dance VIII

Dance Pedagogy

TASK: create a 5 min exercise with knowledge of contemporary dance for beginners of 13-15 years old.

As I have never had the opportunity to teach adolescents before, I decided to go for improvisation in partners:) It explores the weight.

1. Face each other, feet comfortably balanced, arms forward and slightly bent with palms resting against partner's palms. Take turns passively leaning forward into your partner's palms, allowing him to support your weight. Try to develop a trust in passively giving your body weight and receiving your partner's body weight.
2. Do the same and try to balance yourself with one leg forward and one leg backward.
3. With feet comfortably together and knees bent, hold hands at the wrist and lean back away from each other. Play with moving up and down, sideways.

Leading and following

Facing each other with only fingertips touching, take turns alowly moving, with one partner doing a free pattern of movement and the other following. Explore all the space...

Contemporary Dance VIII (Release)

Contemporary VIII is based on Release Technique and information from other techniques such as Limon, Laban, Yoga and Pilates. The course focuses on deepening the knowledge about Release technique, such as gaining speed through letting go of muscular tension and developing movement patterns into more complex combinations with varying speeds and dynamics. The students will intensify the search for connections in the body and connect movement to the breath of the body in order to enlarge the range of dynamic changes. A focus will be on personal approach to movement through improvisation and research as well as on the execution of more complicated movement patterns using the combination of floowork and travelling through vertical positions.

Learning outcomes:

• trust gravity whilst sustaining strong in the center of the body
• let breath travel and expand the movement
• stabilize the basic body positions even in complicated combinations
• let energy travel and connect movement without being imprecise
• release without being weak
• apply coordination and precision in difficult patterns
• develop a personal approach

Contemporary Dance VIII

Dance Pedagogy: Adolescents to Adults

This course will give students the knowledge and practical experience to teach dance tp adolescents and adults. It will be suggested to students how to teach effectively and safely to senior adults and how the teacher can maintain the interest of adolescent students. Students will explore how the dance teacher can create appropriate challenge to the specific group without causing fear and intimidation in the sensitive learners. Through discussion, research and practice students will explore and acquire the educational tools, knowldge and skills appropriate for each age group and population from adolescence and beyond.

Learning outcomes:

• teach the basic dance elements to adolescents and adults
• create lesson plans
• manage class room activities
• handle specific issues surrounding adolescence and adulthood with sensitivity and awareness

Special Topics in Dance: Ensemble

The purpose of this course is to allow students to experience the process of learning and creating choreography with emphasis on ensemble work. Students will be encouraged to contribute to the process through improvisation and learn given material.

Learning outcomes:

• perform a contemporary dance work at the Annual Dance Programme Concert
• improve performing abilities
• demonstrate a clear understanding of the contemporary dance making process with technical elements
• learn how to adapt to different styles and movement physically and dramatically
• demonstrate an artistic and technical growth through instructor feedback and self-assessment

Contemporary Dance VI (Release)

This course is based on release technique and icludes information from other techniques. It will focus on moving on the floor. Easy exercises to find center in horizontal position, which lead to more complex combinations over the flor as well as standing up, finding connections in the body to get a flow in the movement. A main focus will be to work on the ability of not 'cutting' the energy of movement but transforming it and using it for next movement. The course will have another emphasis on initiating movement from the center while maintaining the alignment, especially in motion.

Learning outcomes:

• giving weight and finding support from the floor, using the floor
• finding and strenghtening the center of the body in the horizontal, revising body alignment
• utilizing the breath in movement
• analyzing connections in the body in order to get into a flowing quality of movement without being imprecise
• using the space, exploring 'to move big'
• predicting how much energy and muscle action is needed/not needed
• applying different movement qualities and distinguishing between them
• demonstrating a three dimensional quality of movement

Ballet II

This course is a build up to the basic principles of classical ballet technique learnt in Ballet I. During this class, the students will deepen skill, knowledge and appreciation of the ballet technique and develop the understanding of the technique onto another level. Emphasis will be directed towards learning and developing both technical skills and the aesthetic sensibilities. Exercises will become a little more complex and new movement vocabulary will be introduced. Differences in movement quality, energy and rhythm will be explored.

Learning outcomes:

• to increase the understanding of the proper alignment within the personal limitations
• to be secure in the use of the basic positions of arms and feet
• to develop the knowledge of terminology according to the new material given
• to increase strenght and flexibility through the barre and center sequences
• to increase the coordination of simple steps and arm positions
• to learn movement with quicker footwork and dynamics
• to develop musicality and rhythm through longer and more complex combinations

Spring semester!!!

 

Modules:

Ballet II

Contemporary Dance VIII, Technique 4 (Release)

Contemporary Dance VI (Release)

Special Topics in Dance: Ensemble

Dance Pedagogy: Adolescents to Adults

Pilates II

The labiryth of shared happiness...

Trapped. Final.

Big thank You for all my dancers that helped to achieve this result! Nora Meldere, Tamara Sanchez, Sotiris Sotiriou, Louis Apostolu, Alvaro Hernando Gavilan

Advanced Dance Composition

TRAPPED

Creative process is never ending process which provides each choreographer with feeling of satisfaction as well as disappointment. During the creation of this piece I had to face a lot of difficulties. However, there is no situation without a solution. In my opinion, dance is an art form which is wide enough and full of answers to all our questions. I just needed to have a will and intellect in order to inquire into my own nature and find those answers.

Trapped is a dance piece which explores our True Self. According to a philosopher Kenneth Wilber, each of us has that True Self. However, most of us have an intention to hide it. Due to the research I have done so far, I strongly believe, there might be a lot of reasons for that. First of all, all the humanity is trapped in a wide variety of systems. Whether it is political system, economical one or others but at the end of the day we are all from the same planet, from the same universe and we are all different individuals. Secondly, each individual might have a fear to be heard or seen more often than others. It might be the issue of low self confidence. Finally, depending on environment, experiences and circumstances a person’s unique self will either express itself or hide itself. It is everyone’s personal choice.

The first idea to explore the true identity came to me when I saw a movie Requiem for a dream directed by Daren Aronofsky. I was inspired by one episode which has shown what people are ready to sacrifice in order to be liked by others. The concept and intention of my piece kept changing many times till I stopped by the exploration of everyday movements.
Consequently, exploration has turned those movements into robotic ones in order to express the systematic concept. There is no feeling expressed due to the fact that being trapped in everyday system and routine does not allow enjoying it. What you can see is only blank look in their eyes and bodies doing the same movement over and over again.  Dancers have chosen their own movement to explore. That is how all the repetition has developed from one simple movement which was individual’s personal choice. There was no right or wrong.

Except Requiem for a dream, I found a lot of useful sources in order to deepen my understanding of the idea. It includes books about self – disclosure and relation to others, videos from www.youtube.com such as Be yourself by Australian Dance Theatre. In addition to this, I have read the opinions of philosopher’s about individual’s uniqueness.

Soundtrack is a mixture of voice records and song taken from Enigma musical project. Voice records were created by dancers where they tried to be as opened as possible in order to express their real self and opinions about fake self.

The experiences and challenges that I have gone through helped me to understand a lot of things that are important for every artist. Understanding of the idea is not enough to create a piece. Motivation and interest are the main factors in order to achieve my goals. What is more, I had a chance to experience how it feels to be in charge of my dance company. There were a lot of mistakes I have done during this creative process, however, the best thing to learn something is to learn from my own mistakes.

Episode from 'Requiem for a dream'
 

Advanced Dance Composition

This was an advanced course in the subject of choreography and composition, focussing on the student's individual research and aesthetic approach. The course provided students the opportunity to start developing their own physical language and choreographic statement through a series of workshops, feedback sessions on their work, work presentations and written work. The final project was a 10 min choreography piece we choreographed ourselves.

What did we do?

• Started developing our own movement language explored through compositional elements and choreographic structures.
• Produced and presented our work, following a specific subject/matter.
• Created our own choreographic statement and documented creative process.

Some quotes from 'A choreographer's handbook' by Jonathan Burrows. Every person who wants to create his own piece should have this book!

Banging my head against the wall to solve something could help, but then again, everything might just look a bit clearer in the morning...

Know what your intention is - then say it with clarity and simplicity...

If I could say it, I would not dance it...

Show it. We have to see it. It can not stay in your head...

Inspiration is useful if you can get it, but working is more useful...

I am too familiar with myself to see anything...

It is about what the audience see, not about what we feel (that doesn not mean we don't feel)...

No art suffers more misunderstanding, sentimental judgements, and mystical interpretation than the art of dancing...

Follow your curiosity. The audience is also curious...

Dance Company Performance

Dance Company 1

This course allowed students to understand the role of a dancer in relation to specific choreographic approaches and to different dance company structures. There was a final performance for the course. Video will be uploaded soon!!!

What did we do?

• Understood the different ways of approaching the role of a dance performer through specific examples
• Practiced responding to different tasks and requests by the choreographer
• Went through the process of preparing for a performance
• Experienced performing in front of an audience

There are few tasks that helped to create the choreographic material:

1. Merce Cunningham's approach. In front of you are two piles of 8 papers. One pile is with 8 different body parts, second pile is with 8 different directions. Choose each time 1 paper from each pile and see what connection you will have. For example mine were: left shoulder - side right, right finger - down, chin - up, left heel - back, thigh - diagonal right, head - front, belly - diagonal left, lower back - side left. We had to create a short solo following this directions. CHANCE PROCEDURES
2. Lloyd Newson's approach. How this society I live in opresses me? Question to think about... Being a foreign person in different country? Be not allowed to smoke everywhere I want? There is so many factors to consider in nowadays society. Discussion and sharing of ideas was followed by short duets. Me and my partner had a duet showing a fight for a place to stay. Use of pop dance.
3. Pina Bausch's approach. Choose 1 sentence and finish it: My favorite object is... If I was the opposite sex... My favorite dance is... 2 things I like... 2 things I do not like... Firstly, talk according to your sentences. Secondly, add a movement, short sequence while having a monologue. I have chosen sentence which starts - If I was the opposite sex... In a performance I had a short monologue which can be heard in a video.
4. Trisha's Brown approach. Choreographer has given us a combination. Everyone has learnt original one and later we were given a task: to change 2 directions in that sequence, to make a pause, to make one movement faster that it is, to make one move slower than it is, repeat movent four times, create 2*8 end and hide yourself in space but be visible... 

All these approaches helped us to create an amazing piece where everyone had a chance to express themselves in different ways.

Technique

Ballet I

This course was an introduction to the technique and the terminology of classical ballet. During the class, students developped skills, knowledge and appreciation of ballet technique. Emphasis were directed towards learning and developing both technical skills and the aesthetic sensibilities at a beginning level. Ballet movement vocabulary was introduced at the barre and center. Differences in movement quality, energy and rhythm were explored.

What did we do?

• Executed the basic positions of the feet and arms
• Developped an understanding of terminology
• Applied strenght and flexibility through the barre and center sequences
• Differentiated between en dehors and en dedans
• Moved with spatial awareness
• Applied musicality and sense of rhythm through longer and more complex combinations at the barre and center
• Appreciated the aesthetics of the given technique/style

Technique

Technique

What makes a good performer and why?

‘I did not want to be a tree, a flower or a wave. In a dancer's body, we as audience must see ourselves, not the imitated behavior of everyday actions, not the phenomenon of nature, not exotic creatures from another planet, but something of the miracle that is a human being.’ (Graham 1965)

In this essay I will express my own opinion concerning the question about the reasons of being a good performer. I am not a critic and I do not allow myself to criticize other performers and their works. However, according to my experiences from witnessing and participating in a performance, I am able to point out several conclusions and several reasons of what makes a good performer and why.

First of all, I strongly agree with Martha Graham that dance is not about imitating other creatures. It is about being you and exploring that true self in order to share your experiences, struggles, happiness and passion with other human beings.

Secondly, ability of being present is the most important state which makes a good performer as well as performance. Dancer, who is not present in space, is not able to communicate with others and does not share any deeper thoughts except superficial knowledge of movement.

Consequently, with no effort and practice there would be no good enough performers. The way we treat our bodies on stage and before the performance has a great impact on our physical body as well as mental. Moreover, ability to treat the body as a tool to express inner thoughts and transfer them in movements is important step towards becoming a good performer.

Finally, every performer has own methods and tools in order to constantly develop and expand knowledge and awareness of a good performer. For some people, these methods might be useful while others are still searching for their own ones.    

Bibliography

Cohen, J. S. (1966) The modern dance. Seven Statements of Belief. Wesleyan University Press, Middletown (p. 6)

Performance review

The cost of leaving

‘The cost of leaving’ is a mixture of dance, theatre and speech performed by DV8. According to me, this piece has few hidden ideas. However, I strongly believe that the most important idea was about discovering personal issues of self-being in a socio-cultural context. All the way through the piece there are scenes revealing the idea of criticism, oppression and judgment in everything person does. Separate episodes with different characters contain clear situations concerning that particular character. Moreover, use of words was the main communication aspect between the performer and audience. Style of speech, which includes arrogant words filled with sarcasm and irony, at some point broke down the barrier between performer and watcher. It felt that all of us momentarily found themselves in a similar pretty awkward situation throughout our lives. ‘The cost of leaving’ was one of many ways to make the audience think and analyze the actual cost of our leaving. Do we have enough time to be bothered by other’s criticism and judgment or should we just step over that barrier and just live the way we want to but not the way others want us to live.

On the other hand, as it was mentioned above, the main idea was surrounded by many other issues which can be found in nowadays society. The beginning of piece introduced the employment issue which is the major problem these days. The episode in a nightclub was based on sexual aspects and relation towards women in non-respectable way. In addition to that, there were shown the issues concerning the relationship between men and women. It is again very common problem nowadays. Humanity, leaving in XXI century, seems to misunderstand the matter of love and respect. According to different stories from long time ago, love and respect were the main factors in building a long lasting relationship. It was not only about sexual satisfaction as it seems to be nowadays. Short episode in gents’ toilet pointed out the gay issues. Another and not less important thing to notice was the part which included a lot of questions about disabled man’s legs. It describes a huge amount of people who have a great tendency to abuse and provocation of other human beings. Despite pointing out the main issues of our society, there was one more idea which is equally important as others. It is a relationship between two male characters. They stayed together ignoring the disability, lettings down and criticism. They were loyal to each other and seemed to take from life the most of it. To sum everything up, these situations seemed to be quite shocking, however, at the end of the day it is time to realize how realistic they were.

Finally, as this piece was based on everyday situations, there was a lot of pedestrian movement such as walking and running. Duet which was shown in nightclub was used to express sexuality, satisfaction and relationship between male and female. Choreographic elements, which were performed by a disabled man, clearly revealed the fact that there is no problem in moving and enjoying your life, even though you do not have legs. In my opinion, ballet section was used to express grace, beauty and ease of female.

Performance review

 ‘Could be anyone’ – dance piece, choreographed by Harry Koushos and performed by Emi Korfia, made a great impact on me. Performance which was based on power, emotionality, psychological abuse, cruelty mixed with sense of fluster, made me think that person is a constantly transforming creature. I was the most affected by the artist’s ability to express the emotions and strength during the performance. Therefore, I was able to recognize that power was the major source to influence the fight between body and brain. In addition to this, performer’s glance seemed to be full of anger throughout the play. As a viewer, I was placed to a difficult situation at that moment. I heard the voice coming out from me: ‘Maybe you are not in the right place and not in the right time’.

Another important thing which needs to be discussed is movement vocabulary. Small, but at the same time strong body movements, had their bonuses as well. As the member of the audience I was not able to take my eyes out of the dancer without being concerned to miss small, however very important details. It was shown in a clear way that strict movements were brought from political concept. It was amazing how strength became the dominating feature not only in dancer’s body and brain but in the surrounding atmosphere as well. Moreover, music was inseparable part of this performance which made it be more effective. Strong, rhythmic sound produced the sense of being ruled by the performer.

In conclusion, ‘Could be anyone’ reminded me of the performance I have seen few years ago, called ‘Political Mother’. Both performers impressed me with their drastic, arrogant and powerful movement vocabulary as well as face expressions.  I think, these features meant above are the most important factors that have drawn my attention.