Composition Final Study Reflection
This creative process has provided me with new insight on the creative collaboration between choreographer and performer. Having the sole purpose of performer in this process was eye opening in the sense of learning how much input was too much and how much was not enough. It was interesting learning and finding the balance of a happy medium while still maintaing the responsibilities of the performer. Through the development of this Final Study, the choreographer and I agreed on certain elements and aspects to focus on. We also took time to recognize our tendencies within movement, as we share similar qualities. The goal was to get myself and the choreographer to break out of our comfort zones and explore new ways to fulfil our movement. Through this process we both collaborated on monitoring those tendencies and to find new ways to reach the same movement but not in a way that is expected. Overall, I feel as we exceeded our expectations in the choreographic movement and core ideals that we’ve developed from this creative process.
Our creative process started with picking a song. “La Vie en Rose,” by Edith Piaf, is a song with strong dynamic qualities and distinct vocal cues in which we wanted to utilize within the development of the movement. As the choreographer started choreographing movement, I focused in on my tendencies that I wanted to diminish. I tend to steer away from stillness so I would improv to the song see how I could incorporate stillness while maintaing it. This was difficult as me as I would always catch a lingering body part instead of being in complete stillness. The choreographer also mentioned playing with the element of contrast between movement and the song. This excerpt from “Journal Entry 2,” relays my thoughts when facing the task of contrast:
“The song itself is very drawn out and has a flow to it and we brainstormed different ways of how she wanted to develop the piece and have the element of contrast play a large role. To prepare myself for this task, I have thought about what do I need to do to maintain the distinction between the two movement qualities (sharp and slow.) Also, how will I enhance the contrast not only though movement but how I perform and portray the movement. Another thought was for me to Improv switching from soft, flowy movement to sharp, fast before I learn more choreography to see what my body needs to do and what initiation points to utilize. I plan on recording myself performing the choreography to make sure the distinction between the two movement qualities (sharp and soft) are definite and add something to the overall development of the piece.”
As I mentioned in the journal entry, the idea of imporving in efforts in finding the distinction between sharp and slow really did benefit myself in developing the movement in my body once the choreographer gave it to me. It prepared my body as it was a challenging way of moving and very different for me to find where to put my weight in movement to switch from sharp to soft, slow to fast, etc. Another thing mentioned in the journal entry explains the act of recording myself. The choreographer and I would record certain sections and compare them to others to find any unwanted repetition. We would also explore the video clips for unwanted tendencies and play around with different ways to interpret that movement.
One quality the choreographer and I recognized that I really succeed in this the element of embodiment. When the choreographer would give me movement I would hone in on finding the embodiment within the movement. When a performer has a solid sense of embodiment then the piece can portray a whole new meaning. In “Journal Entry 3,” I elaborated on this concept:
“While learning the choreography I’ve really focused on embodiment of the movement as that is something I succeed in. It is difficult doing so when the movement changes dynamic qualities, texture, and weight, but the more I go through and practice the movement, the easier it gets. It is also a challenge as the choreography and I have really spent time analyzing and changing material that is in our comfort zones, and spending time discovering/exploring new ways of movement outside of our natural tendencies. Focusing on embodiment is something I really value in creating pieces and I believe that when the performer has a good, solid sense of embodiment it can really turn a piece into something more than just movement. Embodiment can portray the choreographer’s choreography/movement in ways that the choreographer didn’t realize. The working title of the piece is something to do with quality of blissful thinking. There is a certain ignorance to bliss which I find interesting to incorporate into the movement and take the piece into something more or different direction.”
Having this appreciation for embodiment has completely lead the choreographer and myself into new core ideals and concepts to pull from this piece. Especially towards the end of the process when the movement became natural to me was when new ideas really shined through for the choreographer.
In “Journal Entry 4,” I really took time in reflecting on what the role of performer has taught me over this creative process:
“In this composition class, you are required to be selfish and focus on your movement, how you want to portray that movement, how you will embody it, and what do you want to achieve with your movement? Being the performer and only the performer in this process was difficult at first as I had to refrain from giving to much input in the choreography so I didn’t influence the choreographer in anyway. Now that we have reached a certain point in this Final Project, I am now able to not let the lack of control bother me and I can really focus on the movement and what the choreographer is asking of me. I am not saying I give zero input at all. There have been multiple collaborative opportunities the choreographer and I have taken advantage of when it comes to the core ideals and movement choices. When concerning the core ideals, the choreographer and I talked about how in order for me to reach the level of embodiment that the choreographer wanted than I needed to form some of my own opinions o the core ideas. This has been very successful as I am able to really hone in on embodiment within the movement in this piece. Then when playing with movement, my voice is heard. For example, the choreographer would give me a movement, I would do it maybe in a way the choreographer didn’t intend and the choreographer would favor the movement I did so she would choreograph it into the piece. This would also happen with various arm choices or pathways as we would run the piece notice unwanted repetition and I would have discretion to suggest changes to the movement. This also important to me as I am the one portraying the movement and based on embodiment, I know what will naturally feel the best and help add the message being relayed.”
The last task the choreographer and I wanted to master was the element of adding pedestrian like movement. Being suggested by Sophie and Rachel while also by our peers, the choreographer and I really enjoyed adding this element to the piece. It added a uniqueness and unexpected quality to the development of this piece and made it more personal for me.
I am very grateful for learning so much out of this process so early in my college dance training. Having the tools, I’ve gained in the process will benefit me in so many ways during my future as a performer and choreographer.
Natalie Lomonte’sWithin (Joyce 2015, Parsons Dance)
Natalie Lomonte’s Within consists of three parts accompanied with music by Nina Simone. Withinopens with a group section, followed by a solo, into a final group dance. The athletic dancers consist of three men and four women dressed in simple costumes. The cohesiveness Lomonte conveys, throughout the work, captivates its viewer allowing them to emerge themselves into the piece. Compositional devices, relationship between dancers, and use of music, all contribute to this work.
The combination of movement, formation manipulation, and compositional devices represents Lomonte’s ability to develop material. The piece could be set in a proscenium setting but Lomonte’s choice of having a line of dancers face the opposite direction while performing the same material in various phrases, makes it appropriate for a theatre in the round. Lomonte splits the stage in half and the placing of the dancer dictates the movement they perform and quality in which they perform it. The right side moves with fluidity maintaing an under-water quality. Their movements admit a gestural aspect while having an emphasis on steadiness. In terms of space, the three dancers stay stationary. The left side of the stage moves fast and continuous. Their phrase involves level, direction, and facing changes. The four dancers take up a substantial amount of space while intertwining with the right side towards the end of the phrase. These two extremes coinciding with each other emphasizes their diversity and how we can move at various speeds and motivations.
Having three men and four women in Within provides multiple opportunities for intricate relationships between dancers. The first partnering sequence intrigues the audience as the two dancers never lose physical contact. They let go after two other dancers separate them allowing them to join the group phrase. These moments of partnering establish strong relationships between the dancers and provides an exceptional understanding for the audience.
In the second section, a woman soloist, is engaging as she isn’t alone on stage. Throughout the solo, the remaining upstage dancers are seen performing minimal movements and gestures. These small movements would occur on accents in the music giving them more emphasis. The dancers in the background seem to be aware of the soloist and are accompanying her in a call-response fashion. The soloist seems oblivious to the dancers in the back, almost in her own world.
In the third section, the partnering becomes more intimate and the aspect of risk becomes involved. The relationships develop throughout this section as it opens with the men on the floor focusing on the women. Partners are seen lifting the woman above their heads and performing moves that require a plethora of strength. This section also has more of a divide between women and men establishing the differences in their dancing.
Nina Simone’s soulful, iconic, and unique voice moves the viewer and shows Lomonte wanting to make a statement. The consistency of using the same vocal artist comes with a lot of positive benefits that promotes cohesiveness within the work. In the first section, the music includes drums, a cow bell, and tambourine. The downbeat is created by the drums that Lomonte uses to accompany her choreography. The combination of these instruments gives off a groove that’s easy to find and sit in. Lomonte shifts the choreography from mimicking Simones voice, to the drums, and to the accents of the cowbells and tambourines. The lyrics promote a struggle and willingness within the dancer’s portrayal.
The second song is delicate. The instruments involved are, a piano and light drum. Simones voice is intricate as well as the soloist’s movement. Lomonte spent an extensive amount of time listening to the range of Simones voice and how she could incorporate that to movement. The downbeat picks up, produced by drums, a cymbal, and hand clapping. The lyrics are about, “a man promising to be loyal to his wife and keeping those promises.” Lomonte used those lyrics to her advantage and there is more intimate partnering. A couple is seen downstage right, performing a duet to Simones voice, while the other dancers are mimicking the instruments.
Withinproves itself to be a tribute to Nina Simone. Lamonte is influenced by Simones voice and music displaying it in her choreography. The relationships between dancers represents what the words were saying due to their commitment to the piece. Lomonte’s use of choreographic devices were innovative yet cohesive as no step felt out of place. In the end, Natalie Lomonte’s Withincreated a great impact to the audience.
Video Link:https://www.youtube.com/watch?v=msWd4NPU2XA
