Painting: Realism painting known as portraying the idea of "The Gleaners" by Jean-Francois Millet (19th Century)
Dance Intention
Endless energy given for acceptance
How people are disrespected for the way they are as humans and the life they live. For the colour of their skin to the rank they sit at. The constant diversity through peoples differences in society. The constant high expectations that can never be reached. Not then and not now. The energy that these individuals endlessly push out of their exhaustedly tired and abused bodies to thrive for the acceptance or appreciation that will never be in the slightest given to them.
In my solo my intention is to express the facial expressions of exhaustion, frustration and pain that one of many individuals face as being a peasant or a black woman or different. I want to use movements that express the abusive journey these people face/ed both physically and emotionally. I want to communicate a message of the struggle and pain people go throughout for being different for the colour of their skin.
The realism artwork shows women in the meadow fields rice picking, their clothing is dull and lifeless which expresses the emotion they must be feeling. Their bodies are hunched over and tired and you can feel the emptiness they were feeling. In the mere background there is a man riding a horse who looks to be a supervisor. The levels of him being at a high level on the horse while the women are hunched over and slouched picking the rise is a representation of the levels of importance and people back in the 19th century. This painting is a symbolism of what is still occurring in todays society. With the levels of lower classed people to upper class. The judgement still occurs in our modern day and there are still millions of people fighting their way through being mistreated for who they are.
The beginning of my dance is an intro to the emotion and lifestyle of the painting. I begin to pick rice and continuously drop to a lower level to express that judgement for being known for a lower class human. As the dance leads on the drama rises with the pain development that was felt in the paintings time. I use my hands as a control symbolism of the controller that is putting me down and being the judgement. The rice picking is an aspect that I repeat throughout my dance in different moves to keep that connection with the painting and the job these people had to do. The biggest use in my dance is hands as they are the symbol of control.
Evaluation
1) Where you pleased with your final group choreography? Why or Why Not?
Yes I was pleased with aspects of my final choreography but as a whole I think I could have developed further. There were specific motifs and movements that I was happy with and I feel like my dance flowed very nicely and was well structured and relevant to my intention. Referring to the fact that I could have developed my dance further, although I was pleased I know I could have pushed myself further and developed more abstract movements/motifs in my dance choreography. If I pushed myself a little more and possibly better structured my dance this would have further strengthened my overall choreography and would have better portrayed my intention.
2) How well do you think your choreography met the requirements of the brief (check the task sheet)? Did you dance clearly conveyed your chosen Artwork and the initial brainstormed ideas/concept/intention you submitted?
I feel as if I did meet the requirements of the brief for this choreography standard. I made sure I had a clear structural dance that would help communicate my chosen paintings ideas and that I would develop movements and a flow of the concept of the painting. I made sure my movements were creative and abstract. I worked hard on creating new movements using my painting as my stimulus, then developed my movement s further to strengthen the choreography.
The choreographic processes study was a great new learning occur. Learning about choreography processes through two different choreographers; Stephen Bradshaw and Moss Paterson. These two different choreographers taught me different ways to deal with the process of choreographing a dance and how using simple guidelines you can easily stay focussed, strong and on track with your choreography. The outcome of their work due to their choreography processes has inspired me to follow in their footsteps. I’ve also personally learnt to push myself and my body to create new abstract movements instead of going back to the same repetitive movements. I have gained much more knowledge about choreographing a dance and I have taught myself to explore my body and to be freaky and out of the box in order to be abstract, interesting and original.
5) Looking at the assessment schedule what would you award your choreography if you were marking it? Why?
If I were to grade my choreography I would say a fairly merit grade. The reason for this is because I well constructed a dance choreography that had a good structure, developed motifs and I made sure I kept going back to my intention and stimulus being the painting where I would make sure all elements of my dance were relevant and connected. I feel that merit would be a fair grade of my solo choreography.
6) If you were to give any words of wisdom to the year 12's of 2016 about choreography at NCEA what would they be?
To feel compassionate in dance choreography and explore your body. Don’t be stiff or do the same old dance moves and be a repeater. Move around and do weird things with your body. You’ll find that once you push yourself out of your comfort zone and the usual dance moves you will find a more creative and abstract variety of original movements made by yourself. Make sure you work hard and use every period given for the standards. A reminder again to be passionate and creative about dance, but most of all have fun!
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