Intro Task
Wayne Mcgregor
Things you learnt?
I learnt that dance is to “misbehave beautifully” meaning to dance and explore the body by pushing boundaries and limits and going crazy with every body part you can move in order to create a more interesting choreographed dance. Wayne and the two dancers used their bodies to explore the word TED so they pictured the letters and explored different movements with their bodies like using their arms to create the T or using their legs to create the letter T.
Found interesting?
I found it interesting and a little weird with how Wayne moved his body and explored different wild movements as he communicated different ideas through the body like the word ‘TED’ Wayne would use his legs to create the letters of the word TED by shapes with his legs also creating space.
Would be interested in exploring yourself?
I would be interested in exploring dance on a more personal level meaning creating my own sense of space and letting my physical thinking speak for me and my choreography.
How would you describe the choreographers process?
I would describe the choreographers process by physical thinking in mind as well as in body so when you think of an idea you will straight away communicate it through to the body connect the two in order to choreograph.
Task One:
Moss Patterson
• What is the starting point, stimulus, or inspiration for their choreography?
The inspiration for dance 'Kura' was based around the idea of blood or heavy beat/pulse. Within the idea of blood came the inspiration of pumping of blood in our bodies to represent our heritage flowing through us. Within the kowhaiwhai patterns is representation of our past, present and future.
• How does the choreographer develop movement?
Moss take's a strong idea and builds movement from that. For example he was intrigued by the 'touching of the neck' and how it shows trust as the neck and head are the special parts of the body, it also instantly shows connection and a relationship. So with this idea he created a delicate swirl of a dancer spinning another by the neck with a dramatic push and pull motion with twirling the other dancer around.
• How do they communicate ideas through movement?
They communicate ideas through movement by shapes within the kowhaiwhai patterns, so a lot of curled movements and both small and large spaces movements that interpret the idea of the kowhaiwhai maori art. They also communicate the idea of blood with the constant flow of each section blending together to interpret a dance that flows like the blood that flows inside our bodies.
• What design decisions do they make? (For example, the choice of music accompaniment.)
Moss wanted to take his idea of 'blood' and make it a base for his design decisions. So the costumes were two different colours of red and black. The red symbolised the colour or characteristic of blood whereas the colour black symbolised the action or movement of blood such as the pulsing or beating of bloods movement throughout our bodies. Also with choice of music Moss wanted to do music that related to his main idea so he chose music with a heavy beat or heavy pulse so that it went with the idea of the pumping of the blood. The lighting was meant to be dark and dim so that it emphasised the movement and made it come alive more in relation to the liveliness of blood running throughout our bodies. So this meant the lighting helped the costumes become more vibrant and vast, then the music helped give more of an experience of the idea of blood as it brought the dance to life.
• Explain why you think one of the recognised choreographers works in the way you have described. Your explanation can be oral or written.
Moss Patterson tends to work in the way he does because of his Maori culture and heritage that he in which uses to inspire the development and ideas of his choreography. Along with his strength in contemporary he uses the passion and personal ethnicity that comes from his Maori culture and heritage as he is of Ngāti Tuwharetoa descent. Patterson's work around Maori culture and heritage forms a strong relationship in the way he works as he is making choreography based on Maori culture and he is a part of the Maori culture with Maori descent. Patterson uses aspects of the Maori culture like the kowhaiwhai patterns which have beautifully curved and shaped lines which helps with enriching the development of creative movements benefitting the final choreography.
Stephen Bradshaw
What is the starting point, stimulus, or inspiration for their choreography?
Stephen Bradshaw's dance piece "Mauri" was created from all the aspects of the Maori culture and used the word "Mauri" which represents 'life force.' The title of Bradshaw's dance being "Mauri" was used as a stimulus to help develop ideas throughout the dances movements. The word Mauri was inspiring as it represents an energy that crosses over everything such as the elements of water, air, earth, fire as well as all living creatures like animals or people. Bradshaw used this stimulus and the Maori culture in order to help create imaginative contemporary movements. An example of Bradshaw's work through his stimulus and Maori culture was portrayed where in the opening of "Mauri" the five dancers were together in a closed group where they then started using a pulsing movement as one to symbolism birth or rising up from the earth, like Bradshaw quoted "In a sense the dancers come out of the earth." To help enlighten and bold this moment the dancers were set underneath a single yellow light which could symbolism the sun linking back to Mauri and life force energy. The dancers used the traditional Maori wiri which is a movement through your hands where you shake from the wrist. This traditional Maori movement linked towards "Mauri" and the energy and power through the wiri.;
How does the choreographer develop movement?
Through developing movement Bradshaw used the Haka which is a traditional Maori calling and from there he developed the Haka and created a new aspect of the haka in a way where he had changed different elements and the vast movements a haka contains. He took the haka and developed through changing the tempo of it in order to create a slower pace where the audience could absorb the strength in the movements and to give a more emotional perspective to the people in the audience who are not familiar with the traditional haka. The changing of the tempo creates more emotion for the audience and that's what Bradshaw wanted for those who were not familiar with the haka, and for those who were familiar he wanted to still clearly portray the haka and not disguise it so that the people familiar with it would be amazed at viewing the haka from a different aspect.
How do they communicate ideas through movement?
Bradshaw's main ideas were around "Mauri" life force and the Maori culture and heritage. Through these main ideas he wanted to communicate them through traditional Maori movements such as the wiri and haka which link back to the ideas of life force and energy through these specific traditional Maori movements and overall keeping that strong connection with the Maori culture. Bradshaw used contemporary dance to embellish a beautiful personal dance that would draw out emotion and depth through his ideas of "Mauri" and Maori culture.
What design decisions do they make?
The lighting was an effective design decision as they used a single yellow spotlight that created a sense of warmth and energy. This specific lighting could symbolism the sun. The dancers would use this light to dance around which could help further emphasize the energy from "Mauri" (life force). The music was a major aspect of the dance as it contrasted from the beginning to end of the dance through change of tempo from slow to fast. The music started off as a very slow paced beating of a drum like instrument and this could represent the rising or birth of a heartbeat or life. As the dance flowed on wards the pace of the tempo started to increase to a much faster tempo and more quicker beating of the drums along with a new instrument that tended to be a keyboard. The tempo change of the music could represent growth or expansion linking back to the beginning of the dance which symbolised birth or awakening.
Explain why you think one of the recognised choreographers works in the way you have described.
Both Stephen Bradshaw and Moss Paterson are strongly inspired by their Maori culture and heritage. Bradshaw's passion for the Maori culture and heritage highly keeps him attached to the different beautiful aspects within the Maori culture such as different movements like the haka or wiri; he would take these movements and use different dance elements to further develop in to a Maori contemporary story using significant movements from the culture. Another aspect example Bradshaw used was the way he explained how he likes to watch weavers and the range of curves and patterns that are in which developed in to a beautiful weaved creation, which relates to the range of curved and patterned movements that are used to develop a creative dance. Stephen Bradshaw is a choreographer of a high standard, keeping his work filled with passion, emotion and life. The energy that he communicates through his choreography symbolises his goal to keep the Maori culture alive and to create unusual movements that we have not seen before. He smartly develops articulate design work, ideas and movements that intertwine in to an effective performance.
Task 3:
Stephen Bradshaw's dance piece "Mauri" was created from all the aspects of the Maori culture and used the word "Mauri" which represents 'life force.' The title of Bradshaw's dance being "Mauri" was used as a stimulus to help develop ideas throughout the dances movements. The word Mauri was inspiring as it represents an energy that crosses over everything such as the elements of water, air, earth, fire as well as all living creatures like animals or people. Bradshaw used this stimulus and the Maori culture in order to help create imaginative contemporary movements. An example of Bradshaw's work through his stimulus and Maori culture was portrayed where in the opening of "Mauri" the five dancers were together in a closed group where they then started using a pulsing movement as one to symbolism birth or rising up from the earth, like Bradshaw quoted "In a sense the dancers come out of the earth." To help enlighten and bold this moment the dancers were set underneath a single yellow light which could symbolism the sun linking back to Mauri and life force energy. The dancers used the traditional Maori wiri which is a movement through your hands where you shake from the wrist. This traditional Maori movement linked towards "Mauri" and the energy and power through the wiri.;
Through developing movement Bradshaw used the Haka which is a traditional Maori calling and from there he developed the Haka and created a new aspect of the haka in a way where he had changed different elements and the vast movements a haka contains. He took the haka and developed through changing the tempo of it in order to create a slower pace where the audience could absorb the strength in the movements and to give a more emotional perspective to the people in the audience who are not familiar with the traditional haka. The changing of the tempo creates more emotion for the audience and that's what Bradshaw wanted for those who were not familiar with the haka, and for those who were familiar he wanted to still clearly portray the haka and not disguise it so that the people familiar with it would be amazed at viewing the haka from a different aspect.
Bradshaw's main ideas were around "Mauri" life force and the Maori culture and heritage. Through these main ideas he wanted to communicate them through traditional Maori movements such as the wiri and haka which link back to the ideas of life force and energy through these specific traditional Maori movements and overall keeping that strong connection with the Maori culture. Bradshaw used contemporary dance to embellish a beautiful personal dance that would draw out emotion and depth through his ideas of "Mauri" and Maori culture.
The lighting was an effective design decision as they used a single yellow spotlight that created a sense of warmth and energy. This specific lighting could symbolism the sun. The dancers would use this light to dance around which could help further emphasize the energy from "Mauri" (life force). The music was a major aspect of the dance as it contrasted from the beginning to end of the dance through change of tempo from slow to fast. The music started off as a very slow paced beating of a drum like instrument and this could represent the rising or birth of a heartbeat or life. As the dance flowed on wards the pace of the tempo started to increase to a much faster tempo and more quicker beating of the drums along with a new instrument that tended to be a keyboard. The tempo change of the music could represent growth or expansion linking back to the beginning of the dance which symbolised birth or awakening.
Both Stephen Bradshaw and Moss Paterson are strongly inspired by their Maori culture and heritage. Bradshaw's passion for the Maori culture and heritage highly keeps him attached to the different beautiful aspects within the Maori culture such as different movements like the haka or wiri; he would take these movements and use different dance elements to further develop in to a Maori contemporary story using significant movements from the culture. Another aspect example Bradshaw used was the way he explained how he likes to watch weavers and the range of curves and patterns that are in which developed in to a beautiful weaved creation, which relates to the range of curved and patterned movements that are used to develop a creative dance. Stephen Bradshaw is a choreographer of a high standard, keeping his work filled with passion, emotion and life. The energy that he communicates through his choreography symbolises his goal to keep the Maori culture alive and to create unusual movements that we have not seen before. He smartly develops articulate design work, ideas and movements that intertwine in to an effective performance.
Task 3:
Chosen creation story: Rainbow Serpent (Australian Story)
Source: http://www.expedition360.com/australia_lessons_literacy/2001/09/dreamtime_stories_the_rainbow.html
The potential in this creation story for a dance is the idea of "change and growth." These two words change and growth link to how the rainbow serpent awoke himself and awoke his world; travelling and moving around expanding his surroundings to much bigger works such as the animals coming to life and the water being formed, further connecting with the idea of change. Change and growth is a strong idea that connects with our world today as everyday we are growing as individuals and our world is changing by the second. This creation story has a form of modernity throughout it's main ideas (change and growth) so there is potential in it's overall meaning as it connects to society and our world today.
We first decided to create different motifs that were based around significant aspects of our story. Instead of using the storyline of our creation story we wanted to not do such a literal approach therefore we allowed ourselves to take different aspects of the story such as the idea of the Rainbow serpent (snake) and use it to develop movements for different motifs. We felt there was a strong connection between the idea of the Rainbow serpents shape which consists of curved and shaped lines in relation to Stephen Bradshaw's weaving inspiration for movement with the curved and shaped lines created there.
We used this idea of the Rainbow serpent (snake) as the main idea for our movements. For example in the beginning of our dance we began positioned in a clump using different frozen shapes such as I (Alex) lay flat on the ground and Shontelle formed a bridge over top of me and Lizzy remained in a seated position, we all then began to expand our space and used different escape movements from our frozen shapes to symbolise the awakening of the Rainbow serpent. I stayed in my laying flat position but began to pulse my chest to form a breathing like sign that connected with the awakening or Rainbow Serpent coming to life; Shontelle formed a handstand overtop of me where she created a wider sense of space going in the right direction. Then Lizzy further created a sense of wide space by also using a short movement to move away from our original clump. These movements were based around the idea of the Rainbow Serpent's change or growth. After the opening of our dance all three dancers formed a zig zag line representing a floor pathway of a snake slithering in a zig zag like motion. Another motif was where we all used different levels that were formed by a flowed movement that connected all three of us dancers. In here we first has Lizzy use an arm movement where she connected with the middle and second dancer Shontelle and Shontelle further used her torso to drop forwards connecting to me where I used a scooped movement to drop to a low level; therefore leaving a high, medium and low level frozen position. From this frozen position it was then reversed to where I raised upwards stretching my body up in to a high level, kicking my leg back to help raise Shontelle who then connected to Lizzy where she dropped backwards down to a low level; therefore contrasting the original levels to the reversed. This motif was created specifically to symbolise the community growth between all the different lively aspects such as the Rainbow serpent, water, animals etc coming to life and how they grew throughout the journey of the serpent and how it grew from a dead, lifeless state to a living, alive setting giving off change and growth.
We made sure we sticked with different ideas or aspects of our creation story but also using the choreographic devices such as dance elements to help us develop abstract movements.
We first decided to create different motifs that were based around significant aspects of our story. Instead of using the storyline of our creation story we wanted to not do such a literal approach therefore we allowed ourselves to take different aspects of the story such as the idea of the Rainbow serpent (snake) and use it to develop movements for different motifs. We felt there was a strong connection between the idea of the Rainbow serpents shape which consists of curved and shaped lines in relation to Stephen Bradshaw's weaving inspiration for movement with the curved and shaped lines created there.
We used this idea of the Rainbow serpent (snake) as the main idea for our movements. For example in the beginning of our dance we began positioned in a clump using different frozen shapes such as I (Alex) lay flat on the ground and Shontelle formed a bridge over top of me and Lizzy remained in a seated position, we all then began to expand our space and used different escape movements from our frozen shapes to symbolise the awakening of the Rainbow serpent. I stayed in my laying flat position but began to pulse my chest to form a breathing like sign that connected with the awakening or Rainbow Serpent coming to life; Shontelle formed a handstand overtop of me where she created a wider sense of space going in the right direction. Then Lizzy further created a sense of wide space by also using a short movement to move away from our original clump. These movements were based around the idea of the Rainbow Serpent's change or growth. After the opening of our dance all three dancers formed a zig zag line representing a floor pathway of a snake slithering in a zig zag like motion. Another motif was where we all used different levels that were formed by a flowed movement that connected all three of us dancers. In here we first has Lizzy use an arm movement where she connected with the middle and second dancer Shontelle and Shontelle further used her torso to drop forwards connecting to me where I used a scooped movement to drop to a low level; therefore leaving a high, medium and low level frozen position. From this frozen position it was then reversed to where I raised upwards stretching my body up in to a high level, kicking my leg back to help raise Shontelle who then connected to Lizzy where she dropped backwards down to a low level; therefore contrasting the original levels to the reversed. This motif was created specifically to symbolise the community growth between all the different lively aspects such as the Rainbow serpent, water, animals etc coming to life and how they grew throughout the journey of the serpent and how it grew from a dead, lifeless state to a living, alive setting giving off change and growth.
We made sure we sticked with different ideas or aspects of our creation story but also using the choreographic devices such as dance elements to help us develop abstract movements.
1: How did it compare with Moss?
It was very similar approaching Stephen Bradshaw's choreographic process to Moss Patterson's as they both love to use curved and shaped movements which is what our dance intended to also use. So although we used Stephen Bradshaw's choreographic process there were still similarities and links to Moss Patterson's choreographic process.
It was very similar approaching Stephen Bradshaw's choreographic process to Moss Patterson's as they both love to use curved and shaped movements which is what our dance intended to also use. So although we used Stephen Bradshaw's choreographic process there were still similarities and links to Moss Patterson's choreographic process.
2: What did you learn?
I strongly learnt how to not take a literal approach on to choreographing a dance but taking significant aspects of my main story/message and using them to help develop abstract and imaginative movements.
I strongly learnt how to not take a literal approach on to choreographing a dance but taking significant aspects of my main story/message and using them to help develop abstract and imaginative movements.
3: How did having a clear choreographic process assist you in creating original and imaginative movement vocabulary?
It was much more eye opening to how we should be choreographing from a deeper perspective to the story/message we're trying to communicate. The choreographic process of Stephen Bradshaw was certainly inspiring to how we should use significant aspects of our story/message rather than following the exact words of it. The aspects of the idea is where the emotion and passion is built and once you can connect as a choreographer with the passion and emotion of your story/message then you have a further understanding on a deeper level about your overall idea; therefore helping with more depth in creating movements with meaning and abstract symbolisation.
4: How has this process improved your confidence and skills as a student choreographer? How will you work differently in the future as a result?
This process has definitely improved my confidence and skills as a student choreographer as I feel more understanding on how to approach the choreography and creation of movements. I now know to use what the depth in my story/message is in order to choreograph abstract movements rather than use just the story/message. In future I will make sure I gain a deeper understanding to my main idea and further plan out the emotion and passion for my message that I want to achieve.
This process has definitely improved my confidence and skills as a student choreographer as I feel more understanding on how to approach the choreography and creation of movements. I now know to use what the depth in my story/message is in order to choreograph abstract movements rather than use just the story/message. In future I will make sure I gain a deeper understanding to my main idea and further plan out the emotion and passion for my message that I want to achieve.
Task 4:
We varied our first movement which was solo positioned in to more of a group positioning by creating a V format. We took our first arm movement and used it to create a canon that connected us all together as a group and created a chain like effect. Next we took the second movement to develop a group unison movement. Together we used our arms in time to create a crashed wave illusion by flowing our arms downwards at the same time in unison. This helped transform the original solo movement in to a group unison. We wanted to form a transition movement in to a new group formation so we used one of the arm movements as a transition movement to our new formation of a straight line whilst moving in different directions such as backwards, inwards and outwards to help develop a new sense of space. In unison once again we did the same arm movement in to now the same direction as each other before going in to another canon movement. We then created a scooping motion where we would go to opposite sides as to the person in front and behind, next we would jump off the side we scooped down wards to and rolled the opposite way. This movement was meant to come off unexpected from the viewers eye for direction wise. As we finished our rolls we then stood up together in another formation with three dancers in the back row and two dancers in the front row. In this last part of our sequence we wanted to separate our large group in to two separate so we developed from the original sequence, dance moves in to two different movements. In unison the group of two dancers in background me (left) and Zoe (right) did a downward scoop movement again while pointing our leg upwards whilst the other three dancers did in unison a different scooping movement to the right and then as we all finished our two separate movements we all came together to do one final scoop in unison together to finish the dance.
Task 7: Communicate Contrasting Ideas in a duet
From our original phrase we decided to work with the contrast of a 'push' and 'pull.' We took a small section from the start of our phrase to explore ways of creating a push movement. As you can see in the first photograph we produced a push movement by Lizzy (right) bending over whilst twisting her lower body over with her leg bent, and I'm leaning my upper body in to her while pushing on her hip to create a 'pushing' motion. We also have very little contact between each other as this develops a sense of space to the movement and I am also spreading my body outwards as I extend both my leg and arm to help develop a more obvious sense of space. In our second contrast of a 'pull' we took another section of our phrase and developed the pull by having Lizzy balance herself on her right leg while leaning backwards to represent a weaker position. I'm standing on both feet to represent a stronger position as I hold Lizzy's arm with grip to emphasize a pulling motion.The contact between me and Lizzy is a lot more personal and close in contrast to the push contact. So overall we made the space of our movements and contact between each other more minimal in comparison to our larger space used for push. So with our contrast development we first used a push, little contact between one another and a large sense of space in contrast to our push, more personal contact between one another and a smaller sense of space.
Hi Miss Gill when you read this I apologise for my font sizing! My laptop didn't seem to let me sort out the sizing and everything so sorry if it's a bit mumble jumble.
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