Moving With Dancers

This past week I spent some time in the studio with some dancers from the undergraduate course at Coventry University. I wanted to explore the same sort of exercises I had done with my fellow actor colleagues to see how the outcome would differ with trained movers used to playing with their body. We did two exercises in the short time we had together the first was the same one I had done previously, ‘everyday hands’ (seen in previous post) finding common gestures they did everyday and distorting. The other was an exercise we had worked on in the intensive that I was excited to try, it is the connect, affect and disconnect, with someone in the centre.

We began with a short warmup in the style of Frantic Assembly’s Beautiful Burn out routine, repeating four different jumping moves for an entire 4 minute song. It gets the dancers ready and warmed up without wasting time teaching them difficult moves that will be hard to remember, particularly when time is so short.  And then we moved straight into the two exercises.

The everyday hands exercise began the same as I had done previously, finding four movements that you do everyday out of habit. They then learnt one move of each others to place in their own phrase, and had to loop it so it was a continuous stream of movements. After that, I gave them three words to apply to their phrase. Connect, heighten, and transform, they could interpret the words in any way that seemed best. Once they all had their phrases I asked them to speed up the pace to as fast as they could while also retaining the movement.

Here is the result of all three.

It is interesting to see that the detail is lost, as opposed to the original three small phrases I had seen. I have found that the words used to direct the manipulation of the movement is so important. Particularly when asking everyone to interpret those terms in their own way, you will always come out with something different from each person. This is great in some respects as it means you can utilise everyone’s imagination, but also it can mean when giving a direction like speeding up the movement certain detail is lost from the original task.

I can understand Frantic Assembly when they discuss the importance of layering, it is not possible to throw multiple directions onto someone and expect them to place every aspect of equal importance. This is the importance of muscle memory, giving the body a simple idea to settle and begin to add little bits at a time. This way you are retaining the important detail needed in movement while also being able to manipulate time, pace, speed, direction and any number of other possibilities of affecting the sequence.

I thoroughly enjoyed watching the phrases once I asked them to speed it up. Mainly because they enjoyed what they were doing, and that as an audience it can really shine through the movement. The other, disregarding the loss of detail, the movements coming from all three girls were things that would not have come if we were creating from scratch. Sometimes it is nice to start from a ridiculous point to work your way back, find the extreme so there is an understanding of no limitations. I find creativity becomes free flowing once we release our inhibitions.

The next task we explored was the connect, affect, disconnect. I had each person connect to the central mover, affect them in some way, and disconnect from the body. It is a simple task requiring basic movements, the only important aspect is that all contact is genuine. To be affected in some way the body needs to authentically be moved, not to ‘pretend’ the hand has moved from the shoulder down to the hand.

Here is Connect, affect, disconnect.

This task moved quite quickly once we all had spent some time understanding how the task works. What took the most time, was making sure contact was genuine. It was easy after the first few rounds to move past the affect moments and onto the disconnect as it is an easier direction to follow. So we always had to step back and really investigate how you can affect or be affected by someone else. You can see in the video that the times when the affect movement is authentic they are the most interesting to watch. It allows for momentum and real stops, so they are reacting from one another not making shapes individually with their own body. It is interesting to see that the need to move past creative mind blocks is present with anyone whether they are movers or not. The dancers were just as quick to disregard a connection that is not authentic as with anyone else. It is a hard thing to be in the moment finding a connection and ‘generating’ the affects from nowhere, and so after multiple rounds of the same direction it becomes harder to find something new. Which is why it is so important to have someone on the outside to give direction when needed.

 

 

Provocation 5- Building Blocks

During the two week intensive with Frantic Assembly, we focused heavily on particular building blocks for devising movement specific to Scott Graham’s work processes. Many tasks were very similar to ones I had encountered in my dance work, but ultimately they served a different purpose, and that is how they differ.Most tasks began from a very simple place, and the mentality was always to always layer onto what you have. For example the connect, affect, disconnect task was to have one person in the centre of the space and one by one everyone has a turn to connect to the central person, affect them in some way, and disconnect after. They began as simple arm movements, and as everyone became a little more comfortable we started to experiment with how you could affect the body. By the end we had a phrase of movement that connected and flowed and eventually looped over and over. From that simple phrase we could then play with the task, with speed, pace, proximity, levels of movement. They would all add another layer of information to give the movement more detail.

It is at this point within my own dance practice that the movement would immediately take a much larger turn, to not resemble any natural human gesture. This is neither good nor bad, however I am simply pointing out the fact that I am realising there are many more options to play with movement that does not need to go straight to what looks like contemporary dance. There is a possibility to add intricate layers to a sequence, while keeping a real human tenderness that is vulnerable and real. Finding that middle ground can become something beautiful and I think Frantic have on a few occasions found that spark.

The most challenging aspect for me when working in this way, is when it is further on in the process and you have completed multiple tasks that it is harder and harder to find a new starting point for movement. Particularly as they all begin with the hands, I find myself repeating what I have done and constantly denying my next idea believing it to have already been explored. I know this comes from my own mind and not the task, this challenge is not new and can be very real when you are pushing for some new material. It is a fear that will never go away as it’s a part of the creative process and it’s important to push through these moments in order to find the little surprises.

Over the past couple of weeks, I have had the opportunity to go into a studio and play with a few little gems I picked up from the intensive. There were things that continued to pop up through my play in the studio. I have discovered the basic form of the body can be the most interesting place to play with. Breath, posture, pace, and speed, watching how the body responds to the information laid upon it, without consciously deciding those things beforehand. They are important and I have been so quick to discount the natural and unique patterns of the body.