Reworking Improvisation to form Creative Phrases

Starting with improvisation as a method of creation has been an effective method for me in previous choreographic projects, due to its 'freedom' and authentic way of discovering unique movement that comes most naturally to the body (Burrows, 2010). As I am hoping to challenge myself with creating with a more intense and gritty movement style in sections of my piece, I decided to start with my 'Intolerance and Discrimination' section, in which I will depict that cruel manner in which Kya is banished as an outcast from society. Deemed by the nearby town as some sort of malevolent, dirty creature in the marshland, Kya is branded the name of 'the wolf child', despite the reality of her tender and innocent nature, simply longing for human connection. Using this animalistic imagery as inspiration I began my improvisation:

(Arnalds, 2007)

Once I watched back my improvisation, I was immediately drawn to certain sections, and identified which movements best complimented my body and natural movement style by editing my videos into smaller parts of the most effective sections:

(Arnalds, 2007)

Looking into a study for the RMDC Research Programme, I could see the similarities between the way I observed the physicality and aesthetic of my movement, and how Russell Maliphant draws on his knowledge of body theories to 'engage and enable each dancer’s body sense and increased body potential to make technical, aesthetic and performance choices'. Maliphant creates 'an enabling studio environment to facilitate greater body sense, proprioception and kinaesthesia', which allows his dancers to concentrate on their own body development, and understand the sensations of how they move through space, rather than just learning the choreography and not leaving any further time for improving the execution and flow of the material (Pickard, 2020). 

(Christofilopoulou, 2014)

Setting aside this time for watching back my movement, and enhancing the physicality and commitment to it, is now definitely going to be something I include in my choreographic process. By doing this, I hope to embody and and become wholly involved in my movement through my use of breath and dedication to reach the limit of my body's potential. 

References:

Burrows, J., 2010. A Choreographer's Handbook. Oxford: Taylor & Francis Ltd, pp.24-27.

Pickard, A 2020, Investigating Professional Dancers with RMDC: Experiences and Perceptions of Dancers’ Body Sense and Potential, case study, viewed 19 October 2021 <https://www.russellmaliphantdancecompany.com/researchprogramme/study1>

Arnalds, Ó., 2007. 1440 (Eulogy for Evolution). [online] London: Erased Tapes Records. Available at: <https://youtu.be/40P2nc2oDgU> [Accessed 19 October 2021].

Christofilopoulou, F., 2014. Russell Maliphant and Carys Staton in Still Current. [image] Available at: <https://dancetabs.com/2014/06/gallery-russell-maliphant-company-in-still-current-afterlight/> [Accessed 19 October 2021].