Week 1

Warm-Up

At the start of the class, we warmed up by moving around the space, filling the space as much as possible whilst paying attention to our own natural movements. This start gave us a good basis in which to build addition physicality that we want to place over own natural movements and inclinations. We also were aware of our relation to the other people in the space which also lays out a good basis for working as a group in the space whilst focussed on our own individual movements.

The warm-up then transitioned into a more group focussed exercise as one person would lead the whole group’s rhythm and direction around the space. This developed a different focus as we began to collaborate as an ensemble moving in unison in terms of rhythm and changing of direction but still individual in own route around the space. This meant that you needed to keep an eye on at least one of the other members of the group if not the leader to keep in the loop with the change of movements. At first, the movements were quite reserved but progressively the leaders tried to make think more difficult and dynamic for the group playing with pace and levels.

Leading with a body part

The warm-up smoothly transitioned into the next exercise as we moved from this changing of levels, directions, rhythm and pace as a group to working individuality but with the same energy of being shifted around the space by a leader, however this time we were being led by a body part of our own. We were moved by the head, the hip, foot, knee and even the tongue, which all brought different qualities of movement. I found that being led with the head was a lot heavier than any other body part which meant that the movements were slower naturally and when there was a change of direction it was more jarring, laboured and it pulled the whole body with it. Moving with the hand leading was a lot quicker and sharper and I could move around the room a lot quicker. I enjoyed being led with the hand the most as I think it allowed me to be more expressive with my movements as there was the most range of movement up high and down low and the longest reach with it being attached on the end of my arm. I found being led with the foot was the most difficult with the feet being the thing that leads the movement naturally it was hard from one foot to be dictating the movement and the other hopping around.

Composition of “Wandering Hand”

Using the leading body part exercise we started to create a composition using three body parts being the lead. From the body parts exercise I enjoyed being led the most by the hand, the hip and the head so these were the components that I used when composing the short routine. I started to develop some movements being led by the hand. I decided that I wanted my composition Wandering Hand to show me being possessed by something within me and I am being unwillingly led by it. I showed this by following my right hand whilst being led in a bemused fashion. My head would turn as my hand would showing that I was trying to follow the thing that was possessing me. Led from the hand I was dragged across the room, turned then dragged across the other side. This happens three times then my hand and head look down and was dragged down low to the floor. From the floor, I was dragged right to left. I would then shake off my arm three times standing upright flicking my wrist with the shakes. I then hit my hand on my hip whilst shaking transferring the lead to my hip. Being led by the left hip protruding I would take 12 slow steps to walk in a circle back into my starting position. The slow walking is to show my struggle against being dragged by my hip. I would then shake my hip three times and then body roll up to my head and stick out my head forward to show that it was moved up into my head. I was then dragged by my head forward. I showed this by sticking out my head forward with my neck stretching all the way forward. I took three steps forward with my head out with a slightly bent back to show the resistance to being pulled from the rest of the body. The steps are the same dynamic as when I was being pulled by my hand with my feet and legs being the last parts of my body to move to show my resistance to the movement that is in my head. Once I have taken the three steps I then my head jarringly jerks backwards and my slightly bent back now is lent back and the same thing happens for the three steps forward except it’s in reverse as I take three steps backwards this time. My feet and legs are now the closes to the audience and my head is all the way back in my chest and is tipped slightly up and I take three steps backwards. I then go forward and backwards once more. I then whipped my head from my neck down into my left shoulder three times as to shake the control out of my head and then stand still.

I decided that I wanted to start the routine on the floor because the piece needed a clear starting point and a clear ending point. I start the piece with my legs crossed sitting on the floor following my right hand with my eyes and head in a trance-like state. My hand moves from the right to the left back to the right then to the left. When my hand moves to the right again it moves diagonally and upwards when my arm is outstretched which then pulled my up to a standing position and then drags me across to the right side of the room.

Exercise on precision and feedback

After constructing the composition we had to perform it to the rest of the class twice. The class will be looking for any variations from the first time it was performed to the second. Performing it the first time compared to the second time, I feel that the dynamics of the movements were sharper and more focussed the first time than the second time. I feel that the first time had more energy. With the movements being sharper tenser when hitting the turning points it made the performance feel like my hand, hip and head were more controlling of me which was the effect that I wanted, so that was the note that I took and I will be performing it with more vicar and purposeful movements to give the impression that I am being dragged across the room and I am trying to fight it.

Group exercise

The class was then split into two groups. Our group had to enter the space at random and perform the composition simultaneously and find a way of exiting the room at random. We all entered the space at different times, staggering the timings of our movements. It was difficult to decide when to come in and how to own the space before starting the action. When doing the action there was any interaction with the others but there was something in doing it simultaneously that created an unspoken shared connection despite our pieces being separate. When doing the exercise I was aware of how I should leave the room. I felt as though my entrance wasn’t a strong entrance and was tentative so I was looking for a strong exit to my action. I decided to use the controlling hand to lead me out of the room and to exit through the open side door. Transitions between actions is a key point that about my movements this week’s session within the actions itself and the way I enter and leave the space as there is where I will start to build and maintain the meaning or the story of the piece.