emotions & relationships
One upping
An explorative piece based on the competitive nature of humans and how ones behaviour or actions shift in competitive circumstances. Exploring the possibilities of what happens when you ask a group of people to compete in an isolated environment - the only impetus the dancers have to compete is my instructions and/or other's actions and behaviours.
" Competition is that form of social action in which we strive against each other for the possession of or use of so limited material or non-material good.
" Competition is an impersonal, unconscious, continuous struggle between individuals or groups for satisfaction which, because of their limited supply, all may not have
View a short clip on the competition of bodies in posture, with relation to scale and shape of how the dancers choose to position themselves. This is an experimented version of that which would have been performed live, so it is made with less thought and therefore open to interpretation; there is more intention to explore and notice what competitive notions may be seen through the dancers' body language.
Questions used to initiate the creation of movement:
What do you compete for?
What aspects of life do we compete in?
What is good or bad competition?
(Photo Above)
How to show competition for attention or sympathy with a sense of subtlety and focusing more on stillness drawing attention that 'obvious' movement.
Perception of Humanity
My piece was a duet based on expressing an intimate domestic relationship and ultimately demonstrating the transitional journey from a difficult broken relationship into gaining each others love and trust again. From this i thought it would be interesting to raise awareness regarding domestic violence and abuse as elements of my piece represent the act of being controlled, which is one of the signs/indicators linked to Domestic abuse. My piece doesn’t demonstrate domestic abuse! I felt this would be a poignant topic to research and raise awareness about. Below are some pictures demonstrating control/empowerment from moments within the duet i choreographed.
Possible signs that somebody is in a domestic violent/abusive relationship can be noticed: Physically, emotionally, through behavioural changes, showing exhibitions of fear and actions of control. The information provided below is taken from https://www.verywellmind.com/signs-someone-is-being-abused-66535 and it's important to mention that some of these signs can be caused or linked to several factors other than domestic violence/abuse!
PHYSICAL
• Black eyes
• Busted lips
• Red or purple marks on the neck
• Sprained wrists
• Bruises on the arms
BEHAVIOURAL CHANGES
• Is reserved and distant
• Drops out of activities they would usually enjoy
• Cancels appointments or meetings with you at the last minute
• Is often late to work or other appointments
• Exhibits excessive privacy concerning their personal life or the person with whom they're in a relationship
• Begins isolating themselves by cutting off contacts with friends and family members
EXHIBITIONS OF FEAR
• Anxiety
• Nervousness
• Children may seem timid or frightened
• May refer to their partner as “moody” or “bad tempered
• Sometimes even too scared to address help or accept it when offered
I feel despite highlighting a seriously important issue which links back to elements of my piece i would like to share how my piece was created and evolved over time.
The process of creating my piece heavily involved working with Chiara and Courtney as a collective. I wanted to ensure that the movement created was a representation of both the themes I was aiming to portray and their unique capabilities/individualities they possess as dancers. The piece massively evolved and developed drastically over time, I began initially with the intention of creating a duet based on Manipulation with the dancers representing good and bad qualities of the brain the reason for this being, the exploration of the contrasting qualities really interested me in terms of possible movement material . Due to this creating some confusion and the idea not being understood due to limitations both myself and the dancers experienced, i shifted my focus to creating a real relationship between Chiara and courtney as i realised human qualities will of course naturally be presented and noticed through them performing a duet which entails the portrayal of a close intimate domestic relationship. To help support my understanding as a choreographer I was advised to watch Pina Bausch’s Cafe Muller which I personally felt was very beneficial, taking inspiration from the desperation and execution of their movement phrases.
EMOTIONAL
• Low self-esteem
• Extremely apologetic or meek
• Seeming fearful
• Changes in sleep habits (sleeping too much or not enough)
• Agitation, anxiety, or constant apprehension
• Developing a drug or alcohol problem
• Symptoms of depression
• Loss of interest in daily activities
• Talking about or attempting suicide
ELEMENTS OF CONTROL
• Asking permission to go anywhere or meet other people
• Referring to their partner as jealous or possessive
• Constant calls or texts wanting to know what their partner is doing/ where they are
"tell me what you're thinking about"
Quotes taken from Nancy Friday, My Secret Garden
Quotes taken from Nancy Friday, My Secret Garden
My piece is inspired by both BDSM including bondage and dominance/submission play as well as links to female sexuality and fantasy. I chose to use a giant 10 metre band. The band takes different forms within the piece and a smaller black TheraBand is used in the beginning. The piece takes influence from all my research stemming from the definition of bondage and the idea of control.
Choreographic Process
The approach that I chose to explore in this choreographic process was all movement having a purpose in relation to the subject matter. By doing extensive research into the topics of BDSM and female sexuality, I worked with layering meaning in the movement material. For example, I firstly asked my dancers to create duets based on sex positions by integrating them into the movement. This was the beginning of exploring female sexuality as I then asked them to change between the male and female roles. I then played with dominance and submission using dom:dom, sub:dom and sub:sub structure which manipulated the dynamic quality within each duet. This was challenging with the sub:sub duet because neither is in the position to take control which meant straying away from the original movement material.
I also wanted to focus on detail, taking specific things from my research to recreate physically. For example I did this when using the elastic to recreate cages from domestic spaces by Louise Bourgeois as well as in the female fantasies. I also did this making specific references. For example, I took this quote “You don’t mean something like King Kong, do you?” from Nancy Friday’s My secret Garden. I took this and recreated a lift from King Kong to represent the male perspective of sexuality during the sixties.
The music was a challenge, as the work has a particular tone. I decided to start the piece in silence as the beginning duet surrounds control and dominance. The lack of music gives all the control to the one dancer in the dominant position. Then I chose to use a verbal soundscore to represent pedestrianism during the sex position duets as a representation of sexuality in everyone’s lives. Finally, when using the elastic band, to mirror the fragility of the subject as its seen a taboo, I chose a delicate, feminine operatic piece called Envelope of many, Laurel Macdonald.
During the process, I learnt the importance of research, as it helped to deepen the ideas I translated choreographically, and I found it made more enjoyable tasks for the dancers involved. I also learnt the importance of organisation in the difficulty of working in big groups.
Louise Bourgeois, Domestic Spaces
I asked the dancers to manipulate the band to create cage like structures inspired by Louise Bourgeois domestic spaces. Suggesting how sex and female fantasies are taboo showing a sense of entrapment.
post-sex haze
what is it to be seen at your must vulnerable?
Girl, dirt-faced
I say, oh yeah, i’m dirty, girl-
And i mean my knees
& not like the preacher is watching my
Hands do what only hands
Know how.
Girl’s got her fingers
In my back pocket
Like the last shot in an
80’s romance
Girl’s got my dirt
Under her nails & i’m
Biting my tongue. I’m
Googling the definition
Of “tarnished” & replacing it with
Summer & it rained so hard
We made mud angels fucking
In the back yard
Girl, dirt-faced, kisses me full
On the mouth, says “we could be filthy
Like that.” & for once i’m thinking
No way. Not even a little bit.
Not even if we tried.
the garden without a fence
everything is a lie, everything is alive.
The mundane and the expected.
I become inanimate,
There is life within the stillness,
We breathe together,
We fit together,
There Is emotion.
There is life within the stillness,
I embody the chair.
An empty chair, in an institution full of potential
An empty being, full.
The minimisation of the authentic self.
Weight bearing, struggle and Graft.
Who is Recovery? And who is Rest? I haven't met them yet.
A difference, to be spotted.....
The "comfort", in conforming.
A crime scene. The death of something special.
A prayer for something greater.
Constantly Under arrest.
This work is a moving sculpture, exploring personhood and objectivity. This is a duet; the chair and I. This is a personal protest to an institution, performing with it’s ghosts and baggage. This is a peace-making prayer.
https://www.youtube.com/watch?v=HFMIF8KmcaY&feature=youtu.be [ [VIDEO ]
Music - Washing Machine - FAUCI [aka Zinzi Marsh]
Choreography sculpture - FAUCI [aka Zinzi Marsh]