Having never really heard of this technique before, let alone taken part in a class, I was both excited and nervous when I was told that we would have 2 different sessions with Lucia Walker. Before the first class I read two articles on the technique to try to come to some understanding of what it was. Theses are a few words that jumped out at me:
Posture
Tension
Breaking Habits
Re-education of the body/mind
Un-doing
Energy awareness
During the session Lucia asked me if I was aware of any ways in which I moved. I explained to her that I tend to walk and stand with my pelvis tilted forward. I was relieved to hear her say that this was a common thing and I wasn’t infact the only human being to do it! She helped me to tilt my pelvis back into the place it should be and then helped me to pull up from my spine. This was a very unusual experience as from the age of 3 with other dance training I’ve been encouraged to pull up from the chest. I found that the minute she corrected this habit, my feet were more stable on the ground and I lost all the tension I had across my shoulders and hip. I also found it interesting to hear her say that many people who walk with their pelvis tilted are more likely to have a hip replacement than those who don’t. Having suffered from a hip injury for the past 3 years, I’m eager to find out if the two are connected in anyway!
Sunday, 6 March 2011
Dance Conversations
Peole can speak at the same time in a conversation, whether they're agreeing on something or talking about different things eg:bus example
Gaps in a conversation and pauses are two different things!
Sometimes you can allow one person to talk for a long period of time like a monlouge.
Many friendships begin akwardly, become closer, have the potential to fall apart and the potential to get closer.
Gaps in a conversation and pauses are two different things!
Sometimes you can allow one person to talk for a long period of time like a monlouge.
Many friendships begin akwardly, become closer, have the potential to fall apart and the potential to get closer.
Duets
What happens if you remove a part of one of the above?
This is what removing a dancer from a duet should be like.
The essence of a true duet is that each performer is essential to the whole!
This is what removing a dancer from a duet should be like.
The essence of a true duet is that each performer is essential to the whole!
Points of focus
1. To create a tilt at the start rather than a circular shape
2. Don’t arch the back when turning
3. Left arm and knee to come up at the same time
4. Use more breath in the swing to create force
5. In press up position, remember to keep head down
6. Throughout the sequence be careful not to over extend the arms
2. Don’t arch the back when turning
3. Left arm and knee to come up at the same time
4. Use more breath in the swing to create force
5. In press up position, remember to keep head down
6. Throughout the sequence be careful not to over extend the arms
SDD Feedback Session
Identify 4 issues you had with making your solo
Timing- trying to keep the solo within a 2-4 minute frame
Exploring- Found it difficult to keep exploring a particular theme or movement as deeply as possible
Space- Found it very difficult to move my dance out and use up more floor space.
Body Parts- Too strong a focus on one body part
Tasks to help these issues
Timing-Perform my improvisation constantly. Set an alarm to become more comfortable and aware of the time frame.
Exploring-Watch videos of my dances/improvisations back and from there pick out interesting and unique movements that I can explore more. Continue to keep relating back to the original stimulus for new inspiration.
Space- The more movements I explore and level’s I use, the more space I will be able to use freely.
Body Parts-Look at how a foot movement can be mirrored in the whole body which then allows me to use up more space on the floor and move at different levels.
Timing- trying to keep the solo within a 2-4 minute frame
Exploring- Found it difficult to keep exploring a particular theme or movement as deeply as possible
Space- Found it very difficult to move my dance out and use up more floor space.
Body Parts- Too strong a focus on one body part
Tasks to help these issues
Timing-Perform my improvisation constantly. Set an alarm to become more comfortable and aware of the time frame.
Exploring-Watch videos of my dances/improvisations back and from there pick out interesting and unique movements that I can explore more. Continue to keep relating back to the original stimulus for new inspiration.
Space- The more movements I explore and level’s I use, the more space I will be able to use freely.
Body Parts-Look at how a foot movement can be mirrored in the whole body which then allows me to use up more space on the floor and move at different levels.
So We Dance- Lott 12
As audience members took their seats the dancers began to run from one end of the studio to the other, in a linear line, one at a time. This immediately created a constant level of energy and repetition which was explored throughout the performance along with the nature of group. It also conveyed each performer as an individual, but still made me think about the company as a whole as they were performing the same action. The dancers broke apart to begin dancing on their own, again this was done one at a time. I found it interesting to watch the energy level increase as a variety of movements took place including running, rolling and pausing. As the movements were performed in a range of different directions this emphasised the idea of the group working together as a whole. I particularly enjoyed watching the strong repetition portrayed in the last section of the dance. All the dancers performed the same section, however it was broken down, performed in smaller pieces and then gradually built up again. The use of music and sileneces at particular points in the performance helped to emphasise the change in tempo and energy which helped to bring my attention to the details of the dance.
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