Sunday 9 March 2014

DANCE TEK - WEEKLY DIARY

WEEK ONE
In week one we started to learn the Dance Tek Choreography which was inspired by  "Union  Dance". There are six moves in the motif that has been taught so far. 
My warrior character name is going to be Akahana which is japanese for Red Rose.

WEEK  TWO
This week I am going to dedicated my time to focus on learning the additional routine of all the other dance company members that are teaching theirs. Once I have gotten the movements I am going to build my character's spiritual journey in the piece up and in my flair to the other dance movements. Learn the rest and the new ending of the Dance Tek choreography. Choreograph four counts of eight to express the individual spiritual journey.

WEEK FOUR
Monday: We got into groups of four and we had to make up one count of eight and to come up with choreography that we all do at the same time. My group chose the prayer position as the move we do in unison. 
Tuesday: We had to plan our pitch to the media class that we felt would make our twenty minute piece more effective since they are really good with all the technical stuff. We even wanted to incorporate some of their work in our piece. 
This week I will be focusing on choosing a stimulus that suits the chosen theme which is gaming  and a spiritual journey. 
Chosen stimulus is the Caleb Mak- Joker song that is well known through the choreography of Les Twins. I chose the song as my stimulus because it links to where and why martials arts started. Martial Arts started in prison and this song can be used to krump. Krumping is a street dance that is popular in the united states however it is well known everywhere. It is very much characterised by free, expressive, exaggerated and highly energetic movement involving arms, head, legs, chest and feet in I realised these parts of the body is used in a fight as well as in a battle. So I thought I could use the song the joker by Caleb Mak and B-Easy to communicate a dance piece that looks like a fight and that also can link to capoeira. In the piece Capoeira movements are used

WEEK
Runescape is a Java-based tremendously multiplayer 3D journey, including monsters to destroy, quests to complete, the treasure to win. You can control your own character who will improve and become more powerful the more you play. The reason to why I chose this particular game is for the reason that during the adventure you will come across a quest which will require the help of another player otherwise you will not be able to complete it.  This quest is called Shield of Arrav. In this quest there are two different enemy gangs (Black arms gang and the Phoenix gang) to complete this quest a player is required to get two pieces of the scrolls to complete it. One piece is with the Black arms gang the other is with the phoenix gang and you cannot be in both gangs as they are enemy gangs and you will get killed.
This week we had to show a bit of our choreography to the class as well as teaching it. Initially, I taught the joker routine but since I wanted to go in much more depth and find a more suitable dance piece to go with the stimulus I chose to go with the Runescape game and use a song by John Legend as I believe it fits my interpretation of the stimulus. The reason to why  I decided to link this to John Legend’s – All of me as my interpretation of the song is that: two people desperately want to be complete but because of the blocks of their lives they are forced to be distant.

The main message my dance communicates is unity in between two gamers and so I thought If my piece had got chosen, we could perform the piece in duets but with all of us on stage to show that we call all come together and complete the dance. This would relate to the game Runescape as it is a multiplayer and without the other player you can not complete the quest. 
A fuse of Hip- Hop and Contemporary. 

Wednesday 5 March 2014

DANCE TEK



DANCE TEK WARRIORS
“To become a spiritual warrior means to develop a larger vision, a special kind of courage, fearlessness and genuine heroism. “
MARTIAL ARTS


Old-fashioned or ancient arts in addition modern styles of folk wrestling vs. contemporary fusion martial arts.


Local origin, particularly Eastern Martial Arts verse the Western Martial Arts
Techniques: Armed vs. unarmed, within these groups the type of weapon used are as follows swordsmanship, stick fighting etc... And by the sort of combat; grappling verse striking; stand-up fighting verse. ground fighting.
By application or intent: self-defense, combat sport, choreography or demonstration of forms, physical fitness, meditation, etc.
Within Chinese tradition: "external" vs. "internal" styles


By technical focus


Unarmed
Unarmed martial arts can be broadly grouped into focusing on strikes, those focusing on grappling and those that cover both fields, often described as hybrid martial arts.


Strikes


Punching: Boxing (Western), Wing Chun


Kicking: Capoeira, Kickboxing, Taekwondo, Savate


Others using strikes: Karate, Muay Thai, Sanshou


Grappling


Throwing: Jujutsu, Aikido, Hapkido, Judo, Sambo


Joint lock/Chokeholds/Submission holds: Judo, Jujutsu, Aikido, Brazilian Jiu-Jitsu, Hapkido, Eagle Claw


Pinning Techniques: Jiu Jitsu, Judo, Wrestling, Sambo
Another key delineation of unarmed martial arts is the use of power and strength-based techniques (as found in boxing, kickboxing, karate, taekwondo and so on) vs. techniques that almost exclusively use the opponent's own energy/balance against them (as in T'ai chi ch'uan, aikido, hapkido and aiki jiu jitsu and similar). Another way to view this division is to consider the differences between arts where Power and Speed are the main keys to success vs. arts that rely to a much greater extent on correct body-mechanics and the balance of the practitioner's energy with that of the opponent.
In all such delineations, aspects of many arts, if not most, can fall within both camps, regardless of which way the defining line is viewed (striking vs. grappling or power vs. energy/balance). Most arts have features on both sides of any such dividing line.
Weapon-based
Those traditional martial arts which train armed combat often encompass a wide spectrum of melee weapons, including bladed weapons and polearms. Such traditions include eskrima, silat, kalaripayat, kobudo, and historical European martial arts, especially those of the German Renaissance. Many Chinese martial arts also feature weapons as part of their curriculum.
Sometimes, training with one specific weapon will be considered a style of martial arts in its own right, which is especially the case in Japanese martial arts with disciplines such as kenjutsu and kendo (sword), bojutsu (staff), and kyudo (archery). Similarly, modern Western martial arts and sports include modern fencing, stick-fighting systems like canne de combat or singlestick, and modern competitive archery.
Combat sport and Self-Defence
Many martial arts, especially those from Asia, also teach side disciplines which relate to therapeutic practices. This is mainly customary in traditional Indian martial arts which may teach bone-setting, and other aspects of traditional Indian medicine.
Martial arts can also be linked with religion and spirituality. Numerous systems are reputed to have been founded, disseminated, or practiced by monks or nuns.
For instance, Gatka is a weapon-based Indian martial art created by the Sikhs of the Punjab district of India.
Japanese styles, when concerning non-physical qualities of the combat, are often strongly influenced by Mahayana Buddhist philosophy. Concepts like "empty mind" and "beginner's mind" are recurrent. Aikido, for instance, can have a strong philosophical belief of the flow of energy and peace fostering, as idealised by its founder Morihei Ueshiba.
Traditional Korean martial arts place emphasis on the development of the practitioner's spiritual and philosophical development. A common theme in most Korean styles, such as taekkyeon and taekwondo, is the value of "inner peace" in a practitioner, which is stressed to be only achieved through individual meditation and training. As with most other East Asian martial arts, the Koreans believe that the use of physical force is only justified through defence.
Systema draws upon breathing and relaxation techniques, as well as elements of Russian Orthodox thought, to foster self-conscience and calmness, and to benefit the practitioner in different levels: the physical, the psychological and the spiritual.
Some martial arts in various cultures can be performed in dance-like settings for various reasons, such as for evoking ferocity in preparation for battle or showing off skill in a more stylized manner. Many such martial arts incorporate music, especially strong percussive rhythms.


Historical martial arts
The oldest work of art depicting scenes of battle, dating back 3400 BC, was the Ancient Egyptian paintings showing some form of struggle comparable to the stocks.
In Europe, the earliest sources of martial arts traditions date to Ancient Greece. Boxing (pygme, pyx), wrestling (pale) and pankration were represented in the Ancient Olympic Games. The Romans produced gladiatorial combat as a public spectacle.
European swordsmanship was trained for duels until the Napoleonic era, and developed into sport fencing during the 19th century. Modern boxing originates with Jack Broughton's rules in the 18th century, and reaches its present form with the Marquess of Queensberry Rules of 1867. Europe's colonization of Asian countries also brought about a decline in local martial arts, especially with the introduction of firearms. This can clearly be seen in India after the full establishment of British Raj in the 19th century.[10] Similar phenomena occurred in Southeast Asian colonies such as Malaysia, Indonesia, Vietnam and the Philippines.
Testing and competition


Testing or evaluation is important to martial art practitioners of many disciplines who wish to determine their progression or own level of skill in specific contexts. Students within individual martial art systems often undergo periodic testing and grading by their own teacher in order to advance to a higher level of recognized achievement, such as a different belt color or title. The type of testing used varies from system to system but may include forms or sparring.
Various forms and sparring are commonly used in martial art exhibitions and tournaments. Some competitions pit practitioners of different disciplines against each other using a common set of rules, these are referred to as mixed martial arts competitions. Rules for sparring vary between art and organization but can generally be divided into light-contact, medium-contact, and full-contact variants, reflecting the amount of force that should be used on an opponent.


Light medium contact
These types of sparring restrict the amount of force that may be used to hit an opponent, in the case of light sparring this is usual to 'touch' contact, e.g. a punch should be 'pulled' as soon as or before contact is made. In medium-contact (sometimes referred to as semi-contact) the punch would not be 'pulled' but not hit with full force. As the amount of force used is restricted, the aim of these types of sparring is not to knock out an opponent; a point system is used in competitions.


A referee acts to monitor for fouls and to control the match, while judges mark down scores, as in boxing. Particular targets may be prohibited, certain techniques may be forbidden (such as headbutting or groin hits), and fighters may be required to wear protective equipment on their head, hands, chest, groin, shins or feet. Some grappling arts, such as aikido, use a similar method of compliant training that is equivalent to light or medium contact.


In some styles (such as fencing and some styles of Taekwondo sparring), competitors score points based on the landing of a single technique or strike as judged by the referee, whereupon the referee will briefly stop the match, award a point, then restart the match. Alternatively, sparring may continue with the point noted by the judges. Some critics of point sparring feel that this method of training teaches habits that result in lower combat effectiveness. Lighter-contact sparring may be used exclusively, for children or in other situations when heavy contact would be inappropriate (such as beginners), medium-contact sparring is often used as training for full contact


Full-contact


Full-contact sparring or competition, where strikes are not pulled but thrown with full force as the name implies, has a number of tactical differences from light and medium-contact sparring. It is considered by some to be requisite in learning realistic unarmed combat.
In full-contact sparring, the aim of a competitive match is either to knock out the opponent or to force the opponent to submit. Where scoring takes place it may be a subsidiary measure, only used if no clear winner has been established by other means; in some competitions, such as the UFC 1, there was no scoring, though most now use some form of judging as a backup. Due to these factors, full-contact matches tend to be more aggressive in character, but rule sets may still mandate the use of protective equipment, or limit the techniques allowed.


Nearly all mixed martial arts organizations such as UFC, Pancrase, Shooto use a form of full-contact rules, as do professional boxing organisations and K-1. Kyokushin karate requires advanced practitioners to engage in bare-knuckled, full-contact sparring while wearing only a karate go and groin protector but does not allow punches to the face, only kicks and knees. Brazilian Jiu-Jitsu and judo matches do not allow striking, but are full-contact in the sense that full force is applied in the permitted grappling and submission techniques.
Several martial arts, such as Judo, are Olympic sports.
Martial arts have crossed over into sports when forms of sparring become competitive, becoming a sport in its own right that is dissociated from the original combative origin, such as with western fencing. The Summer Olympic Games includes judo, taekwondo, western archery, boxing, javelin, wrestling and fencing as events, while Chinese wushu recently failed in its bid to be included, but is still actively performed in tournaments across the world. Practitioners in some arts such as kickboxing and Brazilian Jiu-Jitsu often train for sport matches, whereas those in other arts such as aikido and Wing Chun generally spurn such competitions. Some schools believe that competition breeds better and more efficient practitioners, and gives a sense of good sportsmanship. Others believe that the rules under which competition takes place have diminished the combat effectiveness of martial arts or encourage a kind of practice which focuses on winning trophies rather than a focus such as cultivating a particular moral character.
Some martial artists compete in non-sparring competitions such as breaking or choreographed routines of techniques such as poomse, kata and aka, or modern variations of the martial arts which include dance-influenced competitions such as tricking. Martial traditions have been influenced by governments to become more sport-like for political purposes; the central impetus for the attempt by the People's Republic of China in transforming Chinese martial arts into the committee-regulated sport of wushu was suppressing what they saw as the potentially subversive aspects of martial training, especially under the traditional system of family lineages.


HEALTH AND FITNESS BENEFITS
Martial arts training is intended to give several benefits to trainees, such as their physical, mental, emotional and spiritual health.
Through systematic practice in the martial arts a person's physical fitness may be boosted (strength, stamina, flexibility, movement coordination, etc. as the whole body is exercised and the entire muscular system is activated. Beyond contributing to physical fitness, martial arts training also has benefits for mental health, contributing to self-esteem, self-control, emotional and spiritual well-being. For this reason, a number of martial arts schools have focused purely on therapeutic aspects, de-emphasizing the historical aspect of self-defence or combat completely


According to Bruce Lee, martial arts also have the nature of an art, since there is emotional communication and complete emotional expression


U.S. Army Combative instructor Matt Larsen demonstrates a chokehold.
Some traditional martial concepts have seen new use within modern military training. Perhaps the most recent example of this is point shooting which relies on muscle memory to more effectively utilize a firearm in a variety of awkward situations, much the way an iaidoka would master movements with their sword.
Many martial arts are also seen and used in Law Enforcement hand to hand training. For example, the Tokyo Riot Police's use of aikido.


MARTIAL ARTS INDUSTRY
Since the 1970s martial arts has become a significant industry, a subset of the wider sport industry including cinema and sports television.
Millions of people worldwide practice and teach some form of martial art. Web Japan (sponsored by the Japanese Ministry of Foreign Affairs) claims there are 50 million karate practitioners worldwide.The South Korean government in 2009 published an estimate that taekwondo is practiced by 70 million people in 190 countries.


MARTIAL ARTS FRAUD
Asian martial arts experienced a surge of popularity in the west during the 1970s, and the rising demand resulted in numerous low quality or fraudulent schools. Fuelled by fictional depictions in martial arts movies, this led to the ninja craze of the 1980s in the United States. Somewhat outdated, but there was also numerous fraudulent ads for martial arts training programs, inserted into comic books circa the 1960s and 1970s, which were read primarily by adolescent boys.
The rank system introduced for judo in the 1880s proved commercially viable, and coloured-belt systems were adopted in many martial arts degree mills (also known as McDojos) as a means to generate additional cash.
VOGUING
Vogue, or voguing, is a common stylised, modern house dance that evolved out of the Harlem ballroom scene in the 1980s. It acquired mainstream exposure when it was featured in Madonna's song and music video "Vogue" (1990) in addition when showcased in the 1990 documentary Paris is Burning (which went on to win the Grand Jury Prize at the 1991 Sundance Film Festival). After the new millennium, Vogue returned to mainstream attention when the dance group Vogue Evolution competed on the fourth season of America's Best Dance Crew.
Inspired by Vogue magazine, voguing is characterized by model-like poses integrated with angular, linear, and rigid arm, leg, and body movements. This style of dance arose from Harlem ballrooms by African Americans and Latino Americans in the early 1960s. It was originally called "presentation" and later "performance". Over the years, the dance evolved into the more intricate and illusory form that is now called "vogue". Voguing is continually developed further as an established dance form that is practiced in the gay ballroom scene and clubs in major cities throughout the United States—mainly New York City.


Formal competitions occur in the form of balls held by "houses"—family-like collectives of LGBT dancers and performers. Some well-known houses include the House of Garcon, the House of Icon, the House of Khanh, the House of Evisu, the House of Karan, the House of Mizrahi, the House of Xtravaganza, the House of Ebony, the House of Revlon, the House of Prodigy, the House of Escada, the House of Omni, the House of Aviance, the House of Legacy, the House of Milan, the House of Infiniti, the House of Pend'avis, the House of LaBeija, the House of McQueen, the House of Ninja, the House of Suarez and the House of Andromeda, among others ("Legendary" in ballroom terms refers to a house that has been "serving", that is, walking or competing on the runway, for twenty years or more). The House of Ninja was founded by Willi Ninja, who is considered the godfather of voguing. Members of a house are called "children". Sometimes children legally change their last name to show their affiliation with the house to which they belong.







Contemporary Evaluations


Contemporary Dance Technique Evaluation

I prepared for my solo by using the contemporary dance techniques that I demonstrated in class. I.e. travelling, jumps, floor work (brushes), spinal rotations (to help with alignment). In contrast to this we done Pliés to help us with our jumps; I used this opportunity to better my jump towards the end of my solo piece. Likewise, I used the swing and suspension technique to really help me get that sense of breaking free as that is what the contemporary piece needed. 
Emeli Sande’s song ‘Read all about it’ was the song I had performed my contemporary solo to. I thought I had various strengths and weaknesses in the piece. Just to name a few strengths; I thought I done well went it came to my projection, my application of dynamics, rhythmic awareness. To conclude I thought what did not go so well was my accuracy throughout the piece and the shapes and positions of my body. My alignment was not as strong as how I hoped it would be.
A physical skill I thought was portrayed quite well was my projection. The reason to why I thought my projection was good was for the reason that the theme of breaking free was shown and understood clearly which then made my performance affective.  Another physical skill I done quite well with was my rhythmic awareness, as I quite familiar with the song I understood the music and the beat.  Additional physical skill was my extension. I thought my extension was much more better compared to in the beginning when I started to learn the dance- I did not extend as much when I was supposed to which then affected the way my solo looked to others. I thought the three performance/Interpretive skills I done really well was fluidity; where I felt I needed to more graceful I believe I was, timing; my timing was fairly good. In conclusion my exaggeration in the piece especially the jump part when I thrust my hands down was very symbolic of my theme which added more to my piece.
At the start of the project, physically I felt I could have focused on my technical skills much more which would then have enabled me to enhance my solo. Also, the accuracy of the movements throughout the piece was what got in the way, when I watched the solo back I realised I would put my all in a set of movements I enjoyed doing then forget about the other ones. But to me when I was doing the piece I felt different. I felt I put everything I had in the piece on a whole.
Overall, In order to improve I’m going to use the technique catch up sessions to help me improve on my technical skills in order for me to become a stronger dancer. Also, in conclusion, my targets for my next performance would be to improve on all my weakness areas and ask for peer feedback whenever I feel I could do more. I feel this would be important as my weaknesses are my barriers in dance and if I do not do something to better them now in the long run I won’t be able to dance to my full potential.                                                                                                         Yvonne A. Bonsu


CONTEMPORARY LILY ALLEN CHRISTMAS PERFORMANCE
The song we performed to was called “somewhere only we know” Lily Allen’s version. The original dance piece was based around the “John Lewis Christmas advert 2013”. The main attraction in the advert is the relationship between the bear and the hare. We interpreted that same idea in our piece. I played the role of the hare and Bicton Watson played the role of the bear. The advert starts off with an establishing shot of birds and an opening line…”There once was an animal who had never seen Christmas” and then it slowly begins to tell the story by a falling snowflake that gently lands on the bears nose. The hare is felt feeling upset as he realises his friend will soon hibernate and that he will miss Christmas but this has a twist the bear actually wants to join in and so he does but realises further later on that he is unable to cope the winter and disappears  into hibernation mode. Knowing the bear cannot join in the hare starts to miss his friend and finds it hardtop join in until the moment he figures out the best gift for the bear which is an alarm clock to make sure he is on time to decorate the tree and spend Christmas with all his friends.

Rehearsal Process
The whole rehearsal process was really exciting for me and the other dancers, as this is the first time that we had an opportunity of showcasing our talent to an audience. Joe Melville choreographed the start of our Lily Allen dance piece; the whole class responded positively towards her choreography and used it as a motif.  There was a section of eight that we got to choreograph as Bicton and I were the main attraction the piece we had to choreograph had to stand and we had to connect within the piece for us to successfully pull it off. In rehearsals we would often make up a routine and Joe (our teacher) would often instruct us to change it to make it more fluid and so we would. I personally think my maturity and discipline in rehearsal was really good. I was focused and I got the work done. Especially the day I felt ill. I knew that there was work to be done and I was not going to let that affect my rehearsal and I feel like that is a strength for me as it shows I am highly dedicated and committed to what I do.
To mention a few things I think went well also during the rehearsal process was good on a whole. The support from the group members and the motivation, advice were spot on.  There were days where people within the group did not really fell the piece so the piece slowly started to crumble but when it came to cleaning the dance piece within that show week everyone was focused, especially if someone was not on time, rhythmically others would politely tell them. I rehearsed the dance piece outside of the rehearsal room in a park to get a feel of a different environment as I did not want to get stuck into a pattern of facing the mirror; this was to help me remember the routine thoroughly. When we came back to rehearsals I would often ask Deneal of our opinion of my performance so she can advise me on what to change.
I remember we had done a trust workshop as Joe felt that we needed to trust each other more since we were doing a routine that contains lifts and jumps. This exercise not only helped build our confidence in each other but it helped us trust each other when it came to the lifts and the performance on a whole. Foremost to do a lift what is required is TRUST and then STRENGTH. One exercise was the superman. I call it the superman as it required holding your partner up in the air with your feet as supporting them with the help of your waist, here’s an image to show it looks like.
Another Strength I had in rehearsal process was my memory. Despite the fact that I had to learn Joe’s choreography I had to also remember my own choreography and my partners and the ensembles choreography and I believe I handled that quite well. Particularly, towards the end when we all had done a replica of the beginning ensemble piece which included the friends and not the Bear and the Hare.
My weakness I have for the rehearsal process is my response to stimuli. I tend to change stuff around instead of developing the material that has already been used. An example of that  was in the beginning of the Christmas rehearsal process is we got given the same task and instead of responding to the task I kind of went off and done my own thing which wasn’t the right thing to do.
An additional weakness is my alignment which I need to watch out for. I remember during one of our rehearsals I final noticed my alignment was not always correctly accurate.
Another weakness I had was not always giving the dance 100%, I realised in the technically run I was worn out and didn’t even know how to continue. So I what I had done was I rested before our final performance which gave me a lot of energy which I then used in the piece.
Three Targets I need to work on for the rehearsal stage:
Energy/Stamina - Giving every run of the dance 100%.
Punctuality- As I missed a rehearsal I need to be more self-organised and inform Joe (my teacher) directly when I cannot attend a rehearsal with a valid reason.



Choreographic Theme




Choreographic Theme Ideas


Identity


At first I wasn’t sure on what to do for the dance piece as I had loads of ideas but then I tried to think of simple things that I thought would portray my theme idea effectively without making things complicated. When I narrowed them down I thought of these four theme ideas.


FIRST THEME IDEA
I wanted to do a fuse of contemporary and urban dance whether my dance piece was abstract, purely movement based, lyrical or conveying just plain emotions. Then I thought of the presentation of the stimulus’s then I improvised and then I refined some of the movements when I received peer feedback and then I developed a phrase of movement that communicated the daddy’s little girl theme rather well.
The first theme idea I supposed would be nice for me do was Love. Then I thought of how to choreographies an idea like that, then I pictured my dance in stages. As in I believed of showing the stages of a relationship: first stranger’s then friendship then interest – then development of interest- then heart-break then back to strangers again.


SECOND THEME IDEA


The second theme Idea I had was to use the lyrics “I was here by Beyoncé” as a stimulus, instead of focusing more on the rhythm and the quality of the song. In life I believe my soul purpose to use the talent I was given to help others less fortunate than myself out. This song relates to the idea I have as it talks a lot about things I dream of achieving such “ The hearts I have touched, will be the proof that I lived that I made a difference, and this world will see I was here. “


THIRD THEME IDEA
Lyrical dance piece Leonard Cohen by Hallelujah

Maybe there’s a God above
But all I’ve ever learned from love
Was how to shoot at someone who outdrew you
It’s not a cry you can hear at night
It’s not somebody who has seen the light
It’s a cold and it’s a broken Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

You say I took the name in vain
I don't even know the name
But if I did, well, really, what's it to you?
There's a blaze of light in every word
It doesn't matter which you heard
The holy or the broken Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

I did my best, it wasn't much
I couldn't feel, so I tried to touch
I've told the truth, I didn't come to fool you
And even though it all went wrong
I'll stand before the Lord of Song
With nothing on my tongue but Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah
Initially, I wanted to dance to Leonard Cohen’s version of Hallelujah. But, since the song means a lot to me I thought I should do a lyrical piece that I could emotionally connect to as well as tell a story using my body language and just words. No rhythm. No Instrumental.


FINAL THEME IDEA


Frankie J’s- Daddy’s Little Girl


The reason to why I chose the daddy’s little girl theme in the end was because it was the piece I felt the most vulnerable in so I understood the emotional connection the piece needed in order for me to do the piece justice.  Initially, I wanted to use an image of my father as my stimulus but I personally thought the picture above is more interpretable powerful rather than an image of my just father with no explain just a man. This song has so many meanings but the one I went with was a relationship and a close bond between a father and a daughter. Although, Initially Frankie J sings about a little girl trying to get her father to stay at home as she loves him. Eventually, the girl was sad because her father was ill and her dad only told her mother, which made the mother upset after the illness got worse. As a result the doctors cannot do anything to help the little girl’s father. 
The choreographic devices that were used in my piece was firstly: Action, the main actions I used was repetition, instrumentation and jumps. The space choreographic device I used was different levels, shape/body design and two different pathways, one in the air (standing up) and the other on the floor. To conclude the dynamics I used were diverse, especially the speed, at times the piece was faster it then would change. The quality in the piece was varied. Some of my movements were more forced, stronger and more direct others were more fluid and softer.



This image symbolises my motif in my daddy’s little girl choreographic piece. I developed this motif by: firstly using some actions such as instrumentation, repetition and Fragmentation.  As for space, I changed the size of my movements frequently from small then big. I used different levels in the piece; the images above are some of the movements I had done in the piece. In contrast to this, I performed my piece using direction. I normally would face the front as a substitute I performed to the sides to show the fact my dance was about my mother, my father and I. Then and there I turned to show how I was feeling internally. The quality in the piece often changed for at times the beat in the music would change and the emotion I felt would then be portrayed to the rhythm of the music, tempo.