Score
The movement within the piece has all been created using the Ch.U/M.m. score I created which was supposed to transfer to create the perfect movement. The first section is my own interpretation of the score into my idea of ‘perfect’, followed by movement I created from my own improvisational exploration with this movement as my stimuli.
The two performers, Brandon and Ami, were then set an improvisation task to see how they would interpret this score and create their own version of ‘perfect’ movement. The material they cover is their own personal understanding on what they think looks good when they move, combined with following the Ch.U/M.m. score I have created to keep the correct momentum and rhythm I have determined to be most watchable.
The two performers, Brandon and Ami, were then set an improvisation task to see how they would interpret this score and create their own version of ‘perfect’ movement. The material they cover is their own personal understanding on what they think looks good when they move, combined with following the Ch.U/M.m. score I have created to keep the correct momentum and rhythm I have determined to be most watchable.
Third Method:
The third method I used to choreograph movement was through the same score once again; this was inspired by when I had translated my Ch.U/M.m score into my own movement and wrote this down so as not to forget it; when reading the notes out to my dancers, the wording which I understood meant something completely different to them. This then led me to the idea of switching up these notes to see if I could keep the same impulse and impact within the performance but see if by only choreographing by reading these notes out to my dancers, they would do movement which was fresher than had I carried on choreographing myself. A voiceover was played over the dance piece, instructing the performers how to move according to how I had noted down the score. This interpretation shows how the dancers can misinterpret what it is I am attempting to choreograph, and that the ‘perfect’ movement can suddenly become something completely different. This third interpretation is similar to Sicchio's Choreography Hack V.03 (2012).
Ami hold Brandon’s shoulders, jump acros
Brandon holds Ami’s arms, jump across, two legs
Both turn and swing arms down
Swing up, suspend arms down
Ami, hook leg around Brandon
Brandon step step
Ami fan kick, both turn
Both arms over head, one arm over head
Rond de jambe
Step step grande jete en turn on in opposition
Step step into deep second, arms across body
Arm pulls to side, suspend arms down
Ball change, step, layout
Split jump across floor
Backwards roll, forwards roll
Leg up to standing
4 jumps backwards, 5th with arms
Fan kick, monkey
Lean turn with arms
Turning stag
Lean to right, arm out, other arm joins, pulls in to crouching
Spin out, arms above head
Drop, hop back, hop round in attitude
Pirouette, lunge
Turn head to look back
Straighten leg
Bend leg
Step over
Fan kick, monkey with leg up
Body roll
Ami cartwheel, Brandon barrel roll
The third method I used to choreograph movement was through the same score once again; this was inspired by when I had translated my Ch.U/M.m score into my own movement and wrote this down so as not to forget it; when reading the notes out to my dancers, the wording which I understood meant something completely different to them. This then led me to the idea of switching up these notes to see if I could keep the same impulse and impact within the performance but see if by only choreographing by reading these notes out to my dancers, they would do movement which was fresher than had I carried on choreographing myself. A voiceover was played over the dance piece, instructing the performers how to move according to how I had noted down the score. This interpretation shows how the dancers can misinterpret what it is I am attempting to choreograph, and that the ‘perfect’ movement can suddenly become something completely different. This third interpretation is similar to Sicchio's Choreography Hack V.03 (2012).
Ami hold Brandon’s shoulders, jump acros
Brandon holds Ami’s arms, jump across, two legs
Both turn and swing arms down
Swing up, suspend arms down
Ami, hook leg around Brandon
Brandon step step
Ami fan kick, both turn
Both arms over head, one arm over head
Rond de jambe
Step step grande jete en turn on in opposition
Step step into deep second, arms across body
Arm pulls to side, suspend arms down
Ball change, step, layout
Split jump across floor
Backwards roll, forwards roll
Leg up to standing
4 jumps backwards, 5th with arms
Fan kick, monkey
Lean turn with arms
Turning stag
Lean to right, arm out, other arm joins, pulls in to crouching
Spin out, arms above head
Drop, hop back, hop round in attitude
Pirouette, lunge
Turn head to look back
Straighten leg
Bend leg
Step over
Fan kick, monkey with leg up
Body roll
Ami cartwheel, Brandon barrel roll