Personal review and reflection

Now that our performance is only 1 week away, I have been referring back to Kate Flatt's ideas on endings and how I can get a reaction from the audience. It is important to establish what feelings do you want the audience to take away with them and this is what I have been focusing on over the past weeks.



 
                                                                       (Flatt, 2019)

These questions provided a resolution for my piece and I am satisfied with how I have assembled my sections. By reflecting back on these questions whilst conjuring up thoughts to end my piece, I have found it to be a fulfilling experience as I have pushed past my limitations despite me being over analytic of my capabilities. Evaluating these questions commanded me to prioritise the audience's emotions and how I can value the sentimentality in my piece, instead of rushing the next minute just so it's finished. I explored some ideas of my ending and have decided to do it in silence, only using my breath as my guide to the next movement. One of the challenges that I have faced during this was knowing my speed and dexterity as without the music, it can be difficult to gauge when the climaxes in movement should be. I overcame this as my thought process was to depict a sense of freedom, and therefore many of my movements are resistant, soft and affectionate. Drawing inspiration from Leslie Morgan Steiner, who I researched in my second blog, she mentioned that "abuse thrives in silence" (Steiner 2013). I want my audience, 'to enjoy a range of experiences in my piece' (Flatt, 2019) and I feel like this is a great way to captivate and entrance my audience, in order to hold their attention to the end. 

As I have mentioned previously, I want to create an atmosphere of independence and liberation through the use of dropping motions and being extensive with the space. Throughout some sections of my choreography, I have been compact with my intricate movements, portraying my loss of identity. The contrast from this to my expansive movements clearly demonstrates how I am breaking free from the constant dictation and I have finally found my independence and inner voice. Furthermore, to help me come up with movements for this section, I decided to focus my mind on the idea of a ripple in the water, which led me to use parts of my body that aren't necessarily one's preference. This aided me in using parts such as my wrist, ears, hips and nose which was an intriguing method as I found that I began using argumentation subconsciously. I have used repetition in this section to mimic the constant cycle of the ripples, but also it illustrates how a domestic violence relationship can spiral out of control. 

Using this task during the end of my choreography kept me interested, attentive and focused on achieving an ending that would captivate the audience. Regardless of the arduous hours that my choreography has taken, I am proud that I have continued and persisted with my research until the very end, as I believe it has made my choreography successful and has stimulated me to think in-depth about what I want the audience to understand. 

                      (Halperine,2021)


Now that I have edited all my music together, I feel that it is necessary to go through each section meticulously before my final performance. I have added the feedback that I got from the previous showing and am continuing to work on the positive comments I got too.  Due to my schedule being busy, I want to record my choreography all the way through, in order for me to write down my own corrections and distinguish any areas that need cleaning or tweaking. These past couple of weeks I have taken Burrows advice of  'work one week without questioning what you're doing, and then have a look at it,' (Burrows, 2010, p.57). This thought-provoking method let me to continue towards finishing my piece and now that it's finalized, I can now take the time to identify areas where it may be too stagnant or alternatively fragmented.

References

Burrows, J., 2010. A Choreographer's Handbook. Oxford: Taylor & Francis Ltd, pp.57.

Flatt, K., 2019. Choreography : Creating and Developing Dance for Performance. Chapter 7: Structure and the Choreographer's Eye. Ramsbury: The Crowood Press, p.161

Steiner,  Why domestic violence victims dont leave[online] Available at: https://youtu.be/V1yW5IsnSjo 

Bibliography
Burrows, J., 2010. A Choreographer's Handbook. Oxford: Taylor & Francis Ltd, pp.57.

Flatt, K., 2019. Choreography: Creating and Developing Dance for Performance. Chapter 7: Structure and the Choreographer's Eye. Ramsbury: The Crowood Press, p.161

Halperin, M., The ripple effect. The Ripple Effect. Available at:https://www.freebridgeinc.com/therippleeffect [Accessed February 3, 2022].

Steiner,  Why domestic violence victims dont leave[online] Available at: https://youtu.be/V1yW5IsnSjo 



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