MOVING

Whilst working through this project research into Haring's work has played a substantial role in the influence in the choreography itself (along side a number of elements within this project), due to the nature of Haring's strong geometric imagery it has been decided that this shall be reflected through the movement of the dancers. 

Within Henry Taylor Parker's review of Harald Kreutzberg and Yvonne Georgi's work commentary of the pair's innovative angular movement express the notion of beauty within the dance, and the way in which this desirability is pushed as so the previously conventional notion of beauty within dance is challenged.

"The modernist beauty is a mathematical beauty...geometrical rather than sensuous patterns. Like them or mislike them; find them ugliness or pleasure..." (Jowitt, 1989., pp. 153)

Kreutzberg and Georgi's work has been a huge influence on the choreography of this piece as the use of sharp, harsh movements alongside the complexity within the use of rhythmnis something that too is being used throughout the choreography of this film.

Although within today's contemporary dance community stands a broad spectrum of stylised movement, there are still certain aesthetics that may be subjectively viewed as either ugly or beautiful. 

Other choreographers that are also being used for inspiration to the movement vocabulary within the film include Merce Cunningham, Martha Graham and Richard Alston in their use of strong lines and use of the arms as well as other choreographers such as Matt Cady, Nigel Charnock and Ian Eastwood whilst looking at smaller  gestural movements.

Within the choreography of this dance film the ugliness or beauty of the movement is something that is looking to be challenged, as this shall be viewed by those who may be accustomed to viewing contemporary dance and those who may not be accustomed to modern dance language which may influence the way in which some viewers perceive the film as possibly grotesque or perhaps stunning.

This same outlook on the the movement vocabulary shall be maintained during the contrasting dynamic movement, as not only shall large, strong shaped be visible, but also smaller quirky gestures. This diverse nature of the vocabulary shall enable an overall visually challenging piece of choreography assisted by the use of variety in camera angles and edits.

One of the issues faced whilst choreographing specifically for the camera however includes the notion of the technology aided movements, including a re-arrangement of the choreographed movement phrases. This alone is an interesting experiement, but also has to be kept in mind whilst choreographing dance phrases as so they can be open to technological alteration.

The choreography to be shown within the film is currently being choreographed within small sections, each of these sections although stylistic have a clear link do not necessarily merge together to create a constant flowing movement phrase. This is due to post-production and further editing that shall take place in editing that movements creating a sporadic and non-conventional viewing of dance where in which movements may not necessarily move into one another but be completly separate in time and space.

Author's Note

I have chosen to work in two ways whilst choreographing; one being the conventional, choreographing a phrase of movement, but then watching it back on the dancers from a variety of angles to see which camera angle and framing would work best for a particular movement etc. The other being creating movement with specific camera framing in mind, which therefore allows precision when notating this onto a story-board and later whilst editing. I find both methods work well, however my preferred method would be the second as this gives me the immediate decision, and when it comes round to shooting shall hopefully result in a less time-consuming process in filming and of editing however this is found more difficult to do in terms of the big movements and jumps as it is more appropriate to use whilst  filming smaller gestural movements.