Team X Eclipse DC

Hello there, over the past 3 years since completing this project & graduating I have been working with my dance company Eclipse DC on various projects including performance pieces, & most recently on a short video. The inspiration for this came in the form of popular musical films such as West Side Story & Grease, but with a slight modern edge. This is the first of a few projects we are working on at the moment, so please stay tuned.

I would like to thank the members of Eclipse DC for their hard work and patience during the choreographic and filming processes as this was done in a relatively short amount of time. I would also like to thank Chloe B-S for her assistance in shooting, as it's quite tricky for myself being both behind & in front of the camera!

I cannot believe it has been two years since this blog was first published and 'Radiant baby manifest' was made. Thank you for visiting the site and for the support. Above is the short edit of the film.

'TWO DANCING FIGURES'

[untitled] 1989, Painted Aluminum sculptures by Haring displayed in Lower Manhattan. 

Source: NYClovesNYC

NEWS: HARING IN BROOKLYN

I have just come across some great news - that a new exhibition of Keith Haring's work has opened in the Brooklyn Museum, New York 

and will be showcasing some of Haring's work from 1978-1982.

If you are in the area I would recommend taking a look at this exhibit which is 

open until July 8, 2012.

For more information please visit the Brooklyn Museum website here.

Click here for NYC(loves)NYC blog for photographs and more information about the exhibition. However I suggest that if you are at all able to attend the showing in person please do so as experiencing art up-close and in the flesh is an entirely unique experience, and completely different to viewing work through a computer screen!

NEWS: UPCOMING SCREENING OF RBM

Radiant Baby Manifest (RBM) shall be screened at Bournemouth Pavilion Dance Centre on March 1st 2012 as part of 'Fused' Dance Festival.

"With a mixed bill of dance, film and new media presented by students from Bath Spa University, Bournemouth University, Bournemouth University Foundation Dance Degree and University of Winchester, Fused is an exciting opportunity to see new work from the next generation of choreographers, film makers and dancers. 

The evening showcase will follow an afternoon of practical workshops and careers stalls led by the universities on how to progress in the dance industry." (pavilliondance.org.uk)

For more information and to book tickets please click here.

It would be great to see you there - please don't hesitate to say hello and ask any questions!

UPDATE & AUTHOR'S NOTE

It has been 8 months since Project KH came to it's official end as a University Project. Since this blog began in December 2010 this blog has received over 2,000 hits from countries all over the globe. I thank everyone who has helped in the forming of Project KH, and to the lecturers and staff of the Choreography and Dance department at the University of Winchester for their encouragement and support.
As stated in my proposal for this project, this blog and accompanying videos shall remain online for all to see for the foreseeable future.

The 'promo edit' of Radiant Baby Manifest is now available on Youtube on my new channel which shall display my new and future dance works and choreography.
For up to date information and news on projects, classes and workshops please 'Like' the Amy Bevis-Smith Choreography page on Facebook.

MANIFESTATION COMPLETE

The journey showcased throughout Project KH has been challenging and a personal development into the way in which choreography is created and performed.
At the turn of the twentieth century contemporary dance was shaping a new and exciting art form that gave audiences fresh and innovative ideas as to what dance could possibly be. Today contemporary dance (among other genres) continues to develop, and through the use of modern media this same art form can continue to push boundaries and excel what has previously been set by past practitioners. 

Through the use of the dance for the camera medium new techniques in creating choreography both through the use of movement and the choices within the camera and edit work were explored. 

Through the use of modern technology in the form of film and online blog this project has sustained it's original intentions of relinquishing the formality of traditional conventions of dance performance, allowing persons around the World the chance not only to view the work a multiple of times, but also make their opinion of the work known allowing a forum for the discussion of contemporary dance and art. 

Author's Note

I believe this project to have been a success in terms of the process and outcome in the result of Radiant Baby Manifest, however this project continues to expand as more viewers from around the world discover Project KH and what it entails to both the works of Keith Haring and the processes undertaken in creating an original contemporary dance film. This blog shall remain online for the foreseeable future and continues to encourage those to discuss contemporary art, dance and film and proceed to develop these mediums further in allowing all persons the opportunity to observe and hopefully inspires to create.

I would quickly like to thank a number of people in giving help and guidance in the forming of this project as without your guidance an reassurance it might not have been possible!: Anna-Lynn Gregoire, Emma Gotts, Samantha O'Reilly, Suna Imre, David McCormick, Debbie Lee-Anthony, Habib Ouro, Carole & Leslie Bevis-Smith.

The complete film

Radiant Baby Manifest

by Amy Bevis-Smith is live and available to watch here.

PREMIERE

Author's Note

Radiant Baby Manifest was unveiled to the public earlier this week during the showing of the Choreography and Dance student's FYPs. The complete film had not been viewed by any of my peers (with the exception of the three dancers performing within the film) family or lecturers, so needless to say it was certainly a surprise for those within the audience who had not been informed of the context or given any clue into the style of the film. This was aided by the accompanying programme notes in which I chose to give nothing away by choosing to cite a quote from Haring taken from his interview in Bordeaux magazine (1985), and the address for this blog as if the audience wished to know more about the context of the film they may find every detail online.

This was a nerve-wracking experience personally as this was the moment in which the hard work and effort applied within the making of the film came into fruition.

Prior to the performance the technical rehearsal had not gone so well as the format in which I had exported the film chose not to play within the equipment of the performance theatre. Technical support was called to help fix this problem and various matters with hard-drives and codecs resulted in reconfiguring the entire film! I would especially like to thank Corin Evans-Pritchard and Jon Morgan for their help and patience - as without their help the film may have never been shown. Unfortunately whislt working alongside cameras and computers technological difficulties is to be expected, however as technology continues to develop this may hopefully become a thing of the past.

Once technical difficulties had been overcome the film was premiered to the small audience. I received much positive feedback from fellow dance students with many commenting on the films' uniqueness as this is something (to both their's and my own knowledge) that had never been shown before, and that the production of a dance film is something that they wouldn't know how to go about creating. Hopefully with the help of this blog those who may be uncertain of how a dance film is produced may look to this project and through looking at my process and methods be able to be inspired to create and produce their own film.

RECAPITULATE

As previously stated the editing process into Radiant Baby Manifest has consisted of fine edits of various sections of the choreography.
During further fine editing of these sections it was chosen to explore further ways in which the viewer may be disorientated whilst viewing the film. Taking particular inspiration from Cornered the image was distorted and flipped up-side-down in particular frames, as well as experimentation into reversal of footage was toyed with. Footage was also altered by the speed and duration of playback, however whilst compiling each of these effects alongside sharp-fast moving edits it appeared as though too much for the viewers eye to take on, and although the desired effect of distortion and confusion was apparent, it soon became near impossible to view the choreography itself.
Each of these effects were used within the final film,however were used sparingly in order to enhance but not over shadow the choreography and camera work, as it was not the intention for it to appear as though post-production was used in order to compensate for lack of substance within the choreography.

SHOOT

Throughout the editing process it has become apparent that within the second duet (featuring dancers Anna-Lynn Gregoire and Samantha O'Reilly) that the variety of camera angles lack in comparison to the other sections within the film. The existing footage of this particular section of the choreography is arguably sufficient in order to complete this phrase of the film, however in order to maintain the same level of edit and overall aesthetic in the continuity of the film it is felt that further shooting of this section is required.

EDIT PROCESS

Compiling and editing for the final film Radiant Baby Manifest is underway as choices are being made into the overall aesthetics of the film.
The entire footage to be used has been shot using a Nikon D7000 DSLR, in High Definition (1920x1080, 24fps) in full colour and edited using Adobe Premier Pro CS5.
Sections of the choreography are currently being edited separately; this allows concentration on smaller sections of the film to be applied giving opportunity for fine detailed edits to be applied with ease. Similar filming and editing style is apparent throughout the various sections of choreography creating a cohesive stylised result within the overall viewing of the film.

Throughout a number of the sections of the choreography (six in total) each of the dancers were filmed performing the choreography separately within the space, it is now through the use of the edit they may form together by inter-performer edits where upon each of the editing choices are formed not only by variety in multiple camera angles and set alterations (by adjustment of corner angles), but also of constant variety between each of the three dancers.
This element allows further abstractedness in the film and alludes to the possibility of unity and oneness of the three dancers.

Each clip used within the edit has been altered as so it creates a high contrast black and white image (similar to that seen within Michael Downing's Cornered) which also enables the notion of the dancers becoming an element of the designed space aided by the costume and set design. This enables a clear visual link between the film and the Leibovitz portrait in which the visual inspiration to the film was initiated.

As edit choices are made to sections of the choreography, montages of still images (dancers filmed in a still position as opposed to photographic images) are also being compiled as means for an introduction into the film itself. As these edit choices into the visual element of the film are under-way the audio accompaniment to the video is being edited coincidentally as so the music fits exactly with the edit and pace of the introduction. This is in contrast to the rest of the film in which the video footage is edited in conjunction with the musical accompaniment in the form of Yelle's Safari Disco Club in order to cohesively flow with the music allowing the overall high-energy music and film to make a high impact on the viewer.


Author's Note
Editing and compiling of the film is well under-way, and although this may be a long process it is certainly interesting to see what the tools of post-production has upon viewing the same original footage.

CAPTURING

Due to the completion of the set & costume, filming for the final film is well underway. The filming process itself is relatively straight-forward as each of the various aspects that go into the filming have been planned in advance.

Each section of the choreography is filmed at a time, one dancer per time whilst constantly arranging the camera (& tri-pod) by the according angles needed for particular shots. This was again done using the same method employed during the edit experiment by using a variety  of  camera angles in producing wide shots, and shooting specific close-ups required for particular movements and gestures within the choreography.

Throughout filming the set has been used to re-create the space by re-arranging the angles and corners the four panel form creates, this gives a wide variety and diversity into the general aesthetics of the film and may lead the viewer to feel disorientated by this seemingly endless, constantly morphing space.

Shooting film in this way; one dancer at a time, with many angles and changing space is an extremely long process and where it may not be the most direct form of shooting dance for the camera it allows the choreographer the freedom to explore the use of the camera to portray different elements of the dance and gives many opportunities during the editing process. The time taken during the filming process may have also been cut down through the use of multiple cameras, however as this equipment (in the form of HD filming) has not been readily available - therefore this has not been possible.

Throughout the filming process, with the use of a digital SLR (in which this entire project shall be filmed) the use of adjusting focus, and range in depth of field has been experimented with in order to create a further detailed testing into how the use of the camera may alter the viewing of the dancers within the space; for example through a highly unfocused lens the dancer clothed in the graphic black and white costume against a similarly decorated backdrop may blend into the scenery and appear almost invisible. This ultimately leashes a completely different aesthetic into the film creating a new dimension of the film.

Further filming of the solo section (featuring dancer Emma Gotts) is yet to be filmed, alongside various stills. These stills shall be used throughout the video in order to break any stability and apparent flow within the film which shall result in the viewer unsure of what is to come.

MUSIC

The accompaniment for any dance work is essential not only in the overall viewing of a piece, but also during the creation of the choreography.

When initially choreographing  Junior Vasquez's 'The Artist Speaks' was used as an accompaniment as this was felt to be at the time the perfect soundtrack for the film as not only does the track feature up-tempo  heavy dance/club rhythmic beats, it also featured Haring himself speaking (audio clips from archived interviews etc) layered onto the track creating a further link between the choreography and Haring. 

As the choreography developed and certain sections of the choreography featured slower quirky movements it became apparent that 'The Artist Speaks' although was a great track, lacked in some areas in what was desired as an accompaniment to the movement that was being created. 

It was then that whilst searching through youtube a french band Yelle presented themselves with a strange futuristic sound in the song 'Safari Disco Club'. On listening to the first few bars of the song featuring quirky beats, it was clear that this strange and futuristic sound was the perfect partner to both the movement and overall feel that is intended of the dance film. 

For this particular project the music for the dance had to fit entirely with the concept of an avant-garde, and strange aesthetic it was felt 'Safari Disco Club' did- however it was in fact the instrumental and not lead-singer Yelle's vocals that were desired to be used as the vocals initially were felt to be too distracting.

Unfortunately an instrumental version of this song is not currently available (due to it not officially being released within the U.K.) however with the use of audio editing software chosen beats may be looped and edited in order to fit the choreography perfectly without the use of the vocal melody.
On further listening it is felt that Yelle's french tongue may in fact not distract too greatly a predominantly English speaking audience as they may not read into the lyrics and find meaning within the film during viewing, and may only intrigued into what the lyrics could possibly translate as.

Intrigued into the meaning behind the French lyrics sung within the song research into the English translation revealed that it is in fact a perfect choice for the project as the translation reveals the lyrics themselves do not make particular sense!

Abstract lyrics talk of animals dancing in a disco, poisoned apples and helium may be easily interpreted as hallucinations as a result of drug taking. The surreal lyrics mirror the visual elements of the film in the set, costume and choreography and further adds to the abstract art of the film.

Below is an  English translation of Yelle's lyrics to 'Safari Disco Club':

Verse 1

Can you see me flying away?

From up there I see you dozing off

Hang on to me, It's crazy

What we see from up here, I promise you

Chorus

Animals are dancing in the Safari Disco Club (x4)

Verse 2

I want to try everything, I want to taste,

Know how sinning tastes like

Have a bite of your poisoned apple

I'm fainting cause of helium, it's on

Click to listen to 'Safari Disco Club'

Sources:

• figure1: Anon., 2011. Safari Disco Club (Single cover by Recording Artists Yelle) [Digital image] Available at: <https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-ash1/167881_10150125638265639_8906685638_8342470_1222251_n.jpg>  [Accessed 22 February 2011] 
• lyrics for Safari Disco Club: Talesy, 2011. Safari Disco Club, Yelle: French- English. [Online] Availble at: <http://lyricstranslate.com/en/safari-disco-club-safari-disco-club.html> [accessed 22 February 2011]

SET & DESIGN

Development and creation of the set to be used within Radiant Baby Manifest

The creation of the overall aesthetics in the set and costume to be shown within the final film Radiant Baby Manifest is an essential aspect of the film much as the choreography and edit is, using Valarie Preston-Dunlop's idea of Nexus this project aims to use an integrated form where in which the set, music, costume, choreography, camera work and editing all work as one to create a cohesive project.

"There has to be a relationship between the parts" 

(Horst, L., 1958 cited in Preston-Dunlop, V. 1997 pp.533)

-in conjunction with Preston-Dunlop's theory of the Nexus within the creation of dance performance the relationship between the 'parts' (i.e. set, costume, music, choreography and the use of the camera and edit) has the clear link of Haring and his work. Both the imagery used by Haring displayed within the set & costume design to the political commentary and social elements of his work displayed within the choreography, use of film and the purpose of this very blog.

This piece is ultimately influenced by Keith Haring and his artwork. As without the visual influence of Haring's work this Project would not have the aesthetic quality and vision employed by the creator at the beginning of this Project. The vision into the costume and set design within the film has been to interpret the portrait of Keith Haring by Annie Leibovitz and pay homage to the iconic work of Haring. This particular imagery submerses the dancers within the setting creating an interesting challenge into how the choreography shall stand alone against such a busy background, in turn allowing the viewer to be challenged and filled with such a rich visual image.

The set was created (as planned) by using a frame structure, in which white canvas was then stretched across and painted with a Haring-esque design. The design was painted free-hand, and whilst references to Haring's work were used throughout it must be stated that this is in no way an attempted direct duplication for one or more of Haring's works (with the exception of the 'Radiant Baby' figures).

 The Set ©2011 Amy Bevis-Smith

The costume for the dancers was created by drawing a black graphic design, inspired by Haring's Body Painting work (1983-84) onto white sleeveless Lycra unitards. Together with the set design the strong visual Haring influence can be seen clearly. 

Anna-Lynn Gregoire & Emma Gotts on set for RBM  ©2011 Amy Bevis-Smith

Author's Note

It now feels as though this Project is coming together, as once you see the image of the dancers in the space it becomes a reality rather than just a vision trapped within my head. Originally I had wished for full sleeve unitards to be worn, however as these were not available to me I have chosen to compromise with sleeveless unitards. I still however feel that the desired aesthetics in the set and costume have been reached regardless of minor details such as sleeves! Creating the set & costume has taken allot of time and hard-work, something that as a choreographer and dancer had not had to think about to this extent in the past. I would like to thank Leslie Bevis-Smith for taking the time to create the frame structure used within the set, as if it were not for his hard-work this would have not been possible.

"I don't think art is propaganda; it should be something that liberates the soul, provokes the imagination and encourages people to go further. It celebrates humanity instead of manipulating it."

- Keith Haring (Couderc, S. and Marchand, S., 1985)

STUDIO TIME

Within the video (above) short snippets of the final choreography can be seen as the dancers rehearse together. The rehearsal footage has been shot 'wide' as means of evaluating both the choreography itself and how successfully the choreography has been embodied by each of the dancers individually. 

Through detailed analysis of the original footage it is noted that certain sections of the choreography need further work and development in order for the execution of the choreography to equal the articulation of the camera and edits within the final film. (This however may not be apparent to those unfamiliar with the original choreography whilst watching the above video.)

The video displayed above, in no means reflects what the final outcome of the film shall be as not only has it been shot wide; whereas the film shall consist of a series of close shots and variety of angles (as shown here), each of the dancers shall be shot separately performing the same choreography and it is through the edit  that they shall be brought together. 

This clip is to give an insight into studio practice, the development of the choreography and to display certain sections of the choreography without revealing too much into how the final film shall appear.

Dancers: Anna-Lynn Gregoire, Emma Gotts & Samantha O'Reilly.

NO EVIL

Ignorance=Fear,Silence=Death  Haring, 1989

As briefly mentioned within the introduction into Haring’s work, Haring featured many political and social commentaries within his work. This ranges from the election of President Ronald Reagan to a light hearted campaign ‘gays against facial hair’ (in which he is said to have stencilled this slogan upon buildings across New York).

Throughout his career Haring’s work featured issues such as the use of drugs, sex, life, death, pollution, war and the AIDS epidemic. 

Particularly after Haring’s diagnosis of the AIDS virus his work  built upon creating an awareness for the public to the issues surrounding HIV and AIDS. Working alongside ACT-UP the AIDS activism group, Haring created the slogan and logo “Ignorance = Fear, Silence = Death” (above) featuring three figures; one covering eyes, the second ears, and the third the mouth referring to the well known ancient Japanese proverb of the three wise monkeys who "see no evil, hear no evil, speak no evil". Within his interpretation of this ancient proverb Haring refers to Western culture's interpretation which widely is used as means of referring to those who may deal with evil or impropriety by not acknowledging it or feigning ignorance.
This same interpretation of the proverb of the three wise monkeys shall be used within the final film Radiant Baby Manifest through the exploration of semiotics.

The study of semiotics (or semiosis) is the science and theory of signs and symbolism and the analysis of systems of communication such as language and gestures,  Professor Gary Shank of  Duquesne University defines semiosis as the process of rendering our world as meaningful and significant (Shank, G., 1995).

Within this particular medium of dance the language used being a non-verbal form instantly falls into a question of interpretation and semantics. Therefore a clear, calculated methodology in creating movement vocabulary should be used in order to communicate clearly the intended theme of ignorance in relation to the proverb of the three wise monkeys.

Gestural movements featuring the dancers covering their eyes, ears and mouths for example create a strong image that holds clear relation to the proverb. However it shall be the movement surrounding these gestures that shall create force in interpreting the overall theme of the film. 

Whilst viewing dance and art the audience is enabled to make an informed interpretation of the contents or meaning of the work due to the display of vocabulary of the language used (whether this be textual or physical). This usually is displayed through the use of a repeated gesture/movement/word and through it's repetition becomes significant and holds stronger meaning. 

Within the choreography the motifs used in which dancers cover the eyes, ears and mouth shall be repeated and developed in order to hold the strong symbolism of the proverb of the three wise monkeys and Haring's Ignorance=Fear. 

Sources:

• figure1: Haring, K. 1989. Ignorance=Fear [Poster] Available at: http://www.haring.com/cgi-bin/art_lrg.cgi?date=1989&genre=Editions&id=00253  [Accessed 22 January 2011] 

EDIT EXPERIMENT

This short video is an experiment into the style of shooting and editing that will be shown within the final film. The section of the choreography displayed within this video (that shall be seen within the final film) was devised with specific camera angles in mind for particular movements. For example isolations of the head have two close-up camera framings, from contrasting angles in order to enhance that particular isolation of the body. This is done for other smaller, gestural movements including the flick of the hands, or peeling of the feet.

A brief guide into what angles the choreography should be shot from.

These particular gestures and isolations were shot individually, alongside the whole body of movement being filmed from a number of wide angles in its entirety. This was done as an experiment into what particular camera angles worked best for specific movements, this would be selected through the editing process and upon playback be decided which shots are to be used. 

This particular method of editing, although may have not been executed in the typical story-board and shoot way of filming was an interesting experiment into how the final film shall be shot, and a way of establishing what shooting and editing techniques shall be employed in the creating of the film.

The video has also been sped up, as means of experimenting and looking further into how added effects upon the footage can change the entire viewing and interpretation of the choreography, this not only changes the dynamics of the choreography alongside the quick edits but this also allows the movement to fit seamlessly with the accompaniment creating a driving yet interesting viewing. 

Author's Note

Apologies for the messy background within the video, this shall clearly not be the case within the final film- hopefully this doest distract you from viewing the choreography! 

What are your thoughts on the video? Do you find the choreography alongside the quick edits interesting to watch, or perhaps does this form of editing it too much to take in and possibly distracting from the choreography itself? Please feel free to post your thoughts below within the comments box.

Dancer: Samantha O'Reilly

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.