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.

The complete film

Radiant Baby Manifest

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

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]

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.

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.

CORNERED

As discussed previously the use of camera and edits within dance film allows the creation of something adverse from reality. This is epitomised within Michael Downing's 1997 film Cornered which has stylistically been the key influence and inspiration into the filming and editing planned to be explored within the up-coming film for this project.
Cornered, a fast-paced, high contrasted black and white film features a solo female performer dancing within a corner of a white-walled room. Clever camera angles and sharp edit choices create the illusion of a small box like shape in which the performer is trapped. Due to the combination of choreography, camera angles and edit style the film creates an interesting aesthetic - confusing and disorientating the viewer alongside the accompaniment of strange scratching sounds gives to the overall nature of the film a post-modern surrealism.

Due to copyright reasons an extract of Cornered may not be shown within this blog, however the influence for the film Cornered being the famous dance sequence from the 1951 film Royal Wedding featuring Fred Astaire is shown below depicting Astaire appearing to dance upon the ceiling and walls of the room in which he is located.

Source:

• Video: SneakyGuy55, 2011. Fred Astaire - Royal Wedding (1951) - The Famous "Ceiling" Dance. [video online] Available at: <http://www.youtube.com/watch?v=0GNGDe4uNjQ> [Accessed 30 April 2011]

WHY FILM?

The initial intentions for this project within the FYP module began as the conventional live performance within a traditional theatre space, followed by a viva ( spoken presentation/interview on the subject of the performance and methodologies used in creating the choreography).

However due to the choreographer's prior enjoyment during the experience of creating a dance for the camera film (within the Dance for The Camera module as part of the Choreography & Dance course), alongside thier personal interest into cinematography and film work it became a clear decision that the choreographer's final work at University should show this in combination with their choreography.
Dance for the Camera, or Dance Film is a widely acknowledged form of dance performance, as over the development of technology choreographers have looked to new and different ways of showcasing their choreography. Many choreographers and collectives from Merce Cunningham to DV8 Physical Theatre have used them medium of film to explore new pathways in producing work, not only as a creative outlet but also in distributing their works globally.
This has become an increasingly popular way of publishing new productions and up-and-coming choreographers as due to the growth of the internet and video-sharing websites such as YouTube and Vimeo serve as a database for film and dance film alike as any number of persons may upload a video. Within the context of dance video this ranges from recordings of live performance, documentaries, workshop footage and fully produced dance films.
Through the form of video-sharing website the work produced for this module may be viewed by a number of people located across the globe, opening not only the work of the choreographer to a wider audience, but also introducing the works of Haring and contemporary dance film to a wider audience emphasizing Haring's work in introducing art to the masses.

The choreographer for the film Radiant Baby Manifest is also the sole director and editor of the film, this allows complete creative control which alone shall generate a different viewing experience as each of these elements are gleaned from the same creative source, allowing a unified vision for the film as not only is the choreographer enabled to form the structure of the dance, but also in the choreography of the camera and in the editing of the film.
This form of dance for the camera as apposed to live dance performance (or a standard recording of live performance) allows the choreographer great control as to what the audience is viewing, whether the entire movement is exposed or if a certain camera angle/edit choice dictates that only one element of the dancer's body shall be viewed.

"...it meddles with the accepted reality of the human body in relation to the world as it offers something more slippery, more magical." 

(Jowitt, 1989., pp156)

Author's Note

I hope that by allowing any person who wishes to read this blog and view the film I will have enabled this notion set by Haring's work ethic of 'art for all' to be opened into the dance community. Why not take this opportunity whilst at University to create something different?