The overall realization I have had about my relationship with dance is that it stems from very technical thinking. I have also realized that my movement is heavily driven by momentum. Outlined below are the different ways I interact with watching dance, learning dance, choreographing dance, and embodying dance. Through all of these things lies a common trend. Continue reading “Analysis–Personal Movement Attention”
In the first four class assignments, I found that I struggled mainly with the process of making material and the assignments involving the fast 5/8 time. I tend to have a lot of trouble composing movement in general. This is not because movement is hard to make—I’ve certainly learned these past few weeks how much movement can truly come from just a little material—but rather because I am a very technical thinker and I therefore often go about composing in too difficult a manner. However, the instruction given to leave out the preciousness in making material really helped me along. Continue reading “Challenges Faced in Composition Studies”
In Freshman Seminar, we had the task of interviewing dancers from around the country and world and giving an oral presentation on their lives as artists. My partner Grace and I had the pleasure of interviewing Lisa Kusanagi. She was an absolute joy to talk to, and the conversation flowed quite naturally, which was exciting. Continue reading “Global Dance Community–Lisa Kusanagi”
For my documentary, I wanted to choose a topic that was important to me and something that I felt other people should hear about. Something that was introduced to me this year was the quite large refugee population in Columbus. Having grown up around here my whole life, I was shocked to find out that there was government land set aside right in Columbus for the refugees who have come from many different countries to escape some sort of persecution or danger. Because I had never previously been there or heard anything about it, I did not even know this community existed in Columbus. My roommates got involved working with individual refugee families over Christmas break, and since then, I have heard many a story about the times spent with these people. Continue reading “The Central Ohio Melting Pot”
In the Vertical Dance Short Documentary about the Danza Verticale Il Posto company and the concepts and inspirations behind it, I noticed many interesting techniques. First of all, the entire documentary was made up of B-roll.
Most of the B-roll was of the dancers practicing or performing, however there were also shots of a harness being put on, the structure of a building, music being worked with on a laptop, and even a shot of rocks to help represent how the voice of the film is inspired by the stones in a building.
The process of creating my dance film was pretty exciting for me. Going into it, I did not have much of a theme or storyline. When brainstorming, I decided that it might be cool to have a stationary setting and overlap multiple takes to create more than one of the same person in that location. I originally planned to film in the Barnett. I thought it would be cool to set the camera up facing the seats and record multiple Emilys dancing among the stationary chairs (perhaps an idea I can use in the future). However, there was rehearsal going on in the Barnett so I had to choose another location. I decided instead to film outside of the Wexner Center among the white pole structure. Continue reading “Dance for Camera, Take 1!”
In the dance film, Rosas danst Rosas, the dancers definitely have a relationship with the camera and therefore the viewer, but it is not always their focus. The dancers know that the camera is there and look directly at it at times, however there are times when they are facing the camera but not looking right at the viewer—they’re looking somewhere else and the viewer is closely observing. This creates an interesting dynamic because the audience is very drawn in to the up-close action of the dancer, but they see that the dancer is not completely engaged with them—rather, they’re in their own world (often with their eyes downcast). Then, when they do look directly at the camera, it draws the viewer in even more. Continue reading “Analyzing Dance Film–Rosas danst Rosas”