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Dance Journal_Week 11.docx

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THTR 1120

Week 11 11/20/13 Body Reflection This week in dance class we began preparing for our end of the year group dance performances (for our class’s eyes only). Truthfully, I was very confused about the whole process and my group kept trying to create more aspects of the dance than we were supposed to. For example, when we first started, we were trying to choreograph movements and special positioning when we were only supposed to be creating movements. I am sure we were not the only group that had trouble with this. I did really enjoy and had fun with the randomness with which the criteria for our dances was given. My group’s adjective we had to create movements for was fear and our focal body parts were the butt and wrist. At first, we had no idea how these body parts could produce movements which inference fear, but after spending the hour of class thinking and creating, I began to see just how influential the butt and wrist are in movements which occur when a person is afraid. This exercise really opened my eyes as to how body parts and certain movements with them can relate to emotions. After each creating a four-count of movement corresponding to our designated body parts and emotions, we then collaborated with another group to structure out our spatial patterns for our dance. This was harder than I thought it would be because, as a creator of another groups movement, we had to think of every minute detail in their movement; where each person would be, what direction would their body be facing, which way they would be looking, etc. It was a lot to think about and create but I actually enjoyed directing the other group. Week 11 11/21/13 Reading Response: This week in MHDC we read “Simply (?) the Doing of It, Like Two Arms Going Round and Round” by Susan Leigh Foster which, through the analysis of work from two notorious choreographers, Arnie Zane and Bill T. Jones, examines the significance of even the smallest choreographic decisions within a dance or performance. Zane and Jones’ style emerged after contact improvisation and was more focused on discovering the movement capabilities of singular body parts, rather than the entire movement of the body. This is very similar to what we did in class on Wednesday where we created dances emphasizing two different body parts and with respect to one emotion: I am assuming this is not a coincidence, however, I do not remember you saying anything about styling our dances after Zane/Jones. One part of this reading that I did not agree with (or maybe was confused enough not to understand) was when Foster said the poses and style with which Zane and Jones choreographed their dances, “never tell a story; they do not depict the narrative dialogue between the dancers. They sometimes implement the body’s conventional codes so as to depict: ‘I’ll give you a hand’ or...’You surprised me’…” How is depicting things like “I’ll give you a hand,” or “You surpr
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