Research - Individual
INTRODUCTION
COLLABORATION INSPIRATIONS
Bauhaus: Art as Life:
The Berlin-New York exhibitions, ‘Art as Life’ was the result of a close collaboration between the three main Bauhaus institutions in Berlin, Dessau and Weimar. This partnership was clear in the brilliant range of more than 400 objects on display, as well as the contributions from many German experts associated with these institutions in the catalogue.
One of the displays that really caught my eye was this one that incorporated different hand gestures. The squared images reminded me of how we are presented to one another on zoom during our classes, so I think it we would be able to try this out for ourselves.
The Guardian also wrote an article around the exhibition too. I have attached the link if you would like to give it a read.
https://www.theguardian.com/artanddesign/2012/apr/27/bauhaus-art-as-life-barbican
Klaus Rinke: Time, Space, Body, Transformations:
Klaus Rinke is a German artist who has explored artistic means such as paintings and sculptures, however now focuses on body art and the movement of the body.
This is similar to the first piece of work I talked about, however I also like the idea of trying this out with the whole body, as well as one specific body part. Again, his work is captured in a blocked image like our zoom calls, therefore we could use this as inspiration to make our own.
This link gives a brief description of him and his work, and it also shows some more pictures of the art he has created.
----
COLLABORATION THE USE OF MUSIC
In our ongoing collaboration works we have considered using different music for many pieces of our work.
In the Duet/Trio/Solo pieces the group talked about using varying types of music which included but is not limited to:
Instrumental/classical
Movie/Tv show
From different eras specifically eg. 80s, 60s, 2000s
With a specific beat or upbeat melody
----
I can think of many instances where the soundtrack has been integral to a piece of performance/media. This is perhaps best displayed in movie soundtracks.
An example of this can be found clearly in the soundtrack to Guardians of the Galaxy, one of the more recent examples of unlikely songs coming together to create an iconic soundtrack.
All are great songs in their own right, but when put together in the film(s) they create an atmosphere and set the upbeat, quirky tone for the franchise.
I’ve linked the playlist below:
https://open.spotify.com/playlist/6gpWjVtsc8imA8DYgvOxlq?si=rrh57TVmRyer8KCJDK0Ktg
Many films since have tried to copy this idea but have had less success, most notably in the same genre, Suicide Squad (which is a problematic film to begin with) has some good songs included but fails to provide the same vibe and pay off that Guardians does.
On a more dance/performance related note, The Royal Ballet and the National Ballet of Canada, created a ballet that was performed at the Royal Opera House entitled ‘Alice’s Adventures in Wonderland’ which features varying styles of dance as well as a complex orchestration to match.
It’s a great production and has some very useful interviews and performances on youtube to access, it’s quite a step away from conventional ballet in places.
I’ve linked the website below as well as a YouTube clip of the trailer:
https://www.roh.org.uk/productions/alices-adventures-in-wonderland-by-christopher-wheeldon
https://www.youtube.com/watch?v=CXONhMCk4Wk
This is also the link to Joby Tabolt who orchestrated Alice, and his spotify profile which includes his other works:
https://open.spotify.com/artist/6HEynH0LkoBhVStL2cDeF5?si=X--MPodYQDikUHBzFrKtzQ
Instrumental music is often unnoticed in Films, TV and performance but it’s used a set a tone and ambience in the background of scenes and is supposed to be complementary and relevant without being so explicit that it’s all you can focus on.
Two names that comes to mind when I think of the concept:
Ludwig Goransson
Blake Neely
I know Goransson’s work from the TV show ‘Community’ but he has worked on an extensive amount of films and TV shows.
This is a link to his spotify profile:
https://open.spotify.com/artist/24eDfi2MSYo3A87hCcgpIL?si=5uMTXu_IRAyq0lK0VNJVlQ
Neely has also worked on the scores for many projects but I know his work from ‘The Flash’ and the extended Arrowverse.
With my personal favourite piece from him being this (linked below) from the episode ‘Duet’ from ‘The Flash’.
https://open.spotify.com/track/3V5coHADev1t4MbV6N9A0a?si=Nyu1AH4uT6iuJYm76WNqnQ
This is the link to his spotify profile:
https://open.spotify.com/artist/4UOzqO0jZUrTiTunfBw4tp?si=iNqW272-QQK84r79-BnoeA
----
CHOREOGRAPHERS (DANCE) AND COMPOSERS (MUSIC)
COLLABORATION
When we think about music and dance together we usually associate this with music videos, with the song often being the focus of the piece and the dance simply complementing the song.
However evolution in the music video scene has led to dance being so much more than that. It's there to tell a story.
I can think of a multitude of examples of this, they include:
https://www.youtube.com/watch?v=kRAPxo59EbU
The choreography in the music video Boys like you by Dodie (linked above) is perfectly matched to the narrative of the song. The video includes the artist herself who is a talented dancer in her own right, as well as a number of other dancers. And a great mix of partnered dancers in the background of a scene which is representative of a number of relationships, inclusive of the LBGTQ+ community.
https://www.youtube.com/watch?v=j9DnUII28fI
Tattoos Together by Lauv (linked above) has some great dance incorporated into the upbeat music video and it's setting in a singular street makes for an interesting narrative. *Please be aware this song/video includes explicit words/content*.
I could also liken this setting to the one used in The 1975s Sincerity is Scary video, I will link this below. The choreography in this video is also very unique, whilst still clearly drawing from various dance styles. *this also includes explicit language*
https://www.youtube.com/watch?v=1K93ioXL63c
Delicate by Taylor Swift is a good example of the story being told through dance in a more interpretive way the dancing starts at about 1:30 in the video. I've linked it below.
https://www.youtube.com/watch?v=tCXGJQYZ9JA
Dance is also used as a storytelling device in other forms of media like TV shows and Films, some wonderful examples of this I've linked below:
The group dance scene from The Umbrella Academy
https://www.youtube.com/watch?v=TVxBmXz5QGs
This scene introduces us to the characters and their personalities in season one episode one of the series. The shots (different scenes within the duration of the song) focuses on each character individually and shows their movement progression throughout the song. The final shot of the song goes wide and incorporates a sort of dollhouse effect as we see each character in their respective areas of the house completing the dance.
It's also worth taking a look at the 'Dancing in the Moonlight' scene from The Umbrella Academy as the choreography is very visually and choreographically interesting. I can't find it on youtube to link it, but it's on Netflix, Season one episode six 46:30.
Being a musical TV show I could include many scenes from Crazy Ex-Girlfriend, however although all of it's numbers are choreographed some stand out more than others. I've linked them below but please be aware that it is a more explicit show (although only being rated a 12) and deals with some complex subjects. It's also worth noting that the show has earned Emmys throughout it's run for both music and choreography amongst other things. There are many clips on youtube of songs/performances from the show on Rachel Bloom's channel (the co-creator of the show) and the series is also on Netflix. The shows choreographer is by Kathryn Burns.
CXG Emmy List:
https://www.emmys.com/shows/crazy-ex-girlfriend
Video Links:
https://www.youtube.com/watch?v=Xs-UEqJ85KE
https://www.youtube.com/watch?v=wmbLB4OIuao
The TV show Dynasty has a very talented cast so it wasn't surprising for them to release a musical episode. However the songs matched with the dancing and acting compliment one another perfectly. I've linked one of the numbers from the episode below, but the series is on Netflix and the episode is Season three Episode four entitled Something Desperate.
https://www.youtube.com/watch?v=iO8yPminSlc
Also worth noting, musical episodes in shows are quite a common trope other iconic examples include:
Duet - The Flash/Supergirl
Once More, with Feeling - Buffy the Vampire Slayer
Regional Holiday Music - Community
----
DANCE COLLABORATORS
Within all fields of work there are certain areas and professions that are bound to work well collaboratively together. There are many examples of this, some more obvious than others. I've listed a few below.
Catering - Hospitality
Art - Graphic Design
Events - Hospitality
Catering - Events
Catering - Music
Art - Music
Engineering - Architecture
Sport - Events
Media - Events
Music - Media
Performance - Media
Tourism - Leisure/Entertainment
Travel - Transport
When you think of dance collaboration there are many obvious examples to draw from, these may include:
Dance - Music
Dance - Performance
Dance - Art
Dance - Design
Dance - Media
There have been many instances of collaboration between dance and various
other professions, I've detailed a couple of examples below.
Merce Cunningham and John Cage worked collaboratively for much of their careers, they we're both partners in their trade as well as in life. Cunningham was a dancer, and Cage a composer.
However when thinking about different collaborators an example that comes to mind is Cunningham and the work he made with one of Andy Warhol's art installations 'Silver Pillows'.
I've linked a blog that talks about this below.
The piece Cunningham incorporated Warhol's art in is entitled 'RainForest' and it was performed originally on the 9th of March 1968. This was made in collaboration with David Tudor - Music, Jasper Johns - Costume, Aaron Copp - Lighting and of course Andy Warhol - Set. As well as the other dancers in the piece (Cunningham also performed in this piece) : Carolyn Brown,Barbara Lloyd,Sandra Neels,Albert Reid,Gus Solomons jr.
Details of which can be found on the Merce Cunningham Trust website, along with information about him and his other works. I've linked this below also.
Blog Post about the Warhol/Cunningham Collaboration
https://blog.bam.org/2011/12/andy-warhols-silver-pillows.html
Merce Cunningham Website - Rainforest Post
https://www.mercecunningham.org/the-work/choreography/rainforest/
Michael Clark was seen as the bad boy of dance in his time and his work was often experimental and interdisciplinary, collaborating with a multitude of professions.
He made and starred in a number of films, of these I have previously seen 'Hail the New Puritan'. So for this example I've chosen to look at 'Prospero's Books', which is again a collaboration between film and dance. Clark did the choreography for Caliban in this production, it was a 1991 adaptation of Shakespeare's 'The Tempest'. Which is my personal favourite of Shakespeare's works. You can see the full credits for the film in using the link below. I've also linked Clark's website, and the films trailer.
On a slightly unrelated note I would highly recommend the 2010 version of 'The Tempest' and it's more contemporary take on the source material, whilst very much sticking to the original use of Shakespeare's language. I believe it's on youtube so I'll link that below also.
Credits for Prospero's Books
https://www.imdb.com/title/tt0102722/fullcredits/?ref_=tt_ov_st_sm
Michael Clark Website
https://www.michaelclarkcompany.com/
Prospero's Books Trailer
https://www.youtube.com/watch?v=rp6ZYCSiPhA
The Tempest (2010 version)
https://www.youtube.com/watch?v=IsAlO994niA
Throughout writing this post I have found that there are multiple collaborators working on each project. It has however become evident that often there is a hierarchical structure that comes along with this type of collaboration specifically in the arts. And that perhaps credit is not given equally to all of the collaborators.
When we think about for example, a musical theatre performance we often firstly think that it is a collaboration between singing (music), performance and dance.
But it is much more than that there is:
Front of House, Musical Director, Stage Manager, Producer, Theatrical Makeup Artist, Choreographer, Dancers, Actors and Singers, Scenic Carpenter, Costume Attendant, Lighting Designer.
These roles are detailed on the website linked below.
https://www.nyfa.edu/student-resources/10-musical-theatre-jobs-essential-for-a-production/
So in conclusion, whilst all collaborators may be integral to a production (or in fact any collaborative effort) credit may not always be equally distributed. And there is a clear order (this may vary between productions/projects) in which each collaborator is credited, with a select few being put up on a proverbial pedestal and the rest simply having their names displayed in the back end of the credits.
----
COLLABORATION - DIGITAL BODY
https://www.facebook.com/watch/?v=1613930835423814
https://www.alexanderwhitley.com/digital-body-reboot
Alexander’s new project was created in response to covid. As dancers were not able to perform or rehearse together Alexander began to explore how dance and choreography can exist in a digital form. He recorded short dance pieces and recorded them with a motion-capture suit. I like how using this the dancers movement and body is still recognisable and it hasn't been lost in editing. I like how this work shows that there is no limit when it comes to creating work where the body can still be recognised. He invited others to respond to his work and try the filter and send their responses to him.
----
DANCE IN COLLABORATION WITH LIGHTING
When considering collaboration within the arts many aspects of the process are underrated. I have previously talked about this in my post about music and lighting is no exception as it is often overlooked and dismissed within performance and media.
The aspect of the performance that you are supposed to be focused on is often pulled to the forefront leaving the other elements to be complementary and atmospheric, in keeping with (but not hindering) the tone of the piece, rather than needing to be noticed on first watch. In fact, if you’re not going into a viewing of any performance/media with a critical eye, then it is usually the intention of the creator(s) that you wouldn’t notice these elements.
Below I have included the photos and videos from when I filmed my original ‘bright colour’ section. For further context about the use of lighting I have also included several photographs and videos from other times lighting has been used in my dance work.
These photos we’re taken when Tyler and I we’re filming our original ‘bright colour’ piece sections. Whilst I ended up using other coloured lights in my section (red and white) these photos show the shadows and effects that these lights give. Which is even more evident in the footage.
However, shown in the video below (which is my original footage), I chose to use the shift from white to red to signify the key shift within the music and the dramatic shift in movement as I come out of my turn when the lights go from off (blackout) to red in that split second.
The photos below are from a shoot I did for a personal project in my flat during lockdown. I used my floor lamp (which is almost like a handheld stage light in it’s design) to light the background and give a shadow effect. I turned the lights in the room off as if to simulate a spotlight, and give more of a soft and controlled area of light. I then played around with my proximity to the light itself, and the shadows that would be cast because of this. Having the light in the shot was a conscious decision as I thought it grounded the photos and footage in reality, whilst the lighting itself portrayed a harsher (well lit, yet soft in its effect) image. The tutu and pointe shoes stereotypically give the impression of a ballet dancer, whilst my movements and expressions tell a different (maybe more realistic) story.
In the site module we spent some time evidencing our process through photographs, the ones below were taken within the same time frame in the studio. The first two are of me creating silhouettes next to the windows of the studio, as you can see I’m backlit more in the first photo by the light coming through the window. In the second one the light is still there, but is less prominent and gives more of a dark and sinister impression tonally. The third photo is of Tyler I took this after I had found my way down from the windowsill, and whilst she is still very much being lit by the light coming in from the window, it’s a more subtle and bright photo though still incorporating the shadow effect behind her.
----
THE COLLABORATION BETWEEN TWYLA THARP AND MIKHAIL BARYSHNIKOV
Twyla Tharp is an American dancer and choreographer who lives and works in New York City. She is known for dance work in styles such as: classical, jazz and contemporary. In 1966, she formed her own company called Twyla Tharp Dance. However, in 1988, she disbanded her company and joined the American Ballet Theatre where she worked as the artistic associate alongside Mikhail Baryshnikov.
Mikhail Baryshnikov spent the start of his career with Kirov Ballet in Leningrad until 1974 where he moved to New York City to become a principal dancer with American Ballet Theatre.
Twyla Tharp and Mikhail Baryshnikov have combined their talents and collaborated to recreate for three outstanding Tharp ballets: ‘The Little Ballet’, ‘Sinatra Suite’ and ‘Push Comes to Shove.’ Their collaborative practice resolved around Baryshnikov performing Tharp's choreography.
Their work gained a lot of media press and articles were written about their collaboration: https://www.latimes.com/archives/la-xpm-1993-01-31-ca-805-story.html
Here are some videos showing their collaborative practice:
https://www.youtube.com/watch?v=_jFzGQ5VYi8
https://www.youtube.com/watch?v=CBzHzkZGrDw
https://www.youtube.com/watch?v=ifoOO5ZEC9g
https://www.youtube.com/watch?v=w_aEbEqpLdc
Tharp and Baryshnikov collaborated together until 1990.
----
COLLABORATING AS A LARGE GROUP VS A SMALL GROUP
When collaborating in a group to create performance, there are many pros and cons for both working as a larger group, and working as a smaller group.
Large group Pros:
- More people means more ideas – I have personally found that when there are lots of people in the group it’s easier to bounce off other peoples ideas, which results in lots of ideas being generated
- More ideas means more combinations of ideas possible – the more ideas are on the table the more possibilities when deciding how to order these ideas eg. The storyboards we created left us with many options when deciding the final order
- Similar ideas can be combined to come to a mutual idea
- A bigger group can give confidence to those who might not usually be confident enough to contribute – more ideas to bounce off
- Common goals can make it easier to establish common ideas – laying out exactly what you want to achieve before coming up with ideas can make the process easier when lots of ideas are being generated, as it will mean the ideas generated have a common theme
Large group Cons:
- More ideas contributed can cause confusion and make more work than is needed
- More ideas can make it harder to come to a final decision – I have found this is especially hard when collaborating as there are no directors to make the final decision, so it can be hard to know who should take the lead to make a decision when it is not happening collaboratively
- If there is not room in the piece for lots of ideas it can be hard to decipher which ideas should be used – luckily with our storyboards we had room to include a section of everyone’s storyboard which was a good way to combine ideas, however before coming to that decision we struggled to even know where to start
- It can feel like the group are less connected with more people – you don’t always build the same connection as a larger group because it doesn’t feel as personal
- Not everyone’s voice is always heard – having a larger group can mean that not everyone’s voice is always heard, and it can also be intimidating to share ideas in front of a larger group
Small group pros:
- Less ideas can make it easier to come to a final decision as there is not as much choice
- Work ethic can be more efficient – working as a smaller group can make it easier to establish goals quicker – eg. When working with Laura and Macy we very quickly established who was going to be doing what and because there was only 3 of us it was much easier to come to agreements as we were all on the same page
- Everyone’s voice can be heard – when working as a smaller group its much easier to ensure everyone’s voice is heard and it can also be less intimidating to share ideas in front of fewer people – this is not always the case however
- It can feel more personal with less people and like there’s more of a connection – its much easier to bond/gel as a smaller group so it can feel like collaborating with each other is much more personal
- A common goal can be easier to find – with fewer people there is more chance that the group will share similar ideas so common goals can be easier to find – this is not always the case however
- Common goals can make it easier to find common ideas - laying out exactly what you want to achieve before coming up with ideas can make the process easier when lots of ideas are being generated, as it will mean the ideas generated have a common theme
Small group cons:
- Not as many ideas contributed so not much choice – due to not as many ideas being contributed it can mean you are only left with a small choice of which ideas make the final piece – so if the ideas generated as a group did not feel very strong it can be hard to make a start
- It can make it hard for people to feel confident enough to contribute when there's only a small amount of people so not as many ideas to bounce off – can feel intimidating
- Less combinations of ideas available – less ideas mean less combinations of ideas available so again it leaves you with not much choice in terms of the order of ideas
(disclaimer, some of the pros and cons I have written are not always the case when collaborating and are subjective to the group, the individuals and the context)
THE RELATIONSHIP OF MUSIC AND DANCE
After reading Stephanie Jordan’s article on the collaboration of music and dance, I have been able to reflect on the nature of the relationship between these disciplines. For example, the artist discusses whether a choreographer needs to collaborate with a composer. This idea suggests that the need for a choreographer to work with a composer has become less popular as technology has allowed recorded music to become accessible to everyone. I like the idea of choreographers working with a composer as the collaboration would be more personal and by having a composer create music for a choreographer, then perhaps the music will be more suited to the work created. Jordan questions whether it is required to have music in a choreographed piece, as silence can also be powerful in a piece of work. This idea of silence feeds into my own practice and devising process on this module as I have often choreographed and performed without music and have found this quirky and interesting. The article also discusses how Merce Cunningham introduced the idea of music and dance being independent to one another, meaning that choreography doesn’t have to fit and work well with the music. This idea has been present in my making process on this module as I have created choreography without using music and adhering to timing, and then layered music over the top of my choreography.
---
After reading Stephanie Jordan’s article on the collaboration of music and dance, I have been able to reflect on the nature of the relationship between these disciplines. For example, the artist discusses whether a choreographer needs to collaborate with a composer. This idea suggests that the need for a choreographer to work with a composer has become less popular as technology has allowed recorded music to become accessible to everyone. I like the idea of choreographers working with a composer as the collaboration would be more personal and by having a composer create music for a choreographer, then perhaps the music will be more suited to the work created. Jordan questions whether it is required to have music in a choreographed piece, as silence can also be powerful in a piece of work. This idea of silence feeds into my own practice and devising process on this module as I have often choreographed and performed without music and have found this quirky and interesting. The article also discusses how Merce Cunningham introduced the idea of music and dance being independent to one another, meaning that choreography doesn’t have to fit and work well with the music. This idea has been present in my making process on this module as I have created choreography without using music and adhering to timing, and then layered music over the top of my choreography.
---
FINAL THOUGHTS ON COLLABORATION - SARAH
Throughout this module I have come to realise how collaboration is not a simple or linear practice. Many things can be classed as collaboration which we may or may not realise. For example, every dance piece we have worked on in our 2 years of university have been a collaboration, either between us as dancers or with a lecturer. We have even made solos during some modules which have also been a collaboration, as we have collaborated with each other to create joint 'scores' in which we used to form our own separate solos. We have also collaborated when creating solos by giving feedback to one another during the process, this could be a direction or dynamic in which to perform some of the solo, or could be an idea to add into the solo, which again makes it a collaborative piece as more than one person has contributed to it. In my opinion, unless you work on something purely on your own from start to finish, including editing and music, it can be classed as a collaboration.
Another example, is Laura's section of our unison piece, which comes right at the end. Although it is a solo from Laura, the movements which inspired the solo videos came from other peoples phrases earlier on in the piece. Laura then also collaborated with the editor Adam to communicate how she would like the section to look on the screen. So although you can only see Laura on the screen, many people have played a part in that clip.
Again, in my opinion, I think there are different levels to collaboration whereby some collaborations include an equal input from all collaborators whereas some collaborations may be dominated by one person with little input from others. However, all levels are still a collaboration in their own form, and require a different approach to achieve the final result.
---
COLLABORATION - FINAL THOUGHTS - MEGAN
To round up the collaboration module I thought I would write a post about my final thoughts on collaboration as a field.
It would seem generally that collaboration in dance and the performing arts, (and indeed any collaboration) usually focuses on the 'most important' people that are working on a project. For example, the two dancers that are working together or the dancer working with an artist, choreographer or designer.
When in actual fact many other people are collaborating on that project with them. But due to the hierarchical nature of such projects, the other professionals that are working on the piece may not be credited to the same standard that the 'main collaborators' are.
I've touched upon this in my former blog posts, but this ideal is prevalent in every collaborative field imaginable not just dance or the arts. This is, come to think of it, why credits exist in creative sectors to list the names of the people who contributed to a project. Of course with the 'most important' people at the top.
So to conclude, whilst credit may be given where credit is due, this credit isn't always given equally now I could argue a number of points as to why this is. Maybe the people at the top of the list worked harder, more hours, bring more to the table. Or maybe society has compelled every industry in the world to create a structure that works to identify the most notable person(s) in a team for their own hierarchical and strategical use, further adding to the (often) toxic environment of these industries. I'll let you decide.
So next time you watch a performance, or a film, or go to an event or a restaurant give a second thought to all the people responsible for that experience. There are surely more than you think.
---
COLLABORATION - LOOKING BACK ON OUR COLLABORATION
This module has been challenging to say the least due to online learning, however, I think that this has been positive, as if we were look back on what we have achieved, 2 large group pieces and 4 small group pieces, we have managed a lot and worked efficiently together, so although at times this has felt very tough for everyone, we essentially have enhanced our collaborative skills, so therefore when we all meet again face-to-face, working collaboratively in a studio will feel like a dream compared to this when in reality collaboration is not meant to be easy, it is a skill that can be challenging in so many different ways to so many different individuals.
Although some of our initial intentions for the work may have been adapted or even lost through our project, the work itself creates such a wholesome feel and a sense of togetherness - which was picked up earlier on in the project before we had seen the final works. The sense of togetherness has felt so strong through the way we have all collaborated so effectively and closely even whilst we are apart carrying similar intentions and working outcomes throughout.
As well as creating a sense of togetherness, I think the work enhances our own personalities and identities. Considering how everyone's movement is slightly different in the unison piece, this could be seen as messy or out of time, however, I think it just shows the realities of working online and how everyone has adapted each phrase accordingly, adding their own quality to the material, subconsciously. Therefore I think if we were to have made this in the studio, I don't think it would have given off the same sense of togetherness or explore each individual's movement identity which I think is something really special that this work carries.
I think we have all surprised ourselves with the outcomes of this project, as I definitely had doubts and concerns regarding how neat this work would look and how in time it would be and if all the videos work, but while watching all our final outcomes these concerns were not seen as negatives as it shows the reality of dancing and collaborating online and I think this project will be a relatable piece to other dance artists creating work online.
I personally had a special feeling watching this work and felt proud of how we have worked during these unprecedented times and how we have managed to achieve something so special. Go us :)
---
Comments
Post a Comment