This week’s session focused on using the pelvis as a point of connection and not allowing boundaries and limitations to stunt our movement flow.
We partook in an exercises to find different frames. During the first exercise we maintained our focus on keeping a front to front connection. The under dancer then created a stable platform for the over dancer to explore movement. The importance was put on keeping the pelvis aligned and allowing it to lead movement for stability. During the second exercises person A created the foundation for person B to explore points of balance. I found this beneficial as I am often comfortable in a position but find it difficult to enter and exit with fluidity into the next movement.
This type of exploration encouraged the class to find new opportunities to play with movement and weight rather than reverting back to body surfing when it becomes difficult. Instead a connection was maintained for longer, and pairs moved more fluidly, as apposed previous classes where the dialogue was interrupted.
As a class we then moved into a score, the only restrictions were that a minimum of two people had to be in the space and a maximum of four. This meant that people who are usually hesitant to enter the space, had to be ready and willing to support the rest of the collective and not rely on the same people to do all the work. Although this score had only a few limitations, I noticed that it created a sense of freedom and play. Once I had established a connection with my partner, I allowed my body to release into the movement rather than overthinking the limitation set in place, as Keefe says that “the boundaries we set for ourselves, limiting space, time, sequence, or body parts provide challenges that inspire invention. Outside of the improvisation, those limits fall away” (Keefe, 2003, 234).
I like the challenge of exploring movement in larger groups, however others are still a little reluctant of this, so interrupting the movement a duet is often difficult when they are unwilling The more you expand with who you work the more apparent it becomes on how differently each body moves. No two people in the class are the same and the opportunities for movement you may shy away from with one body, you may be pushed into by another. Giving you the best chance at exploring everything the space and your bodies have to offer.
“Improvisation happens everywhere” (Keefe, 2003, 234) and it is interesting to study how your daily choices will affect your mood and furthermore the influence that has on your movement. When we focus on the idea that improvisation occurs frequently in our everyday lives the whole concept of it becomes far less intimidating.
Bibliography:
Keefe, M. What’s the score? Improvisation in Everyday Life. In Albright, A. C., & Gere, D. (2003). Taken by surprise: A dance improvisation reader. Middletown, Conneticut: Wesleyan University Press. Pp.229-238
