There is something naturally peaceful about a garden. Regardless of where it is or what it holds, the colors and the diversity found within it leave one curious while also providing us with a step away from reality. In the case of David May’s Documentary, “A Place Like This,” the garden holds a similar symbolic meaning.
Becoming a Dance Videographer – “nohy-láb”
Until these past few weeks, I would never have considered myself a videographer. Even now, I would not call myself an expert. However, I feel that in creating “nohy-láb,” I was able to explore this medium and develop the essential skills needed to continue with it in the future. Final Cut Pro was a new frontier for me to adventure through, but I can honestly say that I enjoyed the process.
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Analyzing Film
As I would consider myself and amateur videographer, I am always impressed to view pieces such as “Gravity of Center.” I find myself not only drawn into the movement and artistry of the dancers, but also focused on the camera angles and the “magic” which they create.
Specifically speaking to this film, I think the videographer was able to draw the viewer into the film through the use of close-ups. Often, these close-up shots would result in a change of either dancer or setting. Through zooming in on one particular area, a seamless transition was made, almost as if some sort of “trick” had been performed. In doing this, the zoom became a theme and, as a viewer, I was able to pick up on this. I knew to pay close attention when the camera was zoomed because I was eager to see whether or not another interesting change such as this would occur.
Paralleling Pedestrians
A hallway is a pedestrian space. The space is intended to perpetuate movement, incorporating organic aspects, and our artistic interpretations of those pedestrian habits.
Initially, the hallway’s structure inspired our phrasing. From the audience, the alcove corners catch one’s eye. The architectural design and pathway led us to create a phrase based on precision. We disappear and reappear using these alcoves; highlighting this architectural feature and adding dynamic to our movement. The movement is a series of arm gestures and usage of the wall as a partner. In the way that the walls hold the structured site together, the walls are the basis of our choreography and hold us up as we move – and further continue to support us as we improvise.
The improvisation exaggerates the original inspiration of the pedestrian movement, paralleling the unpredictable pathways and habitual movements of those who walk by. While keeping the original phrase as a guideline, we repeat, slow down, and add different dynamics and textures. In the way that our improvised choices reflect the organic-ness of the space, the pedestrians’ ability to choose their pathways around us reflects the organic nature that we originally focused on.
Expanding Eight-Counts
“My life is a series of eight-counts.”
This was the opening line to the essay that helped win me the title of 2014 – 2015 AmeriDance Dancer of the Year.
Music has been a large part of the past four years of my life. Throughout high school, I became more involved in the Musical Theatre scene – performing in our high school Show Choir, the Fall Musicals, and even receiving solo voice parts in a variety of performances. Although reading music still is not my forte, it has helped me to better understand tempo and meter, something that I had previously just referred to as “the beat.” It helped me to develop a better sense of appreciation for the music that I move to, and the work that goes in to creating that. These past few weeks in Freshman Seminar have further helped me to grow in my musical knowledge.
Birds of a Feather
I was recently blessed with the opportunity to perform in a piece choreographed by Fenella Kennedy of the Graduate Department of Dance here at Ohio State. Set in the rotunda of Sullivant Hall, the piece was entitled “The Aviary.” A combination of improvised tasks and planned transitions, the piece worked to develop a connection between birds and ballerinas. At first, this seemed absolutely wild to me. I did not understand how anyone could develop such a concept, nor was I aware of how I would be able to portray something so complex using my movements. However, after about two months of rehearsal, my eyes were open to a new artistry and brainwork that allowed for me to do so.
Paige St. John 