Choreographic Process

      Choreographing was a challenging and enjoyable process for me. I knew that working in such a mathematical way I had to be very organized and clear with everything. So, I made myself a standard that everyone needed to follow:

1- Copy what an instrument does (trying to shape every note/sound with the whole body or just a specific part of it).

2- Feel the impetus that the specific sound brings.

3- Trying to connect with a memory or a feeling you have experimented with before to get the dynamic needed.

4-Get very familiar with the song to perfectly know what your instrument group plays.

               

As you can see in these images, I followed the rhythm patterns separating them into minute sections and from this, converting them into dance sequences. Doing it in this particular way was easier because I could see how some patterns were repeated and so the geometric reflection had to be the same one. Moreover, I found links joining rhythms making a communication between the instruments which connects the members of the orchestra therefore us.

To choreograph this piece I needed to be rested and with no distractions. I haven’t been looking for beauty in the movement but the thrust of a beat and its geometrical movement in response. First, I improvised movements onto the ‘Three preludes’, trying to mirror every sound having in mind the dynamics I was looking for considering my inspirations. And then, I set different textures for each group depending on their register and/or how were they being played. 

Although I did not want to work this way, the lack of meetings agreements forced me to send everyone a video of me playing what I had of each role so that they could practise over Christmas. And it’s that doing a meeting with the whole group was so complicated timewise, although sometimes I felt there was a missing of goodwill... 

I have to say that before Christmas, I was not a hundred per cent satisfied with what I created as I resulted in making something totally out of my comfort zone. So, I felt I had to leave the project for a few weeks so after the holidays I made sure the essence of the piece was clear; for every sound I heard, there was a movement that needed to be choreographed. I am not gonna lie and say that I would have liked to have some feedback from my mates, but it has been that difficult to make them talk about the project! However, from it, I learned to move forward as things don’t develop on their own and do not wait for the approval of others. Nevertheless, I want to believe that they would have said something if they did not like my implication in the project as it is their project too…

For the dancers, it has also been a complete challenge because even they haven’t had that much to learn as the rhythmic patterns were repeated and so the reflection was the same, they needed to have the routine and their rhythmical patterns extremely clear, which I think they did it pretty well. I think this piece has had a building and learning growth just achievable with patience, although I assume that I lost it at some points… Moreover, I had to choreograph it without counts but singing the specific beats as I thought it was more explicit.

There was a point where I realised that the girls had an internalised routine and this is exactly what I did not want. But being a performer of my own choreography has made me know how I wanted everything clearly and it was frustrating when some parts were not performed as I imagined. So, I suggested they go a bit behind the music in order to respond to it. That worked quite well, however, let’s just say that with more organisation and eagerness everything would have gone smoothly.