This session proved to be a break through... I have established the gestures without metric beats allows much more in the way of interpretation but in that, I have also discovered that both ways encourages a whole range of juxtaposing movement material! When time was beated the movement had a very unnatural, jagged dynamic, which was very interesting and with the gestures the movement became more fluid however; both of these still attained the idea of conduction and structure which was brilliant.
In this session we move away from beating time completely and instead used very elaborate gestures to instigate movement. Rhian and I also swapped places so that I could understand and feel the difficulties of both methods. I found this very interesting and enjoyed being lead and sometimes followed.
Thursday 24 December 2009
Monday 14 December 2009
Further Theoretial Research
Improvisation : A process producing spontaneous movement stemming from a specific stimulus, a more complete and inner motivated spontaneous movement experience than exploration.
'It is essential to decide on the intent or motivation that will guide the dance making process'
Motivation
Conduction (Gestural hand signals)
Improvisation
Allow body to reach (create movement)
'A basic approach using improvisation by Sandra Cerny Minton'
Chironomy
'The Practice of indicating the changing pitch of a melody by regulated movement of the hand, or (less commonly) by pointing to various positions on the hand' (Pryer.A. Accessed through bath on Dec 6 19.47)
This is another study from Butch Morris's Conduction methods that I intend to draw upon during my research.
'It is essential to decide on the intent or motivation that will guide the dance making process'
Motivation
Conduction (Gestural hand signals)
Improvisation
Allow body to reach (create movement)
'A basic approach using improvisation by Sandra Cerny Minton'
Chironomy
'The Practice of indicating the changing pitch of a melody by regulated movement of the hand, or (less commonly) by pointing to various positions on the hand' (Pryer.A. Accessed through bath on Dec 6 19.47)
This is another study from Butch Morris's Conduction methods that I intend to draw upon during my research.
Second PAR session (02-12-09)
This session began with a recap.
- Going over 4/4 metre and gestural signals
I then decided to add another element to this, that being dynamics. In doing this I would use the same signals but add a chosen dynamic gesture to its character which would then also be open for interpretation by the dancer. The outcome being that the movement material gathered during the improvisation process using conduction as a structuring tool would be the same, but that the dynamics throughout would be different.
During this rehearsal it became clear that Rhian was finding it a little difficult to read my gestural indications clearly, so it is essential that i polish my own conducting methods in order for them to be interpreted clearly.
Rhian says:
'We need more rehearsals so I can get use to gestural indications'
- Going over 4/4 metre and gestural signals
I then decided to add another element to this, that being dynamics. In doing this I would use the same signals but add a chosen dynamic gesture to its character which would then also be open for interpretation by the dancer. The outcome being that the movement material gathered during the improvisation process using conduction as a structuring tool would be the same, but that the dynamics throughout would be different.
During this rehearsal it became clear that Rhian was finding it a little difficult to read my gestural indications clearly, so it is essential that i polish my own conducting methods in order for them to be interpreted clearly.
Rhian says:
'We need more rehearsals so I can get use to gestural indications'
Sunday 13 December 2009
First PAR Session (25-11-09)
- With Rhian (Dancer)
- Myself (Conductor)
In this session I went through the concept behind the investigation with Rhian so as to give her an understanding of my background and research. We then went through some basics of general conducting and how this conducting method would be slightly different and involving that of gestures and signals.
In introducting her to this method i decided to use that of a standard conducting technique, so beating a metric metre of 4/4 to begin. I explained and showed to her the pattern used and how it could be changed using gestures and signal. I then also explained to her that in using Conduction I will set some rules, (may change as dancer gets more familiar with task) these being:
- Once a movement is established for a particular gesture it must remain (during that improvisation)
- Dancer may interpret gestures in anyway they feel at that moment in time
- Dancer may use such techniques as half-time or double time
- Dancer may rest at any time (it is improvisation)
We then tried some of this stuff out, changing some of the metric metre beatings to gestural ones but using the same shape of the 4/4 e.g.
- 1,2,3,4 would become 1, gesture, gesture,gesture, etc... and we would change between the two therefore creating two phrases of movement that begin the same primarily.
From this session it was clear that this dialect between conductor and and ensemble could translate to suit the body (with enough brain power). It will take time and a lot of hard work.
Rhian says:
'Today's session I practiced improvising to the conducting signals by shev, I found this session fun, I enjoyed experimenting with something new. I also think that i will gain more knowledge with shev's dissertation, it is a challenge I look forward to!'
- Myself (Conductor)
In this session I went through the concept behind the investigation with Rhian so as to give her an understanding of my background and research. We then went through some basics of general conducting and how this conducting method would be slightly different and involving that of gestures and signals.
In introducting her to this method i decided to use that of a standard conducting technique, so beating a metric metre of 4/4 to begin. I explained and showed to her the pattern used and how it could be changed using gestures and signal. I then also explained to her that in using Conduction I will set some rules, (may change as dancer gets more familiar with task) these being:
- Once a movement is established for a particular gesture it must remain (during that improvisation)
- Dancer may interpret gestures in anyway they feel at that moment in time
- Dancer may use such techniques as half-time or double time
- Dancer may rest at any time (it is improvisation)
We then tried some of this stuff out, changing some of the metric metre beatings to gestural ones but using the same shape of the 4/4 e.g.
- 1,2,3,4 would become 1, gesture, gesture,gesture, etc... and we would change between the two therefore creating two phrases of movement that begin the same primarily.
From this session it was clear that this dialect between conductor and and ensemble could translate to suit the body (with enough brain power). It will take time and a lot of hard work.
Rhian says:
'Today's session I practiced improvising to the conducting signals by shev, I found this session fun, I enjoyed experimenting with something new. I also think that i will gain more knowledge with shev's dissertation, it is a challenge I look forward to!'
What are the aims for this investigation?
This investigation intends to use the art of conducting and the theories of Conduction to find out if the conversation shared amongst orchestra/ensemble and conductor can be shared between dancer and conductor. Do our interpretations differ too much and therefore cause conflicts or can it create something interesting... The investigation also sets out to find out what a dancers reactions are to being lead in improvisation and therefore through using conduction, giving structure to their improvisation. Will this prove too difficult or can this be achieved...
Wednesday 2 December 2009
Conducting the body: An Investigation into leading and guiding movement (in improvisation)
This is an investigation into how the art of conducting can be applied to the dancing body. During this process, improvisation will be the movement that is lead and therefore structured by this art form.
The main reason for this investigation is my interest as a musician in what it is that a conductor does, why it is so important that he does it right and why he is necessary in all stages... A conductor is initially an interpreter for the composer whether they are dead or alive, he must be able to reflect his knowledge of music theory/periods and have clear and natural musicality. He must also study and learn the piece (whatever it maybe) inside out including that of dynamics, pace, notation, orchestration etc. Therefore it would seem he is what keeps the whole orchestra together during performance but, the rehearsal process is given in order for the performers to also learn the piece inside out, so as said in 'The Art of Conducting' by 'Eugene Ormandy', 'In rehearsing the orchestra are playing not under a conductor but with him'. From this research I started to think that it could be possible to conduct the body but how would i go about it... I did a lot more research into different conducting technique's coming across that of choral conducting which uses more hand gestures and signals than that of beating metric time but there was very limited information on this area and so I spoke to a music professor Roger Heaton who told me to have a look at a conductor of free jazz by the name of Butch Morris.
Lawrence D.'Butch'Morris is the creator of Conduction. Conduction involves that of free jazz improvisation. He uses signs and gestures to 'instigate an event' therefore, anything can happen during the improvising process. Its seems that the primary reason for the creation of conduction was to 'find a common ground between orchestral and improvised music'. Butch describes this as being 'the opportunity for improvisers to improvise and interpreters to interpret the same material' and goes on to say that 'as musicians we all share a common language'. This statement of sharing languages set off the thought that a common language can be that of a similar one and that the language between dancer and musician are also quite similar but, for obvious reasons have completely different outcomes. So, it could be really interested to see how a dancer interprets a completely music orientated system of being lead through something. Conduction is a brilliant system to use in this investigation as it not only allows for the conducting of improvisation but it also aids structure throughout improvisation so as to create something more. Butch say: 'This logic will organise itself into structure and many substances that (can) exist in a composition' http://www.conduction.us/main.html (all statements on conduction were taken from this website)
The main reason for this investigation is my interest as a musician in what it is that a conductor does, why it is so important that he does it right and why he is necessary in all stages... A conductor is initially an interpreter for the composer whether they are dead or alive, he must be able to reflect his knowledge of music theory/periods and have clear and natural musicality. He must also study and learn the piece (whatever it maybe) inside out including that of dynamics, pace, notation, orchestration etc. Therefore it would seem he is what keeps the whole orchestra together during performance but, the rehearsal process is given in order for the performers to also learn the piece inside out, so as said in 'The Art of Conducting' by 'Eugene Ormandy', 'In rehearsing the orchestra are playing not under a conductor but with him'. From this research I started to think that it could be possible to conduct the body but how would i go about it... I did a lot more research into different conducting technique's coming across that of choral conducting which uses more hand gestures and signals than that of beating metric time but there was very limited information on this area and so I spoke to a music professor Roger Heaton who told me to have a look at a conductor of free jazz by the name of Butch Morris.
Lawrence D.'Butch'Morris is the creator of Conduction. Conduction involves that of free jazz improvisation. He uses signs and gestures to 'instigate an event' therefore, anything can happen during the improvising process. Its seems that the primary reason for the creation of conduction was to 'find a common ground between orchestral and improvised music'. Butch describes this as being 'the opportunity for improvisers to improvise and interpreters to interpret the same material' and goes on to say that 'as musicians we all share a common language'. This statement of sharing languages set off the thought that a common language can be that of a similar one and that the language between dancer and musician are also quite similar but, for obvious reasons have completely different outcomes. So, it could be really interested to see how a dancer interprets a completely music orientated system of being lead through something. Conduction is a brilliant system to use in this investigation as it not only allows for the conducting of improvisation but it also aids structure throughout improvisation so as to create something more. Butch say: 'This logic will organise itself into structure and many substances that (can) exist in a composition' http://www.conduction.us/main.html (all statements on conduction were taken from this website)
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