Laban Movement Analysis: Effort Qualities

Early on this semester while working in Laban Movement Analysis, I learned that all movements and dance patterns contain body, space, and effort qualities. The solo shown above deals specifically with the effort quality of space and body attitude, so let me explain what this means…..

When analyzing movement, effort qualities help us to determine aspects within the movement such as, how a dancer carries their body, their projection of focus, initiation of movement, and so much more! This solo is from the Cunningham repertory that I have been working on for a while. I was given the task to apply two effort qualities that we have been addressing in Laban Movement Analysis, and I chose to work with space and body attitude. You may have heard of Newton’s third law, “every action contains an equal and opposite reaction;” well this can also apply to dance movement. The Effort quality of “space” shows us whether or not the dancer has a direct focus, or the complete opposite of that which would be indirect. If a dancer has a direct focus, this means that their eye focus is fixated on a certain point and does not extend beyond their kinesphere. An indirect focus takes in all the space around a dancers kinesphere and is constantly expanding further beyond it. When talking about a dancers body attitude, this address whether their body moves in one unit or multiple units. If a dancer carries their body in one unit, their torso is very held while their limbs move throughout space. While a multi-unit movement of the body shows angulation of the torso along with movement of the limbs.

This solo explores both sides of each effort quality explained above. I chose to work with these two elements of space and body attitude because they brought emphasis to what was already happening in the Cunningham solo. I found that working with the effort quality of space was easier for me because my focus throughout the solo is very clear and was easy to emphasize the points at which my focus shifts from direct to indirect. However, when applying the body attitude element to this solo, it was rather hard for me to show both sides of one unit and multi-unit because, like ballet, the Cunningham repertory tends to only carry the torso as one unit. This challenge has taught me to overcome my tendencies and understand that no matter what style of dance, there is always an option to choose a parallel quality when choreographing or performing.

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Global Dance Community

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Last week, my friend Kailee Segarra and I had the pleasure of interviewing Aj Blankenship, a Ohio State Alumni, for our Global Dance Community project. Our given assignment was to research an assigned individual who has become successful within the dance industry, and later interview them based on how they got to where they are today.

We interviewed Aj for about 30-40 minutes via phone call.

Here is a little background information on Aj:

Continue reading Global Dance Community

Dance For Camera

Seeing Double

A Dance Film by Kelly Korn

ft. Kailee Segarra

Kailee Segarra is one of my closest friends here at Ohio State and we thought it would be a fun experience to do our Dance For Camera project on one another. Our assignment was to be the director of a dance film in which we were supposed to play with different camera angles, movements and shots. After the filming process, we then had to edit our film in Final Cut Pro and create our own piece of music in GarageBand to use throughout our film.

When collaborating with such a close friend, things can either go very smooth or not so smooth. Since the both of us have most of the same likes and interests, I found it was rather easy to agree on the location, costuming, and movement quality that I wanted for my film. However, the only time I really found us in disagreement was when editing my film, I had to be courteous to her requests to not use any pieces of film that she thought she looked bad in.

Overall I am very happy with the way my dance film turned out. I really enjoyed working with final cut pro as I was unfamiliar with the program going into this project. Although, my favorite aspect about this project was being able to combine all qualities of dance, music and film into one.

Camera Angles, Shots, and Movements

 

Camera shots, camera angles, and camera movement all play an important role in shaping the meaning of a film, as well as how the audience may react to what they are viewing. It is important that camera shots and camera angles are not confused with one another. A camera shot is used to demonstrate different aspects of setting, themes and characters. While camera angles are used to position the viewer so that they can understand the relationships between the characters. In Anna Teresa De Keersmaeker’s, Rosas danst Rosas, she does an exceptional job at using a combination of camera shots, angles, and movement to accomplish a certain reaction in an audience member. Continue reading Camera Angles, Shots, and Movements