Friday, 26 July 2019

Skate-o-graphy Part 1

This morning was not starting off well. Christian did not want to go skateboarding. So instead of having a family sesh, Jonny went and then I went. At first I thought, never mind, I will just do  my workout and forget about my morning skate. But then I thought, it is probably a better idea to let Christian see that he isn't ruining my fun, just his own. I charged up my headphones and when Jonny returned, I was out the door. At first, I had anticipated skating straight to E spot and then hitting Coopers on the way back. However, when I rolled up to Coopers, it was empty and shady. I couldn't pass it by. I ended up staying at Coopers for an hour and a half. I was drenched with sweat. I probably looked like a goofball - but I just did what I do and what I have always done.

Not only is this the first time that I have done a solo skate, it is the first time that I have skated with tunes this year. I always used to skate with music. I forgot how much better it is to have a soundtrack in my head. Before I left the house, I downloaded new music, but I ended up on a Harbour list of music that has been used in classes. I haven't kept up the list that well, so there are only four songs on it. I got stuck on one song for most of the time: Nao's, Another Lifetime. I heard this song in Victor Lau's class. I think I took his class three different times that he did this choreography. Do you know what happens when you listen to a song that you have learned choreography too? You dance. You can't help it. You know what happens when I listen to most music, I dance.. but a song you have listened to over and over and put moves too, you dance a little more easily.

Before I go on and before I forget, I would like to give credit where credit is due. I would like to thank my inspirations... things that lead me to what I have been developing in my brain during and since this solo skate session. I thank my family for the solo skate. I thank my husband for playing the Nike GIZMO video. He put it on for me this morning to get me pumped. I thank all the girls skating in GIZMO for being so awesome and making me feel like it is ok that I am a skateboarder. (old girl skater.) I thank Victor for his taste in music and for choreographing a dance to this song. I thank Nao for her song: Another Lifetime. I thank the boxing fitness trainer for not being at Coopers with a client this morning. I thank Emma for sharing her skate video of  herself olling a sweater. And really, this is what I was going to do today. I wrote her that I was going to ollie over a sweater too, but that didn't happen.

I started with backside nose slides. Most of them were bonks but some of them slid. I added a shuv-it sometimes... but that barely counts because it was hardly moving. However, I am happy to be gaining confidence back. I moved to olling over the line,  frontside 180, and a nollie. (if space) As I kept putting the song back, "one more time," I realized that it was really fun to make my ollie go with this one part of the song. So, I backed the song back to the start and counted myself in: push 5,6,7 bend 8, ollie 1. It took me a few tries to time it right, two pushes or three, start on 4 or 5, that sort of thing. Once I got it, I thought, this is it. What is the next part or my skate-o-graphy?

Skate videos are edited to music. Maybe that is a reason that I want to make my ollie go on that one part of the song? Maybe it is just the dancer in me? Is it possible, without making it cheesey, to choreograph skateboarding to a song? How do you add multiple skaters? I don't see them doing the same move, that would be silly, but I see one person doing one line, then another doing another, and so on, building up to a big trick and then bringing it all back down to a close. What if those little ankle adjustments, feet gesticulations, what if you could get those timed to the song?

Two years ago, at Jacksonville University, we had a workshop with dance/video artist, Lily Baldwin. She asked each of us what our thing was. What is that one thing or idea that is only you? I was one of the last people to respond, so I had a lot of time to think. Everyone was giving really awesome answers and I was worried I wouldn't think of anything. What am I? It is hard to say anymore. It used to be so easy. I was a skateboard ballerina. I really questioned what I was at JU. I wasn't a ballerina compared to Stephanie or Blanca... or Chris. I wan't a modern dancer. I guess people thought I was hip hop.. or urban... but I am not that either. I can do everything but nothing is me. I think I found my me. AND, I think my me was always there. I remember skating when I was younger and falling off into a pirouette and a penche. I still do that. No one else does that. That is me. I am a skaterboard ballerina. What is the one thing that I said to Lily? I said I am really interested in the movement of skateboarders. I said that two years ago, but today it clicked.

That happens you know? Things fall into place when they are supposed to. Here is the next piece. As my mind was wondering how I could make this happen or if this is even a feasible idea. (Because now I am thinking about using this idea as my next research project and writing up... and throwing away the one I have almost finished.. the "safe" idea.) How can I make this happen? Who would try to do something so crazy with me? AND it clicked! The sister shredders - who I have only hung out with twice. I bet they would be into this idea and helping me make it a reality. If I hadn't gone to Squamish and ran away to the skate park and met these girls on skateboards... who welcomed me in... I would be missing a piece to this puzzle. It could work.

I have a video here. It is from the very start of my skate session this morning. (I feel weird recording myself. I just want to be free... but I do like editing videos... so I force-film myself.) You can see I still fall off my skateboard and dance. This video is before I started doing my ollies to the music. I was going to get a whole part choreographed and film it, but more kids were in the playground and I felt weird. I also thought, I don't have to do it all in one day. I can add on tomorrow.

One last thought. I thought about hip hop today. Hip hop as a dance form started out more as freestyling, battling, or even social dances. It wasn't the choreographed masterpieces that you see today. And while I see the beauty in freestyle and understand that that is lost in these intricate group choreographies, I know that both are important. I was thinking about this because this would be similar. By setting skate moves to music, the freedom of the style might be lost. However, that made me think, what if there were tasks that we went through - improvisational skate games - that created these different parts or skate lines? Then we just put the pieces together in space. And there is another topic - it could be taken on the road and made site specific. Every live performance would have to be different because of its location. Site specific skate movement choreographed to sound performance = skate-o-graphy.

to be continued...

Thursday, 11 July 2019

Seven to the Seventh: Vancouver


Stephanie, Carrie, and I participated in Seven to the Seventh Vancouver. My mom surprised me for a visit too. She did walk into the space for a little bit which makes her a participant too.  (Link to Facebook Event)

Performance Schedule:

In Vancouver, we met for six days and at five different times of day, at the Inukshuk in English Bay. One time, I danced by myself in my living room because it was at three in the morning. With just two phones, an Ipod, and a speaker, we were able to connect and dance with artists from around the world and be part of a live-streamed performance. There were live streams from Athens, Miami, Tokyo, San Francisco, San Juan, Chennai, Arnhem, Byblos, Bangkok, and Stockholm.

The audio scores were different for each day. They were created by BROS PIGOUNIS and made up from sounds from each participating city. Each were seven minutes long, with a number or sound to indicate each minute interval.

There were seven different performance scores. You could choose to play with just one or change every minute. The performance scores were accessible to any human and they were available in different languages. Here is the English version that I worked from:

Reflections from my experience of Seven to the Seventh: Vancouver

First, I was extremely happy to get to participate in this global performance event. Thank-you to Ana Sanchez-Colberg for inviting me and the world, into this project. I am enthralled with the idea of technology being able to connect dancers from around the world. How wonderful to get to be part of a project that has live stream that is actually working. How amazing to be part of a ground breaking global performance. This is the first time that something like this has been able to be accomplished. This makes me question, what will be next and how else can we make this work? How amazing that I was able to dance with people around the world. We were really connecting the world through art. (#letsconnecttheworldthroughart)

Tasks that stuck out for me: Move for seven pause for seven is a lovely entry point. Anyone can do this. It focuses your mind on a simple task and you find freedom in the movement. I also enjoyed incorporating movements from the people around me. Often, there would be runners stretching, people staring at their phones, a game of volleyball, or even just a simple gesticulation during a conversation. Adding these movements into my movements created an even deeper connection to the location and moment in time. The other task that resonated with me was leading with my hand. I had a lot of fun trying to make my hand manipulate different parts of my body as it lead the movement. I also traced the number seven on the ground and in space with different body parts.  If I had been dancing with more people or in a different space, I would have liked to have lead a partner or made contact with seven points. I would also have liked to have tried going through each task and switching at the minute mark.

One thing that stood out to me was the connection that I built with the actual space and the Inukshuk. Visiting the same space and dancing in the same space each day, gave that space a greater meaning to me. Like attending the same high school your whole life, each time you drive back to your home town and past that school, you have memories from that time. Every time I walk past the Inukshuk now, I will remember the time that I spent dancing with the Inukshuk. It has become more than just a piece of art by the beach, it has become part of me. That sounds cheesey - but if you think about it - if that is all it takes to make something more important or meaningful to someone - then maybe we all just need to dance for seven days on certain spots and find connection. (Not to go here - but it popped in my brain - I imagined Trump dancing on the Mexican border and then deciding not to build a wall... maybe we need to have a dancing Mexican wall...!!! Did I just solve the world's racism problems right now?? Maybe we should try to have DANCING BORDERS!! #letsglobalizetheworldthroughdance)

It wasn't always pretty. For the three in the morning performance in Vancouver, I danced from my living room. I was going to go to the Inukshuk and wear glow in the dark things - but my partner in crime decided it was best to sit out of this one. So, I thought, I would dance from my patio. We have lights out there... but we didn't and I didn't realize until it was almost time to dance. I also had my phone fully charged before bed and then when I woke up it was almost dead... what was on all night? I had to find a plug and dance with it attached to the wall. The angle was of my ugly couch that was really supposed to be my patio couch, but "they" have been fixing things on our patios for a year and all of our patio furniture had to be moved in. That is a long, frustrating story - what I am trying to say - is Bambuser got a bad angle due to being plugged into the wall. Anyways, I danced and tried to go back to sleep, but who can sleep after dancing for twenty one minutes? I also had to be really quiet, trying not to wake up Christian and Jonny. (I am sure I failed in that!) I do remember making arm dances with Jimmy on though - that was fun.

Other technical difficulties included touching the Bambuser off when it was already off and accidentally turning it back on and off again - which means the live stream was only three seconds long.

I look forward to participating in the next one and want to remember some things for next time: Next time thoughts: How can I get more people involved: doing this with students at school - going through the tasks before hand.. and then participating... make it happen at school... if it is during the school year... Maybe not all of them - but one of them at least. Then, have it out in the community and invite students that now know -to come and participate somewhere new... and to bring a friend. Get other schools involved -maybe have a big field trip...  Definitely have one at the Inukshuk again... but would also be cool to showcase different locations. I love the outdoor shows... 

Monday, 15 April 2019

Connecting, Collecting, and Projecting: A Choreographic Exploration using Facebook

Connecting, Collecting, and Projecting: A Choreographic Exploration using Facebook

Paula Bridget Johnson

April 2019


This study has two main focusses: to explore the idea of collaborating with artists from around the wold using a Facebook group and the choreographic intricacies that can be examined through cross-cultural and cross-artistic genre, collaboration. This is a qualitative research study in the form of a multisite case study. The parameters of each case are the shared observations of a community within each participant’s city between November 19, 2018 and January 31, 2019. Participants observed communities in Japan, Thailand, Canada, United States, Dominican Republic, Honduras, and Lebanon. While all participating artists were dancers, three shared their observations through other artistic genres: photography, painting, and poetry. Interestingly, all artists chose to observe busy communities. While two artists observed the movement of people in cars, another observed the movement of people in a crosswalk, and yet another a train station. Two artists observed the sliding movements of people in the snow and seven artists observed the movement of tourists within their communities. It appears that the time of year that this study took place made a difference in the observations made. While some locations have tourists year round, others have more tourists during this time frame. Had this case study taken place during a different time frame, observations of the same communities would have been different due to the migration of tourists and weather conditions. Finding artists to participate in a research study online, using a Facebook group, proved more difficult than I first imagined. Furthermore, it is clear that my ability to connect with artists through social media is stronger in the area of dance than other artistic genres.  


This is a global artistic collaboration with artists from around the world. I would like to give thanks to those artists who took the time to participate in this project:
Naporn from Thailand, Stephanie, Jheric, and Menelaine from Canda, Jenny, Alia, Krystina, Owen, Dyanna, and Mika from the United States, Allison from Honduras, Stephanie and Marie from the Dominican Republic, and Ornella from Lebanon.
Thank-you to my committee: Stephanie, Lara, and Allison for sharing your time and guiding me through this work.

Thank-you to my professors at Jacksonville University: Cari, Christina, Ana, Brian, Lana, Bill, Tiffany, and Randall.

In memory of: My brother Gord, my godfather, uncle Bob, my uncle Jerry, my uncle Pat, and my aunt Linda.

And a special thank-you goes to my family: Mama J, Dad, Christian, and Jonny for supporting me on this crazy journey.

Declaration on Plagiarism 

I understand the School definition of plagiarism and declare that all sources drawn on have been formally acknowledged.

Table of Contents

Chapter 1: Connecting
Chapter 1.1: Chaotic Movement
Chapter 1.2: City Rhythms
Chapter 1.3: Community Movement
Chapter 2: Collecting
Chapter 2.1: Naporn: Japan
Chapter 2.2: Stephanie: Canada
Chapter 2.3: Jheric: Canada
Chapter 2.4: Naporn: Thailand
Chapter 2.5: Menelaine: Canada
Chapter 2.6: Stephanie: Dominican Republic
Chapter 2.7: Allison: Honduras
Chapter 2.8: Ornella: Lebanon
Chapter 2.9: Mika: United States
Chapter 2.10: Dyanna: United States
Chapter 2.11: Owen: United States
Chapter 3: Projecting
Chapter 3.1: Big Ideas
Chapter 3.2: Naporn: Japan
Chapter 3.3: Stephanie: Canada
Chapter 3.4: Jheric: Canada
Chapter 3.5: Naporn: Thailand
Chapter 3.6: Menelaine: Canada
Chapter 3.7: Stephanie: Dominican Republic
Chapter 3.8: Allison: Honduras
Chapter 3.9: Ornella: Lebanon
Chapter 3.10: Mika: United States
Chapter 3.11: Dyanna: United States
Chapter 3.12: Owen: United States
Chapter 3.13: Start screen
Chapter 3.14: All Intro
Chapter 3.15: Finale
Bibliography and Sources


I choreographed a piece by reflecting on the complexities observed through collaborating global artists’ responses to a shared artistic research task through an online social media group in Facebook. The task directed the artists to examine one or more of the intricacies found in the movement of people in a community in their own city. The artists were asked to observe micro and macro movement of the people. They then attended to what they had noticed most by replicating that movement through their own artistic process. They shared a photograph of their community, wrote about the movement that they attended to, and shared their art work through a photograph, video, or audio file. My research involves identifying the movement(s) that each artist resonated with and my practice involves creating a dialogue between that movement and my own. I have mapped out areas of my body as the different countries of the world. Since I am Canadian, I started the mapping of my body with Canada in my chest, my face is Greenland, and moving down into my abdomen and arms is the United States, South America resides in the front of my legs and feet. The back of my body starts with Russia in my head and moves down to Australia in my right heel and South Africa in my left heel. I had artists participate from Canada, which is in my chest, United States, in my abdomen, Honduras is in my hips, Dominican Republic is the right hip flexor, Lebanon is the back of my left ribcage, Japan is my left hamstrings area, and Thailand is the back of my right forearm and hand. I started by isolating my interpretation of each artist’s idea of their community’s movement, in their country’s location, in my body and allowed the movement to grow bigger. Because the movements started out small, I also mapped the stage and moved to those locations. Using the projections of the artists’ own work, I choreographed the audience’s attention in, out, and between the projected art works with the live dance drawing it all together. My body, essentially connecting the different locations of the world through movement.

I had two main reasons for having pursued this study. First is the technical side, where I wanted to explore the possibilities of using social media as a means to collaborate with artists around the world. Second is, the greater artistic influences that a cross cultural project, such as this, could bring to the broader artistic choreographic landscape. Technology gives us the ability to communicate with people far away, while collaborating on an artistic research task gives us the opportunity to grow closer together. New information and perspectives lends to new creative ideas for choreography.

On the technical side, I chose Facebook to use as my social media platform for online collaboration because it is the platform with the most users. It also has the capability of creating groups which makes it easy to communicate and collaborate with each other. I explored applications that can help me create an interactive performance space between the media collected in the Facebook Group and my own movements. Not only did I learn about technology, through the work of participating artists, I was able to learn and share the similarities and differences of communities around the world. By learning how we are the same, by creating familiarity, barriers and lines are removed. By learning how we are different we can grow to become more empathetic. Through the research of this project, I have observed both the similarities and differences in each community and share what I have noticed in my final performance. Finally, through my practice I have explored multiple ways of layering the complexities which include: technologies, artists’ contributions, isolating movements in mapped areas of my body, and identifying the artists’ focus of macro or micro movements within their communities.

The topic of mapping has been explored by other artists, both Wesley Goatley and his partner Jolina Voss built, Ground Resistance, in 2016 for the Milton Keynes International Festival. “This installation is part soundscape, part data map, and part flightpath, pulling together much of the technology created and still used in the area today” (Motherboard, 2016). The hard data from the smart city Milton Keynes, like busses, car parks, and gas meters is projected on the floor. Each different type of data has a different renew date. Some renew every few seconds, while others renew every five minutes, or even every twenty-four hours. Some data, are old, and have not been updated in a year. A bell, recorded at a local church, sounds each time a data set is updated and is sustained to match the update time. Objects are hung above the floor to disrupt the projection and cast shadows in certain areas of the map (Goatley, 2016).

Another similar practitioner is artist, Stanza, also from the United Kingdom. He has a project called, Soundcities, that started in 1995 (Stanza, 2000). It has evolved into a website that maps the sounds of cities. While these projects share similar ideas: mapping, technology, collaboration, and better understanding of communities, Ground Resistance, explores the technologies of one city, while Soundcities, collects the sounds of different locations within cities, in an online map.

The global involvement of Soundcities, is similar to The Sketchbook Project, founded by Steven Peterman. It is a collection of sketchbooks filled in by people from around the world. The idea to house sketchbooks filled in by any human, began in 2006 and now houses 41,000 sketchbooks in Brooklyn, New York as well as having an online gallery. (Peterman, n.d.).

Where Ground Resistance, connects city information in one space, Soundcities, connects global sounds from many users in one online space, and The Sketchbook Project, connects sketchbooks filled in by any human on any topic in both a live and online gallery, my own project, works at connecting artists from around the world in the Global Artistic Collaboration, Facebook Group and sharing their interpretations of one artistic research task in a live performance piece.

From the Facebook group, I have collected artists’ work from the shared artistic research task, in the form of images and video files. I have taken their interpretations into the studio where I have applied different tasks to work through their observations and embed their movements in my own body. With each artist I applied the task of isolating their movement in a mapped location of my body. I have presented both the collected art works from collaborators through projections and the dialogue created between those works along with the live mapped movements in my own body to share the emerging knowledge. Through the layers of complexities that this project involves: cross-cultural and cross-artistic genres, I have brought awareness to the similarities and differences of the observed communities from around the world while exploring new methods for using complexities in choreographic tasks.

Chapter 1: Connecting

At the start of summer 2018 semester, I created a Facebook Group called: Controlling Chaos. As my research question has evolved, so has the name of the group and the nature and focus of the shared artistic research task.

As my research moved away from exploring chaos and was redefined to exploring complexities, I decided to change the name of the Facebook Group to: Global Artistic Collaboration. I chose this name because it describes the group as opposed to the task. This allowed me to refine or change my task as necessary without having to change the group name, and made it easier to brand and share.

Since the start of summer 2018, I have had three artistic research tasks. I had organized each evolution of task into a unit in the Facebook Group. However, now that I have clarified and refined my task, I have deleted the first two tasks. When you open the group now, there is one unit / one artistic research task for all artists to collaborate on. I did this to streamline the group and to make it clear and easy to identify what needs to be done. I was hesitant at first to delete the first two tasks, as I like to see the progress, but I think it is better to be simple and clear when planning to work with a potentially large group of people.

Chapter 1.1: Chaotic Movement

The first artistic research task was named: Chaotic Movement as this is where my research began. 

Here is an overview of each task in the Chaotic Movement artistic research task:
The first artistic research task related to chaotic movement. The Chaotic Movement unit had five steps:
1.    Watch: Chaos Theory
 This video is meant to refresh and teach the participants about Chaos Theory.
Image 1 Chaotic Movement: Step One
2.    Play: Pinball Game
The pinball game is an example of chaos theory. Depending on factors such as when, how fast, or how quickly the ball is shot out and into the game, the trajectory and end result will differ each time

Image 2 Chaotic Movement: Step Two

3.    Watch: Video of my own pinball playing and drawings of the ball’s path
I recorded myself playing a pinball game. I slowed down the video so I could trace the path of the ball. This video shares both of those.

Image 3 Chaotic Movement: Step Three

4.    Explore, record, and share
The participants try tracing the path of the pinball with their finger and other body parts. They record one of their explorations and share it with the group.
Image 4 Chaotic Movement: Step Four

5.    Watch, inform, explore, record, and share
The participants watch what other participants have shared and find one or two elements that resonate with them. Participants explore chaotic movement again. How has watching the exploration of others impacted these new explorations? Or does it not affect them at all? Participants are encouraged to record a new exploration and share it with the group.

Image 5 Chaotic Movement: Step Five

As you can see, I carefully reconstructed activities for my participants to experience a fast tracked version of what I had gone through to find my own chaotic movement in the summer 2017 semester. They were given things to watch and play, before they were given the research task. However, each step had multiple things to do. In an attempt to be thorough, the task became cumbersome and confusing.

From the Global Artistic Research Facebook group’s original Unit One: Chaotic Movement, It was interesting to notice the similarities between each of the dancer’s videos. Although similarities were not shared across the board, there was the emphasis on fingers, as well as the use of small spaces. The focus on fingers could have been from my suggestion of drawing the pathway of the pinball with your finger. I also start my own pinball movement with my finger and let it work its way in. Whether that was my influence or a commonality and easy entry point for most people, I can only conjecture.

Image 6 Krystina’s, screen shot of her video submission, of Chaotic Movement: Step Four.
In Krystina’s video she focussed on the intricacy of her digits.

Image 7 Jenny’s, screen shot of her video submission, of Chaotic Movement: Step Four.
In Jenny’s exploration, she also focussed on the fingers at first and then she became the pinball. She also used a small space which reminded me of a pinball in the pinball machine.

Image 8 Alia’s, screen shot of her video submission, of Chaotic Movement: Step Four.

Alia’s movement exploration also took place in a small hallway, giving the impression of a pinball in a game. Her movement went unaffected by passersby. Had the passersby made physical contact, would her movement had changed? This is also reminiscent of the objects in the pinball game that the balls rebounds off of.

I watched the videos from my participants and allowed their movement to imprint on my own. I took the idea of small spaces, like the pinball being put back in its box, and rebounded around the staircase. However, because of allowing myself such open parameters, it was difficult to both choose and see what I was attending to. 

Chapter 1.2: City Rhythms

The second artistic research task was more open to interpretation. Unit Two, named City Rhythms, had participants choose a community that they are in right now, that is important to them. Next, they had to create a score from the movement of the people in that community. My original idea for this came from the community of surfers at Jacksonville Beach that I had been observing over the summer. As I sat in the water, watching the movement of the surfers, I was reminded of Ana Sanchez-Colberg’s, Contemporary Body Politics, and her unit on social choreography. City Rhythms was explained in one post. It was left open on purpose, but because of this, some of the responses that I received were unclear. Meaning, each artist interpreted the task differently which was evident in the subsequent work. For example, Aliya’s shared dance was performed in her rental home, with the distraction of an untidy home, while Jenny’s shared dance contained different rhythms as her dance travelled from each of the different countries that she has considered home.

Image 9 City Rhythms: There is only one step.

Participants had a looser task that gave them more freedom for interpretation. However, this time, my own use of their contributions was more specific. I was specifically taking the rhythm of their movement and placing it in one location in my body.

Alia created a score of the movement of her children in her home, as to her, this was her community at this moment in time, being away from her home in Chicago. She drew the movement as well as, moved in the space where the movement had been observed.

Image 10 Alia's screen shot of her video submission for City Rhythms.

Image 11 Alia's score for City Rhythms.

Jenny provided a longer sample of work which explored multiple communities, as she has moved many times in her life. As she is creating this on a visit back to her parent’s home in Jakarta, I can see that she is reliving some memories and creating a narrative to express the differences between living in Jakarta and living in the United States.

Image 12 Jenny's screen shot of video submission for City Rhythms.
Image 13 Krystina's screen shot of video submission for City Rhythms.

Krystina used her place of work as her community. She used the equipment at the gym to create movement and the sounds from the equipment and her movement produced an easy rhythm to interpret.

Video Link: Movement Exploration Three / Krystina:
The links to all videos can also be found in the appendix.

My second movement exploration started moving me towards becoming more specific with my tasks. Elements of my idea were becoming clearer to me as they evolved. I now looked at my body and mapped out the areas of the world. I started with Canada in my chest and shoulders and moved down to arms and belly as the United States. I mapped out the front and turned around and used my back starting with Russia in my head and right shoulder. Bigger countries got their own space, while smaller ones were places as continents. I created a sound track with my voice, calling out each of the mapped areas. I started with thirty seconds between each, then twenty, then ten seconds. This gave me time to memorize and try isolate each location. For my week end presentation of this task I moved to five seconds and added Chris as my speed control for my isolated movements: when Chris was standing I had to go super-fast and when he was sitting I had to go super slow. The idea for speed control came from one of Jüri Nael’s tasks where we had to move slower than slow and quicker than quick while getting up and going down with no hands.

My third movement exploration, also from the artistic research task: City Rhythms, had me finding the rhythm from my participants City Rhythm tasks and placing that rhythm in their country of origin in the location that I had mapped it on my body. All participants in these first two tasks were dancers.

Video link: Movement Exploration Two / Mapping:
The links to all videos can also be found in the appendix.

My third movement exploration was to take the rhythms from these videos and place them in one specific area in my body. I played each video and moved that one area of my body as I saw their movement. I found a simple pattern of their rhythm from part of their video and repeated the movement until it was easy to do without thinking.

Video Link: Movement Exploration Three:
The links to all videos can also be found in the appendix.

Chapter 1.3: Community Movement

The third artistic research task, now unit one (the only unit visible to members of the group), is called: Community Movement. It has seven clear steps:
1.    Complete the Research Consent Form

Image 14 Community Movement: Step One: Internet Research Consent Form.

2.    Decide on a community in your city.

Image 15 Community Movement: Step Two

3.    Observe the micro and macro movements of the people within that community.

Image 16 Community Movement: Step Three

4.    Take a photo of the community.

Image 17 Community Movement: Step Four

5.    Writing of your experience.

Image 18 Community Movement: Step Five

6.    Make your art from your observations of the movement.

Image 19 Community Movement: Step Six

7.    Share with the group.

Image 20 Community Movement: Step Seven

The artistic research task, Community Movement, which includes: the choosing of a community outside of your home, in your city, the observation of the movement of people within this community, reflecting on this movement and noticing which draws your attention, replicating this movement in your own art form, and sharing it with the group. It is similar to the second task, but more clearly defines what I am looking for as a choreographer, which is the macro or micro movements of people in a community. Participants still have freedom to choose where their attentions lie when it comes to the movement within their community, but this task has the artists clarify which movements they are noticing. 

My fourth movement exploration, from the artistic research task: Community Movement, had me exploring the task as a participant. I thought, that by going through the task and sharing my explorations with the Facebook Group, it could be used as both an example and inspiration for others to start their own explorations.

My fourth movement exploration for the artistic research task: Community Movement, was to go through each of the five steps as a participant. I chose to observe the Vancouver Public Library. I watched the movement of the people from waiting in the lobby for the library to open on a Saturday morning, to finding their places, and getting comfortable. As I sat and did homework, I observed people looking for books, looking for tables, breathing and getting comfortable in chairs, sleeping, and organizing their things. This library is located downtown Vancouver and is a safe, warm place to go for people who do not have homes. The community includes all types of people, young to old. It is one place, where everyone is welcome. It is a place to spend time, study, and relax. Perhaps the one part of the community that is the least represented here are the overtly rich. Perhaps this is why it is one of my favourite spots in the city. I took photos of the library and videos.

Image 21 The Vancouver Public Library. The community that I observed for the artistic research task: Community Movement

Image 22 The Vancouver Public Library. View of the entrance from above.

Image 23 The Vancouver Public Library. View from above inside the library.

For my movement exploration in the theatre, after I had observed the movement of the people in the library, I decided to play with actual books as a means to keep a connection to the library while working in the theatre. I collected all the books from my office and stacked them in the theatre. I played a game, where I could not touch the theatre floor, I could only make contact with the books. I stacked the books to make chairs, laid them out to make a bed, and even created pathways to move along.

The second time I played with the books, I also hooked up the Kinect to track my movements. I had just learned to make dots and have them trace up or down as I moved. Of course, this does not really reflect the movement I saw in the library, but I did happen to find the perfect song to combine both explorations: Björk’s, It’s Oh So Quiet. In the video below, I edited some of my favourite movements from the book explorations to this song. Part of the song is quiet, no Kinect projections, while the other part jazzes it up with horns and is more like a party, and this is where I added in the video edits with the Kinect projections of trailing dots. The dots flow up and away from the fourteen different parts of my body that the Kinect tracks. 

Video Link: Movement Exploration Four:
The links to all videos can also be found in the appendix.

Chapter 2: Collecting

Although not directly related to choreographing, connecting and collecting work from artists was an integral part of this research project. I was attempting to connect with artists from around the world and encourage them to participate on the shared artistic research task. I put a lot of thought and time into the question, why would someone participate? Now that I have connected with these artists, how can I encourage them to try the artistic research task and share their responses with the group? I was worried that no one would participate and sought out my friends and family to at least be a voice to talk back to me in the Facebook group, in hopes that it might get others to start communicating in the group as well. I participated in the task myself to use as an example with the mindset that it might get people thinking about the way that they might approach it. I also tried to share regularly on Instagram and Facebook to peak people’s interest. In the end, thanks to friends, friends of friends, and family, I ended up having ten people participate and one artist, participate twice. In the following sub-chapters, I will describe each artist’s response to the shared artistic research task: Community Movement, in the order that they were placed for the final performance.

Chapter 2.1: Naporn: Japan

Video Link: Naporn’s dance of tourists in Hokkaido, Japan:
The links to all videos can also be found in the appendix.

While Naporn, who is a dancer, choreographer, and teacher, from Thailand, was on vacation in Hokkaido, Japan, she observed the movement of tourists. She observed how the tourists adapted to the Japanese culture. She said, “I observed people who are tourists, being others/ feeling like others/ adapting Japanese culture in their body.”

Naporn submitted a dance video that was fifty-seconds long. She is in a bare room with a small space heater or air conditioner. There are drapes drawn across a window behind her. She is wearing a Japanese kimono and she is kneeling in the center of the frame. Her movements and precise and sharp. She bows to the right, left, and center,  and slowly comes to full standing. She slowly moves her feet carefully and articulately forward with two small steps. She shuffles backwards, one, two, three, one, two, three, one, two, three. You can hear the sound of her feet dragging on the floor. This sound creates a rhythm. She moves straight back and then forward on the diagonal. She quickly lunges in a deep lunge with her head staying in line with her spine, and her spine leaning forward on a sharp diagonal. She slowly rises up and looks back, as if checking for someone watching her. She straightens up quickly. She brushes each arm, turning in the foot and knee as she does so, in a sort of embarrassed way, or perhaps trying to brush something off of her clothing. She stands up quickly. After a long pause, she bends her knees slightly. 

As I have stated earlier, Naporn’s movements are very precise and sharp. The movement that stands out to me the most, after watching the video and taking myself through various tasks, is the small knee bend at the very end. It is subtle and I am unsure if she meant to have that part of the piece as she says done to her videographer, at almost the same time.

Chapter 2.2: Stephanie: Canada

Video Link: Stephanie’s crosswalk dance in downtown Abbotsford, Canada:
The links to all videos can also be found in the appendix.

Stephanie is a local Canadian dancer. She observed the movement of people in downtown Abbotsford, which is a smaller city in the suburbs of Vancouver. The video focusses on a crosswalk. At first, we watch the back of three people waiting to cross at the light. When it is their turn to cross, they do so without noticing that they are being filmed. A family with a stroller crosses towards the videographer. The video is then edited to show Stephanie crossing the street doing some classic jazz moves as if the crosswalk is her own private dance studio. The pedestrian movements of the people waiting and walking are juxtaposed by the jetés, chasés, and port de bras, of Stephanie’s cross walk turned dance studio.

My attention was drawn to the sounds that were shared in this video. I was drawn to the sounds of the cross walk signals and the giggling of Stephanie and her videographer as they took over the cross walk. It was laughter that showed that they were having fun but also they were feeling a little awkward and covering it up. They were doing something that they normally would not do. This brought me back to the first people in the video, who were waiting for the light. They were unaware that they were being filmed and because they were unaware, they were acting completely natural. Stephanie, on the other hand, knew she was being filmed and knew she was doing something that people might interpret as strange or different, which she covered up with laughter. This video captured that interesting juxtaposition between the two.

Chapter 2.3: Jheric: Canada

Jheric is a Canadian dancer, teacher, DJ, and photographer. When Jheric first showed interest in participating, I was unsure what type of art he would submit. Since, his most recent artistic interest is photography, he chose to send some of his photographs. Jheric’s photographs observed the movement of people in multiple communities in the lower mainland of Vancouver, BC. He included photographs from a dance battle at his studio, Boogaloo Academy, dancers on the Sky Train, dancers in Vancouver’s famous Gas Town district, and a dancer in Squamish. All of these photographs’ main focus were dancers. I took my time looking at each photograph and soon realized that my eye was being drawn to the people in the background. What were the people watching or not watching the dancers doing? There was only one photograph, the one from Squamish, that did not include any other people in the background.
Image 24 Jheric's photograph from inside the Sky Train.

Image 25 Jheric's photograph from Boogaloo Academy.

Image 26 Jheric's photograph from inside Boogaloo Academy.

Image 27 Jheric's photograph from inside Boogaloo Academy.

Image 28 Jheric's photograph from inside Boogaloo Academy.

 Image 29 Jheric's photograph from inside Boogaloo Academy.

 Image 30 Jheric's photograph from Gastown.

Image 31 Jheric's photograph from inside Boogaloo Academy.

 Image 32 Jheric's photograph from inside Boogaloo Academy.

Image 33 Jheric's photograph from the Sky Train.

Image 34 Jheric's photograph from the Sky Train.

 Image 35 Jheric's photograph from Squamish.

Chapter 2.4: Naporn: Thailand

Video Link: Naporn’s Dance of Asoke Station in Bangkok, Thailand:
The links to all videos can also be found in the appendix.

Naporn, a dancer, choreographer, and teacher from Bangkok, made a second submission. She observed the movement of people in one of the busiest sky train stations in Bangkok, Thailand: Asoke Station.

Her dance takes place in the same room as the first video about Hokkaido, Japan. The bare room, with the curtain drawn, and the small space heater or air conditioning unit in the corner. There is no sound but those created by her movements. She starts by dodging and swaying out of the way of imaginary people. She moves her upper body in a large circle and sharply comes back to an upright position. She searches with her hands in front the front and back of her pelvis. She looks like she is looking for her phone. She finds it and puts it to her ear. She looks up and then quickly looks back to the ground. She moves in small steps in a square shape, not really traveling far at all, as if her space is confined. She stands still and searches for her phone again with sharp movements with her hands in the front and back of her pelvis. She steps back and moves her hands in search of her phone again. She steps forward and pulls out her phone to look again. She puts is away. She waits. She does makes a circle with her upper body and creates the movement one would make when you put on a back pack. She turns and walks forward, stops, walks back, stops, walks forward, turns, releases her arms from her imaginary back pack and walks across to the wall. She is done.

Image 36 Naporn's photograph of Asoke Station.

Chapter 2.5: Menelaine: Canada        

Menelaine is a Canadian dancer, choreographer, visual artist, and teacher. She observed the VanDusen Botanical Garden Festival of Lights in Vancouver, British Columbia. She observed this gathering of tourists and locals coming together to admire the beautiful Christmas lights in the garden in two different ways. First, she explored and observed through participation in the event. Second, she looked through Instagram and observed the photos that others had taken and shared of their experiences. This double lens lead her to take notice of the stop and go, people coming together and pulling apart, gathering of people in small groups or by themselves to take a photograph or a short video, and slowly meandering with momentary stops. From her observations both from the event and through the lens of others’ on Instagram, she created a trilogy of paintings. 

Image 37 Menelaine's painting of the VanDusen Festival of Lights.

 Image 38 Menelaine's painting of the VanDusen Festival of Lights.

 Image 39 Menelaine's painting of the VanDusen Festival of Lights.

Chapter 2.6: Stephanie: Dominican Republic    

Video Link: Stephanie’s observations and Maria’s dancing in Calle El Condo, Santo Domingo, Dominican Republic:
The links to all videos can also be found in the appendix.

Stephanie is a dancer, choreographer, and teacher from the Dominican Republic. With the help of her dancer friend, Maria, they created a dance video in the historical Calle El Condo in Santo Domingo, Dominican Republic. From Stephanie, I have learned that:
El Conde is the main boulevard of Santo Domingo and the oldest commercial street of the city. It is a very historical promenade that begins with the Independence Park, where our Independence was declared and it ends at Parque Colon where the first Cathedral in America was built. From El Conde street, one can arrive at Las Damas (the ladies). During the colonial period, Maria de Toledo, Columbus’ daughter in law, and her ladies used to walk along this ride and for this reason the people of that time dominated this street. 

For me this street is very meaningful. It is part of our identity, an identity that was colonized but whose people never think about it. This colonization can be appreciated through its Spaniard architectures. It also symbolizes the fusion of cultures, the Spanish and the African.

Image 40 The first location of Maria’s dance in Calle El Condo.

 Image 41 The second location of Maria's dance in Calle El Condo

Stephanie has edited together two different sections of the Calle El Condo in her video. In the first section Maria is dancing in a corridor of shops that are closed for the evening (see image #41). The sounds from this part of the street are smooth and waltz like. Maria’s dance matches the sounds. She starts on the ground with a roll and gets up with a leg extension. She walks back and lunges to the side. She comes up into a wide stance facing the opposite side and works through a beautiful, long, stretched out port de bras. She walks in threes from the front corner to the back corner, then pauses and looks around. The music has a sharp wavy section and Maria compliments it with a step out into low second with her upper body waving out with the leg and then both coming back up. This brings her back into the dance for one last moment. She walks forward and back and lunges back to the side with a sweeping port de bras.

In the second section of the video we are taken to a new location of the street. This section appears to be on the edge of what appears to be Independence Park (see image #42). Here the sounds from the street are more upbeat and the video includes the musicians playing a Güira, an accordion, and a drum. Maria’s dance in this section picks up to include fast foot work that matches the rhythm of the street band. One of the musicians is wearing two hats and he takes off the top one and throws it near her. Maria picks up the hat and uses it as a prop and then offers it out to the invisible crowd. She drops it back down in front of the band and then jumps forward and back a few times before ending with a high extension to the front. As she continues her dance, the band member who threw down the hat notices that the hat is upside down. He tries to flip it with his foot but is unsuccessful. Maria ends her dance by picking up the hat and turning it the right way, and at the same time making eye contact and acknowledging the band members. There is a very cool moment here in the video, where Maria magically disappears and the band is left still playing but they are slowed down and they start to blur.

Chapter 2.7: Allison: Honduras    

Allison is a writer and professor from Canada who lives part time at Roatan Beach in Honduras. Allison observed the movement of people on Roatan Beach and noticed the juxtaposition between people who are there to make a living and those that are there to relax. Allison took photos of her observations and translated all into a poem:

Roatan Beach

Stretched out floating
Bodies with no weight
Couples casually stroll on the sand
Paddling through the clear blue
Seeking shade in a comfy hammock
Cocktail in hand, paradise

Walking up and down,
So many times a day
What can they sell?
What will they buy?
Weighed down by t shirts, trinkets, hats
Massage? Braids? Banana Bread?

Different pace, opposite purpose
Go faster or slow right down
Make money, spend it
Hustle on the sand
Escaping the hustle on the sand
Take it all in, island time
Image 42 Allison's photograph of Roatan Beach.

Image 43 Allison's photograph of Roatan Beach.

 Image 44 Allison's photograph of Roatan Beach.

Image 45 Allison's photograph of Roatan Beach.

 Image 46 Allison's photograph of Roatan Beach.

 Image 47 Allison's photograph of Roatan Beach.

 Image 48 Allison's photograph of Roatan Beach.

 Image 49 Allison's photograph of Roatan Beach.

 Image 50 Allison's photograph of Roatan Beach.

Image 51 Allison's photograph of Roatan Beach.

 Image 52 Allison's photograph of Roatan Beach.

 Image 53 Allison's photograph of Roatan Beach.

 Image 54 Allison's photograph of Roatan Beach.

 Image 55 Allison's photograph of Roatan Beach.

 Image 56 Allison's photograph of Roatan Beach.

 Image 57 Allison's photograph of Roatan Beach.

 Image 58 Allison's photograph of Roatan Beach.

 Image 59 Allison's photograph of Roatan Beach.

 Image 60 Allison's photograph of Roatan Beach.

 Image 61 Allison's photograph of Roatan Beach.

 Image 62 Allison's photograph of Roatan Beach.

 Image 63 Allison's photograph of Roatan Beach.

 Image 64 Allison's photograph of Roatan Beach.

Image 65 Allison's photograph of Roatan Beach.

Chapter 2.8: Ornella: Lebanon

Video Link: Ornella’s Dance:
The links to all videos can also be found in the appendix.

Ornella is a dancer, choreographer, and teacher from Lebanon. She specializes in Belly Dance. She observed the movement of single women, at night, in a bar. She chose this community because it is one that she is familiar with since her family owns three bars. She has grown up observing and reflecting on the night life community. Ornella’s translation of her observations into a dance are a combination of belly dance and contemporary moves.

Ornella’s video of her dance takes place in a studio with a portable ballet barre in the center. The video has a pink filter on it. The music is slow and sultry to start but the beat soon picks up as does the mood of the female character she is portraying. Ornella starts by swaying down to a sitting position with her legs open wide and bent but her back is facing the camera. She rolls her head and upper body and then looks from side to side. Her gestures are of a woman trying not to look but also trying to be seen. She swings around onto her knees to face the camera. She again looks coyly from side to side. She moves to a standing position and her leg moves into a parallel retire. She uses the barre for support as she moves her belly in a vertical wave up and down to the music. She lowers her foot, soutenus, and steps and slides to the side. She leans over the barre now like you would a railing. She mimics having a drink in hand and looks from side to side again. Her head movements are exaggerated and sharp. She steps from side to side leading with her hips, turns sharply to face the other side, and as the music changes, she extends her leg to the front and bends her upper body backwards. She snaps the upper leg backwards and into a lunge moving away from the barre with a full port de bras. She steps back to the barre and performs sharper hip movements thrusting forward and backwards to the beat. She lowers all the way to the ground and comes back up. She leans over the barre and looks side to side again. She waves her body from side to side leading with her ear, and moves down to the floor and quickly comes back up. She steps back away from the barre and does a wave through her arms. She backs towards the camera until she is holding the barre again. She extends her leg to the side and turns back to face the barre. She flicks around into an attitude and extends it down to the floor where she lands on her demi-pointe with that knee bent and the other leg extended. She shoestrings her legs and touches the floor on each side. She slides under the barre like a sexy sun salutation, rolls to her knees, switches sides, gets up backwards and walks out of the picture.

The story or feeling, I get from her dance is a woman who walks into a bar alone. She looks around to see who is there. She is feeling shy but wants to make friends. She has a drink to relax and begins to move and look around more. Her movements grow bolder and she releases the power that she has. She then reverts back into who she was when she first walks in alone and backs away shyly.
Image 66 Ornella's photograph of the bar in Lebanon.

 Image 67 Ornella's photograph of the bar in Lebanon.

Chapter 2.9: Mika: United States

Video Link: Mika’s Dance:
The links to all videos can also be found in the appendix. 

Mika is a choreographer, dancer, and teacher from Tuscon, Arizona in the United States. She observes the driving community in Tuscon in the winter months where the tourist population is at its highest. She notices that the traffic can be very slow, is sometimes unsure of where they are going, and can make abrupt turns. She has translated these movements into a dance that uses zig zag or straight lines and abrupt shifts in speed. 

Her dance video takes place in a dance studio. She starts on the diagonal with a transfer of weight forward and back. Her arms are straight out front and then bend at the elbow and straighten before the back arms goes over head and she turns forward. She steps back and extends the leg to the front, brings it back in, and extends it again before rolling to the floor. She pops up in a tripod plank and back into the underneath leg extended to the front. She pops up into a tight three-legged dog and kicks up to switch legs. Mika stands and slides to the side, comes back to center, out again, and then turns back in towards the supporting leg to face the front diagonal. Her arms are bent, one on top of the other with space in between, almost covering her face. Her arms are sharp then smooth. As she pops up and then gathers the air around her and raises her leg to retire and puts it back down on its heal, only to slowly draw it back into center. This is when the dance drastically changes speeds for the first time. She talks five tiny,  super slow steps across the floor, relaxing her arms at her sides as she goes. The speed changes once more, to a faster and more erratic speed. She moves backwards, forwards, then around, side to side, and back around. She jumps her feet back together and pauses to finish.

Image 68 Mika's photograph of the driving community in Tuscon.

 Image 69 Mika's photograph of the driving community in Tuscon.


Chapter 2.10: Dyanna: United States

Video Link: Dyanna’s:
The links to all videos can also be found in the appendix. 

Dyanna is a choreographer, dancer, studio owner, company director, and professor from Downers Grove, Illinois in the United States. Like Mika, she also observed a driving community. However, her driving community was observed during snowy weather conditions. Dyanna noticed directions and speeds, but also slipping for the first time and increased heart rate that comes with not knowing if you are going to be able to control the car in the snow. After a first slip, she also noticed how drivers would adjust and anticipate slipping. Another movement she observed was a rocking movement of impatient drivers. In her final observation, Dyanna wrote, “It is interesting how cars allow us to travel and cross paths with so many different people in so many different ways which relates to what you are doing with this project.”

Dyanna’s dance video takes place in a large, bright, blank studio space. There are sounds of traffic, cars honking and street noises. She walks, runs, and slides to stops, in straight lines or roads. Her hands go up to protect herself from slipping. There are long waits and rocking. Eyes look down on the diagonal and hands go on hips with a semblance of impatience. She continues slowly, turns a corner, then speeds up. At the same slipping spot, she again slips but with more control. Her arms do not go up this time. Her path changes and she is taken in the opposite direction. Her speeds continue to alter between fast, slow, and pauses with rocking impatience. At one point there is a spiralling pathway. I imagine this to be an on ramp to a highway or a parking garage. The dance ends with her paused, rocking back and forth, waiting to go again.

When I watch the video of Dyanna’s dance, I can hear a lot of traffic but I only see her driving. I want to add the other into her piece. I want to drive with Dyanna and go the opposite direction to her. I want to fill the road with the imagined traffic.  

Chapter 2.11: Owen: United States

Video Link: Owen’s Dance:
The links to all videos can also be found in the appendix.

Also from the United States, Owen is a Ballet/Kinesiology double major from the University of Utah.  He is the one person that joined the project through social media without connection to any of my personal friends and colleagues. However, we later discovered that one of my cohort is his ballet professor at the University. Perhaps, that is how we came to be connected.

Like Dyanna, Owen observed a snowy community. However, he observed a Salt Lake City Ski Resort as a non-skier and as a person who is interested in injury prevention. Because of his interests, Owen noticed sliding, impact, and injuries the most. However, he also noticed family and friends coming together to have fun.
Image 70 Owen's photograph of the ski resort in Salt Lake City.

Owen’s dance takes place in a dark studio. He dances to the song, Slide, by James Bay. He starts by taking three cautious steps away from the camera. He spins quickly with his arm wrapping around his head and then covering his mouth and extending out, his body ends up facing the mirrors, sideways to the camera. He pulls his arm in walking closer towards the mirror, spins and ends facing away from the mirror with his hands over his face.  He takes a deep breath and his elbows go up and back down. He steps forward and double punches forward, push turns to face the back and goes down to the ground. He spins his legs over him letting the top one fall and hit the floor and causing his body to face the camera. He brings is top arm over and brings his knees into a fetal position momentarily. He rolls to face away from the camera but as he passes through center he quickly lifts his hips up and back down before coming to the other side. He quickly continues with a large arm circle and leg in attitude at the back as his upper body comes to flat on the ground with both arms extended straight above his head on the floor. He allows the attitude leg to pull him back around and he slides with the underneath leg extended straight, transfers to his other knee, and steps up facing the mirror. He extends his arms and his leg to the front. He envelopes his leg back in, draws his arms in to his hips one then the other, swaying one side to the other, then crosses them in front of this body, lets them swing around from back to front and steps backwards a few steps letting everything just hang. He takes a couple of prep steps and throws himself into a sliding middle split facing the back, arms overhead in the opposite direction to the slide. He pauses in the split, hands go down, legs close and he pushed himself back on the diagonal towards the camera. He rolls onto his back and extends the leg closest to the camera towards his head. He almost lets it fall to the side, but picks it back up and circles it around. He rolls onto his back and peddles his legs turning his body back to face the camera angle. His arms and legs open to second, he brings his arms back in elbows together and hands under his chin, pushing his head backwards. His knees bend and his feet slowly come together in a sitting butterfly. His chin and arms come down, both arms open to the side he rolls back to the ground, knees still bent. Knees open and close and leg extends and bends in and out twice. The video ends as he is rolling to his side.

I have an overwhelming feeling of sadness and a feeling of loneliness when I watch this dance. I attribute this to James Bay’s song, Slide, Owen’s dance moves, and perhaps the feeling he had when he was dancing to this song. I got a feeling that he might have been lonely visiting the ski resort. Perhaps he felt like an outsider and maybe he is having a difficult time adjusting to living in a new city overall.

Chapter 3: Projecting

After I had connected with artists and collected their responses to the shared artistic research task, Community Movement, the next two steps were to explore ways I could both, share their observations through my live dancing and their artistic responses through projections. This meant that I had to divide my time between researching in the studio, recording ideas in the theatre, creating videos and setting up projection scenes in Troikatronix’s program, Isadora, and assembling all of those elements. As I am a hands on learner, I created extra opportunities to explore Isadora with the dance classes that I teach in secondary school. With my Break and Bhangra classes we explored and participated in a Big Ideas show. 

Chapter 3.1: Big Ideas

Video Link: Playing with Projections: Placement:
Video Link: Playing with Projections: Size of dots, intensity, and dancing curves:
Video Link: Winter Showcase Projections:
The links to all videos can also be found in the appendix.

To further my own learning of the technology involved used to create an interactive dance space, I have created dances that incorporate projections with two of my high school dance classes for their Big Ideas dances. I have also been collaborating with Blair Miller, from the Math and Technology department, to work on projections for student choreographies. The Break class’s Big Ideas dance is called, Artistic Atoms. It looks at the idea of a painting and how it and we are all made up of atoms. The Bhangra class’s dance is called, Chance Dance, and it plays with Merce Cunnigham’s ideas of using chance to create dances. They also explore lines and shapes, in a game-like manner. Miller has created, Dancing Curves, where lines are coded to connect to different points tracked by the Kinect camera. In collaboration with Miller, we have broken two of our classes into small groups. His students are going to code the projections using the ideas from the dancers student choreographic Big Ideas.

My motivation for working with projections with two of my dance classes was to allow me the opportunity to work with projection technologies for dances that will be performed. I needed to expand my knowledge of the technologies and learn what I could produce. From the Break class, I learned how to place a live-feed video on top of an image. I also learned that the Kinect will not track an entire class and does not work for creating the atoms in the second half of their dance. With the Bhangra class, I learned how to have Isadora randomly select videos to play from a list.

The Break class’s dance, Artistic Atoms, starts with an image of the painting by Marcel Duchamp, Nude Descending a Staircase (No.2). This painting was suggested for our Big Ideas dance by our Art teacher, Carina Piccioni, when I asked her for something “Picassoey” with a lot of angles and shapes. However, this painting is quite narrow. I created an updated version by placing three of them side by side which I refer to as, Multiple Nudes Descending Staircases. This allowed me to fill the back of the stage, or in the video, the studio more completely. I wanted the dancers to appear to be coming out of the painting and I tried projecting a live feed of the camera on top of the painting. This way, as they dance out of the painting, they are still part of the painting. For the second part of their dance, I want to have dots moving around. At first I used a video of atoms that I found on YouTube, Cellular Automaton forms atoms that move,  repel, and bind into molecules (CellularAutomationUploader, 2014). What I really want are dots that move when the students move. I used the Kinect and played around with different sizes of dots and making the skeleton of the dancer invisible. However, the Kinect, does not track a whole class and the dot projection shuts down when there are too many people in the frame.

In the Bhangra class’s dance, Chance Dance, I played with graphically mapping the videos of their eleven different moves into different areas of the cyclorama and even on a white box closer to the front of the stage. The idea of their dance is they have eleven different Bhangra moves that they all know. They each have a number. I ask them to imagine they are inside one of those wooden box games where the floor tips and the ball moves, sometimes falling into a notch and sometimes going to the other side. As the dancers move across the stage, some get stuck in a line or shape. Once they are in their spot, they must take a cue from the projection as to what dance move they are to do. I have called out numbers, used a dice app and projected the screen, but what worked most effectively, was to have Isadora randomly select a video of clip of one of the eleven moves and project it on the screen.

Image 71 Lines, formations, and directions for the Bhangra classes Chance Dance.
Blair Miller has created, Dancing Curves, using the Kinect camera and the Processing program. He told certain points in the line to connect with other points. This created an animated dancing line. Miller and I have also split two of our classes into small groups. The plan was for his class to code projections for each student choreography. However, there did not end up being enough time for his students to complete the coding. It ended up being a loftier project than first anticipated. Miller came to our December showcase and he shared the projections that were completed. Unfortunately, our new short throw projector had not been mounted at this time and we had to use the meeting projector which is meant for a pull down screen, in other words, it only fills a small part of the cyclorama.


Chapter 3.2: Naporn: Japan

Video Link: Being Naporn: Hokkaido Japan:
Video Link: Naporn_Kaleidoscope:
Video Link: Connecting, Collecting, & Projecting: Global Artistic Collaboration_Show Feb. 22, 2019 (6:13):
The links to all videos can also be found in the appendix.

My guiding questions for Naporn’s, Hokkaido, Japan dance were: What movement do I notice when I watch Naporn? What stands out? How can I become familiar with her dance? How can I make it my own?  I find it interesting, that while Naporn was observing the tourists as she wrote, “being others/feeling like others/ adapting Japanese culture in their body,” I am observing Naporn being others and adapting her in my body. As this was one of the first dances that I worked through, I had created many tasks to try. You can see each task in the video link: Being Naporn: Hokkaido, Japan which is available in the appendix.

1.    Copied Naporn exactly embedding her movements in my body. (Video:0:05)
2.    Do it small (Video: 1:11)
3.    Dance it really big (Video: 2:15)
4.    Travel it - lost the essence (Video: 3:10)
5.    Laying down (Video: 4:07)
6.    Bouncing (Video: 5:13)
7.    Isolated in Japan - back of right forearm and hand. (Video: 5:56)
8.    Let it grow (Video: 6:41)
9.    Tempo: Slow (Video:3:46 )
10.    Tempo: Slow with pauses (Video: 11:51)
11.    Direct/Indirect: exaggerate the deliberateness (Video: 15:54)
12.    Direct/Indirect: strip it down to its essence (Video: 16:46)
13.    Sharp (Video: 17:39)
14.    Smooth (Video: 18:23)
15.    Make it flow (Video: 19:27)
16.    Repetition: How can I play with repetition? Add on (Video: 20:23)

A lot of these tasks are really only about getting the movement inside of my body.  When I finally get to repetition, I had to know the movements. Some of these tasks are more for fun, like bouncy. When am I ever going to do it bouncy? But, it makes me smile and think about the movements in a different way. My favourite is the repetition, starting with one move adding on and then going back to the start. What I notice most when I watch Naporn is the preciseness of each of her movements. My favourite part of Naporn's dance is at the very end when she subtly bends her knees.

Now that I have embedded Naporn’s dance inside my body, what do I project and how do I dance with the projection? After watching the video of my explorations, I was set on the idea of using her moves exactly but with parts of the repetition pattern. However, the next Saturday when I was able to explore the projections in the theatre, I found the kaleidoscope effect in Isadora (video link: Naporn_Kaleidoscope). It is such a beautiful effect and yet it was so easy to set up.

Image 72 Isadora Screen Shot: Scene: Naporn: J. Actors: Movie Player, CI Kaleidoscope, Projector, Envelope Generator

In Isadora I used Movie Player, CI Kaleidoscope, and Projector actors. As you can see from image #73, I also played around with using an Envelope Generator attached to the zoom on the Projector, but I did not end up using this in the show. The Kaleidoscope effect on its own was interesting to watch.  Since the movement of Naporn’s dance video with the kaleidoscope effect was so intricate and interesting to watch, yet distorted her original movements in a way that made them unrecognizable, I decided to use her exact dance. I emphasized the sharpness and preciseness of her movements along with the bend of her knees at the end of the performance. This is also the cue for Stephanie, who ran the Isadora program during the live performance, to move to the next scene. The only sounds in this scene come from Naporn’s feet as they shuffle and drag on the carpet.

Image 73 Isadora: Scene: Naporn:J. Control panel view/Instructions

Chapter 3.3: Stephanie: Canada

Video Link: Stephanie_Isadora Projections_Boomerang_me:
Video Link: Connecting, Collecting, & Projecting: Global Artistic Collaboration_Show Feb. 22, 2019 (7:05):
The links to all videos can also be found in the appendix.

In this thesis, I have organized each artist by their appearance in the final performance. When I explored each artist, I originally went through the order in which they had been received. I later found connections between each one and chose to start off slow, build up, and bring the audience back down. I am telling you this, because Stephanie was in the second half of my explorations, where I had limited the amount of tasks I allowed myself to work through. I limited the tasks because I knew more what I was looking for and I had to adhere to a schedule. For Stephanie’s dance, I thought, that because it is shorter and because it had that giggle in it, I thought it would be fun to make it like an  Instagram boomerang video. Boomerangs take a short clip of video, play it forwards, then reverse it. I also wanted to play with the speed of the videos, have the people walking faster and slower.

For Stephanie’s dance I worked through three movement tasks before setting my dance moves: 
1.    Copy Stephanie exactly
2.    I see this one as a boomerang - copy and move and reverse it
3.    Isolate in chest and let it grow.

From these three tasks, I learned that I wanted to film myself in front of the black curtain with the spotlight, doing her moves exactly. That way I could project me into the boomerang edited version of her video.

To transition from Naporn’s Japan, where I was left with knees slightly bent, I straightened up and released each stiff arm. When the cross walk sound rings, I walk backwards slowly, on the diagonal, and get lower. Then I zoom forwards on the diagonal, growing tall, and then straight down on the sirens. Do my plank, chaturanga, kneel move four times backwards. Tippy toe crab walk three times to lunge and then sit on the stool and look at the audience and smile when Steph giggles. This leaves me ready for Jheric’s scene.

In Isadora, for the projections, I used two movie players with projectors. I played the edited boomerang version of Stephanie’s dance video and overlaid the video with me doing her moves coming from different directions. You can see how these videos looked combined in the video of the projection. (Stephanie_Isadora Projections_Boomerang_me.) The sounds in this scene come from Stephanie’s video. You can hear the sounds from the street including the walk signals and the sounds of laughter.
Image 74 Isadora: Scene: Steph:C. Movie Player and Projector Actors

Image 75 Isadora: Scene: Steph:C. Control panel view/Instructions


Chapter 3.4: Jheric: Canada

Video Link: GAC_Jheric:
Video Link: GAC Projections Day 2_Owen_Dyanna_Jheric (Jheric is at 3:15):
Video Link: Connecting, Collecting, & Projecting: Global Artistic Collaboration_Show Feb. 22, 2019 (8:35):
The links to all videos can also be found in the appendix.

When looking through and examining each of Jheric’s photographs, I noticed that once I had observed the clear focus of the photograph, which was a dancer, my eyes then moved to the people in the background, those that were not meant to be the subject. I wanted to focus on their movements and facial expressions and work on exaggerating those using frozen tableaus, like the photographs themselves. For my movement explorations I went through the following tasks: 

1.    Choose someone from each photo that isn't the main subject/make their shape and facial expression.
2.    Connect the shapes and play with the speed of transitions.
3.    Isolate in chest and let it grow.

Three of the people that I chose to highlight were sitting on the Sky Train. I used a chair and moved it to the tree different locations. I decided to switch the chair to a white step stool and leave it in the center of the stage. The step stool blended into the projection better and it did not have to be turned around to sit on it from the other direction. Instead of moving the stool, I just moved my body to face different directions. I wondered if I could use the stool for any other scene, but this is the only scene that I ended up using it in.

I created a video of Jheric’s photographs. My first attempt used the Ken Burns effect to move from the subject I was focusing on in the photograph to the full photograph, where the eye naturally moves to the focus of the dancer. I put a fade to white transition in between each photograph and this is where I would change from one tableau to the next. After reflecting on the video of this, I realized that it took too long and the Ken Burns effect was ok, but not raw enough. I decided to try cropping the photos from one subject to the full photograph and placing them side by side without a transition. This removes that traveling feeling of the Ken Burns. I kept the transition that fades to white between each new photograph, the fade to white being the time when I change from one shape to the next.

The projection in Isadora is a simple Movie Player and Projector actor. It plays the video of the photographs. There were no sounds during this scene.

Image 76 Isadora: Scene: Jheric:C. Actors: Movie Player and Projector

 Image 77 Isadora: Scene: Jheric: C. Control panel view/instruction

Chapter 3.5: Naporn: Thailand

Video Link: Being Naporn_Asoke Station_Bangkok, Thailand:
Video Link: GAC_Projections Day 1_Naporn_Menelaine (0:03):
Video Link: GAC_Naporn_Bangkok_Thailand:
Video Link: Naporn_Isadora Projections_Three me times three:
 Video Link: Connecting, Collecting, & Projecting: Global Artistic Collaboration_Show Feb. 22, 2019 (10:12):
The links to all videos can also be found in the appendix.

For my movement explorations of Naporn’s dance about her observations of Asoke Station in Bangkok, I was guided by the questions: what movement to I notice when I watch her dance? What stands out? How can I become familiar with her dance? How can I make it my own? As Naporn is the first artist that I explored, I went through many tasks before I refined my process. 
These tasks can be found on the video: Being Naporn_Asoke Station_Bangkok, Thailand

1.    Copied Naporn exactly embedding her movements in my body. (Video: 0:02 / 0:43 - I fixed it from being in reverse by turning the computer into the mirror.)
2.    Do it small - no video (had it filmed the wrong way)
3.    Dance it really big (Video: 1:32)
4.    Travel it  (Video: 2:12 )
5.    Laying down (Video: 2:52)
6.    Bouncing (Video: 3:36)
7.    Isolated in Thailand - right hamstrings (Video: 4:08)
8.    Let it grow (Video: 4:53)
9.    Tempo: Slow (Video: 6:07)
10.    Tempo: slow with pauses (Video: 8:34)
11.    Direct/Indirect: exaggerate the deliberateness (Video: 10:56)
12.    Direct/Indirect: strip it down to its essence (Video: 11:55)
13.    Smooth (Video: 12:37)
14.    Flow (Video: 13:22)
15.    Repetition: How can I play with repetition? (Video: 14:03)

After reflecting on the video of the tasks, I noticed how much sharper Naporn’s movements are compared to mine. I also became aware that I had taught the moves to myself in reverse. I toyed with the idea of editing Naporn so she was facing my way, but in the end it was easier just to turn the computer into the mirror and quickly reteach myself so we were both the facing the same direction. Naporn’s sharpness and repetition are what stand out to me the most and are the ideas that I want to continue to work with. 

Again, I enjoyed repeating the movements by starting with the first move and adding on. This travelled across the stage and then to different directions once I got to the end. However, that took eight minutes and will get boring for the audience. I decided I would repeat the first section this way and once the mobile phone went to my ear, that would be the trigger to keep it moving. 

I also added repetition through layering the projections. I made videos of myself in front of the black curtain with the spotlight, starting in different locations on the stage and facing different directions. In IMovie, I edited two of these videos together, one on top of the other (since it can only do two at once). I exported it and brought it back in and added one more video to the top. This gave me a video with three of me dancing. I made one more video in IMovie, using Naporn’s original video and her two photographs of Asoke Station (video: GAC_Naporn_Bangkok_Thailand). I start with Naporn dancing in her room alone and then I add in the photos of Asoke Station. I plan to add the three of me video using Isadora, so I put a fade to white transition where I want Stephanie, who is running my projections, to press the next button on the control panel. I show part of the control panel and the projections in the video: Naporn_Isadora Projections_Three me times three. I play the video that I edit

In Isadora, I took advantage of being able to layer multiple videos. I wanted Asoke station to start quiet, get really busy, and then finish quiet. It starts with Naporn dancing in her room, as when the screen fades to white, Stephanie presses the first video or the three of me dancing. The background is Asoke Station. She does this three more times so that the projection of the station gets really busy. On the forth white screen, she unclicks the three videos so that it is only the live me left dancing on stage with the background of Asoke Station. My voice came out naturally in this scene. It helps me remember and I think it brings something to the quiet.
Image 78 Isadora: Scene: Napron:T. Four Movie Players and Four Projectors

Image 79 Isadora: Scene: Naporn: T. Control Panel view/instructions

Chapter 3.6: Menelaine: Canada

Video Link: GAC_Being Menelaine's Paintings_Vandussen Gardens, Vancouver, BC_Canada:
Video Link: GAC_P3_Menelaine:
Video Link: Connecting, Collecting, & Projecting: Global Artistic Collaboration_Show Feb. 22, 2019 (11:41):
The links to all videos can also be found in the appendix.

I went through quite a few tasks to explore Menelaine’s paintings through movement. My guiding questions during this process were to ask myself what I noticed most about movement when I observed the three paintings. What stands out? How do I translate movement in a painting to dance in my own body? And how do I make that movement familiar and embedded in me?

These tasks can be found on the video: GAC_Being Menelaine's Paintings_Vandussen Gardens, Vancouver, BC_Canada.

1.    Make the shapes I see in the painting with my own body: Leaning, looking, walking with umbrella. (Video: 0:05)
2.    Add movement to the shapes: Stop and go/slowly meandering (Video: 0:14)
3.    Add movement to the shapes: come together and pull apart - maybe I can do this with video? Projections? More "mes"? I will film this Saturday - me coming in and looking from different directions and then stopping and taking a photo or being in a photo. They can be all different. (Video: 2:05)
4.    Play with the speed of movement. - this can be done by speeding up the videos or slowing them down. (Video: 0:39)
5.    Isolate the movement in Canada - in my chest (Video: 3:17)
6.    Let the movement start in my chest and grow bigger until I am travelling in the space. (Video: 4:13)
7.    Observe the paintings as a trilogy. Observe the experience of the story being told by the three paintings as a whole and put that into your body. I could have three different "Paulas" being filmed. Then add those to the story.
8.    Observe the paintings through the lens of the sense. How do the paintings
feel? (Video: 6:07)
9.    Sound? (Video: 6:45)
10.    Using movement, physicalize the moment before and/or the moment after the journey/story that is being told by these paintings.
a.    Painting One (Lean): This is Menelaine! Or a kid - with more energy - running from side to side and taking it all in. Parents are way behind her - watching from a distance. She may even be chasing a younger sibling and a game of hide and seek might pursue. (Video: 8:35)
b.    Painting Two (Look): This is a fancier person. They are admiring and then getting a coffee and admiring more. They meet with their significant other soon… and take a photo. (Video: 8:57)
c.    Painting Three (Umbrella): Mom with an umbrella and bag. She is looking for her kids. They ran to play. (Video: 10:34)
11.    Observe the paintings individually. Notice where in your body the image "hits" you. Is there a physical departure in your body while you observe the paintings (ie: twitchy finger, weak knee, itchy foot). As that "hit" arrives, explore where that movement initiated by that body part takes you as an extension of the painting.
a.    Painting One (Lean): Foot- zig, zag, slide (Video: 11:19)
b.    Painting Two (Look): Head moves around and pauses, then less moving and more pausing (Video:11:42)
c.    Painting Three (Umbrella): sitting on knees, elbow, elbow, fall off forward, lean back (Video: 12:18)

Working with paintings is different than working with another dancer. I feel like I started the same way I would have with a movement task, by taking the shapes of each of the people in the paintings and then connecting those shapes with movements. Reading about Menelaine's observations of the movement of people gave me more insight. Words like meandering, stopping, gathering, and pulling away lead me down interesting paths. Gathering and pulling away and people coming together in groups, gave me the idea of filming myself in front of the black curtain in the spotlight so I can use them in projections.

The task that I found the most interesting was to look at the painting, be the shape, and then let one body part move. I found that telling the story of each character before this task, lead me to continue on with the story in the movement of that one body part.
For the performance I decided to start on the floor. After playing with the foot head and elbow task, I set movements that flow into each other. I then move into the shapes of each of the three characters I created from the paintings. I finish by turning into the happy girl, playing from side to side and admiring the lights. In the projection, the mom character calls me into the photo. I freeze with the characters in the projection, smiling a big smile. I turn up to look at the projection of the mom character and she directs me off the stage.

Similar to Naporn’s, Asoke Station video, I recorded myself dancing in front of the black curtain using the spotlight. I filmed myself being each of the characters that I created from three paintings. I recreated what I thought their movements would be while they admired the lights at Vandussen Gardens. I edited two videos together, one on top of the other, exported it, opened it up as a new project and added the third character in. I exported this video and started a new one using Menelaine’s paintings and photographs as the background of the video. I overlaid the video of myself dancing the three characters. I could have done this in Isadora, but it was easier to do it in IMovie this time (video: GAC_P3_Menelaine).

It was a simple scene in Isadora as I had assembled the layers of projections in IMovie. I used a Movie Player and Projector actor. There was no sound for this scene.

Image 80 Isadora: Scene: Menelaine:C. Movie Player and Projector Actor

Image 81 Isadora: Scene: Menelaine:C. Control Panel view/instructions

Chapter 3.7: Stephanie: Dominican Republic    

Video Link: Calle El Condo, Santo Domingo, Dominican Republic:
Video Link: GAC_Being Maria1_Dominican Republic:
Video Link: Stephanie and Maria_Isadora_Projections:
Video Link: Connecting, Collecting, & Projecting: Global Artistic Collaboration_Show Feb. 22, 2019 (13:36):
The links to all videos can also be found in the appendix.

Stephanie’s video of Maria dancing in Calle El Condo had two different parts in it. My guiding questions when exploring these dances were what stands out and how does rhythm play a role? Also, I wondered how I could embed the two different rhythms and dance genres in my own body. Here are the tasks I explored for each dance. You can see them in the video: GAC_Being Maria1_Dominican Republic:

First half of video
1.    Copied Maria exactly embedding her movements in my body. (video: 0:04)
2.    Do it small (video: 0:39)
3.    Dance it really big (video:1:15 )
4.    Travel it (video: 1:48)
5.    Isolated in Dominican Republic - front of left hip flexor (video: 2:24)
6.    Isolated then let it grow (video: 2:59)
7.    Tempo: Slow (video: 4:18)
8.    Tempo: Slow with pauses (video: 5:38)
9.    Direct/Indirect: exaggerate the deliberateness (video: 7:32)
10.    Direct/Indirect: strip it down to its essence (video:8:07)
11.    Sharp (video: 8:43)
12.    Smooth (video: 9:19)

Second half of video
1.    Copy Maria exactly embedding her movements in my body.
2.    BIG

Maria is a beautiful, flowy, classically trained dancer. The thing that stands out to me in both halves of the video is her rhythm and the rhythm of the street. It shows two different parts of the street and there are two different feelings. This first half is very flowy. The second half is upbeat and fast. Somehow I want to highlight these differences. In the first half there are a lot of balances, waltz steps and beautiful port de bras. There is an interesting flexed foot towards the end where she steps into a lunge and there is a moment of stillness where she is observing the people and noticing that she is being observed until the music brings her back into her dance. I am drawn to the juxtaposition in this section of the dance. In the second half the rhythm picks up and her movements become more energetic and carefree and she plays with the rhythms and the band members on the street.

After putting Maria’s dance exactly in my body, I thought about how I would like to share her dance and the different rhythms. I thought about what came before, Menelaine’s paintings, and decided to continue using my elbow, head, and zig-zag foot. Like the rhythm from the street, which started slow, I started slow working through a simple foot work pattern. Each time I repeated the pattern I would add something more to it: energy, facial expressions, arms, connection with the audience. I brought back the three body parts and made them leaders in conjunction with the footwork: elbow leading, head leading, and feet leading. I played with different speeds as well: going slow, going fast, and going fast with pauses.

I did not edit Stephanie’s video in IMovie. I imported it right into Isadora. In order to emphasize the rhythms, I chose to use a Dot effect and a Sound Level Watcher. The dots were placed on top of Stephanie’s video and they would change size when the music got louder. This was really effective for showing the two different rhythms of Calle El Condo. You can see how this works in the projection video: Video Link: Stephanie and Maria_Isadora_Projections:
The links to all videos can also be found in the appendix.

Image 82 Isadora: Scene: Maria:DR. Movie Player, Dots, Projector, Sound Level Watcher Actors

Image 83 Isadora: Scene: Maria:DR. Control Panel view/instructions *LIVE INPUT MUST BE ON


Chapter 3.8: Allison: Honduras

Video Link: GAC_Allison:
Video Link: GAC_LiveMenelaine_Maria_Allison_Ornella (2:43):
Video Link: Connecting, Collecting, & Projecting: Global Artistic Collaboration_Show Feb. 22, 2019 (15:06):
The links to all videos can also be found in the appendix.

For my movement explorations with Allison’ poem, Roatan Beach, I first observed the photos of Roatan Beach and read the words written by Allison. I wanted to emphasise the juxtaposition between the people working on the beach and the people escaping work on the beach. Same place/different head space. My guiding questions were: what movements can show this juxtaposition of place and pace? What shapes are these movements? How does the speed of the movements play a factor? How can I be both leisure and livelihood?
You can see these movement tasks on the video:  GAC_LiveMenelaine_Maria_Allison_Ornella (2:43): The links to all videos can also be found in the appendix.

1.    Read the poem into the computer.
2.    Play the recording of the words and improvise movements.
3.    What movements repeat?
4.    Lock down 3-6 movements and play with the speed/transitions between them.
5.    Isolate and grow in front of pelvis

I feel like these moves came very quickly for me and I worried that maybe they are too simple. However, when I play them back, I can clearly see the difference between the two worlds in the one world. One is on the spot, and the other is moving and then they come together.

For Allison’s poem, Roatan Beach, I chose to read the poem aloud into IMovie. I also typed the poem into Adobe Illustrator, breaking it up into three sections: Leisure, livelihood, and both. I put all three together in Imovie: the photographs of Roatan Beach, my voice reading the poem, and the written version of the poem. I also recorded myself dancing in front of the black curtain in the spotlight.

I imported both movies (the poem and me dancing in front of the black curtain) into Isadora. I used the horizontal positioning in the Projector actor to move myself to right side of the projection. I danced live on the left side. After reflecting on a recording of this, I decided to add another level. I stayed on the left side of the stage but I altered the moves so that they were all done from a seated position and they finished laying on the floor.
Image 84 Isadora: Scene: Allison:H. Movie Player and Projector Actors. Horizontal position on the bottom projector is set to 32.

Image 85 Isadora: Scene: Allison: H. Control Panel view/instructions     

Chapter 3.9: Ornella: Lebanon   

Video: GAC_Ornella:
Video Link: Ornella_Isadora Projections_Four versions of me:
Video Link: Connecting, Collecting, & Projecting: Global Artistic Collaboration_Show Feb. 22, 2019 (16:03):
The links to all videos can also be found in the appendix.

Ornella’s dance was the last artist submission that I explored. While observing and embedding Ornella’s dance in my own body, I was guided by the questions: what movements do I notice most? How can I do these movements in new ways? How can I connect them to the projections and the entire piece?

1.    Copy movements exactly
2.    Isolate the moves and let them grow from my back left ribcage.
3.    Gestures only
4.    Laying on my back
5.    Laying on my stomach

Working through Ornella’s dance, I feel it starts slow, calm, sad, and lonely. The girl is looking for someone to hang out with. There is a lot of looking from side to side. As she moves up to the bar, she starts to strut her stuff and put on a show. She is still looking side to side but not as much, maybe more glances to check if people are still watching her. She pulls out all her tricks but in the end, she leaves, backing away, maybe more sad than when she started. She had some fun, but in the end she is still alone and a little more exhausted after all that display.

Because Ornella’s dance has this strong narrative already, I want to continue with the store by exploring her movement observations. Ornella also uses a lot of levels and I wanted to play with being in opposition to her levels. What stood out to me the most was the amount of gestures in her dance. My favourite exploration was the one where I just repeated and explored the quotidian movements from her dance. I recorded myself in front of the black curtain doing her dance exactly, doing only gestures, laying on my back, laying on my stomach, and isolating in the back of my left rib cage. I planned to play with these videos of myself and place them in the projections. I feel there is a connection between a BGirl or BBoy in a club and Ornella’s female character. They come in to dance, they start off slow, and when the music builds up, they jump in the cipher and show off their tricks. In the end they leave exhausted but full of joy. I decided to downplay the sadness of her character and emphasize the tricks.

For my live dance, connecting it all together, I did not want to copy Ornella’s moves exactly and I wanted to play with different levels. I decided to start laying on the floor and using her first swaying move that brought her down to a sitting position. My arms were extended above my head and I started the wave in my hands moving down to my head, shoulders, ribs, hips, knees, and feet. This naturally lead me to do some leg swings, extensions, and rolls. When the music gets more intense and Ornella works her way up to standing, I come to the neutral BGirl position and worked through some basic footwork and knee rocks, staying in the low level.

For the projections, I started by editing Ornella’s dance video together with her two photographs in IMovie. I used the Ken Burns effect on her photographs because of the movement it creates. I then cropped Ornella a few times and placed her on top of the photographs. This gave her the illusion of being in the night club and also movement in the screen.

In Isadora, I used five Movie Players with Projectors. The first movie was the one of Ornella and her photographs of the bar. The other four movies were me dancing in front of the black curtain in the spotlight. One video was me doing her moves exactly, another was gestures only, then there was one laying on my back and one laying on my stomach. In the Projector actor, I adjusted the zoom, horizontal, and vertical position so that I could be placed on the screen in different locations. Since Ornella was primarily in the center of the screen, I placed myself around the edges and in the corners which ended up looking like a moving picture frame.

The sound in this scene comes from Ornella’s dance video. The song is from the YouTube: Habibi lal (kira Lebedeva) @ Tribal Beat Fest 2016 (Lebedeva, 2016).

Image 86 Isadora: Scene: Ornella:L. Movie Player and Projector Actors. Projectors have been adjusted using zoom, horizontal, and vertical positions.
Image 87 Isadora: Scene: Ornella:L. Control Panel view/instructions.

Chapter 3.10: Mika: United States

Video Link: GAC_Mika:
Video Link: Mika Projections in Isadora:
Video Link: Connecting, Collecting, & Projecting: Global Artistic Collaboration_Show Feb. 22, 2019 (17:59):
The links to all videos can also be found in the appendix.

While exploring Mika’s dance I was guided by her written reflections of the driving snowbird community. I wanted to notice her angular patterns and changes in speed. I explored the following tasks:

1.    Copy Mika Exactly
2.    Extract the essence
3.    Isolate in abdomen and let it grow.

After becoming familiar with Mika’s dance, I thought about how I could exaggerate the different speeds and textures or her movements? The answer was to be in opposition to her. When Mika was moving slowly, I wanted to move quickly. I filmed myself in front of the black curtain doing her moves exactly.

In IMovie, I edited her two photographs of the driving community using the Ken Burns effect. I put her video of her dancing in the video next. However, something went wrong. When I watched the video, Mika somehow had gotten flipped upside down. Since I wanted to work with opposition, I thought I would keep this mistake.

In Isadora, I used two movie players with projectors. I used the video of myself doing Mika’s dance and the video that I edited of her two photographs and Mika dancing upside down. As the two photographs set the scene, the projection of myself danced across the roads of Arizona. As those faded out, Mika appeared dancing from the fast section from the start as I was dancing the slow section. As my projection faded away, I entered the stage dancing the movements from the start again, this time as Mika was at the slow part. The only sound in this scene is from either Mika or I dancing.
Image 88 Isadora: Scene: Mika: U. Movie Player and Projector actors. Horizontal and vertical position on the projection of me dancing has been adjusted.

Image 89 Isadora: Scene: Mika:U. Control Panel view/instructions.

Chapter 3.11: Dyanna: United States

Video Link: GAC_Dyanna Me:
Video Link: Connecting, Collecting, & Projecting: Global Artistic Collaboration_Show Feb. 22, 2019 (20:03):
The links to all videos can also be found in the appendix.

In exploring Dyanna’s observations of the slippery, driving community of Downer’s Grove, Illinois, I was guided by the questions: where were the moments of sliding? How can I connect this to Owen’s? Do I notice the anticipation of sliding and the rocking of impatience? What are the pathways?
I started by exploring the following tasks in the studio: 

1.    Copy the movements exactly.
2.    Find the sliding / anticipation of sliding
3.    Copy the rocking.
4.    Walk the pathways.
5.    Isolate and grow from abdomen.

I discovered that I wanted to walk the pathways as opposite traffic. I filmed myself in front of the black curtain in the spotlight walking the pathways in the opposite direction.

In IMovie, I layered the video of my walking in the opposite direction on top of Dyanna’s dance. I played this video through Isadora. In the live performance, I added myself as a third dancer/car walking new pathways. I played with speeds and exaggerating the different speeds. I used the sliding, anticipation of sliding, and rocking of impatience in my own live version. To finish this dance I walked to the center and kneeled down facing the back so I was ready for Owen’s dance. The sounds in this scene came from Dyanna’s dance video and they are the sounds of traffic.

Image 90 Isadora: Scene: Dyanna:U. Movie Player and Projector actor.

Image 91 Isadora: Scene: Dyanna:U. Control Panel view/instructions.

Chapter 3.12: Owen: United States   

Video Link: GAC_Owen_Me:
Video Link: Connecting, Collecting, & Projecting: Global Artistic Collaboration_Show Feb. 22, 2019 (22:04):
The links to all videos can also be found in the appendix.

While observing the movements of the mountain community and embedding Owen’s movements in my body, I was guided by the questions: What are the moves that I notice? Are there moves that show the sliding down the mountain? Are there moves that show couples and families having fun together? Which moves show impact causing injury? One of my initial ideas was to choose some of the movements and repeat them over and over until my next chosen movement comes up. I wondered how I would connect them?
I started by exploring the following tasks:  

1.    Copy Owen exactly
2.    Dance with Owen. Go the other direction. This will work better when I can see the projection. I will edit a video to go with this that has repeating parts of the song and white screen - or have him fading in and out…
3.    Isolate in my abdomen and let it grow.

As I was learning Owen's dance, I got a feeling of loneliness and sadness. Maybe it was just the song choice, but I felt anger and sadness in his moves too. Instead of doing his dance exactly, I want to dance with his projection, as if I was the person that is trying to explain something, or lost in the relationship, unseen, but still there.

I filmed myself in front of the black curtain in the spotlight. I danced some of Owen’s moves facing the other direction. I repeated some of the movements that stood out to me, like swinging arms and sliding movements.

In IMovie I edited his video with long white parts so that I could become a shadow in the projection. I started Owen’s video edit with his two photographs from the mountain. I used the Ken Burns effect and started at the bottom of the photograph in the snow and slowly moved up to the trees, chair lift, and sky. I edited myself into the snowy scene using sharp edits. I would be on one side then cut and appear on the other side of the screen. I added Owen’s video next, I changed the colouring of his video so that it would match the snowy landscape that had just faded out. When he appears it looks like we are dancing facing each other. He runs towards me and I lift my arms up out of his reach and my head is looking the other way. He disappears in a white screen and I am left in the white reaching out to someone that is not there. I disappear and Owen dances alone again. He falls to the floor and does some emotional floor work. I reappear walking in front of him and then going down to the floor as he disappears again. As I roll over and disappear he appears on the ground and coming up. He thrashes his arms as if feeling for something and looks off to the side where I appear on the ceiling upside down, sliding on my knees. We both slide to the side in the same direction. He disappears, I disappear. Owen reappears and dances alone again. I reappear when he is sitting on the floor. I am standing and lowering myself to my knees. I disappear and the trees from the photograph come back. It fades between white and the snowy landscape photograph, my projection dancing and sliding. It fades to white once more and it ends with Owen repeating the chorus of the song where he slides into the splits and there is a sharp edit of him back into the thrashing, searching arms.

In Isadora, I use a simple movie player and a projector actor since I did a lot of editing in IMovie. My live performance in front of the projections focussed on the rocking back and forth between two things. For me, I imagined two feelings, two places, or even two people. I borrowed some of Owen’s arm movements but I repeated them and connected them in new ways. The lyrics in the song also lead me to explore movements that use my arms. I tried to dance in different positions of the stage and at different levels with the projections so that the audience could focus on both or at least make their own choices of where to look. My live movements also tried to convey the heaviness and sadness that I felt Owen was projecting in his dance and the ideas being sung in James Bay’s song, Slide.

Image 92 Isadora: Scene: Owen:U. Movie Player and Projector actor.

Image 93 Isadora: Scene: Owen:U. Control Panel view/instructions.

Chapter 3.13: Start screen

Video Link: Connecting, Collecting, & Projecting: Global Artistic Collaboration_Show Feb. 22, 2019 (1:43):
The links to all videos can also be found in the appendix.

The start screen is the title of the research project and a brightly, colored map of the world that is constantly moving and changes sizes. I made both the title and the moving of the map using Isadora. For the title I used two Text Draw connected to Projector actors. One of them displayed: Connecting, Collecting, and Projecting and the other displayed: Global Artistic Collaboration. The main title was large, white, and centered. The title of the Facebook Group was small, red, and placed on the bottom of the screen. I used a Picture Player and Projector actor for the coloured map. I connected two Wave Generator actors to the Horizontal and Vertical positions of the Projector actor. I set the wave to random. This created the random movement of the map. Finally, I decided to use sound in this scene. I used a Movie Player and Projector actor to play NOFVNCOUNTRY promo song. 

Image 94 Isadora: Scene: Start. Picture Player and Projector actors controlled by two random Wave Generators. Two Text Draw and Projector actors for the titles. One Movie Player and Projector for the song.

Image 95 Isadora: Scene: Start. Control Panel view/instructions.

Chapter 3.14: All Intro

Video Link: All Intro Isadora Projections:
Video Link: Connecting, Collecting, & Projecting: Global Artistic Collaboration_Show Feb. 22, 2019 (2:07):
The links to all videos can also be found in the appendix.

The research project started with the idea of mapping the movements of different communities in my body. As it had evolved from this idea, I wanted to still show how the mapping began, evolved, and in the end connected all of the participating artists. With each artist’s movement explorations, I had the task of isolating their movement observations in one mapped area of my body. Since these movements are small and difficult to see from the audience, I decided to also map the stage. Now each artist has a location on the stage and in my body. For each artist, I made a video of myself in front of the black curtain in the spotlight, standing in their mapped location on the stage and isolating their movement in the mapped area of my body.

Image 96 Stage areas mapped by participating countries.

In IMovie, I edited short clips of each artists’ videos or images. In between each, I had a white transition screen.

In Isadora, I used Movie Player and Projector actors. I had the main edited video of all the short clips and a video for each artist of my isolated movement in the location on the stage. The technician running the projections (Stephanie), had to press one version of me on and another off each time a white screen came up. You can see this in the Video Link: All Intro Isadora Projections: The links to all videos can also be found in the appendix.

For the live performance, I started by doing the isolations in the location on the stage. However, when I watched this on video and reflected on it, I thought it needed levels. For the final performance, I added levels so that I was not exactly the same as the projections. The only sound from this scene came from the video clips from each artist. 
Image 97 Isadora: Scene: All Intro. 1 of 4. Shows Movie Player and Projector Actors.

Image 98 Isadora: Scene: All Intro. 2 of 4. Shows Movie Player and Projector Actors.

Image 99 Isadora: Scene: All Intro. 3 of 4. Shows Movie Player and Projector Actors.

Image 100 Isadora: Scene: All Intro. 4 of 4. Shows Movie Player and Projector Actors.

Image 101 Isadora: Scene: All Intro. 1 of 2. Control Panel view/instructions.

Image 102 Isadora: Scene: All Intro. 2 of 2. Control Panel view/instructions.

Chapter 3.15: Finale   

Video Link: Finale Isadora Projections:
Video Link: Connecting, Collecting, & Projecting: Global Artistic Collaboration_Show Feb. 22, 2019 (23:49):
The links to all videos can also be found in the appendix.

For the finale, I brought it back to the isolations of the All Intro scene with a few changes. I did not use the video of the clips from each artist. Instead I used the banner from the Facebook Group: Global Artistic Collaboration. I used each of the videos of me isolating the movement of each of the artists on the location on the stage. My live performance did not move to the locations on the stage, but remained center. Each isolation was fifteen seconds. There were no levels. I brought back the song from the start screen: NOFVNCOUNTRY promo.

 Image 103 Isadora: Scene: Finale. 1 of 5. Movie Player and Projector actors.

Image 104 Isadora: Scene: Finale. 2 of 5. Movie Player and Projector actors.

Image 105 Isadora: Scene: Finale. 3 of 5. Movie Player and Projector actors.

Image 106 Isadora: Scene: Finale. 4 of 5. Movie Player and Projector actors.

Image 107 Isadora: Scene: Finale. 5 of 5. Picture Player and Projector for the map. Movie Player and Projector for the song.

Image 108 Isadora: Scene: Finale. Control Panel view/instructions


What worked, what did not? What did I learn and why were these research activities useful? From the Global Artistic Research Facebook group’s original Unit One: Chaotic Movement, which was my first attempt at working with artists collaboratively through a Facebook Group, its interface promoted and allowed for easy interaction. However, it was also easy to be informal in this online space due to the social nature of its habitual use. In leaving comments for participants, I learned to make more useful ones including pointing out the similarities and connections to other dancers. There is a natural quickness of pace that lends itself to social media and I found I had to remind myself to slow down as I am trying to use this platform to guide choreographic content through critical observation and clear suggestions for moving forward. Although I was pleased to have participation, I could not be satisfied with participation alone. I must guide each participant to stay true to the task in order to receive content that aligns with the overarching idea. This reminds me of Jüri Nael’s tasks in the summer 2018 semester at Jacksonville University where he was constantly reminding us to be rigid with the task. Do not break the rules of the game, even when it hurts, that is when you are going to get what you have been working for. Why give up right before you get it? Or, at least this is how I interpreted Nael’s feedback.

During out sharing presentations for Examining Practice, I became frustratingly aware that live-streaming is not a viable option for sharing. I had tried to present what each participant’s interpretation of chaotic movement imprinted on me, live, from the stairwell. I chose this space because two of the participants had used small spaces and it also reminded me of the pinball stuck in the game. The live-streaming technology did not work and no one ended up seeing what I had shared.

From the commonality of the fingers, I also learned, that by giving too much information about how to do the tasks, I skew their interpretations. I now know that I need to give clear suggestions for interpretation but not a direct path to the end goal.

During my personal exploration for the original unit one: Chaotic Movement, I should have identified clearly what I was looking for from each participant’s contribution. Instead, I chose an element of each participant’s chaotic movement, that stood out to me. I noticed that two of the dancers used their fingers while another two used small spaces. These similarities are clearly attributed to the precise, over-detailed tasks that each artist participated in. I had asked them to trace the path of the pinball with their finger and the pinball in a pinball game is in a confined space. I learned from this exploration that I must have a more open task and a more specific idea of what I am going to take from each artist’s movement.

Moving chaotically in a large space feels big, free, and safe. Moving chaotically in a confined space restricts freedom of movement. Chaotic movement should seem as though it is unrestricted from control. More control is needed when performing chaotic movement in a confined space. Using the walls to rebound off utilizes the body differently. Hands are thrown up to push and protect against hard surfaces. The motion of these types of rebounding movements are longer in time and space. Whereas, chaotic movements are quick, sharp, and change direction often. Therefore, chaotic movement with the body, in a confined space can be less chaotic. 

From movement exploration two, mapping and isolating movements in my body, I found it was difficult to move the areas of my back. I also found it restricting standing in one spot and really looked forward to hearing from South America, the one continent on which I could move both feet. Also, when one body part moves there are reverberations in other body parts. It is impossible to completely isolate one part of the body as everything is connected. This is a notable point with the world as well. We have drawn these borders, I have created these areas on my body, but it is all one world and I am all one body.

During movement exploration three, where I was finding the rhythm and placing it in one specific part of my body, I noticed that I use my breath when moving and sometimes breathing noises. I also use my face a lot. I had to control my breathing and facial expressions so as not to move the muscles in my head. I tried to keep my face calm and still.

For the summer performance, the audience was to play a role in my piece to show our connection. However, I found that the audience did not understand the rules and stayed in one spot. As I changed to the different countries rhythm, they were intended to move to keep in relation to me. So, when I was the United States, there should have been a big group right in my space. Then, when I was Indonesia, they would have really had to travel to move away from me. I was really looking forward to seeing this movement of the audience and was disappointed it did not work. However, I could not stop or move my face or talk, because I was in the game of isolating and mapping rhythms. This is important, because I now know that my rules for the audience were too complicated. I had thought, that since we all played the game in Fabio Culora’s class, that the rules would be clear. I now know, that depending on audience interaction and having complicated rules for their participation, is not a good idea.

The audience did move their arms when the live projection came on with the dot effect. This tells me that people like to interact with their own image with effects on it. This is an interesting idea to look into further for audience engagement and the reason I am exploring the X Box Kinect with Isadora. 

The dot effect on the live video was controlled by sound. If the sound in the room is loud, the dots get larger. This was meant to show the rhythm of the community that we had created in the audience. However, since the audience did not move, the sound of the live performance did not change enough to show a rhythm with the dots. I used this effect in the final presentation with Stephanie’s video of Maria in Calle el Condo. Video Link: Stephanie and Maria_Isadora_Projections: The links to all videos can also be found in the appendix.

For movement exploration four, my personal exploration of the task, Community Movement, I did not rush the process. I had time to think about what I wanted to do and because of this gestation period, I came up with the idea of dancing with books. As I played with my movement ideas and with the game of not touching the floor and staying on the books, I found new ways to move. As I combined exploring the X Box Kinect with Isadora in my second attempt at playing with the books, I got different feelings when I reflected on the video of my movement. I was happy to find a song, Björk’s, “It’s Oh So Quiet,”  that could incorporate both of these feelings, to edit my movements to.

Working with my classes is challenging because I do not have access to the theatre during class time or even right after school. The new theatre projector had not been mounted in time for our Winter Showcase. I had been experimenting with my studio projector on the floor in the theatre, but because I put it on the floor or on a table, there were shadows cast by the dancers. Blair Miller has a new short throw that we tried at the back of the theatre. We used it to project the program onto a white board and above that we projected the projections with the meeting projector onto the back wall. It looked okay live, but did not show up on video well.

For the Break class, I wanted them to be part of the projection so that it appears that they are the painting coming to life. I was able to do this with the meeting projector at the Winter Showcase, but because it is set so high, it did not look like they were coming out of the painting. It was interesting to see their image projected into the painting from the live feed. When we performed at the Big Ideas show at Salish Secondary, the projection was large enough that it looked like they were coming out of the painting, but I was not able to use my computer as a live feed camera from the booth. Now that the new projector has been mounted at our school, I would have this same problem, since the only plug in for the projector is in the booth. I would need a different live feed camera to make it work.

With the Bhangra class, I have tried live feeding a dice application. I had a volunteer student tap the dice each time the students fell into formation. For our Winter Showcase and Big Ideas show, I used a Shuffle and Comparator actor in Isadora, which randomly chose videos to play each time I pressed the space bar. The students could see which video was playing, what moves they were, or the number on the screen would tell them which moves they had to do in the next formation. This looked best at the Big Ideas show with the full screen projections.

For my performance, Connecting, Collecting, and Projecting, I had a lot more time to practice in the theatre. I was able to come in on the weekends and use the theatre when it was empty. I got to work with the projections with the new projector and the new set up is really beautiful. The projections fill the cyclorama.

The final performance was held on Friday, February 22, 2019. This was a professional development day at the school. I had colleagues and administration come and watch the show. Stephanie Henderson, the Drama teacher, my committee member, and my friend, ran the projections from the booth. Right before the show started, Isadora shut down. I ran back up the stairs and turned it back on. However, in my haste, I forget to make sure the live feed was back on.

Before the show started I read out my acknowledgements and took my first position on the stage. Stephanie pressed the Start scene. For the All Intro scene, the first isolation with Naporn in Japan stayed on after I had moved to do Stephanie’s isolation in Canada. Stephanie, in the booth, caught her mistake and skipped one and we were back on track with the live and projected isolations. This mistake could have been avoided if I had edited the projected isolations with the video instead of relying on Isadora and the technician in the booth.

Naporn’s Japan scene worked well with the kaleidoscope effect. However, I noticed that the entire projection is uncentered which is distracting. I would center the projection next time. For Stephanie’s downtown Abbotsford scene, I noticed that the sound was not as loud as I had practiced with. As I was performing, I found it difficult to hear the traffic sounds. The sound level should have been higher for the entire performance. The use of levels in the live performance, worked well, although my movements seem somewhat careful and timid.

The frozen tableaus from Jheric’s scene are subtle, but are clear. Naporn’s Asoke Station scene from the Thailand train station works well with the live repetition and the multiple projections. Menelaine’s scene of VanDusen Gardens in Vancouver, Canada adds some humour to the piece. The interaction between the live performance and the projections is fun to watch. It makes me wonder how I could have incorporated more interaction between projections and live dance.

Stephanie and Maria’s scene from Calle el Condo in the Dominican Republic, is where I realized the live feed was not on or the sound was really not loud enough. I noticed that the dots were not changing size how I had planned them to and at the time, I thought it could be because the sound was too low. However, I soon realized that it was because I did not double check that the live input was on, when Isadora shut down right before we started. For future shows, I will have a straight forward check list that must be checked and double checked before we start. The live performance for this scene worked well but would have been more interesting if Maria’s dance had been more visible, as it would have at times when the dots were smaller.

Allison’s scene from Roatan Beach in Honduras worked really well. The different levels of the projection and the live dance was interesting to watch as most, but not all moves, were the same. Having the poem projected on top of the photographs and read made this scene very clear and easy to watch.

Ornella’s scene from Lebanon was interesting to watch until the very end. I had made a mistake and thought that it was ending. I stalled at the edge of the curtain in a standing position. I meant to stay at a low level the entire live performance. I had an awkward feeling like I was waiting to leave the stage and was stalling at the end. I should have exited confidently at the lower level. More rehearsal would have prevented this from happening.
When watching Mika’s scene from Tuscon, Arizona, I had in my mind that maybe I had waited too long to enter the stage for the live performance. I thought that it might have been boring watching just the projections. I was pleasantly surprised to see that for one thing, it was interesting to see me enter from the other side of the stage. In Ornella’s scene, I exited stage left and for Mika’s scene, I entered on stage right. I entered just as the projected me started to move quickly and then disappeared and when Mika had started to move slowly. This overlap of the two quick sections by both the live and projected me worked. The other thing that worked well with having a long break from being on the stage in this scene, was it gave me a chance to catch my breath from Ornella’s break-belly dance section.

Dyanna’s scene from Downers Grove, Illinois and its driving community in the snow went as planned. When I watch it, I wonder how I could have made it more interesting. Maybe I should have added more drivers, more projections. The one thing I always think about with every scene, is how it would have been more interesting with more people in the live performance.

Owen’s scene from the ski resort in Salt Lake City was my favourite to dance and to watch. Maybe it was the song or his emotional performance, but I loved watching the interaction between the two projections and the live performance. I liked the sharp edits and the projections moving around the screen. I also liked the use of levels and repetition in the live performance. All three “dancers” interacted with each other at different moments. It was a good scene to close the show.

For the Finale scene, my live performance was off time with some of the projected isolations. I also turned around once when I should have stayed facing forwards. The timing issue could have been prevented if I had edited the projections into a video. The technician could have pressed play and I would have practiced with the video and known exactly when to change. I wanted to challenge myself using the options in Isadora, but I should never forget the rule about keeping things simple. There are so many things that can go wrong in a live performance. One button to press is better than eleven buttons, especially if the same effect is created.
Upon reflecting on the process of collaborating with each individual artist, it is clear that even though I did not spend time in the same studio space with them, I still felt connected through the movement. Having a shared artistic research task brought us all together. Having artists share about a community that was important to them, gave them all a platform. When I went through the tasks for each artist, I attempted being their movement exactly before manipulating it in different ways. I embedded bits of each artist within my own movements, within my own body. I became more familiar with each of them, even though I had only seen them through videos or photographs and words. I observed similarities like driving communities and snow. I could infer emotional states like frustration and loneliness. Some artists were able to share different perspectives within the same communities like the workers on Roatan Beach versus the vacationers, the snowbird driving community versus the resident driving community in Tuscon, or even the skiing community enjoying the snow versus Owen’s non-sking, dancing body, in fear of injury, observing them in the Salt Lake City Ski resort. There were people who were alone in cars, surrounded by other people alone in cars, and another alone in a bar, surrounded by people with other people. Tourists within communities were present in many communities like Roatan Beach, Calle el Condo, Hokkaido, Salt Lake City, Tuscon, VanDusen Garden, and Lebanon. Perhaps, I felt somewhat like a lonely tourist working through the tasks for each artist. Becoming each artist and exploring their shared community. However, I was able to turn it off, go back to my office, teach a class, and turn it back on for further exploration, on my own schedule. I could immerse myself and eject myself as needed, but never fully able to eject the knowledge gained from repeating the movements.

What if each of the artists in the group, went through all of the tasks that I did for each person? How would their final performance and their observations be different from my own? What if more artists started Facebook Groups and shared new collaborative artistic research tasks? Taking the time to become each human and embedding bits of each other within our own bodies? I now feel a deep desire to visit each of these communities. It would be amazing to meet with each of the artists in each of these communities. What could we create if we were in the same physical space given freedom from schedule and constraints of finance? What new communities and artists can I visit and connect with? There is room for expansion, a sequel, a to be continued.

Overall, I am proud of this research project and I am proud of the amount of time and focus I committed to it. I was able to connect with artists from around the world and create a live performance from one artistic research task using Facebook, even though most of the artists were colleagues and friends. I was able to learn the new program, Isadora, and make use of applications, like IMovie, that I already knew. I learned more about projectors and their capabilities. I know now, that I need to keep things simple whenever possible, especially if the same effect can be created. I learned that technology can fail seconds before a show, so a quick check list to check and double check is necessary for all technicians. I am proud of the transitions between each scene and the interaction between the projections and the live performance. Most of all, I am grateful to all of the people who participated in this project.


All Intro Isadora Projections:
Being Naporn_Asoke Station_Bangkok, Thailand:
Being Naporn: Hokkaido Japan:
Calle El Condo, Santo Domingo, Dominican Republic:
Connecting, Collecting, & Projecting: Global Artistic Collaboration_Show Feb. 22, 2019:
Finale Isadora Projections:
GAC Projections Day 2_Owen_Dyanna_Jheric:
GAC_Being Maria1_Dominican Republic:
GAC_Being Menelaine's Paintings_Vandussen Gardens, Vancouver, BC_Canada:
GAC_Dyanna Me:
GAC_Projections Day 1_Naporn_Menelaine:
Mika Projections in Isadora:
Mika’s Dance:
Movement Exploration Four:
Movement Exploration Three / Krystina:
Movement Exploration Three:
Movement Exploration Two / Mapping:
Naporn_Isadora Projections_Three me times three:
Naporn’s Dance of Asoke Station in Bangkok, Thailand:
Naporn’s dance of tourists in Hokkaido, Japan:
Ornella_Isadora Projections_Four versions of me:
Ornella’s Dance:
Owen’s Dance:
Playing with Projections: Placement:
Playing with Projections: Size of dots, intensity, and dancing curves:
Stephanie and Maria_Isadora_Projections:
Stephanie_Isadora Projections_Boomerang_me:
Stephanie’s crosswalk dance in downtown Abbotsford, Canada:
Stephanie’s observations and Maria’s dancing in Calle El Condo, Santo Domingo, Dominican Republic:
Winter Showcase Projections:

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