Intermedia Exploration

As I embarked into the new journey of intermedia, I was overly excited to start the Intermedia course with Norah Zuniga Shaw and Oded Huberman due to the endless possibilities that were going to be at the disposal of my fingertips. Funny thing is, after the first half of the semester I realized that the thing I was most excited about can be a positive, but can definitely have some negativity towards it. I soon figured out the endless possibilities and limitless amount of ideas that can come can sometimes overwhelm, halt, or make you feel lost.


Starting off in the first study, I was amazed by the way the media, digital feedback/double, lighting, and scenery can affect the zone of a work. The work allows the audience members and dancers to go on an expedition together, experiencing and sensing something that is regularly out of the norm of the audience and that can sometimes almost be trance like. Basing the study on portraits, we got to play around with different ways of expressing, demonstrating, and displaying different feelings and emotions. After truly just exploring for a little while, we decided to start linking or connecting certain sections, feelings, and lightings with others. As we were picking and choosing which ones held more weight to each of us, we almost started to frame a story of the performance. Our portrait eventually turned into multiple portraits or a development of a single portrait throughout a journey or experience. We realized that if we choose an individual perform, we allow the audience to grow a connection and relationship with this dancer, so they are able to see the experience and molding of the individual. img_1134.jpgScreen Shot 2017-09-25 at 12.15.15 AM.png

In study one, my group choose me as the performer so I had to opportunity to play with the way I react to the set, feedback, and dance score. It was super interesting for to have a chance to emerge myself into these features, allowing myself to almost get lost in that showing more than a regular performance on a proscenium stage.

Here is the full video of my groups Study #1, the filming is the only copy available and is not the preferably angle, but please enjoy is you please.

Overall, I am very happy with the studies and information that I have been given during this course . We have touched on the ideas of portraits, textures, surfaces, concept developing, different forms of media and media performances, and different emotions and tones technology and digital doubles can bring. I believe that this base of information and knowledge will be able to aid me further into my Intermedia exploration and up and coming studies.


Group Forms Final

Over the course of this semester, I have made my decision to focus the majority of my studies in dance towards Composition and Choreography. I decided that I wanted to explore and study as many compositional tools, devices, methods and theories as possible. One stepping stone of this investigation this semester was taking Ann Sofie Clemmensen’s Group Forms, focusing on working in and with larger group, having the chance to try out some strategies on other students. All throughout this semester, we investigated different ways of organizing and collaborating with large sums of dancers. We explored generating movement on all different levels, solo phrasing, duets, quartets, septets, and even an octet. Our goal was to either dissect or stitch up multiple different works or studies, all while seeing which way we work personal work best as a dance maker.

One topic that we focused on this semester is the different elements that go into making a work. We explored different thoughts about timing, Choreutics, rhythms, the idea of Eukinetics, and Continue reading Group Forms Final

Composition II Solo

For this solo I was instructed to divide the song into seperate sections the way you heard the music. We were also told to have an individual identity for each section that is readable to the audience. I choose to divided my solo into 5 sections, basing each section most on how I was space. Also, some sections may change dynamical.
This Composition 2 course was taught by Susan Hadley at The Ohio State University in the Department of Dance.

Music By: Zoe Keating

Reflection of Composition II

Final Paper

            Throughout our time in this course, I have been gaining new tools, ideas, and approaches to generating movement and creating a piece. Coming into this semester I was at a point with my own choreography where I felt like I was always creating movement that was to dynamical similar and one toned. As we started to explore different concepts and ideas about movement, composition, as well as music, I believe that I have gained more awareness of the content of my choreography and the content from piece to piece. Along with this knowledge, I have also found ways to depict and isolate these tools and concepts in other pieces of work, inside and outside of the department.

            Approaching this semester, I didn’t have a very good understanding of music and never gave it very much acknowledgement. Within this course’s content, I was able to slowly grab information from different times, units, and studies that we explored. This course has given me the awareness of creating movement to meter time. Previously, a lot of my movement was always unmetered or it maybe have had a push/pulse but the choreography was not intentionally rooted with a meter/counts. When we worked with the 3’s and 5’s, standing and on the floor, I was challenged to go Continue reading Reflection of Composition II

Reflection on My Personal Application of Analysis Concepts

As the year has progressed, I have slowly been drawling connections between the material we are learning about in Analysis (14349) and ways I may/plan to use these such topics in my later career. Although these uses may not be including teaching enriched knowledge on Laban’s concept, they all clearly have root to our Analysis course material. I believe that these concepts allow for much more clarity and precision in all movement.

To begin with, the concept of Effort qualities really outlines and depicts many different movement qualities available to you as a dancer. The eight effort elements physically allowed my body to act out and explore these varying dynamics. Going through these elements and forcing our bodies to “overly” embody the effort element taught me how to clearly feel these qualities through body as well as what reads to the audience. In our studies, we quickly learned that you must be one-hundred percent committed to each element, such as really stomping your legs during Strong Weight. I believe that these effort qualities have a great basis to start teaching children dance. If children were early introduced to these ideas, I believe understanding how to embody these polar opposites would help children learn specific dance moves easier.  Allowing for the children to explore these effort elements will give children an experience to act them and truly feel what being direct in space or having bound flow is. I feel in dance education now, many kids Continue reading Reflection on My Personal Application of Analysis Concepts

Composition 1 Final


For our Final Assignment in Daniel Robert’s Composition 1 course, we had the task of taking a previous choreographed solo and combining it with a fellow classmate’s solo. The solos were originally choreographed by focusing on two of your personal movement and/or choreographic tendencies, and then we created a solo focusing on the opposite. Then, when we came together as a duet, we were instructed to each add one more tendency. The three opposites I focused on was using minimal space, explore stagnant and direct movement (Lymph Movement), and staying connected to the floor (no big jumps.) This is the duet my partner, Kailee Sagura, and I choreographed for this assignment. (Filmed By: Baylie MacRae)