Unit 3 Prescribed works - Reflect Flashcards
choreographic device: Analyse how motif was used to communicate intention in 1 movement example
1: In section B, motif is utilised as the dancer shifts her weight into a contracted position with her arm in a tight, angular shape placed behind her head, suggesting her constant devotion to the land and water as she explores her connection to the earth.
This is transposed further on in the section as the dancer suspends her head and torso backwards in a moment of oppositional pull, whilst her left leg reaches the ground to create the same angular shape.
Through the transposition of this motif, Rings continues to build the never ending desire of being drawn to the natural environment.
choreographic device: Analyse how motif was used to communicate intention in another movement example
In section A, the motif of circular movements is developed as the dancer revolves her torso while in a deep lunge, symbolisng both the eternal cycle of the sun and the perpetual transmission of cultural wisdom.
This motif is further adapted in section C, where the dancer delicately draws her hand up her leg in an attitude position, while the other remains firmly planted.
She then traces a circular path with the lower leg and foot. This expressive motif conveys the ceaseless rotation of the sun and horizon across the vast expanse of the land.
Describe the intention of Reflect
Demonstrate the deep connection and respect to the land through the eyes of Indigenous Australian culture. It is an aesthetic piece propelled by the need for awareness that the resources of the earth are not simply mineral, but also spiritual/intertwined throughout all human beings.
Describe the formal structure
- In section A, the dancer traverses across the space, evoking a sense of loss and pain.
- In section B, the dancer turns and seems to touch the land and ground, gesturing the lifting of the land onto her body.
- In section C, lights around the stage become brighter and a sense of hope and balance is restored.
Describe one phrase (section C)
In section C of the performance, the dancer begins facing the audience, before lengthening her spine as she collapses into a deep, contracted side lunge, feeling a sense of release and freedom to thrive in the natural world around her.
The soloist then brushes her hand in a large, circular motion on the floor, signaling a sign of respect as she pays homage to Indigenous culture.
Wrapping her hand around her left arm as she pivots around herself, treading gently over the earth.
The dancer then extends her leg to collapse to the floor once again, intensifying her spiritual connection to the earth.
Describe one phrase (section B)
In section B, the dancer begins in a tight, circular ball, slowly unravelling her body as she becomes accustomed to the shifting horizon.
Elevating her body in an upwards direction, the dancer stands in an A-frame position with her hands and feet planted on the floor, rooted in the very essence of the earth.
Slowly drawing her left hand up her right arm, the dancer proceeds to sharply flick her hand across her body, as if to ‘flick’ the sand onto her body.
Simultaneously, the dancer bends her legs inwards as she rotates her body in a continuous, accumulative sequence.
section C phrase: describe how flexibility is used.
This phrase required a strong sense of flexibility through the hips and spine as the dancer had to perform movements that stretched over a large dimension eg. deep side lunge, which required her to extend to her full range of motion.
This is further displayed as she extends her leg to transition into the floor, further demonstrating the capacity to elongate and stretch her limbs.
section C phrase: describe how TOW is used.
Transference of weight is required heavily throughout the phrase as the dancer transitions from a balanced position on one leg, to a more grounded position on the floor at the end of the phrase.
Furthermore, the dancer had to shift her weight through the balls of her feet to easily transition between movements.
section B phrase: describe how strength is used.
Strength is required throughout this phrase in order for the dancer to push and elevate her body into the A-frame position. In order to sustain this shape throughout the majority of the phrase, the dancer would have had to use strength in her abdominals, arms and glutes to balance while brushing her arm up the leg.
section B phrase: describe how alignment is used.
Alignment was required through this phrase as the dancer had to evenly distribute her weight safely over her body (base of support) in order to maintain balance in the A-frame shape. Alignment is also required when bending the knees inwards by ensuring the knee remains directly over the foot.
Influence: production aspects (costuming) and how it influences intention.
Frances Rings Vision for ‘Reflect’ strongly impacted the costume design for the piece. Jenifer Irwin, the costume designer for Bangarra, worked around Rings’ inspiration from the land, and her love for Lake Eyre, using her ideas as a template to cultivate her embodiment of country through the very ‘fabric’ of the costumes.
The sheer, silver-grey material allowed more light to reflect and bounce off the dancer’s body as she rippled through the space, mimicking the movement of water through the spirit of the land.
Additionally, Irwin’s construction of the 4-way pleated fabric created the impression of long grass and dry leaves, allowing her to reinforce the omnipresence of the land.
Throughout the performance, the costumes eventually became stained with ochre and mineral powders, elucidating the everlasting connection to the land, water and horizon.
