Dance Journal
Divine
This is the archive for my first production. A look into my processes, quick thoughts, etc.
Rehearsal Day 18 1/20/23
Rehearsal Video
Alex came to visit rehearsal, notes:
looking at the line maybe playing with flipping directionality of the ripple, a lot of "butt"
looking at the arch and dance intension and directionality. is the movement internal or external? looking at the performance qualities starting to bring that idea more into space and movement practice
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Rehearsal Day 17 1/18/23
Rehearsal Video
Danielle and Andrea came to rehearsal and watched a run, the full video never was able to upload
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Danielle notes:
Duet
Esme find ears at opening
Share weight a little more on lift
Consider the continuous unison? Are there moments where you want to use syncopation and varying rhythms
Commit to intention of resistance between the bodies
Next piece
Love this orb moment with ensemble!
Just work on rhythm of trio a little more
In hugging duets are arm soft beside or do they have shape?
Clump arms or no arms? If there’s a reach commit to it
Look at cannon a bit closer breath will help lead this
Consider side audience on foursome
Plié and lift on the butterfly but also those being lifted press down on the shoulders of your partner
Pike jump group just work timing
Like get funky with it though!
Suggestion think when you have duets maybe not both facing the same direction, even on diagonals?
Column great in addressing all sides really have dancers be intentional about direction
Why not just groove to the next part? I don’t think you need choreo here.
Same of the floor what if you just sat for a bit. Rest but also a moment of stillness?
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notes from Andrea:
Consider ending section to revisit movement that has already been seen
Find stillness and natural groove in the ending sections
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Rehearsal Day 16 1/16/23
Rehearsal Day 15 1/13/23
Rehearsal Day 14 1/11/23
Rehearsal Day 13 1/9/23
Rehearsal Video
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okay how are these dancers so amazing?! they got so much done in such little time ahhh I dont get how talented they are
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ideas for next rehearsal
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A line that builds
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movement all together
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a ripple down the line
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two different layers/movement patterns
From the line else and cass break off and do their solos on opposite sides
Next is Addisons solo that goes into a group section playing with timing and opposite sides and layering
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running build into a break of movement all together
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During Break

Rehearsal Video
- worked on so much during break; lining up choreography for all melody
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- finalized what images from Asher will be used and added individual words to tie in images, letters, and dancing
- gathered goofy and childhood pictures
- sent in receipts to connect grant to get reimbursement
- made program and poster
- reached out to companies closest to see if they would like to come
- music finished
- google drive uploaded and finished with pictures, program, poster, and. music
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Rehearsal Day 12 12/15/22
Rehearsal Video
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notes from Andrea
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Reminding of intention through the story and arc, the emotional journey
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The carrying of energy
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Setting up circumstances
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Batsheva the connection between the movement and dancers, the why
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Pair up making eye contact, being vulnerable the curiosity. What are you walking to or toward. Practice
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Hyper focus on the show. Why is it important, only giving energy to those who want to be there and are showing up
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Program
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Intention, question,
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Dancers
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Land acknowledgment
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Show starts at 7:15pm
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Due to the intimidate interaction of work doors will be closed at 7:35pm
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Talk back after the show, invite the dancers . I am leading that
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​thank you
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Limited seating, talk about online ticket purchasing and borrowing the camera- email Ann?
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Rehearsal Day 11 12/14/22
Rehearsal Day 10 12/12/22
Rehearsal Day 9 12/7/22
Rehearsal Day 8 12/5/22
Rehearsal Video
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took pictures with Asher! Was able to get beautiful shots!
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Rehearsal Day 7 12/2/22
Rehearsal Day 6 11/30/22
Rehearsal Day 5 11/28/22
Rehearsal Day 4 11/18/22
Rehearsal videos
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Notes
addison slower head in beginning
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after esme add three legs an interaction with audience to find each other
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right before shoulder pushes 3 middles do an uncomfortable roll
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add esme start heading off opposite corners when 3 dancers start that phrase
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the over the knees up roll clarification
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the three back move needs to change i hate it lol
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Clarifying that rehearsals will be taking place during finals week!
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Possibly changing the stay song with solitude! I dont know how I feel about the dark fall in the music for stay
We got the CONNECT grant!
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CONNECT budget
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For the show as an expansion of the immersive experience we were talking about for the pictures taken with Asher having letters that dancers write letters to themselves, and baby pictures. I have talked to dancers about writing letters to themselves giving notice to their insecurities, but giving acknowledgement to how strong and beautiful they are. I want this as a part of the show because it’s what the show is about and gives space for each dancers personal experience. The letters would be kept anonymous due to the nature and vulnerability of the letters. My thought for the baby pictures is imagining showing our younger selfs the wonderful work we are doing.
- to show pictures and letters would it be possible to hang clear line from one side of the room to the other? pictures and letters clipped to the line to give the illusion that they are floating
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Before the process officially begun
Black Box Grant
This will be an incomplete production of the piece in hopes of it to be a learning process to gain insight to further the work in a black box grant. My application is for the development of a research study based on an investigative aesthetics and criticism paper I wrote about Beth Gill. My research focused on how Beth Gill manipulates choreographic principles and how it has inspired aesthetics onto the work I have created and continue to explore.
I am applying for the Black Box Grant to create a stage work. This will be an exciting challenge because of the themes and concepts I want to explore within the work. I want to play with the idea how dance/movement can hold space and time. Creating an investigative process where I don’t come in with any pre-existing expectations of what my work needs to be; I want to focus on dance as a whole, not letting music, lighting, or costuming be a driving factor, but a beautiful accent to the movement process. This experience would allow me to push personal boundaries within composition/choreography by creating an experience, atmospheric, of dance that I haven’t before. I want this work to naturally draw the audience into the work as if they are a living, breathing part of the work, not just an observer.
The theme of the work is to navigate movement within space and time. One of the most alluring components of Gill’s work is how she is able to fill space and time in a three-dimensional way. As the New York Times describes it, “Beth Gill takes her time, and bends it.” I want to do this through an idea of feminine strength, using the choreographic principles to manipulate and play with how to create movement in a space where it can spark confidence, strength, and power in the movers and audience members.
The idea of feminine strength stems from how I have struggled with self-confidence and worth my whole life and dance has been a space where I have found comfort and support through personal dance practices. I see this work as an expansion of my work Off Record, a work that I used to comprehend my struggles with self-worth, letting Divine be a place where the movers, viewers, and I to find beauty and strength in who we are in the present space. I have struggled to find that love and compassion for myself in a dance community and hope for the opportunity to create this environment, breaking down what is seen as a particular dance body, or how one should move. Many dance communities have been formed based on historical ideologies of dance and I want to help support the shift to being more open and accepting of all in the space, making dance a safe space where individuals can feel confident in who they are and their practice. I want this piece to give gratitude for all that I have gone through and am going through to find strength and worth in who I am. The woman I have become deserves to take up space and love who I am as a being and a dancer.
For this work, I hope to work with 6-10 individuals, all dependent on dancers who can give time for rehearsals and performance. I want to work with as many students as possible before my time at SUU concludes while also getting to see what it is like to work with a larger cast since I have not had that opportunity since high school. The ideal timeline for the rehearsal process would be starting as soon as possible with a performance the second week of spring semester. If possible, change the performance to fall semester, but SUUDO event days aren’t set in stone and I need to make sure those aren’t overlapping. This is an idea of a rough timeline that I have come up with, but am open to other timelines as well! With the timeline, it will be a faster-paced project that will be an exciting challenge for the dancers and I. I also think this experience will benefit the cast because of the environment and concept that I hope to create in the process.
The performance space that speaks the most to me for this project is the SUU Hunter Alumni Center, The Gilbert Hall. If I was able to create work for this space I would have the audience sitting on four sides. For this work I like the idea of the audience being up close to the movement, dancers weaving in and out, and that is why I like the Hunter Alumni Center. The Gilbert Hall would also be outside of a traditional performance space. Other spaces that I like are the Eileen Allen Anes and the black box because I could have the audience close to the movement practices. I have reached out to Michelle and Kyle and have found out that Black Box Grants are a part of the performance seasons and from what I understand so far spaces, sound systems, and lighting are allowed to be used in the space without needing to be included as parts of the budget. If possible I would like to work with another student to learn and grow as a team with the lighting and technical elements of this project. If it was possible to create the work in the Hunter Alumni Center I would need to rent out seating for the space. For further information about the conference center, I need to reach out to Lauri Garfield. And I might need to check out lighting and sound rigs for this particular space as well.
CONNECT GRANT
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Cast:
Abbie Cobb
Kansis Connelly
Addison Cox
Esmé Foulk
Kloe Giles
Emily Larson
Allie Misbach
Karessa Pitcher
Liza Tarbet
Lauryn Weber
Cassidy Wilde
Rehearsal Assistant: Erin Burrows
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Project Title
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Divine
What is the total cost for completing your project?
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$495.85
How much of the total cost are you requesting from the connect grant program?
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$399.85
How will the rest of the costs required to complete your project be funded? Priority is given to projects that have additional support beyond the funds being requested from the CONNECT Grant.
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The Black Box Grant provides some financial backing from TDAA and their support. Having that grant allows me access to space and equipment in the program. This means that with TDAA support I do not need to request some items for the budget that would normally need to be applied to the budget.
Project Abstract (250 words): Briefly explain your project and describe your plan to accomplish it. Refer to the Grant Guidelines for more information.
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My application is for the development of a research study based on an investigative aesthetics and criticism paper I wrote about Beth Gill. My research focused on how Beth Gill manipulates choreographic principles and how it has inspired aesthetics onto the work I have created and continue to explore.
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I am applying for the CONNECT Grant to create a stage work. This will be an exciting challenge because of the themes and concepts I want to explore within the work. I want to play with the idea how dance/movement can hold space and time. Creating an investigative process where I don’t come in with any pre-existing expectations of what my work needs to be; I want to focus on dance as a whole, not letting music, lighting, or costuming be a driving factor, but a beautiful accent to the movement process. This experience would allow me to push personal boundaries within composition/choreography by creating an experience, atmospheric, of dance that I haven’t before. I want this work to naturally draw the audience into the work as if they are a living, breathing part of the work, not just an observer. This work will take place in The Gilbert Great Hall, which is currently in the process of being booked for January 28, 2023. I will be in communication with TDAA and creating a system that would work best for putting on the production. Learning how to navigate the lighting and sound in that space.
Moving Beyond (250 words): Briefly describe how this project will help you to take charge of your own education and move beyond the classroom. How will this project help you to explore, innovate and learn at a new level? Refer to the Grant Guidelines for more information.
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Divine will be pushing me to take charge of my dance practice. I have been able to present choreographic work before, but in the setting where the show had the support of a director, costume crew, and stage crew already available. For the majority of this project I will be doing it myself. This is a production I will be directing, reaching out to others to learn how to stage a work; lighting and sound in direct practice. I have taken classes where I am learning how to do these things, but putting them in real time with a project that means this much to me is very exciting.
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The performance space for this work is the SUU Hunter Alumni Center, The Gilbert Hall. The Gilbert Hall would also be outside of a traditional dance performance space which pushes against what performance space I am used to creating work for. I would have the audience sitting on four sides, the audience being up close to the movement, dancers weaving in and out. I have received a Black Box Grant from TDAA which means this production is a part of the performance seasons. Meaning I have access to spaces, sound systems, and lighting equipment that are allowed to be used in the space without needing to be included as parts of the budget. If possible I would like to work with another student to learn and grow as a team with the lighting and technical elements of this project.
Personal Impact (250 words): Briefly describe how this project will impact your educational, professional and/or personal life. Refer to the Grant Guidelines for more information.
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The theme of the work is to navigate movement within space and time. I want to do this through an idea of feminine strength.
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The idea of feminine strength stems from how I have struggled with self-confidence and worth my whole life and dance has been a space where I have found comfort and support through personal dance practices. I see this work as an expansion of my work Off Record, a work that I used to comprehend my struggles with self-worth, letting Divine be a place where the movers, viewers, and I to find beauty and strength in who we are in the present space. I have struggled to find that love and compassion for myself in a dance community and hope for the opportunity to create this environment, breaking down what is seen as a particular dance body, or how one should move. Many dance communities have been formed based on historical ideologies of dance and I want to help support the shift to being more open and accepting of all in the space, making dance a safe space where individuals can feel confident in who they are and their practice. I want this piece to give gratitude for all that I have gone through and am going through to find strength and worth in who I am. The woman I have become deserves to take up space and love who I am as a being and a dancer.
Budget Narrative - In the space below briefly describe the costs of your project in a narrative describing budget items and their purpose and need within the project.
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$96 for the Gilbert Hall- This is the space for the work to be performed. There is a $12/hr fee to have someone present on a Saturday
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$24.85 Music- this is for the soundscape of the work, paying for the music to use
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Postscript- $9.99 (song is only available when the whole album is bought)
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not my responsibility $1.29
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Solitude $1.29
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Curiosity $1.29
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All melody $10.99 (song is only available when the whole album is bought)
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$375 Photography- $150 per hr with Asher. 1.5 hrs with Asher in the studio to craft images for posters and images that are presented while individuals are entering the show. This is emerging the audience members into the work from the moment that they enter the production. 1 hr with Asher during tech to get images for archive and portfolio. The following link provides an example of archive images and its importance; https://addisonlynn424.wixsite.com/my-site/project-02
Budget - Outline the overall costs of the project and provide a detailed breakdown of all project expenditure to be funded through the grant. The Total Project Cost and Total Grant Funds Requested MUST match the amounts listed in the Project Description (above).
Upload your proposed budget as an .xls or .xlsx spreadsheet. Refer to the Grant Guidelines for more information and the web page for links to examples.
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https://docs.google.com/spreadsheets/d/1__iSD3bGNKH_Risw3tk7M_XqfQUcnAWPdYS6pLjS46w/edit?usp=sharing
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Music layout and initial thoughts
Music link :https://open.spotify.com/playlist/65TIJIfAgc5P4ncih0zg44?si=afb058a9fda04798
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Postscript
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I want this song to be playing while the audience members are arriving at the show and taking their seats. Setting the tone for the work. I don't want an introduction to the show. That would I want people to enter and the work melt into existence, not making it announced
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not my responsibility and Solitude(or STAY)- i dont know if solitude or stay fit better here, what are your thoughts?
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This section is identifying that there is a struggle with self-confidence/worth and questioning what I want to do about it. It’s not my responsibility to make sure people approve of me and what I do, but it’s scary to step into myself. How does someone step into oneself? Playing with different paths; staying unloving of myself because of fear of the unknown and what is the right decision. But knowing that where you are at is not where you want to stay. You want to grow.
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Curiosity
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Is a curiosity for what it would look like to be comfortable and confident in life and with yourself.
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Seven devils
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There will always be outside opinions of what you are doing, maybe someone doesn't agree with your path or vision. Are you going to let the outside influence and affect your life or are you going to do what you want to do? Damn right you're gonna put the work in for yourself.
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Time Moves Slow
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This is an extension of the following section, but made to make the experience comical. Its silly and stupid to let what others think of you affect you. Yes, people suck and experiences can suck. But we have one life to live and I want to make the most of it.
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All melody- maybe using satisfied? Yes no maybe so
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This is the build and the work of doing what you need to do for yourself. It is not going to be a straight upwards path, but with time becoming more secure with yourself. What processes work for us? For me it was therapy, lifting, standing up for myself and my time. Learning to love myself and that love reflected onto the connections/relationships I had with others. There is always room to grow and I will never be perfect.
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Six inch
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This is stepping into yourself and it becoming routine to put yourself first, it's not selfish, but deserved. We put in the work and we are being humble and confident.
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