“Individual-in-progerss’ is a research and development plan for a short film about movement and individuality that I developed in collaboration with dancer Ans Kanen.
The central question was:
How can we with or by filmmaking choreograph everyday movements, creating a visual musicality, which expresses the tension between individual and environment?
The research we split into motion and image research. A part of the research we have reported on a blog. Look below for an overview of some observations which we did.
On Photo Festival Schiedam (16-25 October 2015) that the theme “Moving image” we showed a video installation with three screens and I participated in a discussion on the creative process. The festival wanted to give attention to the search that a new project entails (unlike most works shown in public being ‘ready’), and show that it can be inspiring to focus on the issues where artists bump into at the start, continuation or end of a project.
If the movements result from the movers’ own sources, they are more varied, than if they are conceived first and subsequently be carried out.
Research in montage: what traces are left by the movements of the group, when moving according to the rules that would apply to flocks of starlings: stay close together, moving in the same direction, and avoid collisions.
Improvisation with an action: in this case from hand washing to another movement. A form of instant choreography, which seems most interesting as the movement seems to take place more or less naturally. By which thinking as such forms a big obstacle.
Ringing man breaks the pattern of targeted people who leave the station in the morning, and leaves a trace in the montage.
You will not soon see someone spontaneous dancing, unless that person is a child, himself unobserved imagines or is in a dance hall. Dance is staged as soon as time and context can be determined.
The extent to which the dance movements varies say something about a person’s individuality, and is associated with the set command. On your own seems to be in the room at least too- -how to say more about the person than a group-movement composition in music, though also start to notice the differences in implementation. From the dance so you can look for shapes that leave the most room for individual expression, but dance remains from a cinematic point of view, call the association with fiction.
Just like actors in conventional fiction films go well dance forms in principle of the dancer as executor of the ideas of the author. And although of course always will be a personal interpretation of a role or character, is usually not the expression of the personal Dancer central.
Documentary image research, however, is as it were ‘fishing’ in reality. By watching and filming patterns are visible: purposeful movement and the individual who deviates, delays and the formation of randomly generated temporary groups of cyclists and pedestrians, but also the movements of the upper body of-boarding cyclists at traffic lights, or whether no firm placement of the bike on the escalator.
The research question how we can / movie through a choreography of everyday movements, creating a visual musicality, which expresses the tension between individual and environment? implies that we choreograph with cinematic means. How it ‘live’ choreography could be processed is a question for further research.