Research
Throughout my time at OSU, I have been exploring the plethora of availability and variety within movement. This research includes my performing of various works, my choreography, movement analysis and my own improvisational exploration. These varied forms of research inform my development as a mover and an artist.
Movement Analysis and Motif Score: Guitar Playing
Lindsey’s playing of the guitar is an entirely gestural experience, as movement only occurs with the distal points of her fingers. Her body attitude consists of one unit, as she carries a stagnant relaxed torso. As movement commences with the strumming of the right hand, it moves simultaneously as the entire hand moves up and down. What follows is the fingers on the left hand moving sequentially as they alternating moving up and down the chords. The distinct movement in both hands flows the activity to be asymmetric. As her weight is always evenly placed, the movement throughout is balanced. As the movement is solely distal, I would say there is no connectivity.
This playing of the guitar addresses the motion factor of Time. Her strumming and frequent changing of chords, addresses decision making in terms of rhythm. Strumming of the guitar strings with her right hand is done within the sagittal dimension, as her hand moves suddenly in an upward and downward motion. Her left hand, holding onto and changing chords, emulates both sustained and sudden movement. This is visible as Lindsey shifts from quickly changing chords, as well as holding onto the chords for a period of time.
Lindsey plays in a personal space, in which her fingers are close to the body and conducting small reaches when strumming and changing chords. I found that there is no indication of directional orientation, as Lindsey's center of her body is isolated and not moving throughout this activity. Due to this idea, there is no indication of spatial paths in this activity as well.
I noticed that I struggled with making a motif score of Lindseyʼs guitar playing. From a seated position, the movement of this activity is done only with her hands, and in constant contact of her guitar. I noticed that essentially this activity consisted of two actions repeated over and over: Strumming of the strings, up and down, and the random changing of chords with her left fingers.
What I found helpful was how interpretative and broad a motif score can be. The randonmess of Lindseyʼs changing of chords allowed me to leave an open ended depiction of it: any action occurring with the fingers of the left hand. I also found that I was able to depict the repetitive action of the score through not only drawing the alternative pattern of the right hand, but indicating the repetition of the entire score six times.
I also found that there are cons to addressing Lindseyʼs guitar playing through a motif score. I felt that there was no opportunity to address the contact of Lindseyʼs right hand to the guitar strings, and her left fingers on the guitarʼs neck. This all in all provided me with viewing the effectiveness, as well as the the ineffectiveness of motif scores.
Always a Statement?: A Study of black artistry and its consumption.
The purpose of this study is to examine the extent of which an artist’s race, specifically blackness, is assumed to be at the forefront of their work. Within the field of dance, the display of black dancers and artistry is often a powerful statement. However, when can a black artist simply be an artist? The assumption that black artists are all creating “black art,” implies a racial statement that the artist may have had no intention of creating. In a larger sense my research question is this: Is my blackness a continuous statement? When can I simply be a body in space? Through this study, I hope to discover the extent a statement can be made by a black artist, even when it is not their objective.
I recorded a black and white dancer, separately, improvising without any particular prompt or direction. I then hosted a discussion with a diverse group of people. Who have an understanding of dance in various capacities. After watching both videos, I held a conversation around me asking questions, concerning what they felt each dancer was saying through their movement. I asked what drew them to these conclusions: was one dancer more impactful than another? Did race play any factor? Why or why not? What followed was a discussion on how we formulate and attempt to comprehend movement. I also shared my experience as a black artist, not only hoping to simply answer my research question, but also engage in an educated conversation with a diverse group of people.
Arising from my own speculation, I anticipate people instilling a more profound narrative on the black dancer than the white dancer. I predict that subconsciously, people will assume the black dancer to be more impactful, and more of a statement than the white dancer.
I was pleasantly surprised by my results. Majority of my subjects resonated more with the improvisation of the black dancer. The dancer’s movements were described as “powerful” and “revolutionary.” The subjects agreed that they assumed a narrative about overcoming a struggle, admitting they believed it had something to do with the dancer’s adversity from racially-based hardship. When diving in further into this idea, subjects agreed that the expect black artists to express their blackness. This varied the curiosity subjects had over the narrative of the white dancer, in which her race never gave insight to her movement or intention.
This study grants the opportunity to have a much needed conversation on the manifestation and consumption of black artistry. Discourse on the struggles of black artistry is not only helpful for myself, but grants a learning opportunity for members of my community. Discussions on race are essential in developing an equitable environment, in which racial differences can truly be recognized and valued. Being one of two black students in my freshman class at Ohio State, to not address it is to believe the racial disparity doesn’t exist. The significance of this study also lies in having an active conversation between white people and people of color. Having often discussed blackness with black people, It implies that the responsibility is on our part. Diversity is the reality we live, in which everyone should learn to respectively coexist.