Revisiting Ballet through Groove
(2025)
author(s): Julie Pecard
published in: Research Catalogue
How can groove influence ballet language to bring forth movement signature and support new meaning? I aim to uncover how groove can bridge classical form and movement signature by developing a method based on groove, revisiting ballet terminology, and allowing the performers to find their movement signature. Resilience has emerged as an accompanying concept that provides a base when generating movement.
I research, create, and perform work that is anchored in Western Contemporary Dance. In my practice, I search for connections between the dancers, the concept, the music, the rehearsal process, and the performance. Questions I ask myself are: What are threads that help all involved connect to the work meaningfully? And how do we all come out of the creation with a sense of authorship? I often invite personal memories of the dancers into the work to make it more relatable, finding that commonalities emerge to connect us. The themes I base my concepts around are identity, finding a place of belonging, home, and womanhood.
I have chosen to approach this research with varying lenses: my personal experience both in life and in the studio, through poetic writing, relating to thinkers and choreographers, and through the creation of Lost Threads. There is an analytical approach through depicting what in groove can serve ballet. I have based my research on music theory and transferred knowledge to an embodied practice around groove. I have analyzed the biomechanics of ballet movements, precisely 8, adding how language can contribute to another level of experiencing movement. I define resilience as the process of finding one's centre, and how the process toward equilibrium can be used to generate drive and inspiration, relating this process to choreographic scores and improvisation. The counter side of this research is the poetic approach I have taken through writing and sketching. This world offers further possibilities to uncover more knowledge on the connection of ballet and groove, performers and movement signature, resilience and improvisation. I’ve come back to my roots of ballet and gone deeper into the ground, emerging with an innovative practice through groove. Daring to search for innovative ways of bending classical form.
Fontys Academy of the Arts, Codarts, Master Choreography COMMA, Master Arts, Cohort 4: 2023-2025
CHOREOGRAPHIC TOOLBOX #1: METAMORPHOSES
(last edited: 2023)
author(s): Janne-Camilla Lyster
This exposition is in progress and its share status is: visible to all.
Choreographic Toolbox #1 is a collection of tools for imagining. It offers analogue technologies that can act as an expanded imagination. As a single user, you can work with them in between productions or processes, with the purpose of sparking new notions and material connections. The tools can also be used by two or more people, side by side, collectively, or as part of a specific process. They are an invitation to engage in exercises and procedures for creation, exploration, and reflection. This publication is a consequence of the author’s continuous excitement for the prefigurative phase of creation: where things are moving from nothing to something.
Little Miracles- An emerging spatial understanding of harmony and its application in my creative practice
(last edited: 2021)
author(s): Nayeli Vazquez Bertely
This exposition is in progress and its share status is: visible to all.
I am an artist-researcher working on the refinement of my language. As a Mexican choreographer, the search for harmony has been intuitively present for a long time in my personal and artistic life, however, there was a gap between my rational and spiritual motivations and the understanding of its origin, as well as the intuitive understanding of space that guided my creative work.
Through time and practical experience, I came to develop my own tools and the integration of visual metaphors and gestures to create movement material. However, the motivation and intuitive processes that led me to make specific choreographic choices continued to be a mystery.
I surrendered to what my body and intuition knew, and I reconnected, re-discovered with my ancient Mexican roots: a very scientific, naturalistic, and understanding of the universe based on the understanding of harmony as the balance between opposites. A geometrical manifestation of the duality of the universe.
I work in an abstract and physically universal way, where intangible subjects as harmony and love manifest using contrast and spatial oppositions.
I felt the urge to explore meticulously what harmony represents in my work, embracing my natural visual and spatial tendency to understand the universe. I this research I created and refined methods for the generation of movement material inspired in the principles of harmony.
Little Miracles
(last edited: 2021)
author(s): Nayeli Vazquez Bertely
This exposition is in progress and its share status is: visible to all.
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Choreographic Toolbox #1 is a collection of tools for imagining. It offers analogue technologies that can act as an expanded imagination. As a single user, you can work with them in between productions or processes, with the purpose of sparking new notions and material connections. The tools can also be used by two or more people, side by side, collectively, or as part of a specific process. They are an invitation to engage in exercises and procedures for creation, exploration, and reflection. This publication is a consequence of the author’s continuous excitement for the prefigurative phase of creation: where things are moving from nothing to something.open exposition comments (0)