Carlijn shared that she needs reassurance throughout the process to feel confident that she is heading in the right direction. She wants to know that what she’s doing aligns with my vision as a choreographer. It’s great that she communicates her needs, but I'm not always certain if her direction is the right one. However, when it comes to my approach, I can clearly articulate what I want, meaning that in this aspect I can give feedback and guidance.
Communication and honesty are core values that I appreciate because they foster feedback and keep the process dynamic. I can relate this to my own experience as a dancer—being kept in the dark is incredibly frustrating. Even when you're uncertain about the direction, it’s crucial to engage with others in the process and brainstorm together.
Carlijn's feedback made me reflect on the clarity and purpose of my physical research. It encouraged me to consider the next steps I need to take so that I can offer clearer direction in future rehearsals. It also raised the question of how to build a rehearsal framework that allows for both structure and freedom.
I still have some work to do in refining my methodology, particularly in choosing between experimenting with concrete ideas or giving dancers open tasks for discovery. I also need to figure out how best to guide dancers through these different approaches. It seems I need to develop a way to introduce both my overall approach and specific research interests to the dancers simultaneously.
Moving forward, I plan to treat rehearsal sessions as a class. I need to immerse myself in the physical process, rather than standing on the sidelines. This will make the process more hands-on and provide clearer examples. By diving into the studio myself in between shared rehearsals, I will have the chance to test initial ideas and gain insight into what I want to explore on or with another dancer. I’ve already started documenting this process (see concept).
We began the sessions with a check-in, taking a moment to connect and share where we were emotionally that day. Afterward, I updated her on the progress of the creative process.
In the first hour of the rehearsal, I introduced her to my approach, Somatic Imagination. I guided her through the exercises as if it were a class and actively participated in the physical explorations alongside her. In the second part of the rehearsal, we focused on specific ideas for the choreography, blending physical try-outs, one-on-one sharing, and feedback moments.
On the 14th, I felt hesitant about whether I was taking the right approach. Carlijn mentioned during the session that she tends to be very in her head, which made me question if my method was suitable. However, as the session progressed, I began to warm up and feel more open, and my initial insecurity faded. By the 16th, I felt excited and eager to explore with her, confident that this was the right approach for our short rehearsal period together.
The constant communication between us is a positive aspect, and it helps that we’re both analytical, which makes us a good match. However, I could improve by breaking down tasks even further to provide clarity and allow more time for exploring each aspect before moving on. This would require more patience on my part. At times, there’s an overflow of information, and the pace can create a blur of expectations for Carlijn.
Time management is important, but the correct focus would be on the trajectory of the dancers. Adapting the rehearsals to the time available and making decisions according to the flow of the process. I have a tendency to project outcomes and go through a list of tasks, but I need to slow down and learn to dedicate more time to each one. This approach would give the dancer the opportunity to fully understand and embody each fragment before moving on.
The session began with a dissection of the compartments we are working with, the awareness of walking backward initiated from the vertebrae and being moved from the vertebrae. We clarified the motivations behind the movements and transitions between tasks. Different constellations were explored, and I made choices according to my intuition. We also experimented with the constellation using light. In the final part of the session, we went outside.
Carlijn and I are becoming more familiar with each other. The material is beginning to take shape, and it feels like we are moving in a deliberate and clear direction.
For this short creation period, adopting a systematic approach has proven to facilitate dynamic and productive rehearsals. I’m pleased with the planning, which allows space for feedback and open communication about decisions and reflections. Instead of projecting outcomes, I am making decisions in the moment, enabling us to experiment and discover what the performance needs as we go.
Feedback from Carlijn revealed that the approach of moving from physical exploration to an imaginary vision is effective. We often discuss the intention and motivation behind actions, with her asking insightful questions such as: What is the idea behind being stuck? How do you reach the point of standing still?
She noted an interesting pull between internal motivation and the active observation of the surrounding space. This highlights the opportunity within this rehearsal period to understand the visualization I am proposing. The depth of work within the spine makes the experience visceral, creating room for analytical development of the material. I shared with her that this deep exploration forms the foundation of the work, emphasizing the importance of maintaining it even in performance.
I need to be more diligent in asking Carlijn questions. For example, I forgot to ask how the outside experience felt for her—whether it felt different and if it disrupted the internal sensations we were working on in the studio. These are important aspects to discuss. Besides offering freedom and time to explore each fragment, it’s equally important to share enough information, particularly regarding the quality of the work. I need to clearly communicate how I think the quality could be enhanced.
Today, we took the time to discuss and refine the tasks by making decisions and reaching a common understanding. The first hour focused on explanations, asking questions, receiving feedback, and briefly trying out specific parts of tasks.
I posed a question to Carlijn: Do you always use only one vertebra in the walks and improvisations, or do you alternate them? She confirmed that she alternates, by making fast switches—something I realized I do as well. We discussed the significance of clear intention in movement, emphasizing precision in identifying where the movement originates.
During the second hour, we went outside to the location to familiarize ourselves with the space and experiment with tasks, such as the "conversation with the backs."
Given the limited time, I think we managed the rehearsal well. We covered key points and refreshed essential information for the performance day. It’s reassuring to see the work becoming more specific and to feel us tuning in more to each other.
Preparation and planning are needed to keep the dancers energized during rehearsals. The flow of the rehearsal depends heavily on this. As a choreographer, I feel the need to spend time with the movement material and videos to better understand the next steps in the process. Personal try-outs, clarifications, and connecting the work to context and metaphors are key elements in my creative process.
As a preparation for the public intervention, we reviewed all the compartments of the sequences. However, due to time constraints— influenced by other factors—we had to skip over some dissections. Afterward, we prepared for the public intervention outside and managed to perform it twice.
The rehearsal started off feeling relaxed and well-prepared. However, when I realized that time was running short, I panicked slightly as I tried to determine what to prioritize.
Carlijn shared that she found it challenging today to embody the developed movement exploration. We decided to research that part further, incorporating different constellations as a continuation. This plan worked well and allowed us to make progress by addressing other parts connected to the developed movement exploration and refining transitions.
We discussed that the amount of restrictions in the tasks might feel limiting, but they should not prevent dancers from engaging with the front space. In fact, the natural flow of movement inherently traverses multiple directions. I also noticed that the dynamics in the movement had started to fade, so I suggested implementing those in the exploration to break out of habitual patterns.
One significant takeaway is that answers often emerge in moments of crisis when you actively listen to and engage with team members. Dialogue proved to be an essential element of the process, and this is something I intend to carry forward into future projects.