#this is based on my experience in dance not all choreographers are so strict but i have a feeling that klaus would be

[hoperays-song]

<3 Ryan’s Smile <3

When you’re dancing, you’re expected to keep or have certain facial expressions that fits with the scene you’re performing. And, during full run throughs, you’re not supposed to break character. Your expressions are seen as part of your character and costume, not having it right during a scene is heavily frowned upon, even in practice. 

We see all of the dance troupe doing this, keeping the same expressions during every run through, no matter what happens with Johnny. This is what’s expected, this is the standard, this is normal in run throughs.

And yet we see Ryan, the Ryan who’s shown and presented as the perfect dancer, the best of the best, willingly break character. He was so happy to see Johnny do the routine, he broke character, risked getting in trouble, to smile at him.

We can see his expression visibly soften, his ear perk up, and he smiles. He looks so proud and happy for Johnny.

Truly, the bestest boy. <3

[probablynot-john]

I had the stupidest AU idea where Kallus is a ballet dancer, and Zeb is a hip hop dancer. Kind of like a reverse flash dance because that movie sucks.

Kallus lives his entire life around an extremely rigid schedule. His parents put him in ballet when he was about 3, but he just loved it, so he stuck with it. Unfortunately, as he got older he had to push himself farther and harder to keep up. Plus, keeping up with the very strict body regulations is very difficult for someone of his size, so his attempts to keep his weight down manifest in some very unhealthy ways. Also Thrawn shows up as a new choreographer and just starts bullying everyone, buy he really hates Kallus (I haven't quite figured out why yet, but dance teachers don't always need a reason to hate you)

Zeb has been a long time member of Ghost Alliance Gym, where he teaches hip hop classes with the specter dance group (him Kanan and Hera are all like co teachers). It's a fun after-school rec program to give kids something to do, so it's way more affordable and less snooty than Imperial Dance up town. Zeb actually used to be in a cultural dance group years ago, until the school was forced to shut down (I'm going to pretend that lasat dancing is like Ukrainian dancing because that's what I have the most experience with, and it's my AU and I can do what I want).

They meet when they both go to the shoe store because they wore holes in their dance shoes.

Zeb: so you're a dancer?

Kallus: how perceptive *but in kind of a flirty way*

Zeb so what kind of dancing do you do, like zumba?

Kallus: *slightly offended* no, I dance! Not 'cheerleading', not 'jazzerscize'. Dance!

(Based off a real conversation my mom had with her co-worker)

Eventually Kallus has to decide if he's gonna go support Zeb and go watch his performance at the rec-center, or follow his contract and perform the Nut Cracker (hehe) at the theater.

Zeb has to decide if he's going to go support Kallus and watch him in the theater, or be in his little holiday concert. Even though at this point they're fighting, they still care about eachother.

I don't know, I thought this would be a fun holiday story based off my 16+ years of dance experience (including but not limited to hip hop, tap, ballet, Ukrainian, acro and more). But no one was ever as mean to me as Thrawn is to Kallus, and I never worried about how my body shape fits into the dance.

[swanlake1998]

Article: For transgender dancers, progress can't come fast enough

Date: March 8, 2020

By: Avichai Scher

Sean Dorsey was tired of being the only transgender dancer in the room. So he took the bold step of starting his own company, the San Francisco-based Sean Dorsey Dance, and become the first openly trans director of a full-time dance company. It was a milestone for transgender and gender-nonconforming dancers and choreographers, and Dorsey hoped it would lead to a more inclusive dance world.

The company is celebrating its 15th anniversary this year, yet Dorsey remains the only openly trans artistic director of a full-time dance company in the country.

“We’ve definitely made progress since I started, when there was really no context for institutional or social support of trans dancers,” Dorsey said. “But there’s still a major lack of representation across the dance world.”

Dance, especially older forms such as ballet and modern dance, is mostly structured around strict gender lines. While the growing acceptance of transgender people in the United States has extended somewhat into the art form, trans dancers are often forced to choose between being their authentic selves and career opportunities.

Issues start in training

Dorsey’s choreography often deals with trans issues, and he is committed to being an advocate in the dance world for transgender people. But even in his own company, Dorsey is the only trans performer.

“In San Francisco, at least, I don’t have the luxury of holding an audition for trans dancers,” he said. “There just aren’t very many at the professional level.”

Dorsey said this is largely because barriers for trans and gender-nonconforming dancers start at a young age — as most training programs are gender-specific.

Jayna Ledford, 19, made headlines when she came out as transgender in an Instagram post in 2018. She was studying at the Kirov Ballet Academy at the time, a traditional ballet program in Washington, D.C. It was the first time a dancer at an acclaimed ballet school had publicly come out as trans.

Classes at Kirov, like most ballet conservatories, are generally separated by sex assigned at birth, and when students are combined, teachers offer different steps for men and women. Ledford, however, found ways to get the training that matched her gender identity, including dancing on her toes in special pointe shoes, which is done almost exclusively by women and requires unique training.

“I wanted to do what the females were doing,” she said. “I’d do it on the side and not pay attention to what the guys were doing. I’d also stay after class and practice pointe technique with my female friends.”

She hadn’t had the training other females at the school had, but she was hoping to transfer from the men’s program to the women’s.

“I knew I had a lot of catching up to do in terms of pointe work,” she said. “But just being in the room with the females, that’s what I wanted.”

The Kirov Academy told Ledford she could not join the women’s program unless she physically transitioned. Ledford was not ready for that, so she left the school. She was disappointed but now says she understands the academy’s position. The school confirmed Ledford’s account but declined to comment.

Maxfield Haynes, 22, who is nonbinary and uses they/them pronouns, said the large, prestigious ballet school where they trained was not supportive of someone presenting as male wearing pointe shoes.

It wasn’t until Haynes enrolled at Tisch School of the Arts at New York University that they were able to explore the more feminine aspects of ballet technique. Ledford also found higher education to be more supportive than a conservatory. She now studies at Montclair State University and practices pointe technique daily.

Lack of professional opportunities

After NYU, Haynes chose to dance with Complexions Contemporary Ballet partially because the company is explicitly supportive of gender fluidity, and even had a specific role for Haynes that is gender-nonconforming. In the David Bowie tribute piece, “Stardust,” Haynes dons pointe shoes and was partnered with male dancers.

“It was everything I could have dreamed of,” Haynes said of the role. “As nonbinary, I like to get to show all aspects of gender. I don’t think about dancing like a man or a woman, just myself.”

Opportunities to dance roles that are gender-nonconforming are rare in the concert dance world, even if dancers are becoming more open about being gender-nonconforming in their offstage lives. And those who want to physically transition face a stark choice, as none of the major dance companies in the U.S. currently have openly transgender dancers on their rosters.

Alby Sabrina Pretto recently made the difficult choice to begin physically transitioning with hormone replacement therapy at the expense of her performing career. She was a dancer with Les Ballet Trockadero de Monte Carlo, an all-male comedy troupe, for eight years. While she got to dance in pointe shoes, the style of the company is rooted in the comedy of men portraying women, which ultimately wasn’t how Pretto identified.

“There were moments I wanted to do things like a ballerina would and be ethereal and pretty,” Pretto said. “To dance like a woman.”

She knew that physically transitioning would mean she could not continue with the company.

“I wanted to have a career, and that slowed down my decision to transition,” Pretto said. “I waited until I felt like I had done what I wanted to do there.”

Liz Harler, general manager of Les Ballet Trockadero, said in a statement that transitioning does not disqualify dancers from the company.

“Dancers who expressed interest in transitioning to female have been told that their job would not be in jeopardy, though none have chosen to do so while continuing with the Trocks’ rigorous dancing and touring schedule,” Harler said.

Both Ledford and Pretto hope for the day when they can attend an audition and be hired without having to explain their gender identity.

Ledford said. “I’ll audition as any other woman. If I get in, then I’ll sit down and talk with them.”

Ledford is “optimistic” that this can happen in the next few years, but Pretto isn’t so sure.

“I am not naive, I know I cannot just audition for a major ballet company and join the female corps de ballet,” Pretto said. “But I would love for that to happen for me. It’s the ultimate dream.”

Her skepticism is partly based on the experience of her former Trockadero colleague, Chase Johnsey, who is gender fluid. He made headlines in 2018 when he was cast in a female ensemble role in the English National Ballet’s production of “Sleeping Beauty,” though it was not on pointe, and the heavy costume concealed his body. No additional female roles came his way afterward.

The question of who gets opportunities as a dancer often comes down to the taste of directors and producers and what they imagine their audiences want to see, not just ability.

Pretto danced a couple of character roles recently with Eglevsky Ballet, a growing ballet ensemble on Long Island, New York. The director, Maurice Brandon Curry, said he would consider Pretto for a female ensemble role next year, because her pointe work is “excellent,” though he wonders how some in the audience will react.

“Casting Alby in a female role would not be about passing as female, but I’d be lying if I didn’t acknowledge my concern about an audience member who was offended,” Curry said. “But art is not prejudice; it’s about inclusivity and open minds. If someone is not willing to have that experience, they don’t have a legitimate place in our audiences.”

Signs of change

Dorsey said that even having discussions about gender identity in dance is progress from when he started, and he’s encouraged by changes he’s seen: Most theaters either already have gender-neutral restrooms or create them for his company’s visit; trans and gender-nonconforming students attend his workshops in various cities and share with him their efforts to be accepted in their dance communities; the San Francisco Ballet persuaded him to lead a training session on gender identity in dance; and he was on the cover of Dance Magazine.

Ledford was recently a “Gaynor Girl,” a spokesperson for the popular pointe shoe brand Gaynor Minded. Pretto said she worked up the courage to use the ladies' locker room at one of New York’s busiest studios, Steps on Broadway, and no one seemed to mind.

Still, the art form has not yet caught up to reflect the audience, Dorsey said. His company has worked in over 30 cities in the U.S. and abroad, and he is usually the first trans choreographer a theater has presented. But he said the response from audiences is almost always positive.

“Dance audiences are ready and hungry for trans voices,” he said. “It's our dance institutions that are still catching up.”

[romulanfucker]

omg i would love to hear abt ur vulcan dance history!! i don’t have any specific questions so feel free to just talk about whatever parts are most interesting to you <33

okokok so im gonna try and keep this as short as possible becuase. i am a dance major and i like dance and talking about dance and thinking about dance and i could easily write a full essay about this. BUT!!!!!!!!!!!!!!!!!!!!!!! my main thoughts are: - first of all star trek saying "vulcans don't dance" is absolute bullshit so jot that down - because dance is a FANTASTIC way of channeling emotion so i feel like dance has become a way to engage with emotion in a metered and structured format. like. how far can the dancer push themselves into the realm of emotion without losing control - wrt to social (rather than performed) dance i have 2 main hcs. one, dance is really present in vulcan pre-k/elementary schools. (this is based off that one time spock was like "this looks like vulcan baby dance") and basically im imagining like that when those little vulcans who are still trying to master emotional control get all wriled up, they take a dance break, and they get to flail around and move angry or move sad or move excited, move the feelings from the mind to the muscle and then dance them away!! and when they’re ready to be logical again they can rejoin the class and continue working. - im also THINKING about vulcan dance therapy cause like .... dance therapy is a thing in real life!!! dance therapy gets used for all kinds of things!! some of its most common uses are as a mental wellness activity for trauma survivors and also people with terminal illnesses, but it also gets used for things like parkinsons and alzheimers bc repetitive movement is good for both muscle control and building memory pathways! ANYWAYS hear me out. dance therapy for bendii syndrome. just fuckin getting an empty room and throwing yourself around until you’re too exhausted to feel whatever emotion was getting the better of you.  - now, wrt to like concert/performance dance. i feel like vulcan dance history goes something like this: - pre-surakian reformation, there’s a lot of dance in vulcan culture, but its not like. dance for show. it’s very much a community event, not based on skill but just on like. experiencing a moment together.  - immediately post-reformation, dance becomes highly unpopular. it’s too emotional, too spontaneous. there’s no discipline in it - the first dance form that begins emerging is something akin to the second wave modern/early postmodern western dance movement, where the focus is not about what the dance conveys. there’s no story, there’s no message for the audience. it’s just a matter of “i am moving, and you are observing. the act of movement is the be-all end-all of the dance experience”. it demonstrates both physical control, in the movements chosen, and emotional control, in the ability to keep it out of choreography - i also think they get a very twisted version of cunningham chance procedures (cunningham was a choreographer who would do stuff like choreograph sections of a dance and then pull them out of a hat an hour before going on stage to decide what order they would performed in. or he would make dancers dance different parts each night. or they’d rehearse to diff music than they performed to). and i think they’d try to come up with more and more complex formulae for their choreography, as a challenge to the audience to see if they could find the patterns.  - from there, it develops into something akin to classical ballet, or certain forms of indian classical, or chinese classical/beijing opera or kabuki - a very strict story structure (vulcan mythology would make sense but like. to each their own.) and the focus is mostly on the technical skill of the dancer. more recent years have started straying towards less story-based and more abstract stuff whichhhhhh could just be purely technical or feed into 

- there’s a sort of counterculture dance scene going on that’s focused on the aspect of emotional control rather than physical control. like the goal is to see how emotional you can get without losing yourself. the furthest extent of this is like. butoh or the impressionist movement that started in germany inspired by butoh where the aesthetic of the movement is barely part of it, and the goal is to embody an emotion. this doesn’t get a lot of traction in its own right, its too avantgarde BUT

- we end up with a sort of meshing between this highly emotional and highly technical dance and this is most akin to the first wave of western modern dance, or some of the more modern versions of indian classical, where the technique is shaped around its ability to convey emotion. it’s design is specifically tailored to make emotion visible in the movement, rather than trying to just brush past it w/ technical knowhow. 

- (on a side note: there’s a piece that was done i think the late 90s or early 2000s by a bharatantyam/kathikali choreographer named mrinalini sarabhai who like. revolutionized both styles shes amazing. BUT she did an entire piece about the history of science and like. HELLO. thats exactly the kind of shit that vulcan dancers would do). 

- the ballet-style technical stuff is whats most popular, and the modern wave is still a sort of burgeoning movement, at the time star trek is set i think, but like. i just like the idea of emotion slowly creeping back into dance as a way to more safely engage w/ it because it becomes an extension of discipline rather than its antithesis. 

[salmankhanholics]

★ Prabhudeva talks about working with Salman Khan, the pandemic's impact on content, and the future of movies…

-May 18, 2021

Prabhudeva’s recent movie, the Salman Khan-Disha Patani starrer Radhe – Your Most Wanted Bhai, had an OTT release on Eid. Although it missed its big screen date with most of India, but the film is doing brisk business in parts of the overseas market. The movie collected approx. 600k USD (Rs 4.39 cr) on Day 3 in overseas taking the three-day total to approx. 1.78 mn USD (Rs 13.04 cr). Based on the 2017 Korean action thriller The Outlaws, this is Prabhudeva’s third film with Salman with after Wanted (2009) and Dabangg 3 (2019).

As a director he believes Salman Khan as a star has gone through major transformation, ever since he first started working with him in 2009. “There is some kind of a transformation, definitely! His persona as a star has only evolved with time and he also feels the pulse of the audience really well. With so many years of experience in the industry, he has kind of mastered the art of stardom. As a superstar he knows what people want instinctively,” he points out.

Salman Khan may be a phenomenon but director Prabhudeva is a star in his own right. After experimenting with acting, producing and directing he insists dance is his first love. “I am a choreographer first, and dance is my passion. Dance has made me what I am today and I will always be a choreographer first. Then comes direction... I love and enjoy making films. Acting would feature third on the list,” he reveals.

When asked how the Bollywood brand of hero-worship is different from that in Southern films? “You know, I love to watch Amitabh Bachchan films. Especially the action films he worked in when he was younger. Similarly, I also enjoy watching action films that have Tom Cruise. Whether it is Hollywood, Bollywood or Southern films — we all love that particular kind of heroism. When the hero makes an entry and beats up the baddies, people love to watch it! It is a universal emotion. So, we are basically transforming the same emotions in the modern-day scenario,” he points out.

Prabhudeva also believes that as a director it is his job to entertain the audience first, a reason why never shies away from making out and out masala films. “I have made love stories like Ramaiya Vastavaiya and comedy films simultaneously. Down south also I’ve done love stories. As a director it is my job to make different kinds of films. I am willing to work with any genre only if I am convinced with the idea.”

While talking about the movie, the director says, “This is the first time most of us are experiencing new formats as a part of ‘new normal’. This is going to be an experiment where we release it simultaneously in cinemas and on OTT. We are all trying to adapt to the ways that things are changing around us. Times are sensitive and we hope we can provide some kind of entertainment for people sitting at home. This is just an attempt to make people smile when everything around is so gloomy.”

Has the pandemic then forced the makers to change narratives and storylines in films? “Of course, there will be an impact on storylines. Not just that, the shooting process will also get affected. Looking at the restrictions and strict protocols, it will surely hamper the way a script is written. Foreign travel is restricted, large audiences for shoots are disallowed too! Stories will definitely change with the changing circumstances,” he said.

Recalling how the shoot for Radhe was stalled last year due to the lockdown, he says: “By god’s grace we had finished almost everything. Only two songs and some work were left to be done before the lockdown was announced. About 98 per cent of the film was done before the lockdown. When we resumed shooting, we knew what we wanted to shoot and so we wrapped up everything as soon as we got the chance to do it. Even if we had to shoot Radhe a year later, we would do it the same way as we have done it now.”

Has the viewership pattern changed in the last one year? “In my house nobody is going out. Kids also don’t step out a lot, everyone has their own mind-set. Ready content is always available and we watch whatever is available. That is a big change,” he opines.

Last but not the least, what message would he want to give out to his fans in such bleak times? “My message is simple. Those who have money and can help should help the poor. Those who can stay home, should stay home. Mainly, everyone should help in some way or the other. Even I’m not going out, I’m helping in a small way too. Some people do it with manpower, some help with money, for everyone it’s different. Just help each other and love each other. Don’t lose hope,” he signs off

[currywaifu]

𝐭𝐢𝐭𝐥𝐞: a waltz to remember 𝐬𝐡𝐢𝐩: tsukioka tsumugi/reader 𝐫𝐚𝐭𝐢𝐧𝐠: sfw 𝐰𝐜: 3.1k words

𝐚𝐧: I really liked this idea, so much that I got excited and wrote a lot of plot and lead-up to the floof oops. I might have made some errors w/ my waltz descriptions, it’s been a few years

“A modern, theatrical take on Swan Lake… hmm, wouldn’t that fit someone from the Spring troupe more?”

Izumi pouted, “I already asked! None of them are free to be a guest actor, you’re my only hope Tsumugi!”

Tsumugi considered the director’s offer. Truth be told, he wasn’t that familiar with the original ballet nor did he know what to expect out of a modern retelling, but it was always good to get experience in different genres and modes. He currently wasn’t expected to be in any Mankai Company plays either, so as long as he organized his tutoring schedule he should be fine.

Turning back to the director he nodded. “I’ll be taking the role then, director.”

Clapping her hands together, Izumi grinned excitedly. “I’ll make sure to tell their director! Ah, hold on, I haven’t told you what your role will be yet, oops.”

Sensing it, he immediately shook off the upcoming apology. “It’s fine, it’s my fault for not asking either. I didn’t agree to a weird role or anything, right?”

Shaking her head, the brunette looked at her phone. “It says here you’ll be playing the role of Wolfgang, Prince Siegfried’s tutor.”

A tutor? With a laugh, Tsumugi thought how fitting it must be for him to take this role. He doesn’t know much about the tutor’s personality, but at the very least he’s ready to deliver any teacher or educator type of action need be.

Though the feeling was nothing new with every new role he took, he found himself buzzing with excitement for the future practices to come.

“Thank you for taking up the role, Tsukioka-san,” the troupe president said, shaking his hand, “it’s a bit last minute, but Tachibana-san was kind enough to help me look for a guest actor.”

“Thank you for having me as well,” Tsumugi replied, “I read through the script and I can’t wait to become Wolfgang onstage.”

In the ballet, the tutor gets drunk on wine during Prince Siegfried’s birthday celebration. Eden Troupe’s playwright decided to transform that character, now nicknamed Wolfie, into a normally well-mannered tutor who has passionate rants about history when drunk.

Izumi and Tasuku had laughed when he told them. It was rare to have Tasuku laugh out loud, but they were also at a bar so that might have something to do with it.

“Eh? This role should be easy for you then! I was right to give it to you!” The director exclaimed, clapping him on the back with a lot more strength he thought possible from her.

His best friend shook his head in disbelief, “not too far off from the truth then, based on how the three of us are like when we drink.”

While the role itself was new, there was a sense of familiarity to it that made it easier for Tsumugi to slip into character. The lines themselves rolled off with ease from his tongue, and with guidance he trusted himself enough to embody the mannerisms of the character.

There was only one problem.

He watches you get up from your seat in the audience and head up the stage, your back turned to the chairs to face him and his fellow actors. You walked with such confidence that it was hard not to be captivated by your presence.

“Looks like I’m back again,” with a broad and charming grin several members of the troupe cheered loudly, while the newer and quieter members clapped politely.

“I see some new faces, welcome!”, you greeted everyone, telling them your name, “and I’ll be your choreographer!”

Dance. They had to dance and unfortunately for him and the poor souls that have to partner up with him, Tsumugi has two left feet.

The last time he was required to dance was probably way back in high school for a school play production, and no way did dancing to Seussical the Musical qualify as recent or relevant experience.

You threw a glance at him, noting his worried gaze, and tried to indirectly reassure him and the rest of the actors.

“I’m not a strict coach nor do I expect perfection right away, but what’s important is that you constantly put your best efforts. Understood?”

The actors all replied in chorus, and Tsumugi tried to reassure himself. At least it wasn’t some high energy, action-filled choreography or an overly technical dance. A waltz, he can do that much.

“Alright, let’s do some stretches first!”

…

“Ah! I’m sorry,” he’s been apologizing for a couple minutes now, and while he tried to keep it discreet between him and his dance partner it didn’t go unnoticed, at least by you.

You’ve been paying special attention to the man with dark blue hair for a while now. At first, you merely observing the unfamiliar faces, new additions to the troupe and guest actors, but something about him struck you as special.

When you watched him during rehearsal an hour ago, you had wondered if the president picked up a new talent. He was able to pull off the tutor’s initial modesty through his subtle acting, and in his silent acquiescence of a glass of wine, he switched into Wolfie, the talkative drunk who was incredibly passionate about history.

“Where’d you pick him up, prez? He’s obviously no rookie,” you asked the blond beside you, who simply chuckled.

“That’s Tsukioka Tsumugi, he belongs to Mankai Company actually,” he explained, “it’s his first rehearsal today. He seemed a bit anxious at first, but he’s doing really well.”

“Mankai? Should DM Izumi later to reserve a ticket for their next prod,” you murmured, quietly watching the rest of the rehearsal.

He didn’t show any signs of frustration, and he was obviously listening attentively when you did the demonstration, so was it a matter of a lack of practice?

Well, you were gonna find out.

…

Tsumugi had an idea of what was to come when you called him after rehearsals concluded.

“Tsumugi-kun, sorry for calling you all of a sudden,” you apologized with a bow, to which the actor returned.

“Not at all, I probably looked like a newborn fawn out there,” well, that much you couldn’t deny, however, you didn’t like that he was putting himself down after his first time. There have been a lot worse than him, whether it be talent or attitude or otherwise.

“It’s your first rehearsal, don’t be so hard on yourself,” you paused for a moment, closing your eyes.

Well, you didn’t plan on reaching out this much to help him, but somehow you couldn’t help yourself.

“Tsumugi-kun, would you like to have extra practice sessions with me?” Hmm… The wording seemed a little better in your head, but it seemed to get the message across.

He was hesitant to accept, “I wouldn’t want to be a bother.”

“Trust me,” you clasped his hands between yours, missing the pink dotting his cheeks as you looked at him with determination in your eyes, “by the time you’re done with me you’d be able to waltz even with your eyes closed.”

“You really told him that? You made it sound like you were talking about a different kind of one-on-one~” Eden Troupe’s director let out a blaring cackle, slamming his beer glass down the bar table.

“Wahh, so naughty uwu ♡~ who knew our ☆ dancing diva ☆ was so forward~~” the troupe’s playwright said, rubbing his shoulders against yours, “why can’t you be like that with ♡ me ♡ wink wink oOF-“ a slight kick to his legs halted wherever that conversation was going to go.

Your head was beginning to hurt, and you didn’t know if it was from the alcohol or whatever the hell you were all talking about. You could even hear the hearts and stars, how was that possible?

“Argh, unlike you perverts I’m sure he understood what I meant from the get-go,” you groaned, briefly swishing the liquid in your glass before downing it in one go. You’d probably end up with a hangover tomorrow but so be it if you could survive tonight without getting charged for homicide. Or maybe even double homicide.

“He’s not an angel, even if he does look like one~”

“Tsumugi-kun is one compared to the two of you. Do your troupe members know that behind closed curtains y’all share one brain cell?” You retorted, completely ignoring the latter comment because yeah, he did look like an angel, what’s there to it? So what if he radiated such a gentle light around him?

“I’m just saying, he’s your fucking type,” the troupe’s director pointed out, the man beside him nodding fervently.

“And I’m a fucking professional,” you insisted, not even an ounce of denial towards his statement.

Raising his hands, the playwright put on his most nonchalant look, a very difficult feat for a drunk person, “oya oya, who can say if y’all decide to bow-chicka-wow-wow, hohoho ☆~”

Calling the bartender for another drink, you came to the realization that you needed better friends.

Two days after the bar night out and your raging hangover the morning come, you could still feel a migraine coming at the thought of your two friends. Honestly? Fuck them for making you realize that Tsumugi was extremely cute and 200% your type, that wasn’t very fair of them- or HIM for that matter!

Is it even legal to be so cute? The two of you exchanged details on the optimal practice time, and even his texting style was cute! Who knew he’d be so polite even in text? Bless him.

You were going to meet up with Tsumugi at the Mankai Company Theatre, apparently, rehearsals would end earlier tonight so the two of you had the stage for yourselves. You looked around outside for a bit before a familiar face with dark blue hair opened the doors to greet you.

“Thank you for taking the time to teach me,” he said, “I was able to practice the steps on my own, but I just get lost with a partner.”

Oh, if that was the case you have a good idea of what his issue is.

“It’s no problem, Tsumugi-kun. Let’s review the individual steps first before we continue.”

…

Feet, hip-distance apart. Step the left foot forward, then the right follows. The left meets the right foot. The right steps back and the left follows. Place the right foot next to the left.

A full box step.

Tsumugi was right, he was able to get the basic steps of a waltz down to a tee. That must mean…

“Alright, now try those same steps while leading me as your partner.”

He let out a breath to prepare himself, before standing in front of you. The distance was far too much, and you ushered him to come closer, “shoulder distance, Tsumugi-kun.”

“Right, sorry,” he walked forward a bit more, awkwardly mirroring your actions, extending his arms forward.

“You’re the lead, and I’m the follow, so place your right hand below my left shoulder blade,” you waited for him to do as you said before continued with your instructions, “and our hands go like this.”

You wrapped your right hand around his left, and was it just the stage lights or were his cheeks dotted with pink? Well, now wasn’t the time to tease him.

Tsumugi’s difficulty stemmed either from being too tense around his partner or from being too afraid to take the lead. Whichever one it was, you were going to crush it as hard as you were crushing on Tsumugi.

“You know, I find it pretty funny,” you began, hoping to ease up his tension by lightening the mood, “that you’re supposed to be playing a tutor, yet I’m tutoring the tutor.”

His left foot forward, your right foot back.

He laughed, amusement visible in his features. “I actually work as a tutor, too, so it’s just as funny to me.”

His right foot forward, parallel to the left. Your left foot back, parallel to the right.

“Eh? No wonder it looked so natural! Ah, although you’d probably be good in other roles too? What other roles have you done?”

His left foot meets his right, and your right meets your left.

So far, so good.

“My first role for Mankai was an angel in love with a human,” Tsumugi said, becoming more immersed into the conversation, “though I’ve done a bunch of roles when I attended school.”

He steps back with his right foot, and you step your left foot forward.

“I’ve never actually acted, but I’ve always been interested in theatre. I’m always helping productions,” you replied, “an angel? It’s the perfect role for you.”

His left foot steps forward, and unfortunately steps on your right foot.

“Ow, a little too early, Tsumugi-kun,” you wince slightly at the added pressure, and Tsumugi hastily steps back looking extremely apologetic.

“Sorry! I lost track of what the next step was,” he explained, “can we go back to the start?”

You smiled, at least he looked like he was raring to try again. Without a word, you signaled him to begin at starting position once more, your hands linking together.

One, two, three. One, two, three.

“Were you caught off-guard by what I said?” You asked, his grip on your hand slacking slightly before fixing it, “sorry, I just said what was on my mind.”

“It’s fine! You just surprised me a bit.”

Forward, side, close, back, side, close, forward, side, close, back, side, close.

“It’s just the two of us, Tsumugi-kun, so don’t be afraid to make mistakes, okay?” you locked eyes with him, waiting for him to respond.

“Thank you.”

“See? We were able to do a waltz box step together! If you’re free Thursday, I’ll help you fix the underarm turns!” Your smile was bright, radiant and blinding, all directed at him. Suddenly his face felt warm all over.

He was quick to arrange the next session.

“You know, if you’re supposed to act drunk, it wouldn’t matter if you stepped on your partner’s toes here and then,” Tasuku said off-handedly.

Tsumugi didn’t reply immediately. Eden troupe’s director had actually told him after their latest practice that it didn’t matter if he made a mistake every now again as long as it wasn’t too exaggerated.

He hesitated a bit before responding, “that’s true, but it’d be nice to get a whole sequence right without stepping on someone’s feet.”

It wasn’t a lie, but he was still relieved Tasuku looked like he accepted that answer, “would be nice to have that skill stored just in case.”

Even so, you looked so delighted when he did well. If just for a little while longer, he’d like to see you direct a smile at him again.

You were really, really grateful to see Tsumugi again. It was always a pleasure meeting up with him, dancing with him, learning something new about him.

Despite all of this, your toes could only take so much pressure in one session.

“Somehow, this is kind of embarrassing,” Tsumugi said as he stepped on your feet for the umpteenth time tonight.

Unable to resist the urge to tease him, you replied, “huh, you’re really tripping all over your feet for me, angel~”

You felt a little bit guilty when you saw his cheeks kissed pink like a carnation because no matter how cute he was when flustered, you didn’t want to make him uncomfortable. Your lips parted to apologize, but you found yourself befuddled by how he remained silent.

One, two, three. One, two, three.

He was quiet, merely staring at you until he moved to turn you around, letting go of the arm beneath your shoulder. The two of you were facing each other once again when he finally said anything.

One, two, three. One, two-

“You’re the one who’s the angel here.”

You stepped forward, accidentally stepping on his feet. The two of you were caught off-guard, you more so by his response than the fact that you made a mistake. As you stumbled forward, he circled his arms around you to serve as an attempt to steady you.

Tsumugi looked at you worriedly. He meant it as a compliment! You let him off easy every time he made mistakes while simultaneously helping him improve, plus giving him praise every time he did something right. Like a guardian angel of sorts? Or the angel over the shoulder?

His thoughts get interrupted when he hears you mutter something with a semblance of his name.

“Tsumugi-kun,” the said man watched in awe as you widen your eyes, a flush creeping across your cheeks like a vine of scarlet honeysuckle, or a freshly bloomed rose bush or a myriad of other flowers he could associate with you right now but one thing was certain.

This was different than the admiration he felt for you and what you do when you would dance with him, in front of the other actors. This was different than the appreciation he felt when you gave him words of encouragement. This was different from the pang in his chest when you teased him lightly.

No, not different.

It was an amalgamation of all of those things and more.

Tsumugi knows a crush when he sees it; when he feels it. This was a full-blown crush.

He knew from the rush of endearment he felt when you stepped back slightly from his grasp, your hands fanning your face wildly. He knew from the way you shifted your eyes around the room, avoided locking eyes with him and yet giving him millisecond glimpses to search for a reaction.

There certainly was a better way of saying this, of doing this. Maybe after he’s returned back to the dorm he could mull over his feelings and think of a better way to confess, maybe bring you to one of his favorite coffee shops, maybe even ask Tasuku and Izumi for advice…

but he wants to let at least a fraction of his feelings out, to relieve him if not for reassurance. He allows himself to be a little hopeful, a little confident that your feelings resemble his if he was to base it off of your reaction.

“Even after our lessons end, could we continue seeing each other?”

For the first time in what felt like hours, which in reality was likely three minutes, your gaze met his own. You’d think about it more later, but his pupils were dilated as he looked at you. Yours might have been, too.

“I’d like that, a lot.”

Tsumugi didn’t step on your feet for the rest of the night.

want to order again?

[changingchances]

Crossing Senses-  Ben Hardy!Roger Taylor  Part 2

A/N: 2001 words. Hi again! So, I’m having a fantastic time writing this! Again, it’s a bit slow- it will be a little bit until the drama picks up, but I want this to be kind of a slow burn thing so that the tension can build, I suppose. Please let me know what you think! I hope you enjoy!

Warnings: Just some swearing.

********

“I expected I’d have a lot more convincing to do,” Freddie stands in the doorway of the lab, shoes dangerously close to the threshold. His hands are on his hips, his head cocked to the side. Roe shoos him a few steps back and gives a light laugh.

“Of course not, Freddie. I love live music. And I haven’t had the privilege of seeing you perform since before you went off to America!” She emphasizes the word privilege with a dramatic flourish of her hand before turning her attention back to gathering up odds and ends from the various boxes shoved into the laboratory. While she pulls out loose papers, small metal boxes, and an array of odd wiry contraptions, she adds, “Besides, you may be right. It could be helpful for my thesis.” She waves around a beat-up journal for good measure, smiling brightly when she turns back to her old neighbor.

“At the very least, it will be a break for you, if nothing else.” Freddie gives her a pointed look, arching a brow and making to step into the lab. Roe is suddenly in front of him, blocking the doorway, her arms full of equipment and scraps of paper.

“You know you aren’t allowed in here, Fred.” She isn’t smiling now, rather mirroring his expression with her own raised brow. “And anyways, there are no breaks in graduate school. There’s only getting to the end of it. With my degree.”

Freddie rolls his eyes. “So secretive. And arrogant, too, if I might add. When did you become so cocky about your smarts, darling?”

Roe sneers playfully, moving so the heavy door to her lab slams shut behind her before making her way to an empty classroom. Freddie matches her stride easily.

“At least let me carry something!” He holds his arms out in offering.

“You can’t touch my equipment or read my data, Mercury.” Roe quips back, stopping in front of the classroom and blowing a few stray curls from her hanging in her eyes.

“Then at least let me get the door for-“ Freddie cuts himself off as Roe lifts her leg and expertly wings her foot, catching the door handle and pushing the door open with a delicate flick of her ankle- toes pointed and all. She practically prances into the room, Freddie left to stand in the doorway with his lips pursed, eyes narrowed, arms crossed over his chest.

“Don’t look at me like you’ve never seen such grace before!” Roe laughs again, setting everything down on the table in front of her and rummaging through papers. Freddie merely chuckles.

“Same old Roe. Will you never let me help you?” He walks in and drags over a rolling chair, sitting in it backwards so he can rest his arms on the back of the seat. He puts his chin on top of his folded hands and watches his friend continue her search through the piles and piles of notes. At his comment, though, she practically snorts.

“Fred, what could I possibly be incapable of handling on my own at this point? I’m doing research that’s entirely out there- practically no one has even heard of the things I’m looking into, but I’m handling it. I live on my own, feed myself, pay for school, etcetera, etcetera. I can carry my things and open a door. What are you on about?” She chuckles again, but suddenly her smile fades completely and her hand is resting just atop her collar bone.

Freddie raises his brow again, but this time it isn’t cocky or smug.

“Is it him again?” He asks gently. Roe nods, her lips twisting into what could only be described as a sad smirk. Freddie knows how conflicted the whole soulmate situation makes Roe feel. She, at this point in her life, is practically married to her work, her research, her barely budding dance career. She works so hard to make ends meet, to further her education, to continue pursuing her artistry despite it all, that the idea of someone stumbling into her life and interrupting that is terrifying to her. But everyone grows up dreaming of meeting their soulmate, and Roe is no exception. She’s just terribly anxious that whoever he is, his timing will be poor.

“What’s he singing this time, dear?” Freddie stands and approaches Roe, taking her hand and uncovering the lyrics scribbling themselves straight across her clavicle. Freddie smiles at what he sees.

I am forever searching high and low

But why does everybody tell me no?

“Lily of the Valley,” Freddie murmurs, amused at the coincidence of it being one of his band’s songs. Roe scoffs in disbelief.

“Of course, it is.” When Freddie looks at her, she’s grinning and shaking her head. “I’ve been listening to that song for hours on end all week, Fred. I’m trying to choreograph to it, but it’s proving difficult.” She takes her hand back and continues going through her papers.

“Hard to dance to?” Freddie inquires, returning to his seat. He decides he’ll press her for more details on the soulmate issue momentarily. Roe shakes her head.

“Quite the opposite, actually. It’s perfect. It’s so easy to move to. But it’s your song, Fred, and I want the dance to be perfect. I feel like I’m not quite doing it justice.” She shakes her head again and glances up at him, a fond look in her eye. ���I’m not throwing a pity party. It’s just a challenge. I’ll get it right sometime.”

“Of course, you will, love,” Fred smiles at her. There’s a long pause, where Freddie sits there thinking while Roe continues sifting through her notes. She’s the one who breaks the silence.

“Here it is!” She’s holding up a crumpled scrap of note paper, covered in ink smudges and chicken-scratch scribbles. “I can’t show you much about my proposal, but here. This is what it’s all based off!” She hands over the scrap to Freddie who is now grinning like a madman.

“Finally, an ounce of truth!” He declares. “The question, love, is will I be able to understand whatever mumbo jumbo psychological witchcraft you’ve scribbled on here?”

“Probably not,” Roe deadpans. “But that’s why I’m here to explain.”

Freddie attempts to read through the notes, but Roe’s handwriting is horrendous, and a lot of the words don’t even appear to be in English.

“Okay, dear, what the hell is… syn… synith…?”

“Synesthesia!” Roe practically squeals. “It refers to the crossing of senses, Fred! It’s similar to what happens when individuals take certain hallucinogenic drugs!”

Freddie stares at the woman in front of him for a long moment, trying to piece together what the hell she’s on about.

“So,” he begins carefully, trying to follow her train of thought (an impossible task if he does say so himself). “This thing-“

“Synesthesia.” She nods aggressively.

“This synesthesia is a drug induced… trip?”

“No!” Roe snatches the paper back and holds it up to her face, eyes scanning for something. “Here!” She hands it back, pointing to a barely readable line. “It’s a condition, one that can occur without drugs. I think it could be neurological, maybe even genetic. I’m not certain. But, Fred, the people who may have this condition, they can associate an experience with two or more senses!”

Freddie stares at her blankly. “I’m not sure I’m following, Roe. I’ve never heard of such a thing”

She visibly deflates at that, sinking down into a chair and laying her forehead down on the desk. “It’s… it’s a long shot, Fred, but I know it’s a real thing. There was research done in the 19th century, but… it’s not a lot to go off. But I think it’s why I can see the colors in words, and, you know.” She hasn’t moved, other than to turn her head and press her cheek against the table. She sighs audibly.

Freddie stares for a few more moments. Roe had mentioned a handful of times before about seeing numbers and letters in color and all this other dippy trippy stuff he’d never heard of before. She didn’t talk too much about it to anyone else because, well, it honestly did sound a little crazy. But Freddie, of all people, was not going to judge her for simply seeing things, differently. One may say she just sees the world artistically.

“Or… creatively…” Freddie mumbles to himself, recalling Deaky’s comment to Roger earlier. Suddenly, he’s out of his seat and grabbing Roe by her shoulders.

“WHAT THE HELL?!” Roe slaps his hands away and looks at him as though he’s gone mad.

“You MUST come to our concert!” He almost screams it in her face.

“I ALREADY TOLD YOU I WAS COMING, YOU TWAT!!!” She snapped back, clutching at her heart. “WHAT IS WRONG, ARE YOU TRYING TO GIVE ME A HEART ATTACK?!”

“YOU!!” Fred turns around and throws his hands in the air. “YOU COULD HELP ROGER FIGURE THIS SOULMATE SHIT OUT!”

“WHAT ARE YOU TALKING ABOUT?!” Roe is still clutching her chest. Roger Taylor? As in the band’s drummer? Everyone on the planet knows the kid has a way with the women. Thinking about it now, Roe wouldn’t really be surprised if Roger is among the individuals who don’t have a soulmate. It would explain his habit of taking a different woman home every night. Is that what Freddie means?

“Are you asking me to psychoanalyze your drummer?” She asks, her face twisting into what could only be described as a what the fuck expression.

“No!” Freddie gestures wildly to the equipment and papers still scattered across the table. “His soulmate lyrics don’t appear as lyrics! They appear as colors!” Roe’s eyes widen at that. She’d never heard of such a thing happening.

Freddie grabs Roe’s hand. “You could help us interpret them, right? Since you know so much about this stuff, since you have some form of this thing yourself, you could tell us what it all means!”

Roe feels a drop in her stomach and quickly shakes her head. “I don’t see music, Freddie, I wouldn’t know.”

“But you have data, articles, resources! There must be something!”

“It doesn’t work that way, Fred. Synesthetes don’t follow a strict system of rules. It differs for everyone. Some don’t even have associations with color. There are endless numbers of sense crossing combinations in the first place, but one person with sound and color associations won’t experience it the same way as another synesthete. It’s all based on perception.”

Freddie shoulders drop a little at that, and he releases Roe’s hand.

“Dammit,” he mutters, taking a seat on the table. It’s quiet again for a moment before Freddie speaks. “He’s really frustrated by the whole thing. He doesn’t know anybody else who’s ever had anything but song lyrics. It’s really putting him off…”

Roe sighs. Freddie is rarely one to guilt anyone into anything, so she knows he is truly worried about the drummer. She looks down at her notes again and bites her lip, thinking.

“Let me see what I can do,” she says softly. Freddie glances at her with a hopeful look. She shakes her head at him. “I can’t promise anything, Fred. Whatever is up with your drummer boy may have absolutely nothing to do with synesthesia. However, if it does, then that’s a clue for him and his soulmate quest and information for me and my research.” It’s not untrue. If Roe find some supporting evidence that synesthesia affects soulmate indications, then she’d have more evidence that the condition is legitimately neurological. That would get her proposal accepted for sure.

Freddie smiles at her. “You’re a bloody genius, Roe. Dare I say, smarter than Brian.”

Roe scoffs. “Must you even question such a thing?” They both laugh together a moment. Freddie watches her as she tenses a little and glances down at her wrist.

“What song this time?” He asks softly. She smiles a little.

“Still Lily of the Valley.”

[themillieanderson-blog]

My Creative Collaborative Project

Initial ideas and creating “Combined”

When embarking on this project, my group was initially much smaller, consisting of just three members (Victoria, Oliver and myself). After brainstorming, our initial ideas were to create a party themed piece of film like a music video, to show the more fun and social side of dance. However, as we progressed further with the process, we struggled to continue as a three. Our ideas were limited and to create the party atmosphere that we hoped for proved difficult with only three members in the group. It came to our attention that another group was struggling with a similar situation. It seemed ideal at the time to combine groups as many of their goals and ideas were similar to ours. They were focusing on how dancers can often use dance as an escape from what might be going on around them in other aspects of their life. Although the industry can be a competitive and a confidence lowering place, we wanted to focus on the complete opposite side of it and remind ourselves and our audience why we and so many others love it.  Therefore, we joined groups and created “Combined” (Victoria, Oliver, Ben, Adrienne, Rose, Eloise and myself). This immediately appeared to solve our initial problems, helping us to proceed with the flow of creative ideas and also opened up more possibilities due to the larger group. 

 Working as a larger group

It was not difficult to merge the groups as our concepts were very similar and we were able to combine our thoughts and ideas to create a vision for a piece that we were all happy with. The members of the group that we had combined with are all from the musical theatre pathway, and therefore they wished to bring their music skills and knowledge to the piece. Adrianne had been working on an original song that had a similar inspiration and message to our ideas. The song was about having someone or something to pick you up when you are down and, in this instance, we could relate this to our idea of dance being an escape from other issues people may be experiencing in everyday life. We decided to stick with our initial idea of a music video and as a group we decided that we wanted to make the choreography quite hip hop based as the song is very upbeat and pop influenced.

 Creative process and inspiration

In the early stages of developing the piece, we liked to put all our ideas into mind maps and story boards on a big white board. It quickly became clear to us that we wanted three main characters, each with a different issue going on at home and through the story to show how they all come together at the end and are able to escape from their worries and problems for a little while through dance. I thought it would be a good idea to start the video right from the beginning of their day when they wake up, as I know that if I have a worry or concern it is always the first thing I think of as soon as my alarm goes off. We decided to film the three characters in the same house and doing the exact same things as it highlights the fact that they are all experiencing similar situations, and although they are different people, they are not alone in their problems. Using a split screen helped  to emphasise this.  

 To strengthen the idea of dancing being an escape and having a positive influence on people’s life’s we continued to look at the party atmosphere and vibes that we wanted to create. We decided on having a big fun section of choreography (choreographed by Oliver) to the chorus of the song, where everyone comes together to dance, party and have fun. To create the feel-good party atmosphere that we needed, we took inspiration from a few music videos that we believe create a similar feel. These videos were- “Love on Top” by Beyoncé (Beyoncé, 2011) and “It’s My Party” by Jessie J (Jessie J, 2013). Another piece of inspiration that we took was from the quote- “Dance, when you’re broken open. Dance, if you’ve torn the bandage off. Dance in the middle of the fighting. Dance in your blood. Dance when you are perfectly free.” (Barks & Moyne, 2012)

This quote comes from a translated poem, originally written in Persian by Rumi. Rumi was a 13th-century Persian Muslim poet, and lots of his work has been translated from Persian into many world-wide languages (Awaken, no date)

We took from this that dance could be the answer to all problems and situations that we find our selves in as humans. It might not solve the problem or get you out of a situation, however, it will allow you time to help figure it out or escape from what’s going on, and sometimes that’s all we need.

Before it came to filming, we needed to decide on location and costume. We decided to film the opening scene in a bedroom as the characters wake up, we needed a room that had good natural lighting and after analysing our options, we collectively decided that Ben’s room was most appropriate. We then decided to film the second part in college as it is a place that links everyone together much like our reoccurring theme of dance linking everyone together. Victoria came up with the idea of everyone wearing something denim as it is quite plain, uniformed and would look good as a collective for the party themed section of the video. I also came up with the concept that everyone has and owns something denim, which also helps to convey our theme of everyone having dance to bring us together; it’s something we all have in common. 

Some of our story boards and mind maps from the early development stages:

 Filming difficulties

Prior to this point in our creative process the majority of producing work had run quite smoothly as there had been very little disputes and having a larger group meant we had lots of ideas and skills to work with. However, as we began the filming process, we started to experience difficulties. We planned to film the video in two shoots as we had two main locations. The first part of the video was filmed and edited easily, as we had planned well in advance what date we were filming and who was going to be involved with what. Nevertheless, when we came to film the second part which was the party section where everyone was supposed to be involved in, we experienced difficulties. Some people in the group couldn’t make it at short notice and others didn’t turn up. This was unfortunate for those of us who did turn up as some of us had taken time off work specifically to film. We did arrange the filming date really far in advance so everyone had plenty of notice, but for those of us who were there, we used the time to work on the choreography instead. We then had to delay and film much later in the schedule, which meant that we had less time to film as we had to get it all done it one evening after class.

The initial idea was to shoot some shots outside that day when it was light, however, these had to be cut due to the rescheduling to the evening. This rescheduling also caused difficulties for Rose who was filming and editing the piece, because this meant that she had less time to edit the video the way she had planned to and added extra pressure to her role.

Eloise was unfortunately ill on the day that we filmed the “party” section, and even though she was one of the three main characters in the first section of the video, we made the group decision to go ahead and film without her and I stepped in and played her role in a few shots. The switching of actors did nothing for continuity and will add a little confusion for the viewer. At the time we made the decision, it seemed like the logical thing to do as we wanted to have a finished product on time and had already had one delay. We also had imagined the “party” section to have a lot more dancers than we did. When we advertised that we needed extra dancers, it was probably too short notice as we had little interest from people.

Whilst filming in Arts Depot we were approached by a member of staff who said if we wanted to continue filming, we would have to fill out a form called a ‘Film Permit Application’. We had not considered that this would be necessary, and thankfully they were very relaxed about it but if we had been somewhere else, they may have been much less understanding which would have caused complications. In future, we would have to consider allocating a location manager in future to organise this kind of details, and to avoid complications.

Below is a photo of the Film Permit Application that we had to fill out-

My Contribution

Our project was very much a group project, although a few people fitted in specific roles like Oliver as the choreographer and Rose as the videographer/editor; they had more experience in those roles and it seemed fitting. There was no real leader and no one was overbearing, at times different people took charge if they had an idea and we all allowed each other to voice opinions. We didn’t really distribute strict roles, which was risky but it meant that no one was worried about stepping on each other’s toes and were able to give opinions and ideas about all aspects of the piece. This approach worked well in the end and it really reflected our group name “combined” as it was a combined effort. Personally, I am quite a shy person and would usually take a step back and be scared to contribute ideas and opinions in a group project, however I enjoyed giving an input and building my confidence to have my ideas heard, specifically in the initial ideas and creative process stages of the piece development and also during filming. I believe that although we experienced some difficulties and complications that may have affected the final product, meaning that it is not exactly as we had imagined it, we have created a music video that we are all happy with.

 Message to the audience

We believe that the dance world has a reputation that it can be a very stressful and confidence knocking place, and behind all the glitz and glam there is a brutal side with negative connotations. We want to remind ourselves and the audience that many people use dance as a way of escaping and finding a sense of belonging. We want the audience to understand that dance can act as a support system for people experiencing non-dance related problems in their everyday life. Whether their issues are big or small, it doesn’t matter because dance brings everyone together and although we may not know it, we are all going through similar things under the surface. We are stripping back dance to its routes and presenting the social and enjoyment side.

 Bibliography

Awaken. (No date) Rumi. [Internet] Available from: http://www.awaken.com/2013/02/rumi-2/ [Accessed: 12 March 2019]

 Barks & Moyne. (2012) Dance, when you’re broken open. [Internet] Available from: http://andylal.blogspot.com/2012/06/dance-when-youre-broken-openby-rumi.html [Acessed: 12 March 2019]

 Beyoncé. (2011) Beyoncé- Love on top. [Internet] Available from: https://www.youtube.com/watch?v=Ob7vObnFUJc [Accessed: 12 March 2019]

 J, Jessie. (2013) _Jessie J- It’s my Party. _[Internet] Available from: https://www.youtube.com/watch?v=59caVlKNNEQ [Accessed: 12 March 2019]

[commedias]

🎂 👨‍👩‍👧‍👦 🐶 🔶 🎥 📺 🎞 🍔 🍦 🍭 🍸 👣 ⚽️ 🎮 ⛪️ ⌛️ 🎈 🛍

mun question meme (currently accepting)

*aoa voice* oh boy.... that’s a lot of questions. here we go !

( 🎂 ) when's your birthday ?

           my birthday was earlier this month ! october 10, to be exact.

( 👨‍👩‍👧‍👦 ) what’s your family like ?

           i'll try to keep this answer as discreet as possible, but it's definitely not what i'm used to, to say the least. i grew up as an only child with my father raising me and my grandfather living with us. mind you, this on my dad's side. when i was younger, i had my grandmother and aunt who took the place of my mother who i haven't seen since i was two. unfortunately, my grandmother had a stroke when driving my grandfather and me one day and passed soon after. as for my aunt, she moved out when she met a boyfriend whom she is still living with (at least to my knowledge) and had a child with. later on, it was mainly my father and me but a change of circumstances lead to me being placed in the foster care system. in regards to that family, my foster father made delicious food and watched jon stewart which was really dope. i also had four foster sisters as well, so that was a new experience in itself. now i'm currently living with relatives from my mom's side of the family which include three aunts, two uncles, my grandparents, and two cousins. going from an only child to a foster family to a large filipino family has been a transition to say the least. i don't receive as much privacy as i used to and it's much noisier. as for this family (trying to juxtapose between foster and biological here lmao), they're very family-oriented which sounds redundant but. it's really a cornerstone of the filipino culture from what i'm observed. i have a lot of cousins, most of which are younger than me by a few years. my family likes mainstream television shows (i.e. the walking dead, the voice), drinking wine, and cooking lots of food.

( 🐶 ) what's your favorite animal ?

           it used to be an otter, but realistically, probably a cat tbh.

( 🔶 ) what's your favorite color ?

           black.

( 🎥 ) what's your favorite movie ?

            i'm not really a film enthusiast, but i would have to say "lolita" (not the stanley kubrick version, the 1997 one with jeremy irons) since it’s based off the novel of the same name by vladimir nabokov (which is my favorite book).

( 📺 ) what's your tv show ?

            i don't really like watching television either, mostly just functions as background noise while i'm making gif icons or something of that nature. however, i am an avid south park enthusiast. i just think it's really interesting how they can blend crude humor, a few innocent quips relating to childhood (i.e. the episode where the boys think they're having their periods), and political satire all together. i don't laugh aloud very often but a lot of the earlier seasons made me burst out. however, if you've seen the later seasons it definitely takes on more social issues which i really admire especially how they address them in such inventive and light-hearted ways (but ultimately still communicate the overlying message with conviction).

( 🎞 ) what's your favorite cartoon/tv show ?

            okay, anime i can jam with. i suppose since it says cartoon, i should have said south park here but *shrug emoji*. my favorite would have to be mirai nikki though death note is a close second. gasai yuno is one of my favorite female protagonists.

( 🍔 ) what's your favorite food ?

            macaroni and cheese.

( 🍦 ) what's your favorite ice cream flavor ?

            oh goodness, i can't just list one. it used to be orange sherbet growing up, but now i'm definitely into strawberry cheesecake, cookies and cream, and chocolate chip cookie dough !

( 🍭 ) what's your favorite candy ?

            kit kat

( 🍸 ) do you drink ?

            lol yes.... probably with more vigor than i should.

( 👣 ) what do you like to do in your spare time ?

            honestly when i first received this ask, i sent a message to my friend, leda, asking if she was the anon bc i didn't expect someone to legit send me this meme. anyways... she took the liberty of answering the questions with how she perceives me. her response that what i do in my spare time is talk to her which is very accurate. i'm usually talking to leda or replying to one of our thirteen threads. i enjoy singing, writing, reading, and watching k-pop videos.

( ⚽️ ) do you like any sports ?

            leda said she didn't think i liked any sports. that's accurate tbh but i did participate in gymnastics, dance, and tae kwon do growing up. i also dabbled in swimming and cheerleading but not for the same length i did in the others. i choreographed my own gymnastics routine in my final year on the team (to a dubstep version of "pink panther" because i was in a stupid phase) and have my brown belt in tae kwon do. i would have pursued my black belt but moved into foster care, so could no longer progress.

( 🎮 ) favorite video game ?

            don't really have one. i'm not much of a video games enthusiast although i enjoy a good game of mario kart wii.

( ⛪️ )  are you religious ?

            i am not however i grew up with a very strict (more for the sake of my father wanting to keep appearances, not true faith) religious upbringing. i attended youth group on wednesdays and performed on worship team as the lead vocalist for sunday services.

( ⌛️ )  last thing you did before logging in ?

            i mean my computer is perpetually logged in because i rely too much on pulling up my tumblr quickly to log out. however, i was eating a chicken burrito when i received the asks for this particular meme which is why it took me longer to get to than anticipated.

( 🎈 )  share a childhood memory !

            well since we were just on the note of religion, i went to belize twice for a mission trip. most of it was construction work, but seeing as i was around eleven or so at the time, i couldn't really contribute. i did assist a few elderly ladies with some tasks involving the locals such as cooking, bible study, etc. the second time i went though, regulations had changed in regards to entering the country. due to the drug trafficking, some stipulation had been put into place about needing both parents' permission to fly into belize. my mother wasn't available to be contacted, so my father and i flew into guatemala instead. my father was worried about traveling there during the night since he had heard some negative things. we ended up meeting some people who were going on the same flight. they lived there and had been in the states to visit family, i believe. anyways, they offered to shelter us until we could make it to belize. my father was hesitant to accept the charity of strangers especially with what he had heard. however, they were perfectly quaint and even took us out to eat in antigua. from there, my father and i crossed the border by a series of tiny volkswagons in which the locals ripped us off for fare. both my father and i are partially fluent in spanish, but we were still seen as gringos from the locals' perspective to take advantage of nonetheless. we confirmed this one we asked one of the people on the bus in spanish how much they paid to ride and it was significantly less than us. anyways, we ended up arriving at the border and went through the whole formalities before finally reaching belize.

( 🛍️ )  last purchase you made ?

            my phone subscription to textnow.

[nikasen]

[Translation] Wink Up June 2017 - やまけとの歩み

Wink Up June 2017: やまけとの歩み Never knew that it will be this long! I take a longer time because of my hectic work. I think I used up all my brain cells to finish this. Anyway I’m trying my best to translate. In case you did found any mistake please tell me so that i can improve my translation. Thank you!

*********

No records on year 2006-2007

Year 2008: Be in the same group and become best friends.

Keito’s goal is “To be able to dance as cool as Yamada” Okamoto : I received a big mirror as Christmas present. I want to dance as cool as Yamada so I’m going to use this mirror a lot during practice. (March 2008 issue)

Among JUMP member, which one is the father and the mother? Yamada: The father would be Keito! He is the most calm among the member. Isn’t weird for a junior high school student would be this calm? Everyone are making lots of noise, but he will be quietly reading his English novel alone. This is no other like a father isn’t? But sometimes, there are times where this thing is broken. That time I realised that “Keito is actually a junior high school student” (laugh) (April 2008 issue)

Year 2009: Just notice our same age on 2nd year of group formation.

More stories about Yamada revealed during MC Nakajima: Because of the tense, there will be separate MC and it’s getting difficult isn’t. In this MC will Keito working hard? Yamada: But he’ll just talk about useless thing. Nakajima: So Keito has lots of stories about Yamada. Based on how he looks at Yamada, he is showing the look like “I’m going to tell something about him”. That’s looks interesting (laugh). Okamoto: “Yamada put his finger in the electric fan” are one of my first stories. Yamada: Wait, why would you say that here? (Laugh). The fans would be worried. I didn’t injured myself so everyone please do not worry. Everyone please don’t try this at home. Okamoto: And Yamachan, recently he’s frequently punching me.. Yamada: Keito, he’s recently getting used with my punch so it’s getting boring. So I’ll tell you, I only let out 50% of my energy. And looks like Keito’s level are getting up, so from now I’ll increasing my energy to 60..70% (October 2009 issue)

******

Yamada: By the way Keito, you are in wich grade now? Okamoto: High 2 Yamada: Eh, that’s the same as me?! I thought you are one year higher. Are you kidding me~~~ Everyone: Eh, after such long time (laugh)? Yamada: I thought Keito is the same age as me! Arioka: Isn’t good? Your knowledge has increased! Yamada: So it’s ok for me to start judging him? Our age gap is near! And he always touching his arm, summer’s weather must be humid for him (laugh)! Nakajima: I get it! Keito even with anyone the distance between them are so near! When the staff talk to him, they need to step back behind a bit. Okamoto: I have low voice , so everytime when I talk to other people, they will say “eh?”, so I thought it would be better if I talk to them more closely… (November 2009 issue)

Year 2010: Begin to spend lots of time together even in private.

Keito crying when he can’t reach the meeting place

From Keito’s no 1 subject…. Yamada: He’s no 1 cry baby. Okamoto: I’m not! Yamada: You cried the other day! Me, Daichan, Chinen and Keito had a meeting the other day, but he’s getting lost and he cried. Okamoto: it’s not like that! If you’re not describing the location to me properly, I will getting lost like a kindergarten child (laugh). I couldn’t find the location you described to me and wondered around in hurry. I have made everyone waiting for me. And i thought that i have trouble everyone. Nakajima: Keito is surprisingly nice. Look! You can cry now. It’s ok now! So start crying! Okamoto: I don’t feel like crying. But those kind words you told me, you will make me crying like an elementary school kid so stop it. Nakajima: AHAHAHA! Is it not good? (Laugh) Yamada: We are surprised too, so we asked him “why are you crying?”

Year 2011: Surprised at Keito’s new side

Jealousy towards gentleman’s side of Keito?!

Chinen: If everyone had a girlfriend, how would you show your feelings in front of her? Nakajima: Keito is a gentleman so he seems like will be nice to all the girls (laugh). Chinen: I get it, he looks like will listen to anything his girlfriend say. Like a butler? Keito: What did you say a butler (laugh)! It’s like devoted type, this is a better way to say it! Chinen: And then he will go “I’ll do anything for you, you should do the same thing to me too” and then that relationship happens. Okamoto: Isn’t such thing is expected at the end? Yamada: Keito, I will not forgive you if you’re meddling with my girlfriend! Even if you’re just being usually kind, i will not forgive you! Nakajima: Me too! I will beat you with my drum sticks! (laugh) Okamoto: Since all of us doesn’t have girlfriend, so that’s not threatening me (laugh). And Yuto, now you are holding your drum sticks for real (laugh). But let me say it, in my eyes, I only see the girl that I like so such things you say wouldn’t happen (March 2011).

Q. In Junior days, being as back dancers in which concerts that was fun? Chinen: About this, Keito doesn’t have any experience as back dancers. Yamada: Seriously?! Okamoto: ah that’s right~ As for me, the very first choreographer I remembered was (Hey! Say!) Yamada: isn’t rather recent? (Laugh). Being as the Senior’s back dancer, we can take part in the tour and it was fun. Chinen: Right! It’s a little bit pity if you are not be able to experience that. To be honest I only experienced it once. Yamada: Eh really?! Chinen: Yeah, I’m only being as the back dancers for NEWS but for tour only for KAT-TUN Nakajima: Me and Yamachan have pretty much experience. Yamada: Yosh Keito! Even now it’s still not too late. You can go being a back dancer! Okamoto: Eh, for Sexy Zone? (Laugh). Yamada: AHAHAHA! That’s good! Senpai as Kouhai back dancer! (Laugh). I’m going to watch it Okamoto: If you say that it would be good there then I would be glad to do it (December 2011 issue)

Year 2012: Keito begin to be in love with Yamada

Yamada showing his tsundere side

Yabu: On『JUMP’s recently』talk’s theme, according to the staff’s information, Inoochan’s team talks about “Recently, Keito is madly in love with Yamada” and the evidence seems increased. Okamoto: Wait, what’s with that? (Laugh) Yabu: When Keito talks with Yamada, no matter who calls your name, you won’t hear it… Yamada & Okamoto: AHAHAHAHA! Yamada: I’m also aware of that a little. This current Keito, his approach become more great. Yabu: Even in the other day magazine interview, “Who become more mature? it’s Yamada” he talk about it enthusiastically (laugh). Both of you are really getting along very well Yamada: That’s right. We hangout quite often. Okamoto: Also, occasionally we will wear similar clothes. Because we have similar preference in clothes, we tend to buy similar kinds of clothing (June 2012 issue)

Yamada: When we went to watch (PLAYZONE) together, Keito’s tension is too high. He’s become troublesome mode’s person. Okamoto: It was a continuous holiday, when I know i can meet the members after so long I become too happy. Nakajima: Ah~ because you love Yamachan right (laugh). Okamoto: But he’s ignoring me. “Oo Yamachan, it’s been a while” when I said it with the such maximum tension, I’m showing troublesome like face. I’m shock. Yamada: If it’s for one time I would be happy. But it has been many times over and over again. Normally I won’t say that it’s annoying. I didn’t mean to follow but Keito at the hotel area or in the same room as me, he is actually an easy going person Okamoto: seriously?! Yess! (October 2012 issue)

Year 2013: Yamada usual strictness towards Keito (laugh)

Keito is chosen as his member’s mutual affection. Yamada: I told you before this talk begins. Keito! I’m going to buy that yellow sweater you are wearing for our costume today, so you don’t make it dirty! Even one drop of sweat I won’t forgive you! Okamoto : Ok.. but with that so much pressure it will cause me to sweat a lot (laugh). Nakajima: Which part of the sweater is your favourite point? Yamada: The colour and the texture? Roughly because I feel that I like it. Okamoto : And the most important reason more than anything else is “because I wear it”. Yamada: Shut up! I’m going to wash it immediately as soon as I get back home! (laugh) Everyone, did you buy the clothes that you like? Are you are the type who goes shopping and buy it? (June 2013 issue)

Q: Stunned! an episode of mutual affection with members. Yamada: The other day after we appear in a music program, one of the co-star song keep lingering in my head. I’m humming the song in my head but at the moment we get off from our transport, suddenly I sing that one phrase out loud. And then exactly at the same time Keito also sing that phrase too! That coincidence isn’t amazing? Like we only listen to that song once but it keeps lingering in our head for all day long. As for myself it’s like JUMP’s song BOUNCE. And the part “Everybody、JUMP” is the only part that keep playing over and over again (laugh) (September 2013 issue)

Year 2014: Talking about loving each other on 7’s meeting

Yamada at private revealed!

Okamoto: I usually hangout with Yamachan. The Yamachan I met in private, his character is different from the Yamachan I met in JUMP. With JUMP, as usual everyone will tease me. But in private he didn’t do such things, he’s completely a normal person. He’s not that straight and he will listen to all my stories. He’s totally have different look (laugh) (February 2014 issue)

LOVE message to lovable Okamoto Keito! Yamada: At 7’s meeting, Keito suddenly said to me [You know, I like Yamachan a lot! At the concert I’m always thinking “Sometimes I want to become aa” while watching you]. I’m almost about to cry (laugh). He is totally honest as he can say such thing straightforwardly. I like that side of Keito! (March 2014 issue)

Year 2015: Yamachine affirmed that Keito always being clumsy

Unintentionally teasing him

If Yamada would spoiled you immediately what you want him to do? Keito: I would like to change our role for 1 day. Today too, as soon as I enter my workplace he asked , “Did you bring Weekly Shonen Jump today?” and when I told him “I didn’t buy it” he said “Go buy it!”. And then, the manager bought it for me and when I thought i’m going to read it, he said “stop it that’s mine”. I also like to do that but if a person who doesn’t know anything saw this, I’m completely running errand for him. That’s why I want to change our role for only 1 day so that I can try to say “Go buy JUMP” or “taste this thing” (laugh) (June 2015 issue)

Yamada: Keito is basically clueless. (Chinen who is nearby also agreed “He is getting clueless, he looks like he’s off guard). He is easily get punched, kicked or attacked by me (laugh). And his reaction when I hit him was “it hurts~” but he said it with a calm tone. Then I will said “It’s hurt isn’t? Let me make it more hurt” (laugh). The way he did that makes me feel to tease him. He is cute isn’t? Because he’s just cute, I’ll unintentionally teasing him. I had never received any payback from Keito. So if he’s going to do that to me, I’ll pay him back double (laugh) (December 2015 issue)

Year 2016: Good friends story talking about same episodes

Discover Keito through the GPS and play darts at Yamada’s house.

An episode where you realised all over again of the importance of member’s love. Yamada: on the day I finished filming drama early, there’s something I wanted to do with Keito. So when I look at my GPS, I saw him nearby my house. I thought “This is the chance!”. I told him “Sorry, there is something I want you to do, come over for a moment!”. We sit at the veranda there and had a cup of tea. Then I let him go home (laugh). We played darts at my house, talk about the darts. He’s not choosy about the tea so I bring out cold oolong tea (laugh).

Keito: About 3 days ago, I went to Yamachan house for a while. I happened to be near his house when he suddenly called and ask to have a tea with him. He really served the tea and since he has dart board we played for about 15 minutes and then I went home (laugh). Recently I had not seen him in private so I haven’t go to his house for quite sometime.

P/s: i will re-edit again. I leave this here for a while

[thewidowstanton]

Dangerous Steve, outdoor showman, comedy actor, Sideshow Illusions performer

Dangerous Steve is the stage name of Steve Collison, who was born in King’s Lynn but grew up near the Buckinghamshire village of Middle Claydon. He had the most extraordinary childhood and started living up to his name by doing dangerous things at a ridiculously young age. He was billed – by agents such as Bernard Woolley, TB Phillips and Temple’s Gala agency – as ‘the World’s Youngest Motorcycle Stunt Rider’. As well as touring internationally as Dangerous Steve, he has also worked with Magic Carpet Theatre – where he is company manager – for 30 years. And he regularly performs with Jon Marshall’s Sideshow Illusions and Dr Phantasma’s Amazing Ten in One Show.

Steve is married to fellow Sideshow Illusions performer Alexandra Collison, who was my first Widow interviewee, under her maiden name of Boanas. Alex, who is a trained soprano and has an MA in performance, often plays Yvette – the Headless Lady, Miss Elastina and No-Middle Myrtle, as well as Romana the Gypsy Queen on the Ladder of Swords. They have two children, Flossie and Winnie, who are almost destined to follow in their parents’ showbusiness footsteps. Steve chats to Liz Arratoon.

The Widow Stanton: When and how did you start stunt riding? Dangerous Steve: My dad, Peter, was the butler at Claydon House stately home in Buckinghamshire. At Christmas when I was five, Sharon, my sister, was getting lots of presents and I almost started getting a bit teary because I noticed I wasn’t getting as many. Then I was taken into the other room where there was a big present. Somewhere I’m on Cine film; there’s me unwrapping a motorbike, and apparently I just stood there shaking for ages, which was very funny. I started off just riding round the estate for a while but dad wasn’t very impressed with me just haring around on a motorbike, he wanted me to do tricks and stuff like that.

As a child, to be brought up at Claydon House… I was the only one on the estate as my sister went away to boarding school as a dancer. Sometimes I just wanted to kick a football around with my friends; on the other hand I did go around the estate thinking how lucky I was and how amazing the views over the lake were on summer evenings. We used to live in the courtyard. There was a swimming pool and stuff like that, which Sir Ralph and Lady Verney never really used, so I had my own little swimming pool. They were like my grandparents. I’d go round there on Christmas day and open presents with them.

I joined The Spirit of Britain junior motorcycle display team, which was run by a guy called Gus Scott, who used to train Eddie Kidd. I was with them from when I was five years old to seven. They were based in Luton and I toured around with them, but because I had so much space at home and they could only meet twice a week, I started practising all the tricks alone. My dad was thinking, ‘Well, he can now do all these tricks himself’, so he started taking me to do all the galas and carnivals around the country to perform on my own. Your dad sounds amazing. What sort of dad would give his kid a motorbike? Did he want to be in showbusiness himself? Yes, he did. He was very different. He managed to get an Equity card and had done some extra work and been in shows doing whatever he was asked to do. I think people are now quite interested in butlers and stately homes. My mum was very proud of me but would only watch me once I could do the tricks without falling off. I hurt myself but I never broke any bones with the motorbike. My dad was very good at starting off with quite basic things and was very strict on making sure I did things the right way. How much fun was all this for a kid? It was very exciting. I couldn’t sleep the week before a show. We’d go away in a big lorry and it was like a holiday, apart from I used to have to map-read. Some of these country fairs are in the middle of nowhere and one wrong turn, you could end up backing the lorry two miles down the road in the way of tractors… I soon got very good at map-reading because otherwise I’d get into so much trouble. I was doing tricks jumping over fire and through fire at seven or eight. Dad was very good at building props and made a tunnel of fire. Once we’d got the frame with all the fire straw in the middle of the park – we’d found a field without any sheep on it – I remember saying to him just before we lit it, ‘Dad, when we light the fire, what if I don’t want to do it?’, and he said: “You will do it. Now I’ve built it, you’ll do it.”

Once they were built, there was no going back and I’d practise and practise and practise. As I got older, people expected more from me, so the ability went up with my age; bigger jumps, bigger fire, pyrotechnics… because it was only me, whereas some of the bigger army display teams, like the White Helmets, would fill the stage. I had a load of publicity when I was awarded The Star newspaper Best in Britain award, presented by David Essex. I was sponsored by National, the petrol firm who used Smurfs to promote their brand. Sharon joined the act. Later she became a dancer and choreographer and now runs Claydons Academy, teaching dance and drama, but then she was a Smurf! Were you paid appearance fees? Yes. Once when I had a three-week tour in Scotland, the whole family came up there because it was in the summer holidays. We all stayed in a tent and it rained for most of the time. I can remember waking up one morning floating on an airbed. I didn’t realise until I put my foot outside the sleeping bag into a load of water that the whole family was floating! I’d get paid every week and we’d accumulated quite a bit of cash. The Leeds Building Society was doing deals at the gala that if you were a child you could open a bank account with £1 and you got a money box and a bag and stuff like that. Mum and dad decided the safest thing to do with the money was to go to open up an account. I was about eight. They were expecting me to give £1 and suddenly I had this wad of cash. They must have wondered where I’d got it from and just thought I’d stolen it or found it.

Did you ever go to school? I did. The school was very good and if ever there was a school fete or anything like that they’d always ask me to do my motorcycle stunt show. I was filmed on my motorbike for children’s TV with Anneka Rice, who once came to school. We had a mock school fete and she was lying down and I ended up jumping over her. What happened next? The motorbike act stopped when public liability insurance started getting really expensive. I was about 14. Then my dad and I toured the Crazy Brigade – a comedy fire brigade, very much Keystone Cops, very visual – round country shows and big galas. It was a comedy car act that drove on its own and fell apart, but it was more like a stunt comedy act. There was a lot of water! My dad built a human cannon and we thought, ‘Oh, we need an act for it’, especially when he’d taken a picture of it and sold it. We had ten shows booked in before we even had an act.

I used to worry; we had a prop, a comedy cannon, but no show. It blew up at the end and I went flying out of the end of it but not a great distance. I never got to the net on the other side of the arena. But we did it in the end and it was very successful. I knew Martin Burton of Zippos Circus from the galas and carnivals, rather than as a circus contact. When I was 15, in my last year at school, he kindly said I could do work experience on their theatre tour. Other people worked in the local bakery. I went to Wales and Carlisle and never went back to school.

What does Dangerous Steve actually do? It kind of depends where I’m booked to do it. If it’s in the middle of a town centre early on a Saturday morning with a few people walking past with shopping bags, the last thing they want to do is get stopped to watch a show by some nutter in the street. I try to make my show very entertaining and try to be likeable on stage. If it’s indoors and the audience is put there for me, it’s the same show but I have to work in a different way. I do ten things; I start on my motorcycle monowheel. It builds up a big crowd straightaway. I sit inside the wheel – the engine is inside it – and it’s a very difficult bike to balance and ride. I’ve spent the last three years learning how to do a new trick on it; a double loop the loop.

I then go on to my motorcycle sidecar, which I ride round, introduce myself, and then stand on top of the seat and juggle knives. Then I do some fire. With outdoor shows I try to make it really very appealing at the start to distract people from the funfair and the stalls by doing fire tricks and some big fireballs with fire whips and things like that…

Fire whips? Yes, they create a massive fireball. I go from there to the unsupported ladder, so I’m up high, talking to people telling them what they’re about to see, and if they don’t want to see it now’s the time to leave! I’m very proud of balancing on top of a ten-foot ladder. It’s scary, as I don’t like heights! Then I then do a giant rola-bola, so I’m on a tower, on top of a beer keg on its side and on top of a board, and then I go through a fire hoop. Then I juggle a chainsaw, and do my giant unicycle, which is bigger this year, a ten-foot unicycle, and then into a blindfold motorcycle stunt. I set two chainsaws going – possibly four this year – on a frame, and I ride round blindfolded and through the frame with a steel shield on my face and a hood over my head, which I get the audience to check. And, you know, hopefully I don’t cut my head off.

Has anything ever gone wrong? When I was learning, I broke my arm just before doing a show in a school hall. I thought, ‘That really hurt, I think I’ve damaged my arm’. In the first part of show I had to play the drums. Oh, my goodness, every time I hit the drums it was excruciating. 15 years later I finally learnt to do the trick I was trying when I broke my arm! I did a show in Scotland last year and before I went on, they announced that they were having a dog show and they’d put a big marquee in the corner of the arena, which made it quite narrow. I was driving my monowheel but I tipped over too far and the foot peg stuck into the ground and I went right over doing a somersault in the wheel, I flew out of it, got back on it, and carried on and the crowd loved it! [Laughs]

Then I got on my sidecar to juggle the knives and I went over a bump and one of the knives went into my face. I had blood running down my face. I looked at the organisers who were looking at me, like, ‘What have we booked, some cowboy?’, but actually, afterwards they loved it and they want me back. [Laughs] So it pays to hurt yourself sometimes.  

How did you learn all your other skills? Because I’ve been involved in so many shows over the years, I kind of picked up all these skills individually. It was a bit of watching others and trial and error. My show is very different to anyone else’s on the outdoor circuit. I don’t know anyone else who does some of the tricks, but I’ve seen someone else doing others and I’ve thought, ‘Oh, that would be perfect for my show’.

Do you have a natural ability to pick things up? Probably not. It’s practice, and a lot of the things I’ve learnt to do, I was a teenager. If you’re a teenager you don’t mind falling off so much. It doesn’t hurt so much. I must admit some of the time now, when I’m trying new stuff out, I do think, ‘Am I a bit old for this?’.

I believe there’s one motorbike stunt that I’ve done that you haven’t… [Laughs] Yes, yes. The Wall of Death! It’s a dream and an ambition one day to do it.

It was horrific but you would love it! I’m going to contact Jake Messham and try to arrange it. I should do it September because it’s always a little bit dangerous trying new tricks out just before you get really busy for the summer season.

And the Globe of Death, do you fancy that? I would love to try. I’d try anything really.

How do you divide your time? We’re trying to stay busy all year round and it is really busy. The summer is now crazy with Dangerous Steve, so every weekend and Bank Holiday and there seem to be a lot of agricultural shows in the week as well. Last August I went from Orkney to Guernsey, doing shows on the way down as well. Summer season now… outdoor shows seem to be really good, really healthy and a full season of shows, like the olden days, really. When that quietens off in September, we go into Magic Carpet theatre shows and December, we’re sold out in schools performing a theatre show.

How did you come to join Magic Carpet so young? After Zippos the school let me go off on more work experience with Jon Marshall, who I’d worked with in the galas and carnivals when he was The Man with the X-ray Eyes. Magic Carpet is his children’s theatre company that tours schools, art centres and theatres up and down the country and occasionally we get to go abroad. The shows are very visual, good fun and exciting. It’s a comedy play. We don’t have any big message; it’s just a great way to introduce children to live theatre. They laugh all the way through and if they haven’t seen much before, they come out absolutely buzzing. Jon is very good at making it exciting and understandable. It’s a bit of a rollercoaster with highs, but we also bring them down again. We know when the dangerous bits are coming up where the kids might shout out, but no one needs to be on edge as we’ve got them under control.

Do you feel you sort of owe your career to your dad, really? Yes, very much so, dad and Jon. All through my childhood I had so much respect for my dad and so much help, hours and hours of dragging me round the country, which I enjoyed. I enjoyed where I lived at the stately home, and also the travelling around at the same time. He would be working after I’d gone to bed out in the workshop, building props for me and I’d be practising with them after school the next day, probably falling off, breaking it, and he’d be back in the workshop again mending it and telling me not to fall off again.

Do you think your experience could happen to a child these days because of health and safety… It would be very difficult. Even now with Flossie, if she falls over, the first thing that goes through your mind when she goes to pre-school, they’re going to see a bruise and it’s going to have to go in a report and they ask how it happened. They also ask the child as well to see if the stories match, whereas when I was a child and did The Spirit of Britain, I remember we were doing some practising and I set off the wrong way round the arena, ending up colliding with another bike, fell off, the foot peg went into my foot, I ended up in hospital, and then a couple of days later it was all forgotten. I wouldn’t want Flossie to hurt herself and there are ways of learning tricks with protection, but I wouldn’t put her off doing what I did. I try not to be too pushy with her because I think slow and steady will win the race.

Not like yer dad then? [Laughs] [Laughs] To be honest she’s only four, a little bit younger than I was when I started. But she is very keen on running onstage at the end of the show and she likes to go in the blade box, with blades in it. I’ve got a motorbike and sidecar and last year in Poynton, near Manchester, she sat on the sidecar.

Did you ever imagine that this would be your life? No, but later on in school everyone was talking about what they were going to do as a career, and I did think, ‘What the hell am I going to do?’. Then I thought, ‘Well, actually, I quite like what I do now. At the age of 15 I’ve already got quite a few years’ experience behind me. I’ve learnt how to do things and how not to do things’. So it would have been a waste not to carry on, and I’m so glad I stuck at it. When you’re a teenager sometimes the grass is always greener on the other side. When I was getting towards 19, some of my mates were earning quite good money doing other things, and I was thinking, ‘Oh, should I change what I do?’, but obviously I’m so glad I didn’t. I love it more now than ever.

Dangerous Steve will be appearing at Kimpton in Hertfordshire on 4 May, 2019 at the start of his summer season. Check his website for details.

Picture credit: Ian Spooner

Steve’s website

Twitter: @DangerousSteve1 @sideshowmagic

Follow @TheWidowStanton on Twitter

[audiogenerativeshoe]

Update Update! This is going to be a long post!

This is a project that aims to trigger and customize audio signals through the movements encompassed in a performing dance. My prior research led to experiments and projects that have been conducted in the past. This was very useful, because it enabled me to make decisions based on the existing knowledge from before. I summarised shortly my findings and explained my thought process.

 Literature Review:

Keywords: human-computer interaction; action-sound relationship; movement production; sound producing movement; kinesiology, biomechanics; corporeal articulation;

Project reference:

During my research, I explored projects that showcase an integrated body of fabric and technology, providing more responsiveness to the design. The complexity of the design remains hidden to the user under the material, the ease of use and the comprehensible functionality. The Nama project represents a piece of fabric with embeded sensors on the inside that translate real-life interaction in motion into virtual variables resulting in sensible feedback and showcasing non-verbal and kinaesthetic understanding of virtual liquidity. The material offers high levels of responsiveness and is an open source for different virtual output to the already existing parameters. This fabric can be manipulated in numerous contexts to generate real time digital information of its motion.

A very useful insight from the Nama project is the user experience with characteristics such as flexibility, fluidity and mobility and the open data manipulation that enables the user to analyse the receiving data and convert it to a desired output. (Zanotello,2012)

 A similar in concept and implementation project is the smart ballet shoes one (E-Traces) (Gonzalez, June 2014). Designed by Lesia Trubat, the shoes offer a great sense of wearable technology. The conducting technology sawn into the soles of the shoes measure the movement and pressure applied by the dancer. The data is transferred from the Lilypad board and sent to an app that processes the receiving information. The outcomes are available graphically in video format and stills. E-Traces doesn’t only revolve around an aesthetical vision and content, but is also targeted at improving the understanding of the dancer.  Through the wearable the user can observe and analyse their movement and gain insights from it. What is very valuable in this project is the transparency It offers to the user, the dancer gains an objective overview of their performance and useful feedback for future improvements. This is a great feature, because the data input is based on the exact movements of the performer and therefore can give very accurate analysis. The multilayering of this project yields as an inspiration, combining practicality and opportunities for self-study with graphical output of the live performance.

Both projects are built on the Arduino Lilypad framework (Zanotello, 2012; Gonzalez, June 2014). The main feature of this microcontroller is that it is designed for wearables and is connected through conductive tread. This enables more flexibility, comfort and durability. Researching further on the microcontroller types has shown that the different models of the Arduino offer different code uploading systems, different charging systems and possibility to detach a board an attach it to another model. What is more, the number of in/out pins differs based on the model. Therefore, the needs of the project have to be defined before resulting to a certain board.  

Interactivity gains more and more attention in recent days. Interactive practices have found great application in the performing arts as an extension to the already existing context. The research paper by… demonstrates the use interactive system, encompassing a gesture recognition engine and a multimodal feedback engine. With the data of 3d marker coordinates from a marker-based motion capture system the feedback engine generates correspondingly visual and audio feedback.

In this paper, the author explains why interactivity is so important in the performing arts. As the main aspect is the performance, it is also essential that it can be modified by the performer and adapted in the concurrent moment. In comparison to traditional dances, where the artist relies on the background music and forms his/her movement in correspondence to it or some pre-choreographed movements, an interactively based environment would try to set full control to the performer. That means that all audio-visual information will be based on the decisions of the performer. This adds a whole new aspect to the act of dance, where the body is the ‘creator’ and not the ‘actor’.(Jodi James,01.2014).

The tracking system suggested in this paper is based on static human body poses (gestures) that correlate to immersive audio and visual feedback.

The real-time gesture driven system operates with 41 markers attached to a dancer to gather a the 3D coordinates of 10 body parts, excluding feet and palms.

Although this method gives good audio feedback, the implementation of the gesture recognition system, based on markers tracking different postures and joint relations, has the character of an installation and performative act rather than an object or system people can easily use on their own.  Moreover, the amount of body parts detected can be increased with the use of sensor based technology, like Kinect for example, including hands and feet.

The aim of my project would be to create a product/service with a rather easier and more transparent interface to use and understand.

What is interesting is the audio feedback based on a simple A-B-A system. ‘A’ produces two sounds every time it detects a gesture. Every new pose sets a specific frequency range of the second sound source and meanwhile decreasing the spectral energy in the first sound source. In this way, an unmasking for the second source is happening. The ‘B’ part has a more improvisatory approach, encompassing short punctuations that are produced by a return from one of the calibrated 21 gestures. The sound variation in the 'B’ part is generated through additive synthesis with pitch picked by an algorithm. Section ‘A’ returns when the dancer starts using the predominant movement behaviour. The difference to the first A pattern is that the frequency variations of the first sound source is the one being unmasked this time.

In comparison to conventional dances, interactivity distorts the difference between dancer, musician/ sound designer and choreographer as it overlaps all roles together. During an interactive performance, the dancer would take up parts of the compositional and choreographic process. Additionally, Interactivity increases the expressiveness between dance and music as it extends the roles of the performer (Sentürk, January 24, 2011).

What is more, through an interactive performance, the dancer is enabled to self-tailor the audio around their gesture, movements and speed, rather than follow a strict path of already ‘taped’ music. In this way, the performance gains its own individuality and character during the performance itself. This is also due to the fact that interactive performance poses a great challenge for everyone involved in it. In the scenario when the sound is mapped out, there is an extra challenge posed to the dancer, as he/she has to always be aware not only of the movements of the body but also the audio consequence of them.

 Even though interactive performance has mixed boundaries and is interdependent of the technological and audio-visual aspects constructing it, the main focus should stay on the dance itself, while the music becomes an accompaniment to it. Although technology is very important in the audio-responsive dances, it should stay significantly easy to control and maintain to enable the most intuitive and convenient way for the dancer. What is essential to remember is also that the interactive system has its own restrictions and the dancer should be fully aware of them when using it.

 ‘’Consequently, each element benefits from an increased freedom in expressions and they have to carry more responsibilities on their backs in the same time.”

 /Case studies: The Digital Dance Project, the Palindrome

and the Troika Ranch/

To further investigate the compounding elements of an interactive dance, I explored Snibble’s six design principles for social immersive media, defined by him as: ‘immersive media that favors interaction in a shared social space using a person’s entire body as the input device’. These principles are: Visceral, Responsive, Continuously Variable, Socially Scalable, Socially Balanced and Socially Familiar. They form the more general environment of a performative dance, whereas the design of the dance-forming elements itself should be defined by these requirements: Visceral, Responsive, and Continuously Variable. The design of the dance and the elements enabling the forming of dance, should have a dynamic flow  that is continuously controlling the variables of the audio output and visceral, focusing on how the physical and emotional experience is coming first before rational and symbolic movements.

Visceral focuses on how media is first experienced physically and emotionally before it is experienced symbolically or rationally. Social immersive media should be Responsive to the user’s actions and Continuously Variable, having a dynamic quality. (Snibble, April 2009).

Materials:

Researching different materials and techniques for conductivity, I came across an alternative of using sensors, by replacing them with neoprene. And using a conductive thread. In this way the technological aspects become more reliable and durable being implemented in the material itself.

[swissforextrading]

Jacques Lévy wins the 2018 Vautrin-Lud Prize

03.10.18 - Jacques Lévy has been awarded the 2018 Vautrin-Lud Prize, a geography award modeled on the Nobel Prize. Named Professor Emeritus at the Ecole Polytechnique Fédérale de Lausanne (EPFL) in 2017 after teaching at the school for 13 years, Lévy currently works for the University of Reims Champagne-Ardenne and the Chôros association. He has just published a new book. The Vautrin-Lud Prize will be given to Jacques Lévy at a ceremony on Saturday, 6 October, as part of the International Geography Festival to be held in Saint-Dié-des-Vosges, France, on 5–7 October 2018. This prize, established in 1991, is known colloquially as the Nobel Prize for geography due to its strict selection criteria and its jury modeled after the Swedish awards. “I’m delighted to receive this prize. But along with me, it’s the dozens of other people I worked with over the years who are also being recognized. Our collaboration enabled me to carry out the most important work of my career,” says Lévy, whose main research areas include political spaces, cities, globalization, cartography and spatial justice. Born in Paris in 1952, Lévy contracted hepatitis at the age of 8 and was forced to spend long days in bed. He came across an atlas and, flipping through the pages, found himself transported to another world. Each map took him on an imaginary journey far from the boredom and confines of his bedroom. Looking back, he now believes that’s when the seeds of his calling as a geographer were planted. EspacesTemps magazine Lévy began studying at the Ecole Normale Supérieure in Cachan, France, in the early 1970s. He obtained a state-certified geography degree in 1974, and in 1975 founded a magazine called EspacesTemps (now EspacesTemps.net) with a group of classmates, including fellow geographer Christian Grataloup. “We wanted to break down the barriers between the social sciences, philosophy, geography and history,” says Lévy. He was also teaching geography at the time to high-school classes in the tough Paris suburb of Seine-Saint-Denis. This experience sparked an interest in teaching methods and the societal issues related to knowledge, and made him aware of the need in his field for a clear technical vocabulary. From 1984 to 1993, Lévy worked as a researcher at CNRS, where he completed his state-certified PhD. He served as a professor at the University of Reims from 1993 to 2004 and as a senior lecturer and then professor at France’s prestigious Sciences Po university from 1989 to 2007. He was appointed full professor of urban planning and geography at Ecole Polytechnique Fédérale de Lausanne (EPFL) in 2004, where he set up the Chôros Laboratory. EPFL awarded him the title of Professor Emeritus in 2017; that same year, he founded the Chôros association along with several colleagues, including some his former PhD students. Reading Kant for others Chôros is an independent research consortium of some 30 scientists mainly from Switzerland, France and Italy. It was set up as a “rhizome” – or an open, horizontal network – to promote civically minded science, as stated in its manifesto. The idea is to further the efforts of EPFL’s Chôros Laboratory, which was closed in 2017. “We want to bring a theoretical perspective to modern challenges like migration and justice. The goal is to give citizens and policymakers tools for framing their analyses so that they can feel freer in their decision-making. A city councilman doesn’t necessarily have time to read Kant, for example. But we do; we read Kant and other philosophers and can explain how their theories and ideas could be useful,” says Lévy. Today he teaches urban planning and political geography at the University of Reims Champagne-Ardenne. While he was in Lausanne, Lévy managed the L’Espace en société book collection at Presses Polytechniques et Universitaires Romandes (PPUR). In 2017, he was nominated for the Grand Prix de l’Urbanisme, an urban planning award given by the French ministry of the environment. The many facets of Lévy’s work cannot be summarized easily. However, a look back at his most often-cited publications (published alone or with coauthors) points to a handful of key themes. His first few years of research were focused on developing a clear, common vocabulary for geography in French, which he then used to structure his future work. “French-speaking geographers had given up trying to develop concepts and to agree on a simple definition for what is a ‘place,’ for example. So I wanted to establish a clear definition for each term, like in mathematics,” says Lévy. His meticulous work led to the publication in 2003 of Dictionnaire de la geography et de l’espace des sociétés (Belin), written with fellow geographer Michel Lussault. A new, expanded version of the dictionary was released in 2013. Geography and societal issues Prior to that, Lévy published Le monde: espaces et systèmes (Les Presses de Sciences Po) in 1991, which has become a classic in his field. This book contains an initial discussion of globalization and what it means for our notions of space, linking geography to the social sciences. Another book, L'espace légitime. Sur la dimension géographique de la fonction politique (Les Presses de Sciences Po), came out in 1994 and stressed the importance of tying geography to broader societal issues, looking more specifically at cities and at maps of French electoral districts. With the publication of Le tournant géographique. Penser l'espace pour lire le monde (Belin) in 1999, he introduced a new conception of geography that calls on geographers to address factors such as cities, urban planning, political movements and the world we live in. In 2005, Lévy’s interests turned to how digital technology can be used to enhance geographical research. In A Cartographic Turn (EPFL Press), published in 2016, he encourages geographers to leverage the latest developments in computer science – especially data processing – and advocates a new kind of map: cartograms. Cartograms show the real weight of cities around the world and illustrate just how interconnected our globalized society really is. New software, new maps Lévy even developed an open-source software program for generating cartograms, called ScapeToad, in 2008, through a project funded by the Swiss National Science Foundation. “Globalization has made conventional 2D maps of our planet – where the space is dominated by the Earth’s vast oceans – irrelevant. Today, social networks and other virtual systems linking people together have defined new communities, much more so than countries’ borders. For instance, if Facebook generated a map of the world, it would depict our planet based solely on social relationships,” says Lévy. His most recent book, Théorie de la justice spatiale (Odile Jacob), came out on 3 October of this year. Written in association with Jean-Nicolas Fauchille and Ana Póvoas – two of his former EPFL PhD students and today members of Chôros – the book opens up a new field of research at the crossroads of geography and justice. It aims to deconstruct preconceived notions about abandoned suburban areas, the redistribution of public wealth and the role of “bobos” – yuppie-hipsters – in societal diversity. With Théorie de la justice spatiale, Lévy once again brings geography into contemporary society, which he analyses through the prism of several disciplines with his primary field as the backdrop. Art and science His latest realm of experimentation sits at the intersection of art and science. In 2009 and 2010 he led a research project at EPFL titled “Cosmographies: Sources et ressources pour la cartographie contemporaine,” which entailed linking up historical maps with those created by modern artists over the past 20 years. He posted two films on the internet portraying his research at EPFL: the first, Urbanité/s, in 2013 (available on vimeo); and the second, Thinking Places, in 2015 (available on vimeo). Thinking Places is a series of nine videos in which nine different researchers from his lab explore a city from a fresh perspective. “Modern artists inspire us geographers. For over a decade these artists have been exploring the concept of personal space, especially in their own movements. I want to enhance their work with a scientific approach and apply problem-solving techniques to the new issues they are bringing up,” says Lévy. He already plans to work with a choreographer to examine the languages of modern dance. * Press kit Testimonials “Geography has established itself as the urban science by combining three approaches: first, a theory of social space that goes beyond the empirical definition that the discipline assigned long ago to its objects and instead undertakes a methodical study of spatial expression in social relationships; second, greater dialogue, not just with history, our old companion, but with all the other social sciences, from sociology and economics to political science and anthropology; and third, a commitment inscribed in cities’ policies and achieved through research on urban planning and urban development. Jacques Lévy was the pioneer behind this shift and one of the central figures of its realization.” Philippe Descola, Collège de France, Paris, France “I’ve known Jacques Lévy for a long time, both professionally and as an individual. His extensive knowledge of modern and classical culture and the many languages he speaks have allowed him to grasp the societal diversity in today’s world. His research on cities and globalization are well-known here in Italy, where he is viewed as one of the most innovative and visionary geographers. The mapping experiments he carried out at EPFL’s Chôros lab are revolutionizing the role of maps in understanding mobility and societal dynamics. He is also a sensitive, caring, intelligent person. He can read into someone and, in a joking, light-hearted way, play on that to create a deep sense of empathy. I think winning the Vautrin-Lud Prize is an appropriate, well-deserved reward for the researcher and the individual who has understood our world and those who live in it.” Emanuela Casti, Geography Professor, Università degli Studi di Bergamo, Italy “It is a pleasure to learn that the Vautrin-Lud Prize for this year has been awarded to Jacques Lévy. I have known of Jacques and his original research and writing in urban and political geography for many years. He is a worthy recipient of this honor not least because of his dazzlingly innovative cartographic work and his role in encouraging new ideas about place and the production of knowledge. I have enjoyed working with Jacques on a number of occasions, so I can also attest to his skeptical wisdom tempered by wit and humanity. I can think of few other contemporary geographers who have had the impact on my own work that I would attribute to Jacques.” John Agnew, Professor of Geography and Italian, University of California, Los Angeles, USA “‘The world doesn’t have enemies, it has problems.’ I can’t even remember how many talks and lectures I’ve ended with this quote from Jacques – while showing Martians on the screen. This aphorism reflects his views on the emergence of a global society as well as an ongoing dialogue with all social sciences. Back in the 1970s, we debated these trends with a youthful rage, running up against old epistemological tenets for geography as well as other disciplines. That’s what prompted us to create EspacesTemps. One regret I don’t have in my career is not having always continued learning by holding things up against Jacques’s thoughts – written, spoken and debated. Thanks, Jacques.” Christian Grataloup, Geographer, Professor Emeritus, Université Paris Diderot, France “What has Jacques done for the field of geography? Provided proof that space – on every level, from our bodies to our world as a whole – is political and is a factor in power relations. What has Jacques done for the social sciences? Provided proof that you cannot understand modern societies without taking into account their spatial aspects – unfortunately, a common misconception. And what has Jacques done for geographers? Provided proof that a theoretical, conceptual debate, even if it’s heated, is essential for rejuvenating knowledge and opening up closed mindsets.” Michel Lussault, Geographer, Professor of Urban Studies, Ecole Normale Supérieure de Lyon, France “Jacques Lévy has left an important mark on our school. He fundamentally reshaped the relationship between geography and the social sciences – and more specifically between geography and architecture – by continually rethinking the notion of space, which is an essential concept for both disciplines. The need to always refer to the concept of a place rather than a space provided fertile ground for discussions with architects, in terms of teaching as well as research. ‘Think Space’ was even the name of one of his PhD seminar series that I was lucky enough to attend; each time I discovered a completely novel topic. Jacques’s main takeaway can be summarized in what he wrote in his important book, Le tournant géographique: ‘The spirit of a place – what makes a given space both similar to and different from another one – is not a dream or a die-hard spirituality, it exists. So you should learn to see it, tame it and reflect on it.’” Luca Ortelli, Architect, Full Professor and Head of the Construction and Conservation Laboratory (LCC), EPFL, Switzerland Sandrine Perroud http://actu.epfl.ch/news/jacques-levy-wins-the-2018-vautrin-lud-prize (Source of the original content)

[vileart]

Ultra Dramaturgy: Rosie Kay on tour

Scottish-born choreographer returns with subversive new show, MK ULTRA

• A new dance work, performed by seven young dancers, explores conspiracy theory within the entertainment industry and the idea that child stars are brainwashed from a young age • Lady Gaga designer Gary Card creates his first costume designs for contemporary dance • Adam Curtis, known for Hypernormalisation that recently featured on the BBC, is a creative collaborator on the show and has created short films to be shown throughout What was the inspiration behind this performance?

This is the third part of a trilogy of works, tackling big ‘non-dinner-party’ topics! The first was war + the body (5 Soldiers), the second was exploring religion through the body (There is Hope) and this final part was to be politics and the body. I went in quite a few directions to begin with, exploring the novel 1984, surveillance, propaganda and even torture. 

Through my research, I came across an online world of conspiracy theory, some I’d heard of, or were on my periphery, and others that were new to me. When I came across the conspiracy theory that pop stars are under the control of ‘The Illuminati’ (some kind of shadowy elite that control music, fashion, entertainment but also politics, science, finance) I felt that it was an exciting area to explore. 

The theory is that children are picked, and then undergo some kind of brainwashing, which was invented by the CIA (this is partly based on real historical events - the CIA developed brainwashing experiments in the 1950s and 1960s, one such method was code named MK Ultra). 

These pop stars then are catapulted into extreme stardom and while achieving worldwide global fame, are under a strict and ultimately destructive kind of brainwashing that can start to affect them, hence the breakdowns. It’s a fantastical theory, but it hit me with something true about the world we live in now - our weird celebrity culture clashing with ‘real news’ of war and atrocities, and our distrust in news and now ‘fake news’. I think we are all questioning what kind of reality we are living in.

After deciding on the subject matter, I wanted to know if it were just a small group of fanatics that knew about it, or if young people were aware of this alternative information about mainstream pop stars. 

I conducted workshops with 14-25 year olds all over the East and West Midlands and asked them ostensibly about their view on ‘mainstream’ media. Eventually, the magic words ‘the Illuminati’ would be whispered and when I told them I wanted to know everything about this, they erupted! 

One girl was heard as she left the workshop saying ‘I can’t believe we just talked about the illuminati in the classroom’. Young people not only knew about the theories I’d investigated, they’d known about them for a long time, and they were also aware that it may or may not be true. This was such an interesting state of being to me, that Adam Curtis and I returned to interview quite a few of the young people I’d worked with initially to include their opinions in the show.

Is performance still a good space for the public discussion of ideas?

Well, there are others ways of course, through writing, through talking, through other art forms and media. For me, dance helps me understand the mysteries of the world - some things can be killed if explained or rationalized, so many ideas live in the felt, lived and emotional dimension. I think dance has the magic to capture that. 

I also want to make people think and to challenge their perceptions, and so through my work, I use dance, but also non-linear narrative, character, video, music and documentary to help audiences find different ways into my world. I think we crave group experiences, and so a performance can give us a shared experience, and with my work, hopefully the space to have your own interpretation of it. I love that fact that in dance you do have to think and interpret a bit. 

You have to watch and go, ‘OK what’s happening here’. I let layers of meaning be revealed, but I like not to be too explicit at all times, and leave areas of question and doubt. These form spaces that you join together in your mind.

How did you become interested in making performance?

I think I danced before I could talk. Dance for me was a way of making sense of the world. The world is so vast, so confusing, and I felt things so strongly, that dance was at once a strong discipline and daily personal practice, with its ritual and repetition. 

It was also an emotional release, a place I could channel my heart and soul through my body and find that it communicated deeply with people. Now I perform far less, but I seek this quality from the artists I work with, and I help draw it out of them. I think my company are extraordinary dancers, but they are also exceptional performers, actors and communicators.

Is there any particular approach to the making of the show?

Yes- there is a very particular way I’ve made this work, and its quite odd. After the research on the Internet and with groups of young people, I spent time with my company doing task-based work and trying to find the physical language of the work. It’s a hybrid world of pop, street, hip-hop dance styles but I wanted it to have an Avant-Garde cutting edge feel with contemporary and ballet techniques running through the movement vocabulary. I couldn’t find it at first, so I went into the studio on my own and improvised with the music tracks I thought captured the feel of the work. 

I realized that this highly original, and slightly weird language was in my body, so I filmed my improvisations, normally doing 3 or 4 on a set theme or set section of music, then chose the best, or the one I thought captured what I wanted, and gave it to the dancer. Each dancer received a video of their solo and they all received a video of the unison work. The first week was a bizarre sight. 

They were plugged into laptops and iPads with headphones in, each meticulously learning their sections alone or in groups. It was a little alienating for them at first, but we’d do sharings every few hours and it was incredible how this language developed through all their bodies.

Does the show fit with your usual productions?

For one, I don’t have a ‘usual’ production. I think all my productions are unique, but together they add up to a body of unique works with unique approaches to subject and form. MK Ultra is the work I wanted to make, and it really does make sense if seen with its predecessors, 5 Soldiers and There is Hope. Through these three works, I’ve tested myself enormously, whether it be through the intense research, through the methodologies of each work, which felt very authentic to the subject matter, or though the results. 

MK Ultra is like the others in that it is very visual, has emotional depth, and its quite intricately choreographed, but it’s not like the others, because the subject matter demanded very different things from me. I’m interested to see where I go next, as I feel my palette is now ready to stabalise and become more highly articulate, perhaps in fewer directions.

What do you hope the audience will experience?

I want the audience to go with me on a brainwashing experience. I want them to sit on a lovely line between mainstream pop entertainment and disturbing avant-garde art! MK Ultra is

visually dazzling, over stimulating, beautiful, disturbing and funny. I want audiences to be on the edge of their seats and also let their brains go free!

What strategies did you consider towards shaping this audience experience?

Wow- we’ve used a lot here! We have mind-boggling original documentary footage from Adam Curtis, which includes interviews with MK Ultra victims and the CIA boss who sanctioned it, we’ve got full-on illuminati referencing, mind bending video work from Louis Price, we’ve got trippy repetitive music composed by Annie Mahtani, and of course we have seven utterly incredible, athletic performers who give it heart and soul. We also have Gary Card’s stunning costumes, which have been described as a ‘work of art’ in themselves, or alternatively, ‘a masonic rave’! I find the work overwhelming. It’s at once glossy pop and heart-felt art. It’s beautiful.

Rosie Kay Dance Company, headed by artistic director and choreographer Rosie Kay and winner of Best Independent Company at the Critics’ Circle National Dance Awards in 2015, finishes its UK tour of MK ULTRA in Stirling on Thursday 18 May at Macrobert Art Centre. The show has created headlines in The Guardian, Financial Times and iNews for its exploration of mind control and subliminal messaging within the entertainment industry - a theory that grew from the CIA's real mind control experiments in the 60s. Following several years of research with young people into the world of contemporary pop culture and their theories around who pulls the strings behind the scenes of politics, economics and the entertainment industry, MK ULTRA will bring a hypnotic, supercharged mash-up of dance, music, costume and film to the stage. Renowned for tackling pertinent and challenging subject matters, RKDC’s latest work is timely in the context of ‘fake news’ and ‘alternative facts’ as it explores how easily fact and fiction can get tangled. Born in Scotland, Rosie Kay is one of the UK’s leading female choreographers and is renowned for her athletic movement, rigorous research and intelligent theatricality. Kay, a research associate to the University of Oxford School of Anthropology and Museum Ethnography, choreographed the hit feature film Sunshine on Leith and is best known for the five star and award-winning 5 SOLDIERS. Also featuring in the team is sought-after designer Gary Card who will be designing his first costumes for contemporary dance. A set designer, illustrator and one of London’s most talked about talents, Card has worked with pop stars such as Lady Gaga, designing props and headdresses for her Monster Ball tour. His designs have also featured in the collections of Comme Des Garçons, Topshop, House of Holland, Nike, Adidas, Stella McCartney and Penguin. Rosie Kay had this to say about the show: “MK Ultra is the result of three years intense research, which have taken me through the world of surveillance, state police, torture and brainwashing, through to pop culture, mainstream media and celebrity breakdowns, all the way back to politics and a comment on the post-culturism state we are in now. Spending time exploring the deep rabbit hole of conspiracy theory took me into strange realms of CIA brainwashing, celebrity training and Illuminati symbolism hidden in pop culture. At a time when everything is fake, or at least we don’t trust what’s real any more, MK Ultra looks at what this world really feels like and what affect it is having on us, whether we know it or not. Be prepared for high-energy, high-octane dance, a mash up of dance styles, subliminal and secret messages, incredible video, light and costume visuals, music that wraps around your senses and a deeper, darker political edge. Be prepared, there is twerking.” Filmmaker Adam Curtis said: “Over the past twenty years millions of people have given up believing in the grand stories told them by politicians and others in power. This has created a vacuum into which have rushed all kinds of strange and bizarre stories about the hidden forces that are really controlling the world. I find them fascinating - because, on the one hand they show how in our chaotic and uncertain time people are desperately seeking evidence that someone, anyone, is really in control. But at the same time people also hate the idea of control - because everybody these days wants to be an independent, free individual. And I think it is the tension between these two - the desire for control and the desire for freedom - that leads to such strange and bizarre stories rising up. I think Rosie’s idea to explore this strange world is brilliant. Because it is a way of looking at how people really see the world today. It’s a way of looking behind the shiny surface of modern society - a surface that the politicians and their journalistic allies are desperately trying to hold in place - and seeing the real tensions and anxieties that are actually shaping how we feel today.” MK ULTRA will feature seven outstanding dancers- Shanelle Clemenson, Harriet Ellis, Shelley Eva Haden, Lizzie Klotz, Joao Maio, Ryan Munroe and Oliver Russell. MK ULTRA is supported using public funding by Arts Council England and is commissioned by DanceXchange, Warwick Arts Centre & Birmingham Repertory Theatre. from the vileblog http://ift.tt/2rZUIb2