I wanted to explore the interpaly between Roy Hart and choreography. So as part of Roy Hart Pedagogy I did an exploration with my cohort, that consisted of a warm up, god and creature exercise, into a choreographic experiment.

I entered the session wanting to see if the extended voice could be used as a source of inspiration to create fully-embodied choreography. 

I began the class, or more correctly I was picturing it as a beginning rehearsal, by turning on music and allowing ten minutes of kinesthetic and vocal exploration. I trusted that my cohort would do what they needed to be fully warmed up for an in-depth exploration in this time. (I had warned them the night before that we would be moving the next day and to show up to class prepared to do that). I chose to use music as an underlying current to promote energy and keep the fluids moving in the body, this was partially due to the class being at 9:00 am. I also wanted sound to be in the space, and since I am not adept at playing the piano I decided that music was a good solution. This also allowed me to take part in the warm up and be part of the group, which i believe helps equalize the distinction between facilitator and participant, and in this instance I wanted the parties to be as equal as possible.

After the ten minutes, I had the group walk through space and move slightly more into a group oriented mind. The energy felt high and ready to work, so I began with a simple space exploration than into see the spaces between. This quickened the tempo of a few people, but others were also in time with the music, (which i had meant to turn off). I decided to use this to my advantage and asked them to fight against the tyranny of tempo that the music creates. We then allowed ourselves to be swept up in the tempo, and follow the music. I then asked everyone to find a partner by going to the first persont they made eye contact with. 

This progressed to a quick session of god and creature, with one person as the "creature." They were the mover and followed the influence and suggestion of the "god" who was the vocal creator and leader. I asked the group to try and remember one move, sound or emotion that arouse during their session as creature. I said this as the exercise was already going, so only about half the group heard and processed it. In the feedback, I was also told that informing them that reproduction was going to happen would have possibly been helpful as well. I also had the music continuing to play in the background. I asked the group to focus on their partners voice, but to allow the influence of other sounds, the music, their own impulse as well as anything else to affect them. I also gave them permission to ignore this instruction.

When both partners had done the different roles, I asked them to remember the one move, or sound and with the corresponding sound (or movement) to rehearse it quickly with their partner, then to do it for the other person as well. I should have provided more space for learning and would do so if this experiment was done again. I then asked each person to demonstrate their individual aspect for the group with the accompanying sound from their partner. We then, as a group, learned each move with sound. 

I than forced the seven pieces of choreography together as smoothly as I could with the group support of sound. This was the true experiment of the class. To see if group spontaneous sound and movement can flow together in a cohesive piece. This was very fast and bumpy. Since the work came from seven different sources it had seven different styles and was extremely difficult to put together. If I had had more time I would have had each individual lead the group and put their own stylistic choices and order until it was a more cohesive piece. I would also explore the removal of the sound with just the choreography and vice versa.