This post is dedicated to my final film project for my MA at LABAN. I presented the five minutes film on Friday 6 December 2013 together with a short presentation of how I made the piece. The film is the culmination of a 10 week module called Dance and the Moving Image which I began in September 2013. The ethos of the module was:
Everything is cinema; everything is choreography;
everything in cinema is choreography!
The name of the film is 'In becoming' and it is based on my experience of being pregnant. Read my previous post about the starting point for my film here.
The choreography of ‘In becoming’ took on a more indirect appearance than I expected. My film became an investigation in how movement can be expressed in the interplay between camera, filmmaker and the editing process. The dance materialises when clips entwine and changes of colours or movement come together. For me, the dance in my film is the duet between the poetics of the filming process and the ambivalence of my pregnant body.
Watch film here:
Excerpt from essay
Below you will find an excerpt from the accompanying essay I wrote for the piece. I have chosen a section that focusses on the obstructions I set for myself when I made the film. The 'obstructions' I refer to are a set of parameters that were there to help me eliminate ways of filming and editing the piece.
The obstructions I made up were based on the idea that the film itself was to become a grotesque body: ambivalent, open and subject to change, a thing ‘in becoming’. I wanted this to come across primarily in the formal approach to filming rather than in the content. The tasks/restrictions were intended both to restrict and to release the ways that I would shot footage and the ways that I would edit it.
The parameters I set for myself when shooting footage were the following:
· Min 4 min of shooting something with camera fixed on one detail/object (constant change, incomplete and restricted viewing)
· Max 3 min of shooting something that has a beginning–middle-end (life and death)
My experience from the filming tasks Tom (my tutor) had given us, was that what felt like a long take where the camera was kept still was often a shorter clip than I expected. I would come away with shots that lasted 30-40 seconds. I therefore chose as one obstruction to do takes of minimum four minutes where the fixed camera focussed on one detail and movement only happened spontaneously within the frame. This obstruction derived from the part about the grotesque body that emphasises incompleteness and constant change. On the other hand I was interested in footage that showed something complete (an action from start to finish), so that I, in the editing process, could break it up and manipulate it in to being incomplete. In order for this to work for a short film it had to be a narrative/action that was fast. Three minutes seemed like an appropriate length. My association with the grotesque body in this case was the cycle of ‘birth’ and ‘death’ or beginning and end.
With these parameters I set myself practical tasks for carrying out how to film, without imposing content on what to film. This still provided scope for spontaneity and intuition. I filmed on my iPad and a pocket digital camera, a Canon IXUS 110 IS, which meant I could work quite discreetly and film in reasonable quality without drawing too much attention to myself. It was important that the action in the shot was as un-staged as possible.
For my cuts and sutures I chose different obstructions. The parameter I set myself for editing were the following:
· Footage was not allowed to be shown as far its ‘natural’ (obvious) end (incomplete)
· Clips were to alternate between fast and slow moving images + short and long takes (change and ambivalence)
· Endings of a clip were the beginning of a new clip (cycle of death and life)
From the footage I had shot in its entirety I was not allowed to show a clip in its full length. To give the audience a sense of ambivalence and change I wanted the rhythm of the cuts to be constantly changing between fast/slow images and short/long takes. Beginnings and endings of clips should weave in and out of each other and always be open to change.
Acknowledging that my intention was to make the final piece a reflection of the process itself, it seems misguided or beside the point to ask myself whether the film was ‘successful’. The point, instead, was exactly that I did not anticipate or plan the outcome and therefore the film is a testament to what was happening in my life at this time. If I had to remake the film, circumstances would mean it would have a completely different outcome.
I anticipated in my last post about yoga during pregnancy that I would be able to keep up some degree of an Ashtanga Yoga practice. My honest intention when I wrote it was to keep a record of how to modify the practice during my pregnancy and post it here. Well, things didn't quite work out that way! Although I have been fortunate to have a reasonably straightforward and uncomplicated pregnancy (I'm now entering week 30) keeping up the Ashtanga practice proved impossible. Most of my energy was channeled into teaching yoga and transporting myself between classes on my bicycle. When these tasks had been carried out, all I wanted to do was rest or sleep. Due to tiredness and some pain around my sacral iliac joint, getting up for early self-practice or even practicing a full Ashtanga sequence at home became too difficult. My practice in reality was reduced to a few stretches and meditation and on a good day a couple of modified Sun Salutations and some standing or seated postures.
It has been challenging to let go of this expectation and desire to feel as fit and in control as I used to be. But pregnancy has uncovered aspects of myself I didn't know about and I have certainly had a lesson in letting go and accepting this constantly changing body.
These pictures speak for themselves in order to explain how my body has changed. Over five months I have grown from being lean and athletic to being, well, something else! I'm sure that a rapid, involuntary and physical transformation like this happens almost exclusively on these occasions, when a woman is growing another human being. And I can honestly say that it makes me feel slightly grotesque. Grotesque in our contemporary understanding of the word, meaning comical, distorted and ugly, not so much. Mostly it makes me feel grotesque in what Bakhtin describes (see project brief below for explanation) as an existential experience of ambivalence and dualism; a celebration of the cycle of life. I feel removed from the sense of self that I know and at the same time fascinated by this novel experience of being a vessel for a new human being.
MA in London
So while I have not kept up my usual yoga regime and therefore not had to ponder on how to modify the Ashtanga practice, I have been thinking a lot about my changing body in a different context. What has also occupied my time and energy since September has been starting to study for an MA in dance at the LABAN conservatoire in London. Travelling down from Leeds to attend the course one day a week has also taken some energy, but more than anything it has inspired me to use the current situation creatively and think more about my grotesque body. The rest of this blog post is dedicated to the project brief I have written for the module I'm doing this term. The module is called Dance and the Moving Image. The brief is a response to the task of writing a proposal for our final project, which is to make a short dance film. My intention is not to make a film about the grotesque body but rather that I aim for the film itself to be grotesque body: ambivalent, open and subject to change. Writing the proposal has itself been an interesting journey into understanding how I feel in my current state. How the final film will come out is still an enigma...
Comments or observations are gratefully received on the brief below.
Project brief for
Dance and Moving Image module
By Marie Hallager Andersen
What I have really enjoyed about the filmmaking process so far is that I’ve allowed myself to be intuitive. I had often experienced in the past that working creatively has been a path full of obstacles because I was trying too hard! I would overthink intentions and meanings and as a consequence the outcome felt contrived. The ability to let go of control and not to try so hard I’m convinced arises from my pregnancy. I have become a vessel for another human being and am no longer in complete control of my body. Having another human growing inside me makes me a stranger to my own body and an involuntary observer of a physical transformation. Hence, my world at the moment revolves around a kind of unruly body! This has turned my vision and my attention towards change and letting go.
To write this brief and explain what will be driving my process I found it necessary to deepen my understanding of the unruly and grotesque body. For this, I have turned to Bakhtin and his book Rabelais and His World. This book deals with the ‘carnivalesque’ mainly in terms of language and laughter but overall it celebrates the cyclical character of life and death, dualism and ambivalence. What I find applies to me the most in this book is the idea of incompleteness and impermanence: for Bakhtin the essence of the carnivalesque; for me at the moment a ruling factor of life. Here’s what Bakhtin says:
In the famous Kerch terracotta collection we find figurines of senile pregnant hags. Moreover, the hags are laughing. This is a typical and very strongly expressed grotesque. It is ambivalent. It is pregnant death, a death that gives birth. There is nothing completed, nothing calm and stable in the bodies of these old hags. They combine a senile, decaying and deformed flesh with the flesh of new life, conceived but as yet unformed. Life is shown in its twofold contradictory process; it is the epitome of incompleteness. And such is precisely the grotesque concept of the body. (my bold)
The underlying theme that resonates with me in Bakhtin’s quote is that of the body being in constant change. The celebration of the changing and grotesque body is a feature of the carnivalesque. If the classical body is all about appearance the grotesque body is all about experience. Bakhtin says earlier in his introduction: ‘Carnival was the true feast of time, the feast of becoming, change and renewal. It was hostile to all that was immortalized and completed’ (p. 10). The essence of the carnival was degradation and ‘bringing down to earth’ in order to make way for the new and fresh. The purpose was never to elevate or to complete, it was always, in a sense, ‘work in progress’.
Giving in to the state of ‘constant change’ and accepting the course of nature is of particular relevance to me at the moment and so this will be the starting point for my investigation.
Approach to project
Applying this to my final project for the Dance and the Moving Image module, the idea of change and the incomplete will be the pivotal point of my research. The grotesque body is not closed and complete but it is open to the outside world. Bakhtin says: ‘[…] the grotesque body is not separated from the rest of the world. It is not a closed, complete unit; it is unfinished, outgrows itself, transgresses its own limits’ (p. 26). That openness and susceptibility to change is what I hope to bring out of my work in the course of the next weeks.
To clarify, the object of my research will not be that of the represented grotesque body (although this is not excluded); rather the film itself will be a grotesque body. Implicit in this is the idea of emphasizing process instead of outcome. This means thinking about how concepts such as openness and ambivalence can be introduced in the form (and not – or not only –in the content) of the work.
In the context of my film this means that beginnings and endings can weave in and out of each other and that they are always open to change. Precisely like Bakhtin presents ‘ambivalence’ –something that is twofold, contradictory and ‘in becoming’. In this way the creation of the film will be the object of the final film itself.
How to achieve it
Since 2008 my main interest as a dancer has been improvisation and spontaneous movement. This means I have been more interested in the process and in learning as I go along, in relying on intuition. In my film, my starting point will therefore be to approach shooting with the idea of process to the fore. In this way I believe I can be open to the unexpected and be open to new pathways. In my experience with filming so far, I have found that when I work with material that comes from intuition and spontaneity the scenes seem to come together more easily and I engage a more creative part of myself. The pitfall here would be to shoot footage aimlessly and endlessly. I personally work best within parameters so the idea is to maintain spontaneity when filming but doing it within a framework of set tasks.
Given my approach to the project I have not got any finished outcome in mind! However, in order to be true to the concept I have presented above I intend to set myself certain tasks as a strategy to collect and edit footage. The tasks will be based on the idea that the film itself is a grotesque body: ambivalent, open and subject to change. This will come across primarily in the formal approach to filming rather than in the content. The tasks (or ‘obstructions’) will both restrict and release the ways that I shoot footage and the ways that I edit it. Simple parameters will generate a complex system: the ‘product’ will be a record of this system rather than a finished object. Complexity is another feature of the grotesque. Like ambivalence, complexity indicates something that contains more than one thing at once, e.g. the pregnant body.
To help this process along I will do some research into other artists’ work looking specifically for work that is done with the purpose of setting out obstructions or guidelines to generate material. An obvious one for me is fellow Dane Lars von Trier and his 5 Obstructions from 2003. I furthermore worked with a choreographer in Denmark, Palle Granhøj, who makes use of a technique developed for devising movement material, which he calls ‘Obstruction Technique’, which could also prove useful. And this is just to start off with.
In order to collect material for the accompanying presentation and the piece of writing I will be handing in, I will keep a record of everything that seems of importance in the artists I research, the books I read, the encounters I have etc. Additionally I want to keep a diary where I either write, record or film myself talking about the different stages of the process. This will potentially be a part of the finalized project. In the spirit of the edited film, I predict that the presentation and essay will also be based on process, so this aspect of collecting material seems important.
In practical terms I intend to:
· Set myself five tasks (‘obstructions’) for sound recording and shooting footage (that can be carried out in isolation or together) that will generate material in accordance with the concept discussed above
· Research other artists’ work with the particular aim of finding works of art with the same ethos of ‘in becoming’ and incompleteness
· Look at footage on my computer detached from the situation of shooting and see what actually works on the screen
· Familiarize myself more with editing software
· Read, and write along the way to document my reading, research and findings
· Keep a diary: recording or filming myself or writing down things I experience and encounter
· Always bring along camera and/or iPad
With the practical limitations that pregnancy entails it is easy to feel confined or inhibited when filming. The physical state of my body means that long hours of standing or walking to obtain footage is not available to me in the way it would have been before. Instead I have to find a way around it and make the restrictions a part of the process. My pregnancy itself is one of the obstructions! The experience of pregnancy is revealing things to me and it has a potency to it. I am hoping to make a film that will be a formal equivalent to the ambivalence of this grotesque body of mine!
 Mikhail Bakhtin, Rabelais and his World, Tr. Helene Iswolsky (Indiana University Press, 1984), p. 25-26.
 My boyfriend Alan has been working on the grotesque body in Italian comedies and he talks of the grotesque body as a body ‘in becoming’, a phrase I found useful to grasp the idea of the body in transformation, always somewhere on the scale between life and death.
 Cunningham and Cage
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