Credits: Refined Movement Films and Explorations (final)
Mover/performer: Maisie Beth James
Director: Alysha Lake Choudhury
Lighting Design: Dr Vanessa Jackson, Adrew Tea
Music:
- Relaxing Keys, Greenred Productions
- Shanti, Meditative Mind
Editing: Maisie Beth James, Alysha Lake Choudhury
Camera Operators: Conor Sturmey, Shelby Fitzharris, Humayan Sajjad, Andrew Tea, Dr Vanessa Jackson, Dan Whitehouse
PHASE 4: PRACTICE RESEARCH
Refined Movement Films and Explorations- Final Iterations
Each movement film was created in collaboration with students and academics from Birmingham City University and built on the expertise of current students. Three undergraduate students filmed the movement with cameras, one undergraduate student was responsible for the sound, and one undergraduate student directed the films. Nine videos were filmed and edited over a four-day period in December 2022. The process was further supported by a Film Technician and a Film Lecturer from Birmingham City University.
PHASE 4: REFINED MOVEMENT FILMS and EXPLORATIONS (final)- REFLECTIONS
As the final iterations of the movement films were in collaboration with students and academics from Birmingham City University, each film was produced to a high quality and recorded professionally. Included within Appendix 8 are the final films where an introductory film is also included to introduce the filming process.
At first, I was a little conflicted due to the intrusive nature of being filmed by others. As the movement I was exploring presented my own wellbeing and body experience through improvisation, not one film was the same as the other. This presented a slight dilemma where editing was concerned due to the unpredictability of my movement. Each film was edited on the spot using professional equipment, which meant that the film did not need to be edited after the movement was recorded. As a mover, this meant that the entire filming process was organic, authentic, and improvised which further addressed the movement intentions behind each film. I was then able to move freely and in accordance with my body’s sensations.
For instance, from the beginning of the movement film, it is apparent that I begin to explore the movement patterns of my lower body. From 30 seconds onwards, it is evident that my upper body responds to the movement of my lower body, suggesting that I was present with sensations from the offset of the movement exploration. Although emphasis may have started with my lower body and legs, I was consciously questioning how my arms can ‘get involved’ in the movement process, and how this may affect my improvised movement. There is an emphasis on pushing and pulling, rolling, and rocking, where my body is exploring multiple pathways spontaneously. As movement types differ throughout, I engage with soft, flowing movement and sharper, jerky and jagged movement that strays from my usual movement patterns. This is similar to the embodied rhythm principle where rhythm and habits can be innate to the individual. I was trying to engage with unconscious movement and consciously being aware of my movement patterns at the same time, which proved to be beneficial in the moment. From 5 minutes, it is evident how my focus shifts throughout the body and the space to explore a variety of different movement intentions.