Personal Log Documentation
For the public space performance I worked with the group of eight dancers I also make my final project with, called EQUILIBRIUM. The material we already had generated after six rehearsals founded the base for the Public Space performance. Eventually six dancers were able to join the performance due other commitments.
Based on the Gibbs model I reflected on the work process using the provided questions by the master’s program below:
- Description: What Happened exactly during the work process?
- Feelings: What was your first reaction, your first feeling?
- Evaluation: What was "Good" or "Not good in the experience? Why?
- Analysis: What could you learn from this situation?
- Conclusions: (General) What can you deduce from this experience and your own analysis of it? (Specific) What can you derive about your specific situation and method?
- Personal Action: What will you do differently in the next work session, when such a situation occurs again? Which steps will you take in future, based on what you have learned from this?
1. Description: What exactly happened during the work process?
During the work process, we dedicated two rehearsals in the studio and one at the Zandwacht location to developing the performance. In the studio rehearsals, the focus was on learning the duets and extracting specific movements or actions from that material. These actions were then deconstructed and used as building blocks for group improvisations, which were then explored as independent elements in improvisation. The dancers explored various possibilities such as repetition, directional changes, contrasts, copying, complementing and the interplay of proximity and distance within the space, in relation to each other. This became a playground where the dancers built stronger connections with one another. Having previously worked individually or within the same duet pairings, they now had the opportunity to respond to everyone in the group.
In the second rehearsal, we began establishing the performance structure while retaining improvisation as the foundation. Discussions took place about synchronously executed phrases and duets, as well as transitions between sections. We also talked about awareness of spatial presence, dancing more consciously in 360 degrees rather than solely forward-facing. We agreed about experimenting more with duration and repetition, allowing others to react with complementing, copying or contrasting movements. We also reviewed specific gestures, actions and ways to travel that communicated the narrative of the concept clearly. This way the score deepened.
Although improvisation remained central, certain movements and transitions were set, giving the dancers a clear framework within which to work. In these sessions, the dancers worked as co-creators, having a voice in the creative process, which fostered a sense of ownership and collaboration.
On the day of the performance, we rehearsed at the Zandwacht location, where the dancers transitioned from their role as co-creators to performers. We integrated the structured movements into the site-specific environment and adapted the material to interact with the obstacles and the unique spatial dynamics of the location. Without music, the use of breath became even more important, serving the emotional depth of the theme of resistance and feeling stuck in patterns. Also dancing on the sand on the surface gave opportunities for groundedness, while the total construction of de Zandwacht provided additional possibilities. I had worked out the score on paper, which provided a solid structure and enabled me to take on a decisive leadership role, which was essential, given the limited time available before the audience arrived. This final rehearsal focused on refining the raw yet cohesive performance, emphasizing the dancers' alignment with the site-specific environment. Movements and transitions were adapted to interact with the spatial dynamics and obstacles of the Zandwacht, such as the uneven sand surface and architectural structures. These adjustments brought all the creative elements together into a compelling and grounded 20-minute presentation.
2. Feelings: What was your initial reaction, your first feeling?
My initial feeling during the process was positive. I was impressed by the dancers' engagement and the way they actively contributed to the creation of material. Their willingness to experiment and collaborate gave me confidence in the process.
However, during the second rehearsal, I noticed an old pattern resurfacing. A few dancers, particularly the more vocal ones, dominated the conversation about the structure, which created a sense of multiple "captains on the ship." This led to others also stepping in with their input, and I found myself hesitating to take back control. While I internally knew I was capable of clearly summarizing the agreements we had made as a group regarding the structure, I struggled to assert my leadership in that moment. This hesitation caused unnecessary noise and time loss,
and I felt disappointed in myself for slipping into old habits.
After the performance, I felt a deep sense of pride and euphoria. The dancers, audience, and I shared a profound moment, reflecting on what we had achieved together within such a short time frame. It felt like a unique and special accomplishment.
3. Evaluation: What was ‘good’ or ‘not good’ in this experience? Why?
What was good:
- The collaborative nature of the rehearsals: dancers actively participated in shaping the material, which enriched the creative process.
- The group improvisation sessions: these created authentic connections among the dancers and generated spontaneous, meaningful moments.
- The adaptability of the dancers during the location rehearsal: their focus and commitment ensured that the performance integrated seamlessly with the site.
- Working towards a concrete performance goal fostered a sense of purpose and alignment within the group.
What was not good:
- The confusion about the structure during the second rehearsal caused delays. My hesitation to assert leadership earlier contributed to this.
4. Analysis: What can you learn from this situation?
This experience underlined the importance of balancing collaboration and leadership. While the dancers’ input is invaluable, there are moments when clear decision-making is necessary to maintain efficiency and clarity.
The tension during the second rehearsal emphasized the need for better communication. By clearly articulating my vision and approach, I can foster greater trust and avoid unnecessary misunderstandings. Additionally, I need to recognize when to reclaim leadership, especially in moments where the process risks becoming unfocused.
I also realized that I rely on the dancers' input to gain clarity about the direction of the work. While this co-creative phase is essential, I need to grow in recognizing when it’s time to assert a more directive role to guide the process toward its final form.
5. Conclusions:
- General: This process confirmed the effectiveness of combining improvisation with structured elements. However, I need to develop sharper instincts for when to step into a leadership role.
- Specific: I need to strengthen my ability to clearly communicate my intentions and trust my expertise when conflicts arise. Additionally, acknowledging the balance between exploration and decision-making is crucial for efficiency and harmony within the group.
6. Personal Action Plan:
- In future rehearsals, I will schedule specific moments to finalize decisions and provide clear frameworks to prevent confusion.
- I will openly communicate that the co-creative phase is a shared exploration while also recognizing when to transition into a leadership role.
- I will embrace my role as a leader, trusting my ability to guide the dancers with clarity and confidence.
- I will continue to build on the strength of group improvisation, ensuring that boundaries and guidelines are established collectively while maintaining overall direction.
- During location rehearsals, I will take a decisive role in aligning the material with the site, leveraging the dancers’ adaptability and focus.
- I will ensure that when the score is clearly defined, I guide the dancers with clarity and provide support with an overview and final adjustments as we approach the performance.
Through these actions, I aim to refine the balance between collaboration and leadership, creating a process that is both efficient and deeply engaging for all involved.
