Programme Day Presentation and Script

This development in my practice is leading me down an exciting new path of creativity that embraces who I am and what brings me joy. I am a dancer and I have been dancing my whole life. I have done everything from ballet to ballroom and before the pandemic hit, I would be going to weekly modern jive classes and multiple dance festivals every year.

Growing up I remember going to lots of folk-dance festivals and sitting on the edge of the dancefloors my parents would want to dance in, watching the classes and learning the moves by mimicking my legs with my hands from pure boredom. This technique of learning came with a big bonus for a lazy pre-teen because it meant I could learn most of the dances without even having to get up. Once I had understood the movements with my hands, I could do the routine on my feet, without having to stand around during a class learning the dance at a slow pace.

I still use this technique to this day and used it during a virtual line dance class that my friend Barry was teaching over lockdown. I was having an off day and did not want to move so I sat through the class and learnt the entire line dance with my hands, while being comfortably sat on my sofa. Some might call this laziness, but I prefer to think of it as working smart. 

The turning point for my art practice was attending a virtual dance weekender and reconnecting with that passion for movement that I had lost due to the virus requiring social distancing and partner dancing being banned. Line dancing became the only accessible style to me because I could dance them on my own in my bedroom and by chance, I thought I would give drawing the line dances onto paper a go just for fun during one of the DJ sets; I had been trying to find a way to connect my passion for dance with my creative expression.

These abstract squiggles are the traces my feet would make if they were drawing on the floor while dancing, dancing lines if you will. (I promise my editing gets better once I started to get more of a feel for this work)

I use two markers, one for each foot. I danced with my hands as if they were my legs doing a line dance. The tips of the pens drawing the movement of my feet across the board as if they were sliding through the steps. 

The temporary nature of the whiteboard leaves an ephemeral drawing of the dance that is conserved only in a photo before it is erased, much like how the feeling of a dance disappears once the next tune commences.

At first, I had the idea of using the whiteboard to practise the dances on because I was cost and waste conscious and didn't want to be using lots of pieces of paper on each motif. The whiteboard gave me the freedom to fail and learn and try again with just a wipe; it allowed me to release the pressure of creating permanent marks and only choose to capture the automatic drawing in a photo if I wanted to but focusing primarily on the process of learning new dances and enjoying the freedom of drawing through the steps. I have continued to use the whiteboard to expand my collection of motifs and attend weekly line dance classes on zoom and these are the bulk of what I have to show you today. 

With this motif I had attempted my first ever performance pieces of recording myself drawing the line dances onto the whiteboard. Now, these videos are not great so I will let anyone that wants to watch me cringe in front of a camera go check out my blog that I will link at the end of this presentation. The piece in the middle was my first ever attempt at repeating the dance for the length of the song going back and forth across the page. Although I really like the simpler choreography drawings of the dance routines, there is far more energy in the piece depicting the full dance. The nature of the erasable marks means that whenever I cross over a line with another one, which ever colour was last applied to the board with be the colour that is visible in the overlap. When I edit these photos, I increase the contrast and saturate the colours to make the designs pop and they started to appear somewhat 3D in the white abyss.

When the studios opened again, I decided that I was going to go big or go home so brought some brown parcel paper and paint into the studios to experiment in a place where I was not worried about making a mess. Taping the pieces of paper together to make a larger canvas, I really tried to embrace learning through doing because I had never properly attempted paint pouring.

PLAY VIDEOS – 16 SEC AND 28 SEC https://youtu.be/miNGHcdPuQE   https://youtu.be/v3cD7Epb90k

As you can see the outcome was somewhat successful, but I learnt a lot from the piece and if anything, prefer the time-lapses of me doing them. The dotted line effect that I achieved was not something I had intended to happen but created a sort of connect the dots version of the line dance which hinted more at the trace of a journey.

After trying the paint, and with the knowledge that bigger versions of these drawings create a powerful and grandiose impact. I went back to the drawing board to practice a new routine. Not all these drawings are to my liking but being less precious about my work has given me the space to improve and eventually create confident and stronger marks.

When I eventually drew the full choreography of this dance it created this gorgeous swirling pattern that I knew I wanted to create in real human size.

I decided to experiment with some larger movement marks using my full body and this was also a real task of focusing on the process of trial and error. I had the idea to tape charcoal to my feet and draw with my feet as I danced through the steps. The plan was to then perform the actual dance routine on top of the drawing to smudge the charcoal and create movement and footprints on the paper. I practiced and tested the technique for a while on other sheets of paper (as you might be able to see that little sheet in the middle of the screen) before finally attempting it on this large 3m x 3m piece. The drawing went well but when I went to record a performance of me dancing, I ripped the paper during a spin and had a meltdown, so I will spare you that sight. I did get a time-lapse of the first drawing being made though.

PLAY VIDEO – 14 SEC https://youtu.be/pDzvsFfx_d0

It was within this space that I created my favourite drawing to date, but I learnt a valuable lesson that day. If I had been using better quality paper, I would not have ripped it when trying to dance on it, and my soul could have remained uncrushed. What you are looking at here is the before and after shots of me dancing the routine on top of the drawing.

After having some time to reflect on it and looking at the details in the close-up shots of the work. The tear is so tiny that you probably wouldn’t have noticed it until I pointed it out, and if anything, it does add a twisted crinkle mark of energy to the piece. I have since invested in some better-quality paper in a 3.55m wide roll to give me the space to dance freely and without hesitation or chance of ripping it. I haven’t had a chance to use it yet because I’m still trying to figure out how to transport it to the studios because it weighs 26kg, but I will figure it out and use it very soon if all things go to plan. 

Here is a photo of me standing next to the final piece to give you a concept of size, I am 5ft7. My studio space has a ceiling on it that adds a shadow which shortens the image but hopefully this puts things into perspective.

While waiting for my large roll of paper to arrive I found this smaller roll that I thought I would attempt the charcoal technique on again as a test to see if I could complete the full performance of the dance without tearing the paper. The space was very limited to dance on which led to less clarity in the expressive marks due to the muddying of the charcoal in the middle. However, I adore how the movement was captured by the charcoal and as much as I like the full motif.

These close ups I took of the details and textures strike something quite deeply in me and I can really feel the movement in them.

This is the first time I have ever seen my work in a professional setting (even if it is on a screen) and it has been really rewarding creating this presentation, it has taught me a lot about the value of displaying your work to its best potential and how a good display can transform a piece.

 

https://youtu.be/Ur7mxDR4374

By sharing my drawings with my community on social media I have reconnected with so many dance friends which has led to this project growing from strength to strength as I get encouragement and ideas from so many other talented creatives. I am going to finish with the most recent piece I have been trialling with my friend Barry who is a dancer I have known for nearly 5 years now. He choreographed the Don’t Let Go line dance and taught it to me so that I could draw it. The idea of performing is still something that makes me quite nervous, so I thought who better to have perform the dance than the choreographer himself while I stick to the drawing for now while I build my confidence. I cannot take any credit for the editing because Barry kindly offered to combine our videos to illustrate the idea that I am wanting to show to the world and hopefully allow those who don’t dance to recognise the steps that Barry is doing, in my drawing.

Thank you so much for listening, and I would love to hear thoughts about the work and how they make you feel, especially if you don’t have such a strong connection to dance as I do.