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Flashcards in Emancipation Of Expressionism Deck (14)
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1

choreographer

Kenrick H2O Sandy

2

choreographic intent

Want audience to feel that they are witnessing an emotional journey

Main theme of order and chaos

restrictions of hip hop as a style

Each scene is a moment in life, the whole piece to be a journey

Use hip hop to express his ideas in a theatrical setting

3

choreographic stimulus

Freedom of expression through hip hop movement (the title)

Til Enda by Olafur Arnalds (music for section 4)

The importance of being free to express ourselves both as individuals as through the hip hop movement

4

choreographic approach

Exploring and abstracting hip hop movement and ‘signature’ company movements in a contemporary way. Working closely with the accompaniment and paying particular attention to musicality.
Whilst the choreographer and the dancers created material for the work, Kenrick very specifically selects certain movement vocabulary and ‘signature’ motifs (Ninja Walk, Ninja Glide, Ninja Static and Chariots of Fire), choreographic devices, formations and use of space.

5

performance environment

Proscenium arch stage

6

costume

Colour: pale blue shirt, stonewashed jeans, grey/white shoes

Simple: jeans, and a shirt with hair tied back. Clean, clinical and casual

Everyday: jeans, shirt and shoes, everyone wears the same

Jewellery: some dancers have their own accessories/jewellery, everyone is different

7

lighting

Mostly deep blue washes

White side light

White spotlight (to highlight individuals or groups)

Edges aren’t lit to create a central focus

Sometimes lighting fades other times it snaps into blackout

8

name the 4 parts of the structure

1. Genesis - the start of life and a feeling starts to grow and create from the womb of expressionism.

2. Growth and struggle - starting with an individual dancer's expression contrasted by others entering from stage right.

3. The connection and flow between people - developing from a duet to a full ensemble.

4. Empowerment - The energy is captured and released with a new found raw, super human power. The release of individual energy (now more chaotic) continues to contrast with the powerful order of group unison. Within the idea of empowerment, this section also showcases the individual skills and expressionism of the core dancers.

9

aural setting - names and composers

1+2) Original production and arrangement by Michael ‘Mikey J’ Asante of Boy Blue Entertainment.

3) November composed by Max Richter.

4) Til Enda composed by Olafur Arnalds.

10

dance style

Hip hop,
including krumping, popping, locking, animation, breaking and waacking techniques.

11

dancers

17 dancers(8 female / 9 male)
Kenrick is one of the dancers in the performance and several of the dancers feature in key solos and have leading roles.

12

company that performs EofE

Boy Blue Entertainment

13

aural setting - mood and sounds

The music shifts from two urban pieces utilising powerful drum beats and electronic sounds,
to a modern classical composition (November),
to a fusion piece of music (Til Enda) that incorporates urban percussive elements and classical string instrumentation.
This development relates to the journey that Kenrick wants the audience to experience.
Accents in the accompaniment are complex and multi-layered and interpreted through movement and choreographic devices throughout the choreography. Kenrick writes out the counts and uses symbols in his notes to ensure that movements complement the particular instrumentation and accents within the aural setting.

14

explain what mood each part of the structure creates

GENESIS - there is a sense of an electrical current affecting the dancers. He explores ideas of struggling to be free, find individual expression, conformity and order.

GROWTH AND STRUGGLE - What may appear aggressive suggests the struggle for the recognition of individual passion and expression. It ends in a rugby scrum inspired formation with an ensemble supporting the individual dancer.

CONNECTION AND FLOW BETWEEN PEOPLE - There are aspects of memory, manipulation, flow, merge and play between individuals in a relationship. An energy flows through the dancers, sometimes controlled by an individual and sometimes in group unison.

EMPOWERMENT - The contrasting lyrical qualities and frenetic percussive elements of the accompaniment are echoed in the contrasting actions and dynamics. There is an incessant quality as the section builds to a crescendo where the dancers are fully empowered. The section finishes with the dancers huddling together in unity before a final black-out and bow.