Choreographing Design + Designing Choreography

Designing Choreography

Choreographing Design +

Danae Moore MFA Thesis, Graphic Design, 2012

California Institute of the Arts

Choreographing Design

Danae Moore

MFA Thesis, Graphic Design, 2012 California Institute of the Arts


7Choreographing Design + Designing Choreography

Choreographing Design 1 page 8

Designing Choreography 2 page 64

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Exploration + Discovery A page 10

page 74 Resources B

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Choreographing Design 1


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My thesis, Choreographing Design + Designing Choreography, explores the intersection of graphic design and dance. As a longtime dancer and choreographer, I was anxious to experiment this year with how dance can inform graphic design and vice versa as a way of bridging these two areas of interest. With this goal in mind, I cre-ated an analysis of dance breaking dance down to its essential components and then examined where and how these compo-nents can exist in graphic design. Over the next several pages, Ill explain my analysis, how I got there, and where I led me.

I started at a place where dance and graphic design naturally over-lap: dance notation (also called graphic notation or dance scores).

Andy Warhol, The Lindy Tuck-In Turn-Man (1962), Tango (1962)

We are all familiar with this version:

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Exploration + Discovery A

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Exploration + Discovery

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1. The Performance of Translation

Can the practices of graphic design and dance be used in conjunction as part of a daily practice, thought of and used as methodolo-gies rather than separate disciplines? I would like to explore the idea of using both graphic design and dance as avenues through which one can access many different areas of prac-tice and investigation. Approaching graphic design and dance with a focus on methodol-ogy can open questions and challenge their limits as disciplines and as critical tools, hopefully resulting in a merging, overlapping, or translation between the two crafts.

Walter Benjamin, in The Task of The Translator, and Bertolt Brecht propose theories about the demand for language and performance to be altered, deformed, or even destroyed in the translation process. These theories would be useful in attempting to cre-ate methodologies that combine design and dance in a non-literal way. Brecht describes how poems usually get damaged most strongly through the effort of translating too much. To counter this, perhaps the only thing that should be translated is an element of the writers attitude or thoughts. This would result in a new work (the afterlife of the original) that maintains the writers attitude toward language, but imitates it in a loose, unprescribed way. Brecht talks about the same result occurring in performance, saying that making gestures quotable means releasing them from their regular form and relying on echo and displacement to convey their meaning.

Eric Hobsbawm, Marxist historian, has another idea worth exploring in the blurring of the methodologies of design and dance. He makes the interesting distinction between custom and invented tradition, claim-ing that not only have nation-states created fictional pasts to aid in their decreasing legitimacy but people have invented tradi-tion the idea of self-conscious adherence to past ways of acting (as opposed to cus-tom) to mend their feelings of distance from the past. French historian and editor Pierre Nora states that we currently spend so much time thinking about the past because we have so little of it left. We used to live based in the customs and habits of our ancestors, but we no longer see ourselves connected to their history, so we develop traditions to feel a sense of connection.

2. Memory-making

Collective memory, formed in small social groups and/or across entire nations, can be defined as the active past that forms our identity. Most often consisting of publicly available commemorative symbols, rituals, and representations, it is a living knowledge and is therefore separated from (dead) history. Investigating this subject and how the past is remembered, known as mnemohistory, helps us understand history as an active process of meaning-making and myth-making.

Contemporary myths are just as much a part of our collective memory as knowledge we acquire based on historical fact. One example of contemporary myth-making is


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Week 1

InITIAl THESIS IDEAS

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Rudolf Laban (18791958)

But the most popular form of notation in the dance community is Labanotation. Developed by Rudolf Laban in 1928, Labanotation was created to preserve choreography for future generations. Laban felt strongly that dance needed a way to be recorded and referenced so that it could be placed in history alongside the other arts. Here is a sample of it; it is read from bottom to top and left to right:


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Laban chose four things to record about a piece of choreography:

The part of the body that is moving

What shape that limb takes

Where it moves in space

The dynamics of the movement (i.e. sudden, sustained, sharp, fluid, etc.)

Body

Shape

Space

Effort

Body

Shape

Space

Effort

The content, text, and images

The denotative side; the formal shape something takes

The space of the page, website, gallery, etc.

The connotative side; how something is executed to create meaning

We can correlate these to ideas that are central to graphic design:

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The limitation of this analysis is that it is strictly the formal, visual half of dance and design. It leaves out the other, more meaningful half the experiential side.

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the Principality of Sealand, which was continually surrounded by suggestive and unclear information about its history. The micronation was founded by Paddy Roy Bates, who named himself Prince Roy and invented a constitution, currency, national anthem, and flag for the 550 square meter island.

These ideas of collective memory and contemporary mythologies can act as a bridge between the disciplines of graphic design and dance, both being active in storytelling and myth-making. What roles do graphic design and dance have in contributing to the collective memory? How is identity formed or influenced through these two disciplines? What role does myth-making have in design and does it differ from dance? What is the editorial role of the designer versus that of the choreographer?

Week 2

InITIAl THOUGHTS ABOUT HyBrIDIzInG DAnCE + DESIGn

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Diagrams describing initial ideas of methodologies for combin-ing graphic design with dance in a specific project or in a larger studio practice.

LEFT Using The Lucky Dragons approach as a model; defin-ing a set of materials or modes of working that can be used or combined in any way depending on the project.

ABOVE Defining a subject matter, approaching it through a certain lens or role (working with design and dance inde-pendently), then discovering ways to translate between dance and design using literary, cultural, and musical translation approaches as guides or models.

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Body

Shape

Space

Effort

language

Physicality

Interaction

Performance

Here is a quote by John Cage in which he refers to the choreogra-phers, musicians, and artists of the Judson Dance Theater of the early 1960s: We are not, in these dances, saying anything. We are simpleminded enough to think that if we were saying something we would use words.

This quote puts priority on the physical and experiential side of dance, admitting that there is more that draws us to dance and choreography than simply conveying meaning. With this impulse in mind, I read Body Shape Space Effort in a slightly different way and created a new analysis that extends Labans breakdown to incorporate the missing, experiential half of dance:


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You can imagine how different it would be to record and read a dance in these terms. There would be no way to know what the formal movements were but the mood, the message, the way the audience is engaged, and the overall experience could be recreated. This is the side of dance that I want to explore and merge with graphic design.

These are, of course, terms that already exist in the language of graphic design, but they can be seen and used in a new light if we define and apply them as we would in dance. Dance is the most physical and experiential of the arts and as designers we can borrow its understanding of these ideas (language, physicality, interaction, and performance) to enrich our own approach to graphic design and engaging an audience.

To explore these topics, I created four posters (pieces that commu-nicate information to a large audience in a transient space) for four dance performances of different companies:

Physicality lalala Human Steps

language Giordano Jazz Dance Chicago

Performance Batsheva Dance Company

Interaction Trisha Brown Dance Company

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Week 3

ClArIfyInG AnD ExPErIMEnTInG


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In graphic design, physicality is seen in the material aspects of de-sign pieces and in the physical acts of the designer for example, doing collage or illustration.

These are clearly limited compared to the physicality in dance, which is the use of the whole human body in both process and execution.

Dance relies heavily on the senses of the choreographer, performer, and audience member, and the fact that our bodies carry knowledge and intuition waiting to be called on. How can I, as a dancer and designer, tap into my bodys knowledge and intuition?

Lalala Human Steps Alvin Ailey American Dance Theater

1 Physicality


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I created this 120-foot-long poster installation for a ballet company called lalala Human Steps in which I stepped in charcoal and danced across a roll of butcher paper. It stretched the entire length of the Tatum courtyard and I printed about 150 postcards that I scattered on top of it.

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This diagram maps a potential set of projects that explore different roles of the designer and different materials or modes of working, all with the subject matter of gesture.

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An experiment in mapping choreography to the page.

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My goal was to set up a system that would require me to use my whole body in the process. I choreographed part of the movement sequence and improved the rest so that I could rely on my knowl-edge of movement and ballet, my intuition, and what felt right in my body at the time.


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I decided that the piece should also call upon viewers to interact with it physically having to walk alongside the footprints, or to jump over it as I saw many people do, and also having to bend down to pick up the postcards that they could then take with them.

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Designer as Archivist (Part 1/2) A short dance film where I took on the role of designer as archivist and used a series of gestures as material.

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Designer as Archivist (Part 2/2) A small booklet documenting and expanding upon the related dance film.

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language

Graphic design and dance share an approach to language they both engage in the translation and interpretation of language. But while they view and use language similarly, they have very different means and techniques of translating and interpreting it because of the materials, or languages, they are working with. Graphic designs language is type and image,

while dance uses the language of the human body. Each discipline is limited in what they can say or create by these vocabularies.

Trisha Brown Dance Company

Antoine et Manuel

Batsheva Dance Company

Harmen Liemburg + collaborators

Handbuilt

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In this moving poster for Giordano Jazz Dance Chicago, I worked to merge the vocabularies of graphic design and dance, specifically jazz dance. I wanted to combine these two semiotic registers such that they could overlap and blend together in a fresh and idiosyn-cratic way. For this one-minute-long motion piece, I took a rather straight forward approach creating an alphabet out of jazz dance choreography.

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Week 4

MOrE ExPErIMEnTS

Clarifying what I mean when I say design and dance.


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Pointer Pointing Pointee A short dance film expanding on the gesture of pointing.

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Gesture Collage 1 An animated gif based on a collage made by mapping a piece of choreography.

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Gesture Collage 2 An animated gif based on a collage made by mapping a piece of choreography.

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Gesture Collage 2 continued An animated gif based on a collage made by mapping a piece of choreography.

Restaurant Codes An animated gif of gestures used by hosts and waiters in restaurants.


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The Cost of Living excerpt A section of a book Im designing about the physicality of fear. The content of this section is from a dance film by DV8 called The Cost of Living. This gave me the opportunity to experiment with how to communicate a dance film in a book.

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Week 5

nArrOWInG My VISIOn

Charting the language of dance


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THESIS PrOPOSAl PrESEnTATIOn (nOV. 7, 2011)

Week 9

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Performance can mean many things, so before I could address how the idea could be translated from dance to graphic design, I had to define the word for myslef. I define a performance as: something that is live (which means that aspects of it are open to change every time it is performed) and/or with elements that come together at a specific time, place, or under specific conditions. The most distinctly performative works of graphic design are those that use technologies that allow the processing of live data in the environment and projec-tion mapping.

(I hope I dont need to explain how dance is performative.)

3 Performance


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This projected poster is for Batsheva, an Israeli dance company. I made a motion piece that I projected on top of a printed poster in the hallway. I liked the juxtaposition of movement against stillness and where the shapes blended together and where they separated.

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If I had more time to spend on this piece, I would have written a program that could perform for the people walking through the hall. It would have been set up such that I could control the projection based on the actions I observed in the hallway. I would be able to choose who to respond to at any given moment, when to freeze the frame, zoom in or out, or change the tempo. Unfortunately, I lacked the time to collaborate with a programmer, so I made this dumbed down version, which was a looping thirty-second motion piece.

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Ed fella These attributes exist in typography and dance, its a matter of how you describe them So are there attributes where you dont get those correlations between design and dance? Just using dance language to help describe what happens in graphic design? Where does the new/different/transcendent come about?

lorraine Wild Interpretation happens in writing? Dealing metaphorically in the writ-ing, then designing to your metaphor?

louise Sandhaus What are the exportable principles? What does it add up to? How is it a new methodology? Thats exportable beyond the personal?

Danae Moore Its a model for how anyone could do this with another discipline.

lS But does that add up to self-expression? What is the meaning of that for communica-tion of some other value or function or idea? Very excited about tackling other media Meaningful ways of expressing beyond print. Print is very developed, we have those tradi-tions. Dont have a developed language that works beyond the print medium and could help extend the print medium. You have come up with terminology that comes from the rich language of dance that you can use to experiment with to develop new ways of cor-relating relationships within text and mean-ing that have to do in something other than the print media. Youve moved away from this rich area back into print and self-expression.

lW Youve created a writing project. That skews into the limitations that Louise just described. Idea of collaboration and speak-ing across disciplines: youre doing a deep dive into something that is expanding your language and methodology, but how do those things come back in? The idea of creating a

shared language? Youve taken something and simplified it one or two steps too far.

DM Collaborative language because this has given me a way to speak with dancers about design, gives them an entry point.

lW You show samples of work that expand into the public sphere. Driven by an interpre-tation. Long history of this (futurists staging plans, movement). So interpretive symbol-izing a visual syntax, but collaboration is a different thing. In a way youre collaborating with yourself.

DM Ive been seeing this project as a testing ground for ways of working with different clients/material

lS I dont mind it as a testing ground, but then you need to construct a phase that ad-dresses that. Maybe two separate projects.

Michael Worthington Your writing is standing in for what a clients material would be, so thats whats derailing us. Taking the emphasis off your ideas. So maybe its about rethinking what that content is.

lS Your interest is in dance or collaboration or language? Confusing.

DM Dance, but as a way to talk about bridg-ing disciplines.

lS But thats huge, if you want to do this, youd need to come up with a crossover vocabulary and do a proof of concept with three different disciplines and show how to combine disciplines with design. So if youre not really interested in showing a methodol-ogy for combining disciplines, and youre interested in dance, then you need to parti-tion that off. You could come up with three different kinds of collaborations with three different kinds of projects, design + choreog-raphy, design + set design, design + publicity,

PrESEnTATIOn fEEDBACk


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9 OR you go to this language thing and how those represent expression, beyond personal expression that is exportable.

Ef Is it even possible? If you reduce them both down, can they mix? Oil + water? They both have form, space, motion, but they cant mix together. Sound rhetorically possible, but are they logically possible?

MW I think they are logically possible, but your problem is that when you were trying to do this, you took the words and did not think about them in a dance context. You used them in a general way. The only way this can function, you have to contextualize it more specifically and then it can inform the work in a different way. But as soon as you get sucked back into the general definition or the graphic design definition, you end up with predictable form.

Ef But what does gravity mean in graphic design. We know what it means in dance. How can you then reduce these together? Without just showing.

MW But say perspective, you know what that is in graphic design, but say it means some-thing different in dance. Then there is a way to rethink the relationship in graphic design.

Ef Well thats what I wonder. Is it actually possible? Do they become something so dif-ferent that they are just oil and water and can never mix?

MW But you still get a cool lava lamp.

Ef Im not denying you, but Im posing you the question. Where can you find the connection between things that are already so reduced? Wheres the part where you can find something thats more than just another way of describing that. His poster that can be described typographically, and it can be a metaphor for dance.

lS But the experiments for typography to date have been mostly in print. Were seeing a conventionalization thats already hap-pening in new mediums, how texts take place, what reading means, all comes from traditions in print typography. There is an op-portunity for a new language here when you combine dance physics, movement, timing. But requires incredible set of experiments. You have huge potential here to bring your dance background into graphic design.

Ben Woodlock What dance practice is part of the methodology?

DM I dont know if any. It felt forced. It felt a lot more disconnected.

Scott Massey Talking about a motion piece, maybe you should open that up again.

Ef Problem with that, is that you get into an old realm of dance being filmed.

lS Again there is a potential for language. Not just what the content is, but how the diajesus takes place.

Ef Well thats what I wonder about, if that potential hasnt already been realized in other media. Or played out in other media.

lW Youre not actually getting a no, but youre getting a highly-qualified nod.

lS Hopefully there is something that you see as a thread through what were saying and what youve already done that you can pull out and move forward with.

lW What I hear us saying is Ed keeps throwing out the challenge of if its believ-able, but Ill give you the benefit of the doubt. Were asking you to actually use dance more. To not turn it into a metaphor, that you then turn into personal poetics, and then stick it in a book. Its too small of an idea. Its taking

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Many designers believe that a piece of design is only complete when an audience engages with it, but this kind of engagement is primar-ily of an intellectual nature asking an audience to process and interpret complex ideas or form. Any physical interaction is usually limited to turning the pages of a book or clicking through an inter-active website.

Dance performances actually require a similarly passive audience engagement, where the audience sits and responds mentally and emotionally to what they are seeing and hearing. At one of the most memorable dance performances Ive been to, however, the audience was scattered across the stage, forcing us to look in many directions or even turn all the way around in our seats during the performance. This was the choreographers way of engaging the audience physically; enabling us to actively participate in the move-ments of the dancers.

LEVY Dance Company

4 Interaction


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For this poster I thought: what about expanding this attitude to-ward space and audience interaction to a piece of graphic design? I made this spacial poster for the Trisha Brown Dance Company, working to shape the space to encourage or potentially force the audience to change the way they walk through the hall.

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9 your idea and boiling it down into something that will be less that the sum of its parts. What we want you to do is take that interest-ing set of ideas and open it back out. You can scale the book down into phase one and then think about a more expansive project to run along side of it that doesnt sit in the conven-tion of the metaphor.

Ef Thinking of Jackson Pollack doing action painting. So what if you expressed through the body, through dance, and created a record. Action paintings were considered just a record of the actions. Can use that meta-phor. What about dance design? The use of the body creating the piece is something you could explore and think about.

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Week 12

lAnGUAGE DEVElOPMEnT

Movement Wiggle Crawl Stare Freeze Breath Facial expressions Internal Tactile Muscularity

Technique Style / vocabulary (Jazz / Ballet / Modern) Conventional, formal movement rules Anatomy / alignment rules Strength Training body as instrument

Instrumentation Isolation of body parts Unison / isolation Choreographic technique / tool Gestures ( Social use, social references, isolation of body parts)

Phenomenal / Tactile Phenomenal / knowledge through the senses or body Breath External and internal Relationship to ground and others Whole body experience


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Dynamics Changes in speed Changes in quality Relational How to attack movement (attack, graceful, hit, spaghetti) Give the movement a tone / the voice you use to speak How to engage an audience: Aesthetic / used to keep it interesting, surprising Conceptual / used to make it dull, make things stand out

Performance Personality Facial expressions Engagement with audience Design (lights, set, costumes) Final piece (vs. the choreography) Temporary / ephemeral Documentation / photos, videos

Motif Theme (movement, conceptual) Repetitive movements Tactics / i.e. choreographing from photos Movement language, vocabulary

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It reads Trisha Brown in the air and Dance Company on the floor.


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It is basically an open-ended maze. It doesnt prescribe a specific path, but my goal was to affect viewers travels through the hall and make them conscious of their body in the space in relation to the hanging letters. I also wanted to make them conscious of the space itself to give it a new life that would cause people to hesitate for a moment which I think the slow, spinning movement of the letters does.

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Poster exploring physicality and body intuition.

MAkE, MAkE, MAkE!

Week 13


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Poster exploring movement and human anatomy.

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In conclusion, incorporating the experiential, physical, and intuitive side of dance and choreography its approach to language, perfor-mance, physicality, and interaction can enrich the design process and give life to design outcomes.

language 2

1 Physicality


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4 Interaction

3 Performance

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Images for projection.

DEVElOPMEnT Of BATSHEVA (PErfOrMAnCE)

Week 15


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Extended motion piece with camera panning through the word Batsheva.

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Designing Choreography 2


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Part two of my thesis (Designing Choreography) is a performance entitled Hero / Freak that I collaborated on with CalArts BFA dance student Daron Pons. He choreographed the piece and performed in it while I directed it (including lighting, costume, and music selec-tions) and created projections to complement his movement.

The subject of Hero / Freak is genetic mutation. It addresses ques-tions such as: What does it mean to be superhuman? How do we reconcile the fantasy of superheroes portrayed in pop culture with the reality of the medical and social problems that those with extraordinary bodies or abilities face?

This was an extremely interesting and fruitful process for me. I have made several short dance films over the past few years, taking on the roles of choreographer, performer, director, and editor, but in creating these projections, I was able take a different approach entirely. Whereas in the past I have created movement from the perspective of strictly dancer/choreographer, in this collaboration I was able to focus on what it might mean to design choreography. I thought about what graphic movement is deciding that an interpretation Id like to work with is that of graphic movement being about creating patterns and shapes out of the human body and relying on structure and repetition to create meaning. This was a completely new approach to dance and the body for me and it allowed me to tap into both the dancer and designer parts of my brain simultaneously, something Ive been aiming for but never quite achieving. Id like to explore other interpretations of graphic movement and designing choreography in the future.

CrEDITS

Direction & Projections / Danae MooreChoreography & Performance / Daron PonsPerformance / Cherise richardsMusic / louis lopez

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Darons first draft of choreography. Very superhero.

DEVElOPMEnT Of HErO / frEAk

Semester 2

Color, make up, and content inspiration.


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First film shoot. I ended up liking the direction of Cherises film shoot better and scrapped this more fantastical, playful footage.

Call for dancers to film.

2 DANCERS NEEDED FOR A FILM SHOOT

COME SHOW OFF YOUR SUPER POWERS!

To be used as projection material in a dance performanceOne day commitment only: THIS WEDS, MARCH 21, 1-3 pm Location TBA(if you cant come then,lets talk about THURS or FRI instead)

Looking for ALL different types of movers, especially SUPERHUMAN types super flexible, super strength, super jointed, super jumps... what else ya got?

Contact Daron Pons daronpons(at)alum.calarts.edu Danae Moore danaemoore(at)alum.calarts.edu

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2

Many, many, many projection tests with Daron. His choreogra-phy changed in response to my film shoot with Cherise and it became more about the ideas of mutation and convention.


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Tech/dress rehearsal and all the technical problems that come along with it.

Poster and program for the show.

Hero / Freak

Thursday, Apr

il 19, 2012

8:00 pm

Coffeehouse Th

eater

Choreography

& Performance

/ Daron Pons

Film Projectio

ns & Direction

/ Danae Moor

e

Music / Louis L

opez

Performance /

Cherise Richar

ds

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Resources B


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Resources

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It is the Outsidedness Flavor of it, Stuart Bailey. http://www.servinglibrary.org/

Translation, Typography, and the Avant-Gardes Impossible Text, Sarah Bay-Cheng. Theatre Journal, Vol. 59, No. 3.

Diagrammatic Writing and the Poetics of Relations, Johanna Drucker.

Performance as Translation: Uday Shankar in the West, Joan L. Erdman. The Drama Review, Vol. 31, No. 1.

The Task of the Translator: Walter Benjamins Essay in English, a Forschungsbericht Susan Ingram. TTR: Traduction, Terminologie, Rdaction, Vol. 10, No. 2.

Dance with Camera, Institute of Contemporary Art, University of Pennsylvania, Philadelphia.

Fearful Asymmetries: A Manifesto of Cultural Translation, Tomislav Z. Longinovic. The Journal of the Midwest Modern Language Association, Vol. 35, No. 2.

Collective Memory, Jeffrey K. Olick. International Encyclopedia of the Social Sciences, 2nd Edition.

Creating a Visual Translation of Kurt Schwitterss Ursonate, Jack Ox. Leonardo Music Journal, Vol. 3.

The Systematic Translation of Musical Compositions into Paintings, Jack Ox and Peter Frank. Leonardo Music Journal, Vol. 17, No. 3.

The Performance of Translation: Benjamin and Brecht on the Loss of Small Details, Patrick Primavesi. The Drama Review, Vol. 43, No. 4.

Dance Ink Photographs, edited by J. Abbott Miller and Patsy Tarr. Chronicle Books.

Dance Theory, Sociology, and Aesthetics, Burt Ramsay. Dance Research Journal, Vol. 32, No. 1.

Everything is in Everything, David Reinfurt. http://www.servinglibrary.org/

Sonic and Visual Structures: Theory and Experiment, Nicolas Schffer. Leonardo Music Journal, Vol. 18, No. 2.

Composition Strategy as Translation, Sandra Schor. College English, Vol. 48, No. 2.

Philippe Apeloig for +81 Magazine/Japon, Tomoaki Shimizu. http://apeloig.com/

Interview with J. Abbott Miller, John L. Walters. http://www.eyemagazine.com/

Making is Thinking. Witte de With, http://www.wdw.nl/

Choreographing Design + Designing Choreography

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