The adaptable body: cultivating a hybrid form from community, harmony, and joy

The Adaptable Body: Cultivating a Hybrid Form From Community, Harmony, and Joy discusses the creative process and theoretical research behind the creative choreographic thesis component "In Tune." A diverse community of dancers collaborated with each other, with different genres of dance, and with multiple musical instrumental sound scores to create a unique harmonic movement style. The dance studio served as the laboratory for incorporating cognitive concepts concerning adaptability into a kinesthetic practice and product. This research promotes the acceptance of both the historical foundations of dance and the creative process to produce future forms, choreography, and possibilities. In the field of dance, dancers, teachers, and creators can draw upon their foundational training, experiences and strengths, and practice adaptability to thrive and innovate in the ever evolving world of dance to reach their goals. Popular and widespread forms of dance, found in Europe and North America, specifically ballet, modern, jazz, tap, and musical theatre, are founded upon codified movements, yet the field of dance continues to expand and evolve. Dancers find new avenues of movement, which author Jeff Boss attributes to adaptability, including finding opportunity when others see failure, demonstrating resourcefulness, forward thinking, and committing to one's values. Using these tools, dancers may create their own unique movement style and aesthetic.

THE ADAPTABLE BODY: CULTIVATING A HYBRID FORM FROM COMMUNITY, HARMONY, AND JOY by Rebekah E. Ryan A thesis submitted to the faculty of The University of Utah in partial fulfillment of the requirements for the degree of Master of Fine Arts in Modern Dance School of Dance The University of Utah August 2018 Copyright © Rebekah E. Ryan 2018 All Rights Reserved The University of Utah Graduate School STATEMENT OF THESIS APPROVAL The thesis of Rebekah E. Ryan has been approved by the following supervisory committee members: Brent Schneider , Chair 4/16/2018 Ellen Bromberg , Member 4/16/2018 Jong-Hoon Kim , Member 4/16/2018 and by Luc Vanier the Department/College/School of and by David B. Kieda, Dean of The Graduate School. Date Approved Date Approved Date Approved , Chair/Dean of Dance ABSTRACT The Adaptable Body: Cultivating a Hybrid Form From Community, Harmony, and Joy discusses the creative process and theoretical research behind the creative choreographic thesis component "In Tune." A diverse community of dancers collaborated with each other, with different genres of dance, and with multiple musical instrumental sound scores to create a unique harmonic movement style. The dance studio served as the laboratory for incorporating cognitive concepts concerning adaptability into a kinesthetic practice and product. This research promotes the acceptance of both the historical foundations of dance and the creative process to produce future forms, choreography, and possibilities. In the field of dance, dancers, teachers, and creators can draw upon their foundational training, experiences and strengths, and practice adaptability to thrive and innovate in the ever evolving world of dance to reach their goals. Popular and widespread forms of dance, found in Europe and North America, specifically ballet, modern, jazz, tap, and musical theatre, are founded upon codified movements, yet the field of dance continues to expand and evolve. Dancers find new avenues of movement, which author Jeff Boss attributes to adaptability, including finding opportunity when others see failure, demonstrating resourcefulness, forward thinking, and committing to one's values. Using these tools, dancers may create their own unique movement style and aesthetic. iv TABLE OF CONTENTS ABSTRACT....................................................................................................................... iii ACKNOWLEDGMENTS ................................................................................................. vi Chapters 1. INTRODUCTION .......................................................................................................... 1 2. MY WHITEWATER EXPERIENCE............................................................................. 5 3. CHOREOGRAPHIC ADJUSTMENTS ......................................................................... 9 3.1 The Magnificent Seven ........................................................................................ 9 3.2 Generating Movement ....................................................................................... 11 3.3 Structuring "In Tune" ......................................................................................... 13 4. FINAL TOUCHES ....................................................................................................... 18 4.1 Music.................................................................................................................. 18 4.2 Costuming .......................................................................................................... 20 4.3 Lighting Design ................................................................................................. 21 4.4 Titling the Work................................................................................................. 21 5. CONCLUSION ............................................................................................................. 23 REFERENCES ................................................................................................................. 27 ACKNOWLEDGMENTS The completion of this thesis would not have been achieved without my amazing committee mentors, Ellen Bromberg and Jong-Hoon Kim. I would like to especially thank my committee chair, Brent Schneider, for his investment in my work. Thank all of you for your time, insights, and support. The School of Dance's faculty and staff have all played integral roles in helping me learn and grow. I have appreciated the acceptance and encouragement that I have received from my friends. To my husband Orin, thank you for your constant companionship and for your sense of humor that continues to get me through times of stress and frustration. To my cast of dancers, you are all beautiful. Thank you for contributing your voices to this work and for being my magnificent seven; I couldn't have done it without you! CHAPTER 1 INTRODUCTION My artistic foundation was ballet; however, I also enjoyed the quick rhythmic patterns, the spatial freedom, and the contagious upbeat energy that jazz dance provided. While ballet invoked an element of poise and specificity, jazz unleashed "the tigress," a nickname I inherited because of my fierce, flirtatious, and powerful movement qualities. I diversified my dance education by studying modern during my undergraduate studies. I was hesitant at first to appreciate the individualistic freedom and sense of ease modern dance invokes, but I quickly realized that those very elements were essential components of language that were missing from my movement vernacular. Modern became a new passion and focus, but it was not easy to step into a new genre that had a different sense of weight, musicality, and effort quality. Although modern was foreign to me at the beginning, it became familiar, empowering, and beneficial. It strengthened my ballet and jazz technique, as I was able to cross reference information and body patterning into my physical and verbal dance language. I became more knowledgeable as an educator and choreographer. My exposure to various dance genres would eventually spark my thesis research interests. As I began my Master of Fine Arts education in dance fall 2015, I found myself researching the concepts of joy, courage, nonverbal communication, strength 2 identification, and how they relate to the fusion of dance genres. In a way, each topic became integrated into my final work. The underlying theme I found linking these concepts together was adaptability. Forbes Magazine author Jeff Boss lists many qualities that describe the concept of adaptability in his article 14 Signs Of An Adaptable Person. To me, the most important qualities he describes include finding opportunity when others see failure, demonstrating resourcefulness, forward thinking, and open mindedness. However, Boss explains that adaptive people are also able to stand up for their values by refraining from change if necessary (Boss, 2015). These qualities are not limited to artists; however, I believe they are demanded of all those who create. As an artist in the field of dance, I have experienced the need to embrace the qualities of adaptability both mentally and physically. As I study, teach, and create movement, I use my body as an instrument of cognition (Kirsh, 2010). The field of dance provides a kinesthetic approach to embodying and embracing new avenues of understanding. In order to create my thesis piece, I physicalized logical concepts about adaptability. As information was embodied, more information was found. European and North American popular and widespread forms of dance, specifically ballet, modern, jazz, tap, and musical theatre, are founded upon codified movements, yet the field of dance continues to expand and evolve as dancers practice attributes of adaptability to create their own movement styles and aesthetics. I believe artistry in dance can emerge as dancers mix codified dance techniques with qualities of their own individual characters, instincts, and desires. Homer Hans Bryant and Garth Fagan are two artists who have contributed to the field of dance by fusing their classical 3 training foundation with their own aesthetics. Although they both trained in similar genres of dance growing up, their artistic pursuits have been unique to each of them. Homer Hans Bryant, the founder and director of Chicago Multicultural Dance Center, has branded the genre Hiplet. Hiplet is a combination of ballet and hip hop movements. Dancers in pointe shoes execute freeing, bouncing, popping movements to rap music. Bryant's school allows space for his students to excel in a vein of dance that hasn't been influenced by stereotypes or discourses. Bryant requires his dancers to train in classical ballet throughout the week, then draws upon their strength, musicality, and body connectivity for the practice of Hiplet. Bryant's style and experience in tap, jazz, and ballet created a new approach that offered a unique perspective to the field of dance. Millions have viewed his story online (Reader, 2016). Tony and Bessie Award winner Garth Fagan also structures his company's aesthetic around adaptability and originality. Fagan's formal dance training consisted of modern, Afro-Caribbean, and ballet. After studying with various artists, including Ivy Baxter, Martha Graham, José Limón, and Alvin Ailey, he established his own company and fusion of movement. "Garth Fagan's ever-evolving dance language draws on many sources: sense of weight in modern dance, torso-centered movement and energy of AfroCaribbean, speed and precision of ballet, and the rule breaking experimentation of the post-moderns" (Garth Fagan Dance, n.d.). Fagan's work bonds codified techniques with his own Jamaican roots. His work has been performed by Alvin Ailey American Dance Theater, New York City Ballet, and on Broadway in the musical Lion King. Due to his versatile, yet distinctive voice, he has greatly influenced and contributed to the field of dance. 4 Bryant and Fagan embody author Mattson Newell's description of the adaptability quotient, which is "the ability to adapt to and thrive in an environment of change" (Newell, 2016). Both artists have found success as they have referenced their past training with their current unique styles and future goals. "Change is fundamental. The essence of movement is change. As we move, we are constantly changing" (Hackney, 2002 p.12). Because dance is a performing art form, it is art in motion. In other words, dance is an art form that will continue to change. Dance is continuing to take new shapes, aesthetics, and forms as it adapts from foundational sources. I believe genres will continue to be cross-referenced by students, educators, and choreographers in an effort to explore new and different styles of movement. As artists create, they produce new rules and possibilities of their own. Although artists may implement tried and tested techniques, their products are unique due to their adaptive qualities. My research promotes the acceptance of both historical foundations and future possibilities. My research finds relevance based on the patterns of change the field of dance has gone through and is currently experiencing. It is my philosophy to encourage dancers to draw upon their foundational training and experiences, strengths, goals, and to explore the concepts of adaptability as a method to not only survive change but to thrive in times of uncertainty, stress, and demand. I believe this research is relevant to students, educators, and creators as they are influencing and are influenced by the continual changes in the field of dance. CHAPTER 2 MY WHITEWATER EXPERIENCE In nature's windy environments, young trees living and growing in soil deepen their root system and strengthen their cell structure in order to provide themselves protection and flexibility from the wind (Stokes, Fitter, Coutts, 1995). In the economy, businesses founded upon the principles of supply and demand alter their products and advertising methods in order to increase their companies' monetary value. These adaptation techniques are survival methods. Adaptability is not always a tactic of choice but also of demand. For something to be adaptive it must first have an original, consistent foundation of recognizable properties. For example, a book can come in many shapes and sizes, with or without pictures, but one recognizes a book no matter the format. Once a structure has been established, there usually is a reason or a demand for change to cause an adaptation. I believe change is the precursor to adaptability. As change is constant, also is the opportunity to practice adaptability. I knew entering my third year of graduate school that I would experience change, pressure, and unfamiliarity throughout the entire thesis process. I decided not to necessarily create a dance about the concept of adaptability, but rather I chose to use the attributes of adaptability to guide my cast and 6 me through change. In essence, I made the dance studio my laboratory for incorporating my cognitive concepts of adaptability to a kinesthetic application. I had begun researching adaptability before entering the studio and found that it was a characteristic to help provide peace during stressful times. As I welcomed change into the creative process, a new movement language and style emerged that was original to me and my cast. I chose to accept the uncertainty awaiting me, or in other words I chose to accept what Peter Vail calls "permanent whitewater," referring to a time of ongoing uncertainty and turbulence. We can't see exactly where these changes are headed or where the submerged rocks are, yet when we're tossed out of the boat, we want to make sure to swim, not sink. Experienced rafters know they're going to get dumped out at some point. The difference between them and the rest of us is that they're prepared to get bounced out and to recover swiftly. They expect the whitewater. And so should we (Ryan, 2014 p. 5-6). The final choreography and presentation of my work was the outcome my cast and I achieved from expecting and accepting the whitewater. Although there were times I was metaphorically dumped out of the boat into what felt like swift, cold, numbing water, I was prepared and determined to swim. I swam because I had to. Sinking after years of training, experience, and preparation was not an option. As I entered my whitewater experience I could see rocks in my path that would alter my course. I was twenty-six weeks pregnant with my baby due three days after the thesis concert. Both the chair of my committee as well as all the dancers I had originally cast months prior withdrew days before school started. These "rocks" mandated I change my pathway. This shift was difficult to make and I doubted I would enjoy the ride. It was not easy finding a thesis committee member and cast of dancers who could step in on such late notice. In retrospect, I am grateful for the rocks at the 7 beginning of my journey, for the new committee members who chose to help me, and for the cast that I ultimately chose. My "boat" was steadied about three weeks into the semester as I met with Michael Wall, a musical composer and faculty member in the University of Utah's School of Dance. He listened to my musical selection as I expressed my excitement and hesitations. When I discovered the song "Concerto in One Movement for Piano and Orchestra," I had mixed feelings. I thought it met the criteria that I had in mind for the piece, yet I worried it could potentially overpower and dominate the performance. Michael shared with me that he wished more artists would rise to the challenge of working with similar sound scores. He promoted confidence in my ability to create movement that would equal the music. He gave me permission to say yes to the music I found so appealing. I felt the most devastating "submerged rock" midsemester was receiving feedback about my piece from faculty. Some of the faculty members expressed to me that the music selection was too theatrical and that the movement lacked my voice. This feedback came as a shock to me because I had previously received encouragement from a trusted faculty member to use the music selected; and because I felt everything about the piece expressed my authentic, individual creative voice. I seriously contemplated the feedback I received from faculty and tried earnestly to apply the suggestions and incorporate them into the piece. But sometimes as I tried altering the piece to fit all of the expectations held by others, I felt a creative block. I was in essence treading water, not making any progress back to my "boat." I could not wait for someone to throw me a life preserver and do the work for me, so I eventually 8 returned to working, or "swimming," in the manner that served my artistic process. I reassessed my choices and integrated the suggestions that I could, but I decided to refrain from changing the music selection and movement style. I held to my values that had guided the process thus far and trusted in my strengths, my cast, and my aesthetics. CHAPTER 3 CHOREOGRPAHIC ADJUSTMENTS My choreographic goal was to blend several dancers, genres of dance, and musical instruments together to create a new movement product, aesthetic, and style. I, along with my cast, made various adjustments to achieve this goal. 3.1 The Magnificent Seven After losing my original cast, I held an audition the first week of school. From that audition, I took only one dancer, Dancer K, because I felt she was the only one of the dancers who would be able to contribute and execute the choreography and keep up with my expectations and standards. I knew Dancer K had a good work ethic and positive attitude because I had previously taught her in a jazz class in the School of Dance. Then I had to extend individual invitations to specific dancers to participate in my work. One of the dancers I selected was Dancer L, a new freshman to the School of Dance. I selected her after I watched her in an improvisational dance class. I did not know her, but I felt good about taking the risk to include her. The remaining five dancers I cast were either students or peers I had taught or danced with in jazz and ballet classes on campus. I cast seven dancers because I was interested in building a small community. 10 "Community is an outward and visible sign of an inward and invisible grace, the flowing of personal identity and integrity into the world of relationships" (Palmer, 2007 p. 92). I desired to test the practice of adaptability within a group of dancers and within myself. I wanted to know how various personalities would work together during times of potential stress and what they could produce as a whole. I knew I would be asking a lot of my cast. They would need to adapt to new movement genres and combine their collective voices with my aesthetics. Casting a larger group of dancers encouraged me to commit to the practice of adapting to their various dance backgrounds, levels of proficiency, and choreographic voices. I selected the dancers I did because I appreciated their diverse movement perspectives, work ethics, and that they each exuded a joy in movement. I felt each of these elements would strengthen my work. Five of the seven were, or had been, associated with the modern dance undergraduate program and two dancers were from the ballet program. Each dancer had differing strengths within the field of dance but all were familiar with the codified movement forms of ballet, modern, and jazz. This provided me, as well as them, with a common vocabulary from which to work. I practiced adaptability by giving each dancer a solo that highlighted her individual talents. The dancers practiced adaptability as I fused different movement genres into one piece, and I asked them to adapt to each other's movements in an interactive way throughout the creative process. It was a dynamic collaboration in choreography as I directed the movement they generated. I appreciated their diverse movement styles and their dedication to the work because the collaboration created a style unique to the piece and unique to me. 11 3.2 Generating Movement The very first exercise I had the dancers do was a practice we called "sprinkles." I listed various genres of dance including ballet, modern, jazz, hip hop, tap, character, musical theater, and contemporary on the board and asked them to collect small sprinkle-sized samples of each genre. They had to either recall their lived experiences with these genres or improvise movement, steps, or qualities they associated with each form. I collected these fragments from each dancer in a random order and generated movement sequences that were used throughout the entire work but more specifically throughout sections one and two. I decided to arrange their sprinkle moments in a random order to interrupt their natural flow and tendencies. I wanted them to be in a constant state of change to practice adaptation. This format of generating material became a useful tool as I continued to choreograph the dance. I frequently used task prompts that would prevent their habitual patterning from overriding their sequencing. In other words, while the dancers had a foundation in a specific movement style, I consistently tried to prevent them from resorting to habitual movements with which they were already familiar. While I wanted to honor that starting place, I also wanted them to work outside of their comfort zones. To encourage this state of interruption, I would often have them work in partnerships. In these partnerships, the dancers would adapt to one another's movements as they would combine their individual generated sequences into a duet or a trio. Interrupting their own sequences to include their partner's sequences was often confusing for the dancers, but in the end, they demonstrated an ability to interact with each other and create innovative ways to move. 12 Another creative exercise I gave the dancers was to write lists on the white board. One list was of body parts and the other list was adjectives describing motion. Then in pairs the dancers would take turns choosing a word from each list to determine how the other would move. Sometimes the dancers felt awkward and confused doing this exercise, but their vulnerability helped build trust in our community as they saw and felt the exercise outcomes. Leading up to the performance dates, I was in a constant state of reorientation as I discovered more research, received feedback, and clarified my responses to the movement. Therefore, during each rehearsal we would generate movement material, and we would also throw out moments of the work that no longer served a purpose. The dancers coined this process as "taking out the trash." We regularly trashed movement that left us feeling static. If the piece lost energy because of a certain movement sequence, we threw it out because it was no longer serving the work. I came to perceive "dead ends" when there seemed to be a block in the flow of movement or when I was forcing a next step that seemed unnatural. When I felt these blocks, I would retrace the movement sequencing until I returned to a place where I again felt a natural sense of dynamic energy. Sometimes little sequences were trashed, and sometimes big sequences were trashed. The dancers always gave their input, but the decisions were ultimately mine. I required the dancers to constantly be in a state of change. The choreography performed in the final presentation was the product of the dancers' abilities to synthesize interruptions and the juxtaposition of different movement styles. The process had interrupted their own body patterning. The dancers had shifted in and out of so many 13 genres that they were constantly adapting to different flows of movement. The dancers demonstrated adaptability by polishing sequences that at first they found uncomfortable and unnatural. The refined final product of movement hid the awkward, uncomfortable, and tiresome process that the dancers went through each rehearsal. As they practiced responding to frequent transitions, they developed the ability to handle the challenges with ease, grace, and joy. Their minds and bodies accepted the prompts, expanded their way of thinking and moving, expressed trust in both my direction and their bodies' ability to explore new terrains, and endured until they could move naturally and confidently again. 3.3 Structuring "In Tune" In her book entitled AdaptAbility, M. J. Ryan describes attributes of adaptability. Her book helped me view the practice of adaptability as a continuous process. I chose to incorporate her ideas of "accept," "expand," and "hope" (Ryan, 2014), because they resonated with me. As I began creating, I added my own idea of "endure" because I thought it was a necessary quality for my creative process. Each of these words became titles for sections of my piece. The first section of the piece, "Accept," began with a piece of music entitled "You," with all seven dancers standing in a clump, center stage. Dancers remained still as the song began. They had time to accept the sound score, the physical architecture, and the community of bodies surrounding them. Dancer H initiated the group by throwing her arms up and back. The other dancers responded to the movement by allowing their bodies to rock slowly. Dancer H began to weave her way in and out of 14 the group, establishing her own movement pathway. Slowly, each dancer left center stage following a pathway unique to them. This floor pattern established what I called the "root system." In windy environments, trees deepen their root system for protection (Stokes, Fitter, Coutts, 1995). This opening movement phrase signified the dancers each being a root in the overall structure of the work. The music filled the air with sweeping sounds of strings and piano. This was the dancers' time to establish and accept their own individual movement voices that would serve as the foundation for the whole piece. Solo phrases were built from specific improvised movement moments that another cast member or I told the dancer to remember and keep. As each dancer branched out with the sequencing unique to their instincts, they experienced interruptions or "breaks" in the fluidity of their movement. They would be challenged to reorient themselves in order to continue their movement phrases. Toward the end of section one, a group of four dancers starting downstage circled the stage parameters using a turning motion to move them upstage until they exited the stage. Dancer L was left alone concluding her solo work in a grounded wide stance center stage with her arms extended out to either side. This wide, sturdy, and still moment provided the audience with a visual reminder of how the piece began in the same spot on the floor with the entire cast. Section two, "Expand," began in silence as Dancer L began to walk. This pedestrian stride was at times interrupted as she was met by other dancers entering the stage in similar ways. They experienced a gradual build in intensity of movement, which resulted in an exaggerated pattern previously performed from their solos in section one. Each dancer's elaboration continued to expand into a new quality that 15 included snapping, bouncing, and a subtle rhythm. This upbeat energy was then matched by a sudden musical cue as the song "So There" began. Dancer L and Dancer H responded with a unified duet. Throughout the "Expand" section, the dancers performed duets, trios, and a sextet performed in unison. The unified movement phrases were generated using the previously mentioned "sprinkles" task, as each dancer contributed and inserted her associated response of various genres of dance to the whole. The dancers' movements explored and expanded on the themes they had introduced in the first section. The second section came to a conclusion as the dancers quieted their movements, and the song transitioned into a new peaceful tonality. All seven dancers were left on stage with Dancer S in the spotlight with her back to the audience. Section three, "Hope," contrasted with the previous two sections by highlighting just one dancer, although five were left on stage. Emphasis was brought to Dancer S who was physically moved by four other dancers as they passed by her. They each took turns initiating movement with a part of Dancer S's body. As the speed of these interactions increased, interactions began to overlap and Dancer S was left negotiating multiple influences and changes at once. Although the four dancers stopped influencing Dancer S, she was left with the effects of their manipulations. She repeated the patterns they dealt her until her body became tired and slowed down. It was important for me to represent that although adaptability is built partly on hope, it can be at times exhausting as multiple outside sources demand us to be flexible. Regardless of whether these causes are welcomed or not, they imprint a mark on us and can leave us feeling worn out. Although the music and movement was heavy, jagged, and contorted, hope was 16 demonstrated through Dancer S's facial expression and lighting. Dancer S continued through the sequence with determination and courage to keep moving. Her movement, complimented by the cyclorama colored in a warm lavender, promoted a sense of optimism. I chose Dancer S for this section because her tendencies leaned on classical technique. She was very familiar with ballet codification and had trained her body to reside within the parameters of that singular genre. I asked her to perform a codified ballet step; then, I would ask her how we could break it, make it grotesque, or oppose her first instinct. We formed her solo following this pattern of instructions. I did this to mentally exhaust her and to physically confuse her. This was done not to be callous but to demonstrate my faith in her ability to adapt to new approaches to movement. I had hope in her potential, and she had trust in my vision for her. It took time for her to resist habits associated with her ballet training, but I asked her to allow her shoulders to cave forward and drop her weight into the floor. She continued to practice and accept feedback that I gave her. Dancer S concluded this section with a set of turns that built in speed, sending her towards the other dancers who had been waiting in stillness stage right. Her spinning increased in speed until she was forced to run out of the rotation in order to stay upright as the music drastically changed with a sudden crescendo. Dancer S ran weaving around and interacted with the other dancers, rekindling communication, support, and unity by returning to the same bouncing rhythm of the second section. This recurring buoyant movement, performed with resilient conviction, began section four, "Endure." The final portion of the song "Concerto in One Movement for Piano and Orchestra," jazz piano with orchestration, injected the dancers with energy to 17 commit to the movement as they were in the final stages of the adaptability process. Dancers slapped the floor and their legs with strength to integrate their bodies with the power the music instilled. Section four concluded with a unified recapitulation of the whole piece. I created this section by sequencing the motifs that my cast and I treasured the most. After the dancers raised their focus and left arm up, they slapped the ground with their right hands and simultaneously changed their focus to the audience. This slap, done in unison, synced with the unapologetic sound score, was performed as dancers knelt on the ground. I chose to balance the invigorated upper body with a humble lower body. The power of the unified floor slap coupled with the stillness of the lower body capitulated an extended period of high energy dancing and created a sense of triumph, which was felt throughout the theater. CHAPTER 4 FINAL TOUCHES I chose music, costumes, lighting design, and a title that supported and enhanced the physical aspect of my work. Although these aspects were secondary to the movement, I believe they were vital to the overall aesthetic of the work. 4.1 Music Just as I had tried fusing many dancers, and genres of dance together, I felt many musical instruments needed to form the sound score. I established the movement sequences before I paired it with the music because I didn't want the music to dictate the movement. I wanted to establish a movement statement that could then interplay with the music. This decision forced another opportunity for the dancers to practice adaptability. Although the movement sequences were set, the tempo and dynamics would again alter their execution of the movement in order for the dance and the music to be cohesive. I purposely started with a smaller, less intimidating piece of music that I thought served as a good introduction for the piece. It was a piano piece with string accompaniment. I thought it was a good beginning for the progress of the piece. It 19 warmed up the dancers, it wasn't too startling for the audience, and it welcomed both the dancers and the audience to engage with the piece. As I searched for additional music, I remembered the artist Ben Folds, a pianist and vocalist who writes pop music that is often times embellished by orchestral accompaniment. I decided to use "So There," a song from his album of the same name because his musical compositions paralleled my choreographic efforts. "For many musicians, "So There" could have played like an indulgent diversion, frustrating those hungry for another rock album. For Folds, who constantly hones his craft by taking unexpected paths, it extends a career-long flirtation with modern orchestral composition to its logical next step" (Katzif, 2015). I felt an affinity to Folds because he used his foundational training as he collaborated with other artists to explore new musical possibilities. His music was also a good introduction and lead-in to the heavier jazz piece to follow. I asked an audiovisual staff member to edit out the lyrics in order to enable more continuity to the other music selections. The final piece of music I used was actually my favorite and the inspiration for my other music selections. When I was a teenager, my parents took my oldest brother and me to Israel. One night my brother, who is an improvisational pianist, took me to a jazz club. The jazz music inspired me to want to move in a way that I had not been taught. The jazz dance I am familiar with usually accompanies pop music rather than real jazz. In September, when I was discouraged about my original cast falling through, I found "Concerto in One Movement for Piano and Orchestra." The piece inspired me to move, to go forward with the thesis, and to create an original, unique dance I had never experienced. I find the piece recharging, exciting, dynamic, and vast in the myriad 20 feelings it evokes. The piece instilled confidence in me to move forward. I knew that the music was so big that it would be a challenge not to let it overpower my choreography. I knew it would be physically draining for the dancers to match the size of the music. My music choices reflect my personal philosophy of what music should be in relation to dance. I believe the music should heighten and enhance the meaning of the dance. The music should reflect different elements of my personality, my thoughts, and my feelings. I believe dance music does not have to be dark and full of angst. Music can be an expression of "joie de vivre," a French term meaning an exuberant enjoyment of life. I value dance music that is not mindless, ambient, monotone, or that might be played in an elevator. The music should contribute to the conversation with the dancers. The musical selections helped express what I was trying to accomplish in my thesis piece. The music enabled me to use different genres of dance movements. Especially in the last jazz piece, the meter was inconsistent, forcing the dancers to be aware of one another, to move in harmony with each other and the music. I felt the pieces of music together created a holistic statement that no one piece did on its own. I love that the music evoked different emotions and ended with a grand crescendo that felt like a gigantic exclamation: This process has been hard, but it has been worth it! 4.2 Costuming The romper costumes that I chose allowed free range of motion and enabled the dancers to meet every challenge of the movement in the dance. I chose the dark purple blue color because I feel it is a strong, mature color that compliments many moods and styles of dance. All the dancers wore the same style romper to express equality and unity 21 so that their differences shone forth in their movement. The rompers were neat and did not distract from the message of the dance; they were short to allow their vibrant physicality to be visible, and the dancers felt dressed up and excited to perform in them. 4.3 Lighting Design I used the cyclorama to compliment the dancers, to match the different emotions they expressed, and to build in intensity with the movement without distracting from the dance itself. The cyclorama provided harmony to the piece by matching the dancers' costumes. Although I would light the stage for all the dancers to be seen, I used spotlights to guide the audience's eyes to the soloists or duets. 4.4 Titling the Work One of the biggest decisions that I made was how to title my piece. I eventually chose "In Tune" for the title as another way of describing adaptability. I believe that being "in tune" requires intuition and understanding what, when, and how to change. Being "in tune" fosters harmony in the artistic process of creation. To paraphrase various authors, harmony describes a process that achieves a collective goal, structures a state of balance, and is a central factor in achieving happiness (Lopez, Snyder, 2017 p.50). Harmony describes complimenting tonalities as well as feelings of hope and peace (Rath, 2007 p.108). Harmony can only be achieved if frequent changes occur (Piston, 1962 p.59). In music, harmony is recognized as tones shift and interrelate. In comparison, I chose to focus on how the ability to adapt can establish harmonic outcomes and possibilities. I believe that the dancers and I each brought our own "tonality," 22 personality, and style to the work that helped make the piece unique and original. I made a conscious choice to bring harmony into the structure of the dance by giving the dancers freedom of expression and including some of their best contributions. The dancers helped provide nuances to the dance that I may not have created by myself. I believe the dancers felt appreciated because they played a part in the creation of the work and it became a joyful, exuberant expression of life manifested through dance. CHAPTER 5 CONCLUSION Unable to envision the final picture from the beginning, I had to trust my instinctive desire to fuse dancers, genres of movement, and pieces of music together. This process was heavily influenced by the community surrounding me. My cast was vital to the success that I felt both throughout the choreographic process and during the concert production. Their willingness to accept my agendas, explore my visions, hope for a meaningful experience, and their mental, physical, and emotional endurance made each rehearsal truly remarkable. I was not only given permission to share the passion I felt towards my research, but they were willing to amplify my voice. The practice of adaptability has been essential in my journey throughout the thesis process. The master's thesis has required that I take accountability for my creative process. My individual approach to dance has emerged and evolved as I have cross-referenced my past experience with what I have learned in the master's program. I have used my beliefs, strengths, and character to sustain my integrity while negotiating outside opinions and influences. Just as I have been able to find stability while turning in an off-centered physical position in dance, I have also been able to feel balanced in an unpredictable spinning world as I have shifted to counterbalance constant change. 24 Art has been described as "the shaping of some material to provide aesthetic experience" (Mettler, 1960 p. 399). I believe art is created as we coalesce our lived experiences with current aspirations. My thesis process has been an opportunity to practice organizing information I know into a new format allowing me to explore new horizons. I have immense gratitude for the opportunities change opens up for me. I have felt refined and humbled by the process. The practice of adapting to the "whitewaters" has given me opportunities to grow and develop as an artist. Changes in casting, committee members, and choreography forced me to be adaptable throughout the process. As I fused dancers, genres of movement, and styles of music together, I found the practice of adaptability to be rewarding. Positive outcomes, such as a new movement style emerging, resulted from negative beginnings. Harmony was created from chaos. After much stress, pressure, and demand, I found joy in the product. Stanley Keleman states "harmony, integration, and connectedness is perceived mentally as interest, selfconfidence, imaginativeness, and a willingness to live with the unknown. It is perceived emotionally as feelings of excitement, anticipation, love, and joy" (Keleman, 1981 p. 56). Keleman's comments provide a beautiful summary of my experience swimming in the turbulent whitewater and emerging onto land. The lessons that I have learned producing "In Tune" will help me continue researching and practicing adaptability. We only need to look at the integrity of biological systems for further examples of adaptability. Perhaps some of the greatest demonstrations of adaptation in response to change are evident in a corporeal capacity. With "In Tune" I explored how the body can respond to outer influences of change; I am also interested in exploring how the body adapts to the changes occurring within the 25 body. Pupils within the eye dilate according to the intensity of surrounding light to allow for greater visibility. Smooth skin exposed to friction thickens to build calluses to mitigate future pain. Injuries, such as a bone fracture, initiate the body's inflammatory response to immediately begin a healing process (Marsell, Einhorn, 2012). These reactions are executed to maintain the body's homeostasis. Although the body cannot always control light variation, points of friction, or accidents, it accepts the new external condition and makes an effort to establish a new sense of balance, or harmony. Although aspects of the body have altered, consistent and sufficient oxygen and blood supply remain as a strong foundation. This allows the body permission to continue adapting until homeostasis is achieved. Julius Wolff, a surgeon, introduced this ideology. "Wolff's law theorizes that repetitive loading of bone will cause adaptive responses enabling the bone to better cope with these loads" (Teichtahl, Wluka, Wijethilake, Wang, Ghasem-Zadeh, Cicuttini, 2015). Although this law emerged from the observation of natural biological phenomena, I believe this same idea can be applied to a person's ability to function through times of stress and demand. The ability to adapt can be practiced and strengthened if given the proper amount of stress, practice, time, and foundation. Frequent changes can build responses of resiliency, composure, and happiness. I would like to continue exploring the physical changes, of which we are both conscious and unconscious, that are constantly happening within our bodies. I have a concluding thought: Ethel Merman, a great comedienne, was once asked if she was nervous before a performance. She responded "Why should I be nervous? If they could do what I do, they'd be up there" (Nagrin, 1997). I appreciate this example of conviction in oneself. I am not immune to feeling nervous, yet I do feel unique in my 26 artistry. I believe art can be direct, relatable, cohesive, uplifting and still meaningful, and I hold true to that aesthetic. I find value in creating an environment where the dancers, music, and overall tone of the work invites the audience to view and enjoy the experience. I desire to create work that reflects rigorous training, and I think a piece is successful when the dancers leave the stage physically exhausted yet emotionally recharged. It is inevitable that the art form of dance will continue to evolve. I believe traditional forms such as, ballet, modern, jazz, tap, and musical theater are serving as the foundation to allow for continued fusion and expansion to take place. The art of dance is thriving because of how diverse and vast it has become. I am eager to add my artistic voice to this continuous evolution. REFERENCES Boss, J. (2015, September 04). 14 Signs of an adaptable person. Retrieved March 05, 2018, from https://www.forbes.com/sites/jeffboss/2015/09/03/14-signs-of-anadaptable-person/ Garth Fagan Dance. (n.d.). Retrieved January 12, 2018, from https://www.garthfagandance.org/ Hackney, P. (2002). Making connections: Total body integration through bartenieff fundamentals. New York, NY: Routledge. Katzif, M. (2015, September 2). Ben Folds, 'So There' [Review of music Ben Folds]. npr music. Retrieved January 20, 2018, from https://www.npr.org/2015/09/02/436304005/first-listen- ben-folds-so-there Keleman, S. 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