1/2 Groups
For our half group pieces, I have been out into Gabby and Theia's contemporary piece.
In out first lesson they didn't really have a plan, but just made us 'vibe' to music and get a feel for dancing. Honesty I was really uncomfortable with this because I'm not really confident with just moving it was like freestyle and I just didn't know what to do. In light of this I kind of just went for it, and started moving around the space in and out using different levels, and focusing on using different body parts to try and create new movement ideas instead of the usual ways my body moves.
At first the rehearsals were really long and unproductive, as there was lots of talking and just unnecessary distractions from certain people, and after they had to repeat themselves about a thousand times, it was becoming very annoying and disrespectful towards the choreographers, as all they were doing is trying to create. They allowed most of the movement to be formulated by us just 'moving' so they could take notes and try and get ideas and build upon it. We did this for about the first 4 rehearsals and after awhile it got trying as it felt like we weren't getting anywhere compared to the other group with brought the group morel down. And then when time was getting closer there was so much more pressure on getting things done, and it felt as if we hadn't been doing anything for ages. The concept was based upon the smuggling that takes place with refugee's when they are forced to pay for illegal transport and have to put trust in dealers to try and get their families safely across the borders. We were highlighting the vulnerability of the refugees, and the sacrifices they all have to make, willingly putting themselves into real danger in the hopes for a better life.
When things started to pick up a bit more, and the choreographers started coming with more for us to do, we could then start formulating a piece and sections. There was no order at first so we just kept learning random sections and had to keep them in our heads until they could work on things together. From being an assistant choreographer before I fully understand the pressures of everything, and the struggles when people are not co-operating with you, and not being respectful because it does get really emotional and hard to still see them as your friends. This is why people like myself, and Jemma, Kaya, Aisha, Tash, and Tumi were all trying to keep the piece and get people under control because it slowed our rehearsals down so much, and cause unnecessary arguments between people.
After working tirelessly and coming in for extra lunch and morning rehearsals we had finally got our piece structured (sort of) and were able to start running it properly, and feeling like a show piece. It was lovely to see adaptations of our own movement mixed with their movement and ideas coming together.
Once the piece was finished we just needed to keep running it, and cleaning it to get it just the way they wanted it focusing on intention, direction, and detail to every move.
Show Evaluation
The whole production process was full of lottos up's and down's, but I am really proud of everyone for pulling off 2 really good shows. It doesn't feel real that it's over because we've been doing it for so long and working at it for so long all for 2 days of a performance, but it was all worth it.
Looking back at the very first session of us all waiting to hear what our idea was, cake sales, arguments, tears, and funny moments to standing in a circle sending the energy around the space is amazing to look back on.
As a company I think we did really well to pull it out of the bag with our intention, and successfully portray our interpretation to an audience. I am proud of us for taking risks and keeping up with the ground-breaking status we have at BRIT. Ever since year 10 I've always loved the year 13 productions and I've been to see most of them from last years MH370, to Colour Blind.
I've learnt so many new skills from how to successful climb a fence, to really being able to read and embody a story to represent a character. It was fun to be able to think back to physical theatre, and be able to unlock all of those emotions and skills that I learnt through acting. From the intake of so much choreography with the mix of assessments, a levels, general life and Open Invitation, I feel like I have become a quicker, and more efficient person when it comes to stress management.
I have lots of skills that are now transferable in many borders, for example this year I don't know whats happened but I've started to enjoy contemporary. I have to admit for the last 3 years I've really hated it simply because I had no confidence "that I was doing it right" and because I would watch everyone else, and compare myself to them and feel down. After being in Gabby and Theia's, piece and being taught by my peers in a 'no pressure' way, and receiving positive notes from them and just allowing myself to be involved in the piece I have much more confidence in what I am doing, I did find the piece really challenging in some aspects, but looking back on the piece, I hope we did their choreography justice as I thought I danced it to the best of my ability for them.
In regards to the actual performances, what went well?
As a company member I thought that I did well within my role, and well as a performer helping to carry the interpretation, concepts, and emotions throughout.
When dancing I believe I gave it my all and stayed in character the whole time, taking on all of the feedback that was given to me. I hope that this is evident when the show is watched, and is evident through this evaluation process. I really enjoyed the journey we were able to take the audience on as a company and hearing the feedback was even better. From the outset we weren't expecting any applause or any cheering because it wasn't 'that type of show'. So at the end when it came to our bows, and we received a standing ovation, I can speak for all of us and say that we've never felt more humble and joy in our lives. At that moment, I remember us all looking at each other very confused, and shocked because we weren't expecting it at all, and we all couldn't help but smile.
That buzz pushed us to keep tirelessly going onto the next show to bang it out for the last time all over again.
After the show finished I was hearing audience members state that it was "Breath-taking", "Emotive and moving." and that "It really makes me want to stand up and get involved". This was such humbling feedback to hear, as I said before being such a controversial subject you never know if people are going to love it or hate it, but the fact that it was thought-provoking is enough for me to feel like we've made a difference and given another voice to the refugees we were dancing for.
At first I really wasn't excited or keen on dancing about the refugee crisis, because it was so current I was worried that everything would change or we would offend people or that people wouldn't get it, but it was such an awakening and opened my eyes to a lot of things I never knew, never thought I would experience, and never thought we could successfully pull off. The impact that it has had on me is much greater than I ever thought it could be. To say that it has been an emotional roller-coaster would be an understatement because as a company we've loved each other, been divided, wanted to kill each other, and then felt a little closer again by the end of the process, and with it being such an emotional time being auditions season, A-levels approaching, and university applications, everybody has been in such a range of moods, mindsets and more trying to juggle everything at once.
What would be even better?
When it comes to reflection I always find it hard to talk about what would make the show better,a nd my targets for improvements because I am so hard on myself in general, but I think the show could've been even better if we were more united as a strand like we were after bonding in New York, as troubles with friendships, arguments, shouting and everybody not having enough tolerance for one another made the process harder than it needed to be. But apart from that I believe the show was successful, and I really hope that we did Julia and Jodie proud for all o their hard-work, commitment, and time that they put into us and this production.
Targets!
The targets I would set myself would be to transfer all of these skills and new approaches I've learnt into the main show, and just to really learn from this process and use all of it in the real world as it contributes to shape me to be a better adult.
Looking back at the very first session of us all waiting to hear what our idea was, cake sales, arguments, tears, and funny moments to standing in a circle sending the energy around the space is amazing to look back on.
As a company I think we did really well to pull it out of the bag with our intention, and successfully portray our interpretation to an audience. I am proud of us for taking risks and keeping up with the ground-breaking status we have at BRIT. Ever since year 10 I've always loved the year 13 productions and I've been to see most of them from last years MH370, to Colour Blind.
I've learnt so many new skills from how to successful climb a fence, to really being able to read and embody a story to represent a character. It was fun to be able to think back to physical theatre, and be able to unlock all of those emotions and skills that I learnt through acting. From the intake of so much choreography with the mix of assessments, a levels, general life and Open Invitation, I feel like I have become a quicker, and more efficient person when it comes to stress management.
I have lots of skills that are now transferable in many borders, for example this year I don't know whats happened but I've started to enjoy contemporary. I have to admit for the last 3 years I've really hated it simply because I had no confidence "that I was doing it right" and because I would watch everyone else, and compare myself to them and feel down. After being in Gabby and Theia's, piece and being taught by my peers in a 'no pressure' way, and receiving positive notes from them and just allowing myself to be involved in the piece I have much more confidence in what I am doing, I did find the piece really challenging in some aspects, but looking back on the piece, I hope we did their choreography justice as I thought I danced it to the best of my ability for them.
In regards to the actual performances, what went well?
As a company member I thought that I did well within my role, and well as a performer helping to carry the interpretation, concepts, and emotions throughout.
When dancing I believe I gave it my all and stayed in character the whole time, taking on all of the feedback that was given to me. I hope that this is evident when the show is watched, and is evident through this evaluation process. I really enjoyed the journey we were able to take the audience on as a company and hearing the feedback was even better. From the outset we weren't expecting any applause or any cheering because it wasn't 'that type of show'. So at the end when it came to our bows, and we received a standing ovation, I can speak for all of us and say that we've never felt more humble and joy in our lives. At that moment, I remember us all looking at each other very confused, and shocked because we weren't expecting it at all, and we all couldn't help but smile.
That buzz pushed us to keep tirelessly going onto the next show to bang it out for the last time all over again.
At first I really wasn't excited or keen on dancing about the refugee crisis, because it was so current I was worried that everything would change or we would offend people or that people wouldn't get it, but it was such an awakening and opened my eyes to a lot of things I never knew, never thought I would experience, and never thought we could successfully pull off. The impact that it has had on me is much greater than I ever thought it could be. To say that it has been an emotional roller-coaster would be an understatement because as a company we've loved each other, been divided, wanted to kill each other, and then felt a little closer again by the end of the process, and with it being such an emotional time being auditions season, A-levels approaching, and university applications, everybody has been in such a range of moods, mindsets and more trying to juggle everything at once.
What would be even better?
When it comes to reflection I always find it hard to talk about what would make the show better,a nd my targets for improvements because I am so hard on myself in general, but I think the show could've been even better if we were more united as a strand like we were after bonding in New York, as troubles with friendships, arguments, shouting and everybody not having enough tolerance for one another made the process harder than it needed to be. But apart from that I believe the show was successful, and I really hope that we did Julia and Jodie proud for all o their hard-work, commitment, and time that they put into us and this production.
Targets!
The targets I would set myself would be to transfer all of these skills and new approaches I've learnt into the main show, and just to really learn from this process and use all of it in the real world as it contributes to shape me to be a better adult.
Rehearsal
Today's rehearsal was quite a significant rehearsal as for the first time both Jodie and Julia were hugely unimpressed with us. It really hit home as the show wasn't far away, and its not a nice feeling when your not up to expectations and being a perfectionist myself, it made me want to work even harder. There were so many different things that went wrong with the show run, not just on stage but off stage too. At this point in time, the show was merely a few weeks away and we should've been a lot better.
As a company we really needed to wake up and be more productive, and on our game to get things perfect, and have important things sorted out. Costumes hadn't been bought or yet, people had forgotten props, money hadn't been raised, and ticket sales were low. It felt as if so many things were going wrong but everybody knew we needed to do something. After that rehearsal we had a company meeting and outlined within our small production groups what exactly needed to be done now, and the next set of deadlines that had to be met no matter what. We discussed what went wrong, what could be better, and how we were going to fix things from more rehearsals so rehearsal directors could clean and fix things, to costumes being ordered that night, fundraising events such as the dance off, cake sale, and more sponsorship letters going out. All in all, I feel that the meeting was productive and had set the bar a bit higher for what was next to come.
Guest Choreographer - Shaun
Today was the first day back after the holidays, and I was finding things increasingly hard, because only a year after, another close uncle of mine had passed away within days of each other.
I was generally feeling quite low throughout this process but still trying not to bring all of my problems to school but inside I was really struggling to even come in day to day, having to be a shoulder for my dad, and explain death to my sister, and to have to plan another funeral just after we'd had one.
When we arrived back at BRIT, we were very fortunate enough to have a guest choreographer come in and start to formulate a piece for us. His name was Shaun, and he was so influential to work with. Shaun described the concept of his piece, as being uplifting and the coming together of people trying to hep the refugee crisis. It was such a relief to be doing a happier, and more positive piece as the show does get really depressing because of its sad and sensitive nature.
Shaun really wanted us to pay attention to the lyrics, and find the deeper meaning. The lyrics really related to whats going on in the world today, it was uncanny because the songs were probably written so long ago but the lyrics were more relevant than ever, pushing everyone to really want to captivate the audience.
We only had 4 days to finish the number, in intensive learning style which I didn't have much faith in at the time, and with the funeral being on one of those days, I really didn't want to be any annoyance by missing days and being emotional while we had a guest, I thought I did well trying to keep my life together in this time. Shaun was teaching hip-hop piece, which contrasted differently to most of the pieces in the show, and also showcased that we were all versatile dancers. Personally, I thought that everybody did well with their concentration, commitment, and energy throughout the rehearsal process with Shaun, really trying to bring out the best in all of us. I quite enjoy street/hip-hop and commercial dance, and I was fortunate to be put right at the front for some sections which was even more exciting. Shaun taught us some locking swell which I'd never really "learnt" as such, so it was fun trying something new and take it all in.
The dance starts with Josh watching the tv, as if he is watching a news report on the refugee crisis, the report gets him really angry in a good way, because it motivates him to want to get involved and make a change. The first piece is a select contemporary section to 'Purpose - Justin Bieber' which illustrates the emotions of the refugees dressed in grey (which was the running refugee colour scheme throughout the show) the piece had really nice unison, and solo moments which was lovely to see.
After this section it led into 'Where Is The Love - Black Eyed Peas' which the lyrics really hit because its true, everybody should be more loving and empowered to help in these situations where people are struggling on mass. We were all given numbers and put into groups to learn different sections, entering on and off of the stage at different moments, sometimes overlapping. I was put into group 6, and had lots of choreography to learn that really came with its own vibe of its own, I had to practice this everyday to get the fluidity down, and different sections of popping which I'd also never done so it was all bit new. This then transitioned into the 'Man In The Mirror - Michael Jackson' piece, which the lyrics also really emphasised the feeling of being empowered to make a change.
We learnt the main phrase as a mass, but all filled the stage in dribs and drabs. This then worked itself into a partner section that we were able to have fun with, and work with someone still trying to deliver the intention throughout. My partner was Tyler, and when he was there we worked well together, and were able to vibe off of each other, even though outside of lesson we don't really associate together. I thought that this was sweet as you don't have to even know or be close with someone to do partner work with, I know a massive part of working together is the relationship and trust between you, not to say that were not friends but if its coming across the right way it was nice to have a change and not work with the usual people.
I was generally feeling quite low throughout this process but still trying not to bring all of my problems to school but inside I was really struggling to even come in day to day, having to be a shoulder for my dad, and explain death to my sister, and to have to plan another funeral just after we'd had one.
When we arrived back at BRIT, we were very fortunate enough to have a guest choreographer come in and start to formulate a piece for us. His name was Shaun, and he was so influential to work with. Shaun described the concept of his piece, as being uplifting and the coming together of people trying to hep the refugee crisis. It was such a relief to be doing a happier, and more positive piece as the show does get really depressing because of its sad and sensitive nature.
Shaun really wanted us to pay attention to the lyrics, and find the deeper meaning. The lyrics really related to whats going on in the world today, it was uncanny because the songs were probably written so long ago but the lyrics were more relevant than ever, pushing everyone to really want to captivate the audience.
We only had 4 days to finish the number, in intensive learning style which I didn't have much faith in at the time, and with the funeral being on one of those days, I really didn't want to be any annoyance by missing days and being emotional while we had a guest, I thought I did well trying to keep my life together in this time. Shaun was teaching hip-hop piece, which contrasted differently to most of the pieces in the show, and also showcased that we were all versatile dancers. Personally, I thought that everybody did well with their concentration, commitment, and energy throughout the rehearsal process with Shaun, really trying to bring out the best in all of us. I quite enjoy street/hip-hop and commercial dance, and I was fortunate to be put right at the front for some sections which was even more exciting. Shaun taught us some locking swell which I'd never really "learnt" as such, so it was fun trying something new and take it all in.
The dance starts with Josh watching the tv, as if he is watching a news report on the refugee crisis, the report gets him really angry in a good way, because it motivates him to want to get involved and make a change. The first piece is a select contemporary section to 'Purpose - Justin Bieber' which illustrates the emotions of the refugees dressed in grey (which was the running refugee colour scheme throughout the show) the piece had really nice unison, and solo moments which was lovely to see.
After this section it led into 'Where Is The Love - Black Eyed Peas' which the lyrics really hit because its true, everybody should be more loving and empowered to help in these situations where people are struggling on mass. We were all given numbers and put into groups to learn different sections, entering on and off of the stage at different moments, sometimes overlapping. I was put into group 6, and had lots of choreography to learn that really came with its own vibe of its own, I had to practice this everyday to get the fluidity down, and different sections of popping which I'd also never done so it was all bit new. This then transitioned into the 'Man In The Mirror - Michael Jackson' piece, which the lyrics also really emphasised the feeling of being empowered to make a change.
We learnt the main phrase as a mass, but all filled the stage in dribs and drabs. This then worked itself into a partner section that we were able to have fun with, and work with someone still trying to deliver the intention throughout. My partner was Tyler, and when he was there we worked well together, and were able to vibe off of each other, even though outside of lesson we don't really associate together. I thought that this was sweet as you don't have to even know or be close with someone to do partner work with, I know a massive part of working together is the relationship and trust between you, not to say that were not friends but if its coming across the right way it was nice to have a change and not work with the usual people.
Small Group Police Process
The whole strand has been split into miniature groups of 5/6, and we have each been given a theme/focal point of which to base our dancing around. We were given these based on photographs, and refugee stories as a creative task, which will then be put into the show on a larger scale.
The following groups are:
Police, Camp, Eurostar, Beach, Children, and Seeking Asylum.
My group is Police, and in my group I have: N'dira, Blue, Elisha, GFG, Tyler, Jermaine, and Aaron.
As a group we have been working well together, to all contribute ideas, movement, and to really try and make our piece effective, and I am very grateful to have had a 'stress-free' to a certain extent group that all worked cohesively.
Our piece is based on the horrific picture, of a little syrian boy named Aylan Kurdi. He was tragically found dead, washed up on a Turkish beach by a police officer. The image below, and story is chilling and so touching, which made us wanting to look at different perspectives, different symbolisms, and ways to interpret this story in a respectful way.
As a group we decided to structure the police piece, around the story of Aylan and how his death had effected the police officer in the photo, we had chosen Jermaine and Tyler to try and represent the police officer, but from two contrasting perspectives. In situations like wars and epidemics and political violence, police officers are not often thought about as 'humans' as it is assumed that it just comes with the job. But in fact, when you do think about it, its hard to know if thats what an officer thinks is morally right, or if it is just apart of the conformity, rules, and regulations that they have to follow. Police officers all probably have families, and maybe even children of their own to think about in these situations.
The piece really focus's on the unity of the police force, showing strict lines, and patterns in militant fashion. N'dira and I started researching into stamping and stepping to try and add that to our piece to change up the dynamics and really highlight that we were moving as a force.
We started off by getting a feel of what Stepping was, and took lots of inspiration from the video below.
We watched the below video, and learnt the first and second phrase, so we could take it to our group develop it, and make it more militant in the way we needed it. Over a course of time this phrase kept changing and developing from using our hands more, to using our feet more, and changing the idea of tap shoes, to military boots that we could stamp loudly in.
Blue, Elisha, and Georgia started working on a softer, more contemporary like section for the rest of us to learn to symbolise the breaking of our unity, and to start to introduce the story of Tyler and his "other self" Jermaine highlighting the internal and external conflict of being an officer, and having to experience finding baby Aylan like that.
Dress Rehearsal Notes
OPENING
- looking and starting to be better, respond to funny things in character
- it's ok to turn around when you run back, check your pathway
- transition into walking was much better
- keep thinking of new relevant things to say
- "Their closing the border"
WAITING
- know when to join in, pre-empt things, follow the people in front
- be confident in the stamping transitioning into the camp piece
CAMP
- lean into demi pointe
- check that everybody is on the same legs
- turn leg out in leg extension to corner
- make sure lanyards say "Press" or "Media"
EUROSTAR
- beginning was better but don't respond to when things go wrong
- que point is "danger that's not the answer"
- looked hesitant in places commit to the movement
SEEKING ASYLUM
- make sure things happen in unison
- don't rush the duet, the intention needs to be clear
- be aware
EU RESPONSE
- all the chairs need to be placed down at the same time so there are in the space properly
- make the reason you leave the table exist into the choreography, show the frustration and passion behind decisions
- sustain intention
- take jackets off before the unison part
SEANS PIECE
- better intention
- the light relief is needed at this point so be happier
- after the MJ track keep the vibe up when people are changing
- have purposeful conversations on stage
- josh to lead the bag holding and to make it natural
SMUGGLING
- rehearse the waves
- make sure faces are all eyes to the front on the faces
- be more aware of each other in the unison section, feel each other more
BEACH
- was lovely, no notes good piece
- need more props, towels, books, sun cream, hat, phone, t-shirt, big bag
- physically put sun cream on
- tighten straps on rucksack
POLICE
- grip the hats in a cross
- black polar knecks
- one lot of crossing
SOLIDARITY
- timing of the banner
- dip on the second time before going into the main choreo
- shyam needs to connect with a character
CHILDREN
- work on the lifts
- make sure Sophie is excluded until the end
ENDLESS WALKING
- take time and patience
- feel it
CLOSING
- don't be expecting a massive applause
- take time
1st Rehearsal Notes
Show Notes
OPENING
- no smiling
- mean what you do
- more tension, drama, and breath
WAITING
- don't be dead still, natural movement
- find 2nd and devant in leg swing and stretch back of knees and and ankle
- extend arm on tail spin on floor lift focus
- stretch feet at all times
- "we mean no harm" make a statement
CAMP
- know when to talk and mime
- get changed back into your clothes leave the same clothes in a ready positing
- be happier and more fun loving
EUROSTAR
- be more inquisitive on the train
- more confusion and curiosity throughout
- parallel feet, knees over toes
SEEKING ASYLUM
- somebody to help Jemma bring on the table and chairs, both have to go on from right wings (Jemma, Tumi, Théïa Georgia, Natalie, Ella)
- bring all duets into the space more
- take enough paper big piles so we have decline, going upstairs to throw paper
EU RESPONSE
- faster transition into this piece
- table and chairs need to go off (Ella, Sophie, Mia,Amie,Issy) going off stage right
- ladies do top button up on blouse
- make emotional intentions clear with acting and facial expressions
- build up the tension so it inspires the movement
- invest in the whole movement as a company, support each other
- give a shit about production and the whole journey throughout the show
- aggression and purpose
- black socks plain
SEANS PIECE
- uplifting personality and encouragement
- everybody in shoes up until Michael Jackson piece
- liven up this is an opportunity to enjoy yourselves and smile reflecting the music
- colourful music
- lovely energy and happy vibes
- fuck you government.
- empty black bin bags and set them up yourselves
- don't move until Théïa and Gabby's dancers are all changed
GABBY AND THÉÏA
- enter from behind the ramp on either side
- give clothes to Andrea
- people on rosters jump down and get changed
- no sheet happening but the line disappearing represents the sheet
- look scared and startled whilst looking up at red light
- watch each other and zone out
- when Tash does the wave, do the wave
- spread out the waves and walking on the floor, make spaces between couples
- actually look at each other, share eye contact and big clump
- make sure we have double sided Turkish money
- make sure money is off the stage
- eyeline down in aisha hover
BEACH
- make something of everybody's entrances and exits
POLICE
- black roll knecks for everyone
- black socks and shoes
- trousers are being ordered
- tyler's got costume and beret
- when we jump after tap bit face Anna
- black long socks
- jay and n'dira don't do dragging at the end
SOLIDARITY
- grey zip up hoodie up
- commit to all the movement
- take care with the banner
- floor people go faster and step on the 1
- front line of the flags move back
- exaggerate use of arms and flags
CHILDREN
- bare feet for children
- make sure feet are pointed throughout
- Théïa bring a doll
- bring a blanket
- fill the movement and find space
FINALE
- dance in the space and not all at once
Refugee Crisis?
The Refugee Crisis began in 2015, as Europe started struggling, to manage the worst influx of migrants since World War II. Migrants began to cross over European borders from the likes of Syria, Afghanistan, Turkey, Greece and more. Fleeing war, and any of those making the arduous journey are fleeing the civil war in Syria, now in its fifth year. Many of the refugees have come from Syria where a civil war has been taking place for the last 4 years. over 4 million have fled the country and the majority decide in refugee camps in neighbouring countries around the world. The UN and EU were really unprepared for this, as camps have become over-crowded.
Joe & Joe
Early into the rehearsal process, in todays session we had the privilege to speak to playwrights Joe Murphy and Joe Robertson, who are planning to stage weekly productions created by migrants in Calais. They are trying to give migrants a chance to express themselves, and give them a platform to tell their stories on as times are tough in the refugee camps. It was really inspiring to hear their stories, because they've been going back and forth to Calais, bringing refugees shoes, batteries, and phones to the people out there that need them.
Joe and Joe wanted to make a difference, by giving the refugees something to do, as time can be pressing stuck in the camps all day indefinitely. Joe and Joe shared that everybody there has a story to tell, and no platform for them to share on. This pushed them to set up "The Good Chance Theatre" to set up a place where refugees could reflect, share and tell their stories in a welcoming environment. It would also bring about positivity, and hope because everybody is in the same situation and has gone through different things. I think its amazing that they are bringing creativity to the camps, as art is an amazing outlet whether its dancing, acting, spoken word, singing or anything that promotes freedom of thought and speech. The space is open to everybody of every race, age, nationality, belief, or gender. In the evenings, they play games, and there are even night clubs, and shops built in the camps
Refugee camps had to be set up by European governments to temporarily house migrants, who have traveled thousands of miles trying to reach the UK borders. An easy journey would be an understatement as refugees have taken on life-threatening journeys by sneaking onto lorries,onto Eurotunnel trains, or by walking across the high speed tunnel passageways. Below are some ariel pictures of what a refugee camp looks like.
Joe and Joe said that the camps are "ridiculously over capacity" as people simply have nowhere else to go. Using their phones to try ad reach relatives in other countries or to keep in contact with families they've had to leave behind as they make their journeys. The camps are and full of multi-cultural people, and are split into men/women and children, there is a real sense of community filed with different religions, stories, and backgrounds.
In the Calais camps refugee's are forced to make dangerous journeys crossing motorways, bridges, and climbing fences to try and get to a better life. In the camps they are living in basic conditions, with not nearly enough toilets, medical help, for washing, or electricity to support everyone. The camp is considered a massive stop over in-between the refugees journeys. The day time is very quite but as soon as the evening hits, the camp is alive with refugees making their journeys to The Channel Tunnel in the hopes of getting into Britain. As soon as opportunity hits the refugees optimistically try and climb into the back of Lorry's in the hopes of survival. Sadly more than 500 people have died making these jounerys in air-tight, claustrophobic conditions.
In the Calais camps refugee's are forced to make dangerous journeys crossing motorways, bridges, and climbing fences to try and get to a better life. In the camps they are living in basic conditions, with not nearly enough toilets, medical help, for washing, or electricity to support everyone. The camp is considered a massive stop over in-between the refugees journeys. The day time is very quite but as soon as the evening hits, the camp is alive with refugees making their journeys to The Channel Tunnel in the hopes of getting into Britain. As soon as opportunity hits the refugees optimistically try and climb into the back of Lorry's in the hopes of survival. Sadly more than 500 people have died making these jounerys in air-tight, claustrophobic conditions.
Joe and Joe wanted to make a difference, by giving the refugees something to do, as time can be pressing stuck in the camps all day indefinitely. Joe and Joe shared that everybody there has a story to tell, and no platform for them to share on. This pushed them to set up "The Good Chance Theatre" to set up a place where refugees could reflect, share and tell their stories in a welcoming environment. It would also bring about positivity, and hope because everybody is in the same situation and has gone through different things. I think its amazing that they are bringing creativity to the camps, as art is an amazing outlet whether its dancing, acting, spoken word, singing or anything that promotes freedom of thought and speech. The space is open to everybody of every race, age, nationality, belief, or gender. In the evenings, they play games, and there are even night clubs, and shops built in the camps
Media Update
So far Caiman and I have been shooting the dancers in class with Jemma and Tash's camera's which they kindly lent us, but after the holidays it was very hard to get the footage off them to be able to convert, and the we did eventually get to see it and decide whether we anted to use it, the footage wasn't effective enough, so we ended up shooting again in The Obie with my camera and tripod lent from the Media Dept, to add to news clippings in the trailer that we had found between us, it was much easier to work with. Caiman first drew up a demo video using her phone, to show to Jodie and Julia, so we had a rough idea of what to go for, and a good structure to base our proper full length video on, it also taught us what looked good on camera, and which effects would sit well together when it came to fixing and editing parts.
Honestly, it has been a struggle with the two of us doing everything, as none of our group has really helped us at all, I wouldn't want to sugar coat it, because we've literally had no help from anybody, and its been really frustrating for us, as a friend you get stuck because you don't want to be bossy, naggy, or annoying but the idea of teamwork was really non-existent, and also sad because at the start things looked very promising, but after ignoring our messages and not following through with things, and just having no care for the media group, it was evident that we could only rely on ourselves, and that was intact a good life lesson too, so there is no love lost.
We just had to get on with things, and I think we will do a good job despite this, but I would love to let the end project be proof of this in the coming weeks.
In light of this now 3 weeks down the line we have got a finished trailer and are ready to show it Julia and Jodie. (BUZZING) After our well structured Friday sessions, we had finished the first draft and received notes of what to change
- More cross over transitions and layering of the dancers
- More Cross Fades in and out of things
- They liked the fading in and out of movements especially when it looked as if the dancers, were dancing on the beach moving onto the next story
- Exported and sent to Guy and those in TTA, in charge of audio and visuals
- Emailed to everybody in other groups eg. marketing,sponsorship, and teachers
Our trailer consists of news articles, clippings, and footage of the dancers to give promotion for the show. Joe the media technician has been so helpful as we've learnt to successfully convert, import and change sections of audio for the trailer over the past couple of weeks brining it all together. Above is the finished trailer, which the teachers were happy with and will be used in Open Invitation and hopefully put on display in the foyer on the tv screens. I am so so proud of the work we've done as it makes all of the time we spent each week worth it, and also gave us new skills and techniques to use in the future.
Honestly, it has been a struggle with the two of us doing everything, as none of our group has really helped us at all, I wouldn't want to sugar coat it, because we've literally had no help from anybody, and its been really frustrating for us, as a friend you get stuck because you don't want to be bossy, naggy, or annoying but the idea of teamwork was really non-existent, and also sad because at the start things looked very promising, but after ignoring our messages and not following through with things, and just having no care for the media group, it was evident that we could only rely on ourselves, and that was intact a good life lesson too, so there is no love lost.
We just had to get on with things, and I think we will do a good job despite this, but I would love to let the end project be proof of this in the coming weeks.
In light of this now 3 weeks down the line we have got a finished trailer and are ready to show it Julia and Jodie. (BUZZING) After our well structured Friday sessions, we had finished the first draft and received notes of what to change
- More cross over transitions and layering of the dancers
- More Cross Fades in and out of things
- They liked the fading in and out of movements especially when it looked as if the dancers, were dancing on the beach moving onto the next story
- Exported and sent to Guy and those in TTA, in charge of audio and visuals
- Emailed to everybody in other groups eg. marketing,sponsorship, and teachers
Our trailer consists of news articles, clippings, and footage of the dancers to give promotion for the show. Joe the media technician has been so helpful as we've learnt to successfully convert, import and change sections of audio for the trailer over the past couple of weeks brining it all together. Above is the finished trailer, which the teachers were happy with and will be used in Open Invitation and hopefully put on display in the foyer on the tv screens. I am so so proud of the work we've done as it makes all of the time we spent each week worth it, and also gave us new skills and techniques to use in the future.
Props List
COSTUME LIST for every group:
🔸Children's piece - nothing needed/being provided
🔸Seeking asylum office piece - nothing needed/being provided
🔸Beach piece - nothing needed/being provided
🔸Eurostar piece -
1 pair of military black boots size 8
2 black beanies
4 black turtle neck tops
2 black hoodies
4 pairs of black gloves
4 high vis jackets
1 pair of military black boots size 8
2 black beanies
4 black turtle neck tops
2 black hoodies
4 pairs of black gloves
4 high vis jackets
🔸Refugee camp piece -
Nothing written specifically just says baggy neutral clothing, are you supplying this?
Nothing written specifically just says baggy neutral clothing, are you supplying this?
🔸Police piece -
Military boots x8
Khaki army trousers x12
Khaki sweater x12
Khaki beret hat x8
Beige nude oversized shirts x6
1 Turkish flag
Do you need the life guard jackets?
Military boots x8
Khaki army trousers x12
Khaki sweater x12
Khaki beret hat x8
Beige nude oversized shirts x6
1 Turkish flag
Do you need the life guard jackets?
🔸Guest choreography Shaun's piece -
Own clothes in red, grey, black and white.
Refugees for Shaun's piece - brown/khaki coats scarfs etc.
Own clothes in red, grey, black and white.
Refugees for Shaun's piece - brown/khaki coats scarfs etc.
🔸Blue and Dalvins piece -
Black suits and trousers for the boys x6
Black fitted trousers for the girls x18
White chiffon blouses x18
Black fitted Blazers for the girls x18
Black socks x24
Classic white shirts for the boys x6
Royal blue ties x2
Bright red ties x3
Sharpe white ties x2
Red flowers x8 (to stitch onto blazers)
Royal blue flowers x9
Sharpe white flowers x3
Black suits and trousers for the boys x6
Black fitted trousers for the girls x18
White chiffon blouses x18
Black fitted Blazers for the girls x18
Black socks x24
Classic white shirts for the boys x6
Royal blue ties x2
Bright red ties x3
Sharpe white ties x2
Red flowers x8 (to stitch onto blazers)
Royal blue flowers x9
Sharpe white flowers x3
🔸Gaby and Theias piece -
Black linen trousers with pockets x1
Long sleeve white top x1
Smugglees(everyone else in group) - white linen trousers with pockets long sleeve white tops
Black linen trousers with pockets x1
Long sleeve white top x1
Smugglees(everyone else in group) - white linen trousers with pockets long sleeve white tops
My Personal Costumes Notes and Stage Notes
Moral Panic
- Costumes -
Normal - Blue Denim and bright colours for the end closing
Refugee - Layers of grey ✨
for most of the show
Shaun's - Red,blue, and white no shoes
Gabby and Théïa - White Linen
Police - camo trousers, khaki jumper, beret, boots✨
- Opening Fence Section
- enter stage right with Sophie
- climb over the fence
- push fence back then start motif 2
- Waiting piece
- start on stage on floor, after diagonal clump, do Clare's motif and exit stage left and join back in for cannon section, and exit stage left
- Camp piece
- Eurostar piece
- Seeking Asylum EU Office
-----------------------------------
- Enter front piece stage right in diagonal line holding papers,gather on stage then go up onto the roster and throw declined papers down
- Shaun's piece
- enter stage right middle wing for where's the love, walk off stage left, come on for man in the mirror, walk back and strip on stage for Gabby and Théïa's into white then get down underneath sheet
- Gabby and Théïa's piece
- start on stage, complete first section then go off stage left, run back on for faces and exit stage right, come across for line section with Maddie, go around and
- exit in black out stage left
- Beach piece
- Blue and Dalvins
• Police piece
- Enter Stage Left
- Dalvin and Josh with 2 flash lights shouting in English and Turkish
- 2 people with flash lights and extras in white coming in down the audience sides marching with onto stage
- Main group to start the marching and salute phrase and when we start travelling in the gun phrase have the extras march off doing phrase to cross in an X
- Start the rest of the piece, blue wonders off first, then the rest join in cannon once they spot the child on the floor (Anna)
- Girls go off and do motif in the corner, extra girls run on travelling then run and jump onto our backs and we drag them off. (Caiman,Chanel,Aisha,Amie,Talia)
- Jermaine and Tyler start duet, extra boys come on (Dalvin,Shyam,Josh,Kamau,Moses,Connor)
- Join the boys on stage, as Tyler walks back for group clump, start motif Blue,Elisha and Tyler break off leaving Jay,N'dira,Jermaine,Georgia,Aaron,Josh,Dalvin,Shyam,Kamau doing floor section
- Elisha,Blue and Tyler complete their section
- Everyone else does the floor section, into partner lifts Jay,Moses,N,dira, Tyler, Connor and Georgia
- Jermaine,Tyler, Shyam,Dalvin,Kamau up on the roster doing dynamic section
- Elisha and blue finish their section and the duets are carried off stage by boys, then partners come back on for random sections and everybody ends with dragging back and forth.
Waiting
The very first piece we started as a company was our waiting piece, this piece represents the endless waiting faced by refugees everyday. Constantly waiting to cross borders, be granted visas, queueing and more for the majority of the time. We all start sitting scattered across the floor in blurred sort of lines, waiting in a variety of natural waiting positions such as laying down, sitting up, crossed legs, and more to really symbolise this. The music playing is very clock like and is really clever because it really does make it seem like the long process that it is without any need for explanation.
We were all given lots of choreography tasks from learning motifs, and making them our own to using choreographic devices to change up the material in partners and groups, this lets us all have different input into the piece and just let the creative juices flow and seeing how everybody moves,
structuring waiting was as long as it sounds as there were so many different sections of unison, cannon, and small groups repeating and picking up choreography here and there. After we all gravitated to the corner, I learnt Clare and Andrea's choreography that starts running across the stage with a dramatic slide, it was fun learning somebody else's work as we all had different ideas and input. I felt that today's rehearsal was really productive and started to make me have more confidence in the show, as we had gotten so much done in so little time.
structuring waiting was as long as it sounds as there were so many different sections of unison, cannon, and small groups repeating and picking up choreography here and there. After we all gravitated to the corner, I learnt Clare and Andrea's choreography that starts running across the stage with a dramatic slide, it was fun learning somebody else's work as we all had different ideas and input. I felt that today's rehearsal was really productive and started to make me have more confidence in the show, as we had gotten so much done in so little time.
on Monday's and Wednesday's rehearsal directors have started to set up lunchtime rehearsals to go over and start cleaning pieces. We are all communicating through the group chat and starting to post any news, information, and updates about the show which is making things easier yet tense at time when there are little arguments about timings and lack of communication.
Media Role Update
To get the job done, Caiman and I have decided that we will edit the footage on Friday's after A-level and Route B for an hour or so for the next couple of weeks. Our group has been really peaceful yet un-productive with things leaving us two to do all of the work. Luckily we didn't mind as we were used to everything from our media lessons, but the group chat has not been in use, I set up a google drive so that everybody could post any interviews or good footage they may have come across and for any updates. So far nobody has come up with anything, so Caiman and I have started to search for interviews and articles on You Tube, BBC News, ITV News, and other news stations internationally to get a range of opinions, stories and footage.
My Media Role
Similar to our year 11 production, everybody in Displacement Dance Theatre, has to apply for a role to help bring the show together. The roles consist of Media, Assistant Choreographer, Costume, Set and Props, Lighting, Script, Front of House, Marketing, Rehearsal Directors, and Sponsorship.
In the last show I was an Assistant Choreographer, in which I really enjoyed creating a piece for with Dalvin. But this year after starting my A-Levels, and finding a passion for media and film, I thought it would be a good idea to apply for the Media role.
In order to be considered for the role, we all have to write a letter applying formally for the role, explaining the reasons why we would most be suitable for the role, and what experiences we may have had within the role. This would be easy to complete for me, as I study media once a week and have learnt so much in the last year already that I would be able to bring forward to the team.
After a week or so, the next time we met we were all excitedly allocated our roles for production.
I was happy to know that I was lucky to be given the role of Media, which I applied for and was ready to get to work with my group.
My Group
- Jay
- Caiman
- Aisha
- Moses
- Jermaine
- Kamau
Once we all digested this new information, we quickly gathered in our groups and were able to set ourselves tasks to help get things done, and establish our deadlines.
Caiman and I, still study media and has good relationships with the media production teachers, who would have no problem lending us equipment or letting us spend added time in the edit suite, which put us in charge or pictures and the trailer with the help of Aisha
Moses and Jermaine are in charge of music and sound, gathering all of the sound effects needed throughout the show and finding and editing any music needed by any teachers or groups.
Kamau and Aisha are in charge of research and information to help support the trailer and photos, getting all the chosen video clippings, and as he takes the train everyday it would be easy for him to pick up some news papers on the way and be able to cut or rip out any stories that would be helpful when it came to editing
We have set ourselves a deadline of before Open Invitation so we would have the trailer finished, and edited including the music so that everybody has enough time to feedback and make any changes.
The Idea
After the holidays, coming back was very exciting as production project would be in full swing.
Before we left for the holidays, everybody was brain storming ideas for our show in February 2016.
At first we sat down in a massive circle, and the teachers explained to us that over the break they had planned a whole show based on 'Alice and Wonderland', as soon as they said this everybody was buzzing with excitement, but this soon changed when Julia and Jodie had changed their minds and decided to do something really current, controversial, and hard-hitting.
The BRIT School is a place known for the unusual, controversial, and tackling the hard-hitting subjects that other schools and colleges may not have the courage to do. They had decided that we were going to portray the current refugee crisis that is effecting Europe.
As a group we all definitely needed to do our research, as the refugee crisis is something that was also taking place in the UK, its on the news everyday. The refugee crisis is all really controversial because there are so many conflicting opinions on the whole situation, what should be done, and what shouldn't be done looking into the welfare of these people and the countries they are trying to get to.
This made me really sceptical towards the show, as at any day in our months of structuring and planing, a massive breakthrough or change from the government or society could happen, invalidating our show but it was also exciting because all of our news and research was up to date, and we could really raise awareness and speak for the those who cannot always be heard.
I feel like through the medium of dance, so much can be taken in by an audience, as we are only using our bodies, faces, and movement to make an impact and take the audience on a journey.
If one person leaves The Obie feeling touches, angry, motivated, disgusted or saddened, then they are leaving with more than they came with and are hopefully pushed to make a change, and help those in need.
As well as talks about our show, as a strand we needed to come up with a company name for ourselves and a show title, that was relevant. We were all told to get thinking and come up with some names for both, as we satin a circle having a massive discussion. In the end we chose 'Moral Panic' for the show title, as it is really challenging morality and society, and with the mass media involved at every angle it could turn the whole crisis into a panic if it posed a threat to Britain.
Moral Panic - an instance of public anxiety or alarm in response to a problem regarded as threatening the moral standards of society.
For our company name we have chosen 'Displacement Dance Theatre' shortened to 'DDT'. We have interpreted the meaning of 'Displacement' in the most literal way, as all of these refugees who have mostly come from good, well-educated, and loving families, have been forced to leave their homes because of a war they never wanted, often having made dangerous journeys, leaving their loved ones, brutal abuse, and death as a direct consequence, all to try and get to safety, so they can rebuild better lives for themselves. Our show name and company name gel nicely together, as they both summarise and highlight the message we are trying to portray.
Displacement - take over the place, position, or role of.
- move (something) from its proper or usual position.
- force (someone) to leave their home, typically because of war, persecution, or natural disaster
Before we left for the holidays, everybody was brain storming ideas for our show in February 2016.
The BRIT School is a place known for the unusual, controversial, and tackling the hard-hitting subjects that other schools and colleges may not have the courage to do. They had decided that we were going to portray the current refugee crisis that is effecting Europe.
As a group we all definitely needed to do our research, as the refugee crisis is something that was also taking place in the UK, its on the news everyday. The refugee crisis is all really controversial because there are so many conflicting opinions on the whole situation, what should be done, and what shouldn't be done looking into the welfare of these people and the countries they are trying to get to.
This made me really sceptical towards the show, as at any day in our months of structuring and planing, a massive breakthrough or change from the government or society could happen, invalidating our show but it was also exciting because all of our news and research was up to date, and we could really raise awareness and speak for the those who cannot always be heard.
I feel like through the medium of dance, so much can be taken in by an audience, as we are only using our bodies, faces, and movement to make an impact and take the audience on a journey.
If one person leaves The Obie feeling touches, angry, motivated, disgusted or saddened, then they are leaving with more than they came with and are hopefully pushed to make a change, and help those in need.
As well as talks about our show, as a strand we needed to come up with a company name for ourselves and a show title, that was relevant. We were all told to get thinking and come up with some names for both, as we satin a circle having a massive discussion. In the end we chose 'Moral Panic' for the show title, as it is really challenging morality and society, and with the mass media involved at every angle it could turn the whole crisis into a panic if it posed a threat to Britain.
Moral Panic - an instance of public anxiety or alarm in response to a problem regarded as threatening the moral standards of society.
For our company name we have chosen 'Displacement Dance Theatre' shortened to 'DDT'. We have interpreted the meaning of 'Displacement' in the most literal way, as all of these refugees who have mostly come from good, well-educated, and loving families, have been forced to leave their homes because of a war they never wanted, often having made dangerous journeys, leaving their loved ones, brutal abuse, and death as a direct consequence, all to try and get to safety, so they can rebuild better lives for themselves. Our show name and company name gel nicely together, as they both summarise and highlight the message we are trying to portray.
Displacement - take over the place, position, or role of.
- move (something) from its proper or usual position.
- force (someone) to leave their home, typically because of war, persecution, or natural disaster
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