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This article describes the development of the Symphonic Project that incorporates Wing Chun movements in contemporary dance.
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- Symphonic Project
- CHOREOGRAPHIC VOCABULARY AND STRUCTURE
- SOUND & MUSIC
- COSTUME AND LIGHTING
- FURTHER TRAINING, COORDINATION AND ADMINISTRATION
- BIBLIOGRAPHY
The Symphonic project is a pilot project run by Indigo Dance ( Artistic Director & Project Leader, Suzette Watson) for their newly formed Youth Company: Rhythmic Warriors, Boys Youth Dance & Performance Company.
The Symphonic project consisted of:
training with the Martial Arts Master, Eddie Yuen, in Wing Chun Kuen Kung Fu theory and techniques, followed by intensive choreographic period with Indigo Dance, to create, develop and rehearse the new piece, Flux & Flow, and ends with touring and continuous development of the piece.
Set to an eclectic mix of Drum and Bass, Swing and Hip Hop music, the piece is an exploration of the application of contemporary and post-modern choreographic devices to Wing Chun techniques and principles. The project was supported by written, practical and visual background information on the History, Principles and Practice of Wing Chun Kuen Kung Fu and Modern to Post-Modern Dance.
The Symphonic project was conceived and planned in the summer of 2002 to be executed from the Autumn of 2002. The hope was that Symphonic would be influenced by the work being completed by the Project Leader at Laban, on the MA European Dance-Theatre Practice course.
The ethos of the project was to interest and involve boys and young men in Dance and Movement training and performance. Through this involvement, to then assist them in developing and sustaining various physical, intellectual, mental, emotional and social skills. To introduce them to the project and to hold their attention, the initial Principles and Practice of Movement studied would be closely linked to the Martial Arts. The chosen Art form was Wing Chun Kuen Kung Fu.
A detailed article follows on the history and evolution of Chinese Martial Arts and Wing Chun Kuen Kung Fu. The reason for choosing Wing Chun as the Art form to be studied, as opposed to a more well known or virtuosic style, is that its subtle simplicity and emphasis on clear and well formed theories of ergonomically efficient techniques have a parallel to theories prevalent in Contemporary and Post-Modern Dance.
I was privileged to study over an intensive period with Sifu Eddie Yuen, the basic principles of Wing Chun. Wing Chun is usually identified as a soft style, however it is comprised of both hard and soft- meaning it works both by meeting force with force (hard) and with evasive maneuvering (soft). As evidenced by the great body of research that exists on the Chinese Martial Arts, there is much controversy over their history and development. As the supporting article included in this treatise deals with this, this portion shall touch only on the actual physical forms and theories of the system Wing Chun, as learned for the purposes of the Symphonic Project.
The main principles of Wing Chun are:
- Centre-line theory; the protection/attack of major pressure points
- Ergonomic motion
- Each movement/technique a combination of attack and defense
These three principles are interdependent and interlocking, running clearly throughout all element of the technique.
During the intensive training, I was introduced to all aspects of the Art form, in basic format. These are:
- The Three Forms or patterns, to be practiced solo
- The defense techniques, pairs
- The mook yan jong or wooden dummy. Solo
For the purposes of the project, it was most important to grasp the underlying principles of movement and the basics of the Three Forms, as these form the foundation for all other movement in the system. The forms are far less complicated than those of other Arts, maintaining the three principles throughout. The soft style, is in evidence in the “floating” of the arm, led by the elbow, achieved for the hand/arm movements . Hard style is more often in use during the defense techniques, and then always in combination with the soft.
Particular defense techniques, such as the well-known lok sau (rolling hands) and chi sau
(sticky hands), were excellent for obtaining a grasp of the movements in practice. Both exercises are designed to stimulate sensitivity to touch and a deeper awareness of the outer limits of the physical self, specifically in relationship to a partner. Initially the technique is learnt with the eyes open, but unlike other Art forms, no eye contact is made. Eventually, as skill increases and power is heightened, the technique is practiced with eyes closed or blindfolded.
The typical movements, such as taan sau (blocking technique), wu sau (guard) and bong sau (wing arm) established an understanding of the effort/force used in techniques general. All three movements easily metamorphosize into each other, providing both defense and attack with the ability to “slip” out of each movement, and so sustaining freedom from attack. This is the soft style- very little resistance in the arms and essentially evasive. Sifu worked a great deal on establishing mental imagery, and thus focusing on generating Chi Gong (inner energy) to send power to the limbs while physically keeping the movements soft.
There are very few leg or kicking techniques, those that there are being executed to remain below waist level. They double as attacking and defense techniques and are ergonomically more rational, expending less energy to accomplish the same effect (disablement of opponent) as the higher, twisting and jumping kicks of other techniques. The are no jumping techniques at all, the strength of the Art lying in close quarter techniques, relying on speed and subtlety.
Over all, the system has created the most effective single techniques, to both attack and defend in any possible situation.
The choice of instructor for the project, Sifu Eddie Yuen, was not only based on his excellent grasp and decades long study, of Wing Chun Kuen Kung Fu, as well as several other Martial Arts. His quiet power and gentle approach in the teaching of the material, his dedication to research and his wish to promote Wing Chun as a system for daily life, not only for fighting, made him the ideal candidate to be the first point of contact for project participants. His influence established a sense of serious study, though exciting and potentially dangerous material was executed and examined.
I had a short time to reflect on what I understood to be the underlying principles of the Art Form and then to translate that into workable practice and establish a basic choreographic plan for the group of Performers, who would number eleven. My Assistant Choreographer worked with me throughout the project and during the first phase Sifu had the assistance of several senior members of his Wing Chun School.
After the intensive period of training with Sifu, there followed a week with Project participants, open to any boy aged 11-25. The invitation to join the project as a whole and this first phase was limited to a particular group of boys from one school; twenty-five signed the list to take part in the First Phase (Martial Arts training). The training was an even further simplified version of the intensive week that I underwent. Six techniques were learned and the three forms (in basic). A display of the three forms and of the weapons system was given by Sifu and his students. No use of the Mook Yan Jong was undertaken.
None of the participants had any experience whatsoever of Dance, though approximately 10% had studied another form of Martial Arts and 50% had performed in live Theatrical productions at some point. They were aged 11-16 years. From the first day of the project, it was clear that there would be a natural fallout, due to the intensity of the work. The eleven boys who would be best suited to continue into the dance and performance phases, would be selected by the end of the Martial Arts training.
All were given a written information pack on Wing Chun and a pack on Dance History and Practice. (During each phase there was also practical, verbal and visual information available and implemented in the elucidation of theories and practice)
After the phase Martial Arts training ended, there began one week of choregraphing the piece followed by one week of reharsals. The final phase, was technical rehearsal, performance and touring, which is still underway. The performers became known as Rhythmic Warriors Boys Youth Dance/Performance Company and have a touring schedule that is comprised of small to middle scale traditional theatrical venues and site specific events. The piece created, called Flux & Flow, will be developed and extended, at the instigation of the company members
Interestingly, all the participants had been labeled by teaching staff as either lacking in confidence, physical coordination, concentrative powers, cognitive ability and/or powers of long and short-term memory. By projects’ end, all performers had demonstrated, both practically and theoretically, a stronger and more mature grasp of these and other skills. This was highlighted by the spectator response to their performances and by their changed attitude to themselves, noticed by self-same teachers and by participants.
Besides the overall structure of the piece, the main points related to Wing Chun, that I chose to manipulate either through task based direction for participants or my own choreographic creation were:
- fracturing of the natural order or sequence of the movements
- transposing movements from the three forms and interchanging them
- varying tempo of movements usually performed at a specific pace
- finding ways to perform the essence of techniques performed in pairs, as solo work
- exploring the lok sau & chi sau sensitivity through the similar work in counterbalance and lifting
- using travelling and pathways to create a sense of space and line, in contrast to wing chun’s close quarter/static style
In addition to the Wing Chun material and the manipulation of it, the only other movements used in the final performance piece would come from participants: thus making it both an impressive and expressive project. Retaining the original Martial Arts look without the final performance product being stereotypically classified as either Dance or Martial Arts. Also relieving any uncertainty participants might have, over being made to dance and allowing more time to be spent on strengthening the existing material without having to learn material unrelated to the initial phase.
Performers were specifically asked to study some of the written material on the principles and practice of Laban, Cunningham and Forsythe and to make connections between their methods of creating work and the Project
Performers were given direction and instruction on the process of creating and developing the work and the purpose behind each choice. This specifically relating not only to structuring the physical framework of the piece, but less immediately obvious, but equally important aspects. Such as, focus, level of energy personally and within the piece as a whole, inner attitude, deliberate lack of overlaid emotion or narrative. The piece was very strictly about the visual and physical quality created; participants were wholly aware of this.
Participants were also commentators and observers during the rehearsal phase. Encouraged to give and receive notes and constructive criticism. Evaluation was conducted throughout the project; not only on clarifying the piece, but also on the effects of the process on the performers. These evaluations were between performers, Project Leader and Assistant Choreographer and the Education Liaison.
Extensive notes made by the Project Leader are available for viewing.
Although all the concepts named were explored in varying degrees, the work is still on tour and in development and doubtless does not as yet fully actualise the complete and utter essence of all that was planned. It has also not yet had the opportunity to extend beyond the plan.
The choreographic devices and principles used to explore and establish the material and create the structure were applied in layers. Two simple movement vocabularies were established for the first half and the second half, derived from the Wing Chun study and chosen by the participants and the Project Leader. The following were utilized, either in the structure, or in the manipulation of the vocabulary:
- Axes, Orientation and Focus
- Tempo
- Proxemics
- Harmonic Counterpoint
- Reversal and Symmetric Repetition
- Repetition
- Fragmentation
- Juxtaposition
- Context
- Pathways
- Meter
- Levels
- Reification
- Dynamics/Rhythm
- Intention-Impression-Interpretation
- Canon
- Manner of Manipulation
- Behavioral Gesture and Posture
- Stabile/Labile
- Laban’s Relationships
Before beginning of the project, I had some thoughts on the behavior of people in large urban crowds- their awareness of self, the larger group, their actions, purpose and destination in relation to these.
Leading on from this I was also intrigued by proxemics in relation to urban life- bonding, affiliation, the self versus the group and how groupings are defined.
I touched very sparingly on these concepts in the structuring of the piece.
(own notes from 28/10/02)
The piece was made without using music in the creative or rehearsal process. Performers were told the styles of music that would form the final piece. Swing (1930- 40’s), Hip Hop/Trip-Hop (1980’s) and Drum & Bass (1990- 2000’s) were chosen. Chosen not only for their rhythmic style and melodic content, but also to subtly allude to the progression of these styles: from underground and linked with more subversive social dance and/or groups, to popular cultural and social consumption. Of course, the final mix of the music was also designed with the Project participants in mind. To give them a score that was referential, driving, accessible and yet comfortable to perform with and not to. The juxtaposition and removal from context of the music created a mirror and counterpoint with the movement selections in the final performance piece.
Having worked without the music, until the last two rehearsals, once it was introduced, a struggle was evidenced in the attempt to maintain internal meter against the meter of the music. This created a subtle physical tension consistent with the underlying Wing Chun principles.
I was particularly inspired by Trisha Brown’s comments on her work, Musical Offering:
“Don’t pander to Bach or stand back in belligerence- but to create a third music, move into a more percussive realm of music”.
The costume is an informal black or green tee shirt with black trousers for informal showings.
For the formal performances, the costume establishes an element of reification (a black long sleeved undershirt and gray trousers), and akin to Cunningham’s work, is in counterpoint to the individuality of the over shirt (each unique, multi coloured, patterned in Oriental symbology and written characters).
The lighting mirrors the pathways created by the movement, stays Open White in colour throughout, again mirroring the subtle within subtle of the Wing Chun stimulus.
Another influence was the Masters of Colour exhibition at the Royal Academy (November 2002); in particular the painting Inscription-like 1920 by Paul Klee. My colleague Uma Mather and I discussed the creation of a liminal space based on our impressions of viewing the painting.
The colours used in the work and the mood created by them, was a great influence on my decisions for costume and lighting.
Rhythmic Warriors company members are invited to continue weekly training with Sifu Eddie Yuen and to develop Flux & Flow by attending choreographic workshops and rehearsals with Indigo Dance. There are also opportunities to view the work of youth, integrated and professional dance/movement companies.
Three shared youth platforms for the benefit of Rhythmic Warriors have been coordinated by Indigo Dance, as well as the group having been invited to perform at various local and regional platforms.
All planning, research and coordination of the project and Rhythmic Warriors Company are under the direction of Indigo Dance’s Artistic Director, Suzette Watson.
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