Engaging in Contemporary Artmaking

In Art21 (2014) document series video, Janine Antoni: Collaborating with Stephan Petronio, artists, Janine Antoni and Stephan Petronio discuss their collaborative process, creating, performance pieces for the stage and Film. Bringing forth her mastery of a Visual Arts background, Antoni works with choreographing artist Petronio to produce Like Lazarus Did (2013). An alluring and captivating theatrical dance piece. The second body of work, Honey Baby (2013), is a visually sublime experience that records a performing artist suspended in space covered in honey for Film. Rather than staying in their respected fields, the artists discuss how collaboration works in their creating process. Where dance becomes as integral as the visual components in a piece and how both artists become enthralled in each other’s contributions creating an equal and supportive partnership. 

In Like Lazarus Did (2013), perfumed at The Joyce Theatre in New York, Antoni comments how Petronio’s work had been structurally based on the ideas of “elevation and transcendence” (Antoni, 2:10). As the performers move through space, intensely, and exuberantly with extended and elongated movements, Antoni contributes to this particular work in a non-traditional or expected fashion. Rather than using her Visual Arts background to aid costume or scenery “set design” (Antoni, 2:33) as one would expect, she sculpturally becomes part of the dance work. Suspended above the theatre, Antoni hangs within a consuming and meditative silence nestled in an ornately designed vessel “offering [the piece] stillness” (Antoni, 2:31). As she looks within “her body [meditatively still], the audience looks at the bodies [of the performers that dance before them on the stage]” (Petronio, 2:49). Most intriguing, this body of work blurs the lines of an artist’s role. For instance, as a choreographer, Petronio visualizes movements for his company dancers to perform physically. Descriptively, as Visual Artist Antoni hangs suspended in space with her eyes closed within her sculpture, it is as if she dreams the dance artists to life as they cascade in and out of the stage for the duration of the two hours the performance runs. The collaboration for this choreographic work is seamless as Antoni morphs into a performer. The dance piece is a visually engaging experience as it extends from the stage, ethereally levitating towards the ceiling, capturing an audience’s gaze as Antoni hangs before their eyes above them. The use of sculpture elevates the piece that physically transforms the ideas of elevation and hight, which Petronio is unable to do with a dancers movement solely. 

“Using the images [of a family member’s] sonograms, [Petronio breathtakingly] choreographed the last piece of Like Lazarus Did (2013)” (Antoni, 3:24). In which became the premise of an exquisitely encapsulated performance piece for Film. In Honey Baby (2013), mimicking liquid abiotic fluid, a dancer glides and pushes honey that cushions the contracting movements of his body. Confined in a spherical space, as to resemble a mother’s womb, the use of the camera shots captivates the viewer’s gaze. Following every intricate and gentle movement, one feels as one has entered a sacred and intimate moment viewing an implied nude body move. The performing arts, such as dance, is a fleeting theatrical experience. Yet, the use of Film allows for Petronio’s choreographic work to become immortalized. 

Creating a journal exercise, I was inspired by how “good portfolios do more than provide evidence for assessment. [Thus, I have devised journal entries to be worked on during the four days my dance class meets. Allowing to] drive curriculum in such a way that creative engagement is more likely. [As a result, the students’ dance journals will serve as a] portfolio [that] demand students to demonstrate their interests and show how they have integrated curriculum learning with their lives” (Marshall, 2014, p.128).

Prompted by the collaborative relationship between Janine Antoni and Stephan Petronio, I have designed an activity for my Intermediate Ballet class (ages 13-16) to work in partners. To experience the collaborative process when creating dance films of their own. Furthermore, due to the limitations a studio ballet class may have to hold a healthy and productive amount of time for dialogue exchange compared to a traditionally held classroom experience, students are encouraged to return and expand on any entry at any time. For example, during moments of rehearsal where students may not be dancing, our dance journaling is an engaging, interactive, and stimulating activity. 

This activity, in particular, will commence by having an in-class discussion of the performances’ repertoire in addition to expanding and commenting on the artists’ experiences of their creative process. Delving into key concepts the documentary raises, such as how choreography has evolved, unexpected tools the artist used to create, their collaboration, and finally, the value of the performances themselves. Which, in turn, serves as inquiry avenues for students to research by, “providing the opportunity for students to use materials and techniques for artistic expression… viewing and responding to artworks; understanding the role in society, [and how the performing arts have evolved through] past and present” (Walker, p.7).

Typically, “a purely formal discussion of artwork ... focusses on a finished product,[not] looking at all the moments of the art-making process. [Thus, grading will equally value, all written prompts and choreography. Because a student’s written exploratory] moments are essential; [and the creative process is] the artwork” (Van Laar and Diepeveen, 1998, p.14). The tangible documentation of students’ thoughts and reflections will more significantly provide meaningful substance for the creation of their choreographies and propel them to think of more complex ideas and themes the artists used and if they may consider using themselves as choreographers, one day. This dance journal activity will moreover provide a summative assessment of the session (length of the student activity) if a student is ready to progress to a much more challenging level of choreography. 

“Art is more than just formal structures[or, the acquisition of technique.] It is how those structures are put into use” (Van Laar and Diepeveen, 1998, p.19). As a result, the student’s dance journal portfolio will serve as a precise analysis of how well students understand how artists adapt abstract ideas, expressing themselves through their craft. In turn, how the students as choreographers themselves can take their foundation of balletic technique to express themselves if need be in a similar fashion. Case in point, through suspended sculpture, Petronio and Antoni were able to manifest a dances’ choreographic theme of elevation. Student’s written compositions will document how conceptual concepts can be embodiment through movement and research diffract avenues they can communicate this. Such as through, staging, movement, lighting, use of Film, costumery, etc. within their choreographies—exploring the “the notion [further how] artworks are a site of learning and evidence of understanding rather than as [mere] aesthetic objects” (Marshall, 2014, p.109).   

Journal entries are devised in gradable tasks, to expand from our initial in-class discussion to explore, interpretation, collaboration, art’s purpose, and reflect on all the moving parts that inspire an artist to create. The dance project within this journal activity allows students to “shift through [their] collection of images [from journal entry one], ideas and information following a research trial. [Documenting their] connections to [student] life outside of [the studio to their ] artists-research” (p.109) by writing their interpretations what the dance film means to them and how creatively they can explore mediums (lighting, Film, etc.) to create with stepping outside of the boundaries of sole movement (Marshall, 2014). A students’ dance journal will “principally [function] as a collective of plans, drawings [or] experiments that support [their final] artwork” (p.120), which will be a choreography inspired by an image to then be recorded, forming a dance film of their own (Marshall, 2014). 

References: 

Madeja, S. (2013). "The status of assessment in the visual arts in the United States" In Andrea Karpati and Emil Gaul (Eds.), From Child Art to Visual Language, Chicago: Il: Intellect, 3-32

Marshall, J. (2014). “Transdisciplinarity and art integration: Toward a new understanding of art-based learning across the curriculum” Studies in Art Education, 104-127.

Van Laar, T. and Diepeveen, L. (1998). Introduction. Active Sights: Arts and Social interaction. Mountain View, CA: Mayfield Publishing Co. (1-21). 

Walker, S. (2005). Chapter 2. Making it Count: Unit Foundations

Wiggins, G. (1998). "Promoting Student Understanding." Educative Assessment. San Francisco, CA: Jossey-Bass.

Leap of Inspiration 

Dance Journal & Activity (Ages 13-16)

Objective: 

Formulated for Intermediate dance students the purpose of this dance journal activity, is for you as a student to begin your journey developing inquiry skills and keep a collected anthology of your creating process. Analyzing the works and collaboration of contemporary artists, Stephan Petronio and Janine Antoni, you will be exposed to rethink the boundaries of choreography challenging the idea that dance/performance is limited solely for the stage. 

Standard: Well written compositions and reflections of ideas. Shows preparedness to advance into to Choreography 2 class. 

Expectations: Though you will work in partners during the choreographing process in activity two, all students will be expected to throughway compose individual journal entires utilizing proper vocabulary and grammar. 

Entry Example: The drawing of my partner provided me with the inspiration to create a physical expression of their image. The image made me feel joy. There were bright colors such as yellows and pastel blues. I like the use of circular shapes in the image and think I will use different types of pirouettes. After dialoguing with my partner I understand the image was a response to his/her feelings of a moment in time. I believe as a choreographer, my movement will allow me to share with others what can only be seen within the pages of my friend’s journal, picture frame, photograph etc.

Unsatisfactory Entry Example: I like the my partners drawing. I am not sure what it is. (take time to dialogue and inquire why/what inspirations your partner had that may inspire you to develop your dance pieces) 

Rubric
Journal	entry	1	total	4
Journal	entry	2	total	4
Journal	entry	3	total	4
Journal	entry	4	total	4
Dance	activity		total	4
				Total points 20

Scoring

0- no attempt 

1- good effort

2- fair execution compared to others 

3- competent 

4- Ready for the Stage! 

Grades 

24 -23A/Ready for next level  

23-21-B/Needs more practice but will benefit from the challenge that lays ahead in Choreo II

20-18 C/One more semester needed in order to progress to next level 

18-bellow/ Let us practice our inquiry skills and repeat this session to progress to the next level

Materials 

Dance Journal 

Pen/Colored Pencils 

Electronic Device of Choice (Cellphone, I-Pad/Tablet, Laptop etc) 

Video to be shown in Class: https://art21.org/watch/extended-play/janine-antoni-collaborating-with-stephen-petronio-short/

Part I. In-Class Discussion: 

As it pertains to the video, Janine Antoni: Collaborating with Stephan Petronio, artists, Janine Antoni and Stephan Petronio, we will explore what inspired these artists’ creative process. 

By addressing key concepts:

• The evolution/changes in choreography  
• Techniques
• The Benefits of artistic collaboration 
• Arts Importance

To begin our class discussion, brainstorm in your journals to dialogue: 

1. If any of the dance work remained the same or did it morph to any additional work of art? How so? 

2. What tools did the artist in the video use to create their works? By, reflecting on the various mediums mentioned/seen (images, sounds, sculptures, film etc.) 

a. What purpose did film serve choreography ? Or, how did movement impact film? Let us reflect on camera/lighting angels within Honey Baby (2013). 

b. What purpose did sculpture serve a dance piece such as Like Lazarus Did (2013)? 

3. How did collaboration influence/enhance the work itself or the artists views how to create? 

4. Why do you think art is important ? Considering you the student as the audience, how did you feel after witnessing Like Lazarus Did (2013) or Honey Baby (2013) ? 

Note: At any time during the next 6 weeks, or during rehearsal breaks, you may return to any of the following prompts above and expand. 

Part II. Your turn to take the lead, let us journal ! 

Journal Entry Task One: Week 1

Interpretation

Let us concentrate and analyze the different mediums used to help collaborating artist, Janine Antoni, and Stephan Petronio create and bring to life their ideas. 

Directions:

1. In a few sentences, can you tell me what collaborating artists, Petronio and Antoni’s Like Lazarus Did (2013) or Honey Baby (2013) is about? 
1. What themes were prevalent in the performance pieces? 
2. Where the themes presented clearly? (Consider: movement/staging) Why / Why not? 
3. Placing yourself as a choreographer now, what would you incorporate/change to either performance? Or, are the performance pieces good standing alone? 

2. In your own words, can you detail what film allowed Petronio to do? Contrast to choreographing solely for the stage in regards to the creation of Honey Baby (2013). 

 a. Why was honey used ? 

 b. Take a moment to reflect on lighting/ camera angles? 

 c. Use of space/staging. 

3. In Like Lazarus Did (2013), Antoni reflects how Petronio incorporates the themes of elevation in this dance. Why was Antoni’s sculpture significant? 

a. Placing yourself as a member of the audience witnessing the video recording of the performance, do you think not having the sculpture present would have the same impact? Why / Why not? 

4. When you create your choreographies, what function do they serve? Take a moment to reflect on anything the artists utilized; what you may have to integrate into your own dance-works and why those choices are significant. 

 a. costumery

 b. lighting

 c. spacing/staging, etc. 

Journal Entry Task Two: Week 2-3

Collaboration

As Antoni reflects on Patroni’s experience choreographing, his movement was inspired by the images of a friend’s sonogram. For our first activity, in your journal, take a moment to reflect on how Honey Baby (2013) made you feel. Draw anything that comes to mind. (it may be a literal representation or an abstract image) 

Note: If the dance piece influenced any other feelings, thoughts, memories, or experiences outside of our studio, I highly encourage you to draw that. Please write how the repertoire seen in class influenced you and why. 

Directions:

1. Look at your images/drawings and now share the image with a partner. 

2. Now that you have your partner’s image take a moment to analyze the shapes, color if there are any linear lines or geometrical patterns. Write down ten to fifteen movements from your balletic vocabulary this semester that you feel will represent this image. 

3. Try the movement. What transitional steps did you have to add? 

4. What was your experience taking an image and choreographing movement to it? Detail any challenges or strives/strengths.

1. Did you find yourself connecting to Petronio’s experience at any time, adapting an image into choreography? 
2. What were the similarities? What were the differences? (Consider if the image you used played a part in your choreographic journey)
   

Journal Entry Task Three/ Dance Activity: Week 4-5 

Purpose 

“Some artists want to transform society; others …to investigate the formal properties of [technique], celebrate nature or, explore themselves” (Van Laar and Diepeveen, 1998, p.7)

Directions: 

Let us take a moment to reflect on the works of Like Lazarus Did (2013) and Honey Baby (2013). In your journal answer: 

1. Why did Petronio create the solo for Like Lazarus Did (2013)? 
2. How did the creation of Honey Baby (2013) impact the way Petronio experienced dance/movement as a choreographer? 

a. What did the technique of film/recording movement with a camera offer Petronio specifically? 

1. How did the performing arts celebrate visual artist Janine Antoni’s talents to the collaborating process? 
2. What exploratory comments does Janine Antoni describe when sharing her thoughts collaborating in the creation of Honey Baby (2013)? 

Dance Activity: In partners of two, alternate using your electronic device (cell phone, iPad, laptop, or tablet) to record each other dance phrase from Journal entry two/exercise two. 

1. How did you use the camera to record your dance phrase? Include if: you recorded frontally solely, follow your movement, and why did you decide this? 
2. What benefits did film/ recording your dance give you? (Think about the different venues you would be able to share your film/audience)
3. Did movement need to change? Why/Why not? 
4. As a choreographer, describe your experience using a medium other than staging dance for a theatre. 

a. What did you learn about yourself in the process? 

b. What was challenging? What was easy?

c. Do you think you would choreograph in the future for film? Why/Why not? 

Journal Entry Task Four: Conclusion: Week 6

Reflection 

Let us take a moment and reflect on your experience creating your dance film beyond the final product… 

1. What was your favorite moment during the creating process? (Take a moment to think back to our key concepts and your experience collaborating, tools new to you, the significance of your dance films and/or thoughts of how you felt to any changes in the way you choreograph) 
2. How did keeping a record of your ideas in your dance journal help you, if at all, to choreograph? 
3. Take a moment to reflect on the artists shown. How did Like Lazarus Did (2013) and Honey Baby (2013) dance works differ from any other repertoire we have seen in class? 
4. As you journaled each week reflecting on the performances seen in class, what made the artists’ work memorable? Please be detailed and describe those characteristics. 

a. Do the characteristics you provided support why (or why not) these two performing dance works could be considered, Good or Bad? Explain.