A QUEST FOR CREATIVITY

A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE

UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF

THE REQUIREMENTS FOR THE DEGREE OF

MASTER OF FINE ARTS

IN

DANCE

MAY 2020

By

Angela Sebastian

Thesis Committee:

Dr. Kara Jhalak Miller, Chairperson

Dr. Betsy Fisher

Peiling Kao

Keywords: Visual Media for Dance, Video Projection, Dance Production,

Identity, Time and Space, Self, Multiplicity

To my Family, whom I genuinely miss.

This is for you.

Know you all are in my thoughts and heart always.

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ACKNOWLEDGEMENTS

Throughout the development of my choreographic and written thesis, I have been

fortunate to be surrounded by infinite love and support from family and friends. These people

have been my inspiration and significant influences on my work. Some might have happened

accidentally, but it felt destined to me. And so, I would like to express my deepest gratitude to

these people:

To my adviser, Dr. Kara Jhalak Miller, who was patient and thoughtful throughout this process,

together with Dr. Betsy Fisher, our Dance Program Associate Chair, and Professor Peiling Kao,

they have helped me take my work to a different level and my interest in the right direction.

To my dancers, Tahirih Perez, Marley Aui, Franciscann Camuso, Tina Chan, and Amanda Allen.

I am so grateful for the opportunity to work with these five genuinely amazing artists. I cherish

the time given to us to share our love for dance.

To Smee Wong, I was truly fortunate to be able to work with your music. You are an outstanding

composer, and I cannot wait for the world to hear your work.

To the production team and everyone involved in PRISM. This collaboration brought out the

best in my piece.

Dr. Desiree Quintero, Salamat for continuously encouraging me to find my voice.

Maria Karaan, Salamat for being my Ate in Hawaiʻi and for keeping me on the right path.

To Mari Martinez, Iana Weingrad and the MFA in dance students of 2019. I am so proud to be

surrounded by such well-rounded dance scholars.

To Andrian, Feresa, Adrian, Victor, and the rest of the Pinoy and Pinoy with subtitles gang.

Thank you for being my family in Hawaiʻi and encouraging me to keep moving forward.

To the Agbalog family, Salamat po sa pagmamahal, pagkakaibigan at pag-alaga.

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ABSTRACT

This paper illustrates and documents the creative process of creating and performing Me, Myself,

and I and Pleasant Remembrances which were featured at the Fall Footholds 2019 performance,

PRISM, at the Earle Ernst Lab Theatre in Honolulu, Hawaiʻi. Both pieces were presented as

choreographic theses in completion of the Master of Fine Arts (MFA) in Dance Degree

requirements.

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DEFINITIONS OF TERMS

Identity – Identity refers to the holistic embodiment of a person’s subjectivity including the

embedded significations of their personal histories, culture and positionality. For Stuart

Hall, "identities are about questions of using the resources of history, language and

culture in the process of becoming rather than being: not ‘who we are’ or ‘where we

came from,’ so much as what we might become, how we have been represented and how

that bears on how we might represent ourselves." (Hall 4) In dance, the intuitive body of

the dancer manifests the becoming of their identities performed in the everyday.

Migrant – The movement of the physical body across lands in search of better living situations

and job opportunities. For Thomas Nail, “not all migrants are a like in their movement.

For some movement offers opportunity, recreation and profit with only a temporary

expulsion” (Nail 2). It may be a necessary or a forced movement where an individual is

removed “from their territorial, political, juridical and economic status” (Nail 2).

New Media – New Media means being native to computers or relying on computers for

distribution: websites, human-computer interface, virtual worlds, virtual reality,

multimedia, computer games, computer animation, digital video, video projection design,

special effects in cinema and interactive computer installations. New Media is digital data

that can be manipulated by software. This allows automation for media operations to

produce multiple versions of the same object. For instance, a picture can be altered or

generated automatically by running algorithms like sharpen, blue and colorize.

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TABLE OF CONTENTS

ACKNOWLEDGEMENTS ii

ABSTRACT iii

DEFINITIONS OF TERMS iv

LIST OF FIGURES vi

CHAPTER I. Thesis Proposal 1

Introduction to Topic 1

Statement of Purpose 2

Title 2

Duration of the Performance 3

Choreographic Plans 3

Research Questions 8

CHAPTER II. The Essence of the Process 13

CHAPTER III. The Dance Works and Reflections 15

Me, Myself, and I 15

Pleasant Remembrances 19

CHAPTER IV. PRISM: Fall Footholds 2019 27

Publicity 28

Costume 29

Lights 30

Schedule 31

CHAPTER V. Conclusion 32

BIBLIOGRAPHY 35

APPENDIX 36

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LIST OF FIGURES

Figure 1. Production Diagram 4

Figure 2. Proposed positions for the Set Design 5

Figure 3. Proposed Costume Design 6

Figure 4. Proposed Budget 8

Figure 5. Video Projection Screen Shot 9

Figure 6. A collage of photos from the show ReDo. 10

Figure 7. Proposed Timeline 12

Figure 8. Room reservations for the Dance Studio and the Earl Ernst Lab Theatre. 12

Figure 9. Me, Myself and I in PRISM: Fall Footholds 2019 15

Figure 10. The Aupuni Space Art Gallery, Kakaʻako, Honolulu, Hawaiʻi. 16

Figure 11. Me, Myself and I at The Aupuni Space Art Gallery. 17

Figure 12. Pleasant Remembrances in PRISM: Fall Footholds 2019 19

Figure 13. Pleasant Remembrances: The Vulnerability 23

Figure 14. Pleasant Remembrances Committee Showings 25

Figure 15. PRISM: Fall Footholds 2019 program 27

Figure 16. Found Figures 28

Figure 17. Top Three Figures from the Photoshoot. 29

Figure 18. DanceWear Solutions Webpage and the Proposed Costume. 29

file:///C:/Users/sebas/OneDrive/Desktop/thesis/A%20QUEST%20FOR%20CREATIVITY_%2005072020.docx%23_Toc40182804file:///C:/Users/sebas/OneDrive/Desktop/thesis/A%20QUEST%20FOR%20CREATIVITY_%2005072020.docx%23_Toc40182805

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CHAPTER I. Thesis Proposal

The first part of my thesis paper includes elements of my original proposal. The second

half of the paper is my reflection and examination of the choreographic process and final

performance. Placing these versions together reveals the changes necessary to achieve the final

product.

Introduction to Topic

Me, Myself, and I is a dance piece that investigates embodied differences and looks

deeply into incorporating new media with live performance. In the process of creating this piece,

I aim to revisit specific works that I created in the Philippines, Hong Kong, and Hawaiʻi. These

places were chosen because of their significance to my development as an artist: The Philippines,

the place I call home, Hong Kong, the place where I discovered my independence, and Hawaiʻi,

the place where I am trying to find my purpose.

As I look into these works, I aim to observe and learn the evolution and the

transformation of my movement vocabulary. By relearning and revisiting video documentations

of my old choreography, I can reconnect and rediscover the sensation of the movements and the

influences of each past dance piece to the evolution of my work and myself as an artist. In the

process, I will consider different factors like my age, my knowledge, and self at the time the

videos documentations were taken.

Another goal is to work with five dancers and integrate visual media projection with this

choreography. The purpose of using visual media projections is to create layers to stimulate the

imagination of the audience to a different world, a different time and space. I also plan to teach

my dancers and let their bodies absorb and interpret patterns and motions from my past works to

bring out a new form, identity or image. Overall, I aim to bring the past to the present to unfold

anew.

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Statement of Purpose

Moving to Hawaiʻi to be in graduate school gave me a profound sense and appreciation

for academia. It has broadened my interest in the topic of identity and the idea of embodied

culture. Witnessing various diasporic groups and indigenous people continue to fight and

struggle for their rights has me thinking about how much I know in regards to my identity and

culture.

As a Filipino artist, skilled more with foreign art forms, like Classical Ballet, specifically

the Royal Academy of Ballet and Australian Conservatoire of Ballet syllabus, as well as Modern

Dance under various techniques in the Philippines, I ask myself, how much of these disciplines

and knowledge allows me to embody my identity? I assume in order to understand one’s identity,

one must look at their past. Therefore, I propose and intend to formulate a critical reflection on

this question by creating this thesis piece.

Title

Me, Myself and I: A working title

I chose to use this title because of its redundancy. With the aim to relive versions of

myself, I think this phrase projects that concept⎯the concept of multiple variations of the Self

co-existing at the same time. Although using this title may suggest that this piece is egoistic and

narcissistic, the concept of identity is so complex that I think targeting the investigation on a

single body can “unpack” much.

Description of Choreography

Inspirations for movement explorations are based on my past choreography including

works entitled Limbo, Ugoy ng Duyan, Fight for What, Arch, and Tagsibol. In preparation for

my new choreography, I intend to revisit these works and reexamine the progress and changes of

movement vocabularies I developed for these dances. I see these previous works as

representations of my identity as a migrant body that went through the process of adjusting and

struggles to different places.

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In the proposed thesis piece, I will explore the interaction between a live body and the

digital body with the use of visual media projection. As Johannes Birringer said in his article

Dance and Media Technologies, “Technology has decisively challenged bodily boundaries and

spatial realities” (Birringer 85). Hence, I believe that the use of technology will help me better

execute the concept of multiplicity. Along with these objectives, I will prioritize the relationship

of time and space between the live and the digital media performance.

Duration of the Performance

As stated in the Handbook for Graduate Students under the MFA thesis guidelines, the

piece is expected to be 15-minutes long or more. To abide by these instructions, I aim to create

between 15- to 20-minutes of work. This work refers to the combination of the live choreography

and the film.

Choreographic Plans

I propose to start rehearsals in the summer, beginning on May 13, 2019, using the Dance

Building studio as the rehearsal space. Besides the start of the choreographic spark, I also aim to

find a connection with my dancers by getting to know their energy and making them feel

comfortable and safe in the rehearsal space. My cast includes Tahirih Perez, Marley Aui, Tina

Chan, Amanda Allen, and Franciscann Camuso. The dancers' first task is to learn movement

combinations from my past choreography. Learning set movement patterns will serve as the

foundation, but from there, I will observe and listen to how their bodies adapt and change these

movements. With this, I will get to know the movement intuition of my dancers. Sharing their

vulnerability in the space allows me to facilitate a conversation between their bodies, the space,

and the film. Hence, this choreography will be based on collaboration and not entirely dictation.

I also aim to work with musicians and composers by this month. I plan to reach out to

composer Honybal Sosa and other student composers from the University of Hawaiʻi at Mānoa

(UHM) Music Department, who are willing to collaborate in creating original work. I feel this is

an essential network to develop and exciting use of available resources.

In June, I intend to film and work on shooting movement clips, images, and montages for

the video projection design. The video projection contains footage of the dancers executing the

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same choreography that will be performed live. Through using applications like Adobe Premiere

Pro, I will utilize its editing features to include effects in the film. The intention is to take

advantage of media to create duplication of bodies, variations in scale, and dynamic timing.

July and August will be a resting period for the team. These months are the summer

season; hence prior summer plans had already been made before the planning of this project. As

stated in Figure 7. Proposed Timeline, I also plan to travel to Vienna, Austria, to attend

Impulstanz Dance Festival to do further research.

We will go back to rehearsal starting in mid-August and continue working with the

composer as well as the video. By August, the goal is to rehearse in the Earle Ernst Lab Theatre

to have access to the projector and cyclorama. Working in this space can help visualize the

adjustments needed between the live and the digital body.

Production Planning

The thesis choreography is proposed to premiere in Fall Footholds in October 2019 at the

Earle Ernst Lab Theatre. Based on Figure 1, I will work closely with the Footholds Director and

Production team assigned for Fall Footholds 2019. This production is a collaboration of teams

whom must work together to achieve what is necessary.

Figure 1. Production Diagram: Showing the network the choreographer needs to create the piece.

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MUSIC

I plan to work with composers and musicians from the UHM Music Department. This

motivation comes from the desire to emphasize the importance of keeping the connection and

network with the Music Department. I believe it is smart to take advantage of this opportunity to

collaborate as emerging artists since it will be beneficial for both, especially pursuing a

professional career in the arts. In the event I am unable to locate an available composer, another

direction I am looking into is exploring the organ works of Johann Sebastian Bach. I find his

organ compositions utilize the dense quality of the bass and produce a thick layer of sound that

would be complex and exciting to work with choreographically.

LIGHTS

I find it difficult to imagine the proper lighting design for this piece because of the use of

visual media projection. I assume it will only need minimal lighting to sustain the silhouette and

the faces of the dancers. The lighting palette, however, should complement the costume and

video projection.

Figure 2. Proposed positions for the Set Design: Showing the proposed positions of the

cloth in the Earle Ernst Lab Theatre stage.

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SCENIC/SET/PROPS/VIDEO PROJECTION DESIGN

The bi-annual Footholds productions takes place at the Earle Ernst Lab Theatre, a small

black box theatre inside UHM’s John F. Kennedy Theatre. This proposed thesis piece will utilize

the already installed cyclorama and the projector in the Lab Theatre. My vision is to have a set

on stage using three pieces of white cloth hanging from the scaffolding. The purpose of the

fabric is to explore depth and dimension and be another medium on which to project video of

bodies and images.

COSTUME

To amplify contrast from the simplicity of the white screen, the black curtains, and the

black floor of the stage, I propose my dancers wear something pastel or almost neon color. These

colors on their bodies help to heighten their form as they move across the stage space. Since I

have five dancers, I imagine the costume design will vary for each body. Some may wear dresses

or pants, fit either loosely or tightly. I am also open to these fabrics having prints and designs just

as in Figure 3.

Figure 3. Proposed Costume Design: Showing the effects of the probable color for the costume.

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PUBLICITY

I plan to document the rehearsals through video and photo taking. These materials may

be used for social media publicity. The Fall Footholds 2019 production also has a Publicity Team

that includes this piece in the promotions. Below is a list of proposed publicity strategies for this

production.

Publicity Strategies:

Flyers

Posters

Facebook events

Instagram event

Production Website: anjpar.wordpress.com

Souvenir Program (Handed out during the show)

CASTING PROCESS

Dancers:

Tahirih Perez

Marley Aui

Franciscann Camuso

Tina Chan

Amanda Allen

The casting process was based mainly on the availability of dancers. The UHM Theatre

and Dance Department students, staff, and faculty are always massively busy working with

multiple productions. While students of this Department try to participate in as many productions

as possible, this requires the choreographer to be very strategic with casting dancers who are

available and can commit to the work. Rehearsals demand a full commitment of time, mind, and

body. Making it clear to the dancers of expectations will avoid conflicts.

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PROPOSED BUDGET

With the vision to have this dance be part of the Fall Footholds 2019 production, the

expenses for this piece ideally should come from production budget. The costumes will either be

bought, made, or pulled from departmental stock. Based on the prices of the proposed costumes

on Amazon.com, an online shop, it may cost up to $25 - $50 each. The proposed set of three

pieces of white cloth, costs around $30 - $60 each.

Other elements, such as the video, usually requires a separate budget if I seek

professional help. One way to lessen the expense is to connect to friends who may know

someone willing to collaborate in creating the film. Another is to check out video cameras, SD

cards, and tripods from the Dance Program. Lastly, the possibility of using original work and

copyright music may require a fee.

(Estimated) Quotation:

Costumes - Budget will come from Fall Footholds 2019 Production.

Sounds/ Lights

Original Comp/ Music

Camera for the video shoot and editing

Set (projector, cloth)

Dance Studio Rehearsal Space

Earle Ernst Lab Theatre

TOTAL:

$25-$50 x 5

0

0

0

$30-$60 x 3

0

0

$95

Figure 4. Proposed Budget

Research Questions

How has the power of technology affected our lives and identity? How, as the

choreographer, can I explore, make use of, and heighten the different cultural, social, and place-

based histories embedded in the bodies of my dancers? These are some questions I hope to

address in the process of creating this piece. I am uncertain of the direction this work may take.

However, I am open to how the process of exploration, research, and experimentation might

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form the final creation, possibly in contrast to this proposal. I look forward to challenging the

impressive effects and power of new media in dance performance. I am curious about the process

of collecting movement data and orchestrating the materials on the computer screen. I see

technology as a fast-developing tool, much like a dance that evolves as it is transmitted onto a

body. Furthermore, I would like to know what ways technology has affected dance and identity

and what steps can I take to develop this further.

Figure 5. Video Projection Screen Shot:

A screenshot from the video that was projected for the show ReDo.

To begin seeking answers to these questions, I presented a short showing of video dance

projection work at the Aupuni Space Art Gallery in Kakaʻako, Honolulu, Hawaiʻi, May 3, 2019.

This showing was part of Dr. Miller’s DNCE 661 Advance Problems for Movement Analysis

course utilizing dance and new media for a final performance project entitled ReDo. I chose this

chance to present a prototype to test a possible thesis direction.

For this show, I prepared a solo live performance with a video projection showing clips

of myself in motion at a different speed, focus, and angles. I began the process of this prototype

by filming and collecting footages of my body. Using Adobe Premiere Pro, I choreographed and

edited the materials into a six-minute video. This editing involved dividing the screen into three

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panels to create three bodies. I kept the images consistent by using a white background and the

same attire for all takes. This uniformity visually indicates one character. However, the three

panels did not always show the same movement and rhythm which gave each body in each panel

a different image and perspective of the movements. This prototype allowed me to experiment

on my proposed theme of multiplicity in identity with the use projection design.

Figure 6. A collage of photos from the show ReDo.

I question how I can use technology to find a more profound connection with motion and

the body. I also hope to look deeper into the nuances of my movement style and vocabulary as a

migrant body. In this research, I will consider ideas of nature, nurture, or triggers that affect how

I mold or shape my identity in the present. Furthermore, I aim to engage and immerse myself

through researching further with concepts like dance for camera and virtual realities.

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I plan to write a short critical analysis of my creative project to reflect on my process and

theorize relationships between the body, culture, and screen in my final thesis reflection. I

propose that reading Jane C. Desmond’s, Meaning in Motion, particularly her article on

"Embodying Differences: Issues in Dance and Cultural Studies," as well as Helen Thomas’ “The

Body, Dance, and Cultural Theory,” will illuminate ideologies such as social identities,

appropriation, and cultural transmissions in the creation of the choreography.

A few articles read in the Dance and Visual Media and Performance Studies graduate

courses with Dr. Miller also influenced my creative thinking. These readings include, “Dance

and Media Technologies” by Johannes Birringer which was a great source of terms to use in

regards to the relationship of dance and media. It enlightened me about the correlation and

evolution of live dance performances and computer-assisted works. The articulate writing of the

process of composition involving "making dances for the camera" (Birringer 2002) was an

inspiration to my work and writing this paper. Others such as “Practice as Research in the Arts:

Principles, Protocols, Pedagogies, Resistances” by Robin Nelson, and “Mapping Landscapes for

Performance as Research: Scholarly Acts and Creative Cartographies” by Shannon Rose Riley

and Lynette Hunter, contributed and challenged me to find the significance and direction of my

creative process and the methods I choose to use to acquire the answers to my questions. Both

books discuss the challenge of performance practice in institutional structures as a valued source

of intellectual inquiry.

These texts prepared and provided me insights about my choreographic thesis through

inspiring movement-based media connections between live performance space and the digital

screen. Using video technology can quickly fall into ‘gimmicks.’ However, my goal is to

stimulate discourse and pry open the complexity of embodied identities piercing through the

spectacle tendencies of visual media for dance projections.

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DATE AGENDA

2019 MAY to JUNE

Start of explorations and experimenting movements with dancers. Start collaboration

with musicians. Gathering of video clips. Doing further research through attending

summer intensives and workshops.

Costume research.

AUGUST -

SEPTEMBER

Presentation of thesis project development and initial meeting with the thesis

committee at the start of school in August.

Development of publicity for thesis.

Continue rehearsals. Finalizing music and choreography.

3 Committee viewings of choreography in development.

COMMITTEE SHOWINGS:

AUG 31 130 pm

SEPT 14 & 21 330 pm

OCTOBER Production month of Fall Footholds.

NOVEMBER Writing of Thesis Paper

DECEMBER Final Meeting with Committee - Thesis Defense

2020 JANUARY -

APRIL

Preparation for Comp Exams

Taking of Comp Exams

Figure 7. Proposed Timeline

DATE TIME VENUE

MAY

21 (Tuesday) 12 - 2pm Dance Studio

28 (Tuesday) 12 - 2pm Dance Studio

JUNE

15(Saturday) 1 - 3pm Dance Studio

16(Sunday) 1 - 3pm Earle Ernst Lab theater

17(Monday) 6 - 8pm Dance Studio

18(Tuesday) 6 - 8pm Dance Studio

AUGUST

24(Saturday) 11 - 2pm Dance Studio

31(Saturday) 11 - 2pm Dance Studio

SEPTEMBER

7(Saturday) 1 - 4pm Earle Ernst Lab theater

14(Saturday) 1 - 4pm Earle Ernst Lab theater

21(Saturday) 1 - 4pm Earle Ernst Lab theater

28(Saturday) 1 - 4pm Earle Ernst Lab theater

Figure 8. Room reservations for the Dance Studio and the Earl Ernst Lab Theatre.

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CHAPTER II. The Essence of the Process

“I don’t describe it. I do it.”—Merce Cunningham (aqb, Kovan 2019)

Dance transposed into a written form can be a laborious but exciting transition. I find it

challenging to identify the right descriptive words to use and to justify what the body goes

through accurately. As Cynthia Jean Cohen Bull explains, “They are simply difficult to combine

in the linear act of writing. The text of dancing exists in the nonlinear space of memory, and its

impressions and structures must be reconstructed by the writer even as they are interpreted” (Bull

207). I consider writing this paper as another process and form representing my work. Hence, I

look forward to discovering how the flow of my thoughts about choreography and the making of

my thesis dance performance translate through this paper.

My aim for this paper is to describe and analyze the creative process of my choreographic

theses Me, Myself, and I and Pleasant Remembrances. My goal is to reveal the unique

experiences I went through as a choreographer and director. This information can be

advantageous to future MFA in dance students by being explicit about situations that benefit the

piece and issues that can be avoided. This approach also provides more transparency to the

foundation of my work and gives readers a more precise image and specifics of what external

and internal factors can affect the creation of a choreography.

My focus is to expose the reality that is not often discussed and the reality of situations a

choreographer goes through. Although these situations are often revealed during a Question &

Answer pre or post-show discussion with artists, where the question, how did you come up with

the concept, is almost always asked. Artists, however, often prefer to respond with a profound

and potentially superficial answer to avoid discourses about production issues that can sound dull

and shallow. In addition, this segment often happens under time pressure, leaving the artist to

explain as concisely as possible. But I still value this question regardless if it is asked or not

because it inspires me and challenges me to re-evaluate the specifics of my process and

recognize the unexpected steps that I encountered that led me to my final product.

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As for my works, Me, Myself, and I and Pleasant Remembrances, both pieces were

developed and created to complete the requirements of an MFA in Dance degree. Inspiration was

hunted down versus inspiration arriving naturally. By this, I mean, given artistic freedom, some

elements had to be deeply considered, e.g., specific instructions, expectations, and deadlines.

These rules are written under the MFA thesis guidelines in the Handbook for Graduate Students,

stating that the piece must be a minimum of approximately 15-minutes long and consist of three

or more dance students. The candidate must also perform but not necessarily in a self-

choreographed piece.

A panel consisting of the adviser and two members of the Dance Faculty are required to

watch at least three rehearsals and provide feedback how the piece might move forward. The bi-

annual Footholds production, supported by the UHM Theatre and Dance Department, is one of

the platforms encouraged for MFA Graduate Students to present their theses. This production

team offers a minimal budget, use of space, and design needs such as lights and costumes.

Considering these procedures and specifics, it seems feasible for an MFA candidate to

handle. Yet, I still struggled and experienced pressure with the production’s short timeline and

felt I made decisions that were sometimes rushed and rash. Moreover, the choreographic thesis

must manifest the knowledge and skills learned over the years of graduate school and a chance

for the MFA candidates to show their abilities to deliver amidst these situations and dilemmas

and prove they are equipped for the professional world. But above all this pressure, these

challenges that will be discussed in the next Chapters, aided me to value the process of exploring

the problem and discovering solutions. It encouraged me to trust the process that contributed to

the identity of my piece.

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CHAPTER III. The Dance Works and Reflections

In this chapter, I will discuss the creative process of both Me, Myself, and I and Pleasant

Remembrances. Recalling the events that led to the final product allows me to clarify the

measures taken in handling some concerns while also unveiling the intentions and motivations

behind these works. This chapter also contains audience responses and impressions on both

dances.

Me, Myself, and I

Performed and Choreographed by Angela Sebastian

Music by Khalid’s “Salem’s Interlude,” “Message to Bears,” and “They Ran”

Video Projection by Angela Sebastian with assistance from Mari Martinez and Iana Weingrad

To see through one’s Self.

To re-examine.

To investigate.

To see the skin you are wearing.

To shed.

To bear a new.

Figure 9. Me, Myself and I in PRISM: Fall Footholds 2019

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Me, Myself, and I is about the Self and versions of the Self. The piece delves into the

process of identifying and acknowledging the nuances of these versions. It challenges the idea of

self-reflexivity by examining the physicality of the Self. In a world where image is everything,

the first step to understanding ones being is to recognize the physical and the way it is defined by

society.

The piece was an attempt to represent the concept of “multiplicity of identity” by

incorporating a live video projection in a live performance. The live body stands as the Self in

the present, while the digital body represents the Self that exists in the cycle of time. The use of

video projection amplifies and translates the varied notions of the Self on the present stage by

allowing the bodies in the film to exist and appear in different planes to create layers.

CHOREOGRAPHIC PROCESS

Figure 10. The Aupuni Space Art Gallery, Kakaʻako, Honolulu, Hawaiʻi.

Me, Myself, and I was created for and first premiered in ReDo, a show held in the Aupuni

Space Art Gallery in Kakaʻako, Honolulu, Hawaiʻi. As a final project for Dr. Miller’s DNCE

661, Advance Problems in Movement Analysis class that culminated in a showing in May 2019,

the class was tasked to present a piece, at least six-minutes long, that incorporates the use of

interactive media. The students were expected to demonstrate their knowledge of utilizing and

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integrating media in their works by associating movements on the screen and the performing

body. With these objectives, I was compelled to conceptualize a piece that works well with the

space and has a reason to use media in conjunction with dance.

Aupuni, the venue, is a square-shaped room with white walls. It had little room to move,

which is a factor that affected the choreography. Furthermore, the structure and aesthetics of the

Aupuni Space stimulated the idea or images of reflections, mirrors, or recurrence to me. And so,

I thought of creating three different panels for three different videos to appear at the same time to

represent the concept of multiplicity visually. This became possible through the assistance of my

colleague Mari Martinez using both Adobe Premiere and Milinum.

Figure 11. Me, Myself and I at The Aupuni Space Art Gallery.

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The choreography was developed from a partnership or collaboration between the live

and the digital bodies. The bodies referred to in this choreography are the physical body, the

body of the images in the projection and the body of the video. The motion and choreography for

the video was formed through editing, camera angles, and programming images on specific areas

of the cyclorama/wall. The use of technology made it possible to play with the architecture and

different dimensions and aspects of time and space on the stage—time referring to transitions

and speed, while space is referring to scale and directions.

The movement choices for this piece were mostly driven by curiosity: the curiosity

towards my shape, my figure, and how people see me versus how it feels to be me and to be

inside this body. There is also the emotional drive that comes from experience seen as a Filipina

dance artist. The experience of being objectified as a woman, demeaned as a dancer, and rejected

as an Asian. These struggles inspired and instigated the movements and the narrative of the

piece.

The choice of music also stimulated the dynamics of my movements. The movements

captured by the video, like zooming in or out of the images, were intended to direct the

audience’s focus to specific body parts of the projected virtual body and in comparison to the

live body as it mirrors the projected movements. Other significant elements in the piece were the

chair and the dress. The chair acts as the totem of the live body’s reality. The chair represents the

realness of the present space. It also represents the home where the body belongs and goes back

to. On the other hand, the dress connects all the versions of the Self. Towards the end, the live

body removes the dress to reveal the desire to detach and willingness to discover another Self.

AUDIENCE RESPONSE

After presenting Me, Myself, and I on a larger stage and to a larger audience at the Earle

Ernst Lab Theater, I received feedback from my friends, family, and even people I do not know

through casual conversations after the show and during the Question & Answer portion. Those

who saw the original version of the piece at Aupuni Space were in awe to see the giant version of

the video projection. The video was perceived as nearly overpowering, yet the live body was

able to surmount that perception. Generally, the audience defined the piece as an examination of

the Self. The work consistently displayed an image of me which made the piece seem personal

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and unrelatable to the audience. However, the motions of looking at my body became a

reminiscent sensation and engaged the kinesthetic empathy of the audience and somehow

implied the concept of existentialism, recognizing the existence of the physical Self in the

present. Lastly, audience members thought the ending of the piece was like shedding of the skin,

which I thought was a wonderful end to the piece.

Pleasant Remembrances

Choreography by Angela Sebastian

Performance by Tahirih Perez, Marley Aui, Tina Chan, Amanda Allen, and Franciscann

Camuso.

Music by Smee Wong – The Secret of A Dream

Video projection by Angela Sebastian with assistance from Mari Martinez and Iana Weingrad

To remember.

To bring yourself back in time.

Nostalgia can be seductive and addicting. We remember, but also, we choose what we want to

remember. Happy memories, although we think they were happy memories. Maybe yearning for

the old you or longing for the smell of home. Or clinging to the past love we hope we feel again.

Figure 12. Pleasant Remembrances in PRISM: Fall Footholds 2019

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This live stage dance piece worked with visual media projections with the goal to

perpetuate the sensation of nostalgia. The choreography depicts the process of becoming through

bringing in the past to co-exist with the prevailing identity. Bringing the past back to life as the

dancers’ bodies are the vessels of these memories.

CHOREOGRAPHIC PROCESS

The Casting and the Work

The process of this piece began with casting. Auditions were not held but instead I based

my preference on friendship and professionalism amongst my colleagues in the UHM Dance

program. Dancers chosen were either close friends or dancers I knew who had shown good

working ethics in the past.

As soon as the cast agreed to work on this project, we scheduled the first rehearsals in the

summer of 2019. We focused on studying the video documentation of my past works such as:

Limbo

Performed and Choreographed by Angela Sebastian

Music by Arvo Pärt - Tabula Rasa , I. Ludus: Con Moto

(Philippines)

Ugoy ng Duyan

Performed and Choreographed by Angela Sebastian

Music by Isa Musika - Sa Ugoy ng Duyan lullaby

(Hawaiʻi)

Fight for What

Choreographed by Angela Sebastian

Performed by Angela Sebastian, Tina Chan and Sophia Carter

Music by Philip Glass - Dreaming Awake

(Hawaiʻi)

Arch

Choreographed by Angela Sebastian

Performed by Sakura Imaya, Marissa Nash, Charissa Fryc, and Candice Sarangay

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Music by Philip Glass - Music in Similar Motion

(Hawaiʻi)

Tagsibol

Choreographed by Angela Sebastian

Performed by Angela Sebastian and Jeiel Hernandez

Music by Explosions in the Sky - First breath after coma

(Hong Kong)

These past works were chosen because of the links they have to places I had my

breakthroughs as an artist. The Philippines is where I grew up and discovered my passion. It is

where I got my Bachelor’s Degree in Dance and first experienced being a member of a

professional dance company. Hong Kong is where I was obliged to learn to live as an overseas

Filipino worker. Working with a business organization exposed me to the reality of the struggles

of artists. Lastly, Hawaiʻi is where I found my passion for research.

I feel memories live and exist in these dances. I believe the chosen choreographies

manifest the nuances in my movement vocabularies in relation to my state of being during those

times. Bringing these works together produced a range of character and style for the piece.

Furthermore, I wanted to explore what new identity can develop or emerge from this process.

In the process of finding this new identity, I had to revisit, relearn, and restage the

movements from my previous dances and pass them on to my dancers. I conducted this task with

two different approaches: (1) teaching specific sections from each piece and copying the

movements from the video as is. This approach was employed to mimic the original movement

vocabularies as closely as possible; and (2) I asked my dancers to watch a phrase for a limited

time and tasked them to create a sequence based on their memory and interpretation. The second

approach aimed more to work with the dancers’ memories to allow dancers’ intuitive bodies to

lead. This allowed the individuality of my dancers to contribute to the personality of this piece.

My dancers’ responses to both approaches were very different, even though both

involved copying the movements from the video recording. The first approach was a typical

method used for restaging. With the notion of mimicry, there was a clear goal or form that had to

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be achieved. Although once the movement is in the body, the dancers worry less about looking

like the form in the video recording but rather looking closely similar to the group or with a

partner. While for a solo, even for both approaches, would have liberation since there are fewer

external influences that need to be considered.

My dancers brought out an unprecedented response for the second approach since it was

an opportunity for them to make a personal choice. I find it interesting how each dancer chose a

different movement to work on from the same movement phrase I showed them. Aui focused

more with her fingers, Camuso with her arm, while Perez, Allen, and Chan worked with larger

movements of both arms and legs. From their creation, I was able to draw inspiration and

connect their personality to my past movement vocabularies.

Music

I decided to collaborate with Smee Wong, Ph.D. candidate in Music Composition in the

Music Department in UHM. The collaboration did not happen until the middle of the

choreographic process. Prior to work with Wong, I used Johann Sebastian Bach’s BMV 596 to

set the mood of the piece. This music had a draggy, heavy, and thick sound that Wong’s work

also has. This quality of music enticed me because of its intricate but systematized rhythmic

patterns. Also, this specific dynamic and feel were what I imagined would work with the piece

which Wong’s Secret of A Dream exemplified but with a denser texture and varied tempos.

Music Description:

The Secret of a Dream is a rather dramatic piece, especially movements III and VI. At the same

time, it should be moody and melancholic... If this is a dream, it is supposed to be a nightmare.

Philip Glass’s String Quartet No. 5 influenced me when I wrote this. I did not want this piece of

music to sound like a typical contemporary composition (or should I say atonalistic music),

instead, sometimes it has a sense of Baroque music or Minimalism. – Wong

Chen Yilun: 1st violin Yin Ying: 2nd violin

Xu Peijun: viola Chen Shaojun: cello

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Wong was generous and accommodating to share his work, which was initially a 30-

minute, six-movement sonata. Because I was only tasked to create a 15-minutes piece, he was

open to the idea of me editing the sequence of the music to serve the piece better. This music

collaboration was made possible through the help of my adviser Dr. Miller, who introduced me

to Dr. Takuma Itoh, UHM Associate Professor of Music in Composition & Theory. Dr. Itoh

helped by sending out an email to all Composition Majors stating my interest in collaborating

with a composer and musician. The result was emphatic and overwhelming. The composers were

very generous and eager to collaborate. Ultimately, I had to pick one for my thesis work.

Inspired by Wong’s music, I decided to divide the choreography into three parts: The Initiation,

The Vulnerability, and The Acceptance.

Figure 13. Pleasant Remembrances: The Vulnerability

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Music: The Initiation

The piece began with the film while the dancers walked on stage individually and without

interaction. At first, the audio came from the video projection. It filled the theater with the sound

of voices suggesting the feeling of entering someone’s memories. The dancers eventually settled

in their respective spots, where they slowly begin to move uniquely from one another —

somehow introducing the kinetic voice of each dancer to the space. Eventually, they formed a

group, and their bodies began to synchronize.

I consider this the first movement of the piece where the dancers are introduced to the

space. The quality or tempo of the music for this part was moderate. The moderate tempo

provided a calm but strong presence for the dancers and the video.

Music: The Vulnerability

The second part started with a duet focused on “touch” movements. These were the only

physical moments in the piece where there was body contact. As the duet deepened their

connection through touch, the rest of the group witnessed and co-existed in the distance.

Wong described the music for this section as melancholic. For the second section of the

dance, I wanted the music to be more gentle. The music was like a lullaby soothing the dancers

and helped conveyed intimacy in that moment.

Music: The Acceptance

Towards the end of the piece, as the dancers turned their backs to the audience; another

version of the Self was revealed and needed recognition. The Self was thereby presented in

another form, time, and space. Through surrendering to the present identity, the dancers’ actions

synchronized as one in unison. The third movement revealed two versions of climax. The first

brought the bodies into unison while the second connected to the opening individualized

dancing.

Video Projection

Simultaneously, with the progress of the choreography, the video also went through three

significant changes. These changes happened mostly every committee showing. These showings

became the mark of discoveries for this piece.

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Date and Time Location

August 31, 2019, 1:30 pm Upper Campus, Dance Studio

September 14, 2019 3:30pm Earle Ernst Lab Theatre

September 21, 2019 3:30 pm Earle Ernst Lab Theatre

Figure 14. Pleasant Remembrances Committee Showings

The first committee showing took place in the dance studio in the afternoon, which meant

the primary concern would be the intense sunlight that interfered with the visibility of the

projection. To solve this issue, I decided to place three laptops in front of my thesis committee to

make the video visible. This version of the video was unfinished and raw in terms of video

editing while the live choreography, at this time, was only eight minutes long. The committee’s

thoughts about the first showing were more about choreography than the video projection since it

was a work in progress. The committee advised to think deeply about the video content and how

it can be a necessary element rather than a distraction to the audience.

The second committee showing was at the Earle Ernst Lab Theatre, where we were able

to show the video projected on the cyclorama with 100 percent visibility, quality, and scale. For

this revised video projection, I incorporated the committee’s advice and featured one body, one

subject, to lessen images that may be distracting. The piece at this time had reached the 15-

minute requirement, although the ending was not complete.

The committee’s thoughts about the second revision for the video projections were that

the images had become too distinct and took attention away from the dancers. Frustrated with

what to put in the video, I decided to use the actual video clips from which the dancers learned

the phrases. Thus, for the third committee showing, I tried using “real time” video projection. I

choreographed the videos to appear at the same time corresponding to the dancer’s movements in

most parts of the piece. I integrated random videos of people walking in the street, rehearsals,

and performance videos in the beginning and at the end to give a clear connection to the

narrative of the choreography.

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Having scheduled showings was stressful but necessary. I, as a choreographer, would

prefer to let the process emerge naturally, but for this situation, that extra nudge was needed. It

was a good pressure after all since I was unsure of how the piece could deliver and give justice to

the concept. And so, because of these moments, Dr. Fisher was able to help me provide character

to the video, and Professor Kao encouraged me not to be afraid to ask questions. Having more

perspectives inspired and challenged the progress of the piece.

The piece continued to evolve even until its last performance. As I mentioned in Chapter

1, there are circumstances out of our control that demands a piece to adjust or adapt. Though this

is a challenge for the choreographer, it also opens an opportunity for the piece to be seen from

another angle.

AUDIENCE RESPONSE

The audience expressed to me that they at first felt obscure and distant from Pleasant

Remembrances because of the use of personal video footage and images. However, the clips that

showed movements of walking, talking and still images of random places initiated their own

memories or relation to these places and motions. The piece overall communicated the sensation

of nostalgia through familiar motions of looking and mimicking. Various audience members also

shared that they appreciated the multi-dimensional shaping of video projection images, and the

rhythmic relationship of the choreography and video between the live dancers and the digital

dancers on the projection.

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CHAPTER IV. PRISM: Fall Footholds 2019

Footholds is a bi-annual show hosted by the UHM Theatre and Dance Department,

showcasing the works of undergraduate and graduate students. It is a student-run show in

collaboration with the UHM Dance Faculty overseeing the program, publicity, lighting, sounds,

and costumes. The show runs for five straight days, usually set in the middle of the semester.

Figure 15. PRISM: Fall Footholds 2019 program

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Publicity

For this production, Emma Majewski, an undergraduate Bachelors in Fine Arts in dance

student, and I were given the task to title the production and design publicity since we both were

presenting our culminating degree work for the show. Working alongside the Footholds advisor

Dr. Miller and Senior Project advisor Peiling Kao, we came up with the title Prism. We decided

this word best represented both of our dances since Emma’s piece Pillar of Salt was about salt as

emotion and a crystal object that seems to relate to the prism’s edgy shape. In contrast, both of

my pieces played with reflections and mimicry that associates with the prism’s transparent

quality and ability to refract light.

A photo shoot for our dances was done for publicity. Prior to the day of the shoot, I was

asked to think of a concept that will serve as the design for the poster. I felt the poster had to

feature the use of media since it was a significant element to my piece. Hence, I researched to

find inspiration on the internet to gather mockups of ideas I was imagining.

Figure 16. Found Figures

One publicity photo idea I had was to project photographic images on to my dancers’

bare bodies. The projection represents my memories and identity while my dancers embody their

interpretations of these images. This shows the use of visual media projection and the concept of

layers and reflection. The plan was to work with as many available dancers for the photo shoot,

but unfortunately, only one of my dancers was available. That dancer was Tina Chan and it

turned out to work better than if the whole group had come because the single body was enough

to capture what I wanted. The projected images of my eyes were focused on Tina’s back

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capturing just enough to form the shape of my face. Although there were numerous trials and

errors, I was still able to land on one that I felt really projected and represented the concept of the

piece and the show.

Top 1 Top 2 Top 3

Figure 17. Top Three Figures from the Photoshoot.

Costume

Maile Speetjens, Assistant Professor in Costume Design, was the costume designer for

my pieces. Although, for my first piece Me, Myself, and I, the costume was already decided

because of its great importance to remain the same in relation to the video projection and the

concept. However, for Pleasant Remembrances, Professor Speetjens helped me decide what the

dancers should wear.

Figure 18. DanceWear Solutions Webpage and the Proposed Costume.

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We scheduled meetings to research costumes that Professor Speetjens thinks would best

connect with the piece. There were a lot of factors that needed to be considered in choosing the

perfect costume since the piece incorporated visual media projection. A factor to consider was

the need for the fabric to reflect the video projection that will possibly land on the dancer’s body.

The costumes also had to be loose enough for the dancers to move comfortably. Additionally, the

costume design needed to represent the dancer’s character well enough but not overpowering

other elements in the dance.

The system of the costume shop is adaptable in terms of accommodating choreographers’

distinct requests. Either the costume shop has the requested costume design in stock, or they are

able to make it, or ordered from Amazon.com or dance apparel websites. With these factors to

consider, Professor Speetjens presented me with the website DanceWear Solutions where she

proposed a design she thought worked well. In this case, Professor Speetjens first proposal was

perfect hence, we only needed to order and wait for the costume to be delivered.

Lights

Associate Professor of Theatre and Dance, Director of Design, Lighting, Sound,

Projections, and Special Effects, Brian S. Shevelenko was the lighting designer for the whole

PRISM production. With my years of experience as a performer and opportunity to organize

dance productions, I can say that lighting design is meticulous work that unfortunately some

dance productions are unable to fully utilize. Difficulties arise due to the minimal hours given for

the lighting process. Many productions suffer the pricey hourly pay for the venue and designer,

and the budget for the lighting is often the primary element affected. Knowing this tendency for

small productions, I made sure to meet with Professor Shevelenko prior to the day of technical

rehearsals to discuss what I envisioned for the piece. Incorporating my input, Professor

Shevelenko provided his artistic vision to the piece adequately.

The lighting ideas for Pleasant Remembrances were designed to not overpower the

projection on the cyclorama. The kind of lights used for the sidelights and front lights were

Ellipsoidal Reflector Spotlight (ERS). These types of light help accentuate the dimension of the

dancer's face and silhouette. Certain colors were also used on the cyclorama to make it not look

empty when there was no video projected. Moreover, Professor Shevelenko added gobos in some

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sections to create an interesting look for the piece. As for Me, Myself and I, the design was

mostly in a constant pink hue all throughout the piece. This lighting effect perfectly

complemented and helped strengthen the overall tone of the piece.

Schedule

PRISM ran from October 23 to 27, 2019. With October as the target date, I had six

months to mount my thesis, which seems a reasonable time frame to complete my choreographic

thesis. The dilemma, however, was finding the right time to gather everyone for rehearsal and

design. For a collaborative project to progress and continue productivity, maintaining regular

rehearsals is essential.

Since for Pleasant Remembrances I needed to work with all five dancers, we agreed to

schedule at least a rehearsal once a week. This agreement became an incentive for my dancers.

Not many hours and days were demanded from them, so the times we got to work together were

highly valued. The progress of the piece was slow given that we only met once a week. But as a

graduate student, I am understanding of the struggles to manage and balance time between

academics and rehearsals. Despite these circumstances, we are still expected to create and

collaborate even with the struggles of getting dancers to work with. The piece persevered

because of the professionalism my dancers have shown during the process. Me, Myself and I

however, was a last minute add-on to my choreographic thesis. But because the piece was

already performed, I just needed to rehearse a few more times before the show.

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CHAPTER V. Conclusion

Connecting back to Cohen Bull’s statement mentioned in Chapter 1, “They are simply

difficult to combine in the linear act of writing. The text of dancing exists in the nonlinear space

of memory, and its impressions and structures must be reconstructed by the writer even as they

are interpreted” (Bull 207), to translate my memories to words in this written thesis was truly a

challenging and insightful process. Even with the use of written or video documentation, it is

difficult to recall the sensation of past events. In writing a thesis paper about dance, it is essential

to be able to articulate the embodied consciousness that took place. For this final chapter, I write

poetically about my felt experiences in the making of my choreography for my thesis.

Time and space were the two most significant elements in this choreographic and written

research. To execute the goal of representing the multiplicities of the Self, I needed to search for

those identities by traversing through time. Space is where the intervals and the places these

identities were found.

Time

Time in this paper is defined in various ways such as timeline, limited availability, and

music. These mostly refer to time as a concrete and familiar concept. The role of time here is to

synchronize and organize bodies in the space. In relation to the production, the timeline strictly

dictated the movement or progress of the show. Availability and limit referred to the time the

studio and my dancers’ availability. Music pertains to sonic dynamics and length of the musical

pieces.

The established timeline was hard to follow and cope with. There were certain deadlines

that I felt I deliver to meet even though the piece was not ready. I had to compromise and to

accommodate dancer’s time and the schedule of the studio. The music had to represent the right

texture and arrangement to support the narrative of the piece well.

The choreography for both pieces explored time in cyclical reoccurrence. The repeating

or reliving of events, movements, and narrative revealed time. This cycle can be seen in Pleasant

Remembrances in that it finished the same way it began. The notion of memories and the

sensation of nostalgia were explored in the choreography and the process. I wanted to challenge

33

the power of memory to bring back time but also recognize what is lost in time. Having

rehearsals just once a week, the dancers had to work with memory a lot. Even with the use of

video documentation, the sensations of the movement and the energy within the group had to

restart in each rehearsal. Overall, time was the factor that motivated and pushed the creative

process.

Space

Space in this process was the place, the surfaces, and the bodies. Space was also the

pauses and the “in-between.” It was the opening where productivity occurs and settles. Space is a

place to gather. These venues, like the studio and the lab theatre, are where my team met and

collaborated. They were places that accommodated conversation and creativity and were areas to

reconvene and assemble our bodies and spirits.

The choreography synchronized live action with the virtual bodies projected on the

cyclorama. Working with the black box proscenium space, I tried not to fall into typical

choreographic tendencies, such as only having one front and dancers always facing the audience.

Assessing my work now, I could have challenged the play of projection dimensions which I

think I achieved with the use of media. In retrospect, I could have done more with the spatial

architecture of the choreography.

Dancers’ bodies are vessels of memory. To me, the body can carry years of information

and has the ability to learn more. What fascinates me is the uniqueness that each body contains

and its qualities to adapt and modify received information. This research seeks such nuances. It

acknowledges and recognizes the evolution that happens in the present and through time.

The Video

Technology played an important role in this project. This tool provided opportunity to

explore different mediums and layers. It helped convey the concept of multiplicity.

Relevance and cohesiveness to the choreography overall had to be considered in the

creation of choreography with video projection. First, is establishing the relationship of both live

and virtual bodies. It also helps to define the digital body as well. For this work, the digital body

34

does not only pertain to the images but the entire appearance of the video as well. To identify

both helps to visualize the aesthetics and how these bodies will move in the space.

Second, texture is important. Texture sets the tone for both the live and the digital

images. This pertains to the color, the effects, and the scale of the video and involves the editing

aspect of the video. How the video is edited will also reflect the character and the role of the

video in the piece.

Third is sound. What sounds will the video contribute to the piece? Sound adds another

layer to the conversation between live and digital bodies. Perceiving sound as language, and the

significance of this, helps to connect the elements that compromise my thesis.

Final Thoughts

This document provides an overview of my creative process. I began with my proposal

and then I reflected and analyzed the choreographic and design process. Overall, this project

truly challenged me as a choreographer, director, performer, media designer, and educator. It

fueled my desire to seek explanations about the uncertainty of origins, physicality, and lineage of

identities. As Judith Butler wrote, “I am the complexity that I am, this means I am related to

others in ways that are essential to any invocation to this ‘I’.” (Butler 68) This statement allows

time and space within myself to sense connection and correlation—referring to the ‘I’ or Self as

an existing assembly of knowledge and identities that evolved through time. These ideas of

complexity and relationship in identity are what I wanted to explore and examine in this dance

work. Working with new media also challenged my versatility as a choreographer. To work with

different types of bodies challenged my creativity and knowledge of dance composition. With

technology continuously developing, I look forward to how as a choreographer, I will continue to

incorporate more media into future dance work.

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BIBLIOGRAPHY

Birringer, J. “Dance and Media Technologies.” PAJ: A Journal of Performance and Art, Vol. 24,

No. 1, 2002, pp. 84-93.

Butler, Judith. “Bodies in Alliance and the Politics of the Street.” Notes Toward a Performative

Theory of Assembly. Cambridge, Massachusetts, Harvard University Press Cambridge,

2015, page. 68.

Cohen Bull, C. “Sense, Meaning and Perception in Three Dance Cultures.” Meaning in Motion:

New Cultural Studies in Dance, Duke University Press, 1997, p. 207.

Desmond, Jane C. “Embodying Difference. Issues in Dance and Cultural Studies.” Meaning in

Motion: New Cultural Studies in Dance. Duke University Press, 1997, pg. 29-50.

Hall, Stuart, and Stuart Hall. “Introduction: Who Needs ‘Identity’?” In Questions of Cultural

Identity, 1996, p. 4, http://search.proquest.com/docview/60031924/.

Kovan, Allan. “Cunningham – Official Trailer.” YouTube, uploaded by Magnolia Pictures &

Magnet Releasing, 2019, https://www.youtube.com/watch?v=B4t_l5mu9lE.

Hunter, Lynette and Riley, Shannon Rose. Mapping Landscapes for Performance as Research.

Palgrave Macmillan, 2009.

Nail, Thomas. The Figure of the Migrant. United States, Stanford University Press, 2015. p. 2.

Nelson, Robin. Practice as Research in the Arts: Principles, Protocols, Pedagogies, Resistances.

Palgrave Macmillan, 2013.

Sebastian, Angela. Pleasant Remembrances. Video Recording Documentation,

2019. https://anjcsebastian.wixsite.com/anjs/choreographies?pgid=k9b3j6g1-4a76364f-

4fb2-41d5-ad33-5f1fd202a4f1

Sebastian, Angela. Me, Myself, and I. Video Recording Documentation, 2019.

https://anjcsebastian.wixsite.com/anjs/choreographies?pgid=k9b3j6g1-ce8a2d33-c29d-

470a-829f-1fca8835d59a

Thomas, Helen. The Body, Dance and Cultural Theory. New York, Palgrave Macmillan, 2003.

http://search.proquest.com/docview/60031924/https://www.youtube.com/watch?v=B4t_l5mu9lEhttps://anjcsebastian.wixsite.com/anjs/choreographies?pgid=k9b3j6g1-4a76364f-4fb2-41d5-ad33-5f1fd202a4f1https://anjcsebastian.wixsite.com/anjs/choreographies?pgid=k9b3j6g1-4a76364f-4fb2-41d5-ad33-5f1fd202a4f1https://anjcsebastian.wixsite.com/anjs/choreographies?pgid=k9b3j6g1-ce8a2d33-c29d-470a-829f-1fca8835d59ahttps://anjcsebastian.wixsite.com/anjs/choreographies?pgid=k9b3j6g1-ce8a2d33-c29d-470a-829f-1fca8835d59a

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APPENDIX

Appendix A. Me, Myself and I Video Recording Documentation.

https://anjcsebastian.wixsite.com/anjs/choreographies?pgid=k9b3j6g1-ce8a2d33-c29d-470a-

829f-1fca8835d59a

Appendix B. Pleasant Remembrances Video Recording Documentation.

https://anjcsebastian.wixsite.com/anjs/choreographies?pgid=k9b3j6g1-4a76364f-4fb2-41d5-

ad33-5f1fd202a4f1

Appendix C. PRISM: Fall Footholds 2019 production schedule.

https://anjcsebastian.wixsite.com/anjs/choreographies?pgid=k9b3j6g1-ce8a2d33-c29d-470a-829f-1fca8835d59ahttps://anjcsebastian.wixsite.com/anjs/choreographies?pgid=k9b3j6g1-ce8a2d33-c29d-470a-829f-1fca8835d59ahttps://anjcsebastian.wixsite.com/anjs/choreographies?pgid=k9b3j6g1-4a76364f-4fb2-41d5-ad33-5f1fd202a4f1https://anjcsebastian.wixsite.com/anjs/choreographies?pgid=k9b3j6g1-4a76364f-4fb2-41d5-ad33-5f1fd202a4f1

37

Appendix B. PRISM: Fall Footholds 2019 Poster.