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Whilst training at Trinity Laban I have found a determined interest and desire to persue choreography after I graduate. I have chosen to focus on choreography in my final year and plan to centre my Independent Research Project (Dissertation) in choreography, specifically verbatim choreography, as well. Below you can see a small selection of my choreographic work. My choreographic language features physical theatre, humor, differet languages, pop culture and music and words. The modern academic contemporary dance world I feel, ignores the value of creating a piece of work that is rooted in current pop culture, the currentpolitical climate and history. Often it feels as though it is created only for those who study contemporary dance and focuses on abstract theory. It is presented in a way that is not accesible to those who dont's. I believe that choreography is a tool for change and to bring a physical expression for the voiceless, there is no space for exclusivity.
Whilst training at Trinity Laban I have found a determined interest and desire to persue choreography after I graduate. I have chosen to focus on choreography in my final year and plan to centre my Independent Research Project (Dissertation) in choreography, specifically verbatim choreography, as well. Below you can see a small selection of my choreographic work. My choreographic language features physical theatre, humor, differet languages, pop culture and music and words. The modern academic contemporary dance world I feel, ignores the value of creating a piece of work that is rooted in current pop culture, the currentpolitical climate and history. Often it feels as though it is created only for those who study contemporary dance and focuses on abstract theory. It is presented in a way that is not accesible to those who dont's. I believe that choreography is a tool for change and to bring a physical expression for the voiceless, there is no space for exclusivity.
We're Not Quite Ready For You...Yet
We39renotquitereadyforyouyetBA2ChoreographyShowcase2025.mp4Performers
Sachin Akira Beaman Patel (Violin)
Flore Seytre
Reuben Sleigh-Johnson
Mali Borja
Lily Grace Von Zweigbergk
Costumes by Hope O'Brian
Photos by Hope O'Brian.
This above choreography evolved from my fascination with language and meaning. I wanted to question how movement can disregard, emphasise or change meaning. I worked with music and musical notes, creating alongside my dancers and musicians who all performed as a cast on stage. My cast and I created a language which existed only to them and only within the performance. We questioned art and those who cteate it, and who art is created for, the artist of the viewer or the performers? How can art change its meaning when who it is created for rejects it or claims it? I worked with a violinist which was both a challenge and an illumination in how I wanted to incorporate and collaborate with all facets of the arts to create live performance.
La Langue du Flore.
This piece was one of my first choreographies. I worked with the idea of body language. Conducting a personal interview with my dancer and basing the choreography on her body language I studied in that Interview. I created the score with her voice and words. This process showed me that as a choreographer I also have to have the performers as the centre of the piece. I cannot create without their insights and understandings, they are as part of the creation as I am.
Performers:
Flore Seytre.
D40002cChoreographyGroupBMayaFish22052024.mp4More examples of my choreographic works...
IMG_8099.MOVThis piece is where I first began to work with words, both my own reflections and other pieces of poetry. It features poems such as The Orange by Wendy Cope and The Two-Headed Calf by Laura Gilpin. This was created in my final year of highschool at the Conservatoire de Luxembourg, before attending Trinity Laban.
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