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We looked inside some of the posts by mdavisbbbwc2021 and here's what we found interesting.
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500 word evaluation
My film explores the concept of rituals and ceremonies. Through research on rituals in different cultures and pulling on my own culture and traditions, I developed a conceptual coherence. I researched artists such as Regina Jose Galindo and Ana Mendieta who used their bodies for their art. This inspired me to look into performance and use earthy materials such as soil, water and bones as part of my ritual; utilising a range of characters to emphasise a connection of ‘man’ to Earth. I watched films such as ‘Suspiria’ and ‘The Holy Mountain’ and was inspired by the symbolism which translated into my piece through dance, colours and objects and circularity- common tropes in rituals and links to King Arthur’s round table. I think this played out well to create my own rituals and created elements of magic and mystery. I also used gloves as symbolism of both COVID and as a ‘barrier’ of connecting to the earth due to the superficiality of the characters. I feel that I could’ve played with lighting more, but I also wanted to make it ambiguous - this works well but means the camera quality is lowered.
I was able to demonstrate a range of technical skills through filming. Furthermore, I explored editing during the process, mainly speed, but I did not develop this as post-production would take away from the beauty of my pieces. Technical skill was also highlighted through utilising Instagram as a platform by which I created ‘highlights’ of and posted stills as well as videos to help build a narrative. This added more dynamic and layers to my work. I think this was also effectively complimented by the poetic captions. I had to crop the video to fit on Instagram(minute long limit) so I chose the best/ more interesting parts. Although slightly disappointing, I don’t think it has negatively impacted the final result.
This also links with the aesthetic consideration as I created structure and form through beginning an ‘act’ with a closeup of an object on a table, creating an air of mystery, followed by a portrait photo or video of the character. I also added stills of the table which give clues as to what’s to come and offer a higher quality look at what the objects are. This is finally followed by a video of a ritual. I think this was an interesting way to slowly create a narrative. However, I feel like I could’ve developed the narrative a step further. Instagram was also an interesting platform to use when looking at the characters created as it becomes almost a social commentary on how users of Instagram tend to fabricate this perfect life. My film aims to allow these characters an opportunity to connect back with the earth.
I went beyond the black box and white cube through two methods. My piece explores the act of performance both choreographed and improvised. This was interesting for me to watch and engage with, with the camera but was also fairly difficult. The way I positioned myself on the opposite end of the table felt like I was dancing alongside the character and performing the ritual. I think the actual movement of filming around the table creates a dizzy-ing effect which works well and looks quite choreographed. I found it hard to keep the same level of distance away from the table and tracking the dancer and I kept bumping into things which shook the camera a bit at parts.
Overall, I think my work went well and I found it interesting to make and research. Even with complications and technical difficulties throughout, I still think I’ve created a successful and engaging body of work with some striking imagery and it does what I wanted it to do, as well as conceptually providing a deeper meaning. The form I used on Instagram reflects the significance of form within rituals. Next time, I think it would be interesting to explore the way I could present my work in a physical space as I only thought about going digital. I would also play around with sound more. The concept is a ‘silent disco’ type ritual with no sound whilst the dancers dance to their own music but it would be interesting to create my own sound.
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instagram
Fourth night: The Ethereal Dame
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instagram
Night Three: The Eldest Heir
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instagram
Night Two: The Puppet and The Puppet Master
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instagram
Night One: Supreme
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Captions for posts - slowly builds narrative/ story
Brittle as bones, So little to be known, Never more to be shown, Here in our home.
Melted softly with a flaming heat, A space reserved to take a seat, An earth once full, only depletes, But here tonight we shall meet
As light as air, Invites the eldest heir, Under the full moons glare, But when you own all, what is left to share?
Lucky eight above the lions mane, Invited tonight is the ethereal dame, A place unknown she will reclaim, Know too much and it will never be the same.
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The developed characters - shown as a highlight on the Instagram profile but also posted as individual pictures on the feed.
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The Instagram Feed.
It looks a bit odd with the first picture by its own but I don’t want to add any more pictures as I feel the story has already been told as it is and anything else might take from it.
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Video
youtube
I plan to use this one for my Instagram feed. Jade’s was the most choreographed - told her to use gloves, stick, bubbles and... The objects I use in all my rituals are tailored to the character that is being portrayed e.g bubbles for the ethereal dame and a chalice for the eldest heir
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Jades rituals
youtube
https://youtu.be/mXLQk7MVRFY
youtube
Jade’s tests, I made a couple more but they were pretty much the same & I’ve started running into technical difficulties running out of storage on Vimeo and things taking way too long to post on YouTube for videos that I’m not planning to use for the final.
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Jade’s portrait - experimented with glitter and bubbles to emphasise fairy, whimsical look
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Editing update
After consulting with tutor , I’ve come to the conclusion to stop the edits. It makes this kind of comic and is too much postproduction, especially for the notion of performance. It also takes away from the sense of the audience witnessing something magicaI.
Other elements I could use to create interest is :
close ups
story
profiling the participants
All elements should have a ritualistic feel, follow a clear structure, rhythm, strategy. Form is important for ritual.
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Edit tests
My other housemates have gone home for the weekend so while I wait for them to get back to do more portraits and rituals, I’ve been playing around with editing the pace to see how it looks.
vimeo
Using two clips as examples - Completely sped up (at 400). I think this looks interesting and emphasises the spinning around the round table, furthering the dizzy effect. The movement looks funny which is both a positive and a negative.
vimeo
For this one I manipulated the speed - slo-mo to emphasise certain movements and increased speed when movement isn’t as interesting?
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Sketches/ Notes / Old Planning of what I want from the characters ; costumes and table setting. Also brief notes on what the characters are like and what they represent.
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Site-Specific Art : Performance, Place and Documentation : Performance, Place and Documentation
By Nick Kaye
Site-specific is defines itself through properties, qualities or meanings.
Minimalists site-specified can be said to begin in sculpture, yet reveals itself in performance, a move which calls into question its formal as well as spatial location.
Performance and place is articulated through inter-disciplinary practices. Site-specificity should be associated with an underlying concept of ‘site’, rather than with any given or particular kind of place or formal approach to site.
This links in with going beyond the black box and white cube. In my work I played with space regarding the actual films within the performance. Moreover, site-specificity is explored through a concept of ‘site’. Rather than a physical ‘White Cube’ my work will be exhibited and presented online on an Instagram feed.
This emphasis on performance might also be prompted by a reconsideration of the operation of language in relation to location and site.
There is a disjunction between ‘real’ and ‘virtual’ space. These operate outside the gallery, providing a basis of a broader consideration of place and space. In blurring the distinctions between the virtual space of a work and the real spaces in which the viewer acts, these strategies expose the performance of the places in which they intervene.
This means that my films themselves are a performance in their online presence.
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