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I enjoyed it, it was exciting and fun.
I felt moved by the speed and articulation of the movement and the site that it was performed in.
I found I was holding my breath, my body was tight and I was leaning toward the screen.
The fast moments and the floor work I felt the most connected to.
The fast speed was exciting!
I loved the building and the environment, however I didnt like the sketches so much.
Akram�s fast hand and arm gestures! Wow he can move soooo fast!
#1 - Nina Atkinson - 05/18/2009 - 14:44
It is busy, it is provocative.
It is safisfying to see movement sequentially and fragmented. the camera moves and the edit connects fragments from different times and settings/space to create a new choreography that cuts chronological time so the elaboration of the movement is reflecting the dancers skill.
If we like to see lush movement we get it here.
If we like to feel and sense we get less of that and more entertainment than empathy. We get to see movement from close intimate distance which breaks the normal pedestal of dancer/stage/audience. The screen is not working so well for me when the camera is too clever, i see that rather than the art/subject. The flow of movement the arc of the leaps and landings is the most satisfying for the kinesthetic response in me as a viewer, I can really sense the falling. I find that more involving (the edge of the screen disappears at this point) than when the image is more photographic/ or poses/positions. However i do like stillness too, and the anticipation this creates.
Yummy but a little less would be more?
#2 - Katy Dymoke - 05/18/2009 - 14:45
I really enjoyed watching this. I found it both mentally and physically stimulating. Physically I could feel myself moving forward and being drawn into the screen and I felt my body tighten and my heart rate quicken.
I also felt disorientated by the sweeping camera angles. It felt very intimate like I was sharing the same space when he was indoors and I felt very connected to the dancing and then when it moved outdoors I felt more like an observer and was more conscious that I was watching dancing on a screen.

A stunning short film...
#3 - Kate Pearson - 05/18/2009 - 14:48
I enjoyed watching this film. I found it very enticing and eye catching. While watching the piece I felt like the camera dynamics and music resembled that of a horror film. At any moment the wall would start melting. This aspect contributed to my feelings of excitement in watching this piece because they enhanced the possibility of the unknown. Then i was immediately swept away to a mythical place that transcended reality where his movements were fast and the venue changed constantly. The speed of the movement also added to the feelings that I experienced in the above statements. The constant change of environments made me feel like Akram khan had the role of a magician or character that could alter the state of reality. The moment in the piece that stuck out most for me was when Akram Khan did a flat arial flip and the environment changed while he was mid-air. This gave me the effect that he was jumping into another universe or world.
#4 - Ashley Lloyd - 05/18/2009 - 16:42
This first time I watched this film, I was kept on the edge of my seat. The breathing at the beginning and then the sudden change in music and setting kept my attention and had me filled with suspense to see what would happen next. It was interesting to notice the dynamic change in movement when the background changed from inside to outside. It seemed the dancer's movement inside was very confined and held compared to outside where he jumped and fell to the ground and used more of the space around him to dance in. also, the editing of the film was interesting to me. The camera would be panning around and the dancer would then exit the frame the camera would keep spinning around and then suddenly the dancer was back in the frame but in a different setting. Also, the angles chosen very interesting to me and added to the suspense I felt from the very first time I watched it.
#5 - Meredith Shaver - 05/18/2009 - 16:43
My experience watching this film was quite positive. The video was suspenseful and intriguing. One of the feeling I had when watching it was the sensation of my breath being taken away. With the energetic movement enhanced by the actual sound of breath I literally felt my lungs pause for a moment. I also felt anxious, on the edge of my seat waiting to see what would happen next. I felt a connection to the movement Khan was doing and in turn connected to Khan himself. The execution of the movement, especially in the outside scenes, looked liberating and I wanted to participate. I also felt a intellectual connection to the editing of the film. Film production interests me so watching the effects kept my attention. The speed of the movement enhanced the suspenseful feeling I experienced in the beginning and then, after giving it a moment to settle in, the fast movement became enjoyable and relaxing to watch, almost freeing. The change in the environment made a big difference in how I viewed the dancing. I saw the performer as confined when he was inside and then free when he was transfered outside. The best moment for me was when he was first "released" into the outside environment and he was dancing in from of the buildings. in this moment I felt a release in my body and mind and was able to watch the rest of the performance at another level than at the beginning.
#6 - Amanda Diorio - 05/18/2009 - 16:44
I found that "Loose in Flight" contained numerous layers of sensation that translated into an overarching sense of engagement with the work: the movement, the editing, and the structural images all combined to create a variety of cognitive and kinesthetic reactions in my body as I experienced the film...

I particularly felt a connection with the moments when the camera first presented "silent" images, followed by the dancer moving into the blank space... the resulting feeling was an enhanced focus on the structure of the environment itself, and not just the more typically balanced, framed image of the mover at center stage. And yet, though the dancer was not always the initial focus of the shot, Khan's existence still seemed the most pertinent to me as a viewer... I felt a constant sense of anticipation for Khan's return into the frame, and his movements in and out of the prescribed dance space suddenly seemed as important as the dancing he executed while clearly holding the filmed space.

Many of the postures of the dancer seemed to parallel the verticality of some of the environments in which the dancer moved; in particular, the structural images utilized in the film (i.e. the warehouse space, the concrete pad, the dumpster, the added industrial constructs that sometimes moved across the frame.) In contrast to this verticality represented by the more architecturally based elements of the film, the more fluid movements of the dancer were mirrored in the use of the more amorphous, natural elements included in the film's imagery (i.e. water, sky, clouds.) Also stirring were the images of time passing - the changes in cloud patterns and light -that accented Khan's seemingly uninterrupted sequencing of movement. Essentially, I believe that the changes of the environment in the film happily disrupted a sense of the movement washing over me as I watched - I really felt a stronger, clearer connection to the dancer as his movements were paralleled by the varied nature of the environments in which he moved.

Kinesthetically, I was most moved by the editing of the work - though Khan's movements evoked bodily reactions in and of themselves, the quick cuts and sequencing of the various camera angles were extremely powerful. My reactions were punctuated and intense as the dancer seemingly appeared and disappeared from the screen (something that is so much harder to achieve in a live performance context!)
#7 - justin tornow - 05/18/2009 - 16:44
I was kinesthetically connected to the dancer. The tightness in his body caused my body to tense. I wanted to breathe when I heard the breath on camera. I felt confined when the dancer was in that small room. When he reached for the floor then wasn't able to touch it, I felt tightness out of frustration. When the dancer moved outside the small room and his movements got bigger, I was relieved: I felt freer, my body loosened slightly and my breath moved easier.

I was very curious about the industrial setting, particularly when it flashed over the dancer when he was in the room. What did it mean? (I don't expect an answer). What was the dancer's connection to the water and the water tower? I was interested that his movements were so tight when he was inside the building (presumably one of the buildings in the background when he was outside), and were more free when he was outside, despite that both scenes had a very industrial feel.

I felt a connection to the music more than the actual movement. I felt a pulse through my body as the music sped.

My favorite part was when the camera panned away from the dancer, only to illuminate the same dancer in a different setting. Even though he was still a soloist, it gave me the feeling that he was not alone.
#8 - Alison Williams - 05/19/2009 - 11:02
I can best describe my experience of watching this film by saying that I was 'drawn forward'I felt a pull toward the screen, almost to a physical point, where I was literally caught up in the momentum of the movement. I was captivated almost completely from the moment the film began. I thought that there was a carefully crafted climb in momentum and action created by the artful editing of the film. I tensed and released with the tension in his body, responding as the flow of movement changed, almost wanting to move myself.

I felt an incredibly strong connection to the editing of the film, rather than any of the visual elements. The music and film cuts were so deeply tied to the movement, that they guided me through the dance rather than the setting or actual dance sequences. I felt a deep satisfaction every time the cut matched a beat in the music and the intensity of a movement. I also thought that the movement of the camera did a good job of building on the movement of the dance. When the camera panned around his still body, it added an unusual element of motion that gave it another layer visually.

I really enjoyed in the change in scenery, it was my favorite moment in the piece. I could feel the intensity building in the first half of the dance and as a result, I wanted something visually explosive to happen. When he moved to the outdoor setting and his movements became large and traveled through the space, I felt that this was an appropriate way to take advantage of the climax of his dance.
#9 - Ashley vonClausburg - 05/19/2009 - 11:04
When I first watched this film, similar to most, I also felt a little uneasy perhaps. My body was tense and I wondered what was going to happen next. I noticed that when something suddenly happened in the film, I would jump or tense slightly in reaction. Even as I continued to watch the film clip a second and third time, I still experienced the same reaction. The speed of the movement was so mesmerizing to me. During parts of it, I felt like Akram Khan's movements were computer generated onto the screen. It felt almost surreal. I think it is amazing how fluid it looked to still keep that kind of speed in the movement. There were no glitches between movements, he hit everything very directly, yet light as well, which made his transitions extremely smooth. The pauses between the movements emphasized his fluidity even more as it was almost as if time was paused instead of his actual movement.
The change in environment was a large part of what I focused on in this dance. I felt like it made the whole quality and meaning of his movements change. When Akram was confined by four walls that looked to be almost closing in with the camera angles that were used, his movement looked as if he was trying to get out. He looked confined and his focus gave me a sense of determination to get out of where he was locked inside. Whenever the scene changed and he was dancing outside, I felt much freer myself, and felt like his movements portrayed that of freedom. His face, though still focused, did not seem as intense, yet he held more of a focus on soaring in his time of freedom. Kinesthetically, I found it amazing how he leaped and threw himself around as if gravity was no means to him. I really enjoyed this movement when he was outside. I felt more relaxed as I watched it, but it still kept me interested with its intense movement.
#10 - Rebecca Stone - 05/19/2009 - 11:07
Watching this film I was approaching it from the stand point of a non-dancer. From this standpoint, although the movement is interesting and the music attempts to build suspense, there is much need for some explanation as to what this whole video is about. Yes, it may be open to interpretation etc etc, as is the case with most modern dance ,but when there appears to be a clear intent from the choreographer, the clip is not interesting enough to hold my attention long enough to try to decode what I'm watching. The random play backs of movement, changing of scenes, and image layers are disinteresting and more obnoxious than helpful. I would rather watch a clip of Akram Khan dancing with a view of his entire body and what is going on. The only reaction I really got from this film was frustration.
The second time I watched this film I approached it with an open mind more willing to read into abstraction. With this I felt the image layering was unnecessary, the meaning that I was creating seemed to work better without the cheesey and abrupt building passing over the screen. I still had few connections to the film, other than the fact that I too love dancing on the beach. The speed of the movement and the film was an attempt to build energy, in my opinion, and only increased my desire to experience the dancer in a live setting.
#11 - Elise Hehn - 05/19/2009 - 11:08
Watching this video I felt very manipulated. The cutting was very pushy and heavy-handed. The obstructing columns inside felt gratuitous and more a sign of "verite" than anything else. The camera never seemed to move *with* or in response to the dancer, but always seemed to have its own agenda. Nothing wrong with that! But it made me feel like I was watching a concept. Which is always the case! But ignorance is bliss for me on this score.

Almost all the movement sensations I had related to the camera's movement. I usually wanted it to stop or to connect in some way to the dancer so that its ignoring of the dancer could resonate.

I connected to the one movement that I "felt" "in" my body, the series of downward thrusts with his arms. These felt satisfying. I also connected to dancing outside in the wind.

I love speedy dancing. It's harder for me to perceive it with such fussy editing.

The change in environment did nothing for me. The camera and sound were so detached from the movement that changing locale seemed just as arbitrary.

SOUND. The absence of diegetic sound fractures the performance. This is an old technique, but I find it often muffles my experience of dance on video. A play of diegetic and non-diegtic sound usually works best for me.
#12 - Jeff - 05/19/2009 - 11:10
Watching the film, I found my response to vary throughout. The beginning, to me, was sparse in movement vocabulary. I found myself straying from interest. It was very start-stop, and while I can imagine it drawing an audience in through its precision, it was not enough to catch me.
When the dancer was first seen outside, though, I was suddenly drawn in. The movement dynamic shifted. He seemed more open, and expansive. He looked to take up more space outside than he did in the confined indoor space.
The most successful parts of the video for me was the close marriage between dance, sound, and video editing. Some smart choices were made to help communicate together. When the dancer was outside for example, his movement changed as the sound changed. The video editing created a sense of anticipation. As the camera left the dancer, he would suddenly be found in the camera's view.
Generally, the video did create a sense of anticipation. This was sometimes unsettling. I found myself searching, at times, for a connection with the dancer. That is sometimes the nature of dance on the camera. Some of the human element is lost through the camera. But we gain the ability to edit, and manipulate to a greater degree in order to help us communicate.
#13 - Carrie Simpson - 05/19/2009 - 11:10
The diversity of the movement in this video was the first aspect of the choreography I noticed during the first viewing. The different dance styles seemed to be influenced by the environment; the movement inside the building appeared to be more symmetrical similar to the lines of the building and the dancing by the water reflected more of a flow (circular movement).
After talking with a fellow student who brought up the idea of bird-like movement, my second viewing allowed me to make connections with this idea of flight characteristics. Khan seems to focus more on upper body movement, especially the arms, representative of the limbs used in flight and the visual images that flash across the screen represent what may be seen in flight from an aerial view (towers, buildings, satellites, etc...). His lower body movement included symbolism of flight such as jumps and falls. I believe that this piece is so eclectic that there can be many themes represented depending on the viewer.
#14 - Brandy Henry - 05/19/2009 - 11:11
From the beginning, I was instantly drawn into the video. Even with the slight technical difficulties (the video pausing and playing), I was quite intrigued. He had quite interesting and diverse movements and qualities throughout the work. At first he seems more confined and later, more open. He seemed to focus quite a bit on arm movements and less with the lower half of his body, yet it worked overall. Video editing was a huge factor in this work for me. It is what gave me that sense of anticipation that many times movement cannot do.

I have never really been too crazy about dance on camera. There is so much that is lost since it is not being performed live. For example, one of the main things that I enjoy about our dance theater is that we are so close to the dancers (or even the audience when performing). It is a different kind of energy that cannot be found through video. Even as a performer, I feel that I feed off the energy from the audience and as a audience member I feel more connected with the dancers through stage performances.

My favorite aspect of this video would be the editing. It kept me interested when I felt no connection to the dancer himself. It allowed me to wonder what could possibly be next and was unexpected and suspenseful.
#15 - Mandy Frazier - 05/19/2009 - 11:25
I enjoyed watching the film and for some reason it made me feel a little antsy, as if I was anticipating something to happen. The jerky-ness of the filming and movement was intensified because my computer kept making the film take breaks. I feel like this actually added to the film, adding more pauses and anticipatory moments. The film gave me a similar feeling to as if I were watching a horror film and I did not know what was coming next. This is a hard feeling to achieve in dance and I think that the element of film helped a lot in this process.
The dancer had a very unique way of moving and seemed to fuse a few different styles of dancing. I am not sure how much of the sharpness of the movement was a stylistic thing of the dancer or if the dancer was told to add sharp moments into the choreography. The change of environment did not throw me off as a viewer, and I felt that they went well together. Though the environment was certainly a factor of the film, I felt that the movement of the dancer was one of the strongest elements. I also found it extremely powerful when a quick, unexpected sound in the music was paired with a sharp, sudden movement from the dancer. I overall enjoyed this film and all the aspects of its making that is shown.
#16 - Kay Stewart - 05/19/2009 - 11:26
I really enjoyed watching "Loose in Flight". I was really drawn into the experience of being able to watch this process on film. At first, it made me feel kind of dizzy and out of place when the camera would switch back and forth from place to place in the room. It also made me feel like I was floating when the camera would pan around. The music also played a big role in the way I felt when watching this piece. The music seemed intense during parts which in turn made me feel a little tense. I definitely connected to the later parts of the film when he was doing larger movements and turns. I think that section was my favorite part because I felt more open because he was open and in an outside area. The speed of both the fast and slower parts was pleasing to watch. I think the film editor/choreographer did a nice job of picking those moments when the speed of his movements catches your eye. Overall, I really found myself engaged and wanting for it not to be over. Also, seeing it numerous times helped me attach other feelings and emotions to the film. It was very, very interesting and I'm so glad we were able to view a "dance for the camera" piece such as this one.
#17 - Ann Lewis - 05/19/2009 - 11:27
WOW! This was intriguing on many different levels. First, "Loose in Flight" was filmed in an urban setting and the dancer being filmed was male. I enjoyed the movement sequences and the connection the dancer was experiencing with the outside environment. I feel the dancer's movement, integrated with the film techniques and also the environment provided elements to make the work interesting and captivating! I enjoyed this very much!
#18 - Emily Hatfield - 05/19/2009 - 11:29
I enjoyed this piece because of Khan's style of movement. His movement felt as if he was telling/miming a story with clear and distinct gestures. Another experience I had was a moment of being culturalized through his movement in a natural environment. I felt intrigued of what was going on, wondering what was going to happen next; the feeling of anticipation.

The film direction was an aspect that I enjoyed. the connection of the breath, movement, appearing, disappearing, angles, and random architectural shots, etc...seemed that there was a point to be made through Khan's vision in editing.

There were some movement sensation that I experienced such as being level-or level headed with his fingertips pointed to each other and his elbows lifted..then finally dropped laterally to one side.

The effect of the speed dramatized his movement as well as the musicality and the breath. There was also an effect of exploring different elements of energy through each speed.

Khan's movements seemed confined in the building, which brings me to the initial scene of his face plastered on the window looking out or in...making a connection. However, a little confused with the water tower, may there is some type of significance to him..purity (maybe?)

The best movement for me was when Khan has many moments of fluidity, sharp, angular, beautiful lines, and his openness to energy throughout "Loose in Flight." Overall, I enjoyed this work..and am interested to view more.
#19 - Mazie Swaso - 05/19/2009 - 11:30
As I watched the film, I did not feel kinesthetically connected with the dancer himself. As a dancer, I expected to feel this empathetic sensation in my body, but instead I was consumed by a physical reaction of a different sort. I felt tension in my muscles, most likely initiated by the musical accompaniment, the video editing style, and the sharp intensity of the dancer. I felt a bit overwhelmed by trying to visually process the quick camera cuts to different angles and various body parts. My mind kept trying to comprehend and visualize the choreography as a whole, so I felt myself getting slightly frustrated as my eyes were guided to various parts of the body instead. I felt this anxiety ease up as the environment transitioned to outdoors, when the viewer was allowed to see a wide angle shot of the dancer's entire body in motion. I believe the editing and direction of the film is an integral choreographic element, just as crucial as the dancer's physical and spatial choices.
#20 - Kristi Townsend - 05/19/2009 - 11:30
As I watched Loose In Flight, I enjoyed the strong movement produced by the Khan. I thought it was interesting that the term "Loose" was in the title; that is not what i thought of while viewing the performance. The dancing, to me, was not loose at all. While watching the dance, the breathing noise in the beginning was almost frightening. It reminded me of a scary movie. The dancer had amazing grace while being incredibly strong and fast paced. The movement and bodily reactions of Khan were intriguing and I did not want to take my eyes off of the screen. I noticed that the dancer focused his movement mainly on the upper portion of his body. The lower half did not seem to move as much. The music along with the strong movement really only made me think of a scary/horror movie, which I do not like, yet I thoroughly enjoyed this piece.
#21 - Molly Derrickson - 05/19/2009 - 11:31
This video sparked my curiosity from the beginning. I was drawn in immediately to the beauty and precision of movement that was presented. The camera angles and effects made added a deeper effect that truly impacted my awareness of each sensation I felt as I watched. I felt curious to the spaces in which he danced and the significance of the images across the screen to his movement and the entire project. I even felt a jealous urge rise up within me. I wanted to do what he was doing and to join in. It was powerful and something about the scene changes, the movement and music was thoroughly emotional for me.
#22 - Meredith Rabil - 05/19/2009 - 11:31
In watching this video I was a little on edge. The sounds and movement made me a little scared as to what might come next. I loved the movement and the way that it enhanced the sounds. I think that the camera angles also added to my apprehension toward this video. When the setting changed I became a bit more open to the video. Although the sounds were still the same the open space seemed to be more inviting and interesting to watch. In watching this film I connected with the movement the most. The movement in itself has its own ways for flowing and also being shape. The phras contained it's own climax that help me eye in order to enjoy the path that the movement was taking. I am very fond of fast speeds in a dancing and so this quality of the movement was very easy for me to watch. I fell like this fast quality also enhanced the sense of intensity that went along with the setting and music use in this piece. I think that the best moment in this piece would have to be the movement where the enviornment changes. It was a very unexpected moment that made much sense to the piece. The dancer was able to do things in this enviornment that they could not do in the other. This video was very interesting to watch and see how film can enhance or suppress dance.
#23 - Kristina Rogers - 05/19/2009 - 11:31
I did get kinesthetic information while watching the video, though I wonder if it is because I already have the physical knowledge/muscle memory of similar movement. It seemed that the parts that appealed to me kinesthetically were the hand, arm, and spine movements, and those are the most familiar to me.
The speed of the movement played a role, but I don't think it changed the level of kinesthetic appeal, it just changed the way that kinesthesia was experienced. When he moved quickly, I felt in a sort of rush, and when he moved slowly, I felt controlled and strong.
The editing supported this is a positive way. When the dancing was happening in the room, I felt tense, and when he moved outside, the tension started to melt into a relaxed engagement.
#24 - Barbara Tait - 05/19/2009 - 11:32
This piece is interesting and engaging. It sucked me in at the begining and kept my attention the entire way through. Kahn and the other choreographers (videographer, editor, director) find ways to combine varied elements to create the perfect environment for Kahn's character.

I watched this video over and over to find new things about it each time I watched it. The first few times I watched it, I was focused on the posed questions such as how the speed makes me feel or the change in environment. With these questions as a frame work, I was able to find interesting things on a detail level within the piece. I found that Kahn's movement seemed to be moving the camara and it surroundings. I noticed that the music, lighting, amount of space, and atmosphere all had an emotional impact on me as a viewer. I felt nervous, anxious when Kahn was inside the building but I felt free and relaxed when Kahn was dancing outside.

After I watched "loose in Flight" a few times I began to notice something on a whole from the piece. I realized that Kahn was a human interpretation of a bird. Inside the building, Kahn was trapped and contained. His movement refected this feeling of isolation and imprisonment. His movement was very bird like in its self. And this movement continued when he was set free to move outside of the building. The experience of Kahn dancing outside of the building or being "loose in Flight" reflected energy and limitless bounds. This feeling was only to be cut down by finishing the piece with Kahn back inside of the building or "cage".

Kahn's character, like a bird, is stuck in a cage and limited to its bounds. Kahn's cage is a representation of manual labor work such as working in a factory. When Kahn is let go from his cage, he is able to explore and adapt.

I thought this piece was an emotional rollercoaster that was very evident to the audience. The piece does a good job about making you feel a certain way by using many creative elements. I enjoyed this piece.
#25 - Joshua Justice - 05/19/2009 - 11:32
I felt an uneasy balance between the sharp precision of much of Khan's movement and an occasional collapse of the body, or even the release of breath. I think this interplay between tension and release helped to give me a sense of suspense when watching the video, and I found myself holding myself tense, as Khan collected himself quickly after any collapse (as if tension and verticality was the aim). This sense of bound energy and sharp movement was accentuated by the warehouse setting at the beginning of the video. The suspense was heightened by Khan's occasional disappearance from the frame. The camera seemed to be searching for him, just as my eyes were. When the action moved outside, a new sense of expansiveness filled both the movement and my body. The movement looked (and felt, to me) freer, less restricted. What does it mean that the video ended back where it started, closed up in the warehouse, after all that flight?
I am struck, after several viewings of this video, with the cohesion between all the elements present in this project--movement, sound, setting, camera angle, film editing. The breath at the beginning, the circling camera, the quick and repetitive film cuts, all served to magnify the tight, suspenseful atmosphere of the beginning. The wide camera angle, the change to more melodic (less "creepy") music, and the open air setting later in the film heightened the sense of breadth and ease when Khan dances outside. Interestingly, I found myself better able to breathe when watching him outside, than when the sound of breathing was present in the warehouse shots. All of these elements seemed designed to elicit particular responses in the viewer, and I certainly felt myself influenced by them.
#26 - Anne Morris - 05/19/2009 - 11:33
While watching this piece-I feel that my sense of breath was most affected by what was heard and seen. The inhale of breath seemed to happen in sudden instances as if in an exaggerated state it would be like gasping for air, or a reaction to being startled. The dancers movement (of the arms, torso, and feet) issued such a response of quick inhales- all the while as the dancer would release within his body- a realization of the needed exhale would occur.
I thought about confinement and release of such confinement with the change of location in the film. The industrial like room and the dancer's proximal movement of the body registered within my body and mind as a confined space. Once the dancer was outside by the water- the movements expanded and left the ground as if to react to the growth in space with being outside.
The last element that affected my experience with watching the piece was the camera shots (angles, depth, and motion). My body seemed to connect to the ways in which the dance was being shown through the camera. For example- quick sudden changes with the placement of the shot added to the feeling of something unexpected- thus possibly affecting my breath and general expectation as viewer.
#27 - Erin Casanega - 05/19/2009 - 11:33
The beginning of the film made me feel tense and hyper-alert. I think this feeling was caused by the dark setting, the chaning camera angles and the Khan's quick movements. I felt like I couldn't quite know where he was or what he was doing which made me very focused on him and absorbed in his movement. The sound of breath made me connect more to Khan's movements and feel them in my own body.

I really connected to the inside setting and to the speed and precision of the movement. I think that the speed of the movement, both of Khan and of the camera and editing, made it difficult to really experience a kinesthetic empathy, but when it did occur it was very strong.

After the change of scenery I was more relaxed but also more distanced from the film in general and particularly from Khan's movements. It was easier to experience kinesthetic empathy because the camera showed his whole body for longer periods of time, but because the setting was so much more open and I was less on edge I was less absorbed in his movements.
#28 - Megan Wilson - 05/19/2009 - 11:34
Watching this piece I was compelled to dance and this is usually a hard thing to do for me. It only happens when the movement connects perfectly with the music and setting. The way the breathing started out in the beginning was perfect. It draws the viewer in and captivates them right away. Then the music picks up and it continues to hold the audiences attention. I loved the way the scene changed from indoors to outdoors because it once again was an attention getter. I think that the constant change in sound score and setting kept me on the edge of my seat the whole time. The music was a constant rise and fall and the movement was choreographed accordingly; it was like the choreographer was in a constant struggle to keep himself up.
#29 - Caitlin P-C - 05/19/2009 - 11:34
For me, the kinetic elements in Loose in Flight are not only coming from the dancer but from the scoring and the film editing, which often gives a lived presence even to the inanimate objects, i.e. a spinning water tower! The dancer explores his confinement in the first part of the film with angular arm movements and gesturing of the arms and torso that try to define the parameters of that inside space. The wooshing sounds seem to usher me (him) into and out of that space. The bound aspect of his movement inside contrasts to the freer use of space and levels I see as he dances next to the water outside. The elements around him are more mobile, and so is he, his pants flap in the wind, the water and sky are in motion, as well as the industrial inanimate objects around him, which seem to take on some of the freedom that he feels through the design of the film maker. The releasing and dropping movement that the dancer performs, which seems to define the earlier inside space, overtakes him again on the pier, and eventually that movement signals his return from the outer space to the interior.
For me, this struggle is between the dancer's need to participate in the progress of artificial aspects that have become integral to our society as well as the elements of nature that reflect his human-ness. Also, a sound used at the beginning, inside the harsh unnatural environment of that interior, reminded me of the pleasant sounds of crickets on a summer night, creating for me another sense of movement and freedom, contradicting the inert nature of that interior space. Loose in Flight is a compelling capture of motion.
#30 - Linda Sabo - 05/19/2009 - 11:35
This film was captivating on many levels. Instantly the audience is drawn in to the production from the use of breath, darkness, and quickly changing shots. Due to the unpredictable nature of the filming, the audience has no choice but to sit on the edge of their seat in anticipation of what is happening next. The sharpness and unpredictability was a very successful complement to the rapidly changing camera angles. I also enjoyed the complete aesthetic change when the scene changed to outside. The camera techniques, music, and choreography all took on a different mood which helped the audience feel as though we were part of the film.
#31 - Jessica Stewart - 05/19/2009 - 11:35
I feel that there are a great many elements within "Loose in Flight" that would certainly contribute to anyone's kinesthetic experience while viewing this film. Viewing the piece solely as a choreographic work, a work of dance, vastly underestimates the impact of each additional component. First, and foremost, I am affected by the soundtrack; a labored and almost mechanical breath crescendos to an abrupt halt, making anyone who has ever seen a thriller undoubtably tense. I find myself full of anticipation, waiting with bated breath for what is to come.

As we are presented with the first image of Kahn, I am impacted by the cinematography and the space, lighting and architecture. The tension subsides slightly as he begins to move, a soft man in direct contradiction to the rigid and abrasive architecture. As the camera closes in on him, fragmenting his form, I experience more kinesthetic empathy in regards to his quick, thrusting arms and bursts of exertion.

Moving into the new environment, more than the architecture has changed. The camera angle is lower here, so although Kahn moves within a large space, we are looking up at him. It is certainly an emotional experience as well as a kinesthetic one; I desire the feeling of confidence that is displayed by his now tall and confident figure. Additionally, such a camera angle juxtaposes his body and expansive movements with billows of clouds, fabric that ripples in the wind, and waves of water rolling by, the rigid architecture almost miniature behind him. It is the culmination of these elements that dictates my experience of freedom, of wanting to move and feel the wind for myself.

Watching as Kahn moves into the ground, my whole body tenses, bracing for the impact, and relaxing only slightly when he appears to land softly. I find that I am disturbed by the lack of noise. I expect to hear a dancer move, breathe, and fall, but no sound is present for him at all. By the time the piece is "bookended" by repeating the first images, I am no longer affected by the tension that I experienced in the beginning.

It is difficult to determine which of my kinesthetic experiences might be directly related to the movement. My experience is dictated too by the soundtrack, lighting, environment, jump cuts...
#32 - Jakki Kalogridis - 05/19/2009 - 11:35
I thoroughly enjoyed this piece, I probably watched is six times and everytime it was intriguing and kept me on my toes. The way the camera would switch angles fastly, made it seem like he was dissapearing and reapearing. It also had an erie feel to it, and made me personally feel a little paranoid.
Josh and I talked about how it had a bird like feel to it, when he was inside it was like a was in a cage. His movements I thought were beautiful, my favorite part was near the beginning when the music starts to pick up and the dancer is looking back in forth kind of frantically. This part is where I got the feeling of paranoia. I could probably watch this piece another 5 times and still find it extremely interesting.
#33 - Carlie Fink - 05/19/2009 - 11:38
I immediately became extremely kinesthetically involved in this work. From the beginning of the film, I felt my eyes darting around and my center of balance quickly felt off kilter. Through the extreme physicality and fast movements, aligned with the skillful videography, I constantly felt the Akram Khan's energy directing mine. As the film progressed, I increasingly began to experience a kinesthetic empathy for Khan. My feet twinged, feeling the floor while watching him pirouette on concrete. I had a similar bodily connection while watching Khan fall. I continually felt his movement in my own body. The environment of the film also enhanced the control over my physical response. I felt inhibited and confined when he was in the enclosed space, drawn forward towards Khan when he was outside, and dizzy with the quick span of buildings. Through out this film I became more and more kinesthetically engaged and by the end, felt almost nauseas from the experience. I am uncertain if my experience was directly attached to the dancer's performance of the movement, the film editing, the sound score, the environment, or the combination of them all, but the experience was dizzying and exhilarating. I often become incredibly physically engaged while watching dance, but this was an extreme level of physical involvement for me while watching a screen dance. I thoroughly enjoyed the work.
#34 - Elizabeth Lane - 05/19/2009 - 11:39
Watching this film gave me a new idea and perspective of digital dance. I was able to appreciate a performance not just for the movement quality or technique but also the suspense and graphic enhancement. Watching dance through film has always been something I dreaded because it tends to lack qualities that a live show gives. However, with this video I was enticed by the speed changes and the suspense in camera angles and location changes. It kept me guessing what was next to be seen and the music compliment the effects greatly. I was content with the piece, but I was left wanting more and wanting answers revealed, but that is not new for a viewer to be left with a question at hand. The shifts in location and dynamic changes were interesting and components that could not be expressed without technology. Overall, observing this video made me appreciate technology more and makes me wonder how dance can be enhanced using it.
#35 - Kara Wade - 05/19/2009 - 11:42
the first thing that struck me in this video was the fast editing style. It, along with other elements like the sound and setting, created an feeling of suspense. i was reminded a lot of horror or thriller movies, espescially in terms of the editing style. also, the fact that you rarely saw the dancer's entire body while he was in the indoor setting created a feeling of anticipation and intense curiosity... i wanted to know how the rest of his body was moving. i also really connected with the symbolism of the settings and how they affected his movement (contained movement indoors, larger movement, including jumps, outdoors) I think that it's really difficult to capture the energy of dance on film, and "loose in flight" did a fantastic job of it. the piece would have been a completely different experience if viewed on stage, or even with a looser style of editing, or no editing at all. imagine him dancing in a blank space with only one camera fixed on him the whole time. it would have a whole different meaning.
#36 - Jessy Harding - 05/19/2009 - 11:42
The experience of watching this film will forever stay with me in my personal "tool box" of great works to reference in one way or another. The video was suspenseful and intriguing, which made me feel anxious, and on the edge of my seat waiting to see what would be next. When he reached for the floor and was not capable of touching it, I felt strangled by a web of frustration, (it would be so much more pleasing and relieving if he had made contact with the floor...and maybe I could have kept from grasping for air, after holding my breath and waiting for "that moment"). I was able to become relieved later on when the dancer left the confined space and was able to do more grandiose movements. A point that I found interesting is that even though the dancer was not always the focus of the shot, their existence still seemed the most embedded to me. Perhaps the importance draws from the constant sense of anticipation I felt for Khan's return into the frame.
#37 - Valerie Schuh - 05/19/2009 - 11:42
Akram Khan - Loose in Flight

I really enjoyed seeing this dance video. I felt like the sound effects, lighting, cinematography, and editing came together for a cinematic effect which is something especially stimulating for me. From the beginning, it was as if I was watching a scene in a movie where the film maker maybe uses artistic qualities to convey a symbolic/abstract message. I enjoyed the quick cuts to different body positions and use of repetition, because it repeated the way the mind works, almost as if to be thinking aloud or remembering fragments of something. The way it translates in the mind, maybe as if in a dream, comes out abstracted with elements of the other sometimes unrelated things. I loved the semi-creepy sound effects blended with the music. The editing, camera angles, and sound effects made it possible to place emphasis on the sharp arm movements which may have seemed overstated in a live performance - a little guy on a big stage trying to make a big deal out of these little arm jerks might look overdone.

My initial response to the film was, "I want to try that with dance and film." It provoked different ideas from me. The filmmaker/editor choose from what point of view to look at the dance by either zooming in on a certain part of the body or by showing form what direction to look at the body/dance. In live theatre or dance performance, audience does not necessarily have to look where the director intended. In this film, the audience can not choose where to look and does not know what is coming next. I think it was supposed to be random. I made the randomness of this dance have a story and I believe it was the point of the choreographer and director to have it be somewhat chaotic
so each person can come up with their own interpretation. With the image of Akram looking out a window, in the beginning, I thought he was pondering his day or his life, and what followed were the images of his pondering. He was initially in a bare, warehouse type room. His movements were stationary, small and percise. This made me feel that he was stuck in an office job, for example (or he could just feel stuck in the confines of his life) and the walls were confining his creativity and freedom to move and be who he wants. The sound and images of the buildings helped to reenforce this thought. When he moves outside it is as if he is free. You can see the wind moving his clothes, the air is not stagnent like it was inside. The music explodes as well as his movements. He is able to leap and roll however he wants. He seems able to move with the wind and he doesn\'t feel tied down by the invisible restrictions he or someone else has put on him. He ulitmately has to return to his life by returning indside but he has brought the knowledge of that freedom with him and he is freer just knowing the possiblity is out there.
#38 - Ann - 05/19/2009 - 11:44
The breaths in the audio of the film immediately captured my attention and focus. In fact it made me feel uncomfortable. It made me connect with the entire film and dance in a personal, internal way. Very cool effect to achieve without being a live performance.
The first time I watched the film and the movement of the dancer I thought of something continually being built up then torn down (or falling). I thought of buildings and towers, and was affirmed in this thought towards the endo of the film with the images of a structure, and water tower. The second time I watched this, I realized that these images of buildings and towers were being flashed throughout the film, and not just at the ending, similar to subliminal messages. This in turn likely manipulated my thoughts as I thought I was focusing on the choreography of the dancer.
Speaking of the choreograhpy, I enjoyed the contrast of the soft flag-like motions of the dancers hands to the strength & rigidity of the movements of the rest of the body. Also being in sync with the music affected me like the use of exclamation marks at the end of a sentence.
The change in location in the film made me feel a sense of freedom from constraint. During the outside location, some of the dancers physically demanding jumps and flips would make my muscles twitch as if it were I attempting it.
Lastly, I found myself not enjoying the close up shots on the dancers face. It felt like interruptions in my ideas about what was going on and enjoying the amazing movements. Possibly because my thoughts then started to turn to the dancer as a person- (i.e. Is he attractive? What is he thinking about? Where is he from? What color were his eyes etc.)
This is a great study and film. It is interesting how we can manipulate and be manipulated by dance and film.
#39 - Nicole Blackmon - 05/19/2009 - 11:50
My first reaction to the video was that I liked how the camera angles contributed to the mood of the dance. Everything seemed to blend together quite well, including the setting, sound, and movement. I thought it seemed kind of eerie at first, because of the dark setting and heavy breathing. The musical accompaniment changed with the setting, which I found effective. I did have a little trouble finding meaning to this piece but that is not surprising because that is one of my weaknesses as a dance viewer. I enjoyed the contrasting speed of movement, the stillness against bursts of energy. I think overall I would have to watch the video multiple times to decide how I truly felt in a more intellectual way.
#40 - Andrea Lalley - 05/19/2009 - 11:51
the fright flight of disconnecting limbs. encroaching storm, anxiety rising.
#41 - erin - 08/07/2009 - 17:25
Loose in flight
I found this film quite disturbing, with a powerful use of sound and image. With the dark interior, I couldn�t help thinking of torture scenes and hostages. I suppose I was also influenced by the ethnicity and gender of the dancer to think in terms of a political dimension. I liked the close-up of his face at the beginning, it seemed to add another perspective, to step outside the conventions of dance into something else, drama or documentary perhaps. The spare movements of the interior dance were very effective, and I found the scooping gesture suggested the kind of vulnerability we saw in the close-up, and which belied the powerful physique of the male dancer. The light exterior suggested physical exuberance and freedom, but there is also a sense of conflict remaining in this barren post-industrial landscape. He is a solitary figure, still isolated, and seems to have difficulty rising from the ground, or else he twists around his own body. This strong body is still constrained. Although, in some respects, this film has a distancing effect, because of its subject and style, I found that I did want to copy those movements later on, and felt infected by them.
#42 - Frances Presley - 01/25/2010 - 16:27
mr
This film made me feel angst in several ways. The dancing routine held my interest for a short while but with the combination of film editing and superimposed special effects and choice of audio track what little interest I had became an overall chore to endure this film to the end. I felt cheated in a way by the overall gimmicky effects and uninteresting dance routine but I wanted to enjoy the film.
I began to feel obliged to like it and tried to find positive aspects which began to cause me stress. I began to think that once the film ended I would try and watch it without the soundtrack but realised that this would only lessen my angst rather than make it more pleasurable to watch and I felt glad the film ended.
#43 - ian campbell - 05/14/2010 - 00:35
caught
I felt caught, ironic given the title I feel. Immediately aware my my own breath through the sound, I was watching for his breath. As the video progressed I was unsure of my own breath.
I found myself repeating through visualisation and memory, the phrases of movement I'd just seen during the moments when he was not on screen. I also found myself finishing movements caught in stillness, in my imagination. Have experienced movement as a dancer myself, I felt the carpet under my back and the roll of my body across the surface particularly.
Aesthetically I was somewhat confused as the environments all set boundaries around the dancer, even the outside carpet square, so if shooting outside was suppposed to contrast the inside environment I didn't feelt his. I still felt caught, watching him. The evironments in the video made me sad. The fluidity of his movement contrasted the environment at times and at other times added to the sense of restriction I felt.
I still feel I need to breath out.
#44 - Karen Barbour - 05/25/2010 - 00:28