Tuesday 27 December 2011

Species


[ 4 females moving from the heart impressive connected breath heart beat limbs feel see ]
During my holidays I have enough time to reflect back over my experience in the Uk and I decided to go back to all my "dancing and performing" videos, but now I watch them differently. What is changed? Is it something wrong with me? Is this me?

Monday 19 December 2011

last technique class term 1

Last Thursday before the Vivas we had a last technique class with the amazing professor Sarah.
We had the chance to think and work compositionally so we were initiated in the "making process" and I worked with Fiona. The phrase changing just came so easy and so natural!!!
Thanks Fiona for wonderfull connections!

http://www.youtube.com/watch?v=3vezUtYSvtw

Tuesday 13 December 2011

ipp2 solo

http://www.youtube.com/watch?v=QsTBLfgQI7Q

I have used this video as a resource for my solo, but this time I have a totally different vision over it. I am more interested of the dresse's journey, the way it moves and what parts of the body covers or shows. The way it folds and unfolds, the continuous movement. I found difficult to follow this material's jouney, but I watched it many many times and every time I notice something different.
What do you think? ( ignore the sound, the dancers, the audience and just follow the dress...)

Monday 12 December 2011

Ipp2 solo work

Within this solo I chose to work with light source, memories, feelings and meanings.
There is a song that hides lots of secrets and every time I listen to it feel like I open the "feeling box" and all my past experience invade my whole being...

http://www.youtube.com/watch?v=zEX8mv864-0

My object will be a red and long Pina Bausch Dress, that symbolyse feminism and it is as well full of memories and feelings...

My light source will be a few candles, the natural fire, that also have different meanings and it is used in a variety of contexts.

performance projects

This module was a very "full" one , research, moving, performing, reflecting, working on my own, working in a group, etc...
   Steps...
  • artists research-finding out who we are working with
  • postcards and scores work-physical and senzorial awareness before the intesives
  • intensives- working with the choreographer
  • feedback from katye
  • company rehearsals
  • observing the choreographer performing
  • performance day
  • reflections after the performance over the whole process
  • 2nd role

Sunday 11 December 2011

projection


reflections...

I am reading now some Installation Art books and I found really ispiring art works, that give bits of ideas for my little perf. on Wednesday. I fell drawn by the projection as well as installation.
Last summer I had horrible head pains and my brother asked me to go to the clinique where he works and to do a RMI. The strong pains made my way to the hospital and my brother leaded my investigation.
I even have a little 'movie' with my skull scan and the doctors said that there was no problem with my skull. They still can't explain my pains, but I have decided to start my own investigation, as I have the scan.

I can even see the sketch of a performance : all my pains + my fear + my thoughts + the massive machine and myself inside of it + the horrible noise inside of it + projecting images of my skull scan on a wall + my body into the space ...

Monday 28 November 2011

Ipp2 Reflections

One day after the IPP class I found myself in the studio with some candles finding resource, observing. A lot of questions came up to my mind, but when I see fire I think about spirituality.The ancient people(romans) who lived in massive castles used the fire as tool of protection, people who lived in a cage used it to warm up themselves or the "room" but in the studio I used the light to illuminate what I was writing(thoughts, information, observations). This will I'll be looking at different artists that work with fire, spirits and rituals.The word "installation" keeps screaming into my head, so I might develop a little a little one ( it represents a challenege because it is outside my "comfort zone"--->it is not movement, it is visual art)


When a candle is, a dead body is, when a dead body is, a soul/spirit is...when the light is not anymore, the spirit is here and that is ME!!!
  • RITUAL
  • EMBODYMENT
  • INITIATION


Now I go back to a first year post about the fire and I just love when things simply connect.

Friday 25 November 2011

Ipp reflections

Fiona- Even if we both chose a scarf and a source of light, our experiences were so different. The first thing that came up to my mind was the interesting way that you have embodied the scarf. You also found very intelligent images to work with and your amazing focus just captured me into your movement. I am glad that my light source helped you and I think as well it offered you a larger variety of ways to explore the duet: movement-light, actually the trio: movement-light-scarf, actually (sorry for that) the quartet: movement-light-scarf-me. (if that makes sense). Your exploration was very inspiring to watch and wellllll done:)
 
Julia- What a special light source!!! in your movement I could see the fact that there were a lot of memories and feelings for you within the Christmas lights. Very strong images came to me watching you decorating yourself with those lights, maybe even making them a part of your body, you can even develop your work by using more lights and making more connections between the lights-your body-audience. I loved the way you have created the space and turning them on and off was the surprise ellement of you work. Working with the wall is also an intelligent choice as you had the chance to explore shadows. I also enjoyed your dinamics when you turned them in the air, it was the explosion moment. Really nice and natural "performance". Welllll done:)
 
Joana- You really showed me you din not like your scarf, you body just refuses to come in contact with it. I enjoyed the way you played with the idea of scarf as transport tool, you are always creative and funny. At the beginning you were far away from your objects, but at the end of your little piece you actually were in contact with them, so in life it always takes a little while to get used to be in contact with materials (even people, attitudes?) that you don't agree or like, but the close exploration of it makes you become larger as an artist as well as a human. Very nice exploration Jo! wellllll done:)
 
My own experience- I was very attracted by the little candle and by working through my senses. Today (Friday) I went back into the studio and explore this play and a lot of ideas came into my head, so this is surely the idea that I want to keep exploring and see what comes up from it. I also felt a curious relation to my audience (maybe becase we are all so close). Here you find my score for my exploration:
                   Fall up and down through the breath
                   Find moments of stillness on the floor or in the air
                   Breath...
                   Use the voice and the material
                   Turn off one of your senses and find the fire...
                   Allow the warmth and the light to caress your skin...
                   Breath and enjoy...

Wednesday 23 November 2011

Working with projections

My Reflections
A session with Amy Voris and Christian Kipp
Student: Oana Rotariu


  • Working with projections represents a new type of work, that I have enjoyed to work with and it opens a new variety of possible performances for my final work.
  • During the session I felt that working with the main light off turned me into a more active body (rather than making me feel sleepy), maybe because I was very excited about the session.
  • While moving I was looking at relations between the projections and the body moving or being still, and I have played with near and far. I also noticed my interest to my shadows, I even started to "haunt it" or to "hide it" (if that makes sense).
  • I also found an interesting play with the idea of me allowing the wall/body to capute the images, sometimes I was generous, but sometimes I just needed to take within my body the whole image and to see what happens with me as a "new entity".
  • The fact that we were 2 bodies moving brang to my head the idea of a trio and be aware what relation is there and how we interract.
  • I also found interesting the large range of materials and colours of our clothes coming in contact with the projection and the idea of "chameleon" came up to my head. By witnessing my colleagues I noticed a very strong embodiment of the image into the their bodies and it was relevant for me how this fact changed/affect their movement.
  • By playing with my shadows I felt a frustration because this is when I came in contact for almost 1 hour with my shadow (a 2nd Oana) and I didn't feel comfortable having it all the time there, next to me, following me, it felt like someone was copying me, even killing my individuality. But reflecting about that I started to accept the idea of my shadow as a "part of my body", just like my limbs, voice, etc...
  • This session was a special one for me as I have been introduced to a new discipline and it raised my interest to explore the relations between projection and body.

While researching I found this amazing picture!!!

Sunday 20 November 2011

Dance Analysis- Matthias Sperling

A Brief Encounter with... Matthias Sperling
Do not be afraid
Duet with Rachel Kirsche




Last Friday I had the privilege to witness Mathias Sperling performing a duet with Rachel Kirsche, two contemporary dancers with amazing skills, artists who work with very ambitious ideas.
On their first appearance on stage the first thing I have noticed was the funny costume design and a mixture of strong colors, like: red, purple, black, yellow and green. Their costumes bring the image of a superhero, with a cloak hanging on their backs, fact that suggest the superpower possession. Their initial movement looked very funny, but they were acting like very serious and strong persons, which had an intensely effect over the audience, who went into fits of laughter from the first moment the dancers came on stage.
During all piece, the choreographer chose not to use music, but the dancers were following their own breath rhythms. Another important artifice was the direct communication with the audience, by asking them to give marks for a specific choreographic sequence, which made a special connection between dancers and public. The choreographer used the voice and a range of ballet poses and waited for the audience's reactions to them, fact that made the message of the piece so clear.
In my opinion the concept of this performance is based on mocking a different type of dance- ballet and to express a specific stereotype of dancer. Moreover this piece was “screaming” for individuality, for stopping to copy a certain movement style.
During the second part of the performance, the dancers got connected by an mp3 player and they seemed to develop their own funny dance, which had a well-defined rhythm. At the end of the piece, the choreographer used the same movement as in the beginning, which suggests a symmetry of every dance rehearsal: a warm up and a cool down.
In conclusion I think this piece came with a new concept, very well explored by the artists and it had a very strong impact over the audience, but on the other hand I don't agree the way they “attack” another type of art for which many people had dedicated their lives.

We had an amazing night at Queen Elizabeth Hall watching Matthias and Candoco Dance Company.
The tickets gave me some ideas for our performance project tickets, or for my future performances.

Saturday 19 November 2011

Pelvis and Legs



Mapping the pelvis with our own fingers--> surprising shape
Giving the weight of my legs made me so free, someone moving my legs felt like they were not mine, I didn't need to think about them, I just enjoyed them moving, open spaces, flexibility.
I really celebrate my legs!!!
Taking the wieght of someone's legs made me realize how heavy they are and it is interesting to move someone's leggs in so many different directions.
The legs' bones go so far up
Moving after the hands on, made me move easily and even reaching out into the space, but I felt like I needed to give directions to my partner, it was a surprising play for us.

Working with a poem

This day I did not feel that well, so I allowed myself to sitt and witness some amazing dancers. A young international trio: Ioana, Mirna and Greta. I watched them moving and saying words from their poems, which feeds my inspiration.
Thoughts

  • it happened a very interesting mixture of accents, languages and tonalities, that made them come from different little stories, but the movement brang them into the same thread.
  • they looked very connected and their movement made sense; their were following different word, maybe they ignored some others because they did not understand them, or did not hear them...they were too silent...
  • repetitive movement, unfocus-outside distractions  (does that make sense?)
  • complementary movement, stops, a very exact representation of the words.

Finding the liver

I was thinking now at my organs because I'm not feeling that well. So I need to talk a little bit abour this class: Working with organs
  • The organs are situated within 3 cavities: skull, toracic, abdomen.
  • Polly brang into the studio fluid baloons, just to percieve how it feels to have an organ into my hand (I noticed the density of it and the fact that the shape changes)
  • I was also surprised by how obvious the blood streams are and the connective tissues.
  • We also played with finding and even massaging our own liver/partne's liver.
Partner work (15+15)
 relax inner muscles, moving from the organs, heaviness in the lower back, rolling from organs, breathing through organs, fluidity and softness, surface, expanding in my hands, finding and even seing/scaning the organs.

Friday 11 November 2011

Site Responsive Dance - Process

Resource
  • green+yellow
  • car noises
  • gentle but cold wind
  • connection to the ground
  • extension
  • bird songs
  • big/small
  • tall/short
  • near/far
  • levels
First version of our group score
  • Place yourself in space in relation to your tree
  • Allow yourself to arrive in site
  • Using your senses, acknoledge the surroundings
  • Through patterning explore near-mid-far in relation to your tree
  • Be spatially aware of other members of the group
  • Use stillness to close the score
After practicing this score we found it quite closed and it was not so succesfull in large groups. I should be more aware of the other members of the group, I didn't notice our relation, but I was drawn to idea near-far as I found myself witnessing the clouds moving( how far they can be!!), but also the grass, flowers and bugs next to my body.

Our Final Score

                  Start at the edges of the space
                  Breath...
                  Acknoledge the near and far.
                  Allow the sounds to initiate movement,
                  changes of directions, levels and stillness.
                  Move in response to the sights and sounds.
                  Maintain the group awareness.

We all admit we are proud of our score, as it was succesful when we witnessed it.
Thank you TEAM!! x

Finding the heart...

I think this picture tells everything...I really found the heart of our site...

Site Responsive Dance Module

Here I have two images showing my responses to the nature, observations and reactions.



  • silent walk to a specific site (microsite)
  • resource page-collect
  • acknoledge and cultivate my own microsite by playing with near-far, midd-far awareness, meander, settle and dwell, invite attention to the environment and other
  • use level work
  • come back and remap on a new page(valuaction)
  • rewrite the score.
After this session, things started to make sense, I can BE THERE, I fell myself alive and aware in nature.
(writing from my journal- 16th May 2011)

sorrrrryyyy!!!

My Dear Blog,
I feel soooo sorry I didn't have time for you last weeks, but I had my performance projects running intensively! But from now on, I'm all yours!!! x

Sunday 30 October 2011

Imagine 5 different ideas for cross-disciplinary performance based works which are inspired by historical events/ figures.
1. The Trojan Horse
I have always been interested about different historical events, that have happened in a very far past and that represents the basis of the civilization who is living today. Even those times, the art was explored by using a range of techniques, but there is a certain art work that draw my attention: The Trojan Horse.
The Greeks constructed a huge wooden horse and hid a selection of 30 soldiers in its belly, 2 spies in its mouth and then they pretended to sail away. The Trojans pulled the horse inside their city as a victory trophy. During the night The Greeks came out of their “secret rooms” and destroyed the city of Troy, decisively ending the war.


Even if this impressive horse was made by wood pieces, it was very smartly designed as many soldiers could hide inside of it. My first idea is to bring into an art gallery a such a massive horse, but paying a special attention to what happens inside of it: human bodies, with heavy armor taking different shapes to place themselves on different levels of this "hidden room". Some of them could hang on the walls of the construction, some others could be lying on the basis of the horse, some of them could even curl their bodies to take strategic shapes. There is a very interesting and playful image of these bodies holding their weapons and being ready to attack- image that a possible audience would like to experience.
  1. In the early days of July, 1908, a young Italian archeologist has made a remarkable discover- a terracotta disc with a range inscriptions on the both sides of it. What fascinates me about this disc is that it hides a mysterious message, maybe sent to the following generations, and its symbols talk about the relationship God- human. The most important aspect of this art object is the technique used to create it, as the disc is printed using multiple seals. There is a range of interpretations of this disc, based on cryptology experts, and there is even a song representing this art object.



  1. My third performance will be called “Incognito” and will bring into a gallery space a range of old documents , books, a pack of old cards, scripts, letters, pictures and recordings that were traveling around the world heads during the World War I as well as The Cold War. In a second room there will be the recipe with instructions showing how to make the invisible ink and I am sure that the audience will be surprised by the materials used to make this liquid. Next to this recipe will be exposed the fake documents, books, cards, pictures, letters and recordings that reveal to people the hid messages behind this two main world wars.
This idea is inspired by a
A possible performance could take place in between the ruins of a city, by bringing together all signs of the disc (that represent every-day things, such as fish, insects, people, birds, boat, etc) arranged in their original shape. In addition I am thinking about reproducing this signs by using the movement and a sound scape, even working with materials, such as: clay, earth, water, sand and gravel.
The public will witness an original ritual and they might be invited even to take part of it only by following the performer's path...and just by allowing themselves to really live and enjoy the moment.


book called “The Code Breaker”and explains how the leaders used the codes and ciphers to hide the nature of their activities. For example one message deciphered by the Verona cryptanalyst at the end of 1946 listed the names of the scientists who had worked on the Manhattan atomic bomb project.


  1. My next performance is inspired by a natural disaster that took the lives of thousands of people: the furious tsunami that hit Japan .

Through my work I want to emphasize the gravity of this situation and I would like to encourage people from all over the world to help people in need, thousands of children without family, without a home or food. My project is based on creating a large miniature by wood, paper, foam, paint and spray, that capture the most grave aspects of this tragedy, destroyed homes, cars swallowed by the earth, dead bodies, etc.... The point of this project is to bring into the people's awareness the difficult moments that Japanese people had pass through and to raise the idea of solidarity by helping them with food and clothes donations.


  1. My last idea is more personal and it represents one of my frustrations: the fact that Romanian authorities do not accept the art phenomenon, but they try to eliminate any attempt to develop the art by not allowing artists to show their work. This performance involves going back to my country, and making a massive protest by asking everyone to come in front of the Parliament.
The funniest aspect of my work is the way that people will show up in front of the Authorities: by using crutches, by bandaging parts of the body (an arm, a leg, an eye), by putting tape on the mouth, etc. All these expressions bring forward the idea of artists being mutilated by the lack of support and involvement for art projects. The Authorities actually determine artists to leave their country and to go somewhere else, where the art is appreciated or they are forced to quit making art, which means destroying their future and a possible proliferation of the art.

ORGANSSSS

26.10.2011
This morning Polly brang to our attention as dancers the organs, that are situated inside of the skull, abdomen and thorax. We had water baloons, that simulated the fluidity and weight of the organs and she even brang a sheep liver, which is similar to the human liver.

15 min of partner work
  • relaxing the inner
  • heaviness
  • rolling from the organs
  • breathing through the organs
  • surprised by the fluidity and softness of the body
  • explanding the lungs on my hands---> a small movement, but it fells so huge!

Sunday 23 October 2011

Performance Projects

In the first term of the second year of study we have been introduced to a totally new and exciting module, Performance Projects, and I have the honor to work with an amazin choreographer, Andrea Buckley.

Our first task was to watch some inteviews with Deborah Hay on the following website:
http://www.independentdance.co.uk/forum/2010/10/19/deborah-hay-interviews/

Another reference can be the book  "my body, the buddhist" by Deborah Hay.

  • don't be afraid of what you don't know, but celebrate that!
  • don't grasp, but notice the moments and then let it go...
  • ingredients of a choreography: space, time, self, audience;
  • she doesn' tell a story, she doesn't use music;

Wednesday 19 October 2011

Routines

http://www.youtube.com/watch?v=nf8E5OwCj6o

I feel like flying when we have routines to practice!!! I can find different ways to adapt them to my own movement!
As Sarah sais: Take the space into the room...
As Andrea sais: Eat the space!!!

Wednesday 12 October 2011

Site Responsive Dance - Free Writing

This idea of 3D self...I really felt my ribs hugung me! I found many spaces between my bones and I felt my spine flexible and long after a long time of not bringing it to my awarness. This is what I celebrate today!
Taking a journey from vertical to horizontal in 20 counts (10 mins) . It's hard to control all levels of the body and then finding moments of softening the knees and of skull floating and then release all tensions.

Monday 10 October 2011

Site Responsive Dance

Last term of the first year of study, we have been introduced to a new module: Site Responsive Dance, that I truly enjoyed and that offered me a really strong connection with the nature.

Monday 2 May 2011

Tarantula

Don't forget about the principle "moving from the heart"....I feel this in my every day life...everything I do happens because of my feelings. What happens into my heart decide actually my action, my activities because everything I do is a result of my feelings, desires, things I enjoy.
Before human race existence, the tarantulas used actually the same principles, moving from the heart, but it was quite different. Their blood is pumped from their heart(situated in the abdomen) to the legs, fact that make the limbs to move. It is interesting to observe the similarities between tarantulas and humans, my question is: do tarantulas have feeling? Do they really move from their heart?
Maybe Gemma will respond to this question:)

I think this phrase is related to my Body Story review, which debate the impact of releasing and dancing over humans, so does movement involve feelings for the tarantulas?

Female Species

Our plan:


  • Rosie- curling up/down - 2 times;
  • Oana- curling up/down- 1time;
  • Charlote- into own phrase - 1 time;
  • Loretta
  • Rosie          Shoulder stand;
  • Oana
  • Eye to Eye Contact bit (Oana + Charlote)
  • Loretta- handy andy;
  • ARMS;
  • Rosie- own phrase;
  • Oana- looking at the hand;
  • Charlote and Loretta- from shoulder stand to the end.
This is the bits that we have to follow during our "creepy" movement.

Wednesday 27 April 2011


"The choreographic question you are interested in investigating and its relationship to somatic principles and experiential anatomy.
I have become extremely intrigued by the nature and physiology of the tarantula and its hidden similarities and vast differences to that of the human being. One of many of my fascinations and indeed the main focus of my work; is in the movement of a tarantula. Due to them being shaped and structured by an exoskeleton their internal structure is more akin to liquid jelly, movement is by aid of nature’s hydraulic system. In order for the creature to move it pumps its bodily fluid directly along the limbs by aid of the heart. The limb is arranged into four segments like the human finger and to extend the limb each segment experiences the fluid entering the joint via inflation. When the joint is full the fluid is then sent along to the next joint; allowing the next section of limb to extend. In order for the limb to contract; the process is reversed, contracting the limb inward toward the body once more.
The heart and indeed all its organs including the brain; are contained in the abdomen (in young spider-lings this can be seen quite clearly under the skins surface). Due to the position of the heart in relation to the legs; which are attached to the carapace (the area where the eyes are situated and often referred to as the ‘head’) it means a tarantula’s movement is driven from behind, or as I like to term it... they move from the heart.
Underlining this investigation I hold in the back of my mind a fable or moral tale I once heard as a child. The Greek myth of Arachne and Athena. This story will lie in the shadows of my working process as it holds many emotive and cultural references. For instance; I have decided to use an all female cast which has brought about notions of feminist readings and the role of the female performer in a strong, authority role such as the ones presented in this work. Arachne represents the boastful, talented mortal and Athena the righteous and respected god. When cursed; Arachne witnesses the eternal turmoil of being trapped inside a web of her own making, weaving constantly and endlessly but having all her works destroyed by man, a tale which reflects the history and development of nature in our culture.
It is evident that this work has a multi layered quality in its questioning, nevertheless; in short the main choreographic nature of this work will emerge from my fascination of the embodiment of another living creature and the movement possibilities this may bring to the human form. The significance of the 'suchness' of the tarantula is particularly informed by the experiential anatomy work of the human form I am experiencing through the MA (this is explained further under the subheading of sourcing and structuring)."
These paragraphs are  taken from Gemma Collard-Stokes Deepening Process and they express her interest to tarantula world. Our final performance will be on 4th of June, in Ice Building Studio and will be an mixture of instalation, sound, lights and movement.  We were asked by our choreographer to learn 4-6 tarantula names in Latin, and the ones that I chose are the following:


  • Avicularia Fasciculata;
  • Avicularia Huriana;
  • Avicularia Purpurea;
  • Avicularia Versicolor;
  • Bonnetina Rudloffi;
  • Gramostola Rosea.
This group of artist has some videos as well, which can be seen at:


I will add some photos just to enjoy some tarantulas:)





I really enjoy the principle of "moving from the heart" and acting like a tarantula, which has interesting moments of stillness, waiting for the food. This stillness is actually an active rest, which doesn't mean relaxion, but means the still state of being ready to attack. A tarantula can wait in the same position even years and years, but it is still am active being. This principle is the score for our improvisation and set choreography, which will transmit to the audience a "creepy" feeling.


Dietary Analysis and Action Plan



A104SPO 2010-2011
Dietary Analysis and Action Plan

Student: Oana Alexandra Rotariu

Introduction

As a performer I am aware that to obtain the best results in competitions and performances I have to establish a balance between training, eating and resting, which is not easy, but achievable, as Anita Bean suggests (The Complete Guide to sports nutrition 6th edt., A&C Black London).One of the biggest challenges for me as a dancer is to fuel my body properly so I can assure the energy for being able to train enough and the physical state to do my best in every performance.

Goals and recommendations for athletes and regular exercisers

While examining my three days diet diary I observed that I need to change some of my eating behaviors, as I try to keep my weight under control and will have to maintain the balance between energy intake and energy expenditure. As a dance and theater student at Coventry University, my daily activity consists in pilates, yoga and dance classes, which improve my technique, but for my endurance and strength I practice a range of exercises in the Gym. Jaime S. Ruud affirms that physical activity is one of the largest influences of energy expenditure, and he suggest that for dancers this would be 1673- 1890 kcal/day.

( Jamie S. Ruud, Nutrition and the Female Athlete 2nd edition, Lincoln, Nebraska)

To achieve a healthy diet I should choose products from the seven types of food which will provide my body with the essential nutrients: carbohydrate-rich foods, which are the most important fuel for any physical practice, vegetables, fruit, calcium- rich foods, healthy fats and sugar and sweets in moderation.. To achieve this objective the nutritionist recommends us to use wholegrain products and to cook with monounsaturated and polyunsaturated fats, rather than saturated fats, that have no positive benefits for an athlete's body.
Another important objective is to increase the volume of fluid intake, before and after my training to improve my daily practice and to keep me exercising for longer.

( Anita Bean, The Complete Guide to sports nutrition 6th edt., A&C Black London;

Diet Analysis

Even if my intention is to respect a healthy diet every day, my Analysis identify some imbalances between the seven types of food that the Food Pyramid from Anita Beans Complete Guide to Sports Nutrition recommends to combine. The basis of this pyramid is made of 5-9 portions of vegetables and fruit, while mine is a number of 3 portions a day of this type of food, which means that the intake amount of vitamins and minerals doesn't meet my needs. As an athlete I should eat a balanced diet based on vitamins and minerals, like 4-6 portions of cereals and starchy vegetables a day, or 2-3 portions of milk and dairy products a day. This type of products have many regulatory and structural effects over my body, like controlling the fluid balance in tissues, increasing the energy, regulate the immune, nervous and hormonal systems.

To maintain my teeth and bones healthy my body need a certain amount of calcium, which is a mineral for vital functions, like healthy nerves, muscle functions and hormone release. Besides that a good calcium intake can decrease the risk of osteoporosis, protects against bones fractures and blood pressure.

(Mann & Truswell, Essentials of human Nutrition, 2007, Oxford University Press)

Furthermore, to be able to train at a high intensity, my muscles need a high-glycogen concentration, so before any training session I need to fuel my pre- exercise glycogen stores to prolong my endurance.

According to Anita Beans study over role of protein in an athlete's body, this substance is needed for the formation and growth of new tissues and for making up a part of the cells, including our internal organs, tendons, skin, nails and hair. As my diet shows, my daily protein intake is a low quantity of 2 portions, which is a very low amount for an athlete. Many studies show that the protein requirements for athletes are estimated around 1.4 to 1.8 g/kg a day, depending on the type of training. Anita Beans suggests that after every practice, an additional amount of protein is needed, to accelerate the repair of the lost tissues.

(Anita Bean, The Complete Guide to sports nutrition 6th edt., A&C Black London)

According to ACSM (2007) guidelines of fluid intake, my priority as a dancer has to be to be well hydrated. It is recommended to consume the fluid two to three hours before a training starts, just to prevent a possible dehydration, that can negatively affect my endurance and work intensity. As my fluid tally shows, my intake fluid is around 1 l of liquid a day, which doesn’t correspond with the recommendation of 1.5 to 2 liters a day, an amount that keeps a human being hydrated for one day.
When my practice is longer than two hours, I should consume a sport drink that contains sodium (Coyle, 2007), that will replace the salt loss during sweating and will delay the fatigue. (Galloway & Maughan, 2000).

RMR= (48x14.7) + 496= 1201.6 kcal a day



Key Action Points

Ultimate goal: change my eating habits, including more vegetables and fruit in my daily diet, balancing out the seven types of food needed by any athlete, and increase the intake of fluid consumption.

Areas of improvement

-As an athlete I should make a better plan of foods intake, based on fruit and vegetables;

-Keep practicing a variety of exercises in the Sport Center, to increase and maintain lean muscle mass;

-Keep a detailed evidence of the intake food for a long period and compare it with the food pyramid available in the guide;

-Measure my weight every week;

-Getting used to drink a higher amount of water, before and after training sessions;

-Adding sodium to my drinks


Time-frame: 4 months

Increasing the quantity of vitamins and minerals, by adding in my daily diet vegetables and fresh fruit salads plus carbohydrates will get my body ready to move more actively during all dance sessions, which is one of the positive benefits. Applying this strategy, I will be able to train for longer periods of time, like two-three hours, without feeling the fatigue and my bones and muscles will get stronger.

Increasing my fluid intake will benefit my practice by replacing my water losses while training. The amount of sodium intake is one of the key points of maintaining the muscles and nerves activity, which will assure a better endurance during my sports sessions.

All these changes can happen in my body just by being supported by my strong motivation of improving my eating and drinking behaviors and I definitely believe in my capacity of respecting a healthier diet.




Reference list

Anita Bean, The Complete Guide to sports nutrition 6th edt., A&C Black London;

Mann & Truswell, Essentials of Human Nutrition, 2007, Oxford University Press;

Jamie S. Ruud, Nutrition and the Female Athlete 2nd edition, Lincoln, Nebraska;

Maughan Murray, Sports Drinks- Basic Science and Practical Aspect, 2001 CRC Press LLC;

Berning Steen, Nutrition For Sport & Exercise, 2nd edition 1998, Aspen Publication;


A104SPO 2010-2011
Dietary Analysis and Action Plan

Student: Oana Alexandra Rotariu

Introduction

As a performer I am aware that to obtain the best results in competitions and performances I have to establish a balance between training, eating and resting, which is not easy, but achievable, as Anita Bean suggests (The Complete Guide to sports nutrition 6th edt., A&C Black London).One of the biggest challenges for me as a dancer is to fuel my body properly so I can assure the energy for being able to train enough and the physical state to do my best in every performance.

Goals and recommendations for athletes and regular exercisers

While examining my three days diet diary I observed that I need to change some of my eating behaviors, as I try to keep my weight under control and will have to maintain the balance between energy intake and energy expenditure. As a dance and theater student at Coventry University, my daily activity consists in pilates, yoga and dance classes, which improve my technique, but for my endurance and strength I practice a range of exercises in the Gym. Jaime S. Ruud affirms that physical activity is one of the largest influences of energy expenditure, and he suggest that for dancers this would be 1673- 1890 kcal/day.

( Jamie S. Ruud, Nutrition and the Female Athlete 2nd edition, Lincoln, Nebraska)

To achieve a healthy diet I should choose products from the seven types of food which will provide my body with the essential nutrients: carbohydrate-rich foods, which are the most important fuel for any physical practice, vegetables, fruit, calcium- rich foods, healthy fats and sugar and sweets in moderation.. To achieve this objective the nutritionist recommends us to use wholegrain products and to cook with monounsaturated and polyunsaturated fats, rather than saturated fats, that have no positive benefits for an athlete's body.
Another important objective is to increase the volume of fluid intake, before and after my training to improve my daily practice and to keep me exercising for longer.

( Anita Bean, The Complete Guide to sports nutrition 6th edt., A&C Black London;

Diet Analysis

Even if my intention is to respect a healthy diet every day, my Analysis identify some imbalances between the seven types of food that the Food Pyramid from Anita Beans Complete Guide to Sports Nutrition recommends to combine. The basis of this pyramid is made of 5-9 portions of vegetables and fruit, while mine is a number of 3 portions a day of this type of food, which means that the intake amount of vitamins and minerals doesn't meet my needs. As an athlete I should eat a balanced diet based on vitamins and minerals, like 4-6 portions of cereals and starchy vegetables a day, or 2-3 portions of milk and dairy products a day. This type of products have many regulatory and structural effects over my body, like controlling the fluid balance in tissues, increasing the energy, regulate the immune, nervous and hormonal systems.

To maintain my teeth and bones healthy my body need a certain amount of calcium, which is a mineral for vital functions, like healthy nerves, muscle functions and hormone release. Besides that a good calcium intake can decrease the risk of osteoporosis, protects against bones fractures and blood pressure.

(Mann & Truswell, Essentials of human Nutrition, 2007, Oxford University Press)

Furthermore, to be able to train at a high intensity, my muscles need a high-glycogen concentration, so before any training session I need to fuel my pre- exercise glycogen stores to prolong my endurance.

According to Anita Beans study over role of protein in an athlete's body, this substance is needed for the formation and growth of new tissues and for making up a part of the cells, including our internal organs, tendons, skin, nails and hair. As my diet shows, my daily protein intake is a low quantity of 2 portions, which is a very low amount for an athlete. Many studies show that the protein requirements for athletes are estimated around 1.4 to 1.8 g/kg a day, depending on the type of training. Anita Beans suggests that after every practice, an additional amount of protein is needed, to accelerate the repair of the lost tissues.

(Anita Bean, The Complete Guide to sports nutrition 6th edt., A&C Black London)

According to ACSM (2007) guidelines of fluid intake, my priority as a dancer has to be to be well hydrated. It is recommended to consume the fluid two to three hours before a training starts, just to prevent a possible dehydration, that can negatively affect my endurance and work intensity. As my fluid tally shows, my intake fluid is around 1 l of liquid a day, which doesn’t correspond with the recommendation of 1.5 to 2 liters a day, an amount that keeps a human being hydrated for one day.
When my practice is longer than two hours, I should consume a sport drink that contains sodium (Coyle, 2007), that will replace the salt loss during sweating and will delay the fatigue. (Galloway & Maughan, 2000).

RMR= (48x14.7) + 496= 1201.6 kcal a day



Key Action Points

Ultimate goal: change my eating habits, including more vegetables and fruit in my daily diet, balancing out the seven types of food needed by any athlete, and increase the intake of fluid consumption.

Areas of improvement

-As an athlete I should make a better plan of foods intake, based on fruit and vegetables;

-Keep practicing a variety of exercises in the Sport Center, to increase and maintain lean muscle mass;

-Keep a detailed evidence of the intake food for a long period and compare it with the food pyramid available in the guide;

-Measure my weight every week;

-Getting used to drink a higher amount of water, before and after training sessions;

-Adding sodium to my drinks


Time-frame: 4 months

Increasing the quantity of vitamins and minerals, by adding in my daily diet vegetables and fresh fruit salads plus carbohydrates will get my body ready to move more actively during all dance sessions, which is one of the positive benefits. Applying this strategy, I will be able to train for longer periods of time, like two-three hours, without feeling the fatigue and my bones and muscles will get stronger.

Increasing my fluid intake will benefit my practice by replacing my water losses while training. The amount of sodium intake is one of the key points of maintaining the muscles and nerves activity, which will assure a better endurance during my sports sessions.

All these changes can happen in my body just by being supported by my strong motivation of improving my eating and drinking behaviors and I definitely believe in my capacity of respecting a healthier diet.




Reference list

Anita Bean, The Complete Guide to sports nutrition 6th edt., A&C Black London;

Mann & Truswell, Essentials of Human Nutrition, 2007, Oxford University Press;

Jamie S. Ruud, Nutrition and the Female Athlete 2nd edition, Lincoln, Nebraska;

Maughan Murray, Sports Drinks- Basic Science and Practical Aspect, 2001 CRC Press LLC;

Berning Steen, Nutrition For Sport & Exercise, 2nd edition 1998, Aspen Publication;




Thursday 31 March 2011

FIRE

Last night we saw the first year theatre students performing... One of their piece raised some questions in my head....what is the fire? is it any fire inside of us? Is the fire the source of the passion?


Sunday 27 March 2011

IPP Final Presentation

Last Tuesday we had our final presentations...with the second year students! It was nice to watch their performances, because now we have an in idea of what teachers will expect from us next year and it was good for us to have a small "audience" for our presentations as well.

Everything began with the memory of my childhood village...a special place for me...pure nature, fresh air, animals, flowers, colors....
I got some objects from my grandparents' old house but my attention drop on my grand- grand mother's picture, with a white material on her head. I talked to my relatives about her just to find out more about this woman, that I never met, but which represents the human being and the place where I come from. Her qualities can be considered as scores for my improvisation:

  • warm smile(she was always smiling);
  • simple;
  • modest;
  • alone (her husband died after the First World War);
  • honest;
  • respectful;
  • shy;
  • pure;
  • hard working (to raise her 8 children);
My opinion is that her qualities deserve to be conserved and even transmitted to the next generations...

Now days women have different characteristics, as:
  • aggressive;
  • violent;
  • vulgar;
  • seductive.
AS we studied about the idea of feminism, I started to explore it more and more and I tried to find a comparison between women who lived in two different ages:
  • activities;
  • interests;
  • building relationships;
  • qualities/goals;
  • behavior; etc...
This is one of the reasons why I started to write a series of Letters to Myself, just to find out where am I placed in relation to there ideas. What changes happened in my life and how did they influence my behavior, my concepts, my feelings...Obviously new people came in my life, how do they change my personality and my way of being???

One amazing artist, Vava Stefanescu influenced my work...she uses the concept of transiency- what can you do with things and experiences from your past? She is inspired my the memories of old performances to create a new one, jut by having a journey into her past experiences...because things that we don't do or use anymore are still in our memory and body and they still affect our lives and they also define us as unique human being.

I would like to find out more about my grandma and the only way of coming in contact with her is by invoking her spirit! This is way I started to research more about rituals and symbols...
This book : "The International Encyclopedia of Dance" has a chapter called "Ritual and Dance" who defines "dance" as a integral part of the ritual manifestations, that often have religious or mystical significance. Theatrical dance evolved from primitive ritual idea originated in 18th Century and this form of art started to progress.
Someone special used to tell me interesting stories about different cultures and rituals like: Yemaya, Ochun, etc..and I start to understand their meaning and I notice how people try to transmit a specific message just be creating some movement...I find interesting to learn more about this kind of manifestations, because it is a significant part of history and culture! .... Thank you!!! (you always open me up...)
This ideas can be observed in the work of many dancers like Martha Graham, Katherine Dunham, Doris Humphrey, etc , who tried to connect the participants to the fundamental spiritual principles.

 The dance is the connection between human and spiritual realm.

With this ideas in my head I tried to create some movement and even a collaboration with music students happened on this theme. We recorded some of my whispers, breath, steps, sound related to my piece of work, which will be the background song for my ritual.

Ritual activities include also an unusual behavior:

  • past occurs in the present;
  • time stands still;
  • repetitive actions;
  • connection and communication with the spiritual realm;
  • the spirit can posses the dancer;
  • the dancer can be a character of a sacred story;
  • the dancer can embody a spirituality;
All this ideas can be used as scores for an exciting ritual to connect with my grand- grand  mother...

The place should be somewhere in the nature, under the blue sky and stars, I'll use a huge fire, and it will happen at midnight!!!!

For my presentation I used the idea of "The Fire bird" (music by Igor Stravinsky) with the elastics...It represents that something doesn't let you go and even posses you, changes you, that presence can do anything with you, without being conscious...