song because of an accumulation of layers and a variation of sounds. This was perfect to incorporate our strong musicality and emphasize dynamics within the piece. 

        When it came to choreographic tools, we first made a map of the piece, regarding aspects like space, time,  and movement qualities. We made sure to consider contrast in whether movement mirrored the movement or when it went against it. In terms of generating choreography, we used improvisation as well as bouncing ideas back and forth.  Sophie and I worked well together because we are both clear about what we do or don’t think we should do and are efficient in making choreography. We are both “to-the-point” kind of makers, which benefits us in collaborative process. Once we had generated material, we could rethink, alter, and edit parts of it. It was new for me to work with someone that I never had before because I was so comfortable in Cleveland dancing with those that I had danced with all my life. It was challenging at times, but through listening and being open to new ideas, the process was smooth. 

       The hardest thing we faced was when Sophie hurt her foot. The potential stress fracture was hindering because we could not continue our full out movement together. We had to create a new plan for the dance entirely. The solution to the obstacle was using a bench in the piece. At first, we were discouraged because we felt limited with what we could do choreographically. But later, we began to feel less bound by sticking to our theme of movement dynamics and instead focused on reliance on each other, weight, and space. We then could come back to those dynamics more in a sense of a choreographic tool rather than the whole concept as before. We played with the ideas of support and connection despite distance, proximity, and use of space. We created a narrative through our support of each other and how I can lead her to trust herself to leave the bench. It was about learning about each other, specifically through movement dynamics. Though we practically had to start over, Sophie and I were able to work efficiently and get acquainted with the new concept. Embodiment turned into one of our central focuses. The bench brought even more ideas and more originality than if it were not had been used, so it turned out to be an advantage on our part. We were able to step out of what we were used to and explore new modes of composing and moving, while incorporating multiple choreographic focuses into our work. 

      Overall, I feel that I learned a lot abut myself as a choreographer through this experience. It was the first work I have made that incorporates a storyline behind it, being the pull and progression away from the bench and the trust in oneself and each other. The narrative evolves throughout it, which is something that wasn't necessarily intentional, nor anything I have never done. I also feel more knowledgeable about what my movement tendencies are when choreographing, so that in the future I am more able to distinguish this and branch out into new ideas. This was another benefit of having a partner in the project because even if I wasn't sure myself, Sophie could point it out and provide insight. I also realize my natural choreographic methods now more than ever. I know I am someone who relies on musicality for inspiration and someone who needs to be "in the zone" to generate movement. If I overthink, no new ideas come to mind. I am an efficient choreographer and am open to others' opinions. I am excited, now knowing these things and having created this piece, to choreograph more in the future. I hope to further explore movement dynamics and weight, as well as do solo work.