SHR6E032F~002: PAT23083449 Portfolio and video evidence

1. Project Overview

This project is based on an international dance mini-documentary involving young contemporary dancers from India,Spain and England, and how the traditions of these regions influences their styles. The documentary consists of 3 sections, one for each dancer, and each This project is an international dance mini-documentary that explores how cultural background influences contemporary dance. It involves three dancers from India, Spain, and England, each contributing both an interview and a performance section.

Each section of the documentary is split into two parts. The first is an interview, where all dancers were asked the same set of seven questions (Appendix 1) and responded in their native language. These responses are subtitled; however, the questions themselves are not included in the documentary. This was an intentional creative decision. By the third section, the audience is able to piece together what the questions are through the dancers’ answers, which adds an interactive element and avoids repetition across the film.

The second part of each section is a performance. I composed and sent a track to each dancer, which they then used to choreograph, perform, and film their own piece. They also provided behind-the-scenes footage and interview recordings, which were then sent back to me and passed on to an editor to assemble the final documentary.

This project was collaborative in nature, involving contributors across different countries and disciplines. As the central point of contact, I was responsible for coordinating communication between dancers, musicians, and the editor, as well as composing the music for each section. I chose to work with these dancers as I already knew them personally, which meant I had a good understanding of their styles and preferences. This helped when composing the music, as I could tailor each track to suit their movement and influences. I also wanted to work with dancers from different regions to ensure a diverse range of cultural perspectives within the documentary.

Objectives

The main objectives of this project were to:

explore how cultural and personal background influences contemporary dance
combine music and visual storytelling in a cohesive way
collaborate with artists internationally across different disciplines
experiment with documentary structure to create a more engaging viewing experience

Suitability and Role

My role in this project was primarily as a composer and project coordinator. Through my experience in music production and composition, I was able to manage both the creative and organisational aspects of the project. Having worked with some of the dancers previously, I was confident in directing the musical side of the project in a way that aligned with their individual styles, while also maintaining a consistent overall vision.

2. Panopto Video – Final Product (10-12 Minutes)

3. Chronological Monthly Diary

A detailed chronological record of the project timeline can be found in Appendix 2. Evidence of communication can also be found in Appendices 3 – 14.

4. Evidence of Planning/Process

This project proved difficult to organise, largely due to the international nature of the collaboration. Most communication took place remotely, meaning it had to be managed alongside each collaborator’s individual schedule and external commitments. I have attached a personnel list in Appendix 15, and links to their socials are attached to Appendix 16. To analyse the process, I have structured this section using the five phases of project management.

Phase 1: Initiation

Once I had developed the concept, I began by contacting the dancers, as they were central to the project. Establishing who was involved early on allowed me to shape the documentary around their individual styles and backgrounds.

I shared the overall vision with both the dancers and the editor, including stylistic references and the intended structure of combining interviews with performance. The previous viability study supported this stage by outlining initial timelines and potential funding sources (Appendix 17).

This phase was relatively smooth, largely due to existing relationships with the dancers. However, in hindsight, I relied too heavily on informal communication, rather than clearly defining expectations and deadlines from the outset.

Phase 2: Planning

The initial plan was to gather musical references from each dancer, compose their tracks, and send them back for choreography and filming. Alongside this, I distributed interview questions, with the intention that all footage would then be returned for editing.

Although I created a Gantt chart to structure this process (Appendix 18), it was ultimately abandoned. This was due to underestimating the time required for music production, alongside external academic commitments and the unpredictable availability of collaborators.

In retrospect, the main issue was that the plan did not account for delays or include contingency time. As a result, when disruptions occurred, they impacted the overall schedule rather than individual tasks.

Phase 3: Execution

The execution phase began later than intended, with music production starting in mid-January. The process took longer than expected due to the use of multiple production methods, including live recording, sampling, and MIDI.

Each track required a different workflow, often involving dependencies such as studio availability, vocal sessions, and external musicians. As a result, delays in one area impacted progress in others.

There were also delays on the dancers’ side. For example, Genevieve was balancing a master’s degree and filmed close to the deadline, while Marta needed to coordinate rehearsals and group recording. This created a workflow where certain stages could not progress until others were completed.

This phase highlighted a key weakness in my planning, particularly in not fully accounting for the interdependence of tasks within a collaborative project.

Phase 4: Performance

Communication became the most important aspect of the project during this phase. As all collaborators were working independently, I acted as the central point of contact, maintaining regular check-ins to monitor progress.

I also made a conscious effort to avoid placing excessive pressure on the dancers, as I felt this would lead to more authentic creative output. This aligns with theories of team roles and collaboration (Belbin, 2010), as well as intrinsic motivation theory, which suggests that autonomy can enhance creative performance (Deci and Ryan, 2000).

In addition, I conducted surveys to support creative decisions (Appendix 19 – 24). Feedback confirmed that excluding interview questions and using native languages strengthened the concept, allowing me to proceed with greater confidence.

Phase 5: Closure

The project came together close to the deadline, with final footage received only a few days before submission. This limited the time available for adjustments and increased pressure during the final stages.

To manage this, editing was carried out incrementally, allowing footage to be assembled as it was received. This helped maintain efficiency despite delays.

One limitation during this phase was the use of music in the interview sections. Due to time constraints, I reused simplified elements of the main tracks rather than composing new material. While this maintained continuity, it introduced some repetition.

Overall, this phase highlighted the risks of leaving key elements until the final stages, reinforcing the need for earlier completion and more structured scheduling in future projects.

5. Reference Material/Inspiration

For the documentary, this project is stylistically influenced by dance films such as Move and Only When I Dance (2009) (Appendices 25–26). A key element I draw from these works is the integration of interview segments with performance footage. This approach provides additional context to the choreography, allowing the audience to better understand the intentions, emotions, and lived experiences behind the movement. Rather than presenting dance as an isolated performance, interviews situate the work within the dancers’ own perspectives, adding depth and narrative clarity.

Although these films demonstrate a significantly higher production standard, particularly in cinematography and editing, they remain useful as structural references. They helped inform how I shaped the documentary both visually and narratively, not only for the final edit but also in communicating the concept to collaborators. This approach aligns with dance film theory, where meaning is not fixed within movement itself but shaped through context and framing. As Foster (1996) argues, movement does not carry inherent meaning and is instead interpreted through its surrounding context. Similarly, Erin Brannigan (2011) highlights how choreographic meaning in film is constructed through editing, framing, and narrative layering, which directly informed the hybrid structure of this project.

In terms of the musical approach, each dancer provided different stylistic directions that shaped the composition process. Deeni supplied multiple reference tracks (Appendix 27), with a strong emphasis on pop influences. However, I found this genre challenging due to limited prior experience, so I narrowed my focus to a single reference: Amerie’s One Thing(Appendix 28). This allowed me to analyse the track more clearly and translate specific elements into my own work, particularly the sampled drum loop, strong backbeat, and layered vocal arrangement. This shift made the process more manageable and aligned the composition more closely with my technical strengths.

For Marta’s track, she requested a rhythmically strong direction, and based on my understanding of her influences, I drew from afrobeat. Two reference tracks were used to inform the composition (Appendix 29), from which I focused primarily on rhythmic structure rather than harmonic complexity. Instead, variation was created through texture and percussive layering across sections. A bridge was later introduced to provide contrast and prevent repetition within the arrangement.

Genevieve’s track was more open in terms of genre, as she was comfortable performing to a range of musical styles. However, I aimed to create a sound that reflected the fluidity of her movement quality. I developed an ambient, atmospheric soundscape using gradual textural shifts to support continuity between sections. This approach reflects the adaptability often associated with contemporary dance, where movement is shaped through sensory experience and interpretation (Sklar, 2001).

Across the reference material used for this track (Appendix 30), a common feature was the use of reversed samples to create an airy, atmospheric texture. This directly informed my decision to use a reversed sample as the central element of Genevieve’s composition. This technique helped establish a sense of fluidity and continuity, reinforcing the relationship between sound and movement while maintaining a distinct sonic identity.

6. Use of Technology

I used a combination of sampling, live recording, and MIDI composition to produce the music for this project. Each track required a different approach, as the reference material provided by the dancers varied significantly in genre and style.

For Genevieve’s track, I aimed to create an ambient and atmospheric sound, drawing inspiration from the reference material, which uses layered textures and manipulated samples to achieve this effect. To replicate this, I used a reversed sample as the central element of the track. I initially intended to incorporate my own field recordings; however, due to limited access to appropriate equipment and a lack of experience in capturing high-quality environmental audio, I instead sourced a wind chime recording online (Appendix 31) and reversed it. While effective in achieving the desired texture, this limited the originality of the sound compared to self-recorded material.

The track was produced primarily ‘in the box’ using Logic Pro, where I applied techniques such as pitch shifting and spectral gating to manipulate the frequency content and refine the texture of the sample (Appendices 32–34). This allowed the sound to sit more cohesively within the mix while also enabling variation across sections.

For Deeni’s track, I took a more referential approach, closely following the structure and stylistic features of the reference material. A key influence was the use of chopped drum breaks, as demonstrated in production breakdowns by Tracklib (Appendix 35). To replicate this, I used a drum break from Bill Evans’ “Vans Joint Intro” (Appendix 36), which I chopped and rearranged to form the rhythmic foundation of the track. This process allowed me to explore groove and timing as central compositional elements.

Another key aspect of the track was layered vocals. I collaborated with Sohini, recording multiple vocal takes in the studio and stacking them to create a fuller sound. This highlighted the importance of recording quality and microphone choice in achieving consistency across takes. I also developed additional synth material for the bridge section to introduce contrast, using an organ plugin to create a warm, pad-like texture that broadened the arrangement (Appendices 37–40).

Marta’s track was also heavily vocal-led, with a strong emphasis on rhythm, reflecting core characteristics of afrobeat. I worked with vocalist Shadow across multiple studio sessions (Appendix 41-43). In addition, live percussion and guitar were recorded (Appendix 44-46), which introduced a more organic “bounce” that would have been difficult to replicate digitally.

Although some elements such as drums and piano were programmed using MIDI, these were constructed using one-shot samples from my own library, allowing for both control and variation within the rhythmic structure (Appendix 47-49).

7. Evaluation

Overall, this project could have been managed more effectively, as much of the work was completed in the final weeks before submission. This highlighted weaknesses in time management, particularly in delaying the delivery of tracks to the dancers, which had a knock-on effect on subsequent stages. Although the project was completed on time, this approach increased the risk of complications within a limited timeframe. This reflects the importance of planning and scheduling in reducing risk and maintaining workflow efficiency (Kerzner, 2017). In future, I would implement a more structured schedule, including shared calendars, clearer timelines, and regular check-ins to improve organisation and communication. A SWOT analysis outlining these limitations and opportunities can be found in Appendix 50. Collaborator feedback and editor log also attached (Appendix 51-53)

In relation to the initial objectives, the project was successful in exploring cultural influences on dance and facilitating international collaboration. Each dancer’s section reflected a distinct style shaped by their background, while the overall structure combined music and visual storytelling in a cohesive way. However, the experimental documentary structure—particularly the exclusion of interview questions—was more effective conceptually than in execution, as it required careful attention from the audience to fully engage with.

To develop the project further, I would expand it by including dancers from a wider range of locations and working with videographers for future recordings, with the potential to develop it into a mini-series of short documentaries. The cost of hiring videographers would vary depending on location and experience, with a breakdown of estimated rates provided in Appendix 54. Using students or recent graduates in locations such as Leeds could offer a cost-effective solution while maintaining production quality.

Potential funding options are outlined in Appendix 55. Securing funding would allow for improvements in production quality, including access to professional videographers and higher-quality studio spaces. These locations would likely be identified in collaboration with the dancers, drawing on their local knowledge.

Additionally, I would extend the length of each dancer’s segment. Limiting each section to 4–5 minutes meant that interviews, behind-the-scenes footage, and performance felt compressed, reducing the depth of each narrative. Allowing more time would result in a more balanced and detailed representation of each dancer’s work.

8. Bibliography

Arts Council England (2025) National Lottery Project Grants. London: Arts Council England.

Belbin, R.M. (2010) Team Roles at Work. 2nd edn. Oxford: Butterworth-Heinemann.

Brannigan, E. (2011) Dancefilm: Choreography and the Moving Image. Oxford: Oxford University Press.

British Council (2024) International Collaboration Grants. London: British Council.

British Council (2025) Connections Through Culture Grants. London: British Council.

Deci, E.L. and Ryan, R.M. (2000) ‘The “what” and “why” of goal pursuits: Human needs and the self-determination of behaviour’, Psychological Inquiry, 11(4), pp. 227–268.

European Commission (2025) Creative Europe Programme. Brussels: European Commission.

Foster, S.L. (1996) Choreographing Empathy: Kinesthesia in Performance. London: Routledge.

Four Nations International Fund (2026) International Collaboration Fund. London: Four Nations International Fund.

Immersive Arts (2025) Funding Programmes. London: Immersive Arts.

Kerzner, H. (2017) Project Management: A Systems Approach to Planning, Scheduling, and Controlling. 12th edn. Hoboken: Wiley.

Onewrk (2025) Corporate event videography rates Bangalore. Available at: https://onewrk.com

Restless Stories (2026) Freelance videographer rates UK/EU. Available at: https://www.restlessstories.com

Sklar, D. (2001) ‘Five Premises for a Culturally Sensitive Approach to Dance’, Dance Research Journal, 33(1), pp. 30–31.

Video Recording Experts (2026) How much does a videographer cost in the UK? Available at: https://www.videorecordingexperts.co.uk