Part of the job of the Movement Director
is trying to help resolve problems physically
of how we use the space, but also storytelling,
sometimes in character.
Putting together different bits of
blocking and movement to tell the story.
[dynamic music]
Hi, my name is Rachael Nanyonjo.
I am a Movement Director and a Choreographer.
I always knew I wanted to choreograph.
I always knew I wanted to be a part of
the crafting and storytelling process.
So after graduating as a dancer,
I started my own company,
Kansaze Dance Theatre, and I realised that
some of the work that I was doing wasn't
just choreography in the sense of dance only.
It was really looking at the space.
It was really looking at characters.
It was looking at how we
can tell stories through the body.
- If you don't mind, we'd sure like to use the bar.
- As a Movement Director,
it's really important for you to
be able to relate
to the plays that are happening
both in the present and in the past.
So it's about making sure that you're trying
to feed yourself in many different ways.
So from musicals to Shakespeare to
physical theatre, to dance.
One of the first things that I do
is creating a mood board.
I reference from lots of
different places and aesthetics.
Thinking about ''Trouble In Mind'' set in 1955,
images of women and men
in the 50s, what they would wear.
- I wear those baggy cotton dresses, but
damn if I'll wear another bandana.
- We were looking a lot at the
history of black performance in America.
So looking at minstrelling,
looking at African American tropes
and how they were perceived and portrayed on TV,
the styles of dance
that were really popular at that time
that was a part of performance.
Being inspired by singers, artists,
painters has always been
a part of my process, because I always
bring it back into my own process in the room.
Usually I will highlight all
of the stage directions
because that's really important so
we understand where people
are supposed to be, what they're doing.
My notes consist of bits of blocking.
What might be happening with sound,
what might be happening with lighting.
What can I add in terms of
the physical language?
Where are the moments of climax and drama?
Where is it helpful to use physicality
that text is not helpful?
- Cut, relax, at ease.
-This industry is tough and you're going to
be faced with a lot of rejection.
You have to not take it personally
because I get more nos than yeses.
When it comes to interviewing for
jobs, you do need perseverance.
It's really important.
Going to see work is the first thing I would say.
Try and do that.
Don't be afraid to reach out to people
whose work you've seen that you admire.
Drop them an email and
see whether they are willing
to respond or maybe signpost you to a workshop.
If you can observe a
rehearsal process for an afternoon.
If you have the capacity to be an assistant
or an intern do that.
You have more formalised routes
such as the MA in Movement Directing at Central,
but I think the thing is that to take
an interest in what is happening in the world.
That's really the best advice I can give.