4. The Frame
‘The Frame’ is a practical tool for generating individual creativity in movement language and facilitating a non-hierarchical system where a social composition can evolve as practice-led research. ‘The Frame’ is based on the evolutionary factors that were and are present in subcultures. To stimulate movement language and different types of awareness techniques of epistemic knowledge. Firstly, ‘The Frame’ can be considered in linear time, which would mean starting with the Chicago School theory, which would be the essence of ‘The Frame’. Next would be the Birmingham School (CCCS) and finally, at the other end of the timeline would post subculture studies. By thinking in linear time, ‘The Frame’ historically spans over one hundred years of human evolution, socially and culturally crossing between North America and Europe. It is important to remember that thinking of the three parts of ‘The Frame’ in a timeline connects them in evolution, meaning they are not separate and isolated occurrences. I will consider these factors in a non-linear timeline as separate paradigms that permeate and travel between each other forming new transitional merges that are not placed in linear time and different percentages of each or a few within the present moment.
A question that I have not considered yet in this paper is the dancer's age in which ‘The Frame’ is implemented and if there would be any difference in the result due to this. I am researching with students between the ages of sixteen and seventeen who are beginning their professional dance education. What this could mean is, on the one hand, they are not as stylistically fixed in a certain dance style or movement patterns than say, an older dancer that has danced classical ballet for fifteen years, whose body and dance approach would be tough to change. On the other hand, an older dancer would bring more experience and openness to new concepts than a younger dancer whose perspective on dance is much smaller due to their lack of experience. However, with this in mind, my intention for ‘The Frame’ is to construct it to be usable for all types of people with very different backgrounds and experiences with dance. As ‘The Frame’ is based on subcultural theories, it is, therefore, based on macro and micro social phenomena and, for that reason, must be accessible to all abilities rather than just professional ones. Moreover, for it to be hyper-social, it must be non-demographic specific.