Category: Free Inquiry Page 1 of 2

Yay! It’s Performance Time! Sadly, the girls’ first performance of Un Jour Dans La Vie was scheduled to take place on March 14th, 2020 at The Prince George Dance Festival (Competition) but it never happened. Due to the overwhelming societal concern for the Coronavirus, the competition was cancelled and the girls never got to perform this piece. However, I believe that the dance studio as well as the festival coordinators are working to find a way for the festival to occur later on, or virtually or maybe the studio will have their own mini performance day to showcase everything they’ve worked so hard on. I am so proud of them and happy for their success and I am grateful to have worked with them on this project, however, I am disappointed that this first performance opportunity never  occurred. n=Nevertheless, they are continuing to work hard and will be just as wonderful and successful when it comes time for their next festival (The BC Annual Dance Competition held in Prince Rupert, B.C.) this coming May. Who knows, maybe they will even get to perform it before that at our dance studio’s own fundraiser showcase.  This means a lot to myself and the girls and I am excited to see their growth between now and their next performance opportunity.

Catch them in May to enjoy their performance!

Thank You!

Kate 🙂

When I started Un Jour Dans La Vie, I was really excited. The music and the dancers allowed for so may new possibilities and opportunities to explore blending styles, characterization, and mood.

The music sounded playful, angsty, chaotic, light, and smooth all in one. With the musical piece being 17 minutes long with various sections and instruments being used, our first step was to narrow down which sections we wanted to use and in what order we put them in. During the first rehearsal the four of worked on the music together. First, we listened to the whole piece and I had the girls put there hand up when they heard something they liked. We then went back and listened solely to the sections that we liked and narrowed it down further. We then ct out the sections we no longer wanted. While we were choosing, we also decided that we wanted to include some variety in the sections instead of choosing the ones that were more similar to each other. After the sections had been chosen and the cuts had been made, we worked together using Audacity to rearrange the music so that it fit smoothly together. Lastly, we listened to our whole edit and we were amazed that we could make such a smooth edit and turn a 17 minute piece into a 3 minute one!

The second step in my process was the movement exploration and improvisation. I gave the girls a task to each come up with one or two Jazz styled movements and find a way to blend it and integrate some Ballet style into it. We wrote down and drew the movements on a white board that looked something like this. I then asked them to find ways to put the different movements together into 8 count phrases. we ended up integrating these phrases into a later part of the dance.

Next, over the course of a month, we held multiple rehearsals to put together the dance. We created new phrases, shapes, and movements together and built the skeleton of the dance through exploration, improvisation, and taking from the different techniques, styles, and repetoire.

Part 1:

Part 2:

Part 3:

After, the building blocks of the dance had been put together, we bang to rework it and find ways to make it better and implement more artistry. We looked at effects and concepts such as;

1. 1. Shapes
   2. Spacing
   3. Dynamics (speed, flow, weight) and
   4. Characterization

Once the dance was completed, we continued to run it and clean it persistently to prepare it for festival and competition.

Completed!

Our next step was picking out costumes to create our desired affect and pull the piece together. We figured that it should be something blue as the name of the song suggests.  We chose some royal blue corsets with a baroque pattern to assist the idea of possible a vintage jazzy saloon type era with a matching ballet skirt and sleeves to match. We also incorporated some prop hats into the piece to provide more of an era illusion. This piece was fun and interesting to work with since it gave us so much more possibility. The hats we chose are straw barber hats which the girls each decorated individually to add their own creative flare.

Rhapsody in Blue

This year, I had the opportunity to create a variety of choreographic pieces for my students to perform at competition and festivals. The pieces spanned across genres including ballet, jazz, tap, lyrical and musical theatre. Most of these pieces, were choreographed as solos or duets but the one I will be focusing on for this inquiry is a group piece. The group piece was of the ballet genre and was named  Un Jour Dans La Vie (A Day in the Life).  I have had the opportunity to choreograph many group pieces before but ballet groups are some of my favorite to work on. Even though ballet is a technical and often strict discipline, there are opportunities to get creative and look at it from a  different perspective.  Nowadays in Ballet, you can create storylines, blend techniques, and share ideas just as we can with contemporary or modern.  Ballet can be blended with contemporary techniques which allows the dancer to practice ballet technique while incorporating contemporary styles such as contractions or bent shapes amongst traditional ballet extensions. When Ballet tells stories, it is referred to as Demi -Character. in Demi character, dancers can tell a story through the use of their facial expressions and gestures of the upper body while the lower body continues using traditional ballet technique. When Ballet aims to shares ideas, it can be referred to as interpretive. This is similar to Demi – character but the dancer aims to interpret an action or idea rather than a specific storyline or character. It is always interesting and fun to test the boundaries of ballet and use it to portray new ideas, styles, and stories which is why I enjoy choreographing these pieces the most.

In a past piece, Winds Change, I used the choreographic approach of beginning with an idea or an inspiration, and then moving on to pick a song that matched what I want to portray. I then worked with the dancers to create an interpretive  and contemporary ballet piece that tested traditional lines and extensions and took stylistic impressions from contemporary dance. This was fun for myself and the dancers to see how we could manipulate set movements into something new. My approach for this piece followed that of a contemporary choreographic style as well as the three – phase process as I used traditional technique, contemporary styles, exploration, and integrated my own style.

Winds Change

When I started this years’ piece, Un Jour Dans La Vie, I started it similarly to Winds Change. I started with my inspiration. My inspiration for this piece happened to come from a classroom observation I was doing back home in Prince George. I was observing a grade 4/5 music class as they were studying the musical piece of Rhapsody in Blue by George Gershwin. I watched and listened as the teacher talked to the students about what dynamics and musical elements and instruments they could hear and recognize within the piece and then I watched a the children were given a large piece of paper and pencil and were instructed to draw what they heard. it could be a storyline, a place, a person, shapes, etc… anything they wanted. They continued with this activity as they listened to the entirety of the song. It was very interesting to see all of there thoughts and visualizations come to life. While I listened to the piece with the children, all I could see in my mind’s eye were an array of dancers sliding, jumping, and turning on pointe, as well as some intricate and jazz inspired footwork. I immediately knew that I wanted to create a piece with some of our own ballet dancers and bring my vision to life. While I thought about the dance, I also thought about who I could do it with. What dancers suited this style and who was fun to work with. I chose to work with my sister Sara, and her friends Laura, and Kendra. I love working with these girls as they are talented, take risks, and aren’t afraid to share their thoughts and ideas and as they are growing up I only have so many opportunities to work with them before they start their own adventures beyond the studio.

My Inspiration: The music, Rhapsody in Blue, and the girls.

While conducting my personal research on different views on choreographic processes, I came across an article written for DANCE magazine. This article written by Jose G. Sadan, looks at how a dancer my adapt themselves to participate within various choreographic processes. Sadan discusses strategies for dancer to look to while working with choreographers in order to keep the vision alive and put their best foot forward. I found this interesting to read as growing up I worked with multiple different teachers within various technical styles and approaches to choreography. Sometimes I found hard to work with some teachers more than others due to the approach that they took to the piece and how they instructed the dancers. This article lists strategies that I have used as well as some that I have never thought about. The strategies given will definitely be able to help me engage students and myself in future artistic works.

The first of the strategies provided includes developing and using a growth mindset. this further links to many discussions and lessons we have had throughout our academic year as the mindset benefits overall learning through constant goal setting and believing in intrinsic and personal success through improvement. The article suggests to let go of the notion of getting it perfectly the first time. It helps to think of improving and working towards a final goal as the piece progresses. It is okay to be perfect in the first moment.

The second suggestion is to create a personal warm-up to engage in before any rehearsal begins. This allows the dancer to mentally prepare themselves and engage their body in movement that works beyond any set technique. This further works to allow the dancer to be ready to engage in the development of new movements and be ready for anything that the choreographer throws at them.

The third strategy includes extra work for the dancer. It is suggested that dancers make time to review, reflect, and practice on their own outside of rehearsal. This allows them to be further mentally and physically prepared for future rehearsals as they better memorize the movements given previously  so that they are more able to focus on the new material be given. It also allows them to become more fluid in the movement and explore the artistry that they can bring to the phrase later on.

The fourth suggestion includes weighing the pros and cons of your reasoning for participating in the project and working with the choreographer. Sometimes working with certain choreographers can be frustrating especially if the room develops a feeling of tension, a lack of communication exists between the dancers and the choreographer or a artistic limit exists within the piece. In this situation it can be helpful to ask yourself why you are there. What is the bigger picture? What am I gaining from this experience.

The fifth and final strategy discussed includes the combination of looking beyond frustration and developing a growth mindset. If a dancer can look beyond frustrating movement phrases and choreography and keep an open mind to the choreographers visionary’s and what they themselves might be able to accomplish by the final performance of the piece, the dancer will then have the opportunity to turn a difficult experience into a rewarding collaborative accomplishment.

Research retrieved from:

https://www.dancemagazine.com/how-to-adapt-to-any-choreographic-process-2314473741.html

DANCE Magazine. Written by : Josie G. Sadan. Mar 16, 2017

Accessed on February 19th, 2020

I am a huge fan of the growth mindset idea. In my past dance classes this was something I struggled with. With dance (depending on the style) it is often looked at as an art form that requires a certain level of skill and technique that is geared towards perfection. While working on my current group piece, I have tried to implement this thought process more with myself and the dancers I am working with. It helped that I worked together with the dancers to develop the movement and put it together. this allowed us to explore and see what worked and what didn’t and move beyond perfection. very rehearsal we had we looked at how could further build upon or better what we had done, moving beyond the idea of perfection.

Enjoy these videos on embracing mistakes and developing a growth mindset through the arts!

Arts Alive provides many online educational resources for those interested in the arts. They even have a selection of resources that describe different approaches for choreographing and what elements might be used in the creation of a dance. The articles that the organization provided agrees with the previous resources  that I have discussed. They also state that choreographic processes and approaches are dependent on a choreographers artistic style, vision, and outside resources.

Further, many choreographers choose to work in different situations such as various different environments and work settings. Some may choose to work independently and hire dancers and artists on a occasional basis depending on the project and style that the choreographer is working on. Some may work for a company that is based on creating choreographic visions. Others may work as a artist in residence or an artistic director for companies and studios that study repertoire. Some choreographers may also be invited into companies all around the world as artistic guests to allow for artistic development within a studio or company or to provide new experiences for residents.

As discussed in the article by the Knight Foundation, Arts Alive also describes the choreographic approach for contemporary dance as a more exploratory and experimentation based development of movement. It also agrees with the Britannica’s idea on the Three Phase process where artists who work with traditional or more classical genres of technique such as ballet or tap opt to work within a set technique or movement style  to initiate their piece. They may then choose to stay within the technical limits or expand or build upon them to create something new under their influence. Here, a choreographer may combine traditional technique along with their own personal movements in order to portray their final vision.

Arts Alive also provides a toolbox of elements that choreographers may look to in order to develop their dance.

       1. Shape

• Shape refers to the pathways and positions the body takes within a movement or a phrase.  Shape concepts to explore include:
  • Levels – movements can be performed at different levels such as high or low in space.
  • Symmetry and Asymmetry – used to create different effects with the body. Symmetry occurs when the left and right sides of the body mirror each other and appear identical. Asymmetry occurs when the right and left sides of the body engage in different movements and appear unbalanced.
  • Scale – “Positions and movements can be performed on a small to large scale. In small-scale actions, the limbs and torso are drawn inward: they contract, flex, fold and bend. In large-scale actions, they extend and stretch out to their fullest length. Think of contrasting shapes that are angular-curved-straight, shrinking-expanding or contracted-extended (Arts Alive, The choreographer’s Toolbox)”.

      2. Space

• Space refers to the pathways, patterns, and the amount of space that a dancer takes up during a movement or phrase. Space concepts include:
  • Geometric forms – this could include the spacing or shape that the dancers make within a piece wether it be a straight horizontal or vertical line extending from wing to wing or upstage to downstage. This could also include the use of pathways whether they be curved, spiraled, or zig – zagged, etc… This may also include the use of vertical space through the use of jumps or lifts.
  • Symmetry and Asymmetry – used to create various performance affects as dancers move through the space symmetrically or asymmetrically to create a dramatic effect.
  • Scale –  how much of the stage os used. The performance area can be small or large. and the choreographer can choose how much of the area they would like the dancers to encompass.

      3.  Timing

• The speed dynamics of a dance and how the choreographer puts movement to music.
• • Tempo –  slow or fast. May be steady or consistency changing. Tempo in dance is referred to the same as in music (allegro, adage, accelerando, ritardando).
  • Metre –  “Metre refers to the organization of beats into bars with strong accents on the downbeat followed by lighter accents. In musical terminology this is called the time signature. Dancers sense metre as a recurring rhythmic underpinning. In dance we talk of movement phrases, which dancers may or may not count in musical beats corresponding to bars. Basic time signatures include: 2/4 (” 1, 2 “) ; 3/4 (” 1, 2, 3 “) ; 4/4 (” 1, 2, 3, 4 “) ; and 6/8 (” 1 and a, 2 and a “). While ballet commonly uses regular time signatures, modern dance often uses irregular ones like 5/4 (” 1, 2, 3, 1, 2 “) ; 7/4 (” 1, 2, 3, 4, 1, 2, 3 “) ; and also changing metres. (Arts Alive, The choreographer’s Toolbox)”
  • Rhythm – The patterns and beats that dancers follow. Some choreographers will use these beats as accents to give the movements more dynamics.

      4.  Dynamics

• dynamics refers to the quality of movements and how the choreographer uses all the elements to create dramatic effects and support the artistry of the dancer.
  • Weight – how the dancer holds their body and how they approach movement. Can be heavy/strong or light/soft.
  • Time –  The effect of time on a movement. Can be sustained or instant/ sharp.
  • Space – how the dancer moves toward a new movement (indirect or direct).
  • Flow –  can be free movement or limited. A limited movement is often concise and specific while a free movement is more unpredictable.

Information and research retrieved from:

http://www.artsalive.ca/en/dan/make/process/ways.asp

http://www.artsalive.ca/en/dan/make/toolbox/elements.asp

Written and provided by: Arts Alive. ca and theNational Arts Centre

Retrieved on: February 18th, 2020

Enjoy this video on the elements of Dance!

I find this outline of elements really helpful. Sometimes it is hard to decide what dynamics can be applied to create a desired affect while creating a dance. It is useful to have suggestions listed it out to remind you of the possibilities that you can engage in.

In this article, the author focuses on the choreographic process mainly of that for contemporary dance. The choreographic process for contemporary dance is very unique as it involves the main component of body and movement exploratory and thinking outside of the box to create new movements to portray various concepts. There are so many opportunities for new discoveries and creative elements through the use of movement exploration and improvisation.

The goal of a choreographer is to achieve a piece that perfectly encaptures their own artistic vision and accurately executes the concept that the choreographer is wanting to portray. To do this, the choreographers need to channel their vision through the dancer’s and their movement Often times a choreographer will choose dancers and artists to participate in their piece based on their skill, stylistic choice, and their ability to achieve what the choreographer is aiming to do. Dancers may be picked specifically for certain dances and they fit perfectly for one concept or style rather than another. It is important to find a dancer that is the right fit for the piece as they ultimately represent the choreographer (Nahmad and Anduiza, 2015).

The choreographic process is also ultimately a collaboration between choreographers and dancers as I have explained in previous posts. Creating a dance “is a human to human relationship that requires a commitment to shared goals, accountability for success, and sharing of resources, risks, and rewards (Anduiza, 2015)”.

Most often in contemporary dance, the process will begin with an inspiration. Some artists will choose to be inspired by a movement or phrase discovered through exploration or improve while others will draw inspiration from visual artwork, images, or daily societal issues. Some choreographers may also choose to conduct further research on a concept or inspiration through travel, viewing artwork, or listening to music.

The development portion of this process will also vary depending on the choreographer. Some will enter a studio rehearsal knowing exactly what they want while giving specific and direct instruction while others allow phrases and movement to develop through dancer and choreographer collaborative exploration of prompts such as images, music, or words. This approach allows dancers to become part of the creative process and allows all the movement to draw from and become relative to the concept being explored.

After the movement and phrases are built the organization piece takes place. Here the choreographer can build upon, expand, change, or adapt the choreography to better fit and portray the concept that is attempting to be achieved. This may include dynamic or spatial exploration.

Next, the dancer and the choreographer may work collaboratively to create and develop artistry within the piece. Here, the two must develop a bond of trust where the dancer is allowed to take risks and make mistakes within the choreography to explore new dynamics or make their own personal adaptions and the choreographer trusts the thinking of the dancer and they can work together to create the final piece (Nahmad and Anduiza, 2015).

Lastly comes the performance!

Research gathered from https://knightfoundation.org/articles/the-choreographic-process/.

Article by: Melissa Anduiza and Valerie Nahmad January 26, 2015

This process also follows the last process of the three phases as it undergoes the gathering of movements, the development of phrases, and creating the final structure.

This contemporary exploration process is own of my most favourite processes. I love having the opportunity to explore new movement through improvisation. This allows time for personal self-expression for the dancers which further allows for the promotion of mental, emotional, and physical health.

Please enjoy this TED talk on Dance Improv!

Also this video on building contact improv!

The first choreographic process I will be looking at is the Three-Phase Process. This process describes a basic layout for choreographing that can expand and be built upon to become many other approaches depending on the choreographer. The Process is laid out in phases (as the name suggests). These include

Gathering the Movement Material

Developing the Movement into Phrases

Creating the Final Structure.

First, the choreographer will gather the material. This means that the choreographer will choose or create the movements and technique that they will include in their phrases and their overall piece.  The movements that will go into a dance depends on the choreographer and each piece they create will require a  different choice of movements depending on the style or meaning needing to be portrayed in the dance.

To choose the movements that will go into their piece, some choreographers may choose from a basis of technique and create variations of works used in classes and performances. They may take another choreographer’s piece and rearrange or introduce new steps to make it their own.  This also allows choreographers to merge styles and create their own piece influenced by another. This approach to gathering movement is often used in ballet, jazz, or tap where set movements already exist.

Other choreographers, will implement their own style and create their own set of movements and vocabulary to create a dance but they will still draw from others. Choreographers that have used this approach have developed their own techniques. Some of these artists include modern dancers Martha Graham and Ruth St. Denis. Each had drawn from mentors and influences but created their own technique to suit their creative style.

Next, the choreographer must turn the chosen movements into phrases. The Brittannica Encyclopedia describes a phrase of dance as being a “series of movements bound together by a physical impulse or line of energy that has a discernable beginning and end” (Mackrell, 2019). Within a phrase, the movements must link and blend together to create a consistent flow of movement. Some phrases often show a pattern. Patterns can be visible and recognized through length, shape, and rhythm. Most phrases will attempt to replicate or completely diverge from the accents within a piece of music and most phrases will sinc with a phrase within the music. By using these factors and developing dynamics within the phrase, phrases can be recognized within a dance and can be repeated or expanded upon by using different qualities such as embellishing a movement or even reversing the entire phrase.

Lastly, The choreographer will put together the final structure. The overall structure of the dance is dependent on a variety of factors. It depends on the purpose of the dance, wether the dance should include a series of events and characters as if it needs to tell a story or even part of a traditional piece that must follow a strict order and requirements. Music also plays a part as the tempo or mood of the music can set a theme for a dance or what kind of movements should be used, whether it be slow or fast, or soft or sharp. The structure of a dance may also come from a continuous development of movements or phrases as the choreographer slowly develops a piece, using one movement to indicate what the next shall be. Other aspects of the dance that can be conceived this way include the number of performers, the spacing, or the story that is told. The structure and performance will also depend on the traditional style of the piece being created. For example, ballet pieces are often performed as continuous narratives while modern pieces are usually performed as a compilation of short pieces (Mackrell, 2019).

I think that this process description is a good basic layout for any choreographer when developing a new piece. It provides a logical sequence to follow to help put something together. However, I don’t think that a chronological sequence is for everyone. some people like to start in the middle or even at the end by developing the structure first. Each process and approach depends on the artist.

For Further Reading Visit:

https://www.britannica.com/art/dance/The-three-phase-choreographic-process

Research from:

Brittanica Encyclopedia;

Article by  Judith R. Mackrell (October 16th, 2019)

According to the Oxford definition of Choreography, the term refers to “the sequence of steps and movements in dance or figure skating, especially in a ballet or other staged dance”.These sequences can be brought and rearranged using a number of styles or steps, patterns, spacings, and dynamics. The way that these phrases or sequences are put together and the process in which a choreographer does this can vary from person to person and artist to artist. The way a choreographer choreographs also may depend on the pupils they are working with. Factors such as age, skill level, and experience can affect the steps a choreographer takes to complete a piece as well as the patterns, steps, and dynamics they choose to use.

I have seen multiple different approaches to choreography throughout my dance career.

Some of these approaches include:

1. Bringing in a piece of music and a style idea and making up patterns and phrases on the spot
2. Starting outside of class with a piece of music, a style idea, and a series of phrases put together beforehand and ready to teach.
3. Starting with an inspiration and taking the time to find music to match outside of class and slowly building the general idea as they work through the piece.
4. Basing the entire piece on an inspiration and include visual arts and music to engage the students in the feeling being strived for.
5. Using the students and their improvisation skills to help the process of developing phrases and storylines.
6. Working with a partner or a group to complete a piece.

When it comes to choreography, there is no proper way to create a new piece and no distinct approach that you can follow. Most choreographers take some aspects of one approach and some from another and use what works best for them. One of my peers recently created a group piece where he combined the aspects of multiple choreographic approaches. For example, he would spend six to eight hours during a day working with the music, editing it together, and coming up with very intricate phrases to go along with it. He would then write them down in note form and have them ready to teach when he got into the studio. However, sometimes he would find that what he previously came up with didn’t work for the dancers he was working with and he would move forward by working with them and creating something new on the spot that would work better.

I also used a mix of choreographic approaches to complete my most recent group piece. I came into the studio with a piece of music and an idea of what I wanted to do acting and style-wise. However, I didn’t have any choreography ready to go. I chose to ask the dancers to help me create different phrases and steps that we could put in the dance later on. I also decided to make up choreography on the spot as well as bring in a couple of pre-choreographed phrases to put the piece together. I will be expanding on my process choice later on in my inquiry.

Here is a video showing how multiple choreographers of different genres came together to work collaboratively on a peice while each using their own choreographic style to create a large creative dance and teach it across studios.

Photo #1: Photo by Ilja Tulit on Unsplash

Photo #2: Photo by Chris Yang on Unsplash

Photo #3: Photo by Rainier Ridao on Unsplash

From my experience, dance is very beneficial to one’s personal, developmental, and creative growth. It allows those who engage to think differently in regards to social development, mental and physical health, and creative thinking.

Dance allows participants to work with others whether it be in a group, pairs, or peer reflection. Throughout my dance career, I have had the opportunity to work with many peers and teachers to create new pieces for performance and I have learned how to cooperate and work collaboratively with others. Working in classes and on new pieces, I was able to experience new techniques and dance styles and work with my peers to look at certain stylistic aspects and techniques in new ways. We were always there to support each other and give constructive feedback. Later on, I had the chance to work professionally with one of my peers to create our own performance piece. We had to work together to come up with our inspiration and ideas and collaborate on which steps and spacial arrangements worked well together. By having the opportunities to work with each other in classes and in performance, it made it easier for us to cooperate on this teaching project.

Dance further helped me wit my mental and physical health. Through conditioning classes, improvisation classes, and peer group talks, dance had become a safe place for me and my peers. Physically, conditioning and technique classes promoted the development of safe movement and allowed us to work on developing flexibility and strength that would allow us to limit injury and promote more developed movement while we danced. In regards to mental health, dance allowed us to share and express our thoughts with each other verbally and physically.  It became an activity that was always there for us to escape into after a hard day or grasp fully at the end of a good day. Improvisation classes urged us to take our thoughts, ideas, and feelings and put them into dance. How could we convey what we wanted to say through movement.

Improvisation classes also encouraged our creative thinking which would help us develop our own choreographing skills. While improvising we were able to explore whatever movement we wanted and discover new ideas. I have used this strategy at the heart of my choreography since I started creating. I always found it helpful to explore, find what works well, and then put it together.  I also used this strategy to help me create the choreographic routine that I will be reflecting on within my inquiry.  Further, from experience working with others as well as other teachers, our choreography also occasionally reflects stylistic choices that we have seen from others. Our own creative movements then become inspired by and include movement choices made by others and what we have previously learned. Therefore, choreography can be seen ultimately as a team effort in which multiple artists are involved.

Here is a link to a Tedx application video by Shelby Richardson who went on to present this topic at TEDx UNBC. She discusses using the body through movement to promote social exchange within the community. Notice how she discuss the importance of dance and choreography to get across ideas and refers to the dancer as an interpreter for what she would like to say.

Here another video where the presenter discusses the collaborative aspects of choreography and presents his own choreographic process in front of an audience.

Photo credit:

#1 – Photo by Danielle Cerullo on Unsplash

#2- Photo by Inspired Horizons Digital Marketing on Unsplash

#3 – Photo by Samantha Weisburg on Unsplash