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In the past two weeks, our group tried to design a new way of playing( In order to achieve the purpose of artistic creation, we combine each person’s different academic background and professional knowledge in this game. Through this game named “begging for alms”, we can finally get a new body language system.

We named this game as “begging for alms”(化缘). The word “begging for alms” comes from Buddhism, which refers to a missionary activity carried out by monks in the process of cultivation in order to get acquainted with people who are in good condition with Buddha. In a narrow sense, it refers to monks who use bowls (钵).The process of asking passers-by for free food and water, which is thus randomly determined according to the passers-by encountered, hence the core theory of the game is “random”.

At the beginning of the game, we need to prepare a large bowl, then take the bowl to the street and randomly select a passerby, and ask him or her if he or she can put something in the bowl like food or anything else that they find interesting, If the passerby doesn’t want to give us something, we try to invite the person to write some sentences on a scrap of paper that we have prepared beforehand. After the first person completes his/her act of giving, we try to ask the person if he/she would like to participate in the next alms, if he/she would like to join us then the person would complete the next alms by themselves and pass the bowl to the other person. If the passer-by is unwilling then the alms will continue to be performed by our group members until the bowl is filled.

In order to create a complete body language system unique to this game, we need to create a basic body language according to the content obtained by begging for alms and the process of begging. To create this new body language system, our group chose the moss, the Cunningham’s “opportunity choreographer law” as the core academic support, but as a result of moss, Cunningham’s choreography principles for our game are too complicated, so we will moss, Cunningham’s choreography method combined with Laban’s choreography methods, according to the basic principles of modern dance theatre, A simple and effective method of body language creation is obtained.

In this new approach to body language creation, we divide the stage, or any performance venue, into nine areas (see the image in MIRO for a detailed explanation) that represent different emotions. Then, taking the bowl as the center point, we divided it into 8 direction positions according to the different directions of the passers-by we met, so that 9 different directions, including position 1, could correspond to 9 areas in the performance venue one by one. In these nine groups of corresponding emotional relationships, we divided the expression space of the body into three levels according to the different objects given to us by passers-by: If we get food then body on the first floor space (squats or contact with the ground), if we get the stranger to write down something little pieces of paper, then the expression of body is on the second space (stand), if we get the items other than food and scraps of paper, then the body language will be in space (leap) in the third floor.

Every object in the bowl, every piece of food, every piece of paper can get a corresponding movement, and these things can be connected to get a dance piece. This dance is recorded and the dance video is imported into the AI choreography system(《Learn2Dance: Learning Statistical Music-to-Dance Mappings for Choreography Synthesis》, with the help of the analysis and deconstruction of body language by this choreography system, we can finally obtain a new body language system generated by “begging for alms”.Eventually we might try to put the body language on public display and allow other artists to re-create the unique language system.

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