So I still haven't narrowed down that setlist, so I'm thinking I'll take one of two approaches:
1. Go hard on the entire list and see how much I can manage.
2. Require nothing more of myself than four sets of eight per day and see where that gets me.
Interesting thing about the list this year -- most of the dances are solos and duets. Solos are WAY out of my proverbial element, but that seems to be what I get ideas for lately. It saddens me actually -- I far prefer watching (and therefore creating) large-group dances. They're so much more captivating than one person on stage trying very hard and usually failing terribly to be 'relevant' (to borrow modern Christianity's vernacular).
So far I haven't created any original/new choreography but I have finished and notated a pointe solo that I started at the end of September. Part of my goal for this year includes finishing off the choreography-in-progress list that has somehow ballooned to eight (not counting Perfect World, the one I just finished). Maybe I'll just knock out all those and see how much month is left at the end of that.
For interest's sake, here's what's on the in-progress list:
~ Perfect Time (Maire Brennan, 1998)
Ballet trio. Literally all that's left is to choreograph one set of eight in the interlude, flesh out the bridge, and notate the thing. A good day (or two partial days) should finish this.
~ Bobby (Prodigal, 1984)
This is about one-third done (including notation). I really like this one, and that has intimidated me into a standstill. I'm consciously paying homage to a couple of different pieces I've seen over the years (from the ballet Sleeping Beauty to Refined/Undignified's Restart to my own ballet Scream from two years ago) and the subject of the dance is a child with a device addiction. It's going to be heavy, but I think it will be effective.
~ Elle G. (Newsboys, 1994)
This is the dance I am going to want at my funeral (this and DA's Sanctuary). This is also the dance from Kyrie (the novel). In terms of mood and staging, it's loosely based off of the Wylie scenes from the ballet Giselle.
~ Big Dreams (Steve Grace, 1988)
Tap solo that I was working on the same week I discovered I was going back to school. If it weren't for that, I would have finished this that week. As it stands now, this is roughly half-done.
~ Empty Orchestra (Steve Scott, 1994)
Ballet for eight (I think -- it's been a while since I touched this). An embodiment of how depression can take over a person's mind and twist their thoughts to believe the whispers from the dark. A demonstration of how the darkness stills the light.
~ Eleanor, It's Raining Now (Lost Dogs, 1993)
Ballet for four. Started this the last time I was at college (in a notebook that was subsequently stolen and I'm STILL not over that -- I'm starting to shake just typing this). I'd have to look at my remaining notes again, but I believe this is mostly finished as well. However, I suspect that I'll need to tweak it in light of what I've learnt about choreography since then.
~ Lux Venit (Michael W. Smith, 1989)
I have two different ideas for this piece and I've been trying to work them out simultaneously. This indecision has been slowing me down and I really just need to commit to one and run with it. My options are 1. a ballet solo, and 2. a ballet trio with one or two children.
~ Shades Of Green And Red (Phil Keaggy, 2010)
Tap solo. The entire first third is completely done and polished. It's the slow bit after that that I need to figure out now. I haven't even listened to the final third, but I may decide to tackle that next and fill in the middle/slow bit after.