Journal articles on the topic 'Abstract choreography'
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1
Hall, Joshua M. "Sociohistorical Self-Choreography: A Second Dance with Castoriadis." Culture and Dialogue 7, no. 1 (May 7, 2019): 87–104. http://dx.doi.org/10.1163/24683949-12340058.
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Abstract Twentieth-century Greco-French philosopher, economist, psychoanalyst and activist Cornelius Castoriadis offers a creative new conception of imagination that is uniquely promising for social justice. Though it has been argued that this conception has one fatal flaw, the latter has recently been resolved through a creative dialogue with dance. The present article fleshes out this philosophical-dancing dialogue further, revealing a deeper layer of creative dialogue therein, namely between Castoriadis’ account of time and choreography. To wit, he reconceives time as the self-choreography of the sociohistorical, in which performance the sociohistorical plays two dancing roles simultaneously, both choreographer and choreographed dancer. More precisely, as interpreted by Castoriadis in a late essay, the creation and emergence of forms in time consists of a poetic “scansion” or “scanning” of time. Thus, the sociohistorical is both choreographer and dancer, poet and reader, reinterpreting the poetic text of time as the music for its evolving dance.
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Bidyuk, Dmytro. "Professional Training of Choreography Students in European Universities." Comparative Professional Pedagogy 8, no. 4 (December 1, 2018): 39–46. http://dx.doi.org/10.2478/rpp-2018-0052.
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Abstract The article deals with the analysis of professional training of choreography students in European universities. It is indicated that choreography education is a certain system of dancing training, which cultivates students’ artistic, physical and technical skills necessary for the dancing profession, as well as develops their special knowledge. It is found that an indispensable component of learning is character and national dance. It is specified that the prospects of using foreign experience to modernize choreography education include different levels, namely the European level (an intensification of cooperation with international educational organizations, promotion of intercultural education and international relations through participation in cultural exchange programmes and international dance competitions and festivals), the national level (elaboration of appropriate legal and regulatory acts, design of national cultural and educational programmes for developing choreographic culture, introduction of new models of choreography training (theater dance, choreotherapy, modern dance), formulation of modern requirements for future specialists, allocation of budget on choreography development), the institutional level (administrative support of international scientific projects, introduction of appropriate strategies for developing choreographic industry, introduction of new courses, modernization of existing training programmes, introduction of innovative choreographic training programmes, creation of special programmes for students with special educational needs, Europeasation of lecture content, introduction of innovative elective modules at departments of choreography, organization of international workshops).
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Khokhlova, Daria. "Ballet "The Taming of the Shrew" by Jean-Christophe Maillot: peculiarities of authorial interpretation of the images of Katherine and Petruchio." Человек и культура, no. 1 (January 2022): 32–50. http://dx.doi.org/10.25136/2409-8744.2022.1.37356.
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The subject of this research is Jean-Christophe Maillot’s interpretation of the images of Katherine and Petruchio in the context of ideological-imagery parallels with the original text – W. Shakespeare’s comedy "The Taming of the Shrew". The article determines the expressive means and choreographic elements used by the choreographer to stage the lead roles, as well as their contextual comparison with the original literary text. The theoretical framework leans on the principles of ballet analysis developed by the ballet theoretician and historians Dobrovolskaya, Krasovskaya, Slonimsky, and Surits. The works by Lopukhov serve as the methodological basis for analysis of the shape and choreography. Other sources include video materials from the archives of Monte Carlo Ballet and Bolshoi Theater, recordings of staged rehearsals that took place from April to June 2014 (author's archive). The research employs the methods of ideological-artistic analysis, semantic analysis of construction and choreographic solution of the roles of Katherine and Petruchio, as well as method of included observation (personal participation in the performance). The novelty lies in revealing the innovative and modernized classical elements of choreography and staging developed by Maillot (leitmotif plasticity combinations, transforming symbolic moves). The detailed semantic analysis of the composition and choreography f the images of Katherine and Petruchio became the main instrument of research and allowed making the following conclusions. Interpretation of the images of the protagonists in the first act is conceptually similar to Shakespeare's text and slightly adapted in accordance with the expressive potential of ballet art and authorial artistic tasks. In the second act, the choreographer shifts the compositional and plotline focus, highlighting not the final scenes, but the full-scale duet of the protagonists, where the plasticity solution is transformed depending on the changes in their emotional states. Namely abstract and visual plasticity ideation individualizes the choreographic style of Maillot and underlies his interpretation of the profound plotline of Shakespeare's comedy.
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Mehdipour Ataee, Shahin, and Zeki Bayram. "An Improved Abstract State Machine Based Choreography Specification and Execution Algorithm for Semantic Web Services." Scientific Programming 2018 (2018): 1–20. http://dx.doi.org/10.1155/2018/4094951.
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We identify significant weaknesses in the original Abstract State Machine (ASM) based choreography algorithm of Web Service Modeling Ontology (WSMO), which make it impractical for use in semantic web service choreography engines. We present an improved algorithm which rectifies the weaknesses of the original algorithm, as well as a practical, fully functional choreography engine implementation in Flora-2 based on the improved algorithm. Our improvements to the choreography algorithm include (i) the linking of the initial state of the ASM to the precondition of the goal, (ii) the introduction of the concept of a final state in the execution of the ASM and its linking to the postcondition of the goal, and (iii) modification to the execution of the ASM so that it stops when the final state condition is satisfied by the current configuration of the machine. Our choreography engine takes as input semantic web service specifications written in the Flora-2 dialect of F-logic. Furthermore, we prove the equivalence of ASMs (evolving algebras) and evolving ontologies in the sense that one can simulate the other, a first in literature. Finally, we present a visual editor which facilitates the design and deployment of our F-logic based web service and goal specifications.
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Dodds, Sherril. "The Choreographic Interface: Dancing Facial Expression in Hip-Hop and Neo-Burlesque Striptease." Dance Research Journal 46, no. 2 (August 2014): 39–56. http://dx.doi.org/10.1017/s0149767714000278.
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Although the face possesses potent social and symbolic meaning, the “dancing face” is rarely addressed in dance scholarship. In spite of its neglect, the face participates choreographically in the realization of aesthetic codes and embodied conventions that pertain to different dance styles and genres. I therefore turn to Gilles Deleuze and Felix Guattari's (1987) theory of “faciality” to understand the semiotic coding of the face in relation to the Busby Berkeley chorus girl. Although their work offers an important critique of universalist theorizations of facial expression, I argue that “facial choreography” offers scope to dismantle the legibility of the face that is produced through the overcoded “abstract machine of faciality.” To do so, I introduce the concept of a “choreographic interface” to explore how facial expression enters into a choreographic relationship with other faces and bodily territories. With this in mind, I explore two dancing bodies that engage the face in ways that complicate existing modalities of facial expression. I analyze a hip-hop battle and a neo-burlesque striptease number to show how the mobility and ambiguity of facial choreography opens a dialogic space through which meaning is generated and social and political critique take place.
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Huvila, Isto, and Olle Sköld. "Choreographies of Making Archaeological Data." Open Archaeology 7, no. 1 (January 1, 2021): 1602–17. http://dx.doi.org/10.1515/opar-2020-0212.
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Abstract A lot of different concepts have been utilised to elucidate diverse aspects of archaeological practices and knowledge production. This article describes how the notion of choreography can complement the existing repertoire of concepts and be used to render visible the otherwise difficult to grasp physical and mental movements that make up archaeological work as a practical and scholarly exercise. The conceptual discussion in the article uses vignettes drawn from an observation study of an archaeological teaching excavation in Scandinavia to illustrate how the concepts of choreography, choreographing, and choreographer can be used to inquire into archaeological work and data production. In addition to how explicating physical, temporal, and ontological choreographies of archaeological work can help to understand how it unfolds, the present article suggests that a better understanding of the epistemic choreographies of archaeological, scientific, and scholarly work can help to unpack and describe its inputs and outputs, the data it produces, what the work achieves, and how it is made in space and time.
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D'Oleo, Dixa Ramírez. "Broken Automatons and Barbed Ecologies in Ligia Lewis's Choreographic Imaginary." Social Text 39, no. 2 (June 1, 2021): 51–67. http://dx.doi.org/10.1215/01642472-8903606.
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Abstract This article considers choreographer Ligia Lewis's hour-long ensemble performance Water Will (in Melody) to theorize on the relationship between ecological fugitivity and black fugitive movement. It explores how Lewis's choreography disrupts the colonial space-times of colonialism and slavery by offering portals into other space-times. In Water Will (in Melody), racialized assemblages break down from overuse and from glaring surveillance in the form of illumination. The last few minutes of the piece evoke an ambivalent postapocalyptic space-time where darkness becomes textured with what seems to be moonlight peeking into a wet cave. This ending evokes the ecological of histories of fugitivity and the earthiness of Édouard Glissant's concept of opacity, both frequently overlooked in discussions of black fugitivity. The final section traces Lewis's fugitive choreography into what the article calls the barbed ecologies of the hills of the Dominican Republic and Haiti, sites of black and indigenous marronage and symbiosis.
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Strelkin, Ivan. "Echoing choreographies." Maska 36, no. 205 (December 1, 2021): 111–19. http://dx.doi.org/10.1386/maska_00093_1.
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Abstract The article discusses the problem of spectatorship in relation to dance. Observing connections between a choreography and spectators’ responses to it, the author points the reader’s attention to the phenomenon of re-performing and introduces the concept of an echoing choreography a choreography that is re-performed by its spectators without explicit collaboration with its creator. Articulating the special role of internet video hostings and social networks in the process of content reproduction and spreading, the author juxtaposes the phenomena of memes and challenges with the artistic practices of reenactment in professional dance.
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Lepecki, André. "Choreography as Apparatus of Capture." TDR/The Drama Review 51, no. 2 (June 2007): 119–23. http://dx.doi.org/10.1162/dram.2007.51.2.119.
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This second installment of TDR's continuing series on choreography and philosophy addresses dance and temporality. Paula Caspão describes the economy of movement and language as a stuttering, relational, affective field. Frédéric Pouillaude argues that contemporaneity links dance and scène, which in French means both an abstract place for an event and, more concretely, the stage. In a dialogue, Danielle Goldman and Deborah Hay follow up on Goldman's considerations of how improvisation offers “escape routes”—for and from dance, theory, and time.
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Beisswanger, Lisa. "Architecture and/as Choreography: Concepts of Movement and the Politics of Space." Dimensions 1, no. 2 (May 1, 2021): 23–50. http://dx.doi.org/10.14361/dak-2021-0204.
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Abstract Dance projects exploring and interpreting architecture through choreography have become increasingly popular over the past two decades. This article takes a similar but theoretical approach, using the concept of choreography as a lens to look at the underlying scripts that shape the ways in which subjects move in, and are being moved by, architecture. Typically associated with the field of dance, choreography refers to spatial ordering principles, evoking highly political questions of authorship and authority, interpretation, improvisation, appropriation, accessibility, inclusion, and exclusion. Applying historical and comparative analysis, this article focuses on seminal examples from the fields of 20th-century Western dance and architecture. By mapping out evolving concepts and constellations of architecture and/as choreography, it aims to help create awareness of the spatial politics of architecture and their historical situatedness.
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Zicari, Ida. "A writing that dictates the choreography: Dante sonata by Frederick Ashton." Studia Musicologica 54, no. 4 (December 1, 2013): 417–30. http://dx.doi.org/10.1556/smus.54.2013.4.7.
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If Liszt’s early work Don Sanche ou le Château d’Amour, that includes danced parts, is not taken into account, he never composed music for dance. In the twentieth century, however, the composer’s music became an interesting material for choreographers and dancers. My paper is focused on a choreographic interpretation of Liszt’s Dante Sonata, made by Frederick Ashton. This choreography was realized by Ashton in 1940 in London, in collaboration with Constant Lambert. Ashton’s Dante Sonata is an abstract and symbolic ballet. He created the association between dance and music on a relationship of correspondence point to point of the two languages and on a cultural and emotive communion with Liszt. My study wants to show what the Ashtonian choreography highlights: Liszt renews the traditional sonata form from its inside; he gives it a new lymph by making it go through a symbolic content; the symbolized literary content is the Dantesque medieval allegory of the Christian ascensional course transformed by Hugo in metaphor of the restless walk of the romantic man. So, Liszt invests the medieval epic literary model of the great themes of the Romantic generation and renews, under its influence, the sonata form.
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Allen, Jess. "Tracktivism: Eco-activist walking art as expanded choreography in rural landscape." Choreographic Practices 10, no. 2 (December 1, 2019): 175–95. http://dx.doi.org/10.1386/chor_00002_1.
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Abstract This article offers a reflexive account of my journey from dance into walking art through a methodological examination of tracktivism: the rural, eco-activist, pedestrian performance practice I have developed over the past eight years. My dancer's perception of walking art in the sculptural tradition had always been as choreography on an expanded scale: bringing attention to spatial patterns in landscape through the 'stylus' of the walking body. Here I examine the ways in which the growing oeuvre of tracktivist works have employed this choreographic device to (re)frame walking art as eco-activist performance. I consider how an art walk may be shaped in such a way as to foreground the spatial nature of ecological dis/connection in working agricultural landscapes, giving examples from my practice. I also propose that as patterns or routes expressly designed to be walked, the performer's material body becomes a 'measurant' to calibrate human scale against planetary scale. Thus the practice might be perceived to function as emancipated eco-activist choreography that offers a means of revealing and embracing our ecological enmeshment with/in complex more-than-human flows.
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Persyn, Leonie. "On auditory choreography: How walking anticipates sound and movement resonates." Choreographic Practices 10, no. 2 (December 1, 2019): 197–212. http://dx.doi.org/10.1386/chor_00003_1.
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Abstract Benjamin Vandewalle and Yoann Durant label their performance Hear (2016) as an auditory choreography. Starting from an elaboration on the etymology of choreography I research what the auditory dimension adds and changes to choreography. Choreographing based on auditory decisions inverses sound and movement. This inversion has consequences from the process to the end result. Based on the sonic quality as main decision principle I unravel the creation process of Hear in seven main action: to stand, to walk, to breathe, to look, to move, to disappear and to sound. This division reveals how the actual choreographing doesn't stop at the end of the creation process. In the second half of the paper, I turn to the experience of an auditory choreography, where the body of the audience functions as a resonance box. The discomfort of a blindfold during the experience, leads to the installation of a delicate intimacy and reveals the close connection between sound, touch and movement. The precariousness of the installed intimacy triggers and enforces the audience imagination. Through my own experience of Hear I discover how the audience in an auditory choreography becomes a co-creator.
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Dermawan, Wisnu. "BODY RECORD: PERJALANAN TUBUH DALAM BINGKAI TARI SRANDUL." Joged 17, no. 1 (July 26, 2021): 42–60. http://dx.doi.org/10.24821/joged.v17i1.5602.
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ABSTRAK“Body Record” dalam Bahasa Indonesia berarti catatan atau rekaman tubuh. Karya tari ini menceritakan perjalanan manusia khususnya perjalanan tubuh tari penata. Karya tari dalam bentuk suita ini dibagi menjadi empat bagian, bagian pertama tentang kelahiran, dua tentang mengenal tari, tiga tentang konflik batin, dan empat mengenai kelahiran kembali.Tari Srandul menjadi inspirasi untuk menciptakan karya tari ini. Ketertarikan berawal dari menyaksikan pementasan tari Srandul di Dusun Dukuh Seman, desa Wonosari, Kecamatan Bulu, Kabupaten Temanggung, Jawa Tengah. Dari sekian banyak hal yang ditangkap dari tari Srandul, penata tertarik pada koreografi tunggalnya yang dihadirkan dalam sebelas segmen, tema perjalanan manusia, gerak mlampah sebagai representasi tema perjalanan manusia, dan tiga unsur pokok tari Srandul yaitu adanya tembang, tembung, dan tari. Tema ini kemudian dihubungkan dengan pengalaman empiris penata khususnya perjalanan tubuh tari penata. Koreografi tari ini merupakan koreografi tunggal yang ditarikan oleh penata tari sendiri. Pertimbangannya adalah untuk mempermudah proses penciptaannya, selain beranggapan bahwa yang paling mengerti tentang hidup dan perjalanan hidup yang pernah dihanyalah penata sendiri. Bisa juga dikatakan bahwa dalang dari kehidupan kita adalah diri kita sendiri. Gerak Mlampah sebagai representasi perjalanan manusia yang ada pada tari Srandul dijadikan transisi antar bagian dalam struktur tari. Melalui karya ini diharapkan muncul generasi-generasi muda untuk ikut terlibat dalam melestarikan dan mengembangkan seni tradisi yang ada di daerahnya masing-masing. ABSTRACT "Body Record" in Indonesian means catatan or rekaman tubuh. This dance work tells about the human journey, especially the journey of choreographer’s dance body. This dance work in the form of suite is divided into four parts, the first part about birth, second about getting to know dance, third about inner conflict, and fourth about rebirth. Tari Srandul (Srandul dance) became the inspiration for creating this dance work. This interest started from watching the Srandul dance performance in Dusun Dukuh Seman, Desa Wonosari, Bulu District, Temanggung Regency, Central Java. Choreographer captures many things from the Srandul dance, and finally interested by the solo choreography presented in eleven segments, the theme about human journey, the movement of mlampah as a representation of the theme, and the three main elements of the Srandul dance, namely the presence of tembang, tembung, and dance. Then the choreographer connecting the theme with his empirical experience, especially the journey of the choreographer's dance body. This dance choreography is a solo work choreography that is danced by the choreographer himself. The choreographer dances the work that was created with the consideration to facilitate the creation process. In addition, the choreographer think that the one who understands the most about life and the journey of life that the choreographer has ever passed is only the choreographer himself. It could also be said that the mastermind of our lives is ourselves. Mlampah movements as a representation of the human journey in Srandul dance are used to move between parts in the dance structure. Through this work, it is hoped that it will create the younger generation to be involved in preserving and developing traditional arts in their respective regions.
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Ristov, Sasko, Stefan Pedratscher, and Thomas Fahringer. "AFCL: An Abstract Function Choreography Language for serverless workflow specification." Future Generation Computer Systems 114 (January 2021): 368–82. http://dx.doi.org/10.1016/j.future.2020.08.012.
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Rafi, Rafi, and Herlinda Mansyur. "KOREOGRAFI TARI PIRIANG BAKENCAK DI SANGGAR TARI TUAH SAKATO KECAMATAN PAUAH KOTA PADANG." Jurnal Sendratasik 8, no. 2 (December 1, 2019): 48. http://dx.doi.org/10.24036/jsu.v8i1.106522.
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Abstract This article aims to reveal and describe the choreography of Piriang Bakencak dance at Sanggar Tuah Sakato in Kecamatan Pauh Kota Padang. This type of research is qualitative research using descriptive methods. This research instrument is self-research and assisted by supporting instruments such as stationery and cameras. Data types use primary data and secondary data. Data collection techniques are conducted by way of library studies, observations, interviews and documentation. The steps for analyzing data are data collection, data reduction, data presentation and withdrawal of conclusions. The results showed that Piriang Bakencak dance was a group-shaped creation that used the composition of the group, and was directed by a lift in the Koto Anau tradition. This Bakencak dish dance is a development of tradition with a choreography approach. In Piriang Bakencak dance There are elements of dance composition consisting of theme, motion, top design, floor design, dramatic design, music design, process, equipment and choreography group. It was concluded that Piriang Bakencak dance was directed by planning choreography by the fact. Because Piriang Bakencak dance in the start of an idea that is present from the tradition, and was directed in a form of a clear, then directed again with more new movements. Keywords: choreography, Piriang Bakencak Dance, Sakato Classes Workshops Dance
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Þórhallsdóttir, Sveinbjörg, and Steinunn Ketilsdóttir. "Coffee and Choreography – Considering collaboration in conversation." Nordic Journal of Dance 7, no. 2 (December 1, 2016): 28–33. http://dx.doi.org/10.2478/njd-2016-0012.
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Abstract In a casual conversation over a cup of coffee, Icelandic choreographers Steinunn Ketilsdóttir and Sveinbjörg Þórhallsdóttir look back and contemplate their choreographic collaborations, Belinda and Goddess (2011), Ride (2014) and #PRIVATEPUSSY (2015). In a discussion and debate, they attempt to define their collaboration, reminiscing and reflecting on their processes. They look back and discuss the challenges they faced and the development of ideas and working methods that took place throughout their time working together.
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Rock, Joeva, and Rachel Schurman. "The complex choreography of agricultural biotechnology in Africa." African Affairs 119, no. 477 (July 29, 2020): 499–525. http://dx.doi.org/10.1093/afraf/adaa021.
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Abstract In spite of impressive efforts from public and private organizations over the last 25 years, agricultural biotechnology has gained relatively little ground in Africa. Using ethnographic research and case studies from across the continent, we argue that a complex choreography of socio-political, regulatory, and business conditions is required for agricultural biotechnology projects to ‘succeed’ in Africa. While this choreography is rarely achieved, efforts to bring agricultural biotechnology to the continent have resulted in significant reconfigurations of political, legal, and media landscapes in many African countries. These shifts cry out for more scholarly attention, which we attempt to give here.
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Wulandary, Ovi, Rhd Nugrahaningsih, and Sitti Rahmah. "BENTUK KOREOGRAFI MEUDIKEE ANGGOK DI DAYAH DARUL HUDA DESA BAYI KECAMATAN TANAH LUAS LHOKSUKON KABUPATEN ACEH UTARA." Gesture : Jurnal Seni Tari 7, no. 1 (December 31, 2018): 26. http://dx.doi.org/10.24114/senitari.v7i1.11904.
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Abstract − This study discusses the form of choreography meudikee anggok in dayah Darul Huda Bayi Village District Lhoksukon Land Area North Aceh District. Aims to describe the form of choreography meudikee Anggok in one studayah District of North Aceh.The theory used in this research is the theory of Choreography Sal Murgiyanto that choreography is the process of selecting and arranging movements into a dance, in which there is a creative behavior. Composition is part or aspect of creative behavior. The time spent in the study for two months, starting from July to September. The location of this research was conducted in Bayi Village, Tanah Luas Lhoksukon Sub District, North Aceh District. The population in this study are the dayah-dayah (pengajian) in the District Land Luas Lhoksukon District of North Aceh and the sample is Dayah Darul Huda Bayi Village. The research analysis used is descriptive qualitative. Technique of collecting data is done by observation, interview, documentation and literature study. The result of the research based on the data obtained shows that the form of Meudikee Anggok choreography is a form of the dance result from the elements of dance composition that is, motion meudikee Anggok is the motion of dhikr distortion and distillation, has some motive motive and dihat from energy aspect space and time. The design of the floor created is a straight line. The top designs created are pure, flat, curved, painted, contrasting, medium, deep and straight design. The music design follows the rhythm of chanting dhikir in khairat that brought the radat. The dramatic design created by multiple cone. Dynamics according to the chanting dhikrdhikr in khairat that brought the radat. The composition of the group that created the composition of a large group. The theme is Prophet Muhammad SAW. Makeup everyday. Muslim clothing namely peci, koko shirt and sarong. Not using property. The stage or stage stage is open. Tata the light from the sun. Keywords: Choreography Shape, Meu Dike Anggok, Dayah, Bid'ah, Dalail
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Stevens, Alison. "Music in the Body." Journal of Music Theory 65, no. 1 (April 1, 2021): 81–106. http://dx.doi.org/10.1215/00222909-9124738.
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Abstract Dance in general and the contredanse in particular have long been recognized as important to eighteenth-century European music. But music theorists have tended to understate the contredanse's unique contribution, when they haven't overlooked it entirely: dances are more often treated as musical styles or topics than as movement patterns, and the minuet, with more explicit connections to art music, has received more attention than the contredanse. This article analyzes the choreography as well as the music of eighteenth-century contredanses to show how this dance supported the development of hypermetrical hearing. The contredanse had surpassed the minuet in popularity by the second half of the eighteenth century, probably in part because of its participatory rather than performative nature. More important, it was the first dance in which alignment of choreography and music consistently extended to multiple hypermetric levels. In addressing the importance of contredanse choreography to eighteenth-century hypermeter, this article makes a broader appeal for incorporation of dance and the body into the study of meter.
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Harrington, Heather. "«Get in Your Theatres; the Street is Not Yours»: The Struggle for the Character of Public Space in Tunisia." Nordic Journal of Dance 8, no. 2 (December 1, 2017): 54–69. http://dx.doi.org/10.2478/njd-2017-0012.
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Abstract How people move and appear in public spaces is a reflection of the cultural, religious and socio-political forces in a society. This article, built on an earlier work titled ’Site-Specific Dance: Women in the Middle East’ (2016), addresses the ways in which dance in a public space can support the principles of freedom of expression and gender equality in Tunisia. I explore the character of public space before, during, and after the Arab Spring uprisings. Adopting an ethnographic and phenomenological approach, I focus on the efforts of two Tunisian dancers – Bahri Ben Yahmed (a dancer, choreographer and filmmaker based in Tunis, who has trained in ballet, modern dance and hip hop) and Ahmed Guerfel (a dancer based in Gabès, who has trained in hip hop) – to examine movement in a public space to address political issues facing the society. An analysis of data obtained from Yahmed and Guerfel, including structured interviews, videos, photos, articles and e-mail correspondence, supports the argument that dance performed in public spaces is more effective in shaping the politics of the society than dance performed on the proscenium stage. Definitions and properties of everyday choreography, site and the proscenium stage are analysed, along with examples of site-specific political protest choreography in Egypt, Turkey and Tunisia. I engage with the theories of social scientist Erving Goffman, which propose that a public space can serve as a stage, where people both embody politics and can embody a protest against those politics.
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Pohjola, Hanna, Paavo Vartiainen, Pasi A. Karjalainen, and Vilma Hänninen. "The Potential of Dance Art in Recovery From a Stroke: A Case Study." Nordic Journal of Dance 10, no. 1-2 (December 1, 2019): 32–43. http://dx.doi.org/10.2478/njd-2019-0004.
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Abstract This article presents a case study on the subjective experience of recovering from a stroke. The aim was to seek personal meanings attached to the process of a solo choreography and its relationship with the subjective reconstruction of the body. The qualitative research used a stimulated recall method alongside a series of in-depth interviews. According to the findings, the ‘re-inhabiting’ of the body was enabled through body awareness and improvisation with regard to the choreographic process. The physical impairment caused by a stroke shifted towards the experience of being able-bodied while dancing, thus allowing the entire body and its current possibilities to be explored. Themes such as active agency and self-efficacy also emerged. The case study suggests that dancing not only acts as an enjoyable social and physical activity but also contributes to feelings of wholeness. Connectedness with wholeness enabled reconstructed self-trust and agency.
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Maksimenko, K. A. "Music and choreography interaction in the stage dances of musical theater productions of the 17th – the first half of the 18th century." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 63–73. http://dx.doi.org/10.34064/khnum2-14.05.
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Background. One of the typical trends of modern musicology is the increasing interest in the problem of components dialogue in the synthetic forms of art. In the context of this global topic, the issue of music and choreography interaction in the stage dances of musical theater productions of the 17th – the first half of the 18th century is of particular interest. The connection of music and choreography in the art of stage dance of the 17th – the first half of the 18th century appears as a kind of continuation of the syncretic unity of ancient art seen through the prism of the professional experience of the creators of court musical and stage productions in the French classicism style. In the court operas, ballets and other types of performances such of the composers, as A. Kampra, J.-B. Lully, J. F. Rameau, the spirit of the antique art was reviving in its own special way representing the “ensemble of arts” in a miniature. The research objective is to identify the features of the combination and interaction of musical and choreographic arts in the stage dances of French musical and theatre productions of the 17th – the first half of the 18th century. The article uses the method of comparative analysis. This method allows to analyze the features and the ways of interaction between the elements of dance and musical syntax. Results. The art of choreography is a rhythm and plastic form of thinking and self-expression, which can reflect reality not only in its eventual plot related manifestations, but also to rise to the broad abstract generalizations. In view of its rather conditional nature, dance requires, to one degree or another, the interpretation of its content. In the 17th and early 18th centuries, the need for such an explanation increases significantly because of the great role of emblems and encoded content in various aesthetic and artistic phenomena. In the dance, the close relation to the court ceremonial, which did not allow the expression of emotions, initiated this feature additionally. For example, at that time one was believed that stepping a minuet means “drawing up secret signs of love”, which were recognized in movements, poses, facial expressions and gestures. In the Baroque Epoch the audience easily was recognizing the content of such dances, whereas for the modern observer and researcher it remains unknown. The dance moves and their combinations in stage dances of the 17th and early 18th century receive a specific meaning in the context of poetic, musical and dance phrases. However, first, the moves of dancers-performers were consistent with the music. As a rule, the result of making a choreographic production depended on the composer’s choice of the musical form. Most of the dances within the researched period were set to music in a two-part form. Less often we can find the samples in the form of a couplet rondo and ostinato variations. When making the dance productions, French choreographers took into account the features of other popular musical forms of the 17th –18th centuries. In some cases they emphasized or combined with their own author’s decision the symmetric basis laid down in the musical structure (the form of rondo), in others – they disclosed the effect of the continuity principle. An example of the embodiment of a choreographic idea set to music in the form of a rondo is the passepied production (fr. passé-pied) “La Gouastalla” realized by R. A. Feye to the music of the unknown composer. The choreographic composition consists of five dance periods corresponding to five sections of the musical form. A slightly different choreography scheme – ABCBC is combined with the symmetric scheme in the musical variation– ABACA. In this production the combination of the musical form and the choreographic composition is somewhat changed, however, this does not mean the complete neglect of the musical form regularities in the construction of the dance general plan. One of the aspects of the musical and choreographic arts combination in French stage dances of the 17th and 18th centuries is the connection with of the choreographic component of the latter with the tonal plan of the musical work. The tonal coloring of the music was reflecting in the formation of a choreographic drawing of dance, in the process of expressing in the movements of various emotions and feelings. Changes of tonalities, the most used of which, as a rule, a certain circle of images and affects, their own “character” carried along at that time, were associated with a variety of transitions in the emotional coloring of the dance. It is from such, emotional, the perception of tonality, the versions of the tonal plans of French dances follows, which are unusual for later canons of Viennese Classicism, in particular, with the violation of the harmonic sequence of T-D-S-T. Conclusions. Thus, the stage dance of the 17th and early 18th century is a peculiar form of embodiment of the “miniature ensemble of arts”, where dance moves and their combinations receive a specific coloring in the context of poetic, musical and dance phrases and certain allegorical meanings. Nevertheless, first and foremost, the moves of dancers-performers were consistent with the music. Obvious is the great dependence of the choreographic production on the musical form and its components – the rhythm as well as the tonal and harmonic plan, which combined with the choreographic elements, prompt the feelings transmitted in the dance, which give to it the life and inspiration.
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Leaman, Kara Yoo. "Musical Techniques in Balanchine's Jazzy Bach Ballet." Journal of Music Theory 65, no. 1 (April 1, 2021): 139–69. http://dx.doi.org/10.1215/00222909-9124762.
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Abstract The choreography of George Balanchine has long been described as “musical.” By applying music-analytic tools to patterns in dance, this essay analyzes relationships between dance and music in Balanchine's Concerto Barocco, set to J. S. Bach's Concerto for Two Violins (BWV 1043). Choreomusical notation and annotated videos offer readers the chance to sketch-dance, to feel in their own bodies the movements in relation to the music. Balanchine's choreography maps both specific patterns of pitch and rhythm from Bach's score—sometimes synchronized to the music and sometimes displaced temporally—and general patterns of motivic development and metric manipulation. Balanchine's use of funky rhythms resonates with his characteristic on-top-of-the-beat step timing, offbeat visual accentuation, and jazz-dance-inspired movements, attesting to the adoption of both Africanist and Europeanist musical techniques in the formation of an American neoclassical ballet.
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Saputra, Hernando, Susas Rita Loravianti, and Ediwar Ediwar. "TITIK MERAH: KARYA SENI YANG TERINSPIRASI DARI SEBUAH FILM THE FLU YANG DIVISUALKAN KEDALAM WUJUD KARYA TARI." Gorga : Jurnal Seni Rupa 7, no. 2 (October 17, 2018): 187. http://dx.doi.org/10.24114/gr.v7i2.11057.
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AbstrakKarya tari yang berjudul “Titik Merah” merupakan karya tari yang terinspirasi dari film yang berjudul The Flu Produksi Servis In Hongkong By October Picture Limited. The Flu merupakan sebuah film yang menceritakan proses penyebaran penyakit flu burung disebuah kota yang bernama Bundang.Pengkarya terinspirasi setelah menonton film The Flu, sebab film ini memberi pemahaman bahwa kesehatan adalah faktor yang sangat penting dalam kehidupan manusia. Flu burung adalah salah satu penyakit yang menular yang disebabkan oleh unggas yang sangat berbahaya hingga bisa mengancam nyawa manuisa dalam waktu yang singkat. Penyebaran virus bisa melalui makanan, sentuhan, minuman, air ludah, dan virus bisa dimatikan dalam suhu yang tinggi.Metode penggarapan dilakukan mulai dari menonton berulang kali film yang menjadi sumber insprirasi, wawancara, serta membaca buku-buku yang bersangkutan dengan oenyakit virus flu burung. Kemudian dilanjutkan dengan proses penciptaan antara lain persiapan awal, eksplorasi, improvisasi, komposisi/pembentukan, evaluasi serta persiapan pertunjukan. Untuk melahirkan dalam sebuah koreografi, pengkarya menggunakan tema kehidupan yang menggunakantipeabstrak. Kata Kunci:koreografi tari, virus flu burung, kesehatan. AbstractThe dance work entitled “ Titik Merah” is a dance creation inspired from a film entitled “ The Flu” produced by Servis In Hongkong By October Picture Limited. The Flu is a film that tells the process of the spread of bird flu disease in a city named Bundang. The choreographer was inspired after watching this film, because it provides an understanding that health is a very important factor in human life. Bird Flu is which one of the infectious diseases caused by very dangerous poultry that can threaten the human life in a short time. The cause of the virus can be through by food, touch, drink, saliva , and the viruses can be killed through high temperatures. The method of cultivation starts from watching repeatedly the film that became the source if inspiration, interview, and read the books concerned with this disease. Then continuing or produced with thecreation process such as initial preparation, exploration, improvisation, composition or formation, evaluation and preparation of the show. To give birth in this choreography, the choreographer uses a life theme that uses an abstract type. Keywords:dance choreography, bird flu virus, health.
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YUZURIHARA, AKIKO. "Kylián's Space Composition and His Narrative Abstract Ballet." Theatre Research International 38, no. 3 (August 29, 2013): 240–56. http://dx.doi.org/10.1017/s0307883313000333.
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Kaguyahime is one of Kylián's rare narrative ballets. This paper deals with the way in which Kylián reduces the narrative content of the literary tale on which the ballet is based to an abstract form, to adapt the ballet to his narrative–abstract style of choreography. The focus of the discussion is on his method of space composition: first, his practice of arranging and moving dancers around the stage; second, his design of the space, which takes into account the areas beyond the stage. The paper analyses each scene of Kaguyahime and seeks to show that the space is structured on the basis of perpendicular lines across the width and depth of the stage. The contrasting heavenly and earthly worlds which constitute the axes of the original story correspond to the axes of space – this being a device of Kylián's to formulate the narrative by using the space.
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Sophia, Ayang. "ASUH ASAH BABAKEH: ARYA TARI SEBAGAI UNGKAPAN KERINDUAN CUCU KEPADA ATUK." Joged 16, no. 2 (December 3, 2020): 159–75. http://dx.doi.org/10.24821/joged.v16i2.4679.
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Asuh Asah Babakeh merupakan karya yang terinspirasi dari pengalaman empiris tentang kasih sayang seorang Atuk terhadap cucu. Atuk (bahasa Minang: kakek) merupakan salah satu orang yang berperan penting dalam pendidikan awal mengenali kehidupan penata tari. Beliau yang mengajar ilmu pengetahuan, agama, beragam cara hidup di dunia melalui nyanyian, cerita dan contoh peristiwa. Atuk telah wafat meninggalkan kesan yang mendalam sampai saat ini. Karya tari ini merupakan persembahan ucapan terima kasih untuk Almarhum dari lubuk hati yang terdalam. Asuh Asah Babakeh merupakan koreografi kelompok dengan garap kontemporer yang berakar dari tradisi Minangkabau. Garap gerak berpijak pada tari Babuai yang bernafaskan budaya Minangkabau. Demikian juga musik tarinya yang dikomposisi khusus untuk koreografi ini diharapkan dapat membangun nuansa budaya Minangkabau serta imajinasi tema untuk menguatkan dramatisasi pada setiap bagian koreografinya. Tema pada karya ini adalah ungkapan rasa rindu pada kasih sayang antara cucu dengan Atuk. Menggunakan tipe tari dramatik serta cara ungkap simbolis. Struktur Koreografi dibagi menjadi empat adegan. Menggunakan properti tari lampu togok (lampu minyak yang sudah dimodifikasi), serta properti panggung untuk menambah estetika penampilan serta menguatkan ekpresi tarinya. Karya ini ditarikan oleh 9 orang penari dan dipentaskan di panggung proscenium stage. ABSTRACT Asuh Asah Babakeh is a creation inspired by the empirical experience of a choreographer about the closeness and affection of a Atuk for grandchildren. Atuk (Minang language: grandfather) is one that plays an important role in early education in recognizing the lives of dance stylists. He teaches science, religion, various ways of living in the world through songs, stories and examples of events. Atuk has died leaving a deep impression until this day. This dance an offering of thanks to the deceased from the bottom of my heart. Asuh Asah Babakeh is a group choreography with contemporary work rooted in the Minangkabau tradition. Work on movements resting on the Babuai dance that breathes Minangkabau culture. Likewise, the dance music composed specifically for this choreography is expected to build the nuances of Minangkabau culture as well as the theme's imagination and strengthen the dramatization of each part of the dance. The theme in this work is an expression of longing for affection between grandchildren and Atuk. Using the type of dramatic dance and symbolic expression. The structure of Choreography is divided into four scenes. Using the togok lamp dance property (modified oil lamp), as well as the stage property to add aesthetic appearance and strengthen the dance expression. This work was danced by nine dancers and performed on the proscenium stage
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Staniec, Jillian. "Remain True to the Culture?" Ethnologies 30, no. 1 (September 19, 2008): 59–76. http://dx.doi.org/10.7202/018835ar.
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Abstract A series of dance seminars was held in Ukraine and Saskatchewan from 1971 to 1991, hosted by a left-wing political and cultural organization, the Association for United Ukrainian Canadians. These seminars heavily influenced the development of Ukrainian dance in Saskatchewan and Canada by introducing new dance techniques, choreography, and costuming from Soviet Ukraine. They were also very controversial, challenging the definition of Ukrainian Canadian identity in Canada during the Soviet era.
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Tomic-Vajagic, Tamara. "Hidden Narratives: Dancers' Conceptualisations of Noncharacter Roles in Leotard Ballets by George Balanchine and William Forsythe." Dance Research 34, no. 2 (November 2016): 170–201. http://dx.doi.org/10.3366/drs.2016.0158.
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The study of dancers' relationships with their noncharacter solo roles in leotard ballets by George Balanchine and William Forsythe reveals a dynamic cluster of flexible and multifaceted conceptualisations. Performers' process includes a range of abstract images, nonfictional and docufictional ideas, metaphoric allusions and storyboarding constructions. Drawing upon Michael Kirby's concept of non-matrixed performing (1987), as well as on ideas from dance aesthetics, narratology, theatre and film theories, noncharacter roles are understood as partly flexible, diverse performing frameworks that contain ambiguity but do not promote characterisation. The findings suggest that the dissolution of character traits in plotless choreography often serves as a catalyst for the performers' polyvalent expressions of their artistic identities, value systems and agency. Observation of performances, in conjunction with direct interviews with expert dancers from several international ballet companies, brings to light the links between the performer's ideas and the effects observable in the dance. Attention to the performers' approaches and aspects of the work which they wish to emphasise reveals less observed aspects of dance texts and illuminates the nature of the ballet dancer's qualitative contribution in non-narrative choreography.
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Pouillaude, Frédéric. "Scène and Contemporaneity." TDR/The Drama Review 51, no. 2 (June 2007): 124–35. http://dx.doi.org/10.1162/dram.2007.51.2.124.
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This second installment of TDR's continuing series on choreography and philosophy addresses dance and temporality. Paula Caspão describes the economy of movement and language as a stuttering, relational, affective field. Frédéric Pouillaude argues that contemporaneity links dance and scène, which in French means both an abstract place for an event and, more concretely, the stage. In a dialogue, Danielle Goldman and Deborah Hay follow up on Goldman's considerations of how improvisation offers “escape routes”—for and from dance, theory, and time.
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Caspão, Paula. "Stroboscopic Stutter: on the not-yet-captured ontological condition of limit-attractions." TDR/The Drama Review 51, no. 2 (June 2007): 136–56. http://dx.doi.org/10.1162/dram.2007.51.2.136.
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This second installment of TDR's continuing series on choreography and philosophy addresses dance and temporality. Paula Caspão describes the economy of movement and language as a stuttering, relational, affective field. Frédéric Pouillaude argues that contemporaneity links dance and scène, which in French means both an abstract place for an event and, more concretely, the stage. In a dialogue, Danielle Goldman and Deborah Hay follow up on Goldman's considerations of how improvisation offers “escape routes”—for and from dance, theory, and time.
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Goldman, Danielle. "Deborah Hay's O, O." TDR/The Drama Review 51, no. 2 (June 2007): 157–70. http://dx.doi.org/10.1162/dram.2007.51.2.157.
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This second installment of TDR's continuing series on choreography and philosophy addresses dance and temporality. Paula Caspão describes the economy of movement and language as a stuttering, relational, affective field. Frédéric Pouillaude argues that contemporaneity links dance and scène, which in French means both an abstract place for an event and, more concretely, the stage. In a dialogue, Danielle Goldman and Deborah Hay follow up on Goldman's considerations of how improvisation offers “escape routes”—for and from dance, theory, and time.
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Bularga, Tatiana. "7. Innovative Visions over the Formation of the Teacher in the Arts." Review of Artistic Education 12, no. 2 (March 1, 2016): 263–67. http://dx.doi.org/10.1515/rae-2016-0031.
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Abstract The present article describes purposes, learning content and requirements of an educational academic and postgraduate (internships for teachers) process, focused on teacher training in respect of the most subtle and valuable framework for education, the achievement of the individual potential of each pupil, qualified as a unique personality. Therefore, it is proposed a synthesis on the formative program geared towards the assimilation of the future and current teachers of artistic disciplines (music, choreography, painting) of the action and behavioral models appropriate to the domain, to the effectively organization of individualized educational process.
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Bularga, Tatiana. "7. Professor of Art Paradigms: Theoretical and Applied Approaches." Review of Artistic Education 14, no. 1 (March 2, 2017): 284–303. http://dx.doi.org/10.1515/rae-2017-0035.
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Abstract The present article describes purposes, learning content and requirements of an educational academic and postgraduate (internships for teachers) process, focused on teacher training in respect of the most subtle and valuable framework for education, the achievement of the individual potential of each pupil, qualified as a unique personality. Therefore, it is proposed a synthesis on the formative program geared towards the assimilation of the future and current teachers of artistic disciplines (music, choreography, painting) of the action and behavioral models appropriate to the domain, to the effectively organization of individualized educational process.
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Campbell, Samuel G., and Douglas E. Sinclair. "Strategies for managing a busy emergency department." CJEM 6, no. 04 (July 2004): 271–76. http://dx.doi.org/10.1017/s1481803500009258.
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ABSTRACT In a time of increased patient loads and emergency department (ED) exit block, the need for strategies to manage patient flow in the ED has become increasingly important. In March 2002 we contacted all 1282 members of the Canadian Association of Emergency Physicians and asked them to delineate strategies for enhancing ED patient flow and ED productivity without increasing stress levels, reducing care standards or compromising patient safety. Thirty physicians responded. Their suggested flow management strategies, which ranged from clinical decision-making to communication to choreography of time, space and personnel, are summarized here.
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O’Shea, Janet. "Decolonizing the Curriculum? Unsettling possibilities for performance training." Revista Brasileira de Estudos da Presença 8, no. 4 (December 2018): 750–62. http://dx.doi.org/10.1590/2237-266078871.
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Abstract: This essay problematizes the term ‘decolonization’ as applied to university dance and performance curricula. It does so via Eve Tuck and K. Wayne Yang’s (2012) argument that colonization is rooted in a worldview that positions beings as exploitable things. Addressing efforts to foster diversity within studio training, choreography, and scholarship, the casualization of labor within university departments is also examined. The essay considers the structure of the university as both a colonial and corporate entity, signaling its relationship to the precarity of neoliberalism. The paper concludes by suggesting that arts and humanities scholarship and teaching create opportunities for alternate ways of living and interacting beyond neoliberal, neocolonial paradigms.
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Leonard, Natalie M., Marianthie Wank, Karen Nielsen, Alicia G. Carmichael, Maren Wisniewski, Vineet Raichur, and Richard Gonzalez. "CHOREOGRAPHING INTERACTION WITHIN THE U-M HOMELAB: CONSIDERATIONS FOR AN OLDER ADULT POPULATION." Innovation in Aging 3, Supplement_1 (November 2019): S961—S962. http://dx.doi.org/10.1093/geroni/igz038.3487.
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Abstract Drawing from the lens of architecture, designing a research study for a controlled, simulated environment requires the consideration of three primary types of interaction involving people and infrastructure. These three types include the interface between and among the respondent(s) and the researcher(s), the interface between and among the people playing these roles and the infrastructure surrounding them (inclusive of self-report measures, sensing technology, furniture, etc.), and the interface between and among the various types of study infrastructure. The flow of a study across these interfaces becomes a form of choreography, with implications for protocol adherence, reproducibility, and data quality. Recently, a pilot study assessing an older adult population’s upper-body performance was our first iteration of research utilizing a simulated environment: the U-M HomeLab, an ADA-accommodating, one-bedroom apartment built within the basement of a large research facility. Nine participants, aged 61 to 72, with self-reported upper-body weakness completed a series of tasks resembling activities of daily living, such as lifting laundry baskets and vacuuming. By backtracking through our development of this pilot study, we illustrate how considerations of interface play a significant role across every stage of study design, incorporating aspects of wayfinding, dialogue, safety, acclimation, and visibility that are relevant to an older adult population. From these reflections, considerations of interface inform a “check-list” for simulation choreography, providing guiding questions for assessing these types of interactions while iterating through study design.
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Margetts, Hope. "Frenzied Flappers: The Hysterical Female in Early Twentieth-Century Social Dance." Forum for Modern Language Studies 55, no. 3 (July 1, 2019): 339–50. http://dx.doi.org/10.1093/fmls/cqz022.
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Abstract It is widely acknowledged that the freer, more sexualized movements of social dancing in the early twentieth century (1900–1929) accompanied the beginnings of female emancipation both socially and politically. However, less explored are the similarities between the provocative, inelegant choreography of such social dances and the symptoms of female hysteria, a medical phenomenon that saw the body as a canvas for mental distress as provoked by social tensions. This essay will address the possible alignment of hysteria and popular social dance in relation to the evolving Modern Woman. It will examine the motivations of modern, ‘hysterical’ dances, and discuss their progressive status in terms of gender by considering perceived psychosomatic interactions within the female dancing body.
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Masing, Elo. "Movement in Sound/Sound in Movement: A Musician's Point of View." Congress on Research in Dance Conference Proceedings 2012 (2012): 97–102. http://dx.doi.org/10.1017/cor.2012.13.
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The paper provides an account of an innovative collaborative work between composer/violinist Elo Masing, choreographer/dancer Jean Lee, and the Kreutzer String Quartet. The project challenges the conventions of music and dance collaboration by proposing a fundamentally new way of working across disciplines, establishing a profound interrelation between movement and sound production.The work so far has mostly involved developing a new notation system for string instruments and dancer suitable for recording the sounds and movements the work in progress will primarily be based on. The paper will, at this stage, demonstrate only a fraction of the various possibilities of this new way of musician–dancer collaboration that is estimated to span over the next couple of years. The idea for the piece dates back to June 2010, when a structured improvisation was created in collaboration between Elo Masing and Jean Lee, commissioned for a conference at Roehampton University.The innovative aspect of the project is manifested in the development of choreography and music together from the very beginning, using new sound and movement languages discovered in interdisciplinary improvisation sessions. In the center of the collaboration lies the definition of the roles of the musician and the dancer as equal, with equally complex compositional material and interchanging ideas. That means composing music and dance simultaneously and letting them influence each other.The new notation system for string instruments focuses on the movements of string players, thus creating a possibility for relating music to dance in a more tangible and visual rather than conceptual and abstract way.
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Klein, Gabriele. "Passing on Dance: practices of translating the choreographies of Pina Bausch." Revista Brasileira de Estudos da Presença 8, no. 3 (September 2018): 393–420. http://dx.doi.org/10.1590/2237-266078975.
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Abstract: This text aims to analyze the process of passing on choreographies, as exemplified in the work of the Tanztheater Wuppertal Pina Bausch. It presents this process as a praxis of translation. The paper discusses the limitations and possibilities of translating choreography, as well as the specific potential inherent and visible in practices of translating choreographies by Pina Bausch. From a philosophical and sociological perspective of translation theory and based on a methodology of the ‘praxeological production analysis’ (Klein, 2014a; 2015a), I’m using data gathered during rehearsals and two years of interviews with dancers and collaborators of the Tanztheater Wuppertal Pina Bausch. The text will demonstrate that the translation of choreographies is characterized by a paradox between identity and difference.
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Smrekar, Eva. "Symptom as event of the (dancing) body." Maska 36, no. 205 (December 1, 2021): 100–110. http://dx.doi.org/10.1386/maska_00092_1.
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Abstract At the end of the nineteenth century, the French school of modern neurology together with its leading representative Jean-Martin Charcot (182593) carried out controversial clinical studies on hysteria at the Salpêtrière Hospital, including the famed weekly public demonstrations of female hysterics, which had a profound influence on the development of modern performing practices and the discourse of their critical reception. The text thus focuses especially on the constitution of modern hysteria as a historical continuation of the alternative dance history of the ancient and Middle Ages writings on dancing mania and the dancing plague. But it also tries to analyse the inherent interconnectedness of performance and madness through the archival prism of pathological choreography and the politics of the modern body.
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Şuşu, Petre. "2. On the Educational Potential of Folk Dance." Review of Artistic Education 15, no. 1 (March 1, 2018): 127–50. http://dx.doi.org/10.2478/rae-2018-0013.
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Abstract Folk dance, described in Folkloristics through notions like traditional dance, or, more often, folk choreography, refers to a specific domain of traditional spirituality, and is the third major component of folklore, alongside traditional literature/literary folklore and traditional music/musical folklore.The relation between folk dance and the Romanian education system is a long-lasting one, having taken various forms and degrees of intensity, as this folklore category offers resources and contents that have been used, and still are, in the education of children, youth, and adults. This article refers to the basic components of folk dance distinguished in Ethnochoreology which can offer useful contents to the process of didactic transposition at different levels of education in the Romanian school.
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Monni, Kirsi. "Considering the Ontological Premises for Tools in Artists’ Education–on Poiesis and Composition." Nordic Journal of Dance 6, no. 2 (December 1, 2015): 4–11. http://dx.doi.org/10.2478/njd-2015-0011.
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Abstract This article considers the ontological premises for tools in artists’ education, specifically in choreography studies at the master-of-arts level. The topic has proven to be crucial in planning and executing a curriculum of study in the contemporary age of pluralistic aesthetic intentions as any tool, as habitually understood, is ready-to-use according to its disclosed purpose and thus has, in a way, already solved some aspects of the singular research question posed between the artist and the prevailing world. The topic of tools turns out to be a wider question of contemporary poetics (techniques, methods, knowledge) and of ontological considerations of the nature of poiesis and artwork. The topic of contemporary poetics was extensively discussed in a 2011-2013 Erasmus Intensive project, which was an educational collaboration among six European master’s programmes in dance and physically based performance in which the writer took part. This article reports some aspects of that discussion and elaborates on a traditionally widely used concept in choreography education–namely, composition. The article tackles the complex issue of poetics and tools by, firstly, discussing poiesis and the causes to which artwork is indebted and, secondly, by searching in some ontological premises for the notion of composition. The article presents a view of composition derived from Martin Heidegger’s elaborations of logos: Logos is letting something be seen in its togetherness with something–letting it be seen as something. (Heidegger 1962, 56). Following this notion, I propose a view to composition as a certain togetherness in relatedness in which case the concept of composition might serve both as reflective knowledge of construction and as a deep research question in artists’ creative processes.
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Casini, Silvia. "Phantasmata of Dance: Time and Memory within Choreographic Constraints." Forum for Modern Language Studies 55, no. 3 (July 1, 2019): 325–38. http://dx.doi.org/10.1093/fmls/cqz028.
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Abstract This article contributes to the scholarly discussion of the relationship between cinema and dance using Giorgio Agamben’s understanding of dance as gesture. To render Agamben’s critical framework operative, however, one needs to consider his reference to the concept of phantasmata (images) taken from Domenico da Piacenza’s Renaissance treatise on choreography. Agamben returns to this treatise to support his argument that dance is concerned first and foremost with time and memory rather than space and the present. To notate dance as a sequence of moving images is not simply to make visible on screen a series of bodily movements in space. Rather, it means acknowledging that dancing is primarily a mental activity. Taking Agamben’s reflections on dance and using Maya Deren’s work on screen dance as a case-study, this article discusses how cinema and dance together prompt us to undo the economy of bodily movements, restoring the body to us transfigured.
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Macaulay, Alastair. "Michel Fokine." Experiment 17, no. 1 (2011): 245–55. http://dx.doi.org/10.1163/221173011x611932.
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Abstract A survey of Michel Fokine’s historic importance and stylistic diversity as a modernist choreographer. This paper attends in particular to Fokine’s treatment of gender, his stylistic multiculturalism, and his diverse novelty in terms of choreographic musicality.
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Erken, Emily Alane. "Narrative Ballet as Multimedial Art: John Neumeier's The Seagull." 19th-Century Music 36, no. 2 (2012): 159–71. http://dx.doi.org/10.1525/ncm.2012.36.2.159.
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Abstract This article approaches narrative ballet as a theatrical art created through the intersection of dance, music, and literature. Following the nineteenth century's tendency to separate ‘the Arts,’ scholars, journalists, and often the dancers themselves portray ballet as an art of choreography and virtuoso bodies, while relegating the music, story, and visual designs to supportive if not negligible roles. My article counteracts this trend by approaching ballet as a multimedial art, in which meaning is made at the points where the specific arts intersect. Audience members perceive the ballet as a composite work, in which all three elements are equally present and important. Using this model, musicologists and literary critics can and should engage contemporary narrative ballets as complex and relevant art of our time. John Neumeier's The Seagull (2002) demands this type of analysis, because it is clear that as the author of the choreography, costumes, lighting, and set design, Neumeier considers all media involved—visual, aural, and literary—as equally generative elements of a ballet. His role is more of a multimedia artist than a choreographer. He is also responsible for the adaptation from Chekhov's eponymous play and for application of musical selections borrowed from Tchaikovsky, Scriabin, Shostakovich, and Evelyn Glennie. Indeed, his choice to present a Chekhov play known for its subtle weaving of verbal dialogue to convey character, mood, and themes seems to force the audience member and critic to reconsider her traditional understanding of what ballet can and cannot do. As an example of a multimodal approach to ballet, this article presents five literary and musical devices expanded to describe the varied interplay of the visual, aural, and literary components in The Seagull. Bakhtin's idea of heteroglossia appears on the ballet stage in the assignment of distinct dance styles to each of the four protagonists, a technique that develops each character by imbuing them with the historical and social connotations of their movement style. Neumeier manipulates the irrefutable connection between music and dance through audiovisual irony in two scenes, where the dance conveys one message, but the music belies it, revealing the underlying ironic truth of the characters' situations. All three modalities are employed to shift time into and out of a reflective space, where the sincerest characters are shown to explore their emotional and artistic dilemmas. Like Chekhov, Neumeier employs echo characters—secondary figures who mirror the conflicts of the main protagonists, allow the author(s) to further develop the play's themes. In this ballet, Masha “echoes” Nina's unrequited love, her movements, music, color palette, and her choices by negation. Through overt application of seagull imagery, Neumeier draws dance and music history—namely, Swan Lake and the pathos of the dying swan—into his ballet, The Seagull.
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Nugra, Prasika Dewi. "FENOMENA INSOMNIA SEBAGAI RANGSANG PENCIPTAAN KARYA TARI TIDAK TIDUR." Puitika 14, no. 1 (April 30, 2018): 39. http://dx.doi.org/10.25077/puitika.14.1.39--51.2018.
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The concept chosen as the basis of cultivation in the form of abstraction from the movement of individuals and groups who experience insomnia and who do work at night and visualization of the movement that occurs continuously by human activities on the surface of the earth such as rotating. This work was inspired by the phenomenon of insomnia, worked on the theme of life and abstract type by cultivation method done through field observation, motion exploration, evaluation, and the manifestation of the work. The first part ignores the movement of individual and group activities that are experiencing insomnia. The second part describes the night activities of the workers at night. The third part is to visualize how the imagination of human activity that occurs constantly day and night is like rotating. Keywords: choreography, insomnia, night worker, time utilization
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Hernández, Angela María Vela. "ULASAN SINGKAT MENGENAI “CHAMARREO”—TARIAN RAKYAT DARI MEXICO." Imaji 17, no. 1 (June 27, 2019): 74–81. http://dx.doi.org/10.21831/imaji.v17i1.25727.
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Makalah ini membahas tentang tarian rakyat tradisional dari Meksiko yang bernama "Chamarreo". Untuk memahami dari mana tarian Chamarreo berasal, karya ini menjelaskan latar belakang sejarah tarian Meksiko. Terdapat juga ulasan singkat tentang beberapa tarian tradisional rakyat dari utara, tengah dan selatan Meksiko. Ini adalah ringkasan untuk memahami beberapa karakteristik tarian Chamarreo seperti: koreografi, kostum, objek, musik, bentuk dan ketika pertunjukan tariannya berlangsung. Kata Kunci: abstrak, bold, italic, maksimal lima kata/frase, tata tulis A SHORT REVIEW OF “CHAMARREO” FOLK DANCE FROM MEXICO Abstract This paper talks about the traditional-folk dance from Mexico which name is “Chamarreo”. In order to understand where the Chamarreo dance comes from, this work explained the historical background of Mexican dances. Also is a short review of some folk-traditional dances from north, central and southern Mexico. It is a summary to understand some of the characteristics of the Chamarreo dance such as: choreography, costume, object, music, form and when its dance performances take place. Keywords: abstract, bold, italic, maximum five words/phrases, template
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Prickett, Stacey. "Democratising Moves: Power, Agency and the Body." Nordic Journal of Dance 8, no. 2 (December 1, 2017): 4–17. http://dx.doi.org/10.2478/njd-2017-0008.
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Abstract Recently, the word ’democracy’ has been featured prominently in the press, with calls to restore it, save it from ominous threats and expose challenges to its principles, all predicated on an assumed understanding of the concept. Many of the roots of today’s democracies reach back to the 18th century revolutions in the pre-U.S. American colonies and France, which continue to reinforce Euro-American values and ideologies of nation. The transfer of power remains a defining principle, shifting control from elites to the masses. How do the principles that inspired democratic revolutions relate to the ballot-box versions of democracy today? This article considers contemporary complexities of democracy as a concept, offering examples of how it is embodied through iconography, gestures of defiance and civil disobedience. Democratic values are explored in more formal choreography and in creative processes that establish associations with political agency.
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Hammergren, Lena. "Att tala – att dansa: om metaforens betydelse inom danspedagogik." Nordic Journal of Dance 7, no. 1 (June 1, 2016): 18–27. http://dx.doi.org/10.2478/njd-2016-0003.
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Abstract The article focus on how dance pedagogues describe their modes of using verbal communication in the dance studio, and it is based on interviews and observations of dance education. The theoretical base embraces ideas about bodies as well as theories about the importance of metaphors in embodied communication. Moreover, it is argued that pedagogues and dance students are engaged in a corporeal version of critical thinking, in which verbal language is one of several important aspects. Four pedagogues are interviewed and they represent different dance genres, which affects the kind of verbal communication used. However, a major common opinion is that the use of metaphors has undergone an historical change. A frequent use of metaphors with references to nature has today been exchanged for a more concrete, functional language. It could well be affected by both the dance techniques in use, and the current aesthetic trends in choreography.