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Relevant bibliographies by topics / Dance improvisation

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Academic literature on the topic 'Dance improvisation'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 March 2023

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Journal articles on the topic "Dance improvisation"

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Hermans, Carolien. "Oceanic feeling: Towards a fluid philosophy of moving bodies." Journal of Dance & Somatic Practices 13, no. 1 (December 1, 2021): 133–43. http://dx.doi.org/10.1386/jdsp_00042_1.

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In this article, I use Romain Rolland’s oceanic feeling as an entrance point to explore the transformative nature of dance improvisation. Oceanic feeling includes both a feeling of dissolution of the boundaries of the self and a feeling of unity, embracement and openness. The feeling of interconnectedness, with living and non-living entities, indeed with the cosmic world as such, is a vital force in dance improvisational practice. Dance improvisation is deeply relational: it is concerned with contact, with touching-the-world as well as being-touched-by-the-world. Through the synchronization of our moving bodies with others and the world, we feel a sense of connection, of parts that merge (temporarily) into wholes. In this article, I will elaborate further on Rolland’s notion of oceanic feeling and its relevance for dance improvisation. I suggest a fluid philosophy of moving bodies that is informed by eastern philosophy and poststructuralist theory.

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Carter, Curtis L. "Improvisation in Dance." Journal of Aesthetics and Art Criticism 58, no. 2 (2000): 181. http://dx.doi.org/10.2307/432097.

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CARTER, CURTIS L. "Improvisation in Dance." Journal of Aesthetics and Art Criticism 58, no. 2 (March 1, 2000): 181–90. http://dx.doi.org/10.1111/1540-6245.jaac58.2.0181.

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Zheng, Yufei. "The Role of "Space Cutting" in Improvisation." Region - Educational Research and Reviews 3, no. 3 (October 2, 2021): 31. http://dx.doi.org/10.32629/rerr.v3i3.435.

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In this research, the improvisational dance creation was explored from the direction of choreography practice. In the study of improvisation, it is meaningless to have an idea without examples. Choreography is used to study this theme because through the practical study of dancers, the survey results can be obtained more intuitively, accurately, and in detail. Therefore, the article will focus on the practical research of the method of space design to stimulate the dancer's "vitality effect", and explore the role of this method in improvisational dance.

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Acton, Kelsie. "Stepping back: Reflecting on accessibility in integrated dance improvisation." Canadian Journal of Disability Studies 10, no. 2 (October 8, 2021): 68–92. http://dx.doi.org/10.15353/cjds.v10i2.791.

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Finding more accessible ways to train, create, perform and work is a major concern of researchers and practitioners (Ajula & Redding, 2013, 2014) of integrated and disability dance. In the spring of 2017 eight dancer/researchers from CRIPSiE, an integrated, disability and crip dance company located in Edmonton, came together to investigate their practices of timing through a participatory performance creation process. Participatory performance creation values researcher reflexivity (Heron & Reason, 1997). In this paper I reflect on the way that collaboratively building an improvisation score, a series of tasks and prompts that the dancer/researchers responded to (Gere, 2003), created inaccessibility for one of the dancers/researchers, Robert. At the time I assumed that improvisation itself was inaccessible. Upon reflecting I realized that the improvisation was accessible and that Robert was improvising in ways valued by both the integrated improvisation literature and the other dancers/researchers.

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Шерегова, В., О. Бакланова, and К. Галимова. ""PROBLEMS AND METHODS OF DEVELOPMENT OF IMPROVISATION IN MODERN DANCE"." EurasianUnionScientists 1, no. 1(82) (February 15, 2021): 4–8. http://dx.doi.org/10.31618/esu.2413-9335.2021.1.82.1191.

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Improvisation in art can be perceived in different ways. There is an opinion that improvisation is a instantly reproducible finished work of creativity, which is characterized, among other things, by imagination and a state of creative search. With regard to the art of dance, improvisation has its own characteristics. We share the opinion that dance improvisation can be viewed as the performer's ability to independently create a dance directly in the process of its performance, guided by his dance temperament, subjective perception of music, character and sequence of actions. Dance improvisation is a special type of choreographic creativity, in which the composition takes place directly in the process of performance. Improvisation is inherent in the nature of dance art; dance itself was originally born from improvisation. There is an opinion that the main characteristic of improvisation in all types of art is freedom, which manifests itself in changing the standard based on the acquired experience. But the paradox is that, breaking away from the established standard, passing through chaos, freedom again leads to the establishment of order.

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Ailamazjan, Aida M. "Free dance as a cultural-historical practice of improvisation." National Psychological Journal 41, no. 1 (2021): 175–92. http://dx.doi.org/10.11621/npj.2021.0114.

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Background. Plastic, expressive aspects of human behaviour remain underresearched by psychologists. The focus on practices of improvisation is determined by the fact that they show most vividly how expressive movement comes into being. Objective. The aim of the study is to provide psychological analysis of improvised dance action, to identify the conditions of its generation. The hypothesis put forward concerns the formation of overall personal attitude that makes one ready to perform expressive movement in the context of musical-motional improvisation. It seems probable that the principles of movement organisation within free dance practices concern the formation of attitude that lets one perceive spontaneous, involuntary impulses to movement, changes of tonus and breath. Design. The study is a piece of theoretic-psychological analysis of improvisation dance practice. In terms of methodological and theoretical basis the study relies on cultural-historical psychology and theory of action, as well as on N.A. Bernstein’s conception of movement building. There theories allow to reconstruct the conditions of expressive movement generation in the context of musical-motional improvisation. Results. The analysis performed has shown that the principles of movement organisation, the technical aspects of the practices studied are aimed at increasing the degree of freedom of movement. It allows to enhance the receptivity to spontaneous reactions and impulses and to widen the orientation within the context of musical-motional improvisation. It makes one move in a more meaningful way and to integrate the personality into improvisation. Conclusions. Alongside with the practices of structured dances and reproductive approaches to mastering expressive movement, there are cultural-historical practices of improvisation dances. The analysis of such practices allows to single out psychological conditions and and peculiarities of movement organisation that make one generate spontaneous actions, find and try new objectives, plastic forms. Generation of spontaneous movement and musical-plastic improvisation are possible due to tuning up the whole human personality. Openness as personal attitude has its meaningful as well as motional component.

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Hoppu, Petri. "The Polska: Featuring Swedish in Finland." Congress on Research in Dance Conference Proceedings 2014 (2014): 99–105. http://dx.doi.org/10.1017/cor.2014.13.

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The paper examines the Swedish polska as a special case of movementscape in Finnish folk dance. The research is based on ethnographic fieldwork among Finnish folk dancers in 2013. Since the 1970s, the polska has been popular in Swedish folk dance, and this versatile dance form can be seen as emblematic to Swedish folk dance culture. During the last 30 years, Finnish folk dance groups have also eagerly adopted it: not only the dance itself, but a whole new style and embodiment of dancing with improvisation as an important element. Although there have been vernacular polska forms in Finland, as well, and folk dancers have danced them for decades, they have not been able to reach any higher status. Although Finnish folk dancers have adopted dances from other Nordic countries since the early twentieth century, the popularity of Swedish polska exceeds that of any earlier Nordic innovations in Finland.

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Liska, Suzanne. "Somatic ethnographic research: A choreographic process informed by Alexander Technique." Choreographic Practices 11, no. 1 (July 1, 2020): 75–99. http://dx.doi.org/10.1386/chor_00013_1.

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I write from the perspective of a dance artist interested in reflecting on and sharing my experiences of applying the Alexander Technique (AT) to a choreographic process. The inquiry was framed by dance ethnography, and I choreographed, danced, interviewed and performed with emerging to established dance artists specializing in Contact Improvisation, and interviewed and participated in lessons and workshops with AT teachers. During each phase of the research, I asked: why and how does AT guide me to embody my practice as a choreographer and dancer? This self-ethnographic research outlines an AT-inspired dance methodology using a systematic somatic process to enhance physical, mental and emotional coordination for choreographers and dancers. I propose that AT expanded my attention moment-to-moment to develop my choreographic intentions and desires.

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Nikolopoulou, Panagiota (Teti), and Maria I. Koutsouba. "Reflections on dance improvisation in Greece as an embodied practice." Journal of Dance & Somatic Practices 14, no. 1 (July 1, 2022): 57–73. http://dx.doi.org/10.1386/jdsp_00069_1.

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The aim of this article is to provide a brief overview of the use of improvisation in relation to choreography in Greece as an embodied practice. Although many dance scholars acknowledge the aesthetic potential and the freedom of spontaneity in the improvisational process, there is not direct theoretical reference to the choreographing methodologies that have been used in the Greek contemporary dance scene from the late 1980s until today. The research is qualitative and draws data from multiple sources, which include interviews with nine choreographers, attendance of live dance performances and/or performative events and references from the related dance literature. The authors’ reflections reveal important epistemological issues for further dance research on the current collaborative performing arts contexts.

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Dissertations / Theses on the topic "Dance improvisation"

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Thorndike, Ashley P. "Articulating Dance Improvisation: Knowledge Practices in the College Dance Studio." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275069682.

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McLeod, Shaun, and shaun mcleod@deakin edu au. "Chamber: Dance improvisation, masculine embodiment and subjectivity." Deakin University. School of Communication and Creative Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20061207.114658.

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Parrish, Mila. "Discover dance CD-ROM for dance education : digital improvisation and interactive multimedia /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488203857248275.

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Sears, Linda R. (Linda Roseanne). "Women and Improvisation: Transgression, Transformation and Transcendence." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935798/.

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This feminist study examines women's use of improvisation in discovering, creating, and articulating various self-identities. To create a theory of identity formation, two feminist theoretical position, essentialism and poststructuralism, are analyzed and merged. This hybrid theory addresses the interplay between the self and society that women must recognize in order to form satisfying identities. Improvisational practices, involving bodily awareness and movement, are demonstrated to have the potential for helping women to actualize themselves in these various identities. For this study, the writer uses her experience as an improviser and interviews three women who use improvisation in their choreographic processes. She also discusses performers whom she has seen and performers about whom feminist performance critics have written. This study examines improvisation in dance and performance art from a feminist perspective. I clarify what improvisation entails and, by doing so, illustrate how improvisational movement in dance and performance art can enhance the lives of women as viewers and performers. Through exploring improvisation from this feminist perspective, I demonstrate the psychological insights I have gained from practicing improvisation and document performances that have been improvisationally inspired by women who feel dissatisfied with the manner in which this society shapes and limits their identities.

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Łucznik, Klara. "Shared creativity and flow in dance improvisation practice." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/11608.

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This thesis investigated shared creative processes and the role of flow experience in group dance improvisation. A literature review suggested that dancers associate high-quality performance with 'being in the flow', and that group flow is a peak experience when a group is performing at its highest level. The first study explored the role of flow in dance creative practice and improvisation through qualitative content analysis of individual interviews with six dancers. Absorption with activity and enjoyment were themes in dancers' reports of flow. Group improvisation facilitated flow and creativity through maintaining desired focus for longer, lowering self-judgment and inspiring novel solutions. The second study investigated the occurrence of flow and its shared character within group improvisation using video-stimulated recall and questionnaire methods (n=16, 4 groups of four dancers). It showed that group flow was rather rare and it was more likely when a group had worked together for longer. Dancers reported that a group in a high-flow state engaged with a task in a more complex way, sharing, transforming and supporting each other's ideas, while low-flow groups worked more with mimicry and bodily manipulation. Dancers perceived tasks performed in a high-flow state as more creative. The third study explored the relationship between dancers' flow experience and creative outcomes from a third person perspective. A total of 203 participants (77 experts and 126 nonexperts) rated excerpts of high- and low-flow dance improvisation (five each) using Consensual Assessment Technique. Experts judged high-flow collaborations as more creative, and more coherent, technically advanced, aesthetically appealing and meaningful, however there were no significant differences in nonexperts' ratings. The fourth study explored whether synchronous arousal, measured by cross-recurrence quantification analysis of heart and breathing rate, was a physiological basis for group flow (n=8 group, 4 dancers per group). Although no relationship between synchronous arousal and flow was found, spontaneous synchronization of dancers' heart and breathing rate in improvisational group tasks was observed, unrelated to synchronized activity. Overall, the studies conducted confirmed that flow was a highly creative state for dancers, in which they performed better. The presence of others and quality of group collaboration supported the occurrence and amount of flow. However, group flow occurred rarely and was more likely when a group had worked together for longer.

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Lavelle, Lise. "Amerta movement of Java 1986 - 1997 : an Asian movement improvisation /." Lund : Centre for Languages and Literature, Lund Univ, 2006. http://www.loc.gov/catdir/toc/fy0701/2006402578.html.

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Woods, Pamela G. "Site as source and resource for sounding dance improvisation." Thesis, University of Exeter, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288376.

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Jolivet, Adèle. "Danse improvisée et processus de création : étude des dynamiques de personnalisation chez des danseurs." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20087.

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Ce travail analyse les processus de personnalisation dans les trajectoires de 23 danseurs improvisateurs, dans une approche psychologique. La danse improvisée est associée à un partage intersubjectif (Bigé, 2015) et à un état d’écoute (Guisgand, 2006) : le développement de cette écoute est ici étudié. Ses dimensions d’incertitude (Azaïs, Bachir-Loopuyt & Saint-Germier, 2010) et de recherche de liberté (Kintzler, 2006) associent l’improvisation à une pratique personnalisante, en référence aux théorisations de ce processus (Malrieu, 1979 ; 1994 ; 1995 ; Baubion-Broye, Dupuy & Prêteur, 2013). Des entretiens semi-directifs sont menés ainsi que des analyses thématique et par catégories conceptualisantes (Paillé & Mucchielli, 2012). Nous avons mis en exergue des tensions, des activités de signification et des réorganisations psychologiques et physiques dans les parcours de ces improvisateurs. Leur réflexivité vis-à-vis de leur pratique pousse ces danseurs à des prises de conscience et des analyses critiques : certains ne veulent plus répéter des mouvements ni improviser sans objectif. L’improvisation leur permet alors, par sa dimension de création, de se singulariser. Certains d’entre eux rencontrent des doutes sur leur capacité ou celle des autres à communiquer, à se connecter aux autres. Ils donnent alors à leur pratique de la danse des sens nouveaux : se lier aux autres, aider et coopérer. Créer dans l’instant les centre sur leur corps au moment présent et coopérer favorise l’écoute : ceci consolide la conscience de soi. Le fait de créer leurs propres mouvements et de dépasser ce qu’ils ont appris nourrit leurs besoins de dépassement et de liberté. Improviser permet donc à ces danseurs de se singulariser et de prendre conscience d’eux-mêmes : c’est une pratique personnalisante qui participe à la construction de soi
The present study aims to analyse personalization processes in the trajectories of 23 improvisational dancers. Improvised dance refers to intersubjective sharing (Bigé, 2015) and listening state (Guisgand, 2006): the development of this listening is studied here. Through its dimensions of uncertainty (Azaïs, Bachir-Loopuyt & Saint-Germier, 2010) and quest for freedom (Kintzler, 2006), improvisation combines with a personalization practice in reference to the theorizations of this process (Malrieu, 1979, 1994, 1995; Baubion-Broye, Dupuy & Prêteur, 2013). Semi-structured interviews were conducted. Two types of results analysis were used: thematic and through conceptualizing categories (Paillé & Mucchielli, 2012). These results highlight tensions, meaning activities and psychological reorganizations. Becoming aware of formatting, these dancers critically analyse their practises, in order not to repeat learned movements neither improvise without precise goal. The rejection of standard movements leads them to stand out through a personalizing process of creation. Some of them doubt about their ability or the ability of others to communicate, to interconnect. Those of them who are concerned with the lack of communication are trying to bring closer to others through danced improvisation : they cooperate. Cooperation makes them improve their listening and create spontaneously makes them centered on their bodies, which tends to consolidate their self-awareness. Creating their own movements and going beyond what they have learned feeds their need for overtaking and freedom.Through these processes of self-awareness and singularization, they personalize and build themselves

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Carlozzo, Abby. "A STUDY OF DANCE IMPROVISATION IN AFRICANIST AND POST-MODERN CONTEXTS AS EXPERIENCED BY PHILADELPHIA-BASED ARTISTS." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/393830.

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Dance
M.A.
This thesis examines the philosophical and aesthetic characteristics of dance improvisation in two enormous contexts: Africanist dance forms and the diverse genres that this term encompasses, and postmodern dance practices that grew out of the work of the Judson Dance Theater in the sixties. The impetus for this study grew out of previous research in Ouagadougou, Burkina Faso in West Africa where I collaborated with a Burkinabe dancer to uncover how our histories influence our approach to movement-making. I soon realized that we possessed different understandings of dance improvisation, and I endeavor to unpack those differences in this study. I seek to evidence the range of understandings of dance improvisation that exist in the United States by including the voices of six Philadelphia-based artists who I have interviewed for the purpose of this research. Although I initially contacted Olivier Tarpaga, Zakiya Cornish, and Cachet Ivey for their work with African dance genres, and Esther Baker-Tarpaga, Marion Ramirez, and Molly Shanahan for their work with postmodern practices of improvisation, the amount of overlap between the two contexts soon became apparent. In exposing the diverse practices of improvisation, I hope to spark a conversation about what constitutes dance improvisation in the United States.
Temple University--Theses

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Schrock, Madeline Rose. "Visual Media, Dance, and Academia: Comparing Video Production with the Choreographic Process and Dance Improvisation." Ohio University Honors Tutorial College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1306695898.

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Books on the topic "Dance improvisation"

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Dance improvisations. Pittsburgh, Pa: University of Pittsburgh Press, 1987.

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David, Spurgeon. Dance moves: From improvisation to dance. Sydney: Harcourt Brace Jovanovich, 1991.

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Dance and the specific image: Improvisation. Pittsburgh: University of Pittsburgh Press, 1994.

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Blom, Lynne Anne. The moment of movement: Dance improvisation. London: Dance Books, 2000.

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Tarin, Chaplin L., ed. The moment of movement: Dance improvisation. Pittsburgh, Pa: University of Pittsburgh Press, 1988.

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Cooper, Albright Ann, and Gere David, eds. Taken by surprise: A dance improvisation reader. Middletown, Conn: Wesleyan University Press, 2003.

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Sharing the dance: Contact improvisation and American culture. Madison, Wis: University of Wisconsin Press, 1990.

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Dance improvisations: Warm-ups, games and choreographic tasks. Champaign, IL: Human Kinetics, 2011.

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Composing while dancing: An improviser's companion. Madison, Wis: The University of Wisconsin Press, 2011.

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Tufnell, Miranda. Body space image: Notes towards improvisation and performance. London: Virago, 1990.

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Book chapters on the topic "Dance improvisation"

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Midgelow, Vida L. "Improvisation Practices and Dramaturgical Consciousness: A Workshop." In Dance Dramaturgy, 106–23. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137373229_6.

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Wait, Nalina. "Dewey and the Pre-History of Western Improvisation." In Improvised Dance, 39–63. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003369011-2.

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Mullis, Eric. "Dance Improvisation as Experimental Inquiry." In The Routledge Handbook of Philosophy and Improvisation in the Arts, 475–87. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-38.

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Silva, João da. "Risk-taking and group dance improvisation *." In Contemporary Choreography, 138–49. Second edition. | Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315563596-12.

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Benjamin, Adam. "Talking Heads: Finding Voice in Dance Improvisation." In Making an EntranceDancing Out The Message Behind Inclusive Practice, 147–51. 2nd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003015291-23.

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Duffin, Ross W. "Ensemble Improvisation in the Fifteenth‑Century Mensural Dance Repertoire." In Instruments, Ensembles, and Repertory, 1300-1600, 195–233. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.bceec-eb.1.100640.

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Midgelow, Vida L. "A New Kind of Learning: Somatics, Dance Improvisation and Transdisciplinarity." In Transdisciplinary Higher Education, 121–35. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-56185-1_9.

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Torrents, C., J. Coterón, A. Ric, and R. Hristovski. "Emerging Dance Movements Under Ecological Constraints in Contact Improvisation Dancers with Different Background." In First Complex Systems Digital Campus World E-Conference 2015, 133–39. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-45901-1_13.

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Nativ, Yael (yali). "Embodied Social Dimensions in the Creative Process: Improvisation, Ethics and Gender in Choreography Classes in Israeli High-School Dance Programs." In Creative Context, 51–61. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-3056-2_4.

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Cienki, Alan, and Michael O’Connor. "Researching embodied metaphor production through improvisational dance practice." In Metaphor in Language, Cognition, and Communication, 63–76. Amsterdam: John Benjamins Publishing Company, 2022. http://dx.doi.org/10.1075/milcc.9.03cie.

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Conference papers on the topic "Dance improvisation"

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Berman, Alexander, and Valencia James. "Towards a Live Dance Improvisation between an Avatar and a Human Dancer." In the 2014 International Workshop. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2617995.2618026.

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Wallace, Benedikte, Charles P. Martin, Jim Tørresen, and Kristian Nymoen. "Learning Embodied Sound-Motion Mappings: Evaluating AI-Generated Dance Improvisation." In C&C '21: Creativity and Cognition. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3450741.3465245.

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Françoise, Jules, Sarah Fdili Alaoui, and Yves Candau. "CO/DA: Live-Coding Movement-Sound Interactions for Dance Improvisation." In CHI '22: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3491102.3501916.

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Long, Duri, Lucas Liu, Swar Gujrania, Cassandra Naomi, and Brian Magerko. "Visualizing Improvisation in LuminAI, an AI Partner for Co-Creative Dance." In MOCO '20: 7th International Conference on Movement and Computing. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3401956.3404258.

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Li, Chen. "The Study of Musical and Dance Improvisation Teaching in Higher Normal University." In 2015 International Conference on Management, Education, Information and Control. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/meici-15.2015.234.

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Meador, W. Scott, Eric M. Kurt, and Kevin R. O'Neal. "Virtual performance and collaboration with improvisational dance." In the SIGGRAPH 2003 conference. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/965400.965531.

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