Choreographing the Page Aumiller, Renay
Dance education in practice,
20/7/3/, Letnik:
4, Številka:
3
Journal Article
Recenzirano
Choreographing the Page is a visual representation of movement on paper that serves as a hybrid of choreography and an academic reflection writing assignment. It can act as a useful tool to discern ...how much information students accumulate throughout a semester in a choreography class. This assignment was created with the goal of engaging students to think broadly about various elements of the creative process by translating compositional crafting tools from the stage to the page and asks how the typical reflection assignment can be reshaped from the general structure of "what worked and what did not work" to visually model the choreographic tools explored in depth throughout a semester.
There is a category of choreographic practice with a lineage stretching back to mid-20th century North America that has re-emerged since the early 1990s: dance as a contemporary art medium. Such work ...belongs as much to the gallery as does video art or sculpture and is distinct from both performance art and its history as well as from theater-based dance. The Persistence of Dance: Choreography as Concept and Material in Contemporary Art clarifies the continuities and differences between the second-wave dance avant-garde in the 1950s‒1970s and the third-wave starting in the 1990s. Through close readings of key artists such as Maria Hassabi, Sarah Michelson, Boris Charmatz, Meg Stuart, Philipp Gehmacher, Adam Linder, Agatha Gothe-Snape, Shelley Lasica and Latai Taumoepeau, The Persistence of Dance traces the relationship between the third-wave and gallery-based work. Looking at these artists highlights how the discussions and practices associated with “conceptual dance” resonate with the categories of conceptual and post-conceptual art as well as with the critical work on the function of visual art categories. Brannigan concludes that within the current post-disciplinary context, there is a persistence of dance and that a model of post-dance exists that encompasses dance as a contemporary art medium.
If, traditionally, choreography defines organised movements of human bodies in space-time, recently the concept has undergone updates: as a system of relations foregrounding motion, but not ...necessarily human, encompassing migratory social behaviour, information flows, migrational dynamics etc.; as a system of rules that organize compositional elements, among which movement but in a non-hierarchical manner. (2011, p. 2) Dentro desse conceito expandido de coreografia, compreendemos a colocação do diretor de videodança inglês, David Hinton, muito conhecido por ter dirigido os filmes Dead Dreams of a Monochrome Men (1990) e Strange Fish (1994), do grupo inglês DV8 Physical Theatre. Acesso em 26.02.2014 2 André Lepecki, em seu livro Exhausting dance: performance and the politics of movement, argumenta que a negação do movimento feita por alguns coreógrafos dos anos 90, como Jérôme Bel, Vera Mantero e Xavier Leroy, deriva de uma crítica à modernidade. Ph.D. dissertation, Laban Centre for Movement and Dance, London, 1992.
In everyday life the face occupies a central position within human expression and social interaction: its features are perceived to present a unique identity, and we breathe, consume and communicate ...through our faces. In this article, we explore two ideas as a means to examine the “screendance face.” First we introduce the notion of “facial choreography” to reflect on how the screen apparatus produces representations of dancing faces informed by aesthetic and social values. Secondly, we develop the concept of a “choreographic interface,” which we conceive as an intertextual site of meaning whereby a dancing face both references and enters into a dynamic exchange with other faces. While these two concepts could be applied to any screendance face, to elucidate these ideas in motion, we turn to a specific screendance case study: an audition clip from So You Think You Can Dance, which features Brian Henry, a 22-year old African American man from Brooklyn, New York, who specializes in krumping.
From objects to sounds, choreography is expanding beyond dance and human bodies in motion. This book offers one of the rare systematic investigations of expanded choreography as it develops in ...contemporaneity, and is the first to consider expanded choreography from a trans-historical perspective. Through case studies on different periods of European dance history – ranging from Renaissance dance to William Forsythe's choreographic objects and from Baroque court ballets to digital choreographies – it traces a journey of choreography as a practice transcending its sole association with dancing, moving, human bodies.
Von Objekten bis hin zu Klängen - die Choreografie geht über den Tanz und den sich bewegenden menschlichen Körper hinaus. Dieses Buch bietet eine der seltenen systematischen Untersuchungen der erweiterten Choreografie, wie sie sich in der heutigen Zeit entwickelt und ist das erste Buch, das die erweiterte Choreografie aus einer transhistorischen Perspektive betrachtet. Anhand von Fallstudien zu verschiedenen Epochen der europäischen Tanzgeschichte - vom Renaissancetanz bis zu William Forsythes choreografischen Objekten und von barocken Hofballetten bis zu digitalen Choreografien - zeichnet es eine Reise der Choreografie als Praxis nach, die über ihre alleinige Assoziation mit tanzenden, sich bewegenden menschlichen Körpern hinausgeht.
The reduction of dinitrogen to ammonia by nitrogenase reflects a complex choreography involving two component proteins, MgATP and reductant. At center stage of this process resides the active site ...cofactor, a complex metallocluster organized around a trigonal prismatic arrangement of iron sites surrounding an interstitial carbon. As a consequence of the choreography, electrons and protons are delivered to the active site for transfer to the bound N2. While the detailed mechanism for the substrate reduction remains enigmatic, recent developments highlight the role of hydrides and the privileged role for two irons of the trigonal prism in the binding of exogenous ligands. Outstanding questions concern the precise nature of the intermediates between N2 and NH3, and whether the cofactor undergoes significant rearrangement during turnover; resolution of these issues will require the convergence of biochemistry, structure, spectroscopy, computation, and model chemistry.
Dance is an art and when technology meets this kind of art, it is a novel attempt in itself. Many researchers have attempted to automate several aspects of dance, right from dance notation to ...choreography; from dance capturing to dance generation. We define and illustrate the concept of ‘Dance Automation’ in this paper. Furthermore, we have encountered several applications of dance automation like e-learning, heritage preservation, medical therapy, etc. Despite decades of continuous attempts by many researchers in various styles of dance all round the world, we found a review paper that portrays the research status in this area of ‘dance and computers’ dating to 1990 (Leonardo 1990
Computers and dance: A bibliography
, pp. 87–90). Hence, we decided to compose a comprehensive review article that showcases several aspects of dance automation and document contributions of researchers in marrying creativity with logic. This paper is an attempt to review research work reported in the literature, categorize and group significant research work completed in a span of 1967–2020 in the field of automating dance. We have explicitly identified six major categories corresponding to the use of computers in dance automation, namely, dance representation, dance capturing, dance semantics, dance generation, dance processing approaches and applications of dance automation systems. We classified several research papers under these categories according to their research approach and functionality. With the help of proposed categories and subcategories, one can easily determine the state of research and the new avenues left for exploration in the field of dance automation.
The aim of this research is to find out the specifications of the choreographic form and the symbolic meaning of wirèng in the Kasunanan Palace. A qualitative descriptive research design with ...form-matching techniques was employed; meanwhile, the data collection techniques employed observation, interviews, and literature study. The data analysis includes the form of the wirèng choreography and its symbolic meaning. From the results of the study, it was found that the choreographic form of wirèng in Kasunanan was used for pair dances and had a soldier’s theme, while in Mangkunagaran wirèng was used to denote the term dance because wirèng is synonymous with the word beksan which means dance. The pattern of the wirèng choreography in Kasunanan has specifications, namely: (1) it is performed by male and female dancers in an even number, (2) it consists of three parts, namely the initial part (maju beksan), the main part (beksan), and the final part (mundur beksan), (3) in the main part of the dance there are variations of the dance scenes and variations of war scenes, such as madras wars or gending wars, referring to a typical war dance which is accompanied by slow (lamba) and constant (steady) rhythmic gendhing or music, and ruket wars which are accompanied by fast-rhythmic pieces of music (mipil-lancaran), (4) changes and differences always follow every change of part in the composition of the accompaniment pieces. Wirèng’s symbolic meaning reflects the value system prevailing in the palace environment, symbolized by the numbers zero, two, and three, movement characteristics, and movement patterns (gawang) in the choreography.
The author explores the relationship of play to choreography. He defines choreography as the rules that guide body movements from their minute physicality to their broad social and cultural contours. ...He conducts a review of the literature and accentuates five general topics--learning through creativity; choreography as writing and pedagogy; comparisons of dance and choreography to play and sport; children's play and environments as choreographies; and choreography as critical play interventions in public spaces. He argues that viewing play through a choreographic lens helps us understand how players physically communicate and create meaning through action in various play situations. Key words: choreography and play; participatory sense making
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