1,721,011 research outputs found
Crystallisations, Constellations, and Sharings: Exploring Somatic Process with Sandra Reeve
Full text linkIn this chapter, I will explore the topic of performing process in somatic-based performances, focussing in particular on my study with and of UK-based movement artist Sandra Reeve. I will identify how she draws on her training with Javanese movement artist Suprapto Suryodarmo (Prapto) to foreground process as the performance. I will give an overview of several performances which I experienced through participant observation, to offer an insight into the processes that are performed. My analysis ranges from a discussion of the open days which form a key part of her workshops, to a more formalised indoor performance called Solo Encounters (2014) at the Buddhist Arts Centre in London. This chapter’s main aim is to give an overview on how somatic practices contribute to the debates surrounding the sharing of process which are raised in this book. When bringing somatic approaches into a performance context, movement artists such as Reeve have concentrated on an ongoing attention to the unfolding of bodily becoming as it responds to self and context. Developing a structure for gathering emergent materials and finding modes of sharing the process with others as it continues to change, forms part of the performance practice.<br/
Revisiting Lunar Parables: Dublin Contemporary Dance Theatre and the Intangible Archive
Full text linkIn this chapter, I will reflect on a practice as research project revisiting the archives of Dublin Contemporary Dance Theatre (DCDT), the first state funded contemporary dance company in Ireland that ran from 1979-1989. Despite the important role that DCDT played in developing contemporary dance in an Irish context, very little has been researched or written about their work to date, or indeed about historical contemporary dance in Ireland more generally. One key aim of this project is to examine the knowledge revealed by revisiting DCDT’s archival materials through practice, focusing on the choreography Lunar Parables (1984). It considers what the ‘embodied archive’ of the performers can uncover about the company’s work, and what this reflects about Irish contemporary dance history and culture. The project also contributes to wider debates in performance and dance studies on ephemerality and documentation, as it moves between historical recordings and live re-enactments. Specifically, it explores how archival materials such as video, images and programmes are reanimated by the current practice of artists to track and share what can be described as the ‘intangible’ or ‘imperceptible’ features which are essential to the choreography (Blades 2016) such as memory, feelings, contexts, processes of making and so on. It is therefore concerned with how to open up the possibilities of the archives to engage the original artists and a new generation of dance artists to reflect on what the archives might mean today. <br/
Revisiting Lunar Parables: Dublin Contemporary Dance Theatre and the Intangible Archive
Full text linkIn this chapter, I will reflect on a practice as research project revisiting the archives of Dublin Contemporary Dance Theatre (DCDT), the first state funded contemporary dance company in Ireland that ran from 1979-1989. Despite the important role that DCDT played in developing contemporary dance in an Irish context, very little has been researched or written about their work to date, or indeed about historical contemporary dance in Ireland more generally. One key aim of this project is to examine the knowledge revealed by revisiting DCDT’s archival materials through practice, focusing on the choreography Lunar Parables (1984). It considers what the ‘embodied archive’ of the performers can uncover about the company’s work, and what this reflects about Irish contemporary dance history and culture. The project also contributes to wider debates in performance and dance studies on ephemerality and documentation, as it moves between historical recordings and live re-enactments. Specifically, it explores how archival materials such as video, images and programmes are reanimated by the current practice of artists to track and share what can be described as the ‘intangible’ or ‘imperceptible’ features which are essential to the choreography (Blades 2016) such as memory, feelings, contexts, processes of making and so on. It is therefore concerned with how to open up the possibilities of the archives to engage the original artists and a new generation of dance artists to reflect on what the archives might mean today. <br/
Crystallisations, Constellations, and Sharings: Exploring Somatic Process with Sandra Reeve
Full text linkIn this chapter, I will explore the topic of performing process in somatic-based performances, focussing in particular on my study with and of UK-based movement artist Sandra Reeve. I will identify how she draws on her training with Javanese movement artist Suprapto Suryodarmo (Prapto) to foreground process as the performance. I will give an overview of several performances which I experienced through participant observation, to offer an insight into the processes that are performed. My analysis ranges from a discussion of the open days which form a key part of her workshops, to a more formalised indoor performance called Solo Encounters (2014) at the Buddhist Arts Centre in London. This chapter’s main aim is to give an overview on how somatic practices contribute to the debates surrounding the sharing of process which are raised in this book. When bringing somatic approaches into a performance context, movement artists such as Reeve have concentrated on an ongoing attention to the unfolding of bodily becoming as it responds to self and context. Developing a structure for gathering emergent materials and finding modes of sharing the process with others as it continues to change, forms part of the performance practice.<br/
Dancing, identity and place: Balancing subjectivity and technique in contemporary dance training
No full textThis chapter explores connections between pedagogical approaches within two different tertiary dance educational settings—one situated in Ireland and one in Australia. It charts insights from my journey as a dance lecturer from 2011 to early 2013 on the Bachelor of Arts in Voice and Dance at the <i>University of Limerick</i> (UL),Ireland, to my work as a lecturer on the Bachelor of Fine Arts in Dance/Dance Performance at the <i>Queensland University of Technology</i> (QUT), Brisbane, Australia which commenced in 2013. Drawing on earlier research into the practice of the independent contemporary dancer (Roche 2015) the chapter interrogates how contemporary dance training relates to the development of a moving identity, that is, ‘both an individual way of moving and a process of incorporating different movement experiences in training and in professional practice’ (Roche 2011, 106). The central tenet is the negotiation of the delicate balance between technical training and the subjectivity of the student, so that technique, which often has a fixed meaning within dance training, might have more flexible definitions and applications. This exploration has become more prescient as I have recently completed a report for the Arts Council of Ireland on the current provision for professional level dance training in Ireland, which included proposals for how this level of dance training could be developed. Thus, this more recent research is an additional element that underscores the chapter
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Research as Co-Habitation: Experimental Composition across Theory and Practice
Full text linkDance studies is in a state of transition with the rise of the dance artist-theorist. The creative practice approach has become a serious alternative to the published dance theorist, but there is also a third way: collaboration between artists and theorists. Unlike peers in music or literature, dance theorists do not have the drafts of earlier manuscripts through which to trace the development of a choreographic object. The processes involved in choreographic composition remain, to a large extent, in the body of the artist and contribute to the singular moments of decision-making in performance. For this reason, it has become imperative for dance studies to develop collaborative research methods across theory and practice with multiple outcomes. In such a model, the largely debunked method where an institutionalized author assumes objective or critical distance from the work of art is redundant as creative practice and theory establish newly egalitarian co-occupations. This chapter describes one such approach involving shared reading, observation, practice, discussion and writing. These methods provide access to the ‘tools and materials of production’ (Bolt 2006), whether they are discovered in existing works-in-progress or mobilized through targeted workshop/experiments on specific terms/processes. The result is that we co-habit a field of research interests and support each other, developing new knowledges together that are framing our common interests and scaffolding future developments
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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