812 research outputs found
Book review: Embodied politics: dance, protest and identities, by Stacey Prickett
Get PDFBook review of: Embodied politics: dance, protest and identities, by Stacey Prickett. Hampshire: Dance Books, 2013; ISBN 9781852731663 (£20.00)Publisher PD
Introduction: Thematic Structure, Methodological Frames, and Analyses
No full textIntroduction and overview of the dance studies fiel
Choreosonic Wearables: creative collaborative practices
No full textThis chapter examines wearable research inquiry undertaken within the context of DAP-Lab’s interactive dance performance for the time being (2012-2014), inspired by the experimental Russian Futurist opera Victory over the Sun (1913). It introduces sounding prototypes for devising dance, where wearable performance design is inextricably intertwined with motivations for movement character and sound composition. The first four prototypes introduced in the chapter – inspired by the historic libretto and early twentieth century Russian avant-garde art, are positioned as experimental instruments, compositional tools and basis of sonic material for DAP-Lab’s experimental dance performance. Design and performance strategies involving collaborative approaches, wearable-partnering and other methods for the interrogation of choreosonic wearables in relational and activating ways are discussed. Furthermore, in this particular context the term choreosonic is not limited to the wearable prototypes but can also be used to describe a particular type of choreography that becomes audible and connects to movement-sounding ¬– a mobilizing of sonorous fragments through multi-sensory dancer-wearable interactions. This subtle but significant interchangeability in the work, and the illustrations I provide, aim to highlight the centrality of wearable design in a specific case study involving integrative and collaborative methods of performance-making for multi-media dance opera. A final fifth prototype more closely scrutinizes the connectivity of bodies in the research-creation process
Dressing Dance–Dancing Dress
Get PDFIn a climate of significant developments in costume in the broader field of performance and scenography I question why dress in contemporary dance is often employed as a purely functional or aesthetic overlay to the movement itself. This chapter extends an analysis of the role, agency and bodily experience of dress in the creative and collaborative process of making contemporary dance, addressing the performative dynamic between the bodies that make wear and engage with dress in the production process.
This chapter draws an analysis of 15 semi structured interviews carried out with choreographers, designers and dancers to understand the lived experience of dress in dance from the perspective of the designer, dancer and choreographer. This analysis is informed by writings on the body, dance, embodiment, cognition and agency (Entwistle, 2000; Fraser and Greco, 2005; McConachie and Hart, 2006; Sheets-Johnstone, 2009; Thomas 2003; Noland 2009) to inform approaches to costume integration in dance.
The research highlights the importance of working with the agency of dress in the creative process to inform more effective collaboration and to develop integrated approaches in design for dance
Author interview: Q and A with Dr Noni Stacey on Photography of protest and community: the radical collectives of the 1970s
No full textIn this author interview, we speak to Dr Noni Stacey about her new book Photography of Protest and Community: The Radical Collectives of the 1970s, which examines how London-based photographers formed collectives that engaged with local and international political protest in cities across the UK. The book surveys the radical community photography produced by Hackney Flashers Collective, Exit Photography Group, Half Moon Photography Workshop, the producers of Camerawork magazine and the community darkrooms, North Paddington Community Darkroom and Blackfriars Photography Project
Using information technology : a practical introduction to computers & communications / Brian K. Williams, Stacey C. Sawyer.
No full textOn t.p. of previous ed. Stacey C. Sawyer's name appears first.Includes bibliographical references (p. 541-552) and index.xxiv, 554, 12 pages.
Can forests meet our energy needs? The future of forest biomass in Colorado
Get PDFPresented at the Can forests meet our energy needs? The future of forest biomass in Colorado conference, February 21, 2008, Colorado State University, Fort Collins, Colorado.Stacey Simms is the Biomass and Local Fuels Programs Manager at the Governor's Energy Office (GEO). In this position she has development, administrative and managerial responsibilities of projects related to woody biomass, anaerobic digestion and biofuels. Prior to joining GEO, Stacey worked at the American Lung Association of Colorado where she managed the Department of Energy's CLEAN CITIES program. While with CLEAN CITIES, Stacey supported the transition of more than 30 fleets in Colorado to biofuels and helped replace 1 billion gallons of fossil fuels with alternative fuels. Stacey started her career in renewable energy and public administration during her four year tour with the Peace Corps in El Salvador. Stacey graduated from Regis University in 2006 where she earned a Master's degree in Management with an emphasis on organizational leadership and project management
Digital Preservation of Dance, Inclusion and Absence
Get PDFDigital technologies have introduced a raft of opportunities for novel modes of dance documentation and preservation. More particularly, digital tools have been developed that have offered dance scholars and artists opportunities to develop new modes of dance visualization and transmission, creating new ways to access dance content and in turn provide new insights to dance, and its compositional and relational properties. This chapter examines three digital dance resources that have emerged in recent years; Siobhan Davies RePlay, Digital Dance Archives and Synchronous Objects, and will draw on a series of interviews with dance practitioners and researchers who have worked long-term with technologies, to explore what it is that is preserved and for whom, the nature of the documents or ‘objects’ that are created, the role of the spectator, viewer or ‘user’ in the construction and preservation of dance, and how digital methods disrupt the temporal properties of the dance ‘event’. The chapter seeks to argue that the opportunity afforded by digital technologies to access the hidden processes of dance creation, shows how these digital artefacts become new kinds of records of performance.<br/
State fragmentation and citizen education: creating a culture of citizenship in Bogotá, Colombia
No full textMy dissertation is an ethnography of governance in Colombia. I argue that despite widespread understandings of the Colombian state as failed, it actually plays an important role in the everyday lives of citizens. I argue that the Colombian state continues to govern through two key mechanisms:1. the rapid construction of state institutions and policies that clutter symbolic and physical space 2. the education of citizens such that they learn to be active participants in providing services traditionally forthcoming from the state, like security and justice. I explore how these interconnected processes of state and citizen formation are articulated through citizen culture, a novel crime reduction policy that has turned the capital city of Bogotá into an international model of best governance practices.Ph.D.Includes abstractVitaby Stacey Leigh HuntIncludes bibliographical reference
"Dancing Through the Hard Stuff": Repetition, resilience and female solidarity in the landscape - Rosemary Lee's Passage for Par
Get PDFThis is a chapter of conversations, thoughts, and images that have arisen from within the choreographic process that became Passage for Par— a site-specific performance by Rosemary Lee with assitant choreographer Ruth Pethybridge performed in the summer of 2018. Passage for Par was commissioned by the Cornubian Arts and Science Trust (CAST) for the Groundwork program that bought international art to Cornwall in the South West of the UK.
The chapter takes as premise the dancers voice as central to interpretations of the work, using the experience of performers as a basis for understanding concepts of landscape, resiliance and female solidarity. The writing culminates in a conversational format between the two choreographers, a dialogue which was part of the creative process itself
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