Research papers from our conferences and journals provide an in-depth look at dance topics. Many are peer reviewed.
Ralph Buck (National Institute for Creative Arts and Industries, University of Auckland) focuses on how we might develop sustainable dance education practice in the primary school classroom. He emphasises the importance of changing perceptions about dance in terms of the associations with femininity, ability, performance, mastery of skill and elitism.
This paper discusses the exploration of cultural diversity and the creation of common ground and understanding through choreographic practice in a cross-cultural, international collaboration between Mirramu Dance Company (Australia) and Kyoko Sato from the Mobius Kiryuho Institute (Japan). The paper explores the differences and the similarities discovered in each of our culturally specific movement practices, during the creative process of a dance production, Silk, and discusses how these discoveries influenced the choreographic content of the performance.
Over the past thirty years, Chinese classical dance has developed in parallel with the explicit social process of the search for and the construction of Chinese modernity. Unlike the dismissal of tradition which tended to characterize the western process of modernization, Chinese dance practitioners embrace Chinese national and cultural characteristics for the purpose of cultural continuity as a matter of principle, subscribing to the political slogan ‘inheritance and development.’ This logic of constant change in the nature of Chinese cultural traditions leads to variation in Chinese dance vocabulary and the hybridisation of different dance styles in contemporary Chinese classical dance works. Therefore, this paper proposes that the idea of a reinvention of tradition, based on the premise of the academic establishment of Chinese classical dance as the ‘invention of tradition’, may produce new understandings about the phenomena of variation and inherent contradiction within contemporary Chinese dance creations.
Dance is a potential asset for peacebuilding, creating opportunities for nonverbal, embodied learning, exploring identity, and relationships. Peace scholars consider identity and relationships to the ‘other’ as key components in transforming conflict. Focusing on a case study in Mindanao, the Philippines, this paper explores the potential of dance in a peacebuilding context through embodied identity and relationships. In Mindanao, deep-seated cultural prejudices contribute to ongoing conflict entwined with identity. The permeable membrane (Cohen, Gutiérrez & Walker, 2011) is the organising framework describing the constant interaction between artists, facilitators, participants, and communities. It expands peace scholar John Paul Lederach’s concept of the moral imagination, requiring the capacity to envisage one’s self within a web of relationships. In this paper multiple methods of qualitative research including personal interviews are used to further the discussion regarding dance’s potential to diversify the nonverbal tools available for peacebuilding.
Igor Stravinsky’s The Rite of Spring has inspired a plethora of artists in its hundred years of history. As it transcends geographic barriers, it has also been choreographed by many great dance masters such as Maurice Béjart and Pina Bausch from the West, and Hwai-Min Lin and Helen Lai from the East. In this paper, Ting-Ting Chang focuses on the choreographic aesthetics of versions of The Rite of Spring by choreographers Zhang Xiaoxiong and Shen Wei. Zhang’s version depicts images with references both to the original work of Vaslav Nijinsky, and to aspects of Asian culture in a way that is sensitive to the original music and to his memories as a child living in Cambodia. Shen has been known for his organic movement vocabulary and unique way of using Chinese cultural elements. By tracing their separate creative processes, she discuss how choreographers negotiate tradition and innovation through their different choreographic methods and aesthetic visions through contemporary dance.
New dance forums in India have evolved recently, allowing performers to identify conflict areas in performative practice. This development has arisen as a consequence of questioning techniques as exercised in classical dance pedagogy. Aastha Gandhi's research looks into different tools of performance provided by Gati Dance Forum in New Delhi to engage with these techniques through different pedagogical approaches. The learning and unlearning of performance skills constantly challenges the dancer’s perception of audience-performer, body-dance and dance-space relations, vis-à-vis the individual choreography-creating process. The need to challenge the body to go beyond the taught and practised language has consequently developed a distinct performative text, which is visual, verbal and embodied. Deriving from a theoretical idea of Paul Ricoeur’s, the performance text is examined at levels of structural explanation and interpretation, where the different components act as ‘discrete units’ to form an arranged whole and the constituent units acquire a signifying function.
Dublin Contemporary Dance Theatre (1979–1989) was a significant company in the development of dance in Ireland, and the first state funded contemporary dance group. For a period, the company were leading innovators in the country in contemporary dance and explored the boundaries of what constituted the dance form, leaving a lasting impact on Irish dance heritage, although relatively little has been written about their work to date. This paper explores the context for the company’s work, discussing the relationship between the body and language in Irish social, political and cultural history. Specifically, I focus on their production Bloomsday based on James Joyce’s Ulysses, which reveals key issues about the relationship between body and language in the company’s work.
Interject (a site-specific dance work) was performed on a ledge inside the Gallagher Academy of Performing Arts at the University of Waikato, Hamilton, New Zealand in November 2012. This paper reframes a complex picture of web-like connections and challenges around the relocation and re-envisioning of several site-specific choreographies into one specific site. How do you re-negotiate the dance content in a different site? What are the ramifications of an additional dancer? How do you interact/negotiate with the everyday use of the site? Is it a new work or not? These questions are discussed along with the unpacking and interrogation of my journey and a review of the end product as the choreographer in this process. This reframing will make reference to the past and how it has enriched and informed the expanding field of international site-specific dance (Brown 2010, Kloetzel & Pavlik 2009, Hunter 2005) and this particular project.
Reports indicate that dance-learning experiences provided for young people in and outside schools impact positively upon young people’s learning in schools, as well as in pre-service and professional development programs for those who teach dance in various settings. Support of major dance organizations as well as the goals of the United Nations Educational, Scientific and Cultural Organisation (UNESCO) affirm the importance of dance education and encourage the research and practice to provide lifelong and intergenerational learning in, about and through dance education. This paper describes the results of a survey questionnaire, which captures the narratives and contexts from lived experiences of university students and graduates in formal, informal and non-formal settings and how those are experienced. This initial study confirmed the power of dance and the significance of dance in peoples’ lives as well as deficiencies in the provision of dance for many.
The Australian performing arts collective Remnant Dance has a partnership with a charity organisation that supports an orphaned community in Myanmar (Burma). The creation of a contemporary dance film with this community generated a performance in which young Burmese participants were encouraged to tell their own stories. The film was set in an abandoned glass factory in Myanmar, using glass as a metaphor for a surface that invites reflection as well as open transparency with the young people from the children’s centre. The story of making the dance film Meeting Places offers a case study for reflection on ideas of interconnection through dance making; and a site for engagement with social justice concerns within diverse communities. The creation of new dance through cross-cultural, multi-arts forms and inter-disciplinary contexts enables narratives to emerge through the frontline of dance’s unique communication.