Research papers from our conferences and journals provide an in-depth look at dance topics. Many are peer reviewed.
This presentation begins with the question: ‘how might language crease and fold from dance practice?’ Writing is conceptualised as a form of translation that rises up and into the mobile weight of movement, offering creative and documentation strategies that directly interweave with choreographic, collaborative and improvisatory processes. Examples of and methodologies for writing that emerges out of dance will be drawn from the development and performance of the duet, The Little peeling Cottage (Longley and Smith 2007). Research draws on the dancing/ writing practices of Simone Forti (Forti 1974; 2003; 2006); Brian Massumi’s parables on transition and sensation as modalities of philosophy (Massumi 2002); and Gayatri Spivak’s writing around the politics of translation (Spivak 2000).
This paper discusses how during an East West Dance Conference in Mumbai in 1984, several choreographers and dancers from India and the West met and discussed several issues, which resulted in the changes that have taken place now in Indian dance. Contemporary themes as opposed to religious and mythological stories have become a part of Indian Modern Dance. There is a shift both in the content and language of dance. Empowerment of women, explorations in abstract tradition, social changes all have now found reflection in Modern Indian Dance
In this paper Ann Kipling Brown presents an overview of the association and the place of performance at the triennial conferences. Following this discussion, three other daCi members, Kathy Vlassopoulos, Karen Bond and Jeff Meiners, whose work focuses on dance for young people, describe specific events and experiences they have created that reflect the aims of the association.
Firstly, Kathy Vlassopoulos describes the Children’s Dance Festival, held annually in Melbourne, Australia. The festival was initiated in1996 and creates a site-specific event that provides the opportunity for children to experience dance through a collaborative process with professional artists.
Secondly, Karen Bond gives an account of daCi’s 2nd Intergenerational Gathering, titled Out of many, we are One. Over an intensive three-day period, participants explored a progression of dancing and performing related to themes of self, community, and the future.
And thirdly, Jeff Meiners focuses on the creation of work for young children, spanning the years from birth to eight, and explores the nature of the work being created and the responses of the young children as active audience members.
This paper investigates how dance performance can challenge our usual perception and use of the performance site and as a result encourage artists to re-think the way we make dance for non-theatre sites. Discussion pertains to our relationships to the built environment and the influence of architectural practices on our experience of places. This leads to an exploration of my creative strategies for a site specific work created in 2007 for university students, at a centrally located area of their campus. The student project paved the way for my thinking in regard to my current doctoral studies which seeks to reveal how we understand built structures through our own bodily schema while at the same time the built environment informs our bodily state.
The aim of this paper is to consider cognition as a special type of movement or movement-within-movement. I argue that, by tracking the filigree effects of movement-within-movement across the boundaries within and between the body and the environment, the performative nature of our everyday actions becomes more accessible for study and transformation. It is my assertion that combining the perceptual sensitivities of artists with the experimental ingenuity of scientists makes it possible to dilate awareness of one’s own cognitive processes and thereby initiate a ‘practice of embodied cognition.’ I discuss two tasks that arise from attention to movement-within-movement: a contextualising task, emphasising the interdisciplinary efforts and first-person perspective necessary to address the explanatory gap between neuroscience and phenomenological understandings of lived experience.
The second is a coordinating task, which involves devising a practice that integrates movement-within-movement back into our engagement with the world rather than isolates cognitive processes from their context. Three of my own installation works from an exhibition I organised, the Reading Room: experiments in posture, movement and comprehension (2008) serve as examples of creative research that joins experimental structures from cognitive science and ecological psychology with sensory and experiential strategies from art. Such an approach to the study of perception and action would allow a first-person science or a practice of embodied cognition to emerge, integrating reflection and observation to optimise the performative process of making.
‘Practice makes perfect’ expresses the common misconception that repetitive practice without appropriate feed-back will deliver improvement in tasks being practised. This paper explores the implementation of a student-driven feedback mechanism and shows how functional and aesthetic understanding can be progressively enhanced through reflective practice. More efficient practice of clearly understood tasks will enhance dance training outcomes. We were looking for ways to improve teaching efficiency, effectiveness of the students’ practice in the studio and application of safe dance practices. We devised a web-based on-line format, ‘Performing Reflective Practice’, designed to augment and refine studio practice. Only perfect practice makes perfect!
Naatayasala Hun Lakorn Lek, a Thai classical performing art, is a combination of human dance and puppet performance. Despite high competition with other modernised shows in the rapid changing society of Thailand, this group of performers have undertaken many adaptations and managed to maintain the existence of this art. The puppets have been developed to be more technical, more sophisticated and special effects and interaction with audiences incorporated. Modern marketing and management systems have been introduced. The continuing existence of this art form is evidence of how Thai artists have brought in modern knowledge and technology, while maintaining the valuable meaning and beauty of ancient Thai wisdom.
3D Motion capture is a fast evolving field and recent inertial technology may expand the artistic possibilities for its use in live performance. Inertial motion capture has three attributes that make it suitable for use with live performance; it is portable, easy to use and can operate in real-time. Using four projects, this paper discusses the suitability of inertial motion capture to live performance with a particular emphasis on dance. Dance is an artistic application of human movement and motion capture is the means to record human movement as digital data. As such, dance is clearly a field in which the use of real-time motion capture is likely to become more common, particularly as projected visual effects including real-time video are already often used in dance performances. Understandably, animation generated in real-time using motion capture is not as extensive or as clean as the highly mediated animation used in movies and games, but the quality is still impressive and the ‘liveness’ of the animation has compensating features that offer new ways of communicating with an audience.
Cambodian classical dance once served strictly religious and ritualistic purposes. When the Royal University of Fine Arts was re-established after the fall of the Khmer Rouge, the emphasis shifted to one of entertainment in a time of renewed hope and expectations. The surviving masters maintained the time honoured practices and programs were implemented to support their efforts. The struggle between the two worlds deepens with the increase of international tours, the influx of tourism, and young artists beginning to experiment in contemporary dance. This paper will look at how the approach to dance education in Cambodia needs to adapt to these changes while maintaining and honouring its traditional values and heritage.
This paper explores challenges facing dance educators working with pre-service primary teachers in the New Zealand context. An analysis and comparison of two national curriculum documents raises the question—how should a pre-service teacher education program for primary teachers respond to the demands of recent curriculum reforms? This paper discusses changes in teacher education that have had an impact on dance educators’ responses to curriculum demands. It details this impact using one particular teacher education institution (the University of Waikato) and discusses show how a cohort of students in 2008 views the current dance education provision. In conclusion, it offers an outline of some ways forward for dance educators.
This essay explores a scientific perspective for studying the mechanism that the human mind and brain employs to see and perceive dance. We will focus on a specific way of seeing: aesthetic perception. In order to better understand this process, we will briefly summarise what is known about how humans watch other people’s movements, and how this system is modulated by the expertise of the observer (here, expert dancers watching familiar dance movements). We will outline how these findings lead to our current research on aesthetic perception of dance. Using modern neuroimaging techniques, we investigate the neural correlates associated with watching dance movements that are subjectively considered as being beautiful. This research is part of the emerging field of neuroaesthetics. We furthermore discuss the potential use of this research for both the scientific and the dance community, and we speculate about possible future ways of communication and collaboration between the two disciplines.
In 2008, Vera Bullen undertook an intrinsic case study that asked: How can one apply a Choreological Studies framework in the teaching of a dance history subject; and, how does the choreological studies framework contribute to a mind-body connection in student learning through its blend of theory and practice within a theory-based subject area? This paper discusses applying the Choreological Studies framework in the teaching and learning of DANCE 107: Dance History at The University of Auckland.
With reference to my solo performance Vivisection Vision: animal reflections, I discuss the key theoretical and conceptual aspects with regard to Agamben’s identification of the problem of the polis in the distinction between human and animal, to arrive at the figure of the ‘humanimal’. Initially created and performed in Japan, I identify the theo-political rhetoric concerned with the notion of ‘evil’ used in the Iraq War 2, followed by an analysis of and reflection upon this notion through the images and movement I made in response. From program notes to philosophical interpretation, what ethical potential is to be derived from this performance? How can we take responsibility?
This paper acknowledges the influences that a generation Y population brings to dance training methodologies and examines this impact in a tertiary context. Over the last 4 years, Queensland University of Technology has been modifying their curriculum for new students transitioning from the private dance studio into the prevocational university environment. An intensive training program was designed to empower the student, creating effective entry points for common understandings in the learning and teaching of dance techniques with improved and accelerated learning outcomes. This paper shares these philosophies and practices in training for life-long learning that prepare the young dancer for longevity in the industry.
Reflecting research undertaken with third year Pakeha, Maori and Pacific Island students, I discuss issues of body, gender and culture in the tertiary dance studio. Discussions, choreographic and written assignments required students to explore their embodied experiences. Rich material drawn from students’ assignments, alongside my class plans and teacher’s reflections, are woven together in the form of an auto-ethnographic narrative. This narrative allows me to feature the students as characters and to discuss their specific experiences of masculinity and femininity, cultural difference and embodiment within their varied dance genres. Through this narrative I suggest that embodied ways of knowing may potentially support students to affirm their identity through dance.
Starting from here explores the realm of interconnected experiences that exist in the study of dance as a site of emergent learning, embedded in the practice of ‘becoming’ and framed by the expanding field of everyday aesthetics. The paper explores a collection of ideas which frame the disciplinary condition, made evident through current practice in the UK. The paper explores some of the ongoing translations of dance as a discipline of study, and articulates potential future disciplinary intersections in the context of ongoing social, economic and political turbulence.
Lovingly called the Sanaleipak or the land of gold, Manipur can boast of an integrated culture of primitive elements being refined with the influence of the mainstream Indian culture through the Sanskritisation process. Apart from the characteristics of Sanskritisation perceived elsewhere in India, a special instrument of Sanskritisation in Manipur has surfaced, which is her dance tradition. The ancient traditional festival, the Laiharaoba embodies all the aspects of Meitei life. The influence of the Chaitanite Vaishnavism in the 18th century brought about many social changes but its manifestation on the then existing dance practice was probably the highest form of aesthetic expression for the people. This paper aims to identify the changes brought about in the dance practice in the Meitei life and how it has become apparent in their daily social life.
This paper sets out to inform both theory and practice for dance educators as they meet the demands of multiple dance heritages in today’s classrooms.