Research papers from our conferences and journals provide an in-depth look at dance topics. Many are peer reviewed.
Nicole Harbonnier, Geneviève Dussault and Catherine Ferri's research aims to better identify the processes involved in movement observation-analysis. The participants in the field study are recognized experts highly trained in one of two (or both of these) approaches to movement observation: either in Laban Movement Analysis (LMA) or in Functional Analysis of the Dancing Body (AFCMD). The authors highlight the elements of convergence and divergence which characterize these two perspectives by drawing on Activity Analysis epistemology. Activity Analysis is also seen to facilitate the transition from a professionally circumscribed lexicon to semantics of shared intelligibility. Explicitation interview methodology, a psycho-phenomenological approach, is used in order to give non-directive support to the experts in their introspective study of the process of observation and analysis. We put forward the hypothesis that the encounter between these two approaches can lead, over time, to a greater articulation between expressive and functional components of movement analysis and, by bringing to bear the results of recent studies in human movement, will contribute to bringing the Laban-based conceptual framework into the twenty-first century.
Many forms of formative feedback are used in dance training to refine the dancer’s spatial and kinaesthetic awareness in order that the dancer’s sensorimotor intentions and observable danced outcomes might converge. This paper documents the use of smartphones to record and playback movement sequences in ballet and contemporary technique classes. Peers in pairs took turns filming one another and then analysing the playback. This provided immediate visual feedback of the movement sequence as performed by each dancer. This immediacy facilitated the dancer’s capacity to associate what they felt as they were dancing with what they looked like during the dance. The often-dissonant realities of self-perception and perception by others were thus guided towards harmony, generating improved performance and knowledge relating to dance technique. An approach is offered for potential development of peer review activities to support summative progressive assessment in dance technique training.
Anna Teresa de Keersmaeker has published three different volumes of A Choreographer’s Score in which she explains her choreographic processes. Each of the volumes contains interviews and parts of the choreography which are recorded on DVDs and published in writing together with the scores. The need for those publications might have been triggered by Beyonce’s use of de Keersmaeker’s choreography in her video Countdown and by a general need to create a legacy for her work. The question that such a publication poses is: what is documented here? Is it based on an idea of the work or a choreographic process or is it an instruction manual for performance? How does de Keersmaeker’s attempt relate to the archive as a place of reinforcing patriarchal law as stated by Jacques Derrida or is it rather an open approach to dance and performance as an art form, able to escape that law as Rebecca Schneider has discussed?
Paulo Freire and John Dewey are helping the youth of Cabelo Seco in the southern reaches of the Amazon to reclaim their violated community. Freire (1921–1997) and Dewey (1859–1952) remain alive in Cabelo Seco, identified as one of Brazil’s most dangerous communities. After describing the context of Cabelo Seco, the local community arts projects and the philosophies driving this work, I examine meanings of community dance in Cabelo Seco. Utilising a constructivist methodology that values dialogic interaction to build shared understandings, interviews and observations provide insights into diverse ways that people experience, value and make meaning from dance in community contexts. Dewey, Freire, Eisner, Boal, Zequinha and other arts educators are ever present in Cabelo Seco; understanding a lineage of influence helps to examine current practices and envision future projects. This paper explores the shifting and emerging role of dance in this community, focusing on how dance is helping to reclaim it.
The last decades have revealed how dance artists can recast the body in dance through multiple points of view, genres and styles. The outcomes offer a challenge to the means of engagement with performances that mine from multiple sources and inspirations. This paper proposes that the means by which to engage with and understand the dramaturgical reasoning in these contemporary works is through a decentred perspective. In considering the contemporaneity (Agamben, 2007) of current dance practice, together with cultural, scientific and philosophical inquiries into order from chaos or complexity theory, the paper invokes Derrida’s use of the term decentred—used to reposition the dynamic aspects of cultural structures, with Deleuze’s suggestion of rhizomatic thinking—which goes even further in delineating structure—to describe a somewhat idealistic proposition that may enable contradictory practices within dance to inhabit the same philosophical space.
Several UK dancers with physical impairments have been developing careers as dance makers, leaders and performers but there remain many barriers for dancers with disabilities to enter training and then the dance profession. Each has a story about the experience of being accepted, or not, within the ‘mainstream’ contemporary dance environment. This paper examines the experience of artists who are contributing to a research project that brings together experts in dance and law to discover more about what would better enable dancers with disabilities to play a full role within the cultural landscape. Observations based on witnessing rehearsals together with analysing the discourse that emerges from the artists’ work shows the potential impact of this work on legal frameworks and the dominant aesthetic frameworks that take root in professional dance practice. The paper brings fresh insights to questions about how we critically engage with and value disabled dance.
‘Globalisation has led to the global export of salsa as a leisure pursuit’ (Skinner, 2007, p. 495), with salsa classes, clubs and congresses taking place ‘from Gothenberg (Sweden) to Sacramento’ (Skinner, 2007, p. 486). However, as Hannerz (1996) argues, cultural life continues to be heterogeneous despite the impact of globalisation, and with particular reference to social salsa dancing, ‘local particularities and individual reactions’ (Skinner, 2007, p. 485) give particular distinctions to ‘salsa communities’. Recent ethnographic case studies have interrogated the salsa scenes in London (Urquía, 2005), Los Angeles (García, 2013) and Belfast (Skinner, 2008). This paper interrogates the distinct nature of the ‘salsa community’ in the heart of the city of Glasgow, Scotland. Erving Goffman’s (1959/1990) model of dramaturgy is utilised to frame qualitative data gathered through observations and interviews, to ask: How may this ‘salsa community’, a product of globalisation, be considered as having a distinct identity?
Traditional Indian dances with highly codified performance techniques are often understood as immutable within a world where fluidity and flux constantly challenge our notions of stable identities and unchanging traditions. Why is it then that in spite of the severely disciplining nature of dance training, dancers do not simply repeat what they are conditioned to do? If agency is dependent upon social structures and power matrices, why does innovation, deviation, resistance and confrontation occur changing scripts and evolving new meanings of what is danced within tradition? This paper accesses traditional Indian dance pedagogies through the kinetic sensorium, highlighting the bodily experience that the traditional dance forms provide. My own training in Odissi, challenges the notion of creativity as a product. It leads to an understanding of creativity and the role that discipline plays in its expression which is culture specific, yet may find universal applicability.
Right up until the 1960s, classical dance occupied a monopolistic position in France. In the mid-1970s, we could observe a repositioning of dance policy through the recognition of contemporary dance as an area of specific public intervention. This policy, pivoting on professional arts subsidy, also included measures in relation to distribution and teaching. It led to the establishment of an artistic world distinct from classical dance, and the existence of rich and diverse performance choices. In the 1980s and 1990s, scheduling and the contemporary dance public expanded significantly, as did companies’ offerings, which increased in equivalent proportions. This paper therefore meets two main objectives: an analysis on the means deployed to develop contemporary dance audience statistics, and presentation of a report on these actions; demonstrating both their tangible results and the stumbling blocks encountered.
Universities are not individually unique. They stand next to each other in the various hierarchies of excellence that are underpinned by commonalities of the various statures that they accrue in learning, teaching, research and a host of cultural and social impacts as are measured regionally, nationally and internationally. It is as we move toward closer international ties with our World Dance Alliance colleagues in higher education who work in dance that we look to our own ways and means with a view to revealing what we, in the UK, do in our delivery of dance to higher education students, and some of the constraints within which we work. With this in hand as a reference, we might then seek to discuss with our colleagues in other countries the many ways and means in which the similarities and differences have emerged from our various contexts as we all work towards inspiring the next generation of dancing graduates.
‘Site-specificity’ is typically aligned to those practices of visual art where their meanings are inextricable to site; however, its theorisation has been elaborated through a defense of disciplinary boundaries. In One Place After Another, Miwon Kwon begins by referring to site-specific art as: ‘Site-determined, site-orientated, site-referenced, site-conscious, site-related’. Yet site-specificity in relation to site-performance, would I propose, be better served by negotiating the intersections of body and site. Site-specificity and indeterminacy will be considered through what happens between site and performance: disruption, undetermined and permeability. Detailing a number of projects from my own practice including: White Trash 2006,Toulouse, France; En Residencia 2009 Gijón, Spain and Patrwn 2010 Minde, Portugal, I will highlight the indeterminacies of site and boundary, performance and spectator through the practice of site-specific performance.
The notion of “contemporary” is based on dialectical tensions between: actuality/ virtuality, presence/representation, narrativity/performativity, action/reflexivity, or even vocalised text/performed gesture. A “contemporary” choreographic work, where syn-chrony and ana-chrony intensely interplay, may be defined as a process of temporal (de)sedimentation, which consciously associates several co-present temporalities: measured time and felt duration, eternal flow and occasional moment, and more traditionally the essential and triadic tension of past—present—future. Thus danced contemporary time may be figured as a spiral; intrinsically multi-versal (and not uni-versal), based on a cyclic repetition, but swerving in a layered linear progression. This perspective of “contemporary” is explored here through specific effects of presence, actuality, performativity, and reflexivity, in four works: Maguy Marin’s Description d’un combat (2009), François Chaignaud and Marie-Caroline Hominal ‘s Duchesses (2009), Carlotta Ikeda et Pascal Quignard’s Medea (2012), and Olivier Dubois’ Tragédie (2013).
It is not very often that monks are spotted dancing in costumes. This paper is as much about the rarity of such a performance as it is the sanctity of ’cham (also referred to as Tibetan Sacred Dance) that has been in existence for over a thousand years. Too little is known about the origin of the dances, the meaning and significance of them, not to mention how they have come to survive over the centuries and their evolution as a form of ritual. My research project focuses on the ’cham performance of the Seventeenth Gyalwang Karmapa, a highly revered reincarnate lama of seventeen times, who currently resides in India as a refugee. Through fieldwork observations and interviews, I hope to provide a rare insight into the ancient all-male ritual that has withstood the erosion of time and space.
In this paper, Romain Bigé examines the way contact improvisation implies a redefinition of dancers’ subjective spatiality when they enter in contact. Bigé draws on his personal experience as a contact improviser, but also on the writings of Steve Paxton, who initiated the form in 1972, and on philosophical writings, notably phenomenology. He argues that contact improvisation is characterized by a specific sensory cartography, based on the haptical sense. This postural investment in touch produces an overlapping of the dancers’ kinetic spheres, whereby the possibilities of action become co-defined, in particular in the movements of falling and micro-falls that they share. The relationship to the surroundings is thus constructed through this commonality, making space an invitation for falling.
History is not often regarded as a location to search for practice-based artistic researchers, since its relatively recent academic acceptance designates this activity as ‘new’ or of a pioneering nature leaping forward from the confines of history. However, the space devoted to Picasso’s 1957 ruminations upon or fierce dialogues with Diego Velasquez’s Las Meninas (1656) at the Museu Picasso, Barcelona, presented evidence of an artist probing into thinking-in-practice. These paintings demonstrate how an artist pursues knowledge about representation that immediately interconnected with memories of Foucault’s (1970) play, in the introduction to Les mots et des choses, of the very same Velasquez art work. In using a classical art work as the touchstone for investigation, both researchers trusted in painterly vision as a viable mode of knowledge. This interrelationship between excavating what came before (Foucault) with what the future may hold (Picasso) is reflected in dance scholarship and its processes and choreographies.
This paper proposes a challenge to the status of dance in writing practices, where historical definitions of dance writing found within modern western dance traditions of the early twentieth century might question dance’s dependency on writing as that which serves to ensure its permanence through inscription. Significantly, John Martin’s proposition of metakinesis will establish the grounds for an interpretative approach to viewing dance performance that offers a physiological rather than a verbal/written descriptive response. Drawing from debates surrounding ephemera and inscription put forward by Andre Lepecki (2006) and Susan Foster (1996), as also the author’s own phenomenological approach to writing dance practices, the writing will consider how dance writing practices have evolved over the past three decades to embrace the often hidden processes found within their own production methods.
The evolution of dance education over the last 100 years can be clearly contextualised by examining the developing technological lineage from Gray’s Anatomy to Dance Forms 2.0, highlighting the transformation of how we record and represent the human body and the physical act of dance. Column symbols and two-dimensional line drawings have metamorphosed into interactive anatomy software, and tele-immersion has created an entirely new way of being ‘present’. This paper summarises the capability and subsequent benefits of a new tool for recording human movement, the Physical Data Capture Lab. Movement is captured via infra-red depth mapping and gravitational pressure sensing, providing the physical data necessary for the creation of a personalised musculo-skeletal avatar. This personalisation is accomplished by digitally embedding the avatar with the measured physical properties of the subject dancer. Movement recorded in this manner may then be studied in detail, allowing for a more comprehensive examination of the internal geometry, architecture and physics that coalesce to become the external art of dance.
Efforts to maintain and protect the environment have recently gained notable attention. Scientists, philosophers, educators and artists, among many others, have initiated positive actions that seek to change the ways that humans relate to the ecosystem. As well, members within the dance community have inadvertently established new movement values that seek to promote and encourage ecological balance. New ideologies in environmental ethics support a non-anthropocentric value theory that recognises the intrinsic value of all species to the function of an ecosystem. In this paper I show that environmental dance can be an artistic experience in nature that upholds contemporary environmental ethical values. I evaluate past personal choreographic choices, examine movers who explore the concept of ecocentrism in somatic practice, and present a possible ideology for environmental dance artists rooted in the act of ‘listening’. The role of aesthetics as a philosophy for art and nature and how it applies to social art making and environmental ethics is explored.
The focus of this article is an initial investigation of general pedagogical approaches of local yoga teachers and their specific insights in working with dancers. I engage with broad themes of how we ‘contemporise the past and envisage the future’ as I explore the pedagogical challenges and transformations offered from learning about yoga pedagogy. Literature on yoga and dance pedagogy that focuses on experiential and embodied ways of knowing provides a broader context from which to understand my own and local teachers’ practices. Framed within feminist and phenomenological perspectives, I draw on the qualitative research method of in-depth interviewing in order to delve into yoga teacher’s lived experiences in Aotearoa New Zealand. I reflect on these interview findings to offer a consideration of pedagogical practices of yoga teachers in relation to dancers.
The arguments presented in this paper, offer a reminder of ways we might practice research as a mindful endeavor and in the process, seek new comprehension of our world. Sparked by my annual reconsideration of what is important to share as a teacher, I visit ideas that we might underpin nimble thinking and so hone significant change. In this way, the paper offers, a gentle disturbance to the streamlining and consolidation of practice-as-research in the academy. The discussion champions practice that reveals ideas, without rushing to answers. To recognise the opportunities afforded by this place of not knowing, there is need to recognise that our search is to provisionally affirm, rather than finally confirm, order. In grappling with ways to guide researchers, I argue that understanding the consequences of ‘how’ you engage with the potential of knowledge is the significant aspect of practice-as-research that we must protect.