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.
Nerida Matthaei, Australian dancer, choreographer and artistic director of Phluxus2 Dance Collective shares her experience of the World Dance Alliance Korea Choreolab and conference. Nerida received the Chin Lin Award for the best young scholar for her Pecha Kucha presentation at theWorld Dance Alliance Asia Pacific conference in Korea.
Fraser writes of having arrived at an understanding of improvisation that, rather than being about moving, is about ‘attention’. Instead of using an (imagined) objective view of a body to generate or create interesting or new movements, he employs a kind of noticing from the inside to move with his body, to cooperate with it as it fluctuates and changes. This noticing is full of ‘gaps’ and his attention is drawn to certain physical sites only to be lost as the noticing of a particular area swells, is dispersed or is replaced by a more immediate physical concern.
This article reflects on a dance improvisation project in which the foundational relationship of the Mover Witness Dyad (MWD), the private exchange between mover and witness (and more commonly known as Authentic Movement) became an ethical and physical paradigm for an improvised performance. The untitled performance (danced by Olivia Millard, Peter Fraser, Jason Marchant, Sophia Cowen and myself) took place over three nights in Melbourne in November 2014. It was specifically informed by the experiences, observations and questions drawn from an extensive studio practice of the MWD by myself and the other dancers. The practice of the MWD is a therapeutic relationship between contemplative mover and attentive witness. Falling within the wider field of Dance Movement Therapy (DMT), the MWD has uses as a therapeutic aid, in personal development and also as a context for exploring dance improvisation.
Olivia Millard explores the use of scores or verbal propositions in improvising dance. Examining the use of scores in her improvisation practice, she discusses what scores might be and might do and how they relate to the real time composition of dance in the present of its making. To help explore these ideas I refer to the theory of Nelson Goodman and discuss the use of scores by other dance practitioners including Steve Paxton, Yvonne Meier and Anna Halprin.
Anne Scott Wilson, a former professional dancer, discusses how she came to understand embodied processes in her visual art practice using photography.
In this paper, Dianne demonstrates the intersections of her research/practice, mixing live and screen bodies, poetic and academic writing. She is posing an improvisational approach to screendance and an embodied approach to writing as possibilities for seeing, imagining and being in the dancing, researching body. She is interrogating her own embodied knowledge as hybrid site within a live screendance body.
This article looks at a particular moment in the practice of improvisation when the individual is still attending to unique or specific needs. In time, it comes before preparations that involve others, or the doing of something that is organised into an ‘exercise’. A practice rarely begins at zero moment with a group of improvisers arriving together with everyone ready to start. An allowance is made for a transition, and what the improviser chooses to do during this time is left up to them. This is the moment I am calling–‘warming up’ or ‘to warm up’. Taken literally the expression ‘to warm up’ indicates actions a dance improviser can do to prepare their body to improvise; a body-based preparation to attend to particular bodily needs in order to be physically ready to do dance improvisation.
Australian choreographer Lewis Major was one of eight choreographers selected to participate in the International Young Choreographer Project (IYCP) held in southern Taiwan in July/August this year.
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.