Choreographic Process and Skinner Releasing Technique

2020 ◽  
Author(s):  
Polly Hudson
Keyword(s):  
Choreographic Process

Walking in a cage: Attuning to atmospheric intensities through corporeality

2021 ◽  
Vol 12 (1) ◽  
pp. 47-66 ◽  
Author(s):  
Kirsi Heimonen
Keyword(s):  
Emmanuel Levinas ◽  
Mental Hospital ◽  
Research Study ◽  
Weather Conditions ◽  
Phenomenological Approach ◽  
Multidisciplinary Research ◽  
Research Project ◽  
Mental Hospitals ◽  
Choreographic Process ◽  
Artistic Research

This article discusses an artistic act: walking for seven sequential days inside a cage made of chicken wire in the grounds of a former mental hospital in Lapinlahti in Helsinki, Finland and its potential to offer insights into past events in mental hospitals through the notions of corporeal attunement and atmosphere. The idea for Walking Cage was prompted by a word in the data, which included memories by patients and non-patients of Finnish mental hospitals gathered in connection with a multidisciplinary research project. Passers-by, occasional co-walkers, weather conditions and the grounds of the former mental hospital partially formed and deformed the atmospheric qualities of the artistic research event. These qualities were experienced through corporeal attuning influenced by the Skinner Releasing Technique, a somatic movement method. The article proposes a singular way of approaching the possibilities of corporeal openness and sensibility in a choreographic process in which, illuminated by, among others, the notions of threshold and limit, one becomes a stranger to oneself by surrendering oneself to atmospheric intensities. This artistic research study adopts a phenomenological approach, drawing mainly on the ideas of Jean-Luc Nancy, Mikel Dufrenne and Emmanuel Levinas.

Collaborative Ethics: Choreographing within the system and beyond

2020 ◽  
Vol 10 (1) ◽  
pp. 9-24
Author(s):  
AGA Collaborative
Keyword(s):  
Collaborative Process ◽  
Individual Achievement ◽  
Choreographic Process ◽  
The Individual

Examining our collaborative choreographic process and embodied investigation of accomplishment, this article argues that our ongoing performance-making practice offers new insights about a systematized, continual demand for productivity that prioritizes the individual. Focusing on our recent trio of dances, choreographed from 2015 to the present, we propose that our collaborative process and relationship intervene on neo-liberal conditioning within academia and provide a different approach to shared institutional experiences. Our insistence on co-authorship and cooperation, both onstage and on the page, creates an undercurrent of resistance to dominating structures of scholarship and hyper-valuing of individual achievement.

De-centring the choreographer: Historically inspired interruptions/disruptions in an exploration between sculpture and movement1

2019 ◽  
Vol 10 (2) ◽  
pp. 269-291
Author(s):  
Kaustavi Sarkar
Keyword(s):  
Jacques Derrida ◽  
Historical Narratives ◽  
Eastern India ◽  
Creative Potential ◽  
Classical Dance ◽  
Choreographic Process ◽  
Indian Classical Dance ◽  
The Temple

Abstract This article reflects the process of choreographic making where the choreographer actively decentres her choreographic choices by collaborating with participating dancers and historical inspirations. It explores the creative potential of archives ‐ a set of temple-sculptures found in eastern India called the Alasa-Kanyas (meaning indolent maidens) ‐ as past evidence of historically marginalized bodies of the temple-dancers, also known as Maharis, in the field of the eastern Indian classical dance form called Odissi. Alasa-Kanya: Sculpture in Odissi (AK), a Practice as Research (PaR) experiment, imbricates the historical and the theoretical in choreographic practice, re-inscribing the archival traces of the Mahari as found in the sculptural traces of the Alasa-Kanyas by an inculcated deconstruction of Odissi dance vocabulary. According to philosopher Jacques Derrida, deconstruction destabilizes the hierarchy between the centres and margins of a given area of knowledge. This experiment questions the hierarchical construction of Odissi dance as technically elevated than Mahari performance. Theoretical deconstruction is complemented by an embodied investigation via structured studio improvisations using the Creative Articulations Process (CAP). Choreographic process and analysis of AK deconstructs the technicity in Odissi movement via engaging with the Alasa-Kanyas or the sculptural archives of the Maharis in Indian temples. In this way, the once marginalized interrupts the dominant historical narratives and disrupts the patriarchal construction of a male centre, in turn questioning the agency of the choreographer in the choreographic process.

scholarly journals Gadamerian Hermeneutics in An Artistic Process of Retno Maruti And Bulantrisna Djelantik’s Bedoyo-Legong Calonarang

2017 ◽  
Vol 6 (11) ◽  
pp. 01
Author(s):  
Riana Diah Sitharesmi
Keyword(s):  
Cultural Identity ◽  
Contemporary Society ◽  
Artistic Process ◽  
Art Works ◽  
Fusion Of Horizons ◽  
Choreographic Process ◽  
Indigenous Wisdom

<p class="Default">The research is to investigate the existence of <em>Bedoyo-Legong Calonarang</em>,<em> </em>as a dance piece, which its creation based to reinterpretation towards tradition and indigenous wisdom.  The dance brings Indonesian classical idioms and mythological sphere into a dynamic contemporary.  The dance attempts to avoid either the clichés or<em> </em>destructive forms.  It is imperatively seeking the ontology of <em>Bedoyo-Legong Calonarang </em>through investigating hermeneutical aspects in the process of creating, conceptual sphere, and spectacle representation.  The juxtaposition, in which the dance is presented, is a unique way to accommodate the process of inter-subjective understanding respectively amongst choreographers, aesthetical values of Java and Bali, the myth of <em>Calonarang</em>, and today’s reality.</p><p class="Default"> </p><p class="Default">A philosophical qualitative is the foreground to investigate a new understanding about artworks through Hans-Georg Gadamer’s hermeneutics. Such perspective provides the interwoven understanding towards contemporary (of art-works), the critique of aesthetics, revitalizing the tradition, and dialogical pattern inside the effort of the fusion of horizons. Gadamerian hermeneutics is confidentially constructed through identifying choreographic concept and aesthetic codes from the analysis of dance structure and representation. <em>Bedoyo-Legong Calonarang</em> achieves its innovative, artistic ontological existence and its spiritual field, in the middle of Indonesian contemporary society. Its concept assertively suggests Indonesian choreography to accommodate contemporary innovation, while it also conveys its cultural identity into broader implementation of multicultural state.</p><p class="Default"> </p><p>Keywords : Gadamerian hermeneutics; choreographic process; dialogical sphere; The <em>Bedoyo-Legong Calonarang.</em></p>

scholarly journals The Influence of Contemporary Dance, Used in the Choreographic Process of Chinese Mongolian dance

2020 ◽  
Vol 4 (8) ◽  
Author(s):  
Xiaoyu Mu
Keyword(s):  
Contemporary Dance ◽  
Folk Dance ◽  
Choreographic Process

China is a country that has 55 nationalities. The Chinese folk dance is a dance that also has 55 varieties of folk dances. Chinese Mongolian dance is one of those folk dances. The Chinese Mongolian dance mentioned in this paper can also be interpreted as an academically trained Chinese Mongolian dance.

scholarly journals Screendance for Adult Dancers:

10.29173/mm12 ◽  
2021 ◽  
pp. 61-75
Author(s):  
Emily Noton
Keyword(s):  
Creative Process ◽  
Technology Use ◽  
Contemporary Dance ◽  
Live Performance ◽  
Limited Budget ◽  
Art Form ◽  
Field Notes ◽  
Choreographic Process

The purpose of this research creation project was to engage in and analyze a process of creating a digital contemporary dance composition. To do this, the researcher completed a choreographic process with a video component for a live performance at a theatre. Observational field notes were collected and analyzed through an interpretive lens to identify the unique challenges that arose during this process. The findings provide insights into the choreographic process, the challenges of navigating technology use within a limited budget, and the uncertainty inherent in a creative process. Furthermore, the project sought to provide an alternative to the weekly technique class in order to further engage adults and the audience in the art form.  

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