The Return of the Body: Performance Art and Art Education

Art Education ◽  
1999 ◽  
Vol 52 (1) ◽  
pp. 6
Author(s):  
Gaye Leigh Green
Keyword(s):  
Art Education ◽  
Performance Art ◽  
The Body

‘Man Is Ill Because He Is Badly Constructed’: Artaud, Klossowski and Deleuze in Search for the Earth Inside

2011 ◽  
Vol 5 (1) ◽  
pp. 18-34 ◽  
Author(s):  
Rick Dolphijn
Keyword(s):  
Performance Art ◽  
Holy Spirit ◽  
The Body ◽  
Deleuze And Guattari ◽  
The Earth ◽  
The Holy Spirit ◽  
Life Itself ◽  
Body Without Organs ◽  
Ways Of Thinking ◽  
And Performance

Starting with Antonin Artaud's radio play To Have Done With The Judgement Of God, this article analyses the ways in which Artaud's idea of the body without organs links up with various of his writings on the body and bodily theatre and with Deleuze and Guattari's later development of his ideas. Using Klossowski (or Klossowski's Nietzsche) to explain how the dominance of dialogue equals the dominance of God, I go on to examine how the Son (the facialised body), the Father (Language) and the Holy Spirit (Subjectification), need to be warded off in order to revitalize the body, reuniting it with ‘the earth’ it has been separated from. Artaud's writings on Balinese dancing and the Tarahumaran people pave the way for the new body to appear. Reconstructing the body through bodily practices, through religion and above all through art, as Deleuze and Guattari suggest, we are introduced not only to new ways of thinking theatre and performance art, but to life itself.

Working manifesto/a for rovers

2021 ◽  
Vol 17 (3) ◽  
pp. 407-413 ◽  
Author(s):  
Jodi A. Patterson
Keyword(s):  
Art Education ◽  
Research Field ◽  
The Body ◽  
Educational Tool ◽  
Embodied Experience ◽  
Art Practice ◽  
Arts Based Research

This arts-based exploration offers potentiality and theory to the wider arts-based research field by expanding and naming embodied experience as it relates to mechanical means of transport. The author dubs such a practice of physically moving the body between vast and varied spaces to be a roving art practice. She offers modes of potential, a preliminary list of protocols to contextualize a rover’s manifesto/a and ways to use roving as an educational tool applicable to the field of art education.

Dancing in two worlds: Experiencing n/om inside the Ju/’hoan Bushman dance

2020 ◽  
Vol 6 (1-2) ◽  
pp. 7-25
Author(s):  
Hillary Keeney ◽  
Bradford Keeney
Keyword(s):  
Conflict Resolution ◽  
Performance Art ◽  
Southern Africa ◽  
Field Research ◽  
The Body ◽  
Research Interviews ◽  
And Performance ◽  
Spiritual Expression

The Ju/’hoan Bushmen or San of southern Africa host one of the oldest surviving dance forms. Openly conducted in public for the whole community, the dance serves as the primary locus for healing, conflict resolution, wellbeing, rejuvenation, social reunion, spiritual expression and performance art. Central to the dance is awakening n/om, what the Bushmen regard as a vibrational force that resides in the body of the strongest dancers. Often described as an energy or power that makes the body shake, n/om is more accurately a blend of somatic vibration, heightened emotion and sacred song. N/om is also the source of a dancer’s capacity to heal sickness in themselves and others. The following composite account of an insider’s perspective of the n/om dance is based on decades of field research interviews with Ju/’hoan n/om dancers and our own experience as accepted members of several Bushman dance communities. We focus on the experience of n/om in the body and how this enables the dancer to dance between two worlds – that of everyday knowing and the ineffable spiritual realm or what the Ju/’hoansi call second creation and first creation, respectively.

scholarly journals Westerncentric in the Design of Costumes in Javanese Dance Opera in the XVIII Century

2021 ◽  
Vol 8 (1) ◽  
pp. 82
Author(s):  
R. M. Pramutomo ◽  
Riva Amelia
Keyword(s):  
Performance Art ◽  
Performing Arts ◽  
18Th Century ◽  
Scientific Basis ◽  
The Body ◽  
Design Model ◽  
Artistic Expression ◽  
Fashion Design ◽  
New Creation ◽  
Historical Methods

The 18th century Javanese performance art has given an artistic expression of the aristocrats known as the Langendriya genre. Langendriya's performing arts are the creativity of the Yogyakarta royal aristocrats who are recognized as the prototype of Javanese opera art. The creator of the Langendriya opera is Prince of Mangkubumi, the younger brother of Sultan Hamengku Buwana VII, the seventh king of the Yogyakarta kingdom. In the process of creation, Prince of Mangkubumi was assisted by his two sons, KRT. Kertanegara and KRT. Wiraguna. Through KRT Wiraguna figure Langendriya opera fashion design gets a European touch by combining Western designs and Javanese designs. This article wants to reveal the uniqueness of the Western design model applied to the Javanese designs created by KRT Wiraguna. As a new creation, the combination of Western and Javanese works by KRT Wiraguna became phenomenal in the 18th century. This article is written using historical methods combined with ethnochoreological methods as the scientific basis for opera drama. Therefore, ethnocoreological analysis will be useful in the application of design in the form of the body of the dance opera that is presented.

scholarly journals Performance Art After The 1990s

2020 ◽  
Vol 10 (1) ◽  
pp. 74-87
Author(s):  
Liviu Nedelcu
Keyword(s):  
North America ◽  
Contemporary Art ◽  
Performance Art ◽  
Performing Arts ◽  
Art Museums ◽  
The Body ◽  
International Exhibitions ◽  
History Of

AbstractPerformance art has become over-represented in contemporary art museums, at art fairs, at major international exhibitions. In this context, I have proposed a brief overview of the history of performance in North America and Europe, to identify conceptual variations or continuities in post-1989 performing arts practices. What kind of queries caused the resort to the body? Which of the criticisms are still current and which new issues are formulated in the present geopolitical framework or in particular socio-political contexts? In order to answer these questions, I’ve selected a number of national and international male/ female artists whose practices illustrate the main directions in today’s performance art.

scholarly journals Presença e morte: o carácter efémero das artes do corpo.

2021 ◽  
Author(s):  
Pedro Bessa ◽  
Mariana Assunção Quintes dos Santos
Keyword(s):  
Performance Art ◽  
Performing Arts ◽  
Fine Arts ◽  
Classical System ◽  
Physical Object ◽  
The Body ◽  
Contemporary Dance ◽  
The Arts ◽  
Technical Reproducibility ◽  
And Performance

This paper aims to reflect on a hypothetical threshold-space between contemporary dance and performance art, questioning at the same time the prevalence of too strict a boundary between them. To this end, a range of works involving hybridization of artistic languages ​​were selected and analyzed, from Signals (1970) by American dancer and choreographer Merce Cunningham to Café Müller (1978) by German choreographer Pina Bausch. Both dance and performance art are ephemeral arts or, according to the classical system, arts of time as opposed to the arts of space - painting, sculpture and architecture. They have also been called allographic arts, performative arts or, perhaps more specifically, arts of the body (Ribeiro, 1997). Unlike traditional fine arts, which materialize in a physical object other than the body, unlike video-art and cinema, arts without originals, mediated by the process of “technical reproducibility” (Benjamin, 1992), performative arts require the presence of a human body - and the duration of the present - as a fundamental instrument for their realization. In that sense, the paper also focuses on the ephemerality factor associated with dance and performing arts, and the consequent devaluation these have suffered vis-à-vis other artistic practices, considered to be academic and socially more significant.

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