Tandem Dances

Tandem Dances: Choreographing Immersive Performance proposes dance and choreography as frames through which to examine immersive theatre, more broadly known as immersive performance. The idea of tandemness—suggesting motion that is achieved by two bodies working together and acting in conjunction with one another—is critical throughout the book. Author Julia M. Ritter persuasively argues that practitioners of immersive productions deploy choreography as a structural mechanism to mobilize the bodies of cast and audience members to perform together. Furthermore, choreography is contextualized as an effective tool for facilitating audience participation towards immersion as an affect. Ritter’s close choreographic analysis of immersive productions, along with unique insights from choreographers, directors, performers, and spectators enlivens discourse across dramaturgy, kinesthesia, affect, and co-authorship. By foregrounding the choreographic in order to examine its specific impact on the evolution of immersive theater, Tandem Dances explores choreography as a discursive domain that is fundamentally related to creative practice, agendas of power and control, and concomitant issues of freedom and agency.

Introduction

The Introduction provides an overview of the theoretical approach taken in the book, namely to consider movement in general and training regimens for dancers in particular as forms of cultural production that disseminate both an aesthetics and a politics. It discusses methodologies, including ethnographic and choreographic analysis, oral history, and critical contemplation of the author’s own extensive experience with Somatics regimens. The author argues, in part based on their personal experience, that through the invocation of metaphors such as the “natural body,” Somatics had the effect of both excluding and repressing some aspects of identity while liberating others.

Flexible Bodies

Flexible Bodies charts the emergence of British South Asian dance as a distinctive dance genre. Analyzing dance works, dance films, rehearsals, workshops, and touring alongside immigration policy, arts funding initiatives, citizenship discourse, and global economic conditions, author Anusha Kedhar traces shifts in British South Asian dance from 1990s Cool Britannia multiculturalism to fractious race relations in the wake of the July 7, 2005, terrorist attacks to economic fallout from the 2008 global financial crisis, and, finally, to anti-immigrant rhetoric leading up to the Brexit referendum in 2016. Drawing on more than a decade of ethnographic fieldwork and interviews with dancers, in-depth choreographic analysis of major dance works, and the author’s own lived experiences as a professional dancer in London, Flexible Bodies tells the story of British South Asian dancers and the creative ways in which they negotiate the demands of neoliberal, multicultural dance markets through an array of flexible bodily practices, including agility, versatility, mobility, speed, and risk-taking. Attending to pain, injury, and other restrictions on movement, it also reveals the bodily limits of flexibility. Theorizing flexibility as material and metaphor, the book argues that flexibility is both a tool of labor exploitation and a bodily tactic that British South Asian dancers exploit to navigate volatile economic and political conditions. With its unique focus on the everyday aspects of dancing and dance-making Flexible Bodies honors the lives and labor of dancers and their contributions to a distinct and dynamic sector of British dance.

Choreographing in Color

In Choreographing in Color, J. Lorenzo Perillo investigates the development of Filipino popular dance and performance since the late 20th century. Drawing from nearly two decades of ethnography, choreographic analysis, and community engagement with artists, choreographers, and organizers, Perillo asserts the importance in shifting attention away from the predominant Philippine neoliberal and US imperialist emphasis on Filipinos as superb mimics, heroic migrants, model minorities, and natural dancers, and instead asks: what does it mean for Filipinos to navigate the violent forces of empire and neoliberalism with street dance and hip-hop? Employing critical race, feminist, and performance studies, Perillo analyzes the conditions of possibility that gave rise to Filipino dance phenomena across viral, migrant, theatrical, competitive, and diplomatic performance in the Philippines and diaspora. Advocating for serious engagements with the dancing body, Perillo rethinks a staple of hip-hop’s regulation, the “euphemism,” as a mode of social critique for understanding how folks have engaged with both racial histories of colonialism and gendered labor migration. Figures of euphemism—the zombie, hero, robot, and judge—constitute a way of seeing Filipino hip-hop as contiguous with a multi-racial repertoire of imperial crossing, thus uncovering the ways Black dance intersects Filipino racialization and reframing the ongoing, contested underdog relationship between Filipinos and US global power.

ANALISIS KOREOGRAFI TARI KETIMANG BURONG SUKU SAWANG

Tari Ketimang Burong adalah sebuah pertunjukan tari yang lahir dari masyarakat suku Sawang Belitung. Tari ini adalah tari kelompok yang ditarikan oleh 6 orang penari laki-laki dan 6 orang penari perempuan secara berpasangan. Dilihat dari gerak, pola lantai, dan syair yang dilantunkan oleh para penyanyi memberikan gambaran mengenai kehidupan keseharian masyarakat suku Sawang yang dahulunya adalah suku yang menghabiskan hidupnya di lautan lepas. Pemahaman analisis koreografi terdiri dari prinsip-prinsip kebentukan yang meliputi: keutuhan, variasi, repetisi, transisi, rangkaian, perbandingan dan klimaks.Dengan pendekatan Koreografi yang meliputi aspek bentuk, teknik, dan isi, serta menganalisis gerak tari dari aspek tenaga, ruang, dan waktu. Ketiga konsep tersebut merupakan satu kesatuan dalam bentuk tari yang tidak dipisahkan dan merupakan satu kesatuan bentuk tari yang utuh. Tari Ketimang Burong suku Sawang merupakan suatu tari hiburan dengan bentuk koreografi tari kelompok. Koreografi dalam tari ini memiliki motif gerak yang sangat sederhana, setiap motif geraknya dilakukan berulang-ulang. Dari kesederhanan yang terdapat dalam tari Ketimang Burong menyimpan berbagai makna disetiap hal yang terkait dengan tari tersebut, diantaranya tema, gerak, kostum, pola lantai, dan syair yang menjadi aspek penting dalam tari Ketimang Burong. This researchment analyze choreography of Ketimang Burong as a dance that comes from Sawang’s People of Belitung. This dance is a group dance that was danced by 6 male dancers and 6 female dancers in pairs. This dance is a dance that’s very closely related to daily life of the Sawang’s people. Judging from the motion, pattern of the floor, and the lyrics that sung by the singer provide an overview of the tribe of Sawang people who were former as the tribe who spend their life in the sea. This Researchment uses choreography appoarch, covering the aspect of form, technique, and content. And analyze the motion of dance from the aspect of energy, space, and time. The three concepts are unity in the form of dance that is not separated and is a unified whole dance form. The understanding of choreographic analysis consists of the principles of deformity which include : wholeness, variety, repetition, transition, sequence, comparison and climax. Ketimang Burong dance of Sawang’s people is a entertainment dance where the form of choreography is a group dance. Choreography in this dance has a very simply motif, it is like every single of motion motif is done repeatedly. From the simplicity of Ketimang Burong dance, there are various meaning in ever thing related to the dance among theme are theme, motion, costume, floor pattern, and poem which become important aspect in Ketimang Burong dance.

ANALISIS KOREOGRAFI TARI KETIMANG BURONG SUKU SAWANG

Tari Ketimang Burong adalah sebuah pertunjukan tari yang lahir dari masyarakat suku Sawang Belitung. Tari ini adalah tari kelompok yang ditarikan oleh 6 orang penari laki-laki dan 6 orang penari perempuan secara berpasangan. Dilihat dari gerak, pola lantai, dan syair yang dilantunkan oleh para penyanyi memberikan gambaran mengenai kehidupan keseharian masyarakat suku Sawang yang dahulunya adalah suku yang menghabiskan hidupnya di lautan lepas. Pemahaman analisis koreografi terdiri dari prinsip-prinsip kebentukan yang meliputi: keutuhan, variasi, repetisi, transisi, rangkaian, perbandingan dan klimaks.Dengan pendekatan Koreografi yang meliputi aspek bentuk, teknik, dan isi, serta menganalisis gerak tari dari aspek tenaga, ruang, dan waktu. Ketiga konsep tersebut merupakan satu kesatuan dalam bentuk tari yang tidak dipisahkan dan merupakan satu kesatuan bentuk tari yang utuh. Tari Ketimang Burong suku Sawang merupakan suatu tari hiburan dengan bentuk koreografi tari kelompok. Koreografi dalam tari ini memiliki motif gerak yang sangat sederhana, setiap motif geraknya dilakukan berulang-ulang. Dari kesederhanan yang terdapat dalam tari Ketimang Burong menyimpan berbagai makna disetiap hal yang terkait dengan tari tersebut, diantaranya tema, gerak, kostum, pola lantai, dan syair yang menjadi aspek penting dalam tari Ketimang Burong. This researchment analyze choreography of Ketimang Burong as a dance that comes from Sawang’s People of Belitung. This dance is a group dance that was danced by 6 male dancers and 6 female dancers in pairs. This dance is a dance that’s very closely related to daily life of the Sawang’s people. Judging from the motion, pattern of the floor, and the lyrics that sung by the singer provide an overview of the tribe of Sawang people who were former as the tribe who spend their life in the sea. This Researchment uses choreography appoarch, covering the aspect of form, technique, and content. And analyze the motion of dance from the aspect of energy, space, and time. The three concepts are unity in the form of dance that is not separated and is a unified whole dance form. The understanding of choreographic analysis consists of the principles of deformity which include : wholeness, variety, repetition, transition, sequence, comparison and climax. Ketimang Burong dance of Sawang’s people is a entertainment dance where the form of choreography is a group dance. Choreography in this dance has a very simply motif, it is like every single of motion motif is done repeatedly. From the simplicity of Ketimang Burong dance, there are various meaning in ever thing related to the dance among theme are theme, motion, costume, floor pattern, and poem which become important aspect in Ketimang Burong dance.

KAJIAN TEKSTUAL TARI DAMPENG AYOHOK DI DESA KILANGAN KECAMATAN SINGKIL KABUPATEN ACEH SINGKIL

ABSTRACT This study aims to describe how the Textual Study of Dampeng Ayohok Dance in Kilangan Village, Singkil District, Aceh Singkil District. The theoretical foundation in this paper is used as a guideline in data collection consisting of textual studies and Dampeng dance which are used as references in conducting this research. The theory used to discuss this research is the theory of textual study by Y. Sumandiyo Hadi. Textual studies see Dampeng dance from the choreographic analysis side of choreographic analysis consisting of unity, repetition or repetition, transition or displacement and sequence. Structural analysis consisting of patterns and various motions. Symbolic analysis (tagging system).The method used by the author in collecting data is by observation, interviews, literature studies and documentation. Observations carried out such as the form of Dampeng dance, recording the results of interviews and carrying out video and photo documentation. Continued to review each Textual consisting of motion form analysis, Structural Analysis and Symbolic Analysis on Dampeng dance in accordance with the theory used. These data are then analyzed by Qualitative Descriptive Methods. The results of this study in terms of choreographical analysis on Dampeng Ayohok dance are analyzed from the form of motion where Dampeng dance consists of eight forms of opening greetings, clapping, mekhe salam, kisar (rotating), standby, holding dakhilebe (parrying from the front), installing steps and rubbing (closing). Structural analysis consists of patterns of motion and range of motion. The pattern of motion in dance is accompanied by a circle pattern and consists of four different forms of motion. Symbolic analysis consists of marking on motion, setting, floor pattern, and poetry. Keywords: Dampeng, Tekstual dance, Aceh Singkil ABSTRAK Penelitian ini bertujuan untuk mendeskripsikan bagaimana Kajian Tekstual tari dampeng ayohok Di Desa Kilangan Kecamatan Singkil Kabupaten Aceh Singkil. Landasan teoritis dalam skripsi ini dijadikan pedoman dalam pengumpulan data terdiri dari kajian tekstual dan tari dampeng ayohok yang dijadikan acuan dalam melakukan penelelitian ini. Teori yang digunakan untuk membahas penelitian ini yaitu teori tentang kajian tekstual oleh Y. Sumandiyo Hadi. Kajian tekstual melihat tari Dampeng dari sisi analisis koreografis analisis koreografi yang terdiri atas kesatuan atau unity, repetisi atau pengulangan, transisi atau perpindahan dan rangkaian. Analisis struktur yang terdiri dari pola-pola dan ragam gerak. Analisis simbolik (sistem penandaan). Metode yang digunakan penulis dalam mengumpulkan data yaitu dengan cara observasi, wawancara, studi kepustakaan dan dokumentasi. Observasi yang dilakukan seperti bentuk tari dampeng, merekam hasil wawancara dan melakukan dokumentasi video dan foto. Dilanjutkan mengkaji setiap Tekstual yang terdiri atas analisis bentuk gerak, Analisis struktural dan analisis simbolik pada tari dampeng sesuai dengan teori yang digunakan. Data-data ini kemudian dianalisis dengan Metode Deskriptif Kualitatif. Hasil penelitian ini dari sisi analisis koreografis pada tari dampeng ayohok dianalisis dari bentuk gerak dimana tari dampeng ayohok terdiri atas delapan bentuk gerak salam pembuka, bertepuk, mekhe salam, kisar (memutar), siaga, menahan dakhilebe (menangkis dari depan), memasang langkah dan membekhesalam (salam penutup). Analisis struktural terdiri atas pola-pola gerak dan ragam gerak. Pola gerak dalam tari dampeng yaitu pola lingkaran dan terdiri atas empat bentuk ragam gerak. Analisis simbolik terdiri dari penandaan pada gerak, setting, pola lantai, dan syair. Kata kunci : Tari Dampeng, Tekstual, Aceh Singkil

Modeling the Immune System with Gestures: A Choreographic View of Embodiment in Science

The authors describe a cross-disciplinary collaboration in which they apply both a qualitative/quantitative and a choreographic analysis to the gestures immunologists use when lecturing on immunity. They identify particular spatiotemporal features by which immunologists have mapped, embodied and blended the conceptual spaces of the molecular and cellular. The immunologists’ difficulties in integrating the differing spatiotemporal modes of observing and embodying revealed hidden policies in their concepts of immunity. The variety of modes, blending and cinematic techniques applied invite a closer cross-disciplinary look at the vivid visual scenario of gesturing in science and consideration of its potential for creating corporeal models of art and science.

Consuming Dance

Consuming Dance examines dance in television and online advertising as both cultural product and cultural meaning-maker. The text interweaves semiotics, choreographic analysis, cultural studies, media studies, and critical theory to place contemporary dance-in-advertising in dialogue with other dance media. Grounding contemporary advertising within media and cultural history, the work both analyzes examples from early television and performs semiotic readings of historical references within later ads. Analysis of individual commercials and campaigns reveals how commercials act as rhizomatic assemblages of cultural history as traditional advertising positioning strategies engage with content, conventions, and discourses from other disciplines and cultural forms. The text explores the power of dance in advertising, examining how it generates affect and spectacle in service of both brand identity and the construction of the commodity-sign. This analysis of dance’s power, in turn, reveals advertising’s intertextuality and its contributions to social identity and the construction of the neoliberal subject. Ultimately, the text highlights advertising’s contradictions, exposing how its appropriation of dance functions as a response simultaneously to marketing needs, shifting ideologies, and growing cultural diversity all while continuing to serve the needs of neoliberal capitalism.