Moving Studies: Somatic-Performative Research in a Wide Dance Field

2014 ◽  
Vol 2014 ◽  
pp. 75-82
Author(s):  
Ciane Fernandes
Keyword(s):  
Performing Arts ◽  
Graduate Program ◽  
A Priori ◽  
The Body ◽  
Power Relationships ◽  
Dynamic Nature ◽  
Quantitative And Qualitative Research ◽  
Starting Point ◽  
And Performance ◽  
Object Of Study

This is a presentation of the principles of somatic-performative research with application to the audience's research. The proposal has been developed over ten years of artistic-scientific research at the Graduate Program of Performing Arts of Federal University of Bahia, Salvador BA, Brazil. The approach associates Somatic Education and Performance in dance research, especially regarding inner impulse in relation to the environment and collective awareness in a micro-macro political attitude.While quantitative and qualitative research deals with practice as an object of study, in performative research, practice is in itself a research method (Haseman 2006). Somatic-performative research is defined and organized by thesomatic practice (“experienced body”), transforming the ephemeral nature of dance into the research'smodus operandi. From the starting point of inter-artistic moving principles with/in the environment, the object of study becomes a creative, live, and relational subject. Therefore, studies and methods become contaminated by the subject's dynamic nature, melting any prejudice ora priorisettings. In an unpredictable, autonomous, yet integrated, pulsing that destabilizes borders, discourses, and manners, dance becomes a spread-out medium of studies (rather than something to be studied).As an integrated “soma,” dance research constantly dis-re-organizes “the way we form things,” subverting power relationships and discourses over art and the body. Somatic-performative exploration dilutes the separation and conflict between practice and theory, body and mind, art and science, dynamic multidimensional movement and fixed linear record, human and environment, place and non-place, matter and energy. In a connecting quantumspacetime, “being” is permanently perceived and reinvented as trans-cellular intelligence in movement or creative somatic wisdom in a “culture of becoming” with/in a “deep ecology.”

Training for Sustained Performance: Moving Toward Long-Term Musician Development

2013 ◽  
Vol 28 (3) ◽  
pp. 159-168 ◽  
Author(s):  
Terry Clark ◽  
Tânia Lisboa
Keyword(s):  
Performing Arts ◽  
Well Being ◽  
The Body ◽  
Young Student ◽  
Diverse Range ◽  
Sustained Performance ◽  
Mental Demands ◽  
And Performance ◽  
Effective Use

Success in the performing arts, like sports, is dependent upon the acquisition and consistent use of a diverse range of skills. In sports, an understanding of safe and effective use of the body is required to facilitate long-term involvement in that activity. In order to assist athletes to attain their performance goals, and ensure healthy and sustained involvement, long-term athlete development (LTAD) models have been devised and adapted by professional sporting bodies throughout the world. LTAD models emphasize the intellectual, emotional, and social development of the athlete, encourage long-term participation in physical activities, and enable participants to improve their overall health and well-being and increase their life-long participation in physical activity. At present there is no such long-term development model for musicians. Yet musicians must cope with a multitude of career-related physical and mental demands, and performance-related injuries and career burnout are rife within the profession. Despite this, musicians’ training rarely addresses such issues and musicians are left largely to learn about them through either chance or accrued experience. This paper discusses key concepts and recommendations in LTAD models, together with music-specific research highlighting the need for the development of a comprehensive long-term approach to musicians’ training. The results of a survey of existing music training programs are compared to recommendations and the different development stages in LTAD models. Finally, implementation science is introduced as a methodological option for identifying how best to communicate the body of evidence-based knowledge concerning healthy and effective music-making to young student musicians.

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.

Traces of a Tango: The Club Invites Me to Dance—a Study of Materiality in Movement

2016 ◽  
Vol 2016 ◽  
pp. 417-424
Author(s):  
Paola Vasconcelos Silveira
Keyword(s):  
Performing Arts ◽  
The Body ◽  
Porto Alegre ◽  
Academic Field ◽  
Dance Training ◽  
Starting Point ◽  
Master's Thesis ◽  
The Relationship ◽  
The City ◽  
Two Bodies

This paper is based on my master's thesis, which was developed in 2013–2014 at the Graduation Program in Performing Arts at the Federal University of Rio Grande do Sul (Brazil). This study aimed to reflect on the processes of developing an artistic experiment conducted from the encounter between my body and the club in transient places in the city of Porto Alegre. The starting point emerged from the experience of the artist in the practice of tango from a dialogue bias between peers. The object, in this proposal, becomes a present and active body—a lively piece that will enhance a one-to-one conversation. It is thus intended that the dance results from the relationship between two bodies, and not from the manipulation of one body over another. Therefore, the study finds resonance in the theoretical possibility of thinking of non-human bodies as vibrant matter with the capability to generate relationships and movements. In that way, this meeting would lead to a loss of the self. This study also contributes to a debate on proposals for dance training, as this research has chosen a path of building the danced relationship with the object from the kinesthetic perception of the body in motion. Finally, this study tenses the production of knowledge in the academic field, by assuming that the body produces a kind of knowledge—an embodied knowledge—which must be recognized and legitimized.

scholarly journals Magic on Wheels: A Study of Re-engagement, Re-enactment and Re-staging the Stereotypes of Performativity and Performance of Persons with Disabilities in the Choreography of Syed Sallauddin Pasha

2021 ◽  
Vol 13 (3) ◽  
Author(s):  
Radhika Sharma ◽  
◽  
Nagendra Kumar ◽  
Keyword(s):  
Disability Studies ◽  
Performance Studies ◽  
Performing Arts ◽  
The Body ◽  
Disabled People ◽  
Negative Stereotypes ◽  
Persons With Disabilities ◽  
The Disabled ◽  
And Performance ◽  
Art And Activism

Amidst society’s segregation of the people among minorities on the basis of gender, race, caste and creed, it is difficult to locate the position of another extreme social minority, i.e. persons with disabilities. But the turn of the century has validated some art and activism performed by persons with disabilities due to which the disabled have marked their position in literature, film and media to some extent, yet they have not secured a position of dignity in the mainstream. To make disabled people visible, Syed Sallauddin Pasha (the father of Indian dance therapy for persons with disabilities) initiates his own Natya Shastra i.e. Classical Wheelchair Dances for differently-abled artists. Drawing upon Syed Sallauddin Pasha’s therapeutic dance choreography, the present paper studies performance arts in the context of differently-abled people, and for this, the paper explores the intersection of Performance Studies and Disability Studies. In performing arts (or dance in particular), the body is the medium of representation, likewise, the body defines the identity in the context of disabled people. Therefore, the paper by studying the intersection of Disability Studies and Performance Studies, explores the stereotypes related to the body by scrutinising the disabled dance bodies on the stage. The paper further attempts to explore the idea of accessibility for persons with disabilities by taking into account the assistive devices and accessible architecture. The study then goes into an analysis of spectators’ response, stare and gaze towards disability dance performances. In a broader context, the paper offers to scrutinise the negative stereotypes attached to disability and disabled dancing bodies on stage by exploring the nuances in Syed Sallauddin Pasha’s choreography.

scholarly journals A legitimação da educação física escolar: a cultura corporal de movimento como linguagem e condição de possiblidade de conhecimento

2021 ◽  
Vol 19 (3) ◽  
pp. 1-7
Author(s):  
Luis Eugênio Martiny ◽  
Larissa Zanetti Theil ◽  
Eloy Maciel Neto
Keyword(s):  
Physical Education ◽  
School Curriculum ◽  
The Body ◽  
Pedagogical Practice ◽  
Body Culture ◽  
Starting Point ◽  
Pedagogical Interventions ◽  
Conditions Of Possibility ◽  
Object Of Study ◽  
Culture And Language

INTRODUÇÃO: A Educação Física escolar construiu-se por meio de diferentes influências pedagógicas históricas que produziram interferências marcantes na escola, no fazer pedagógico dos profissionais imersos nesse contexto, e consequentemente, contribuíram para um estado de crise identitária da Educação Física. OBJETIVO: Diante este cenário o objetivo principal deste estudo é a reflexão acerca da legitimidade da Educação Física como componente do currículo escolar. MÉTODOS: Trata-se de um ensaio teórico que propõe a problematização da Educação Física escolar, com destaque para as intervenções pedagógicas dos conteúdos da cultura corporal de movimento. Primeiramente fez-se uma reflexão e discussão sobre o objeto de estudo da Educação Física, posteriormente sobre a sua relevância, seu lugar de pertencimento no sistema de ensino como componente curricular, e por último, sobre as suas condições de possibilidade de conhecimento a partir do saber científico e do saber do senso comum. RESULTADOS: A possibilidade de conhecimento da Educação Física e por conseguinte, sua legitimação, dar-se-á pela harmonização entre aquilo que a diferencia e aquilo que a integra, ou seja, do arranjo entre diferentes manifestações da cultura corporal do movimento e a linguagem. CONCLUSÃO: É importante destacar que não se pretendeu produzir respostas prescritivas, porém é necessário produzir e discutir acerca da responsabilidade curricular da Educação Física como disciplina, trazendo à tona maiores esclarecimentos do universo representativo dessa área do saber. Para além, tem-se consciência que este estudo não colocará um ponto final em toda esta temática. Antes pelo contrário, é um ponto de partida para que se possa realizar novas investigações e intervenções pedagógicas que consigam explorar os conteúdos da cultura corporal de movimento nas aulas de Educação Física. ABSTRACT. The legitimization of physical education at school: the body culture of movement as a language and condition for the possibility of knowledgeBACKGROUND: School Physical Education was built through different historical pedagogical influences that produced marked interferences in the school, in the pedagogical practice of professionals immersed in this context, and, consequently, contributed to a state of identity crisis in Physical Education. OBJECTIVE: In view of this scenario, the main objective of this study is to reflect on the legitimacy of Physical Education as a component of the school curriculum. METHODS: This is a theoretical essay that proposes the problematization of school Physical Education, with emphasis on pedagogical interventions on the contents of body culture of movement. Firstly, there was a reflection and discussion about the object of study of Physical Education, later about its relevance, its place of belonging in the education system as a curricular component, and finally, about its conditions of possibility of knowledge from the scientific knowledge and common sense knowledge. RESULTS: The possibility of knowledge of Physical Education and, therefore, its legitimation, will occur through the harmonization between what differentiates it and what integrates it, that is, the arrangement between different manifestations of the movement’s body culture and language. CONCLUSION: It is important to highlight that it was not intended to produce prescriptive responses, but it is necessary to produce and discuss the curricular responsibility of Physical Education as a discipline, bringing to the fore further clarifications from the representative universe of this area of knowledge. In addition, we are aware that this study will not put an end to this whole theme. On the contrary, it is a starting point for new investigations and pedagogical interventions that can explore the contents of body culture of movement in Physical Education classes.

scholarly journals instance: Soma-based multi-user interaction design for the telematic sonic arts

2021 ◽  
Vol 26 (3) ◽  
pp. 390-402
Author(s):  
Lucy Strauss ◽  
Kivanç Tatar ◽  
Sumalgy Nuro
Keyword(s):  
Interaction Design ◽  
Performing Arts ◽  
User Interaction ◽  
The Body ◽  
Digital Music ◽  
Network Interface ◽  
Embodied Experience ◽  
Iterative Design ◽  
Performance Space ◽  
And Performance

The telematic work instance is a performance for viola and dance that digitally connects performers in Vancouver and Cape Town. The network interface enables a violist and a dancer to simultaneously play multi-user digital music-dance instruments over the internet with music and dance. The composition, design and performance interaction of instance draw from acoustic multi-user instrument paradigms and music-dance interactions in the African performing arts to explore the idiosyncrasies of the telematic performance space. The iterative design process implements soma-based research methods to inspire sonic compositional material with the body and to explore the performers’ embodied experience of sonic aesthetics during their interaction.

Combining Dynamic Foot Scanning and Additive Manufacturing for the Production of Insoles: a Case Study

2014 ◽  
Vol 18 (2) ◽  
pp. 1-8 ◽  
Author(s):  
André S. Salles ◽  
Diane E. Gyi ◽  
Timo Schmeltzpfenning
Keyword(s):  
Additive Manufacturing ◽  
Point Cloud ◽  
Dynamic Nature ◽  
Static Data ◽  
Starting Point ◽  
Cad Models ◽  
And Performance ◽  
Design And Manufacture ◽  
Dynamic Scanning

The development of an insole that is representative of the foot's dynamic nature is crucial for good fit as well as comfort and performance. Additive manufacturing (AM) has the potential to allow the production of such insoles because of its tool-less capabilities and the ability to directly manufacture from CAD models at no extra cost. Research therefore has been undertaken to explore a process of foot capture by using a dynamic scanner for the design and manufacture of insoles using AM. The feet of four individuals were dynamically and statically scanned and from these data, four insole designs were developed for each person. The designs were: footprint, dynamic, average and static. The results indicated that the personalisation process is complex, mainly due to the need to identify and select the point cloud(s) from a large number of frames and manipulate them accordingly, presenting challenges in the design phase. The data from this study have demonstrated that combining dynamic scanning and AM technology is feasible for developing personalised insoles. While traditional footwear/insole is based on static data, this study can be considered as a starting point for the development of personalised insoles by using dynamic scanning and AM.

Replication of the Superstition and Performance Study by

2014 ◽  
Vol 45 (3) ◽  
pp. 239-245 ◽  
Author(s):  
Robert J. Calin-Jageman ◽  
Tracy L. Caldwell
Keyword(s):  
Task Difficulty ◽  
Statistical Power ◽  
Meta Analysis ◽  
A Priori ◽  
Significant Heterogeneity ◽  
Performance Study ◽  
Improve Performance ◽  
Research Designs ◽  
Series Of Experiments ◽  
And Performance

A recent series of experiments suggests that fostering superstitions can substantially improve performance on a variety of motor and cognitive tasks ( Damisch, Stoberock, & Mussweiler, 2010 ). We conducted two high-powered and precise replications of one of these experiments, examining if telling participants they had a lucky golf ball could improve their performance on a 10-shot golf task relative to controls. We found that the effect of superstition on performance is elusive: Participants told they had a lucky ball performed almost identically to controls. Our failure to replicate the target study was not due to lack of impact, lack of statistical power, differences in task difficulty, nor differences in participant belief in luck. A meta-analysis indicates significant heterogeneity in the effect of superstition on performance. This could be due to an unknown moderator, but no effect was observed among the studies with the strongest research designs (e.g., high power, a priori sampling plan).

Revaluations through Dance: Friedrich Nietzsche's Thought in Isadora Duncan's Speech The Dance of the Future

2019 ◽  
Vol 37 (2) ◽  
pp. 206-219
Author(s):  
Meindert E. Peters
Keyword(s):  
Twentieth Century ◽  
The Body ◽  
Eternal Recurrence ◽  
Early Twentieth Century ◽  
Starting Point ◽  
The Future ◽  
The Mind

Friedrich Nietzsche's influence on Isadora Duncan's work, in particular his idea of the Dionysian, has been widely discussed, especially in regard to her later work. What has been left underdeveloped in critical examinations of her work, however, is his influence on her earlier choreographic work, which she defended in a famous speech held in 1903 called The Dance of the Future. While commentators often describe this speech as ‘Nietzschean’, Duncan's autobiography suggests that she only studied Nietzsche's work after this speech. I take this incongruity as a starting point to explore the connections between her speech and Nietzsche's work, in particular his Thus Spoke Zarathustra. I argue that in subject and language Duncan's speech resembles Nietzsche's in important ways. This article will draw attention to the ways in which Duncan takes her cues from Nietzsche in bringing together seemingly conflicting ideas of religion and an overturning of morality; Nietzsche's notion of eternal recurrence and the teleology present in his idea of the Übermensch; and a renegotiation of the body's relation to the mind. In doing so, this article contributes not only to scholarship on Duncan's early work but also to discussions of Nietzsche's reception in the early twentieth century. Moreover, the importance Duncan ascribes to the body in dance and expression also asks for a new understanding of Nietzsche's own way of expressing his philosophy.

‘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.

Sign in / Sign up

Export Citation Format

Share Document