Dance Culture and Statuary Politics: Chiang Kai-Shek and the Myth of Primitivism

2004 ◽  
Vol 20 (3) ◽  
pp. 280-285
Author(s):  
Gregory Sporton
Keyword(s):  
Political Culture ◽  
Performance Art ◽  
The Body ◽  
Contemporary Dance ◽  
Individual Freedom ◽  
Moving Image ◽  
Dance Culture ◽  
Universal Values ◽  
And Performance ◽  
The University

Dance is often assumed to have universal values and to manifest a spirit of freedom, especially individual freedom. It is also the case that such freedom is perceived to be deeply rooted in the condition of humanity. In this article Gregory Sporton shows how these assumptions can mislead us about the basis on which dance operates. By citing the body as the original manifestation of expression, and linking dance practice to primitive experience, a sentimental picture of ourselves as dancers emerges. Taking dance practice in Taiwan as an example, the author shows how this ‘naturalist argument’ can be exploited by a political culture and in doing so divert questions of identity. For the visiting observer, dance appears to evidence political culture and social aspiration, identities that are fixed in the present rather than the archaic past. Gregory Sporton has had a substantial performing career in ballet, contemporary dance, opera, and performance art. He is Head of the School for Performance and Moving Image at the University of Central England.

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.

‘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.

Dance Imagery for Technique and Performance

2014 ◽  
Author(s):  
Eric Franklin
Keyword(s):  
Deep Understanding ◽  
The Body ◽  
Artistic Expression ◽  
Contemporary Dance ◽  
Improve Technique ◽  
Dance Class ◽  
Dance Improvisation ◽  
Dance Imagery ◽  
And Performance ◽  
Dance Educators

Renowned master teacher Eric Franklin has thoroughly updated his classic text, Dance Imagery for Technique and Performance, providing dancers and dance educators with a deep understanding of how they can use imagery to improve their dancing and artistic expression in class and in performance. These features are new to this edition: • Two chapters include background, history, theory, and uses of imagery. • 294 exercises offer dancers and dance educators greater opportunities to experience how imagery can enhance technique and performance. • 133 illustrations facilitate the use of imagery to improve technique, artistic expression, and performance. Franklin provides hundreds of imagery exercises to refine improvisation, technique, and choreography. The 295 illustrations cover the major topics in the book, showing exercises to use in technique, artistic expression, and performance. In addition, Franklin supplies imagery exercises that can restore and regenerate the body through massage, touch, and stretching. And he offers guidance in using imagery to convey information about a dancer’s steps and to clarify the intent and content of movement. This new edition of Dance Imagery for Technique and Performance can be used with Franklin’s Dynamic Alignment Through Imagery, Second Edition, or on its own. Either way, readers will learn how to combine technical expertise with imagery skills to enrich their performance, and they will discover methods they can use to explore how imagery connects with dance improvisation and technique. Dance Imagery for Technique and Performance uses improvisation exercises to help readers investigate new inner landscapes to create and communicate various movement qualities, provides guidelines for applying imagery in the dance class, and helps dancers expand their repertoire of expressiveness in technique and performance across ballet, modern, and contemporary dance. This expanded edition of Dance Imagery for Technique and Performance supplies imagery tools for enhancing or preparing for performance, and it introduces the importance of imagery in dancing and teaching dance. Franklin’s method of using imagery in dance is displayed throughout this lavishly illustrated book, and the research from scientific and dance literature that supports Franklin’s method is detailed. The text, exercises, and illustrations make this book a practical resource for dancers and dance educators alike.

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 Dancing dress: Experiencing and perceiving dress in movement

Scene ◽  
2014 ◽  
Vol 2 (1) ◽  
pp. 67-80
Author(s):  
Jessica Bugg
Keyword(s):  
Lived Experience ◽  
The Body ◽  
Theory And Practice ◽  
Contemporary Dance ◽  
Embodied Experience ◽  
Clothing Design ◽  
Physical Response ◽  
And Performance ◽  
Global Conference

Clothing design for dance is an area that has been little documented, particularly in relation to the experience and perception of the dancer. Contemporary dance and clothing can both be understood as fundamentally phenomenological and as such there is further potential to investigate the lived experience of wearing clothing in dance. This article approaches dress in the context of the moving and dancing body, and it aims to develop an understanding of the role of dress in dance by focusing on the sensory, embodied experience and perception of the performer. It addresses questions of how clothing is perceived in movement by the performer, how and if clothing’s design intention, materiality and form motivate physical response, and what conscious or unconscious cognitive processes may be at play in this interaction between the active body and clothing. The intention is to propose developed methods for designers across clothing disciplines to contribute in a meaningful way to the overall dance work. The article draws on an analysis of my practice-led research that employs embodied experience of dress to inform the design and development of clothing as communication and performance. The research has involved close collaboration with a dancer, analysis of recorded interviews, and visual documentation of design and movement. The research has produced data on the dancer’s experience and perception of garments in performance and this is discussed here in relation to writings on perception, performance, the body and cognition. The research is approached through theory and practice and draws on interviews, observation and lived experience. This article is developed from an earlier conference paper that investigated the role and developed potential of clothing in contemporary dance that was presented at the 4th Global Conference: Performance: Visual Aspects of Performance Practice, Inter-Disciplinary.Net, held in Oxford on 17–19 September 2013.

scholarly journals PEWARISAN SILEK PAUH DI PERGURUAN SILATURAHMI DI KELURAHAN KALUMBUK KECAMATAN KURANJI KOTA PADANG

2020 ◽  
Vol 9 (1) ◽  
pp. 57
Author(s):  
Uchi Isra Windy ◽  
Nerosti Nerosti
Keyword(s):  
Data Collection ◽  
Performance Art ◽  
Martial Arts ◽  
Secondary Data ◽  
Primary Data ◽  
Data Types ◽  
Library Studies ◽  
And Performance ◽  
The University ◽  
The Village

Abstract This research aims to describe and discuss the inheritance of Silek Pauh at the University of Kalumbuk subdistrict, Kuranji, Padang. The method used in this study is a qualitative deskritif method. Research instruments are self-researcher and assisted by supporting instruments such as stationary cameras. The data types in this study are primary data and secondary data. Data collection techniques are conducted by way of library studies, observation, interviews, documentation.  The steps for analyzing data are data collection, describing data and making inferences. The results showed that the inheritance of Silaturahmi in this college was an open devolution system. But still rigid due to some things, among them the trainer currently has not found a candidate who is intact and able to learn the Silek Pauh.  The function of Silek Pauh in addition to martial arts and performance art, Silek Pauh is also used as a means of communication and associating among Pauh people. This seems to be seen in the practice activities Pauh Silek Many students come to Pauh Silaturahmi in this college from several villages outside the village Kalumbuk. Currently, the college has remained a sociable event between youth Kalumbuak. The process of student rektrument at the college is very easy, by coming directly and convey the goodwill to be a student in the College of Hospitality, and will be able to follow every process that is at the time of practice. Keywords: devolution, Silek Pauh, silaturahmi College

The Art and Flux of Telepathy 2.0 in Second Life

2011 ◽  
pp. 47-68
Author(s):  
Jacquelene Drinkall
Keyword(s):  
New Media ◽  
Contemporary Art ◽  
Performance Art ◽  
Virtual Worlds ◽  
Second Life ◽  
The Body ◽  
Art Practice ◽  
Western Front ◽  
And Performance

This chapter looks at contemporary art practice in Virtual Worlds, and the effervescence of new technologically mediated telepathies. Avatar Performance Art by Jeremy Owen Turner and Second Front have explored a variety of Second Life telepathies, and have quickly earnt the title of Virtual Fluxus. Second Front’s links to Western Front, Fluxus, Robert Filliou and the Eternal Network assist the continued internationalised new media and performance collaboration work with telepathy. As the body becomes obsolete, it develops new techlepathy1.

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