scholarly journals Embodying the Site: the Here and Now in Site-Specific Dance Performance

2005 ◽  
Vol 21 (4) ◽  
pp. 367-381 ◽  
Author(s):  
Victoria Hunter
Keyword(s):  
Creative Process ◽  
Dance Performance ◽  
Site Specific ◽  
The Creation ◽  
Spirit Of Place ◽  
The Moment ◽  
The University ◽  
The Relationship

In this article, Victoria Hunter explores the concept of the ‘here and now’ in the creation of site-specific dance performance, in response to Doreen Massey's questioning of the fixity of the concept of the ‘here and now’ during the recent RESCEN seminar on ‘Making Space’, in which she challenged the concept of a singular fixed ‘present’, suggesting instead that we exist in a constant production of ‘here and nows’ akin to ‘being in the moment’. Here the concept is applied to an analysis of the author's recent performance work created as part of a PhD investigation into the relationship between the site and the creative process in site-specific dance performance. In this context the notion of the ‘here and now’ is discussed in relation to the concept of dance embodiment informed by the site and the genius loci, or ‘spirit of place’. Victoria Hunter is a Lecturer in Dance at the University of Leeds, who is currently researching a PhD in site-specific dance performance.

scholarly journals Spatial Translation and ‘Present-ness’ in Site-Specific Dance Performance

2011 ◽  
Vol 27 (1) ◽  
pp. 28-40 ◽  
Author(s):  
Victoria Hunter
Keyword(s):  
Lived Experience ◽  
Creative Process ◽  
Dance Performance ◽  
Site Specific ◽  
The Third ◽  
Spatial Translation ◽  
The University ◽  
The Relationship

In this article Victoria Hunter considers notions of spatial translation, ‘present-ness’, and ‘embodied reflexivity’ within site-specific dance performance. Through a discussion of the author's site-specific dance installation entitled Project 3, she explores choreographic processes that aimed to facilitate, transform, and heighten the lived experience of site by the performer and the audience through phenomenologically informed movement inquiry. Forming part of the author's practice-led PhD investigation into the relationship between the site and the creative process, the performance was the third in a trilogy of site-specific works exploring the potential for site-specific dance performance to ‘reveal’ the site through movement, challenging both performers and audience members to engage with new ways of experiencing the site-world. Victoria Hunter is a practitioner-researcher and lecturer in dance at the University of Leeds. Her research is practice-led and is concerned with the nature of dance-making processes within site-specific choreography. She completed her PhD in site-specific dance performance in December 2009.

scholarly journals Flexible Characterization: Herstorical Performance in Heritage Sites

2020 ◽  
Vol 36 (4) ◽  
pp. 355-368
Author(s):  
Victoria Bianchi
Keyword(s):  
Identity Performance ◽  
School Of Education ◽  
Site Specific ◽  
Heritage Sites ◽  
Women's Narratives ◽  
Specific Performance ◽  
Spatial Exploration ◽  
The University ◽  
Heritage Performance ◽  
The Relationship

This article explores how performance and character can be used to represent the lives of real women in spaces of heritage. It focuses on two different site-specific performances created by the author in the South Ayrshire region of Scotland: CauseWay: The Story of the Alloway Suffragettes and In Hidden Spaces: The Untold Stories of the Women of Rozelle House. These were created with a practice-as-research methodology and aim to offer new models for the use of character in site-specific performance practice. The article explores the variety of methods and techniques used, including verbatim writing, spatial exploration, and Herstorical research, in order to demonstrate the ways in which women’s narratives were represented in a theoretically informed, site-specific manner. Drawing on Phil Smith’s mythogeography, and responding to Laurajane Smith’s work on gender and heritage, the conflicting tensions of identity, performance, and authenticity are drawn together to offer flexible characterization as a new model for the creation of feminist heritage performance. Victoria Bianchi is a theatre-maker and academic in the School of Education at the University of Glasgow. Her work explores the relationship between space, feminism, and identity. She has written and performed work for the National Trust for Scotland, Camden People’s Theatre, and Assembly at Edinburgh, among other institutions.

scholarly journals BENTUK VISUAL KOSTUM TARI MERAK JAWA BARAT KARYA IRAWATI DURBAN ARDJO

JOGED ◽  
2020 ◽  
Vol 15 (1) ◽  
pp. 84-95
Author(s):  
Venny Agustin Hidayat
Keyword(s):  
Tail Feather ◽  
Dance Performance ◽  
Visual Form ◽  
The Creation ◽  
The Moment

Tari Merak Jawa Barat, merupakan jenis tarian tontonan (pertunjukan). Tari Merak pertama kali diciptakan oleh Rd. Tjetje Somantri pada tahun 1955. Kemudian pada tahun 1965, tari Merak dikemas kembali oleh Irawati Durban Ardjo, yang bertujuan untuk dipertunjukkan pada misi kesenian Soekarno. Tari Merak yang sering kita jumpai saat ini merupakan Tari Merak karya Irawati Durban Ardjo.Tarian ini mempresentasikan keindahan yang dimiliki oleh burung merak pada saat burung merak jantan melebarkan ekornya. Kebanyakan masyarakat Indonesia salah berasumsi jika tarian ini bercerita tentang kehidupan burung merak betina, sedangkan sang jantanlah yang memamerkan keindahan bulu ekornya. Sang jantan melakukan gerak-gerik yang tampak seperti tarian gemulai untuk menunjukkan pesona dirinya, sehingga sang betina terpesona dan bersedia kawin dengannya. Gerakan itulah yang mengekspresikan dibuatnya Tari Merak. Untuk mendukung keindahan tari, maka dibuat bentuk visual Merak pada kostum Tari Merak yang telah diinovasikan oleh Irawati. Irawati mengonsepnya melalui ide-ide kreatif dan mengindahkan esensi burung merak pada bentuk visual. Beberapa bagian kostum tari Merak Irawati, yaitu siger (mahkota), susumping, giwang (anting), kelat bahu, garuda mungkur, gelang tangan, kemben, ekor, Ikat pinggang, kacih, selendang, dan sinjang. Kostum yang memiliki banyak unsur estetika seperti garis (lurus, lengkung, bergelombang), bentuk (lingkaran, setengah lingkaran, persegi panjang, ekor merak, dan penyederhanaan burung merak), ornamen (ragam hias binatang, ragam hias tumbuhan, geometris, ulir). Beberapa motif yang digunakan yaitu motif ekor, bulu, ataupun keseluruhan bentuk burung merak. ABSTRACT Peacock Dance is a type of spectacle dance (performance). The Peacock Dance was first created by Rd. Tjetje Somantri in 1955. Then in 1965, the Merak dance was repackaged by Irawati Durban Ardjo, which aimed to be performed on Soekarno's art mission. The Peacock Dance that we often encounter at the moment is the Peacock Dance by Irawati Durban Ardjo. This dance presents the beauty of peacocks. The peacock is the inspiration for the creation of the Peacock dance and its beauty is found when the male peacock widens its tail. Most Indonesian people wrongly assume that this dance tells the story of the life of a female peacock, while the male exhibits the beauty of its tail feathers. The male performs movements that look like graceful dances to show his charms so that the female is fascinated and willing to marry him. That movement expresses the Peacock Dance. With the visual form of the Peacock Dance costume that has been innovated by Irawati. Irawati conceptualized it through creative ideas and heeded the essence of the peacock in visual form. Some parts of the Merraw Irawati dance costume, namely siger (crown), susumping, ear studs (earrings), kelat shoulders, garuda mungkur, wristbands, kemben, tail, belt, belts, shawls, and sinjang. Costumes that have many aesthetic elements such as lines (straight, curved, wavy), shapes (circles, semicircles, rectangles, peacock tails, and simplifications of peacocks), ornaments (various animal decoration, plant decoration, geometric, threaded). Some of the motifs used are the tail, feather, or overall shape motif.

Belfast Soundwalks

2014 ◽  
Vol 6 (2) ◽  
pp. 61-72
Author(s):  
Sarah Bass ◽  
Pedro Rebelo
Keyword(s):  
Mobile Devices ◽  
Mobile Technologies ◽  
Smartphone App ◽  
Site Specific ◽  
The Public ◽  
Sonic Art ◽  
Ongoing Development ◽  
The Creation ◽  
The Relationship ◽  
The City

This article outlines the ongoing development of a locative smartphone app for iPhone and Android phones entitled The Belfast Soundwalks Project. Drawing upon a method known as soundwalking, the aim of this app is to engage the public in sonic art through the creation of up to ten soundwalks within the city of Belfast. This paper discusses the use of GPS enabled mobile devices in the creation of soundwalks in other cities. The authors identify various strategies for articulating an experience of listening in place as mediated by mobile technologies. The project aims to provide a platform for multiple artists to develop site-specific sound works which highlight the relationship between sound, place and community. The development of the app and the app interface are discussed, as are the methods employed to test and evaluate the project.

edged: Exploring the porous boundaries between teaching philosophy, dance performance and choreographic practice

2020 ◽  
Vol 11 (1) ◽  
pp. 43-57 ◽  
Author(s):  
Louis Laberge-Côté
Keyword(s):  
Creative Process ◽  
Porous Body ◽  
Teaching Philosophy ◽  
Dance Performance ◽  
The Past ◽  
Dance Training ◽  
The Creation ◽  
Guiding Principles ◽  
And Performance ◽  
Porous Boundaries

Over the past four years I have developed The Porous Body, a teaching philosophy that promotes the practice of heightened physical and mental malleability in dance training by following four fundamental guiding principles: flow, playfulness, metaphor and paradox. As my process deepened, I wondered: what would happen if I applied The Porous Body to my choreographic practice? How might this framework prove fruitful during a creative process? What kind of choreographic work would emerge from this experiment? This article is an artist’s reflection on an artistic experiment; it describes the first choreographic process to which I applied The Porous Body’s guiding principles, and which led to the creation and performance of edged, a solo work exploring the porous edges between inner/outer, planned/unplanned, control/surrender, pleasure/struggle and terror/courage.

scholarly journals University Presidents and the Politicians

1977 ◽  
Vol 7 (1) ◽  
pp. 1-12
Author(s):  
Ernest Sirluck
Keyword(s):  
University Presidents ◽  
University Autonomy ◽  
Provincial Level ◽  
Primary Sector ◽  
Public Protest ◽  
The Government ◽  
The Moment ◽  
Public Reaction ◽  
The University ◽  
The Relationship

This commentary does not deal with politicians within the university or at the federal or municipal levels, limiting itself to persons, whether elected or appointed, in government office at the provincial level. In addition to the university's "primary " area of interaction with government (Universities Minister, Grants Commission, Premier), there is an important "secondary "area (for example, Health, Agriculture, Energy and Resources, Industry, Labour, etc.) where there must be co-operation but where differing responsibilities imply different objectives. Examples are given to show that on the government side there has in recent years been a diminishing concern to prevent such differences from becoming clashes. In the "primary " sector the direction in which the relationship has moved in recent years has been downward. Public reaction against the universities and disunity within them have combined to invite government infringement upon university autonomy and abridgement of commitments; examples are given. The reasons for the absence of public protest are analyzed. A general conclusion is that a university's relations with government reflect pri- marily the realities of power and influence of the moment.

scholarly journals Let's get Physical: Supporting Arts Based Research through Haptic Learning

2018 ◽  
Vol 43 (3) ◽  
pp. 149-152
Author(s):  
Chris Jones
Keyword(s):  
Creative Process ◽  
Phenomenological Approach ◽  
Theory And Practice ◽  
Creative Arts ◽  
Arts Based Research ◽  
The World ◽  
Haptic Learning ◽  
The University ◽  
Relationship Of ◽  
The Relationship

What is a materials collection? Why is it in the library? The aim of this paper is to introduce the idea of a materials collection as a result of explorations in arts based research. This involved theorizing ideas of materiality, haptic engagement with objects and relating them to the creative process within a library environment. The collection is a response to a perceived gap between theory and creative practice expressed within the student cohort. The risk to the library comprises a possible erosion of value in the student experience, in that the service becomes marginalized in contrast to the studio based activities. The nature of the research undertaken by the student cohort at the University for the Creative Arts is considered, and the development of the materials collection is presented as a response to this inquiry. The collection forms the site of haptic learning: the sensual engagement with the world is combined with a phenomenological approach to create a space within which the relationship of theory and practice may be developed.

scholarly journals Portuguese America under Foreign Threat and the Creation of the Concept of uti possidetis in the First half of the 18th Century

2021 ◽  
pp. 109-142
Author(s):  
Junia Ferreira Furtado
Keyword(s):  
Eighteenth Century ◽  
South America ◽  
18Th Century ◽  
Diplomatic Relations ◽  
Fernando De Noronha ◽  
The Creation ◽  
The Moment ◽  
The Relationship

The aim of this article is to discuss the relationship between invasions, cartography, and possessory law in the context of diplomatic relations between Portugal and Spain in the first half of the eighteenth century, in South America territories. The Castilian siege of Colônia do Sacramento and the French invasion of Fernando de Noronha island (1736 and 1737), awoke in the Portuguese ambassador D. Luís da Cunha the need to change the foundation on which the frontiers of Brazil were negotiated. He began to use the concept of uti possidetis as a strategy, which would become the directive for the diplomatic negotiations in the 1750 Treaty of Madrid. Despite its acceptance as a resource to demarcate frontiers, uti possidetis created various controversies at the moment of the demarcation of the territories and the Treaty was annulled by the Treaty of El Pardo (1761), when the legal frontiers returned to their previous positions.

scholarly journals RUANG DAN MEMORI DALAM KOREOGRAFI SITE-SPECIFIC: KAJIAN TERHADAP KARYA CITY OF ENTERTAINMENT OLEH LEE REN XIN

2020 ◽  
Author(s):  
Nurulakmal Abdul Wahid ◽  
Mumtaz Begoo Aboo Becker ◽  
Muhizam Mustafa
Keyword(s):  
Creative Process ◽  
Specific Site ◽  
Social Activities ◽  
Dance Performance ◽  
Site Specific ◽  
Specific Location ◽  
Use Of Space ◽  
Different Shapes ◽  
Shape And Size

Koreografi site-specific merupakan sebuah persembahan tari yang dipersembahkan di sebuah lokasi khusus yang menjadi sumber inspirasi dalam proses berkarya dan ia dijadikan sebagai lokasi persembahan. Menurut Hunter (2015), koreografi site-specific merupakan sebuah koreografi yang dipengaruhi oleh respons daripada koreografer terhadap ruang yang terdapat di lokasi khusus. Sebuah site atau lokasi khusus mempunyai bentuk dan saiz ruang yang berbeza serta elemen memorinya yang tersendiri. Bentuk dan saiz ruang yang terdapat pada lokasi dapat mempengaruhi sebuah koreografi. Bagi elemen memori, setiap lokasi mempunyai latar belakang, sejarah, perkembangan serta kehidupan aktiviti sosial di persekitarannya. Kajian ini membincangkan tentang penggunaan ruang dan memori dalam proses koreografi City of Entertainment oleh Lee Ren Xin yang dipersembahkan pada program Dancing in Place 2018 sempena festival Urbanscape KL. Kaedah pemerhatian dan temu bual bersama koreografer diaplikasikan bagi mendapatkan informasi tentang proses koreografi site-specific. Kajian ini dapat membantu koreografer menambah ilmu dalam bidang koreografi yang menjurus kepada koreografi site-specific serta perkembangan idea dalam proses kreatif. Ia turut menyumbang kepada pemahaman, pengetahuan serta tafsiran tentang pengertian istilah koreografi site-specific.Site-specific choreography is a dance performance that is performed at a specific location where the location gives inspiration in the choreography process and it is used as performance spaces. According to Hunter (2015), site-specific choreography is a dance choreography, which is influenced and responded by the choreographer to a specific location. A specific site or location has different shapes and sizes of space and it has its own memory elements. The shape and size of the space found at the site will affect the choreography process. In site-specific dance choreography, the memory is associated with the history, background, social activities and life in that specific location. This study discusses the use of space and memory in Lee Ren Xin site-specific choreography, which is City of Entertainment that has been presented at the Dancing in Place 2018 program in conjunction with the Urbanscape KL festival. Observation and interview with the choreographer applied to get information about the choreography process. This study helps choreographers enhancethe knowledge in the choreography as well as the development of ideas in the creative process. It also contributes to the understanding, knowledge and interpretation of the terms of the site-specific choreography.

Thathir Quality Scholarship Program For Students At University level

2018 ◽  
Vol 2 (3) ◽  
pp. 206-219
Author(s):  
Louay Qais Abdullah ◽  
Duraid Faris Khayoun
Keyword(s):  
College Students ◽  
Life Sciences ◽  
Economic Feasibility ◽  
First Year ◽  
Grant Program ◽  
Scholarship Program ◽  
University Level ◽  
Faculty Of Education ◽  
The University ◽  
The Relationship

The study focused basically on measuring the relationship between the material cost of the students benefits program and the benefits which are earned by it, which was distributed on college students in the initial stages (matinee) and to show the extent of the benefits accruing from the grant program compared to the material burdens which matched and the extent of success or failure of the experience and its effect from o scientific and side on the Iraqi student through these tough economic circumstances experienced by the country in general, and also trying to find ways of proposed increase or expansion of distribution in the future in the event of proven economic feasibility from the program. An data has been taking from the data fro the Department of Financial Affairs and the Department of Studies and Planning at the University of Diyala with taking an data representing an actual and minimized pattern and questionnaires to a sample of students from the Department of Life Sciences in the Faculty of Education of the University of Diyala on the level of success and failure of students in the first year of the grant and the year before for the purpose of distribution comparison. The importance of the study to measure the extent of interest earned in comparision whit the material which is expenseon the program of grant (grant of students) to assist the competent authorities to continue or not in the program of student grants for the coming years.

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