Choreographers and Musicians in Collaboration, from the Twentieth to the Twenty-First Century

2018 ◽  
Author(s):  
Stephanie Jordan
Keyword(s):  
Case Studies ◽  
South Asian ◽  
First Century ◽  
Contemporary Dance ◽  
Creative Processes ◽  
Twenty First Century ◽  
The Uk ◽  
At Home

Traditionally, dance has always needed music, although over the last century, this relationship has frequently been questioned. This chapter charts key historical shifts in choreomusical thinking, followed by a series of contemporary case studies demonstrating a range of approaches to, as well as commonalities across time in, the theories and practices of collaboration. Evidence shows increasingly independent, multidimensional, even oppositional relations between music and dance and a new fluidity in the behavior of artists, enabled partly by the advent of super-fast technology. In dance, relatively little information is available on the nature of creative processes, especially on musical issues. For the case studies, this chapter incorporates new interview material with choreographers and musicians based in the UK: Wayne McGregor, at home in both contemporary dance and ballet; Shobana Jeyasingh, who draws from South Asian classical and Western dance practices; and the performance duo Jonathan Burrows and Matteo Fargion.

Labels, Histories, Politics: Indian/South Asian Dance on the Global Stage

2008 ◽  
Vol 26 (2) ◽  
pp. 223-243 ◽  
Author(s):  
AVANTHI MEDURI
Keyword(s):  
South Asian ◽  
First Century ◽  
Nation State ◽  
The South ◽  
Global Networks ◽  
Indian Nation ◽  
The 1950S ◽  
Twenty First Century ◽  
The Uk

In this paper, I discuss issues revolving around history, historiography, alterity, difference and otherness concealed in the doubled Indian/South Asian label used to describe Indian/South Asian dance genres in the UK. The paper traces the historical genealogy of the South Asian label to US, Indian and British contexts and describes how the South Asian enunciation fed into Indian nation-state historiography and politics in the 1950s. I conclude by describing how Akademi: South Asian Dance, a leading London based arts organisation, explored the ambivalence in the doubled Indian/South Asian label by renaming itself in 1997, and forging new local/global networks of communication and artistic exchange between Indian and British based dancers and choreographers at the turn of the twenty-first century.

scholarly journals Beyond Discipline: Evolving Design Practice and Design Education in the Twenty-First Century

2020 ◽  
Vol 18 (1) ◽  
Author(s):  
Lara Furniss
Keyword(s):  
Undergraduate Education ◽  
Design Education ◽  
The Body ◽  
First Century ◽  
Design Practice ◽  
Creative Processes ◽  
Ethnographic Studies ◽  
Current Design ◽  
Twenty First Century ◽  
The Uk

Since 2000, design practice in the UK has changed dramatically. Boundaries between design disciplines have dissolved, and many contemporary design studios now defy classification. These studios are reconfiguring the design landscape, yet a uni-disciplinary structure still dominates undergraduate education. This is creating a disconnection between practice and education and posing critical questions for the current design education system. This article outlines the findings of a PhD research study exploring this disconnection, and although situated within the UK, the findings have international relevance. An initial scoping exercise draws on interviews with leading commentators from the UK design sector, examining the evolution of design practice over the past 10 years, and possible future directions for undergraduate education. Findings highlight that UK policy for creative education has placed undergraduate design courses in potential crisis. Arguably, the current university system for design education is outdated. It is now necessary to redefine the skills and processes twenty-first-century designers need. The body of the research is situated within five internationally renowned creative studios which defy classification. In-depth ethnographic studies cross-analyse the creative processes of these studios and their views on education. Findings identify key components of each studio’s processes, while also exploring studio members’ educational experiences, and reflections on future implications for pedagogy. This article argues that this growing disconnect between practice and education calls for existing pedagogic models to be challenged, proposes alternative approaches and highlights the need for policymakers, practitioners and educators to work together to best prepare young designers to meet today’s challenges.

Staging Beckett: Constructing Histories of Performance

2014 ◽  
Vol 23 (1) ◽  
pp. 11-33 ◽  
Author(s):  
Anna McMullan ◽  
Trish McTighe ◽  
David Pattie ◽  
David Tucker
Keyword(s):  
First Century ◽  
Research Project ◽  
The 1950S ◽  
Twenty First Century ◽  
The Uk ◽  
Victoria And Albert Museum

This multi-authored essay presents some selected initial findings from the AHRC Staging Beckett research project led by the Universities of Reading and Chester with the Victoria and Albert Museum, London. For example, how did changes in economic and cultural climates, such as funding structures, impact on productions of Beckett's plays in the UK and Ireland from the 1950s to the first decade of the twenty-first century? The paper will raise historiographical questions raised by the attempts to map or construct performance histories of Beckett's theatre in the UK and Ireland.

Anglican Inter-Faith Relations from 1910 to the Twenty-First Century

2017 ◽  
Author(s):  
Paul Hedges
Keyword(s):  
Middle East ◽  
Case Studies ◽  
Historical Development ◽  
First Century ◽  
Sri Lankan ◽  
Historical Overview ◽  
Number Of Factors ◽  
Twenty First Century

This chapter explores the development of Anglican inter-faith relations since 1910 which has been shaped by a number of factors including: the ecumenical context, changing dynamics within the global Communion, globalization issues, and moves from mission to dialogue. The chapter begins with a historical overview and traces developments in key Anglican Communion texts and meetings, especially in recent times the Lambeth Conferences of 1988, 1998, and 2008. The ecumenical context which has shaped thought on inter-faith relations in this period is also given strong attention. The chapter concludes with two case studies. The first explores relations with Buddhism in the Sri Lankan context, while the second looks at relations with Islam focusing on the Middle East. While charting some general trends, it is noted that very different dynamics and varying standpoints exist in Anglican attitudes on inter-faith relations and have been part of the historical development throughout the period surveyed.

scholarly journals Charulata 2011: Dramatizing the Glocal

2020 ◽  
Vol 73 (3) ◽  
pp. 545-557
Author(s):  
Rituparna Roy
Keyword(s):  
Nineteenth Century ◽  
South Asian ◽  
First Century ◽  
Anna Karenina ◽  
Madame Bovary ◽  
The World ◽  
Twenty First Century ◽  
Satyajit Ray

AbstractA lonely wife in Kolkata and a bachelor in London have a virtual affair, but are forced to re-think their relationship when they discover he is her brother-in-law. Charulata 2011 is an ingenious post-millennial adaptation of Tagore’s novella, Nastanir (The Broken Nest, 1901), already immortalized by Satyajit Ray in his classic Charulata (1964). This intertextuality, especially with Ray, lends an added dimension to the film, allowing Chatterjee to contrast two modernities in Bengal – the colonial and glocal – over the course of a century. Both these women gain temporary respite from their suffocating marriage through an affair, but their circumstances are vastly different. While Tagore/Ray’s heroine (like Anna Karenina, Madame Bovary and Lady Chatterley) could only bond with a man she knew, technology expands Charulata’s choice in 2011. She romances the strange and the unknown – an unseen tall dark stranger with a gift for words. While the nineteenth century Bengali heroine had to reign in her erotic impulse, her twenty-first century counterpart submits to it, though with an overwhelming sense of guilt. But there are similarities too – both are childless homemakers; have a literary sensibility; and though a 100 years apart, in both their cases, the lover eventually departs, and duty ultimately wins over passion, bringing back the duly chastened wife to the wronged husband. Charulata 2011 thus dramatizes a glocalized South Asian narrative, where the protagonist negotiates an uneasy juxtaposition of a globalized outlook on the world with the entrapment of age-old social obligations in her self.

The Dilemmas of Islamic Bioethics in the Twenty-first Century

2011 ◽  
Vol 28 (1) ◽  
pp. 45-75
Author(s):  
Dr. Anke Iman Bouzenita
Keyword(s):  
Brain Death ◽  
Medical Care ◽  
Case Studies ◽  
Islamic Law ◽  
Life Sciences ◽  
First Century ◽  
Islamic Bioethics ◽  
Islamic World ◽  
Twenty First Century

The current discourse on bioethical questions often reveals a certain patchiness or seeming inability to answer contemporary bioethical problems within an Islamic epistemological paradigm. Attempting to analyze the causes of this phenomenon, the author describes the decontextualization of Islamic concepts from a background of secularized medical care and the ethics in the Islamic world—as well as the estrangement due to these questions of Islamic law from its holistic framework of application as a pervasive phenomenon, which brought about the dilemmas of bioethics in the twenty-first century. The author discusses chosen bioethical case studies in this light, with a focus on the concept of brain death. Doing so, the author takes into consideration the paradigmatic relationship between science, bioethical models, and the implications of the relevant different worldviews. The author shows how constructed realities related to the life sciences have been imported from the secular setting into an already estranged Islamic context to be answered, and describes the evolving dilemmas that make Islamic bioethics appear like a stranger moving in a strange land.

scholarly journals Providing a “peaceful death” in the twenty-first century

2020 ◽  
Vol 6 (1) ◽  
pp. 1-18
Author(s):  
Evangel Sarwar
Keyword(s):  
End Of Life ◽  
Terminal Illness ◽  
Life Experience ◽  
Death And Dying ◽  
Natural Course ◽  
First Century ◽  
The Past ◽  
Twenty First Century ◽  
Dying At Home ◽  
At Home

Advances in medical technology have not only raised our expectations that medicine can perform miracles and keep us alive; it has also raised conflicts in allowing death to take its natural course. Many dilemmas are faced by physicians as well as families in end-of-life care and relieving the suffering. Ethical dilemmas about how to ensure individuals with terminal illness/end-of-life experience a “peaceful death,” when the meaning and perception of death has changed due to technology? In the past, death was expected and accepted, with rituals. Today, death has been reduced to an unheard phenomenon - shameful and forbidden. The advances in technology brought with it a change in culture of medicine from caring to curing, where medicine is expected to heal any disease. This advance has also acted as a double-edged sword, where longer lives come at the price of greater suffering, illness, and higher costs. While most Americans want to die at home, surrounded by loved ones - the “medicalization” of death does not allow the natural course of death to take place. Although recent studies indicate that more Americans are dying at home, most people still die in hospital beds – alone. This paper looks at the transition that took place in the concept of death and dying, and the impacts of technology, and makes suggestions for facilitating a “peaceful death” in the twenty-first century.

A la dérive

2020 ◽  
pp. 271-286
Author(s):  
Eric Robertson
Keyword(s):  
Case Studies ◽  
Visual Art ◽  
Georges Bataille ◽  
First Century ◽  
Free Verse ◽  
Michel Leiris ◽  
Twenty First Century ◽  
Carl Einstein ◽  
Formal Constraints

The notion of the formless found a lasting definition in Documents, the dissident Surrealist magazine led by Georges Bataille, Carl Einstein and Michel Leiris from 1929 to 1931.  In an unassuming short entry for its ‘Dictionnaire’, Bataille presents the informe emphatically not as a system or a structure, but as ‘un terme servant à déclasser’; yet neither the disruptive impulse of the 'Dictionnaire', nor the more recent exhibitions it has generated, can avoid a measure of taxonomic organisation (L'Informe: mode d'emploi, 1996; Undercover Surrealism, 2006). In the realm of poetry, free verse has eroded the boundaries of the poetic, but its freedom from formal constraints is limited too; as Jay Parini (2008) contends, ‘formless poetry does not really exist, as poets inevitably create patterns in language that replicate forms of experience.’  Through  a small number of case studies, this chapter will consider the legacy of Bataille’s definition while assessing the ongoing tension between form and its undoing in textual and visual art of the twenty-first century.

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