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 Behavioral engagement and disaffection in school activities: Exploring a model of motivational facilitators and performance outcomes

2015 ◽  
Vol 31 (3) ◽  
pp. 869 ◽  
Author(s):  
Antonio González ◽  
Paola Verónica Paoloni
Keyword(s):  
Perceived Control ◽  
Structural Equation ◽  
Structural Equation Models ◽  
Performance Outcomes ◽  
Theory And Practice ◽  
Behavioral Engagement ◽  
School Activities ◽  
Structural Relationships ◽  
And Performance

Previous research has shown that perceived control, task value, behavioral engagement and disaffection are personal determinants of academic performance. However, little research has simultaneously examined these constructs in secondary education. The present study analyzed the structural relationships between these variables and the role of engagement and disaffection as mediators of control and value on performance. Participants were 446 students (51.3% girls) ranging in age from 12 to 16 years attending six Spanish compulsory secondary schools (from 7th to 10th grades). The variables were assessed over a nine-month period. Structural equation models results confirmed the hypotheses: control and value significantly predicted engagement, disaffection, and performance; engagement and disaffection predicted performance and partially mediated the effects from control and value on performance. Implications for psycho-educational theory and practice are discussed.

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.

scholarly journals The Relationship between Dramatic Text and Performance with the Centrality of the Body with a Look at Anne Bogart’s Rendition of The Persians

1970 ◽  
Vol 2 (2) ◽  
pp. 25-31
Author(s):  
Samin Gheitasy ◽  
Leila Montazeri ◽  
Simin Dolatkhah
Keyword(s):  
The Body ◽  
Physical Approach ◽  
The World ◽  
Dramatic Text ◽  
And Performance ◽  
Anne Bogart ◽  
The Relationship ◽  
Sociological View

The dramatic text defines, to some extent, the structure of the work but the type of performance and the physical approach to the text can represent different meanings. The body of the actor, as a means of conveying concepts from the text to the audience, can be effective in creating different interpretations and meanings of the text. Since eons ago, directors have used the body of the actor with different approaches, and the application of body on the stage has always been underdoing changes. Anne Bogart is one of the few directors who is less known in the Iranian theater despite possessing the most updated and well-known methods of practice and performance in the world. Using her viewpoint method, she brings live and dynamic bodies to the stage; bodies that are able to convey the hidden meanings of the text to the audience in the most suitable way. The overall purpose of this research is to find the relationship between the dramatic text and the performance with the centrality of the body with a sociological view toward the body. To this end, by presenting Foucault's theories, the researchers defines the role of the body in the society and its extent of effectivity and impressibility. Finally, this study explores the implications of this role in each element of Aeschylus’s The Persians, and it shall show how Bogart beautifully represents them using the bodies of her actors during performance.

The Role of Bodily Movement in Learning and Performing Music: Applications for Education

2012 ◽  
pp. 768-782 ◽  
Author(s):  
Jane W. Davidson
Keyword(s):  
Body Movement ◽  
The Body ◽  
Musical Experience ◽  
Performance Skills ◽  
Music Production ◽  
Bodily Movement ◽  
Musical Knowledge ◽  
And Performance

This article explores the fundamental role of bodily movement in the development of musical knowledge and performance skills; in particular, how the body can be used to understand expressive musical material and to communicate that meaning to coperformers and audience. The relevance to the educator is explored (whether working with a child or adult beginner, or a more advanced learner). The article is divided into six main sections, tracing the role of body movement skill in music production, expressive musical performance, developing learners to play their musical instruments with technical and expressive appropriateness, coperformer coordination, and projection for audience perception. The work builds on a growing interest in the embodied nature of musical experience. The article concludes with case study observations of practical insights and applications for the teacher.

From the Streets to the Stage: Disability and the Performing Arts

PMLA ◽  
2005 ◽  
Vol 120 (2) ◽  
pp. 620-625 ◽  
Author(s):  
Carrie Sandahl
Keyword(s):  
Lived Experience ◽  
Performing Arts ◽  
Liberal Arts ◽  
Theory And Practice ◽  
Live Performance ◽  
Artistic Practice ◽  
Theater Studies ◽  
Suitable Site ◽  
And Performance ◽  
The University

Despite its newness, disability-theater studies is an incredibly rich area of inquiry that is exploding in artistic practice and scholarship. The university is a particularly suitable site for a meeting of disability and the theater; after all, we theater scholars think of our classrooms and productions as laboratories not only for showcasing knowledge but for producing, rehearsing, and revising it. As the theater scholar Jill Dolan points out, live performance, especially in the liberal arts setting, has the unique power to test, on bodies willing to try them, academic theories that are otherwise purely theoretical. The feedback loop that oscillates between theory and practice in theater studies is necessarily changed by the inclusion of disability perspectives in the classroom, research programs, and performance offerings. Interestingly, an underlying theme of disability perspectives is that the lived experience of disability is always already performative; indeed, many of us with disabilities understand our disabilities as performance, not exclusively in an aesthetic or theoretical sense, but as an actual mode of living in the world. Consider what the playwright and wheelchair user John Belluso told me in a recent interview: “Any time I get on a public bus, I feel like it's a moment of theater. I'm lifted, the stage is moving up, and I enter, and people are along the lines, and they're turning and looking, and I make my entrance. It's theater, and I have to perform. And I feel like we as disabled people are constantly onstage and we're constantly performing.” The perspective of disability as performance undergirds and permeates disability art and scholarship. Thus, my own development as a disability-theater scholar and artist frames my perception of how disability challenges both the practical and the theoretical aspects of theater studies and points to the role universities play in fostering further development of the field.

‘To Show … and so to Publish’

2013 ◽  
Author(s):  
Charlotte Scott
Keyword(s):  
The Body ◽  
Complex Relationship ◽  
Multiple Forms ◽  
Textual Authority ◽  
And Performance ◽  
Narrative Poems ◽  
Print Reading ◽  
Rape Of Lucrece ◽  
The Relationship

This chapter examines Shakespeare’s Venus and Adonis and The Rape of Lucrece within the context of the relationship between word and performance. Tracing the poems’ exploration of both action and affect, it examines the multiple forms through which representation becomes authoritative. Beginning with Venus, it focuses on the relationship between performance—sexual, artistic, theatrical, and authorial—and response, emotional, physical, and amorous. Developing the dynamic between action and affect, The Rape of Lucrece produces a complex relationship between knowledge and representation in which the legibility of the body emerges as a powerful and often destructive marker of authority. In this poem the language of print—reading, writing, interpreting, and reproducing—imaginatively reconstructs the body in action. Situating these narrative poems within the context of dramatic performance and textual authority, the chapter highlights the role of the narrative poems in the development of Shakespeare’s dramatic art.

scholarly journals The impact of market orientation on the performance of MSMEs operating in technology parks: The role of market dynamism

2021 ◽  
Vol 17 (2) ◽  
pp. 29-52
Author(s):  
Anna Wójcik-Karpacz ◽  
◽  
Jarosław Karpacz ◽  
Joanna Rudawska ◽  
◽  
...  
Keyword(s):  
Firm Performance ◽  
Market Orientation ◽  
Small And Medium Enterprises ◽  
Theory And Practice ◽  
Systematic Research ◽  
Technology Parks ◽  
And Performance ◽  
Medium Enterprises ◽  
The Impact

Purpose: The purpose of this article is to identify the role of market dynamism in the relationship between market orientation and the performance of micro, small, and medium enterprises (MSMEs) operating in technology parks (TPs) in Poland. Methodology: The two methods used for performing the quantitative empirical research are CAWI and PAPI. The research sample included MSMEs operating in technology parks in Poland. The article is the answer to the needs for systematic research of models between market orientation and firm performance. Findings: The research findings provide an insight into the level of market orientation and performance of the analyzed MSMEs operating in technology parks in Poland. It was found that MSMEs in the research sample were not a homogeneous group in this respect. It has been proven that market orientation is a significant stimulant of firm performance, while market dynamism has not been classified as a moderator of the market orientation–firm performance relationship. Implications for theory and practice: This study contributes to strategic management by identifying the key role of market orientation for enterprises wishing to benefit from this type of strategic orientation. The important role of the predictor – market orientation in shaping the results of micro, small and medium-sized enterprises operating at TPs in Poland has been proven. In practice, this means that increasing the level of market orientation is conducive to increasing positively assessed financial performance. Originality and value: Our research carried out at MSMEs operating in technology parks in Poland enriches and supplements knowledge about market orientation as a phenomenon of universal character because it also applies to smaller sized business organizations.

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.

The Interoceptive Mind

2018 ◽  
Keyword(s):  
Lived Experience ◽  
Philosophy Of Mind ◽  
Well Being ◽  
The Body ◽  
Mental Life ◽  
Traditional Role ◽  
Philosophical Perspective ◽  
Cognitive Neurosciences ◽  
Affect And Cognition

This volume focuses on the role of interoception for mental life and lived experience, from the perspectives of neurosciences, psychological sciences, and philosophy. Interoception is the body-to-brain axis of signals originating from the internal body and visceral organs (such as gastrointestinal, respiratory, hormonal, and circulatory systems), and plays a unique role in ensuring homeostasis. This volume goes beyond the traditional role of interoception for homeostasis and offers a state-of-the-art overview of and new insights into the role of interoception for mental life, awareness, subjectivity, affect, and cognition. Structured across three parts, this multidisciplinary volume highlights the role that interoceptive signals and awareness thereof play in our mental life (Part I), considers deficits in interoceptive processing and awareness in various mental health conditions but also the equally important role of interoception for well-being (Part II), and approaches interoception from a theoretical and philosophical perspective, representing a highly novel departure for philosophy of mind and subjectivity (Part III). The chapters share a common concern for what it means to experience oneself, for the crucial role of emotions, and for issues of health and well-being, discussed on the joint basis of our bodily existence and interoception. The research presented here will hopefully accelerate the much-anticipated coming of age of interoceptive research in psychology, cognitive neurosciences, and philosophy.

A Phenomenological Study of the Lived Experience of Roman Catholic Sisters and Successful Aging

2020 ◽  
Vol 38 (4) ◽  
pp. 350-361
Author(s):  
Deborah McManus
Keyword(s):  
Lived Experience ◽  
Thematic Analysis ◽  
Successful Aging ◽  
Phenomenological Study ◽  
Roman Catholic ◽  
The Body ◽  
Spiritual Practices ◽  
Aging Research ◽  
Catholic Sisters

Purpose: To gain an understanding of how religious and spiritual practices might enable Catholic Sisters to age successfully. Design: A purposive sample of 12 retired Roman Catholic Sisters aged 75 years and older from two convent settings were interviewed. Method: Using a semistructured recorded interview, the Roman Catholic Sisters shared their lived experiences of aging, and practices of religion, spirituality, and meditation. Data analysis utilized thematic analysis of the interview texts. Findings: Thematic analysis identified the following themes: daily engagement in religious and spiritual practice and meditation; self-contentment and positivity regarding the meaning of successful aging; life acceptance; sense of faith and positivity regarding the afterlife; and intersection of meditation, prayer, spirituality, and cognitive engagement. Conclusion: This research contributes to the body of aging research and presents successful aging as understood and more specifically as experientially influenced. The findings of the study provided insight regarding the meaning and experience of successful aging, and the role of everyday religious and spiritual practices in the lives of the Catholic Sisters which influenced their individual life experiences as they age.

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