Butoh: Granting Art Status to an Indefinable Form

2021 ◽  
Author(s):  
◽  
Shane Caldwell
Keyword(s):  
Performance Art ◽  
Narrative Theory ◽  
Art Form ◽  
The World ◽  
Art Forms ◽  
And Performance

<p>Butoh is a kind of art, but exactly what kind of art is not so easy to see. While traditionally considered a type of dance, there are a number of butoh works that are not readily identifiable as dance works, if in fact they count as dance at all. Through the use of Noël Carroll’s narrative theory of art, I will show how butoh comes to be thought of as art even if it fails to match up exactly with any one pre-existing art form. I will show how the context in which butoh came into being is sufficient for granting butoh art status due to its relation to existing art forms. I compare butoh to its two most similar analogues, dance and performance art, and examine how it resembles and differs from each of them. I also show how the reason categorising butoh as only one kind of art form is problematic due to its being part of a non- Western aesthetic tradition that does not break the world up into such easily separable pieces.</p>

Butoh: Granting Art Status to an Indefinable Form

2021 ◽  
Author(s):  
◽  
Shane Caldwell
Keyword(s):  
Performance Art ◽  
Narrative Theory ◽  
Art Form ◽  
The World ◽  
Art Forms ◽  
And Performance

<p>Butoh is a kind of art, but exactly what kind of art is not so easy to see. While traditionally considered a type of dance, there are a number of butoh works that are not readily identifiable as dance works, if in fact they count as dance at all. Through the use of Noël Carroll’s narrative theory of art, I will show how butoh comes to be thought of as art even if it fails to match up exactly with any one pre-existing art form. I will show how the context in which butoh came into being is sufficient for granting butoh art status due to its relation to existing art forms. I compare butoh to its two most similar analogues, dance and performance art, and examine how it resembles and differs from each of them. I also show how the reason categorising butoh as only one kind of art form is problematic due to its being part of a non- Western aesthetic tradition that does not break the world up into such easily separable pieces.</p>

scholarly journals Performing with Plants in the Ob-scene Anthropocene

2020 ◽  
Vol 32 (1) ◽  
pp. 121-142
Author(s):  
Annette Arlander
Keyword(s):  
Performance Analysis ◽  
Performance Art ◽  
Performance Studies ◽  
Research Project ◽  
Performance Practices ◽  
Art Form ◽  
And Performance ◽  
Performance As Research ◽  
Artistic Research

Is there a way for the anthropocentric and anthropomorphic art form par excellence, the theatre, or performance art for that matter, to expand beyond their human and humanist bias? Is the term Anthropocene in any way useful for theatre and performance studies or performance-as-research? In the anthology Anthropocene Feminism (Grusin 2017) Rosi Braidotti proposes four theses for a posthumanist feminism: 1) feminism is not a humanism, 2) anthropos is off-center, 3) zoe is the ruling principle, 4) sexuality is a force beyond gender. These assertions can undoubtedly be put on stage, but do they have relevance for developing or understanding performance practices off-stage and off-center, such as those trying to explore alternative ways and sites of performing, like performing with plants? In this text, I examine Braidotti’s affirmative theses and explore their usefulness with regard to performance analysis, use some of my experiments in the artistic research project “Performing with plants” as examples, and consider what the implications and possible uses of these theses are for our understanding of performances with other-than-human entities, which we share our planet with.

scholarly journals The translator

2020 ◽  
pp. 1-19
Author(s):  
Gabriela Saldanha
Keyword(s):  
Performance Art ◽  
Performance Studies ◽  
Literary Translation ◽  
Self And Other ◽  
Art Form ◽  
And Performance

Abstract This article proposes that in order to understand the nature of literary translation as an art form, we need to complement existing approaches drawing on literary, linguistic and sociological theories with insights derived from performance studies. As a way of exploring what the theorization of translation as performance art could contribute to our understanding of literary translation, I map four basic tenets of performance as restored behavior (Schechner 1985) to two translators’ (Margaret Jull Costa and Peter Bush) accounts of their practice. The mapping is illustrated with writings by and interviews with the translators, focusing on four points of contact: the unresolved dialectal tension between self and other, the deliberate, rehearsed nature of decisions, the need for distance between original and performance/translation, and the role of the audience.

Ideologi Seni Rupa Indonesia Era 1990-an Pada Karya Tisna Sanjaya

Panggung ◽  
2014 ◽  
Vol 24 (2) ◽  
Author(s):  
Anggiat Tornado ◽  
H. Dadang Suganda ◽  
Setiawan Sabana ◽  
H. Reiza D. Dienaputra
Keyword(s):  
Performance Art ◽  
Installation Art ◽  
Research Result ◽  
Fine Art ◽  
Creative Work ◽  
Art Form ◽  
The People ◽  
Hermeneutic Approach ◽  
And Performance ◽  
Emic And Etic

ABSTRACT The 1990s was the spirit of the New Art Movement undeniable as the embryo of the development of art in the 1990s. Fine art combining all the art that developed (sculpture, painting and printma- king and performance art) by some of the artists who eventually become aesthetic choice. This re- search used emic and etic, semiotic and hermeneutic approach. The research result describes Tisna Sanjaya ideology in the process of creative work tends to raise the issue in this case social critic.Tisna Sanjaya more knows from the source which was appointed to be the theme of his work. Installation art and performace art are an art form that is recognized by Tisna that can communicate directly with the people who were subjected to his art. Tisna Sanjaya as an artist who has the inclination and ideology, art as follows: a) Awareness of the problems though art can not reply on the matter then and there, because art takes time to find the answer. b) Representation of the things that happen to be reported continuously up through artpeople can catch from the issues that are and have happened. Keywords: Ideology,  Art in The 1990’s, Tisna Sanjaya  ABSTRAK Era 1990-an adalah semangat Gerakan Seni Rupa Baru yang tak dapat dipungkiri sebagai embrio dari perkembangan seni rupa 1990-an. Seni rupa yang memadukan seluruh seni yang berkembangh (antara seni patung, seni lukis dan seni grafis dan performance art) berkembang dan mendapat tem- pat oleh beberapa seniman yang akhirnya menjadi pilihan estetikanya. Penelitian ini menggunakan pendekatan hermeneutik, semiotik dan etik dan emik.Hasil penelitian memaparkan ideology Tisna Sanjaya dalam proses kerja kreatifnya cenderung mengangkat persoalan kritik sosial.. Tisna Sanjaya sebagai seniman yang memiliki kecenderungan dan memiliki ideologi,  seni sebagai berikut: a) Penyadaran terhadap persoalan walaupun seni tidak dapat menjawab dari persoalan tersebut saat itu juga , karena seni membutuhkan waktu untuk me- nemukan jawabannya. b) Representasi dari hal yang terjadi yang harus dikabarkan terus menerus hingga lewat seni orang dapat menangkap dari persoalan yang sedang dan pernah terjadi. Kata kunci: Ideologi, Seni Era 1990-an, Tisna Sanjaya 

scholarly journals Dada-Ikone in New York. Die Performance- Künstlerin Elsa von Freytag-Loringhoven

2004 ◽  
Vol 22 (2) ◽  
Author(s):  
Irene Gammel
Keyword(s):  
New York ◽  
Performance Art ◽  
Body Art ◽  
Found Objects ◽  
Avant Garde ◽  
The Everyday ◽  
Art Forms ◽  
And Performance

AbstractAn innovator in cross-disciplinary art forms and the use of found objects, Baroness Elsa von Freytag-Loringhoven (1874–1927) was America’s earliest performance artist. She was best known for her sexually charged, often controversial performances. A poet, sculptor, and model, she literally embodied the avant-garde dada movement in New York from 1913-1923. During her sojourns in Berlin, Munich, New York, and Paris, she shocked viewers with her performances and adornments such as a tomato can bra, teaspoon earrings, and black lipstick. She erased the boundaries between life and art, the everyday and the outrageous, and the creative and the dangerous. Her performances prefigured feminist body art and performance art by nearly half a century. In the 21

Women Painters of Mithila

2018 ◽  
pp. 370-381
Author(s):  
Sudha Jha Pathak
Keyword(s):  
Traditional Knowledge ◽  
Women Artists ◽  
Social Structures ◽  
Economic Deprivation ◽  
Traditional Art ◽  
Art Form ◽  
The World ◽  
Art Forms ◽  
Set Up ◽  
Cultural Origins

The region of Mithila has become synonymous with the beautiful and vibrant Madhubani paintings which are very much coveted by the connoisseurs of art the world over. The women from Mithila have been making these paintings and it is admirable that they have been able to carve out a space and name for themselves amidst the patriarchal set-up of society. Indeed, there is no other parallel anywhere else in the world of a folk-painting being mastered exclusively by women. The progressive commercialization of this art has resulted in the corrosion of this pristine variety of art - in form as well as content. Except a miniscule number of artists, economically the plight of the vast majority of these women painters has remained quite miserable who are forced to sell their artistic pieces for a pittance while a huge profit is earned by the middlemen. The commodification and commercialization of this traditional art form has caused much alarm to the anthropologists, art historians and connoisseurs of art who are sensitive to the cultural origins and solemnity of these art forms, and also made them empathetic to the economic deprivation of the women artists who produce them. These women artists are undermined by the patriarchal social structures of the community and family and also by the market that expropriates traditional knowledge and cultural expressions.

Playing Seriously: An Introduction to Corporeal Architecture, Neuroscience, and Performance Art

Dimensions ◽  
2021 ◽  
Vol 1 (1) ◽  
pp. 119-128
Author(s):  
Maria da Piedade Ferreira
Keyword(s):  
Qualitative Research ◽  
Built Environment ◽  
Design Process ◽  
Performance Art ◽  
Human Body ◽  
Art And Science ◽  
Load Bearing ◽  
Qualitative And Quantitative ◽  
The World ◽  
And Performance

Editorial Summary With a focus on experiential qualities Maria da Piedade Ferreira distinguishes her research object from classical (rather technical) quantities such as load-bearing capacities. In her text she illustrates how she employs methods, techniques, and instruments from performance art and neurosciences to investigate the effects of spatial conditions on the human body. In doing so, she explores a mix of qualitative and quantitative approaches, namely by experimenting with emotion measurement: Qualitative research, by including methodologies which attribute measurable values to the felt experience, might help us better understand the effects of the built environment in the human body during the design process itself, and after building. Accordingly, her aim is to integrate art and science methodologies that allow us to design spaces as intelligent extensions of the human body and positively impact how this feels and acts in the world. [Ferdinand Ludwig]

scholarly journals Expansion and Contraction: The Play Spaces of Todd and the Vampire

2020 ◽  
pp. 163-170
Author(s):  
Erin Heisel
Keyword(s):  
New Media ◽  
Virtual World ◽  
Visual Artists ◽  
Media Technologies ◽  
Music Production ◽  
Production Processes ◽  
Art Form ◽  
The World ◽  
Art Forms ◽  
The Relationship

What happens when the music production processes and spaces of a traditionally live art form such as opera are digitized? What is the relationship between community and isolation for artists when their workspace is lifted from the theatre—with its interpersonal connections—and placed in the virtual world? What opportunities and what risks does this pose for performers? Are there parallels to other art forms that developed or expanded as the result of new media technologies? This article will explore these issues by considering the production processes of the animated YouTube opera/movie Todd and the Vampire, composed and created by Ronen Shai, with contributions by musicians and visual artists working simultaneously, but independently, around the world. How does this piece utilize technology to challenge and transcend traditional notions of space and identity? What are the implications of this somewhat disembodied process for performers, audiences, and for the art form itself?

scholarly journals Fabric Philosophy: The “Texture” of Theatricality and Performativity

2017 ◽  
Vol 2 (2) ◽  
pp. 172 ◽  
Author(s):  
Teemu Paavolainen
Keyword(s):  
Everyday Life ◽  
Global Scale ◽  
Human Existence ◽  
Cultural Value ◽  
Ecological Anthropology ◽  
Its Analysis ◽  
Art Form ◽  
The World ◽  
Art Forms ◽  
Philosophical Pragmatism

As metaphors of human existence, the idioms of theatricality and performativity both fluctuate between values of novelty and normativity: theatricality, between the essence of an art form and a cultural value variously opposed or embraced, performativity, between doing and dissimulation. To revert from drawing too sharp boundaries, either between the two phenomena or between their cognate art forms and everyday life, the article pursues to analyse them in “textural” terms specifically inspired by Tim Ingold’s ecological anthropology and Stephen C. Pepper’s philosophical pragmatism from the 1940s. Where Ingold’s ecology of lines admits to “no insides or outsides,” “trailing loose ends in every direction,” Pepper’s “contextualistic world” of events admits “no top nor bottom” to its strands and textures. After introducing Ingold’s networks of connected objects and meshworks of interwoven lines as shorthand terms for specifically theatrical and performative textures, their various dynamics are considered in terms of absorption and abstraction: on a global scale – I briefly consider the Anthropos(c)ene as theatrum mundi – seeing all the world as a stage indeed depends on something of a theatrical inversion of its lines of becoming. From the tensions of novelty and normativity, noted above, what emerges is a fabric philosophy of weaving and zooming between overlapping textures: if the performative names a dramaturgy of becoming, then the theatrical provides an optic for its analysis.

scholarly journals The cultural concept of contemporary performance art

2018 ◽  
pp. 73-83
Author(s):  
Anica Arsic
Keyword(s):  
Performance Art ◽  
Artistic Expression ◽  
Avant Garde ◽  
Cultural Paradigm ◽  
Theoretical Approaches ◽  
Art Form ◽  
Basic Characteristics ◽  
And Performance ◽  
The 1960S ◽  
Term Performance

If the ontological meaning of the term performance were directed towards the overall creativity in the culture of mankind, then it might be concluded that the performance is the oldest form of artistic expression. This term, however, can not be placed on the same level with the term performance art, which defines special avant-garde art form. It was founded in the 1960s as a protest against the institutionalized art, as a movement for the liberation of art and artists from the imposed forms and clich?s. Performance Art is a work that has no defined shape, with fluid borders and ready to open for cooperation with other forms of cultural creativity. One of its main features is interactivity. Performance Art is an omnipresent cultural paradigm, which monitored and is still monitoring the social thoughts development. This layered and comprehensive art form is in constant movement, making possibilities for the analysis and theoretical approaches inexhaustible. This paper presents the basic characteristics of Performance Art as the established form of artistic expression in the XXI century and conceptual differences between the performance and Performance Art.

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