scholarly journals The Original – ‘Again’ Historical and Contemporary Strategies for Writing and Re/Constructing Dance

Venezia Arti ◽  
2021 ◽  
Author(s):  
Margarita Delcheva
Keyword(s):  
Contemporary Dance ◽  
Chronological Period ◽  
Trisha Brown

Writing and dance have been positioned by scholars in a contraposed play throughout the chronological period from the Renaissance to today: dancing begins when writing stops. Scholars have accused dance of ephemerality and have attempted to salvage it through notation. In postmodern and contemporary dance, some choreographers challenge traditional assumptions about the primacy and stability of text and documentation. They ‘write’ with dance in both conceptual and alphabetic ways, some exploring the dimension of race. This study tests theories by Mark Franko and André Lepecki through analysis of dance reenactment strategies and interventions by choreographers Trisha Brown and Christopher-Rasheem McMillan.

scholarly journals Coming Together by Moving Apart: Contemporary Dance Scores and Communities During the Covid-19 Pandemic

2021 ◽  
Vol 12 ◽  
Author(s):  
Hetty Blades
Keyword(s):  
Contemporary Dance ◽  
Dance Company ◽  
Trisha Brown

This paper discusses Roof/Roof Piece, an adaptation of Trisha Brown's Roof Piece by Trisha Brown Dance Company and perch a dance made by Amy Voris and adapted by Voris and Katye Coe for Coe to perform in her home and online. Both these adaptations began during the Covid-19 pandemic, in contexts when the artists could not meet in person. I consider the role that the scores played in facilitating these shared practices, asking how they allowed for the development and continuation of bonds between members of dance communities during this period.

Intersections

2020 ◽  
Vol 22 ◽  
Author(s):  
Chadwick Auriol Gaspard
Keyword(s):  
Hip Hop ◽  
Contemporary Dance ◽  
Skill Sets ◽  
Cultural Phenomenon ◽  
Dance Company ◽  
Short Time ◽  
Artistic Director ◽  
New System

Hip Hop is a cultural phenomenon that is constantly evolving and has made a worldwide impact in a short time. While it continues to change Hip Hop at its core remains the same. Victor Quijada artistic director of the Rubberband Dance company posed the question of “What more could Hip Hop be”. With those words in mind the focus of my research is to examine the movement and concepts/ideologies of the breakdancing subculture of Hip Hop; to create a fusion with contemporary dance. As such a brand-new system of movement with its own concepts and life could be created. The dance world is continuously shifting, and different skill sets, as well as ideologies, have been valued at different times and places. This exploration will challenge the mainstream ideals of what is currently considered “technique” and “foundation”

scholarly journals Exploring dress, identity and performance in contemporary dance music culture

2014 ◽  
Vol 34 (5) ◽  
pp. 603-620 ◽  
Author(s):  
Dewi Jaimangal-Jones ◽  
Annette Pritchard ◽  
Nigel Morgan
Keyword(s):  
Contemporary Dance ◽  
Dance Music ◽  
Music Culture ◽  
And Performance

Beyond anthropomorphism: Odissi and the botanical

2012 ◽  
Vol 4 (2) ◽  
pp. 157-165
Author(s):  
Sally Gardner
Keyword(s):  
Body Schema ◽  
Contemporary Dance ◽  
Body Parts ◽  
Bharata Natyam ◽  
Indian Dance ◽  
The Difference ◽  
Tribal Cultures ◽  
Cultural Body

Drawing on experiences that have entailed watching and learning forms of so-called ‘Indian dance’ (Bharata Natyam and Odissi), and watching Odissi dancers performing in various locations in Orissa’s ‘sacred triangle’ (Puri, Konark, Bhubaneswar), and against my own background in contemporary dance, I propose that the difference of the Odissi body is that the dancer dances with his or her feet in more than one kingdom – that is, he or she maintains a link between human bodies and the bodies of plants. Such a perception can help to displace questions of the dancer’s spatiality and representations, challenging western or westernized visions of the industrial or mechanical body, assumed hierarchies of body parts and their signifying powers, and assumptions about the role of the joints. The sense of a botanical imaginary or specific cultural body-schema at work in Odissi dance is supported by discussion of historical and ethnographic literature pertaining to the (former) female dancers of the Jagannath Temple in Puri; the temple’s links with Oriyan tribal cultures; the dancers’ traditional importance according to an axis of social auspiciousness/inauspiciousness as opposed to social purity/impurity; and the particular processes of the reconstruction of Odissi dance (separate from that of Bharata natyam) after independence.

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