In Tact?

2021 ◽  
Vol 50 (2) ◽  
pp. 226-239
Author(s):  
Gabriele Brandstetter
Keyword(s):  
Postmodern Dance

Abstract Berührungen spielen im Tanz eine zentrale Rolle: Durch sie werden Motionen und Emotionen übertragen – und auch unterbrochen, gestört. Taktilität reguliert und de/synchronisiert „bodies in tact“. Im Folgenden soll anhand von Beispielen aus dem Bereich des Postmodern Dance (Trisha Browns Spanish Dance) und des zeitgenössischen Tanzes (Meg Stuart & Philipp Gehmachers Duo Maybe Forever) gefragt werden, wie Choreografien mit inter- und intrakorporalen Synchronisierungen arbeiten. Welche Modi des in oder aus dem Takt Tanzens werden sichtbar? Lassen sich – im zeitgenössischen Tanz – Hinweise auf eine Reflexion des Phänomens der „berührungslosen Gesellschaft“ (Elisabeth von Thadden) finden?

scholarly journals Bildaktivism i dansarkivet: Betydelsen av Anna Wikströms Akademi för dans

2020 ◽  
Vol 11 (1) ◽  
pp. 4-15
Author(s):  
Astrid von Rosen
Keyword(s):  
Physical Exercise ◽  
Archival Studies ◽  
Dance History ◽  
Dance Culture ◽  
Social Dancing ◽  
Postmodern Dance ◽  
New Knowledge ◽  
The University

AbstractThe article combines Critical Archival Studies theory about agency and activism with an empirical exploration of dance history in Gothenburg, Sweden’s second city. It focuses on Anna Wikström’s Academy for Dance (1930-1965), an education which has not been explored in previous research. A previous member of The Swedish Ballet, Wikström offered her students courses in artistic dance, dance as physical exercise, pedagogy, and social dancing. Thereby, her broad education differed from the narrow, elitist Ballet School at The Stora Teatern. The article accounts for how the collaboration between choreographer and dancer Gun Lund and Astrid von Rosen, scholar at the University of Gothenburg, contributes new knowledge about the local dance culture. It is argued that archival and activist approaches make it possible for more voices, bodies, and functions to take place in dance history. As such, the exploration complements previous postmodern dance historiography (see for example Hammergren 2002; Morris och Nicholas 2017) with a Gothenburg example.

Chasing Feathers

2017 ◽  
Author(s):  
Julian B. Carter
Keyword(s):  
Power Structures ◽  
Postmodern Dance

This chapter puts Jerome Bel’s 2004 dance Veronique Doisneau in conversation with recent critical work on re-enactment to explore the complex temporal politics that emerge when postmodern dance draws on and restages classical forms. The chapter describes how such restaging can make time fold and pleat around dancing bodies and their audiences, soliciting embodied participation in the power structures of both past and present.

scholarly journals Expansión geográfica y conceptual de la danza Contact Improvisation en España (1990-2000) (Geographic and conceptual expansion of the dance Contact Improvisation in Spain (1990-2000))

Retos ◽  
2016 ◽  
pp. 30-35
Author(s):  
Maria-Paz Brozas-Polo
Keyword(s):  
Qualitative Study ◽  
Growth Phase ◽  
Basque Country ◽  
El Paso ◽  
Balearic Islands ◽  
Contact Improvisation ◽  
Postmodern Dance ◽  
The Usa ◽  
Geographic Expansion ◽  
Pais Vasco

El Contact Improvisation es una danza posmoderna de origen estadounidense (1972) con una lenta evolución en España: se inicia en los años 80 en un núcleo catalán y balear y se encuentra aún en periodo de crecimiento. El objetivo de este trabajo es analizar la expansión geográfica de esta danza en los años 90 así como su evolución en el periodo seleccionado. Se trata de un estudio cualitativo donde se combina el análisis de contenido con las comunicaciones personales mediante correspondencia y entrevistas. Los resultados indican que el Contact Improvisation se extiende desde finales de los 80 hacia regiones como Madrid, Andalucía y País Vasco. Se constata como durante su desarrollo se amplía su concepción desde la investigación coreográfica hacia una experiencia aplicable a otros ámbitos artísticos así como educativos y/o terapéuticos. Se da el paso de una danza escénica a una danza social multidireccional.Abstract. Contact Improvisation is a postmodern dance form originating in the USA (1972) which slowly spread and evolved in Spain: it started in the eighties in Catalonia and the Balearic Islands and continues to be in a growth phase. The aim of this paper is to analyse the geographic expansion of this dance in the 90’s and track its evolution during this period. This is a qualitative study combining the analysis of content with personal interviews and mails. The results indicate that from the late 80’s Contact Improvisation extends to regions like Madrid, Andalusia and the Basque Country. During its development it changes from being a choreographic investigation to an experiential one applicable to other areas such as education and/or therapy. It takes a step away from being a stage dance and moves toward a social multidirectional dance. 

scholarly journals What a body can do

2015 ◽  
Vol 1 ◽  
Author(s):  
Kirsten Maar
Keyword(s):  
Simple Structure ◽  
Mathematical Structure ◽  
Primary Group ◽  
The Third ◽  
Postmodern Dance ◽  
The Right ◽  
Geometric Order ◽  
Trisha Brown

When I enter the apartment on the first floor in Berlin Schöneberg, where the Musée de la danse is announced to take place, Rabih Mroué welcomes me and the others visitors. At the very first room, I encounter a workshop situation in which Shelley Senter, former dancer with Trisha Brown (one of the icons of postmodern dance) tries to teach some phrases of Primary Group Accumulation, a piece from 1973, to Claire Bishop, art historian and critic of relational and participatory aesthetics. Both are lying on the floor, and we are joining them. Primary Group Accumulation was the third piece set by the mathematical structure of accumulation, following the principle of a children’s game: A, AB, ABC, ABCD—repeating and adding one new element of movement after each repetition. Four dancers performed rotations and bending of the joints in unison; the easier and more everyday it looks, the harder it is to execute the movement in exact unison, with the right timing. The piece precisely negotiates the tension between the relatively simple structure, the non-virtuosic movement, and its interpretation—between “geometric order and corporal imprecision.”

Activating Whiteness: Racializing the Ordinary in US American Postmodern Dance

2018 ◽  
Vol 50 (3) ◽  
pp. 71-84 ◽  
Author(s):  
Rebecca Chaleff
Keyword(s):  
Postmodern Dance ◽  
Racial Exclusion

“Activating Whiteness: Racializing the Ordinary in US American Postmodern Dance” explores how the choreographic turn to postmodernism twisted the trope of racial exclusion from a focus on trained bodies to a focus on ordinary bodies. Analyses of Yvonne Rainer'sTrio A(1966) and Trisha Brown'sLocus(1975) demonstrate how ordinary bodies shape racially exclusive spaces and activate the biopolitical mechanisms of normalization that their choreography allegedly contests. This essay argues that the spaces activated by the bodies that shaped them carry the physical trace of the performers’ race through the enduring invisibility of whiteness.

Critical Shade

2018 ◽  
pp. 27-45
Author(s):  
Tavia Nyong'o
Keyword(s):  
Queer Studies ◽  
Postmodern Dance ◽  
And Performance ◽  
Black Queer

This chapter revisits key debates over documentation and authenticity in the emergence of queer studies, which it considers through the work of a contemporary choreographer who engages in a process of what he calls “fictional archiving.” By reimagining black queer aesthetics as always already central to the development of postmodern dance and other contemporary aesthetic innovations, the chapter shows how this performance enacts a form of “critical shade” on white normative histories and pedagogies of dance, fashion, and performance.

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