Dance, Theater, and Their Post-Medium Condition

Abstract During the late 1950s and early 1960s, Carolee Schneemann primarily identified as a painter. But she was a keen and cutting observer of dance. This article considers Schneemann's audacious performance work for the Judson Dance Theater and reflects on its ongoing importance both at the time of her death and in a world forced apart by the novel coronavirus (COVID-19).

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MAKYUNG AS AN OLDEST FORM OF MALAY TRADITIONAL DANCE THEATRE IN SOUTHEAST ASIA

International Journal of Applied and Creative Arts ◽

10.33736/ijaca.1441.2019 ◽

2019 ◽

Vol 2 (1) ◽

pp. 27-35

Author(s):

Rosdeen Suboh

Keyword(s):

Southeast Asia ◽

18Th Century ◽

The Self ◽

Oral Traditions ◽

Historical Records ◽

Dance Theater ◽

Exact Date ◽

Archaeological Materials ◽

Almost All ◽

Performance Structure

Almost all previous studies on the Makyung dance theater concurred that the aforementioned performance was the oldest form of traditional theater amongst the Malays in Southeast Asia. It arrived or started before the arrival of Islam to the Malay Peninsula. Unfortunately, the written record on Makyung only existed at the end of the 18th century. Hence, the exact date on the origin of Makyung is difficult to determine. This means that the main sources of research on Makyung are from oral traditions, including myths, as well as the evidence contained in the self-titled performances, and not only depending the sources of writing, material evident or archaeological materials. Consequently, this article offers that Makyung is the oldest dance theatre in Southeast Asia through the analysis of previous historical records, studies and opinions about stories and elements in the performance structure.

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Impact of Ultrasound and Medium Condition on Selenium-Enriched Yeast Production from Sugar Beet Molasses and Date Waste

SSRN Electronic Journal ◽

10.2139/ssrn.3877919 ◽

2021 ◽

Author(s):

Sadegh Alijan ◽

Marzieh Hosseini ◽

Kianoush Khosravi-Darani ◽

Saeideh Esmaeili

Keyword(s):

Sugar Beet ◽

Beet Molasses ◽

Medium Condition ◽

Sugar Beet Molasses ◽

Yeast Production

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Hans Van Manen

The Oxford Handbook of Contemporary Ballet ◽

10.1093/oxfordhb/9780190871499.013.43 ◽

2021 ◽

pp. 28-44

Author(s):

Anna Seidl

Keyword(s):

Avant Garde ◽

Less Is More ◽

Dance Theater ◽

Van Manen ◽

Existential Dimension ◽

Game Changer

The Dutch avant-garde choreographer Hans van Manen (b. 1932) is frequently recognized as a game changer and pioneer for his fusion of ballet techniques with elements from dance theater, and for his scrutiny of ballet’s conventional use of authority, power, and patriarchy. Yet it still remains difficult to describe the “mysterious experience” one gains while watching his ballets, an experience characterized by an intriguing tension between formal austerity and dramatic expression—a type of “less is more.” In this chapter, Van Manen’s ballets are at once abstract and emotive; they are uncomplicated, tightly composed works of pure dance, and yet they are deeply social and political, with a clear emancipatory agenda. In short: Hans van Manen’s choreographies have an existential dimension, and can be described as abstract miniature dramas.

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