scholarly journals Dance and Science: an analysis of the creative process behind "Transitions", a show by Contemporary Dance Company of UFRJ

2021 ◽  
Vol 10 (36) ◽  
pp. 292-293
Author(s):  
André Meyer Alves de Lima ◽  
Danielle Vianna Menezes Pinto Almeida ◽  
Adalberto Ramon Vieyra
Keyword(s):  
Biological Sciences ◽  
Contemporary Art ◽  
Creative Process ◽  
Scientific Activity ◽  
Contemporary Dance ◽  
Open Type ◽  
Science And Art ◽  
Dance Company ◽  
Study Case ◽  
The Relationship

This study proposes an esthetic reflection on the influence of the biological sciences on dance as a variety of contemporary art. The relationship between science and art in this study is grounded on François Dagognet’s hyperphenomenology, particularly his representation of the major role played by the image-symbol as essential base of present-day scientific activity [1]. Contemporary dance creators and companies such as Wayne Mac Gregor, Phylobolus Dance Company and Liz Lerman Dance Exchange are analyzed, in order to highlight how some biosciences themes are explored as creative potentials in their dance performances [2,3,4]. We aim at relating biological shapes and patterns existing in the cellular and molecular universe with the fundamentals of dance described by Helenita Sá Earp. Earp’s conception posits dance as wide-scoped knowledge, including a “science of dance” where intuition works as basic foundation and its epistemology is made of an open type of knowledge named “dance parameters”, namely motion, space, shape, dynamics and time. These parameters allow establishing access points for multiple connections within the realm of dance. This approach tends to generate a kind of access to body actions stimulating interdisciplinarity between several areas of knowledge [4]. As study-case, we focus methodologically on the processes of esthetic creation involved in the production of a multimedia show entitled “Transitions” by appealing to biochemical notions, especially some features of cytology and cellular morphology, cell proliferation and processes of cellular transportation [5].

scholarly journals Moving Museums:  Incorporating Contemporary Dance in New Zealand Museums

2021 ◽  
Author(s):  
◽  
Naiomi Murgatroyd
Keyword(s):  
New Zealand ◽  
Performing Arts ◽  
Strong Relationship ◽  
Contemporary Dance ◽  
Visitor Experience ◽  
Financial Barriers ◽  
Dance Company ◽  
The Impact ◽  
The Relationship

<p>Dance has been used historically in museums in both exhibitions and public programmes. These events provide opportunities for museums to collaborate with performing arts institutions. Incorporating contemporary dance in New Zealand museums poses a number of challenges for both the dance company and for the museum; however it can provide a unique and rewarding visitor experience. There has been little research into the use of contemporary dance in the museum environment, or the practicalities of holding such events. The impact of dance performances on the museum visitor has also been neglected. This case study of a contemporary dance company performing in a New Zealand museum investigates the relationship between the two organisations and the impact the performance had on the visitor. Ten interviews were conducted with museum staff, dance company staff and one audience member. This case study provides insight into the relationship between the two institutions as well as the visitor experience. It was found that significant practical and financial barriers could potentially prevent both the dance company and the museum from holding dance events. Key areas of concern in organising this event were safety, communication and measuring the success of the event. A strong relationship between the institutions and open channels of communication between the staff involved allowed for practical solutions to these issues. The connection between the dance work and the museum exhibition space was questioned by visitors, who did not overtly see a link between the two despite the artistic intentions of the dance company. Nonetheless meaning was taken from the piece in less direct ways. Firstly, visitors generated meaning from the social aspects of their visit. Secondly, they found meaning in the physical environment of the museum.</p>

Through the lens of choreographic process

2020 ◽  
Vol 10 (1) ◽  
pp. 53-64
Author(s):  
Scott deLahunta ◽  
Jordan Beth Vincent
Keyword(s):  
Creative Process ◽  
Contemporary Dance ◽  
Audience Research ◽  
Content Type ◽  
Audience Studies ◽  
Dance Studies ◽  
Dance Company ◽  
Original Contribution ◽  
Reflective Study ◽  
First Time

PurposeThis article aims to bring together and demonstrate overlaps in three different areas of reflexive research concerned variously with audiences for contemporary dance. These are: 1) artists reflecting on their own creative process and engaging other researchers in doing so, generating new insights and language as a result; 2) humanities-based dance studies and a small number of dance scholars reflecting on this “process turn” in dance; and 3) the field of empirical audience studies, drawing on a single study specifically interested in access to creative process. The goal is to propose how these areas might coexist and mutually inform each other.Design/methodology/approachThe approach develops a three-fold framework where the multiple definitions and examples of reflexive research in dance-making processes coexist. It draws systematically on a detailed example of one self-reflective study conducted by a dance company into creative process, on new scholarly writing on the “process turn” in dance research and written analysis of a unique audience research project as well as related literature.FindingsIn conclusion, the article suggests that in whatever combination of different research approaches, empirical evidence is increasingly important. This risks tipping the balance towards a more utilitarian understanding, particularly in the area of audience studies. It is possible to counterbalance this with approaches from artists and scholars interested in understanding arrived at through reflexive study of creative practice.Originality/valueThe original contribution is to bring these three areas together for the first time to expose difference and overlaps and suggest that challenges of understanding (in a non-utilitarian form) could be mitigated through more systematic dialogue between them, such as presented here.

scholarly journals Moving Museums:  Incorporating Contemporary Dance in New Zealand Museums

2021 ◽  
Author(s):  
◽  
Naiomi Murgatroyd
Keyword(s):  
New Zealand ◽  
Performing Arts ◽  
Strong Relationship ◽  
Contemporary Dance ◽  
Visitor Experience ◽  
Financial Barriers ◽  
Dance Company ◽  
The Impact ◽  
The Relationship

<p>Dance has been used historically in museums in both exhibitions and public programmes. These events provide opportunities for museums to collaborate with performing arts institutions. Incorporating contemporary dance in New Zealand museums poses a number of challenges for both the dance company and for the museum; however it can provide a unique and rewarding visitor experience. There has been little research into the use of contemporary dance in the museum environment, or the practicalities of holding such events. The impact of dance performances on the museum visitor has also been neglected. This case study of a contemporary dance company performing in a New Zealand museum investigates the relationship between the two organisations and the impact the performance had on the visitor. Ten interviews were conducted with museum staff, dance company staff and one audience member. This case study provides insight into the relationship between the two institutions as well as the visitor experience. It was found that significant practical and financial barriers could potentially prevent both the dance company and the museum from holding dance events. Key areas of concern in organising this event were safety, communication and measuring the success of the event. A strong relationship between the institutions and open channels of communication between the staff involved allowed for practical solutions to these issues. The connection between the dance work and the museum exhibition space was questioned by visitors, who did not overtly see a link between the two despite the artistic intentions of the dance company. Nonetheless meaning was taken from the piece in less direct ways. Firstly, visitors generated meaning from the social aspects of their visit. Secondly, they found meaning in the physical environment of the museum.</p>

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 Embodying the Site: the Here and Now in Site-Specific Dance Performance

2005 ◽  
Vol 21 (4) ◽  
pp. 367-381 ◽  
Author(s):  
Victoria Hunter
Keyword(s):  
Creative Process ◽  
Dance Performance ◽  
Site Specific ◽  
The Creation ◽  
Spirit Of Place ◽  
The Moment ◽  
The University ◽  
The Relationship

In this article, Victoria Hunter explores the concept of the ‘here and now’ in the creation of site-specific dance performance, in response to Doreen Massey's questioning of the fixity of the concept of the ‘here and now’ during the recent RESCEN seminar on ‘Making Space’, in which she challenged the concept of a singular fixed ‘present’, suggesting instead that we exist in a constant production of ‘here and nows’ akin to ‘being in the moment’. Here the concept is applied to an analysis of the author's recent performance work created as part of a PhD investigation into the relationship between the site and the creative process in site-specific dance performance. In this context the notion of the ‘here and now’ is discussed in relation to the concept of dance embodiment informed by the site and the genius loci, or ‘spirit of place’. Victoria Hunter is a Lecturer in Dance at the University of Leeds, who is currently researching a PhD in site-specific dance performance.

Helmholtz and His Continuing Influence

1984 ◽  
Vol 1 (3) ◽  
pp. 253-275 ◽  
Author(s):  
Richard M. Warren
Keyword(s):  
Place Theory ◽  
Science And Art ◽  
The Relationship

Helmholtz's career is outlined, and his views on the relationship between science and art are summarized. He was fascinated by illusions, and his account of their use in both science and art is described. Helmholtz's empiricism is discussed, along with its application to hearing. He was responsible for developing an extremely influential "neural place" theory for the perception of tones, and the effects of this theory upon subsequent concepts are traced. Some limitations of recent place theories are outlined, and suggestions are made concerning the contributions of both neural place and neural periodicity information to the perception of acoustic repetition.

DE REDACTEUR EN HET BUITENLAND

2019 ◽  
Vol 3 (1) ◽  
pp. 2-27
Author(s):  
Wouter Egelmeers ◽  
Joris Vandendriessche
Keyword(s):  
Creative Process ◽  
General Circulation ◽  
International Level ◽  
Historical Knowledge ◽  
Historical Texts ◽  
Disciplinary Field ◽  
Dutch History ◽  
The Relationship ◽  
Selection Of

IMPORTING TEXTS FROM ABROAD Editors’ reuse of foreign historical texts in Dutch periodicals, 1780-1860 This article explores the ways in which the editors of five Dutch history journals and three magazines for general circulation copied historical texts from abroad, between 1780 and 1860. By comparing original texts with reprinted versions, we show that the editors’ work involved not only ‘passive’ duplication (reprinting in full), but also more active forms of intervention, from the selection of text fragments to their translation, modification or critical review. These varied editorial practices point to a broader creative process through which historical knowledge was tailored to an emerging and nationally-oriented academic audience. Editors here assumed the role of mediators, gatekeepers even in the sense that their judgment determined the very choice of texts. At a time when the study of history was evolving at both the national and international level, and when the relationship between actors making up the disciplinary field was also in flux, editors thus became influential figures.

scholarly journals The Values of Versatility: Pharmacists, Plants, and Place in the French (Post)Colonial World

2016 ◽  
Vol 58 (2) ◽  
pp. 432-462 ◽  
Author(s):  
Laurence Monnais ◽  
Noémi Tousignant
Keyword(s):  
Medicinal Plant ◽  
Scientific Activity ◽  
Public Health Care ◽  
French West Africa ◽  
Post Colonial ◽  
Plant Medicine ◽  
History Of ◽  
French Colonial ◽  
Simple Equations ◽  
The Relationship

AbstractColonial pharmacists bio-prospected, acclimatized, chemically screened, and tinkered with plants and their parts, hoping to create products to supply colonial public health care, metropolitan industries, and imperial markets. This article's approach is to examine the trajectories of expertise of two French colonial pharmacists, Franck Guichard and Joseph Kerharo, to illuminate the history of modern medicinal plant research. Both men studied medicinal plants as part of their colonial duties, yet their interests in indigenous therapies exceeded and outlived colonial projects. We take this “overflow” as our point of departure to explore how science transformed medicinal plant values in French colonial and postcolonial contexts. Our focus is on the relationship between value and space—on the processes of conceptual and material (de-/re-)localization through which plant value is calculated, intensified, and distributed. We study and compare these processes in French Indochina and French West Africa where Guichard and Kerharo, respectively, engaged in them most intensively. We show that their engagements with matter, value, knowledge, and mobility defy easy categorizations of medicinal plant science as either extractive or neo-traditionalist. By eschewing simple equations of scientists' motivations with political projects and knowledge-production, we argue that approaching plant medicine through trajectories of expertise opens up grounds for finer analyses of how colonial power and projects, and their legacies, shaped scientific activity.

scholarly journals Vanitas Obsolescentum An exhibition of images

2021 ◽  
Author(s):  
Lianne Wing Yan Ho
Keyword(s):  
Contemporary Art ◽  
North American ◽  
Art History ◽  
Conceptual Development ◽  
17Th Century ◽  
North American Society ◽  
Dutch Golden Age ◽  
American Society ◽  
Relationship Of ◽  
The Relationship

Vanitas Obsolescentum is a comment on the obsolescence of contemporary commodity. It draws from prominent theories of obsolescence and appropriates 17th century Dutch Vanitas paintings. This paper begins by addressing themes relevant to the conceptual development of the series, including theories of obsolescence as presented by Packard, Papanek and Slade, the relationship of Dutch Golden Age society to contemporary North American society, Dutch Vanitas paintings, and appropriation of the Vanitas genre in contemporary art history and within this series. It provides a rationale for the use of holography as medium to express concepts of transience and hyperreality. This paper concludes with a discussion of the specifics of Vanitas Obsolescentum, including the symbolism and meaning of each piece within the series.

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