Log in

Relevant bibliographies by topics / Choreographic practice / Books

To see the other types of publications on this topic, follow the link: Choreographic practice.

Books on the topic 'Choreographic practice'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 books for your research on the topic 'Choreographic practice.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse books on a wide variety of disciplines and organise your bibliography correctly.

1

William Forsythe and the practice of choreography. Routledge, 2011.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Ravn, Susanne, and Leena Rouhiainen. Dance spaces: Practices of movement. University Press of Southern Denmark, 2012.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Out Loud: A Memoir. Penguin Publishing Group, 2019.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Janet, Adshead-Lansdale, and National Resource Centre for Dance., eds. Choreography: Principles and practice : report of the fourth study of dance conference, University of Surrey, 4-7 April 1986. Published for the Dance Research Unit by the National Resource Centre for Dance, 1987.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Performing Process: Sharing Dance and Choreographic Practice. Intellect Ltd, 2018.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Ritter, Julia M. Tandem Dances. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051303.001.0001.

Full text

Abstract:

Tandem Dances: Choreographing Immersive Performance proposes dance and choreography as frames through which to examine immersive theatre, more broadly known as immersive performance. The idea of tandemness—suggesting motion that is achieved by two bodies working together and acting in conjunction with one another—is critical throughout the book. Author Julia M. Ritter persuasively argues that practitioners of immersive productions deploy choreography as a structural mechanism to mobilize the bodies of cast and audience members to perform together. Furthermore, choreography is contextualized as an effective tool for facilitating audience participation towards immersion as an affect. Ritter’s close choreographic analysis of immersive productions, along with unique insights from choreographers, directors, performers, and spectators enlivens discourse across dramaturgy, kinesthesia, affect, and co-authorship. By foregrounding the choreographic in order to examine its specific impact on the evolution of immersive theater, Tandem Dances explores choreography as a discursive domain that is fundamentally related to creative practice, agendas of power and control, and concomitant issues of freedom and agency.

APA, Harvard, Vancouver, ISO, and other styles

7

Guy, Priscilla. Where Is the Choreography? Who Is the Choreographer? Edited by Douglas Rosenberg. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199981601.013.28.

Full text

Abstract:

This chapter examines editing as a springboard to envision new types of choreographic practices for screendance and proposes choreographic editing as a dance-making approach embedded within the process of editing, encouraging further headway into screendance practices. Martin Heidegger’s thinking provides insightful tracks to follow in theorizing the role of contemporary screendance choreography and mediated dances/bodies on screen. Erin Braningan’s concept of micro-choreographies and Harmony Bench’s essay on anti-gravitational choreographies in screendance suggest ideas of choreographic editing as an alternate approach to contemporary choreography. These are illustrated by editing strategies in three screendance works—Pas de Deuxby Norman McLaren,An Ostrich Proudlyby Xan Burley and Alex Springer, and Béla Tarr’sThe Turin Horse.The films show how techniques ranging from reediting of dancers’ motions to a quasi-absence of cuts that reveals strong kinesthetic empathy for the viewer all open up new possibilities of using editing in a powerful way.

APA, Harvard, Vancouver, ISO, and other styles

8

Cvejic, Bojana. Problem as a Choreographic and Philosophical Kind of Thought. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.43.

Full text

Abstract:

This chapter accounts for a distinctive kind of thought, born in and through European dance since the mid-1990s, which has thoroughly transformed choreography and performance by reinventing performed relations between the body, movement, and time under the theme of “problems.” The practice of this thought is rooted in the problematization of specific concerns within contemporary theater dance, such as the body-movement bind with respect to expression and form, improvisation and processuality, or spectatorship. Most important, its forte lies in introducing a method of creation by way of problem-posing, which merits philosophical attention. Choreographing problems involves composing ruptures between movement, the body and duration in performance such that they engender a shock upon sensibility, one that inhibits recognition. Thus problems “force” thinking as an exercise of the limits of sensibility that can be accounted for not by representation, but by the principle of expression that Gilles Deleuze develops from Spinoza’s philosophy.

APA, Harvard, Vancouver, ISO, and other styles

9

Pakes, Anna. Choreography Invisible. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199988211.001.0001.

Full text

Abstract:

Focusing on Western theatre dance, Choreography Invisible explores the metaphysics of dances and choreographic works. It draws on a range of resources from analytic philosophy of art to develop the argument that dances are repeatable structures of action. The book also analyses the idea of the dance work in long-term historical perspective. Tracing different ways in which dances have been conceptualised across time, the book considers changing notions of authorship, fixity, persistence, and autonomy from the fifteenth century to the present day. The modern work-concept is interrogated, its relativity and contested status (particularly within contemporary dance practice) acknowledged. As the dance work disappears from contemporary discourse, what can be said about the kind of thing it is? Choreography Invisible considers the materials of dance making and the nature (and limits) of choreographic authorship. It explores issues of identity and persistence, including why distinct (and sometimes quite various) performances are still treated as performances of the same work. The book examines how dances survive through time and what it means for a dance work to be lost, considering the extent to which practices of dance reconstruction and reenactment can recuperate or reconstitute lost choreography. The focus here is dance, but the book addresses issues with wider implications for the metaphysics of art, including how the historical relativity of art practices should inflect analytic arguments about the nature of art works, and what place such works have within a broader ontology of human and natural worlds.

APA, Harvard, Vancouver, ISO, and other styles

10

Monson, Jennifer. RMW (A) & RMW from the Inside Out. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199377329.003.0014.

Full text

Abstract:

The essay uses poetic, descriptive, and conceptual writing approaches to articulate how the choreographic strategies of RMW(A) & RMW emerged from their historical and political contexts. The work references the 1990s and the early 2000s as historical moments influenced by the AIDS epidemic and the Internet revolution. It proposes that the notion of a queer object and action might be used to differentiate the kinds of desire that are negotiated between the performers and the audience through these choreographic approaches over time. RMW(A) & RMW is described as a practice that adapts to the unstable notion of what queer dance means for these two differently female bodies as their lives move apart and come together. The essay describes the experience of being inside the work as well as narrates the personal histories that shaped the choreography and practice of RMW(A) & RMW.

APA, Harvard, Vancouver, ISO, and other styles

11

Pouillaude, Frédéric. Unworking Choreography. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199314645.001.0001.

Full text

Abstract:

There is no archive or museum of human movement where choreographies can be collected and conserved in pristine form. The central consequence of this is the incapacity of philosophy and aesthetics to think of dance as a positive and empirical art. In the eyes of philosophers, dance refers to a space other than art, considered both more frivolous and more fundamental than the artwork without ever quite attaining the status of a work. This book develops this idea and postulates a désoeuvrement (unworking) as evidenced by a conspicuous absence of references to actual choreographic works within philosophical accounts of dance; the late development and partial dominance of the notion of the work in dance in contrast to other art forms such as painting, music, and theatre; the difficulties in identifying dance works (and developing a philosophical theory of dance identity) given a lack of scores and an apparent resistance within the art form to the possibility of notation; and the questioning of “ends” of dance in contemporary practice and the relativization of the very idea that dance artistic or choreographic processes aim at work production.

APA, Harvard, Vancouver, ISO, and other styles

12

Franko, Mark, ed. The Oxford Handbook of Dance and Reenactment. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.001.0001.

Full text

Abstract:

Starting from differences between reenactment and the more established practice of historical reconstruction, leading practitioners and theorists ask how the notion of preservation and representation associated with reconstruction is transformed by reenactment into historical experience and affective relation to the past in the present. In other terms: How does dance convey historical meaning through sensuous form? Danced reenactment poses the problem of history and historicity in relation to the troubled temporality inherent to dance itself. Ephemerality as the central trope of dance is hence displaced in favor of dance as a reiterative practice that confounds categories of chronological time and opens up a theoretical space of history that is often invisibilized by ideologies of immediacy traditionally attributed to dancing. The preponderance of the re- in contemporary choreographic creativity points to the operational value of reenactment in dance as synonymous with cultural production itself inasmuch as culture is engaged with the re-appropriation of signs, citationality, and intertextuality. Collectively, these chapters theorize choreographic reenactments’ potential not only to re-arrange the relationship between past, present, and future, but also to destabilize singular authorship, to unleash choreographies’ multiple meanings, to challenge the linearity of dance history, to rewrite and re-inscribe dance canons, and to the highlight the dancing body’s agentive status as archive.

APA, Harvard, Vancouver, ISO, and other styles

13

Barnard, Philip, and Scott deLahunta. Intersecting shapes in music and in dance. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0025.

Full text

Abstract:

The concept of shape figures widely in discourse about both dance and music. This chapter discusses the shape using two analytic lenses explored over ten years of cumulative, interdisciplinary collaboration within R-Research, a team working alongside the contemporary dance company Wayne McGregor | Random Dance. These two lenses help locate issues, clarify problems and situate what we can learn from choreographic practice and empirical studies of dance. The first lens is a framework for describing what goes on in the making of an artwork or in design processes generally. The second lens is that of mental architecture, applied here to examine how the multiple components of the human mind work together in creative and performance contexts. Each of these can provide some insight into the multiple facets of choreomusical relationships and, in doing so, can offer some modest augmentations to choreographic practice.

APA, Harvard, Vancouver, ISO, and other styles

14

Klein, Gabriele. Urban Choreographies. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.48.

Full text

Abstract:

In recent years, above all in urban environments, new cultures of public protest and artistic interventions have established themselves. These artistic and aesthetic forms increasingly operate with physical, theatrical, and choreographic practices and tools, developing a politics of images in an effective and affective media environment. This chapter discusses, using the examples of LIGNA’s performances Radioballet and Dance of All, the aesthetic, political, and social dimensions of artistic interventions based on a concept of community that is defined by corporeal and aesthetic practices. The chapter highlights the political potential implied in the aesthetic and artistic forms of public cultural gatherings. It focuses on the production of attention by means of bodily practices (gestures, facial expressions, movement, dance), theatrical settings (stage, costumes, music), and choreographic tools (organization of bodies, rhythm, dramaturgy).

APA, Harvard, Vancouver, ISO, and other styles

15

Reeve, Justine. Dance Improvisations. Human Kinetics, 2011. http://dx.doi.org/10.5040/9781718212824.

Full text

Abstract:

Dance Improvisations: Warm-Ups, Games and Choreographic Tasks will provide assistance with any doubts that dancers and teachers might have with improvisation. This practical book promotes creativity that can lead to innovative breakthroughs among students from middle school age through college. With Dance Improvisations: Warm-Ups, Games and Choreographic Tasks, you will find new ways to help your dancers create original movements through both individual and group activities. Your students will hone their creative responses, and the innovation and energy in your dance classes will fill your studio or classroom. Students will blossom and gain inspiration using these improvisations as they learn how to develop movement and choreograph studies.

APA, Harvard, Vancouver, ISO, and other styles

16

Rohman, Carrie. Choreographies of the Living. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190604400.001.0001.

Full text

Abstract:

Animals seem to be everywhere in contemporary literature, visual art, and performance. But though writers, artists, and performers are now engaging more and more with ideas about animals, and even with actual living animals, their aesthetic practice continues to be interpreted within a primarily human frame of reference—with art itself being understood as an exclusively human endeavor. The critical wager in this book is that the aesthetic impulse itself is profoundly trans-species. Rohman suggests that if we understand artistic and performative impulses themselves as part of our evolutionary inheritance—as that which we borrow, in some sense, from animals and the natural world—the ways we experience, theorize, and value literary, visual, and performance art fundamentally shift. Although other arguments suggest that certain modes of aesthetic expression are closely linked to animality, Rohman argues that the aesthetic is animal, showing how animality and actual animals are at the center of the aesthetic practices of crucial modernist, contemporary, and avant-garde artists. Exploring the implications of the shift from an anthropocentric to a bioaesthetic conception of art, this book turns toward animals as artistic progenitors in a range of case studies that spans print texts, visual art, dance, music, and theatrical performance. Drawing on the ideas of theorists such as Elizabeth Grosz, Jane Bennett, Gilles Deleuze and Félix Guattari, Jacques Derrida, Una Chaudhuri, Timothy Morton, and Cary Wolfe, Rohman articulates a deep coincidence of the human and animal elaboration of life forces in aesthetic practices.

APA, Harvard, Vancouver, ISO, and other styles

17

Chalfa Ruyter, Nancy Lee. La Meri and Her Life in Dance. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9780813066097.001.0001.

Full text

Abstract:

La Meri (Russell Meriwether Hughes, 1899–1988) was a performing artist, choreographer, teacher, and writer who built her career on ethnologic dance from many parts of the world. In the 1920s and 1930s, under the management of her agent-husband Guido Carreras, she toured in Latin America, Europe, Asia, the Pacific, and the United States. Despite the heavy schedule of travel and performances, she was able to obtain instruction in local dance genres, purchase costumes, and obtain recordings of the music in many of the countries. The new material would then be added to her concert programs. In late 1939, touring was no longer possible because of World War II, so La Meri and Carreras settled in New York City. There, she established a school, the Ethnologic Dance Center, and dance companies. She continued performing in New York and on tour in the United States, and, in addition to teaching and concert work, created original choreographies using techniques such as those of India and Spain. In 1960, she moved to Cape Cod, Massachusetts, where she continued her work until 1984, when she returned to San Antonio. In addition to her practical work in dance, La Meri also published writings that set forth her conceptions, understandings, goals and methodologies. This book is both a biography of La Meri and an analysis of the significance of her theory and practice, with attention to her own performance, choreography, writings, and teaching.

APA, Harvard, Vancouver, ISO, and other styles

18

ife, fahima. Maroon Choreography. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021568.

Full text

Abstract:

In Maroon Choreography fahima ife speculates on the long (im)material, ecological, and aesthetic afterlives of black fugitivity. In three long-form poems and a lyrical essay, they examine black fugitivity as an ongoing phenomenon we know little about beyond what history tells us. As both poet and scholar, ife unsettles the history and idea of black fugitivity, troubling senses of historic knowing while moving inside the continuing afterlives of those people who disappeared themselves into rural spaces beyond the reach of slavery. At the same time, they interrogate how writing itself can be a fugitive practice and a means to find a way out of ongoing containment, indebtedness, surveillance, and ecological ruin. Offering a philosophical performance in black study, ife prompts us to consider how we—in our study, in our mutual refusal, in our belatedness, in our habitual assemblage—linger beside the unknown. Duke University Press Scholars of Color First Book Award recipient

APA, Harvard, Vancouver, ISO, and other styles

19

Kowal, Rebekah J. Choreographing Interculturalism. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.023.

Full text

Abstract:

This chapter unpacks the contradictory cultural politics surrounding the American Museum of Natural History’s popular midcentury dance program, Around the World with Dance and Song. Directed toward cultural integrationism, or the well-intentioned humanization of foreign peoples and their ways of life, the program was notable in its use of dance to make the museum more accessible to ordinary museum goers, bridge gaps of cultural difference and understanding, and conceptualize “ethnic art dance” as an avenue of ethnic self-representation on what amounted to a concert stage. Yet the museum’s positioning of dance in these ways appealed to paradoxically flawed universalist notions about human commonality, eliding government and public hesitation to intervene in the European Jewish genocide during World War II, for example, or to significantly reform US immigration policy or address ongoing domestic cultural patterns and practices of racial, ethnic, and sexual discrimination during the postwar years.

APA, Harvard, Vancouver, ISO, and other styles

20

Spier, Steven. William Forsythe and the Practice of Choreography. Routledge, 2011. http://dx.doi.org/10.4324/9780203832233.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Abate, Cassie. Art and Practice of Musical Theatre Choreography. Bloomsbury Publishing Plc, 2022.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

22

Belinello, Rogerio. Speaks of a Choreographer: Exercises and Practices. Independently Published, 2021.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

23

Activity, Ariana. Dance Journal: Practice Journal for Dancers Choreography Notebook. Independently Published, 2021.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

24

Abate, Cassie. The Art and Practice of Musical Theatre Choreography. Methuen Drama, 2022.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

25

Dunagan, Colleen T. Subjectivity and Performative Consumption. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190491369.003.0006.

Full text

Abstract:

Chapter Five addresses how television advertising’s dancing bodies engage in the practice of theory, modeling concepts of subjectivity, authenticity, and performance. It examines how dance and choreographic form play a central role in advertising and create a philosophical locus that highlights advertising’s concepts of subjectivity and identity. The chapter argues that in advertising, the liveness, affect, and spectacle of the dancing body informs the construction of identity, directing viewers to see movement as a form of human agency. By highlighting the body’s ability to assume and discard style, dance-in-advertising promotes consumption-as-performance-of-identity. Ultimately, the author argues that dance in advertising models subjectivity and identity as fluid and relational.

APA, Harvard, Vancouver, ISO, and other styles

26

Schaeffer, Catherine A. Living Shin. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039409.003.0004.

Full text

Abstract:

In this chapter, the author reflects on the ways that living Shin has enriched her work as a university professor, professional dancer, choreographer, and human being. She first talks about her history in somatic modalities of Ideokinesis, Laban, Keleman, and Hanna Somatics, along with their relation to Shin Somatics and how this work has benefited her professionally and personally. She then describes her applications of somatic knowledge to dance pedagogy, creating choreography, and the teaching and practice of yoga, healing, and wellness at Eastwest Somatics Institute. She also discusses her personal transformative somatic experiences and concludes by sharing key findings and insights that ground her in living Shin.

APA, Harvard, Vancouver, ISO, and other styles

27

Holland, Nola Nolen. Music Fundamentals for Dance. Human Kinetics, 2013. http://dx.doi.org/10.5040/9781718212855.

Full text

Abstract:

Music Fundamentals for Dance provides students with a fundamental understanding of music and how it applies to dance performance, composition, and teaching. This valuable reference helps professional choreographers, dance educators, and dancers expand their knowledge of music and understand the relationships between music and dance. Fundamentals of Music for Dance helps dancers understand of the elements of music—form and structure, musical time, melody, texture, and score reading—and how they relate to dance performance and choreography. They will learn music vocabulary for easier communication with other dancers, musicians, and conductors. Overviews of musical forms, styles, and genres are complemented by an examination of their relation to dance and choreography. Each chapter ends with exercises, activities, and projects that offer students a range of active learning experiences to connect music fundamentals to their dance training. An accompanying web resource contains these features: • Extended learning activities and support materials, including practice opportunities combining music skills with dance or choreography, chapter summaries, a glossary, websites, and handouts to help students practice music skills • Music clips on the website offer ready-made examples, which students can use in applying concepts from the book Written by an experienced dance educator, dancer, and choreographer, Music Fundamentals for Dance is the only current text that explains essential concepts of music and examines these concepts in relation to dance performance, composition, and teaching. By providing readers with a foundation of music knowledge, Music Fundamentals for Dance assists both future and current professionals in understanding the art form that will enhance their contributions as performers, choreographers, and educators.

APA, Harvard, Vancouver, ISO, and other styles

28

Embodied Family Choreography: Practices of Control, Care, and Creativity. Taylor & Francis Group, 2018.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

29

Borelli, Melissa Blanco, ed. The Oxford Handbook of Dance and the Popular Screen. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.001.0001.

Full text

Abstract:

This anthology offers contemporary perspectives on dance in the context of the popular screen. It analyzes the role played by the dancing body in popular culture and its multi-layered meanings in film, television, music videos, video games, commercials, and Internet sites such as YouTube. It explores how dance and choreography function within the filmic apparatus, and how the narrative, dancing bodies, and/or dance style set in motion multiple choreographies of identity such as race, gender, sexuality, class, and nation. It also considers the types of bodies that are associated with specific dances and their relation to power, access, and agency, as well as the role(s) of a specific film in the genealogy of Hollywood dance films. The book is divided into five sections that examine dance in films such asMoulin Rouge!, Dance Girl Dance, Dirty Dancing, and Save the Last Dance; the different aspects of commercial dance films in the context of identity politics, technology, commercialism, and the politics of moving bodies; how dance and its practice are constructed in films as a form of self-discovery and individual expression; the impact of music videos on popular dance and its dissemination; and how dance video games such as Dance Central influence concepts of choreography, embodiment, and dance pedagogy.

APA, Harvard, Vancouver, ISO, and other styles

30

Goodwin, Marjorie Harness, and Asta Cekaite. Embodied Family Choreography: Practices of Control, Care, and Mundane Creativity. Taylor & Francis Group, 2018.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

31

Goodwin, Marjorie Harness, and Asta Cekaite. Embodied Family Choreography: Practices of Control, Care, and Mundane Creativity. Taylor & Francis Group, 2018.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

32

Out Loud: A Memoir. Faber & Faber, Limited, 2019.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

33

Spier, Steven. William Forsythe and the Practice of Choreography: It Starts from Any Point. Taylor & Francis Group, 2011.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

34

Spier, Steven. William Forsythe and the Practice of Choreography: It Starts from Any Point. Taylor & Francis Group, 2011.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

35

Spier, Steven. William Forsythe and the Practice of Choreography: It Starts from Any Point. Taylor & Francis Group, 2011.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

36

Spier, Steven. William Forsythe and the Practice of Choreography: It Starts from Any Point. Taylor & Francis Group, 2011.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

37

Spier, Steven. William Forsythe and the Practice of Choreography: It Starts from Any Point. Taylor & Francis Group, 2011.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

38

Pouillaude, Frédéric. Intending the Unintentional, Repeating the Unrepeatable. Translated by Anna Pakes. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199314645.003.0016.

Full text

Abstract:

This chapter examines the contemporary relationships between improvisation and composition, precisely insofar as these apparently distort how we conventionally conceive of both the work and technique. It questions and qualifies the twofold definition of technique as bodily mastery and as arche-writing by considering contemporary improvisation practices. The chapter attempts to render dialectical the very idea of “bodily mastery,” since the space of improvisation only opens (at least from the utopian perspective) once the intentional project is abandoned. It also questions the notion of the choreographic work, understood merely as a combination of pre-given choreographic entities (steps, poses, and so on).

APA, Harvard, Vancouver, ISO, and other styles

39

Theory and Practice in Eighteenth-Century Dance: The German-French Connection. University of Delaware Press, 2017.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

40

Russell, Tilden. Theory and Practice in Eighteenth-Century Dance: The German-French Connection. University of Delaware Press, 2017.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

41

Russell, Tilden. Theory and Practice in Eighteenth-Century Dance: The German-French Connection. University of Delaware Press, 2017.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

42

The state of the art: A descriptive study of the current practices of evaluation at choreographic competitions. 1987.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

43

The state of the art: A descriptive study of the current practices of evaluation at choreographic competitions. 1988.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

44

Stace, Wesley, and Mark Morris. Out Loud: A Memoir. Penguin Publishing Group, 2021.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

45

Stace, Wesley, and Mark Morris. Out Loud: A Memoir. Faber & Faber, Limited, 2022.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

46

Guarino, Lindsay, Carlos R. A. Jones, and Wendy Oliver, eds. Rooted Jazz Dance. University Press of Florida, 2022. http://dx.doi.org/10.5744/florida/9780813069111.001.0001.

Full text

Abstract:

An African American art form, jazz dance has an inaccurate historical narrative that often sets Euro-American aesthetics and values at the inception of the jazz dance genealogy. The roots were systemically erased and remain widely marginalized and untaught, and the devaluation of its Africanist origins and lineage has largely gone unchallenged. Decolonizing contemporary jazz dance practice, this book examines the state of jazz dance theory, pedagogy, and choreography in the twenty-first century, recovering and affirming the lifeblood of jazz in Africanist aesthetics and Black American culture. Rooted Jazz Dance brings together jazz dance scholars, practitioners, choreographers, and educators from across the United States and Canada with the goal of changing the course of practice in future generations. Contributors delve into the Africanist elements within jazz dance and discuss the role of Whiteness, including Eurocentric technique and ideology, in marginalizing African American vernacular dance, which has resulted in the prominence of Eurocentric jazz styles and the systemic erosion of the roots. These chapters offer strategies for teaching rooted jazz dance, examples for changing dance curricula, and artist perspectives on choreographing and performing jazz. Above all, they emphasize the importance of centering Africanist and African American principles, aesthetics, and values. Arguing that the history of jazz dance is closely tied to the history of racism in the United States, these essays challenge a century of misappropriation and lean into difficult conversations of reparations for jazz dance. This volume overcomes a major roadblock to racial justice in the dance field by amplifying the people and culture responsible for the jazz language.

APA, Harvard, Vancouver, ISO, and other styles

47

Paye, Ange, and Kajal Dattani. Choreography and Dance Planner Journal: Plan Choreography, Track Performance Notes, Practice Schedules, Brainstorm Movements, Stylish Dancer Notebook ... ... - 95 Pages, 8. 5 X 11, Gold Marble Cover, Matte. Independently Published, 2022.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

48

Paye, Ange, and Kajal Dattani. Choreography and Dance Planner Journal: Plan Choreography, Track Performance Notes, Practice Schedules, Brainstorm Movements, Stylish Dancer Notebook ... ... - 95 Pages, 8. 5 X 11, Urban Dance Cover, Matte. Independently Published, 2022.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

49

Paye, Ange, and Kajal Dattani. Choreography and Dance Planner Journal: Plan Choreography, Track Performance Notes, Practice Schedules, Brainstorm Movements, Stylish Dancer Notebook ... ... - 95 Pages, 8. 5 X 11, Jungle Green Cover, Matte. Independently Published, 2022.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

50

Huschka, Sabine. Dance in Search of Its Own History. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.46.

Full text

Abstract:

This chapter explores the methods of appropriating and reactivating past knowledge of European dance practices, focusing on contemporary choreographic approaches funded by the German national program Tanzfonds Erbe (Kulturstiftung des Bundes). Eyeing three distinct productions—Jochen Roller’s The Source Code (2012), Christina Ciupke and Anna Till’s undo, redo and repeat (2013), and Henrietta Horn’s rendition of Mary Wigman’s Le Sacre du Printemps (2013)—the inquiry focuses on the reflective possibilities disclosed by reenactment. To seek the remains of dance historicity across bodies, “witnesses,” notes, and digital media, the chapter analyzes the different approaches to actualizing choreographic knowledge of the past in the modes of occupying vacancies—reaching into an open wound of loss (death). Since every act of remembering is placed between the past and the present, the logic of reenactment constitutes in dance a staged act of activated memory continually carrying out the work of its own self-assertion.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!