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Journal articles on the topic 'Choreographic practice'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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1

Womack, Shawn. "Writing on the Divide: The Theorizing Choreographer." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 22–29. http://dx.doi.org/10.1017/s2049125500000868.

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This article makes the case for a less-traveled move across the choreographer-scholar divide—the theorizing choreographer over against the scholar as “performing theorist.” Performative writing exercises exemplify an embodied writing practice in which choreographic process is conjoined with critical theory to write back into one's dance as a reflective and reflexive practice. How might choreographic process infiltrate academic writing methods with its inscriptive bones, interpretive muscle, and theoretical backbone? The premise is that bodily action and choreographic knowledge enlivens the wri

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Oleneva, A. V., and I. A. Stepanik. "BREATHING EXERCISES IN CHOREOGRAPHIC EDUCATION." Pedagogical IMAGE 14, no. 4 (2020): 696–708. http://dx.doi.org/10.32343/2409-5052-2020-14-4-696-708.

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Introduction. The paper emphasizes the importance of work on breathing in professional choreographic education. The distinguishing features of breathing in choreography are presented. The study involves an analysis of various breathing techniques (yoga, pilates, Strelnikova gymnastics, and others), their compliance with the choreographic art requirements, and adaptability to professional choreographic education. Materials and methods. The analysis has been used to compile a set of breathing exercises corresponding to the classical dance requirements. The 5-month practice at the choreographic v

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Liska, Suzanne. "Somatic ethnographic research: A choreographic process informed by Alexander Technique." Choreographic Practices 11, no. 1 (2020): 75–99. http://dx.doi.org/10.1386/chor_00013_1.

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I write from the perspective of a dance artist interested in reflecting on and sharing my experiences of applying the Alexander Technique (AT) to a choreographic process. The inquiry was framed by dance ethnography, and I choreographed, danced, interviewed and performed with emerging to established dance artists specializing in Contact Improvisation, and interviewed and participated in lessons and workshops with AT teachers. During each phase of the research, I asked: why and how does AT guide me to embody my practice as a choreographer and dancer? This self-ethnographic research outlines an A

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Blumenfeld, Alice. "Beyond compás: Stepping outside flamenco’s performance norms." Choreographic Practices 13, no. 1 (2022): 9–24. http://dx.doi.org/10.1386/chor_00039_1.

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This article addresses how flamenco functions as both a noun and an adjective and the interplay between the two in the choreographic process. I use practice as research along with theory and historical analysis to further explore how, as dancer, I initially found and created meaning within the cuadro (a setting where a solo dancer performs with live musicians, typically consisting of a guitarist, singer and percussionists, and relying on shared knowledge of flamenco’s structures to accompany the dance and for the dancer to interpret the music). I then go on to explain how, as choreographer, im

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Harrington, Chrissie. "Choreographic pedagogies: towards an embodied practice." International Journal for Lesson and Learning Studies 3, no. 1 (2013): 100–124. http://dx.doi.org/10.1108/ijlls-09-2013-0047.

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Purpose – The purpose of this paper is to explore the inter-relationship between choreography and pedagogy. It refers specifically to a Participatory Action Research (PAR) project that dealt with investigations into performance making and the design of a teaching and learning model. Shifts from making performance from a pre-determined starting point to a participatory and interactive process are traced to reveal a “choreographic pedagogy” informed and transformed by the experience of its actors. Design/methodology/approach – The paper includes a brief explanation of the terms and shared featur

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Tkachenko, Mariia. "THE ROLE OF THE CHOREOGRAPHIC COMPONENT IN THE SYSTEM OF ARTISTIC DISCIPLINES OF THE EDUCATIONAL PROCESS OF ART SCHOOLS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 205–8. http://dx.doi.org/10.36550/2415-7988-2021-1-195-205-208.

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The system of artistic and aesthetic education with the help of various arts, elevation of rhythm and choreography in a bright pedagogical theory and practice was laid in the early 20's of the XX century. All the accumulated experience in this field contributed to the improvement of the content of choreographic training and led to the process of separating professional art education from amateur and the creation of appropriate educational institutions for children. Choreographic creativity is one of the means of comprehensive development of students studying at the school of arts. Performing c

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Shabazi, Shabnam. "The artistic practice of exorcism: Shabnam Shabazi (in conversation with Simon Ellis)." Choreographic Practices 11, no. 2 (2020): 279–98. http://dx.doi.org/10.1386/chor_00023_7.

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This is a conversation between artist Shabnam Shabazi and choreographer (and Choreographic Practices co-editor) Simon Ellis. They discuss Shabazi’s practice and focus on her interest in the archive as a creative resource, the role of the concept of home in her creative work and in the ways in which our bodies are sites of transformation for artists and participants.

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Giddens, Sara, Tony Judge, and John Law. "Dwelling in-between." Choreographic Practices 10, no. 2 (2019): 213–37. http://dx.doi.org/10.1386/chor_00004_1.

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Abstract Choreographer Sara Giddens reflects upon how making a series of ambulant performance works, The Dream-Walks, invited her to dwell in space‐times in-between, and how a resulting stepping aside heralded the opening up of a fundamental change in her relationship to audiences. Drawing upon a range of philosophers, including Bachelard, Heidegger and Rancière, Giddens reflects upon the impact that dwelling in those in-between space-times has had on her professional and pedagogic practice.16 short video clips, taken from the Eight Dream-Walks can be viewed at (<uri xlink:href="https://www

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Gorbatov, Nadiiya, and Nadiiya Gorbatov. "Ballroom dance in the education system: past and present." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 64–69. http://dx.doi.org/10.32461/2226-2180.39.2021.238689.

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The purpose of the article is to reveal the features of ballroom choreographic education in the dynamics of historical development and to characterize promising directions for optimizing the educational process in the context of the professional training of the future choreographer. Methodology. The method of theoretical analysis was applied, which contributed to the study of published scientific sources devoted to the problems of professional choreographic education and related problems in accordance with the topic of the article; the method of systems analysis to identify the goal, task, con

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Sarkar, Kaustavi. "De-centring the choreographer: Historically inspired interruptions/disruptions in an exploration between sculpture and movement1." Choreographic Practices 10, no. 2 (2019): 269–91. http://dx.doi.org/10.1386/chor_00007_1.

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Abstract This article reflects the process of choreographic making where the choreographer actively decentres her choreographic choices by collaborating with participating dancers and historical inspirations. It explores the creative potential of archives ‐ a set of temple-sculptures found in eastern India called the Alasa-Kanyas (meaning indolent maidens) ‐ as past evidence of historically marginalized bodies of the temple-dancers, also known as Maharis, in the field of the eastern Indian classical dance form called Odissi. Alasa-Kanya: Sculpture in Odissi (AK), a Practice as Research (PaR) e

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Syvokon, Yuriy. "THEORETICAL ASPECTS OF MODERN TEACHING OF CLASSICAL DANCE IN HIGHER EDUCATIONAL PEDAGOGICAL INSTITUTIONS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 201–5. http://dx.doi.org/10.36550/2415-7988-2021-1-195-201-205.

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The article presents an analysis of the methods of teaching classical dance as a backbone knowledge in the process of teaching students of choreographic areas of universities of culture. The main task of higher education in the field of choreography is the formation of a «complete» model of a graduate in the unity of performing and pedagogical qualities. At the same time, in the context of introducing standards for teachers, the main task of the training is the question «How to teach to dance?», which puts forward the tasks of scientific understanding of the teaching methods as an important co

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Kopunova, Kseniya Sergeevna. "Continuity of the choreographic tradition of the Mariinsky Theatre and the Vaganova Academy of Russian Ballet." Культура и искусство, no. 8 (August 2022): 46–59. http://dx.doi.org/10.7256/2454-0625.2022.8.38089.

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This article is devoted to continuity in choreographic education. The novelty of the research is due to the fact that an attempt has been made to show the continuity of the choreographic tradition of the Mariinsky Theater and the Vaganova Academy of Russian Ballet in a comparative aspect. The author also examines the term "continuity" in an educational perspective, explaining the importance of this aspect in the formation of the personality of a ballet dancer. The historical moments concerning the preservation of pedagogical traditions, as well as modern issues of an educational nature are con

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Krulitza, Ana. "Dialogue with the past in contemporary choreography." Arta 30, no. 2 (2021): 70–73. http://dx.doi.org/10.52603/arta.2021.30-2.10.

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The present paper starts from the idea of “archival return” in scientific discourse and its possible uses in choreographic practice. In Poland, many choreographers have tried to reconstruct the works of famous artists from the 20s and 30s of the XX century. The works of Pola Nireńska, Yanka Rudzka and Marie Rambert are brought to the stage from today’s perspective. This phenomenon would contribute to the completion of a history with new valences. In the context of reconstructing the choreography of the past, we will refer to the memory of the body and “the body as an archive”. We will analyze

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Dupuis, Chris. "Dance curation as choreographic practice." Dance Articulated 6, no. 1 (2020): 89–110. http://dx.doi.org/10.5324/da.v6i1.3640.

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Dance curators (or programmers, as they are often called) have a significant impact on the dance field throughtheir selection processes: elevating certain works, practices, and artists, while effectively excluding others. Through this, they have a considerable hand in shaping what kinds of dance pieces a local audience has access to,effectively writing dance history over time. But their working processes remain poorly understood, and there have been limited attempts to theorize their practice. This article begins with an exploration of the etymology of the term curator and the historical emerg

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Parker, Sandra. "The dancer as documenter: An emergent dancer-led approach to choreographic documentation." Journal of Dance & Somatic Practices 11, no. 1 (2019): 67–80. http://dx.doi.org/10.1386/jdsp.11.1.67_1.

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Realigning the interrelationship between documentation, choreography and the lived moment of performance, this article asks how choreographic documentation practices can be reimagined to articulate deeper layers of embodied knowledge beyond a focus on movement patterns or gestures. Entrusting the dancer to drive the process, accentuating their expertise in perceiving and analysing bodily sensation, the article proposes a series of experimental documentation methods. These include the use of verbal language, the breaking down of choreographic continuity and linear phrasing, and ‘enactive’ filmi

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Nachbar, Martin. "Eenmaal rond de schouwburg. Wandelen als choreografische praktijk / Once around the Theatre. Walking as Choreographic Practice." Forum+ 26, no. 3 (2019): 3–13. http://dx.doi.org/10.5117/forum2019.3.nach.

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Wandelen, stappen zetten, lopen - het zijn dagelijkse handelingen die iedereen vaak onbewust doet. Maar het zijn ook bewegingsvormen die het onderwerp van choreografisch onderzoek kunnen uitmaken. In dit artikel werpt choreograaf en artistiek onderzoeker Martin Nachbar licht op hoe hij een participatieve wandelpraktijk heeft ontwikkeld die kritisch nadenkt over beweging in de publieke ruimte. Via dit fysieke experiment laat hij eveneens zien hoe choreografie niet louter draait rond het lichaam in beweging, maar ook een vorm van luisteren wordt.Walking, strolling, running these are everyday act

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Paraha, Tru. "Astrochoreography." Choreographic Practices 11, no. 2 (2020): 231–44. http://dx.doi.org/10.1386/chor_00020_1.

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One of the alluring aspects of choreography is the obscurity of its strategies and its propensity to evoke speculative movement-thinking. As artistic research that is intuitively and critically developed from my physical location in Aotearoa New Zealand, astrochoreography evolves its aesthetics, theories and strategies in close observation of a Southern Hemispheric night sky. Drawing materials from deep space, the choreographic body becomes more than human in its genealogies of practice and live performance. This essay proposes an entanglement between the astral and artistic, cosmic and choreo

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Navndrup Black, Laura. "From artist to artist-researcher *." Peripeti 18, no. 33 (2021): 26–35. http://dx.doi.org/10.7146/peri.v18i33.124623.

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Presenting a personal account of some of the methodological considerations connected to making the shift from artist to artist researcher, this article asks: how does one create favourable conditions for valid moments of insight to occur in a practice that focuses on participatory choreographic practices involving children and young people? The article unpacks the tangled relationship between ‘practice’ and ‘research,’ and the author proposes the term practice-driven research to suggest an approach where the artistic practice is both the object, the method and the outcome of the research. Draw

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Сало, Леся. "ПІДГОТОВКА ХОРЕОГРАФІВ У США: ЦІННОСТІ Й ПЕРЕКОНАННЯ". Педагогічні науки: теорія, історія, інноваційні технології, № 7(101) (28 вересня 2020): 273–85. http://dx.doi.org/10.24139/2312-5993/2020.07/273-285.

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The article considers the choreography specialists’ training in the US universities. Values and educational beliefs which guide the higher choreographic education in the USA, are defined, namely: embodiment, creative and critical inquiry, empathy, reflective practice, collaboration and interconnection, communication and dissemination, wellness and preservation. Each of these values and beliefs is analyzed in detail. Embodiment as value lies in the fact that body/mind integration is central to dance and educational practices, the agency of the individual. Creative and critical inquiry is relate

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Bauer-Nielsen, Birgitte. "The Choreographer’s View." Nordic Journal of Dance 8, no. 1 (2017): 32–39. http://dx.doi.org/10.2478/njd-2017-0005.

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Abstract In 2016, I published a book in Danish ‘Koreografens blik – En performativ koreografisk metode til skabelse af en interkulturel forestilling’. This article is a short presentation of this book. The book qualifies the choreographer’s view, that is, it examines and articulates the choreographic process from idea to product. Because of my dual role as choreographer and scholar, my analysis takes practice-based research and artistic research as its points of departure. On the basis of courtship dances, I have created an intercultural dance performance entitled ‘Sommerfuglen’ (‘The Butterfl

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Lian, Xiang. "development of the teaching concept of musical stage art." Linguistics and Culture Review 5, S2 (2021): 435–53. http://dx.doi.org/10.21744/lingcure.v5ns2.1382.

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In the work showed that the basis of teaching the history of choreographic art is the willingness of teachers and listeners to perceive choreography as an art. For this, the authors of the article have developed a concept that characterizes the approbation of teaching the history of choreographic art at the level of its perception by university students. The authors distinguish the features of teaching the history of choreographic art not only as a historical course with the formation of only the knowledge component. The possibilities of preparing listeners for practical activities are determi

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Gryzunova, Olga V. "Theatrical and Non-Theatrical Thinking in Actual Choreographic Practice." Observatory of Culture 18, no. 4 (2021): 416–23. http://dx.doi.org/10.25281/2072-3156-2021-18-4-416-423.

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The article attempts to concretize the essence of the two aesthetically polar staging approaches — theatrical and non-theatrical (performative) — in the context of the choreographic art development. The author suggests that the basis for separating these approaches can be some peculiarities in the ways they interpret such fundamental concepts as “actor”, “role”, “spectator”, “drama”, “action”, “conflict”, which, in a choreographic performance, are in certain relationships determined by cultural traditions, and in a non-theatrical production, they are transformed up to their disappearance. A si

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TKACHENKO, M. "PEDAGOGICAL CONDITIONS OF FORMATION OF READINESS OF FUTURE CHOREOGRAPHERS FOR APPLICATION OF PROJECT TECHNOLOGIES IN PROFESSIONAL ACTIVITY." Pedagogical Sciences, no. 79 (September 19, 2022): 101–5. http://dx.doi.org/10.33989/2524-2474.2022.79.264558.

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The process of revival of spiritual and national culture puts forward new requirements for the professional training of artistic and pedagogical staff, including choreographers, the development of their professional competencies, creative abilities and the use of new technologies in teaching children and youth the art of dance. The use of project technologies as a form of organization of the educational art process helps to create conditions for self-knowledge, self-realization and reflection of students, providing opportunities to find themselves, to stand on the path of independent productiv

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Syvokon, Yuriy. "IMPROVEMENT OF THE SYSTEM OF CLASSICAL DANCE TEACHING OF CHOREOGRAPHY STUDENTS IN HIGHER EDUCATION INSTITUTIONS." Academic Notes Series Pedagogical Science 1, no. 204 (2022): 247–50. http://dx.doi.org/10.36550/2415-7988-2022-1-204-247-250.

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The problem of reforming the training of modern teacher-choreographer is relevant today. It is due to changes in approaches and technologies of higher education, which should pay attention primarily to the formation of professionally significant qualities of graduates, expanding their artistic worldview, education of general choreographic culture. The professional skill of the future teacher of choreography is a combination of general pedagogical abilities with the art of reproduction of dance skills and abilities, and, therefore, requires comprehensive, long-term training in the system of ped

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Franko, Mark. "Approaches to Dance (1): Influences." Dance Research 28, no. 1 (2010): 1–5. http://dx.doi.org/10.3366/drs.2010.0001.

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This is an autobiographical account of the intellectual and artistic influences on the work of Mark Franko. It touches on his professional dance career with the Paul Sanasardo Dance Company and his choreographic career with his own company NovAntiqua, his graduate education at Columbia University, and the development of an interdisciplinary approach to theory and practice that blends the activities of the dance scholar with those of the dancer-choreographer.

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Unmüßig, Jana. "Ponderings with breathing/breathing with ponderings." Choreographic Practices 12, no. 2 (2021): 165–76. http://dx.doi.org/10.1386/chor_00032_1.

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The article is a document of artistic research insofar as it invents forms of thinking-in-writing-with-breathing. In addition to that, the article gives insights on breathing’s potential for expanded choreographic practice by drawing on Allan Kaprow’s ‘performance of living’. Choreography turns then into a means to stage everyday actions, such as breathing, in indeterminate frames. Equally important is the somatic bodywork of Ilse Middendorf and its interconnections with other forms of bodywork that emerged at the turn of the last century. Bringing in somatic bodywork reflects the bodily pract

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Na, Risu, and La Gan Chai. "The influence of the history of folk music development on Russian and Chinese folk dances." PHILHARMONICA. International Music Journal, no. 4 (April 2021): 34–53. http://dx.doi.org/10.7256/2453-613x.2021.4.36351.

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The authors consider and analyze the peculiarities of means of dance and plastic expression: pantomime, gestures, choreographic lexics, choreographic pattern, rhythmics, remarks and exclamations. The idea of a combination of a choreographic image and music of Russian and Chinese dances, declared by the authors, is a multi aspect complicated issue which is of a significant scientific interest. The purpose of the research is to reveal the contents of a folk dance stage adaptation which is conveyed with the help of improved means of expression and is an effective tool for the expression of nation

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Ehrenberg, Shantel. "Choreographic practice research and emotional labour through the x-ray of affective dissonance." Choreographic Practices 11, no. 1 (2020): 59–74. http://dx.doi.org/10.1386/chor_00012_1.

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In this writing I offer critical illuminations and diffractions with(in) researching, producing and performing a piece of choreographic practice research titled (in)fertile territories: a performance lecture. I utilize the concept of affective dissonance as x-ray to get closer to feelings and emotional labour as an early-career researcher in an institutional context. The writing is grounded in the cultural politics of emotion, and presents choreographic practice research, feminist critical reflection, and writing as technologies mobilized in the hopes of birthing something anew with significan

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Rainer, Lucia. "Kunstapotheke: Site-responsive choreographies within the premises of an abandoned pharmacy." Choreographic Practices 10, no. 2 (2019): 239–47. http://dx.doi.org/10.1386/chor_00005_1.

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Abstract Kunstapotheke is a choreographic project that was based in the premises of an abandoned pharmacy and shopping district in the northern part of Hamburg, Germany. Meandering between disused pharmacy facilities and its urban surroundings, a group of performers and myself explored how urban scores render possible to journey through time. Being interested in how past narratives might craft and shape possible urban futures, we experienced that time often shatters into fragments, evoking the question: How can urban scores respond to and subvert urban narratives and their choreographies? To b

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Protopapa, Efrosini. "Contemporary Choreographic Practice: From Exhaustion to Possibilising." Contemporary Theatre Review 26, no. 2 (2016): 168–82. http://dx.doi.org/10.1080/10486801.2016.1143817.

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Yakymchuk, Olena, Natalia Utesheva, and Oleksandr Somyk. "THE PECULIARITIES OF TEACHING PERFORMING MUSIC COURSES TO STUDENTS OR CHOREOGRAPHY IN THE PROCESS OF THEIR PROFESSIONAL TRAINING." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 149–54. http://dx.doi.org/10.36550/2415-7988-2021-1-195-149-154.

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This article presents an analysis of the peculiarities of teaching performing music courses such as «orchestration tutorial» and «orchestral conducting» to students or choreography in the process of their professional training. The educational potential of these courses is shown to facilitate the development of professional qualities in a future choreography teacher. The research also focused on the psychological and pedagogical conditions of a successful pedagogical collaboration of the music teacher and a student of choreography. This study is aimed to contribute to the development of a new

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Assaf, Nadra, and Heather Harrington. "(Re)positioning, (re)ordering, (re)connecting: A choreographic process of mind and body convergence." Choreographic Practices 13, no. 1 (2022): 25–52. http://dx.doi.org/10.1386/chor_00040_1.

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Nadra Assaf from Lebanon and Heather Harrington from the United States are dancers, educators, scholars and choreographers who believe in the power of the body for communication, intersectional feminism and sociopolitical movement. They came together, virtually and in real life, to create hybrid performances investigating what it means to be a female in the twenty-first century through the lens of their respective countries utilizing a feminist social constructionist perspective. They initiated new ways to choreograph birthed out of who they are, their geographical separation and their sociopo

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Knox, Kelly. "3″ Golden Lotus: The Tradition of Bound Feet as Depicted in Contemporary Choreography." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 161–67. http://dx.doi.org/10.1017/s2049125500000649.

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The Chinese tradition of female foot binding dates back thousands of years and has had a profound impact on the status and expectations of Chinese women well into the twentieth century. This paper explores the cross-cultural collaboration between a male Chinese choreographer and a female American dancer and the intersection of metaphoric movement with female identity in Er-Dong Hu's choreographic work, 3” Golden Lotus (2007). Addressing a personal and cultural history, Hu offers a gallery of kinesthetic images that portray the imposed practice of foot binding. What is revealed is one dancer's

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Laberge-Côté, Louis. "edged: Exploring the porous boundaries between teaching philosophy, dance performance and choreographic practice." Choreographic Practices 11, no. 1 (2020): 43–57. http://dx.doi.org/10.1386/chor_00011_1.

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Over the past four years I have developed The Porous Body, a teaching philosophy that promotes the practice of heightened physical and mental malleability in dance training by following four fundamental guiding principles: flow, playfulness, metaphor and paradox. As my process deepened, I wondered: what would happen if I applied The Porous Body to my choreographic practice? How might this framework prove fruitful during a creative process? What kind of choreographic work would emerge from this experiment? This article is an artist’s reflection on an artistic experiment; it describes the first

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Williams, Arneshia. "In practice: A choreographic reflection on spiritual expression." Dance, Movement & Spiritualities 5, no. 2 (2018): 219–36. http://dx.doi.org/10.1386/dmas.5.2.219_1.

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Hug, Joa, Bettina Mainz, Katja Münker, and Sabine Zahn. "Three choreographic-somatic approaches to environmental research." Journal of Dance & Somatic Practices 13, no. 1 (2021): 153–65. http://dx.doi.org/10.1386/jdsp_00044_1.

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This joint contribution by four members of Areal_Berlin approaches the topic of this Special Issue by presenting three individual but related strands of practice by dance and performance artists who specialize in working in urban and rural landscapes. The focus in each of the three contributions is on how somatic practices are employed as a means to sensitize bodies in relation to the environment and how those practices are (re-)designed in order to meet the specific demands of outdoor work. In the first part of the article, Joa Hug introduces Areal_Berlin as an association of research-oriente

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Huvila, Isto, and Olle Sköld. "Choreographies of Making Archaeological Data." Open Archaeology 7, no. 1 (2021): 1602–17. http://dx.doi.org/10.1515/opar-2020-0212.

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Abstract A lot of different concepts have been utilised to elucidate diverse aspects of archaeological practices and knowledge production. This article describes how the notion of choreography can complement the existing repertoire of concepts and be used to render visible the otherwise difficult to grasp physical and mental movements that make up archaeological work as a practical and scholarly exercise. The conceptual discussion in the article uses vignettes drawn from an observation study of an archaeological teaching excavation in Scandinavia to illustrate how the concepts of choreography,

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Collaborative, AGA. "Collaborative Ethics: Choreographing within the system and beyond." Performing Ethos: An International Journal of Ethics in Theatre & Performance 10, no. 1 (2020): 9–24. http://dx.doi.org/10.1386/peet_00014_1.

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Examining our collaborative choreographic process and embodied investigation of accomplishment, this article argues that our ongoing performance-making practice offers new insights about a systematized, continual demand for productivity that prioritizes the individual. Focusing on our recent trio of dances, choreographed from 2015 to the present, we propose that our collaborative process and relationship intervene on neo-liberal conditioning within academia and provide a different approach to shared institutional experiences. Our insistence on co-authorship and cooperation, both onstage and on

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MCGRATH, AOIFE. "Sounding a Quietening: Breastfeeding Choreographies and the Sonic–Corporeal Dialogue of Maternal Experience." Theatre Research International 46, no. 2 (2021): 148–68. http://dx.doi.org/10.1017/s0307883321000079.

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Let Down (2018) is a practice-as-research (PaR) dance performance that communicates women's experiences of breastfeeding in Northern Ireland, a jurisdiction with one of the lowest breastfeeding rates in the world, due, in part, to the social stigma attached to breastfeeding in public. Choreographed in collaboration with a composer and social scientists, Let Down is a duet for two lactating women who dance alongside a digitally transposed and augmented soundscape of sonic aspects of maternal experience, and improvise to the live sounds produced by infants in the audience. The work responds to a

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Todorova, Valentyna, Valentina Sosina, Valentyna Vartovnyk, and Natalia Pugach. "FEATURES OF THE INDIVIDUAL STYLE OF COACH AND TEACHER WORK OF THE CHOREOGRAPHIC TEAM." Science and Education 2020, no. 3 (2020): 149–55. http://dx.doi.org/10.24195/2414-4665-2020-3-21.

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The paper presents the results of studying the peculiarities of work styles (authoritarian, democratic, liberal) and the behavior of coaches in technical and aesthetic sports and choreographers. The purpose of the work was to analyze and compare the individual styles of coaches’ work in technical and aesthetic sports and teachers of dance groups and choreographic schools. A group of theoretical and empirical methods were used in the study. The survey involved: 14 choreographers from eight dance groups, 9 teachers from public and three private choreographic schools and 18 coaches working with r

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Kisil, N. "CHOREOGRAPHIC WORKS AS OBJECTS OF FORENSIC EXPERTISE: KEY FEATURES AND APPROACHES TO SOLVING EXPERT TASKS." Criminalistics and Forensics, no. 64 (May 7, 2019): 791–803. http://dx.doi.org/10.33994/kndise.2019.64.74.

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A research aim was to investigate signs peculiar to choreographic works, as objects of copyright. Will consider, what elements of choreographic results can be attributed to maintenance, and also internal and external forms, and also to offer approach to the decision of set certain tasks. Identification of the main features of choreographic works has a special relevance for the methodological provision of forensic expert activity. It was established that the main tasks of the forensic expertise of choreographic works are: the definition of the object of copyright law in the object of research;

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Bakirova, S. A. "Pedagogy of choreography: teaching features and principles." Pedagogy and Psychology 48, no. 3 (2021): 38–49. http://dx.doi.org/10.51889/2021-3.2077-6861.05.

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The article reveals the basic principles of training, which preserve the continuity of traditions and the specifics of the profession in the training of specialists in the field of choreographic art. The authors analyze the peculiarities of teaching in the field of choreographic art, develop its concepts and principles based on the experience of teaching and performing practice in the training of specialists-mentors, teachers-choreographers of children's dance groups. On the basis of scientific works in the field of general pedagogy and pedagogy of choreographic art, the authors have developed

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McLay, Grant, Lee McGowan, Gene Moyle, and Laurent Frossard. "Building Fields of Play: An examination of the use of notational analysis to reinterpret dynamic and sequential movement from Rugby Union to inform the creation of a new dance work." Choreographic Practices 11, no. 1 (2020): 163–85. http://dx.doi.org/10.1386/chor_00017_1.

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This article offers an examination of a research process that used elements taken from an elite sporting competition, in this case an international Rugby Union match, to develop choreographic thinking tools to create a new contemporary dance work. One goal of this practice-led research was to create a vehicle for penetrating the physicality and unpacking the bodily configurations created in a rugby match. Data derived from a frame-by-frame analysis of a recorded match allowed for the identification and deconstruction of sequential movement to be converted into set representational, abstract ch

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Jie, Wang. "On the Embodiment of National Spirit in Chinese Ethnic Minority Dance—A Case Study of Ma Yue's Work." Congress on Research in Dance Conference Proceedings 2016 (2016): 224–28. http://dx.doi.org/10.1017/cor.2016.30.

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Ma Yue's dance work derives from his life experience in an ethnic minority community and his deep understanding of its culture and customs. The long-term choreographic trials lead to his excellent thinking, which is improvised and frequently presented in his work. His work represents aspects of experience, thinking, feeling, and practice, and eventually embodies the unique national spirit. A good dance work must come from inspiration, which is a combination of logic and art, a development, and an innovation. Ma Yue's work manifests the characteristics of the inspiration and national spirit. Th

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Mehta, Alesha, and Sarah Foster-Sproull. "The soil in the lines of my mehndi: Toward a decolonial ritual choreographic methodology." Journal for Research in Arts and Sports Education 5, no. 4 (2021): 4–18. http://dx.doi.org/10.23865/jased.v5.2964.

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This article explores instigating ritual movement practices as a decolonial approach to practice led research within a Western liberal arts context. By connecting ritual with movement through a decolonial lens, a choreographic methodology was explored to enable belonging, cultural identity and empowerment to evolve within postgraduate practice led research. Ritual movement processes may involve trial and error as well as deep experimentation to unveil and unpack decolonial experience. Building from student-centred personal reflections, this article proposes that ritual movement practice may al

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Perova, Ganna, Liudmyla Khotsianovska, Artem Morozov, Andrii Tymchula, and Iana Vasiutiak. "Individual approach variability of HEIs teachers on working process to students." International journal of health sciences 6, no. 1 (2022): 125–36. http://dx.doi.org/10.53730/ijhs.v6n1.3499.

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The purpose of the academic paper lies in establishing the components of the successful implementation of an individual approach in teaching choreography within the conditions of the pandemic; highlighting problems and ways to solve them while teaching choreography in modern university education; identifying changes in the attitude of students and teachers to the quality of training of choreographers. The research methods are based on an integrated approach, namely: descriptive methods, analysis, and synthesis, generalization has been used to analyze the theoretical fundamentals. The major met

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Allen, Jess. "Tracktivism: Eco-activist walking art as expanded choreography in rural landscape." Choreographic Practices 10, no. 2 (2019): 175–95. http://dx.doi.org/10.1386/chor_00002_1.

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Abstract This article offers a reflexive account of my journey from dance into walking art through a methodological examination of tracktivism: the rural, eco-activist, pedestrian performance practice I have developed over the past eight years. My dancer's perception of walking art in the sculptural tradition had always been as choreography on an expanded scale: bringing attention to spatial patterns in landscape through the 'stylus' of the walking body. Here I examine the ways in which the growing oeuvre of tracktivist works have employed this choreographic device to (re)frame walking art as

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Daugaard, Kasper, and Amalie Ørum. "Kunsten at pille et løg:." Nordic Journal of Dance 3, no. 2 (2012): 16–23. http://dx.doi.org/10.2478/njd-2012-0008.

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Abstract To peel an onion, to grate a carrot, and to set a table, each has its own choreographic recipe. Culinary art/ cookery is choreographed everyday life, and cooking is a dance everyone knows. The Art of Peeling an Onion is based on the dance piece Gæst (Guest), choreographed by Kasper Daugaard. The piece is for five dancers, a female soloist and four choir dancers, and originates entirely from culinary actions. The purpose of the article is not to maintain theory and practice as two separate entities, but to show how they supply each other and offer each other content. We aim to create a

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Alonso Fernández, Z. "Re-Thinking Lupercalia." Greek and Roman Musical Studies 5, no. 1 (2017): 43–62. http://dx.doi.org/10.1163/22129758-12341289.

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This paper is an addendum to the article “Choreography ofLupercalia: Corporeality in Roman Public Religion”, published in the latest issue ofgrms. In my previous essay, I explored the methodological possibilities of the notion ‘choreography’, a concept that has been critically re-elaborated by dance scholars in the past two decades, and applied it to the wandering of theLuperciin order to understand the performative role of their mobility and physicality as traits shared with other dances within the realm of Roman public religion. The aim of the current article is to refine the approaches prop

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Zafeiroudi, Aglaia. "Intersections between Modern and Contemporary Dance and Yoga Practice: A Critical Analysis of Spiritual Paths through Body Movement and Choreography." Academic Journal of Interdisciplinary Studies 10, no. 4 (2021): 1. http://dx.doi.org/10.36941/ajis-2021-0094.

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Bodily movement, rhythmic response, physical exercise and related techniques are sources of spiritual awareness. Yoga and dance are both concerned with the relationship between spirituality and the physical body. This paper presents a literature review of yoga and modern and contemporary dance as spiritual bodily practices. An electronic literature search was undertaken using Scopus, Google Scholar, CINAHL, EMBASE, PubMed/MEDLINE and Web of Science databases to examine the integration of modern and contemporary dance with yoga practice. The review reveals a number of important choreographic an

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