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1

Dusar, Ingeborg. Choreographien der Differenz: Ingeborg Bachmanns Prosaband "Simultan". Köln: Böhlau, 1994.

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2

Ordnung in Bewegung: Choreographien des Sozialen : Körper in Sport, Tanz, Arbeit und Bildung. Bielefeld: Transcript, 2009.

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3

Hardt, Yvonne. Politische Körper: Ausdruckstanz, Choreographien des Protests und die Arbeiterkulturbewegung in der Weimarer Republik. Münster: Lit, 2004.

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4

Kenway, Jane, Johannah Fahey, Debbie Epstein, Aaron Koh, Cameron McCarthy, and Fazal Rizvi. Class Choreographies. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-54961-7.

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5

Marsico, Katie. Choreographer. Ann Arbor, Mich: Cherry Lake Pub., 2012.

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6

Marsico, Katie. Choreographer. Ann Arbor, Mich: Cherry Lake Pub., 2012.

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7

Cvejić, Bojana. Choreographing Problems. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137437396.

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8

Schiller, Gretchen, and Sarah Rubidge, eds. Choreographic Dwellings. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137385673.

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9

Rosenthal, Stephanie. Move: Choreographing you. London: Hayward Pub., 2010.

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10

Gallery, Hayward, Haus der Kunst München, and Kunstsammlung Nordrhein-Westfalen (Germany), eds. Move: Choreographing you. London: Hayward Pub., 2010.

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11

Choreographing Asian America. Middletown, Conn: Wesleyan University Press, 2010.

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12

Shih Pearson, Justine. Choreographing the Airport. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-69572-3.

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13

Wong, Yutian. Choreographing Asian America. Middletown, Conn: Wesleyan University Press, 2010.

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14

Barkan, Elazar, and Karen Barkey, eds. Choreographies of Shared Sacred Sites. New York Chichester, West Sussex: Columbia University Press, 2014. http://dx.doi.org/10.7312/bark16994.

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15

Tatjana Gsovsky: Choreographin und Tanzpädagogin. Berlin: Akademie der Künste, Archiv, 2005.

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16

Kenneth, Pickering, ed. Choreographing the stage musical. Malvern, Worcestershire [England]: J. Garnet Miller, 1990.

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17

Sunderland, Margot. Choreographing the stage musical. Malvern: Garnet Miller, 1989.

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18

Sutherland, Margot. Choreographing the stage musical. 2nd ed. Studio City, CA: Players Press, 2008.

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19

House, Steven. House & House choreographing space. Mulgrave, Vic: Images Publishing Group, 1999.

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20

House, Steven. House & House choreographing space. Mulgrave, Vic: Images Pub. Group, 1999.

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21

Choreographic dwellings: Practising place. Basingstoke: Palgrave Macmillan, 2014.

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22

Dietrich, Urs. Eine Choreographie entsteht: Das kalte Gloria. Essen: Verlag Die Blaue Eule, 1990.

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23

Fitzgerald, Des. Chapter 5 Choreographing the Interdisciplinary. Basingstoke: Springer Nature, 2015.

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24

Green, Michele. David Earle: A choreographic biography. Toronto: Dance Collection Pres = Collection Danse Presses, 2006.

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25

Hamilton, Sue L. Paula Abdul: Choreographer, dancer, singer. Edina, Minn: Abdo & Daughters, 1990.

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26

Rosa, Cristina F. Brazilian Bodies and Their Choreographies of Identification. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137462275.

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27

Meg Stuart: Bild in Bewegung und Choreographie. Bielefeld: transcript Verlag, 2008.

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28

Choreographie und Distanz: Studien zur Ravel-Analyse. Hildesheim: Olms, 2008.

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29

Harris, Sarah. Diction: Study pack : a choreographic analysis. Guildford: National Resource Centre for Dance, 1994.

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30

Harris, Sarah. Diction: study pack: A choreographic analysis. Guildford: Department of Dance Studies, University of Surrey, Guildford, Surrey, GU2 5XH., 1994.

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31

Harris, Sarah. Diction: Study pack : a choreographic analysis. Guildford: Dept. of Dance Studies, University of Surrey, 1994.

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32

Riepe, Valerie. Choreographien der Homogenisierung. transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839455425.

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33

Walburga, Hülk, Schuhen Gregor, Schwan Tanja, and DFG-Forschungskolleg 615 "Medienumbrüche ", eds. (Post-)Gender: Choreographien/Schnitte. Bielefeld: Transcript, 2006.

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34

Ockert, Gritt. Step-Aerobic. Basics Choreographien Fun. Sportverlag, 2001.

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35

Lauschke, Alexander. Parkour: "Subversive" Choreographien des Urbanen. Tectum Verlag, 2010.

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36

Fluch, Dorle. Gymnastikstudien und Tanzgestaltungen, Tl.2, Tanzgestaltungen, Choreographien. Pohl-Verlag Celle, 1989.

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37

Dark Matter: Achtzehn ausgewählte Choreographien von Marco Goecke 2003-2015. Königshausen & Neumann, 2016.

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38

Corona, Vicki. Hawaiian Choreographies. Earth Dance International Publishing, 1989.

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39

Corona, Vicki. Polynesian Choreographies. Dance Fantasy Productions, 1991.

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40

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.

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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).
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41

Corona, Vicki. Tahitian Choreographies. Earth Dance International Publishing, 1989.

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42

Corona, Vicki. Philippine Choreographies. Dance Fantasy Productions, 1990.

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43

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.

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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.
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44

Guest, Ann Hutchinson. Choreographics. Routledge, 2014. http://dx.doi.org/10.4324/9781315078434.

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45

Joy, Jenn. Choreographic. MIT Press, 2014.

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46

Joy, Jenn. Choreographic. MIT Press, 2014.

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47

Choreographic. MIT Press, 2014.

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48

Joy, Jenn. Choreographic. MIT Press, 2014.

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49

Corona, Vicki. Maori Tribe Choreographies. Dance Fantasy Productions, 1989.

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50

Corona, Vicki. Tahitian Choreographies Booklet. Dance Fantasy Productionos, 1989.

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