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Journal articles on the topic 'Improvisation in dance'
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Han, Jihee. "Analysis of ‘Experience’ of Contact Improvisation through Dewey’s ‘Stuation’." Korean Society of Culture and Convergence 45, no. 7 (July 31, 2023): 757–67. http://dx.doi.org/10.33645/cnc.2023.07.45.07.757.
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The purpose of this paper is to show that contact improvisation is a vivid artistic presentation of what J. Dewey calls ‘experience’ by applying his concept of ‘situation’. Dewey's ‘situation’ is, first, a ‘recognized environment’ in which thoughts originate, second, ‘interaction’ between humans and people, things, etc around them takes place, and third, it is an unstable and dynamic field where problems occur and at the same time, problems are solved. The meaning of contact improvisation analyzed through this 'situation' is as follows. First, contact improvisation is a dance that the dancer immediately executes by focusing on the situation here and ‘thinking about the present’. Second, the dancer of improvisation dance communicates with his partner in order to connect with his or her movement. Third, the problem situation is solved by the dancer maintaining contact with the opponent and continuing the improvisation movement, resulting in ‘aesthetic experience’. In the above contact improvisation, the dancer's intellectually, emotionally, and practically integrated and completed dance corresponds to Dewey's ‘an experience’, an ideal form of aesthetic experience.
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Hermans, Carolien. "Oceanic feeling: Towards a fluid philosophy of moving bodies." Journal of Dance & Somatic Practices 13, no. 1 (December 1, 2021): 133–43. http://dx.doi.org/10.1386/jdsp_00042_1.
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In this article, I use Romain Rolland’s oceanic feeling as an entrance point to explore the transformative nature of dance improvisation. Oceanic feeling includes both a feeling of dissolution of the boundaries of the self and a feeling of unity, embracement and openness. The feeling of interconnectedness, with living and non-living entities, indeed with the cosmic world as such, is a vital force in dance improvisational practice. Dance improvisation is deeply relational: it is concerned with contact, with touching-the-world as well as being-touched-by-the-world. Through the synchronization of our moving bodies with others and the world, we feel a sense of connection, of parts that merge (temporarily) into wholes. In this article, I will elaborate further on Rolland’s notion of oceanic feeling and its relevance for dance improvisation. I suggest a fluid philosophy of moving bodies that is informed by eastern philosophy and poststructuralist theory.
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Carter, Curtis L. "Improvisation in Dance." Journal of Aesthetics and Art Criticism 58, no. 2 (2000): 181. http://dx.doi.org/10.2307/432097.
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CARTER, CURTIS L. "Improvisation in Dance." Journal of Aesthetics and Art Criticism 58, no. 2 (March 1, 2000): 181–90. http://dx.doi.org/10.1111/1540-6245.jaac58.2.0181.
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Шерегова, В., О. Бакланова, and К. Галимова. ""PROBLEMS AND METHODS OF DEVELOPMENT OF IMPROVISATION IN MODERN DANCE"." EurasianUnionScientists 1, no. 1(82) (February 15, 2021): 4–8. http://dx.doi.org/10.31618/esu.2413-9335.2021.1.82.1191.
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Improvisation in art can be perceived in different ways. There is an opinion that improvisation is a instantly reproducible finished work of creativity, which is characterized, among other things, by imagination and a state of creative search. With regard to the art of dance, improvisation has its own characteristics. We share the opinion that dance improvisation can be viewed as the performer's ability to independently create a dance directly in the process of its performance, guided by his dance temperament, subjective perception of music, character and sequence of actions. Dance improvisation is a special type of choreographic creativity, in which the composition takes place directly in the process of performance. Improvisation is inherent in the nature of dance art; dance itself was originally born from improvisation. There is an opinion that the main characteristic of improvisation in all types of art is freedom, which manifests itself in changing the standard based on the acquired experience. But the paradox is that, breaking away from the established standard, passing through chaos, freedom again leads to the establishment of order.
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Zheng, Yufei. "The Role of "Space Cutting" in Improvisation." Region - Educational Research and Reviews 3, no. 3 (October 2, 2021): 31. http://dx.doi.org/10.32629/rerr.v3i3.435.
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In this research, the improvisational dance creation was explored from the direction of choreography practice. In the study of improvisation, it is meaningless to have an idea without examples. Choreography is used to study this theme because through the practical study of dancers, the survey results can be obtained more intuitively, accurately, and in detail. Therefore, the article will focus on the practical research of the method of space design to stimulate the dancer's "vitality effect", and explore the role of this method in improvisational dance.
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Acton, Kelsie. "Stepping back: Reflecting on accessibility in integrated dance improvisation." Canadian Journal of Disability Studies 10, no. 2 (October 8, 2021): 68–92. http://dx.doi.org/10.15353/cjds.v10i2.791.
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Finding more accessible ways to train, create, perform and work is a major concern of researchers and practitioners (Ajula & Redding, 2013, 2014) of integrated and disability dance. In the spring of 2017 eight dancer/researchers from CRIPSiE, an integrated, disability and crip dance company located in Edmonton, came together to investigate their practices of timing through a participatory performance creation process. Participatory performance creation values researcher reflexivity (Heron & Reason, 1997). In this paper I reflect on the way that collaboratively building an improvisation score, a series of tasks and prompts that the dancer/researchers responded to (Gere, 2003), created inaccessibility for one of the dancers/researchers, Robert. At the time I assumed that improvisation itself was inaccessible. Upon reflecting I realized that the improvisation was accessible and that Robert was improvising in ways valued by both the integrated improvisation literature and the other dancers/researchers.
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Yessirkepova, Sh T. "MUSICAL COMPILATION OF ADAGIO'S WORKS AND THEIR IMPROVISATION TO ACCOMPANY THE DUETCLASSICAL DANCE LESSONS." ARTS ACADEMY 8, no. 4 (December 2023): 5–19. http://dx.doi.org/10.56032/2523-4684.2023.4.8.5.
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The presented article discusses the correct choice of Adagio compositions for accompaniment from a duet-classical dance lesson and their improvisation, from what points improvisation comes and the main elements of their correct use. In the process of 7 accompanying a duet-classical dance lesson, it is shown how to musically correctly compose an adagio, how they arise and many examples in this regard. Currently, the question of choosing the right duet-Adagio in classical dance lessons-is a very relevant, complex process. For this purpose, these methodological demonstrations are aimed at young professionals and those who have little experience. These data were taken from my own experience and from articles and books of Russian pianists, teachers and accompanists. At the end of the article, musical comparative improvisational examples and tricks from my own personal experience from classical dance lessons are given.
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Kariasa Putra, I. Komang, Tjokorda Udiana Nindhia Pemayun, and Gede Yosef Tjokropramono. "Sanghyang Dedari Dance as a Painting Creation Idea." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 2, no. 2 (October 24, 2022): 87–91. http://dx.doi.org/10.59997/citakara.v2i2.1849.
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Balinese dance is a variety of dances originating from the island of Bali. Balinese dance does not always depend on the storyline. The main goal of Balinese dancers is to dance each stage of movement and sequence with full expression. Sang Hyang Dedari dance is a Balinese dance that is used as a religious tool. Balinese people still believe that when girls aged 9-12 years dance this dance, they will be possessed by the holy spirit of an angel. Usually, the Sang Hyang Dedari Dance is played or danced before the rice harvest around April to resist disease outbreaks, and this dance has been designated as an endangered cultural heritage. By taking the theme of Sanghyang Dedari Dance, it is hoped that it can represent ideas in the creation of painting. The writer's interest in this dance is because this dance is very sacred and unique because starting from the headdress and the clothes used are very simple, and the flowers used are also colorful and easy to get and so that the younger generation in particular to know and preserve Balinese culture, that in some areas still do this tradition. At the visualization stage, the author emphasizes the decorative flow. In addition, it also uses the method of creation, namely Exploration, Improvisation, Formation, and Final Completion. And through these stages, 6 works were created entitled: 1) "Sanghyang Dedari Dance", 2) "Ngukup", 3) "Dancer Possessed by Sanghyang Dedari", 4) "Sanghyang Dedari Dancer", 5) "Aci Bethara Sri", 6 )"Rolling". In the end, a work was created which was appointed to the title "Sanghyang Dedari Dance as an Idea for Painting Creation". The author hopes that the Balinese people are more familiar with the Sanghyang Dedari Dance.
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Ailamazjan, Aida M. "Free dance as a cultural-historical practice of improvisation." National Psychological Journal 41, no. 1 (2021): 175–92. http://dx.doi.org/10.11621/npj.2021.0114.
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Background. Plastic, expressive aspects of human behaviour remain underresearched by psychologists. The focus on practices of improvisation is determined by the fact that they show most vividly how expressive movement comes into being. Objective. The aim of the study is to provide psychological analysis of improvised dance action, to identify the conditions of its generation. The hypothesis put forward concerns the formation of overall personal attitude that makes one ready to perform expressive movement in the context of musical-motional improvisation. It seems probable that the principles of movement organisation within free dance practices concern the formation of attitude that lets one perceive spontaneous, involuntary impulses to movement, changes of tonus and breath. Design. The study is a piece of theoretic-psychological analysis of improvisation dance practice. In terms of methodological and theoretical basis the study relies on cultural-historical psychology and theory of action, as well as on N.A. Bernstein’s conception of movement building. There theories allow to reconstruct the conditions of expressive movement generation in the context of musical-motional improvisation. Results. The analysis performed has shown that the principles of movement organisation, the technical aspects of the practices studied are aimed at increasing the degree of freedom of movement. It allows to enhance the receptivity to spontaneous reactions and impulses and to widen the orientation within the context of musical-motional improvisation. It makes one move in a more meaningful way and to integrate the personality into improvisation. Conclusions. Alongside with the practices of structured dances and reproductive approaches to mastering expressive movement, there are cultural-historical practices of improvisation dances. The analysis of such practices allows to single out psychological conditions and and peculiarities of movement organisation that make one generate spontaneous actions, find and try new objectives, plastic forms. Generation of spontaneous movement and musical-plastic improvisation are possible due to tuning up the whole human personality. Openness as personal attitude has its meaningful as well as motional component.
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Hoppu, Petri. "The Polska: Featuring Swedish in Finland." Congress on Research in Dance Conference Proceedings 2014 (2014): 99–105. http://dx.doi.org/10.1017/cor.2014.13.
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The paper examines the Swedish polska as a special case of movementscape in Finnish folk dance. The research is based on ethnographic fieldwork among Finnish folk dancers in 2013. Since the 1970s, the polska has been popular in Swedish folk dance, and this versatile dance form can be seen as emblematic to Swedish folk dance culture. During the last 30 years, Finnish folk dance groups have also eagerly adopted it: not only the dance itself, but a whole new style and embodiment of dancing with improvisation as an important element. Although there have been vernacular polska forms in Finland, as well, and folk dancers have danced them for decades, they have not been able to reach any higher status. Although Finnish folk dancers have adopted dances from other Nordic countries since the early twentieth century, the popularity of Swedish polska exceeds that of any earlier Nordic innovations in Finland.
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Liska, Suzanne. "Somatic ethnographic research: A choreographic process informed by Alexander Technique." Choreographic Practices 11, no. 1 (July 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 AT-inspired dance methodology using a systematic somatic process to enhance physical, mental and emotional coordination for choreographers and dancers. I propose that AT expanded my attention moment-to-moment to develop my choreographic intentions and desires.
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Nikolopoulou, Panagiota (Teti), and Maria I. Koutsouba. "Reflections on dance improvisation in Greece as an embodied practice." Journal of Dance & Somatic Practices 14, no. 1 (July 1, 2022): 57–73. http://dx.doi.org/10.1386/jdsp_00069_1.
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The aim of this article is to provide a brief overview of the use of improvisation in relation to choreography in Greece as an embodied practice. Although many dance scholars acknowledge the aesthetic potential and the freedom of spontaneity in the improvisational process, there is not direct theoretical reference to the choreographing methodologies that have been used in the Greek contemporary dance scene from the late 1980s until today. The research is qualitative and draws data from multiple sources, which include interviews with nine choreographers, attendance of live dance performances and/or performative events and references from the related dance literature. The authors’ reflections reveal important epistemological issues for further dance research on the current collaborative performing arts contexts.
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Schwartz, Peggy. "Action Research: Dance Improvisation as Dance Technique." Journal of Physical Education, Recreation & Dance 71, no. 5 (May 2000): 42–46. http://dx.doi.org/10.1080/07303084.2000.10605145.
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Rustad, Hilde. "Dance in Physical Education: Experiences in Dance as Described by Physical Education Student Teachers." Nordic Journal of Dance 3, no. 1 (June 1, 2012): 14–29. http://dx.doi.org/10.2478/njd-2012-0003.
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Abstract In Norway dance in school is mainly placed within the subject of physical education. This paper is based on a study conducted together with students in physical education teacher education. The main focus is to explore experiences in dance improvisation and contact improvisation as described by physical education student teachers. The study is influenced by phenomenological thinking. The analysis makes evident that the students experienced the subject of dance improvisation and contact improvisation in many different ways. Yet, how the student teachers express their experiences can be divided into the different roles of student-dancers experiencing dancing and student-teachers trying to decide whether what they do in the dance classes can be used in teaching in schools.
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Bresnahan, Aili. "Improvisational Artistry in Live Dance Performance as Embodied and Extended Agency." Dance Research Journal 46, no. 1 (April 2014): 85–94. http://dx.doi.org/10.1017/s0149767714000035.
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This article provides an account of improvisational artistry in live dance performance that construes the contribution of the dance performer as a kind of agency. Andy Clark's theory of the embodied and extended mind is used in order to consider how this account is supported by research on how a thinking-while-doing person navigates the world. I claim here that while a dance performer's improvisational artistry does include embodied and extended features that occur outside of the brain and nervous system, that this can be construed as “agency” rather than “thought.” Further I claim that trained and individual style accounts for how this agency acquires its artistic nature. This account thus contributes to the philosophy of improvisation in dance performance in a way that includes motor as well as cognized intentions.
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Salosaari, Paula. "Perception and Movement Imagery as Tools in Performative Acts Combining Live Music and Dance." Nordic Journal of Dance 4, no. 1 (June 1, 2013): 16–27. http://dx.doi.org/10.2478/njd-2013-0003.
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Abstract In this article I discuss movement imagery and perceptual strategies as tools in enhancing performative acts of playing music and composing performance material combining music and dance. In my earlier research I have introduced the concept of multiple embodiment in classical ballet and developed co-authored choreography with dancers. The concept of multiple embodiment in ballet suggests treating the fixed vocabulary as qualitatively open and therefore a basis for interpretation, improvisation and composition of new dance material. Directing the dancer’s experience in an open-ended way with movement imagery and perceptual strategies gave the performer new, sometimes surprising information about performance possibilities and thereby enhanced interpretation of dance material. (Salosaari 2001) Movement imagery has helped creating open-ended tasks in dance and thus enabled co-authoring in dance making projects. (Salosaari 2007; Salosaari 2009). Not only dance, but other art forms as well, are embodied. In playing a musical instrument, the sound is made using body movements. In workshops with a musician and a dancer, reported in this article, I ask whether the tools created for dance creation would work also in music making. I ask whether movement imagery and perceptual strategies can initiate music interpretation and improvisation?
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Armila, Febby, and Afifah Asriati. "Proses Koreografi Tari Piring Rampak Baayun Sanggar Rantiang Tagok di Kota Padang." Jurnal Sendratasik 11, no. 4 (December 26, 2022): 514. http://dx.doi.org/10.24036/js.v11i4.118787.
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This research is useful for revealing and explaining the choreography of the Piriang Rampak Baayun Dance at the Rantiang Tagok Studio in Padang City. This research uses qualitative methods and is also driven by documentation and uses primary and secondary information. Steps to analyze information and prove information. The research shows the choreography process of the Piring Rampak Baayun dance at Sanggar Rantiang Tagok beginning with the findings of exploration, improvisation, and composition ideas. After finding ideas and ideas from the Piring Rampak Baayun dance, the choreographer thinks about the image of the dance that will be created. Exploration thought of a movement that describes a gadih nan tageh like a Minang tribal girl. Furthermore, improvisation was carried out by the choreographer when creating the Piring Rampak Baayun dance, which was an experiment with the form of movement of a dancer and various new movements with the creativity of the dance stylist. The improv session is combined with an assessment session to sort and choose which moves are suitable for the dance theme. Composition session, arrange or arrange the parts in such a way that each other is interconnected and together form a unified whole.
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Mullis, Eric. "Dance, Philosophy, and Somaesthetics." Performance Philosophy 2, no. 1 (July 29, 2016): 60. http://dx.doi.org/10.21476/pp.2016.2136.
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This essay examines the question whether dance can do philosophy by considering the manner in which dance processes used in the studio can advance philosophical investigations of human embodiment. Two contemporary improvisation techniques are discussed, Gaga technique developed by Ohad Naharin and Contact Improvisation developed by Steve Paxton.
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Gordos, Anna. "Childrens' Scarf Dances." Tánc és Nevelés 2, no. 2 (October 12, 2021): 75–86. http://dx.doi.org/10.46819/tn.2.2.75-86.
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The scarf is a less used tool in the methodology of teaching folk dances. This object, however, had a crucial role both in Hungarian folk dance tradition and in the way of life of peasants. The paper presents the traditional appearances of the scarf in dances and its usage’s symbolic semantic layers with a special focus on wedding pair-choosing dances. The scarf has a privileged role in these playful pair-swapping games, on the one hand as the realisation of improvisation, on the other hand as a means of creating an equal relationship between dance partners. These structural and conceptual conclusions could be translated and applied in the process of dance teaching: the scarf as a tool of methodology eases communication, reveals the dynamism between dance partners and the emotional aspects of dance. The present study is followed by a supplement of 12 scarf games, which provides new ideas for practising dance teachers on how to use the scarf in teaching folk dances.
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Scheubeck, Stephanie. "Colours on the surface of my body in motion: The relationship between synaesthesia and dance improvisation." Journal of Dance & Somatic Practices 11, no. 1 (July 1, 2019): 25–37. http://dx.doi.org/10.1386/jdsp.11.1.25_1.
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In synaesthesia, the stimulation of one sense or cognitive concept simultaneously and involuntarily produces a sensation in a second sense or cognitive experience. while synaesthesia has been investigated from neuroscience and psychology to social sciences and the arts, the relationship between synaesthesia and dance is largely un-researched. This article provides insight into my practice-led research project on the relationship between synaesthesia and dance improvisation, informed by somatic practice. It demonstrates the interrelation of synaesthesia and dance improvisation when performed by a synaesthete, and discusses the role of attention in this context as well as explorations of the relationship between synaesthesia, somatic practice and dance improvisation by synaesthetes and non-synaesthetes. In conclusion it is suggested that research into synaesthesia through dance and somatic practice can contribute to an integral understanding of this highly quantitatively investigated phenomenon.
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Mitra, Royona. "Talking Politics of Contact Improvisation with Steve Paxton." Dance Research Journal 50, no. 3 (December 2018): 6–18. http://dx.doi.org/10.1017/s0149767718000335.
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In the autumn of 2015, on the back of the publication of my monograph Akram Khan: Dancing New Interculturalism (Mitra 2015), I was settling into my Brunel University London-sponsored sabbatical to kick-start my postdoctoral research project, then titled “Historicizing and Mapping British Physical Theatre.” At that stage, this new field of study, methodology, and tone of enquiry felt significantly different from the decolonial spirit of my book, which examines the works of the British-Bangladeshi dance artist Akram Khan at the intersections of postcoloniality, race, gender, sexuality, mobility, interculturalism, and globalization, arguing for his choreographic choices as discerning political acts that decenter the whiteness of contemporary western dance from his position within this center. With this new project I was keen, instead, to investigate the development of “British physical theatre” as an interdisciplinary genre that emerged interstitially between and through its “double legacy in both avant-garde theatre and dance” (Sánchez-Colberg 2007, 21) with a particular emphasis on what the import of the choreographic vocabulary of partnering would have brought to these experiments. Very conscious that the now ubiquitous aesthetic of partnering in contemporary Euro-American theater dance derived its roots from the somatic explorations of contact improvisation, I was intrigued to examine how the genre of British physical theatre would have engaged with choreographic touch from its somatic beginnings in contact improvisation to its politicized and aestheticized manifestation in partnering. I was also conscious, of course, of the role that Steve Paxton, the artist whose name has become synonymous with contact improvisation's inception and development in 1970s United States, had to play in teaching contact improvisation in the dance program at Dartington College of Arts in the United Kingdom (UK) in the 1970s and 1980s. Driven by a need to examine the potential relationship between Dartington's 1970s movement experiments with Paxton and contact improvisation, and the emergence of partnering as a key aesthetic within British contemporary dance, specifically its manifestation in physical theatre, I wanted to interview Paxton himself. Needless to say, I was of course fully aware of the difficulty in making such an important research opportunity materialize. However, within months, the remarkable generosity of our dance studies network, in this instance embodied by Professors Susan Foster and Ann Cooper Albright, and the dance artist Lisa Nelson, led me to the inbox of Steve Paxton himself in November 2015. Paxton was instantly responsive to my e-mail communications, and deeply invested and committed to sharing his experiences and insights with me. We arranged our Skype interview for early 2016, agreeing that this would give me enough time to research existing interviews with Paxton, in print and on video, to ensure that I could delineate my own questions for him in productive ways. The more I researched, the more a feature of the extensive archive of interviews with Paxton revealed itself: the predominant absence of bodies and perspectives of color from the early days of contact improvisation's experiments. This absence, in turn, became more and more present in my thinking.
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Engelsrud, Gunn. "Teaching Styles in Contact Improvisation: An Explicit Discourse with Implicit Meaning." Dance Research Journal 39, no. 2 (2007): 58–73. http://dx.doi.org/10.1017/s014976770000022x.
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Since contact improvisation was “invented” in North America in the 1970s, it has gained widespread acceptance; teachers have been travelling extensively to conduct seminars and workshops. The dance form has been documented and researched from several viewpoints, but, as I see it, there is general agreement among practitioners and scholars—including United Kingdom-based Helen Thomas (2003), Norway-based Hilde Rustad (2006) and Eli Torvik (2005), and Cynthia Novack (1990), who worked in the United States—that contact improvisation is a form of nonhierarchical relations that entails an appeal to accept mutual responsibility for each other and that also implies a specific lifestyle. In her book Sharing the Dance: Contact Improvisation and American Culture, Novack, as an anthropologist, perceives contact improvisation as embodied culture where the movements are central constitutional parts. Her position is that through the study of contact improvisation, “the history of the dancing serves as a vehicle for investigating powerful interrelationships of body, movement, dance and society” (8).
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Goldman, Danielle. "A Radically Unfinished Dance." TDR: The Drama Review 65, no. 1 (March 2021): 62–78. http://dx.doi.org/10.1017/s105420432000009x.
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Nancy Stark Smith passed away due to ovarian cancer on 1 May 2020. Her dedication to contact improvisation for nearly half a century—as a dancer, teacher, writer, and editor—contributed to its development and will continue to inform its ongoing vitality. But much remains uncertain for the future of contact improvisation. Complicated by the challenges of Covid-19, what sort of bodies will result from the practice going forward, and how might the form itself change?
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Jagošová, Anna. "Slovácko Verbuňk as a Tradition and Performance." Národopisný věstník 82, no. 1 (June 30, 2023): 29–40. http://dx.doi.org/10.59618/nv.2023.1.02.
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The Slovácko verbuňk is a solo male dance of jumping nature. Originally, it was part of military recruiting and was danced by soldiers or, much more often, by the recruiters. Verbuňk had many functions. Some of them, for example the psychological and the symbolic and social ones, have already disappeared, some others, such as the identification, erotic, and competitive ones have survived to date. It is due to the competitive feature of the dance that a “dance race” has been organized at the International Folklore Festival in Strážnice since its foundation; the Festival has given rise to the Contest for the Best Dancer of the Slovácko Verbuňk. This has significantly changed the form of the Slovácko verbuňk - for example, the Contest has supressed the improvisation, but increased the awareness of the dance and attracted many dancers who want to learn it. The performance of the Slovácko verbuňk by child dancers is a phenomenon of the last twenty years. This fact has its supporters and opponents among Slovácko verbuňk dancers and leaders of folk ensembles.
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Thomas, Karen Kartomi. "Dimensions of Dance with Reference to Song Lyrics: Improvisatory Processes and Practices in Indonesian Malay Mendu Theatre Performance." Dance Research 36, no. 2 (November 2018): 253–68. http://dx.doi.org/10.3366/drs.2018.0240.
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In this article, I analyse the creative process of dance in Malay mendu theatre staged in Indonesia's northern Riau Islands, based on fieldwork I conducted in 1984 and 2013. I describe and compare the four main motifs that made up most of the theatre's dances (referring specifically to upper body movements, the height of the forearms and hands, the direction of the eye gaze, the number of beats per movement), and deconstruct the five integrated, improvisatory mechanisms of the dance system (repetition, modification, retrogrades, looping, and controlled free-timing) by which actors generated their dances; thereby devising a choreology of Malay theatrical dance. Four performance parameters – motivic sequencing, improvisation, reflexive-cueing, and the dance-lyrics dynamic – were employed to guide and control these mechanisms. This case study aims to show how analysing a creative dance method benefits from an ethnographic research approach. 1
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Stetsiuk, B. O. "Types of musical improvisation: a classification discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 178–96. http://dx.doi.org/10.34064/khnum1-57.11.
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This article systemizes the types of musical improvisation according to various approaches to this phenomenon. It uses as the basis the classification by Ernst Ferand, which presently needs to be supplemented and clarified. It was stressed that the most general approach to the phenomenon of musical improvisation is its classification based on the layer principle (folklore, academic music, “third” layer). Within these layers, there are various forms of musical improvisation whose systemization is based on different principles, including: performer composition (collective or solo improvisation), process technology (full or partial improvisation), thematic orientation (improvisation theme in a broad and narrow context), etc. It was emphasized that classification of musical improvisation by types is manifested the most vividly when exemplified by jazz, which sums up the development of its principles and forms that shaped up in the previous eras in various regions of the world and have synthetized in the jazz language, which today reflects the interaction between such fundamental origins of musical thought as improvisation and composition. It was stated that the basic principles for classification of the types of musical improvisation include: 1) means of improvisation (voices; keyboard, string, wind and percussion instruments); 2) performer composition (solo or collective improvisation); 3) textural coordinates (vertical, horizontal, and melodic or harmonic improvisation, respectively); 4) performance technique (melodic ornaments, coloring, diminutiving, joining voices in the form of descant, organum, counterpoint); 5) scale of improvisation (absolute, relative; total, partial); 6) forms of improvisation: free, related; ornamental improvisation, variation, ostinato, improvisation on cantus firmus or another preset material (Ernst Ferand). It was stressed that as of today, the Ferand classification proposed back in 1938 needs to be supplemented by a number of new points, including: 1) improvisation of a mixed morphological type (music combined with dance and verbal text in two versions: a) invariable text and dance rhythm, b) a text and dance moves that are also improvised); 2) “pure” musical improvisation: vocal, instrumental, mixed (S. Maltsev). The collective form was the genetically initial form of improvisation, which included all components of syncretic action and functioned within the framework of cult ritual. Only later did the musical component per se grow separated (autonomous), becoming self-sufficient but retaining the key principle of dialogue that helps reproduce the “question-answer” system in any types of improvisation – a system that serves as the basis for creation of forms in the process of improvisation. Two more types of improvisation occur on this basis, differing from each other by communication type (Y. Lotman): 1) improvisation “for oneself” (internal type, characterized by reclusiveness and certain limitedness of information); 2) improvisation “for others” (external type, characterized by informational openness and variegation). It was emphasized that solo improvisation represents a special variety of musical improvisation, which beginning from the Late Renaissance era becomes dominating in the academic layer, distinguishable in the initial phase of its development for an improvising writing dualism (M. Saponov). The classification criterion of “composition” attains a new meaning in the system of professional music playing, to which improvisation also belongs. Its interpretation becomes dual and applies to the performance and textural components of improvisation, respectively. With regard to the former, two types occur in the collective form of improvisation: 1) improvisation by all participants (simultaneous or consecutive); 2)improvisation by a soloist against the background of invariable fixed accompaniment in other layers of music performance. The following types of improvisation occur in connection with the other – textural – interpretation of the term “composition”, which means inner logical principle of organization of musical fabric (T. Bershadska): 1) monodic, or monophonic (all cases of solo improvisation by voice or on melodic wind instruments); 2) heterophonic (collective improvisation based on interval duplications and variations of the main melody); 3) polyphonic (different-picture melodies in party voices of collective improvisation); 4) homophonic-harmonic (a combination of melodic and harmonic improvisations, typical for the playing on many-voiced harmonic instruments). It was emphasized that in the theory of musical improvisation, there is a special view at texture: on the one hand, it (like in a composition) “configures” (E. Nazaikinskyi) the musical fabric, and on the other hand, it is not a final representation thereof, i.e., it does not reach the value of Latin facio (“what has been done”). A work of improvisation is not an amorphous musical fabric; on the contrary, it contains its own textural organization, which, unlike a written composition, is distinguishable for the mobility and variability of possible textural solutions. The article’s concluding remarks state that classification of the types of musical improvisation in the aspect of its content and form must accommodate the following criteria: 1) performance type (voices, instruments, performance method, composition of participants, performance location); 2) texture type (real acoustic organization of musical space in terms of vertical, horizontal and depth parameters); 3) thematic (in the broad and narrow meanings of this notion: from improvisation on “idea theme” or “image theme” to variation improvisations on “text theme”, which could be represented by various acoustic structures: modes, ostinato figures of various types, melody themes like jazz evergreens, harmonic sequences, etc.).
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Hermans, Carolien. "Becoming animal: Children's physical play and dance improvisation as transformative activities that generate novel meanings." Journal of Dance & Somatic Practices 11, no. 2 (December 1, 2019): 157–75. http://dx.doi.org/10.1386/jdsp_00003_1.
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Abstract This article addresses the transformative potential of children's physical play and dance improvisation. Using the enactive approach as a theoretical framework, it is argued that play and dance improvisation trigger novel sense-making capabilities by a deep engagement with the environment. Both activities give rise to transformative forces, ways of becoming that create openings and passages through which one re-engages and re-connects with the environment. This article combines theoretical reflection with artistic practice. By intermingling the thinking with the doing, I hope to gain embodied insights in underlying mechanisms of both play and dance improvisation. First, I discuss the concept of transformation. Then I explore how the enactive approach can be helpful in understanding the emergence of new values and meanings in both play and dance improvisation through dynamic coupling. From here I move to my artistic practice. I present an auto-ethnographic research that consists of two events. The first event is a spontaneous play event of my 12-year-old daughter that serves as an entrance point to examine animal becomings as transformative forces. The second event is an improvised dance solo, in which I re-enact the animal becomings of my daughter. The aim is to grasp, in a corporeal sense, the transformative forces that are at work here.
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McLeod, Shaun. "Dance improvisation through Authentic Movement: A practice of discernment." Journal of Dance & Somatic Practices 12, no. 2 (December 1, 2020): 191–205. http://dx.doi.org/10.1386/jdsp_00023_1.
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Dance improvisation in performance is often spirited and unpredictable. But the form can also be hampered by its conditions of uncertainty so that a state of open, spontaneous creativity can actually become difficult to achieve in performance situations. In particular, the perceived ‘judgment’ of an audience can alternately enhance or inhibit the performer’s creative engagement with open improvisation. This article describes a studio process utilizing Authentic Movement which was directed towards a performance in which the dancers attempted to diminish the negative impact that external factors, or internalized perceptions of external factors, can have on improvisation. However, the article is specifically focused on the experiences of a single dancer (the author) in the studio practice which underpinned the performance. At the heart of this practice were personal explorations of how best to discern a positive personal interest while improvising. This discernment is framed as a means to define an ‘inner witness’ (drawing from Authentic Movement theory): an internal perceptual anchor at the centre of the practice which helps fosters an open, imaginative engagement with improvisation. The article also seeks to clarify a subjective situation in objective, theoretical terms and so to shed light on a phenomenon also experienced by many other performers of improvisation. Drawing on the work of Teresa Brennan and Mihali Csikszentmihalyi, the article examines how the affective impact of judgment can interrupt the spontaneous flow of embodied imagination in improvisation.
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Impett, Jonathan. "Let's Dance Architecture: Improvisation, Technology and Form." Leonardo Music Journal 20 (December 2010): 85–88. http://dx.doi.org/10.1162/lmj_a_00017.
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The author considers the technology-enabled improvisation of musical form—the projection of the dynamics of structure on the unfolding of improvised performance. Improvisation with technology has been largely concerned with its potential for more complex activity in the present. He proposes reclaiming the radical potential of technological improvisation by subverting the “permanent present.” Technology importantly affords a dynamical temporal prosthesis. Following a re-examination of times and forms in music and performance, the imagining and projection of future events is predicated on the same architecture as memory. Finally, brief consideration is given to the technological challenges of such an approach.
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Fuadah, Eka Rosydatul, and Nur Rokhim. "Kreativitas Eka Rosy dalam Penciptaan Karya Tari Jejak." Acintya Jurnal Penelitian Seni Budaya 15, no. 2 (December 1, 2023): 137–50. http://dx.doi.org/10.33153/acy.v15i2.5618.
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The Jejak dance work is a new choreography that has a background from the spirit of the Jathil Ponorogo dance. The value contained in the Jejak dance work is the value of the spirit of never giving up. The Jejak dance work is presented in the form of a group dance danced by six female dancers. This dance work isdivided into four parts, namely the intro, the first scene shows anxiety about goals and what you want to achieve, the second scene is conflict within the personal sphere, the third scene is self-confidence, which shows an atmosphere of enthusiasm or fighting spirit values. This study used a qualitative research method with a choreographic approach, to dissect the form of the choreography of the Jejak danceusing Y. Sumandiyo Hadi's theory. Meanwhile, to describe the creative process of creating Jejak dance works, it uses the theory of Rhodes, 4P (person, press, process, product). The stages in the process of creating a Jejak dance work go through several stages, namely the stage of determining ideas which are refined through several phases including the phase of selecting themes, maturation ofconcepts, observation, then the process of exploration, improvisation, and composition.This is very fundamental to creating a work that can be accounted for scientificallyacademically. The results of this research show: Eka Rosy's creativity in creating Jejak dance works is influenced by several factors (internal and external), Eka Rosy's creativity is reflected in Eka Rosy's ability to actualize ideas that are compiled through a process of exploration, improvisation, and composition then implemented in the form of works Jejak dance.Keywords: Jejak, dance work, creation process, choreography.
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Alfirević, Dragana, and Andrew Morrish. "The weird dinner guest who came and then just stayed." Maska 30, no. 172 (July 1, 2015): 6–27. http://dx.doi.org/10.1386/maska.30.172-174.6_7.
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I talked with dance pedagogue Andrew Morrish about his beginnings as a teacher and his understanding of education, his motivation to do solo improvisation as a performative practice, and about what his work brings to his colleagues and to this world. He told me about some of the different layers of his work during improvisation that became his methodology, about what it means to be a dancer (and it’s not about how high your legs can go), and what it means to be an artist. He spoke about differences between therapy and solo improvisation, between professional and non-professional artists, and about the transparency one should work with on stage. He also told me that his work is his political response to the current situation in society.
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Kaeppler, Adrienne L. "Spontaneous Choreography: Improvisation in Polynesian Dance." Yearbook for Traditional Music 19 (1987): 13. http://dx.doi.org/10.2307/767874.
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Biasutti, Michele. "Improvisation in dance education: teacher views." Research in Dance Education 14, no. 2 (July 2013): 120–40. http://dx.doi.org/10.1080/14647893.2012.761193.
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Collard-Stokes, Gemma. "Expressing suchness: On the integration of writing into a dance practice." Journal of Dance & Somatic Practices 11, no. 1 (July 1, 2019): 115–28. http://dx.doi.org/10.1386/jdsp.11.1.115_1.
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This article details the unique pairing of dance and writing, the likes of which are often considered two very different beasts. It examines how approaches to movement improvisation have been used to form and inform innovative methods of entering into the act of writing from the experience of dance. The argument authenticates the current renewed appreciation for the possibilities of writing to enable further creative critical engagement. Consequently, the meeting of creativity and criticality is one in which the dancer playfully explores and examines the suchness of one’s dancing. Suchness is therefore understood as the unique sum of qualities experienced by the dancer – the point at which clarity and closeness facilitate connection through the images, feelings and sensations evoked by dance. In summary, the article outlines the relationship between dance and writing, before exploring the methods used to facilitate a dancer’s assimilation and validation of what happens for them when they dance.
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Lundmark, Katarina. "Improvisation som ett didaktiskt och konstnärligt verktyg i jazzdans." Nordic Journal of Dance 2, no. 1 (December 1, 2011): 20–25. http://dx.doi.org/10.2478/njd-2011-0004.
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Abstract In my work as a Senior Lecturer in jazz dance and a dance teacher I have been able to explore the possibilities and difficulties I see in the teaching of jazz dance. This article focuses on a currently ongoing pedagogical and artistic project I am involved in. The goal of the project is to create teaching methods that are contemporary, flexible and individually adjustable, and have a clear starting point in the characteristics of the genre. My wish has been to articulate and clarify the artistic potentials of jazz dance. This article describes my work with improvisation in jazz dance: the purpose and the process with course of actions and use of the dance form.
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Njaradi, Dunja. "Rethinking participation through dance: A historical-theoretical intersection." Bulletin de l'Institut etnographique 70, no. 2 (2022): 199–215. http://dx.doi.org/10.2298/gei2202199n.
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The paper deals with the idea of participation or community in dance. The idea of community has become key in contemporary discussions about the globalization of contemporary societies, and dance has a large share in the reflections of these global processes. Dance also has a very long tradition of community thinking. From this long and rich tradition, this paper will point out the ways in which the idea of community is reflected in social and artistic dances, pointing out both concrete dance forms and theoretical concepts, ideas and practices. Of the dance forms, the paper will discuss the tango pair dance, the flash mob dance-gathering form as well as the contact improvisation developed within postmodern dance. Of the theoretical and philosophical settings that underpin discussions of community in dance studies, the paper will discuss the concept of kinesthesia or ?kinesthetic empathy?, ?mirror neurons? in neuroscience as well as philosophical reflections on affect.
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Masing, Elo. "Movement in Sound/Sound in Movement: A Musician's Point of View." Congress on Research in Dance Conference Proceedings 2012 (2012): 97–102. http://dx.doi.org/10.1017/cor.2012.13.
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The paper provides an account of an innovative collaborative work between composer/violinist Elo Masing, choreographer/dancer Jean Lee, and the Kreutzer String Quartet. The project challenges the conventions of music and dance collaboration by proposing a fundamentally new way of working across disciplines, establishing a profound interrelation between movement and sound production.The work so far has mostly involved developing a new notation system for string instruments and dancer suitable for recording the sounds and movements the work in progress will primarily be based on. The paper will, at this stage, demonstrate only a fraction of the various possibilities of this new way of musician–dancer collaboration that is estimated to span over the next couple of years. The idea for the piece dates back to June 2010, when a structured improvisation was created in collaboration between Elo Masing and Jean Lee, commissioned for a conference at Roehampton University.The innovative aspect of the project is manifested in the development of choreography and music together from the very beginning, using new sound and movement languages discovered in interdisciplinary improvisation sessions. In the center of the collaboration lies the definition of the roles of the musician and the dancer as equal, with equally complex compositional material and interchanging ideas. That means composing music and dance simultaneously and letting them influence each other.The new notation system for string instruments focuses on the movements of string players, thus creating a possibility for relating music to dance in a more tangible and visual rather than conceptual and abstract way.
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Hagendoorn, Ivar. "Cognitive Dance Improvisation: How Study of the Motor System Can Inspire Dance (and Vice Versa)." Leonardo 36, no. 3 (June 2003): 221–28. http://dx.doi.org/10.1162/002409403321921442.
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This paper describes several dance improvisation techniques inspired by the study of the motor system. One technique takes experiments on interlimb coordination from the laboratory to the dance studio. Another technique, termed fixed-point technique, makes use of the fact that one can change which part of the body is fixed in space. A third technique is based on the idea that one can maintain the action, as it were, by “reversing the acting limb.” All techniques target a specific capacity of the motor system and as such may inspire new psychophysical experiments. The present approach to generating movements, which merges dance improvisation with insights from cognitive neuroscience and biokinesiology, may also be fruitfully extended to robotics.
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Martozet and Nurwani. "The Transformation of Karo Traditional Dance Movement in Modern Choreography Form Gegeh Gundala-Gundala." Britain International of Linguistics Arts and Education (BIoLAE) Journal 2, no. 3 (October 28, 2020): 765–75. http://dx.doi.org/10.33258/biolae.v2i3.330.
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This study aims to form a choreography rooted in the motive movement of the Karo traditional dance in the form of the modern choreography Gegeh Gundala-Gundala. The three basic motives of the Karo traditional dance, namely Ertimbang, Bunga tan kawes kemuhen kudas kuteruh, and Rakut Meteguh are used as the basis for the development of motion with the method of developing the elements of motion, using the constructive dance creation method popularized by Jacqueline Smith such as the process of exploration, improvisation, composition, and evaluation. This creation process has formed a modern choreography rooted in new traditional values such as the theory conveyed by Soedarsono that modern dance is freedom in expressing movement techniques on stage, such as the Gegeh Gundala-Gundala choreography. The method in this research is. While the method of this research uses qualitative methods, describing a narrative study of dance creation including literature study, observation, studio work, and documentation. From the process of creating the Gegeh Gundala-Gundala choreography, a new and unique form was obtained, the result of the creative process of exploration, improvisation, composition, and evaluation and supported by the process of developing motion by utilizing elements of motion such as energy, space and time. From these processes a modern choreography was formed, rooted in the traditional Karo dance entitled Gegeh Gundala-Gundala. Obtained a new and unique form, the result of the creative process of exploration, improvisation, composition, and evaluation and supported by the process of developing motion by utilizing elements of motion such as energy, space and time. From these processes a modern choreography was formed, rooted in the traditional Karo dance entitled Gegeh Gundala-Gundala. Obtained a new and unique form, the result of the creative process of exploration, improvisation, composition, and evaluation and supported by the process of developing motion by utilizing elements of motion such as energy, space and time. From these processes a modern choreography was formed, rooted in the traditional Karo dance entitled Gegeh Gundala-Gundala.
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Millard, Olivia. "Dance as a social practice." idea journal 17, no. 02 (December 1, 2020): 335–49. http://dx.doi.org/10.37113/ij.v17i02.395.
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This article explores an ongoing group dance improvisation practice which, while primarily an artistic practice, could also be considered a social practice which is brought about by the physical, embodied and intersubjective environment in which it exists. Among others, the ideas of Tim Ingold, Hannah Arendt and Hanne De Jaeghar are used to explore the implications of what happens when individuals share a dancing practice. The article will also describe how the ongoing dance practice has been drawn upon to develop dance workshops for children with disability. The workshops were developed to include a variety of dance activities such as learning movement material, dance improvisation and supported group movement generation (choreography). Through the principle of intersubjectivity, described by cognitive science philosopher, Hanne De Jaegher, as ‘perspectives that are influenced by and co-created by more than one subject,’ dance will be discussed as a social practice as well as a situation in which one participates physically and creatively.
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Millard, Olivia. "Dance as a social practice." idea journal 17, no. 02 (December 1, 2020): 335–49. http://dx.doi.org/10.51444/ij.v17i02.395.
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This article explores an ongoing group dance improvisation practice which, while primarily an artistic practice, could also be considered a social practice which is brought about by the physical, embodied and intersubjective environment in which it exists. Among others, the ideas of Tim Ingold, Hannah Arendt and Hanne De Jaeghar are used to explore the implications of what happens when individuals share a dancing practice. The article will also describe how the ongoing dance practice has been drawn upon to develop dance workshops for children with disability. The workshops were developed to include a variety of dance activities such as learning movement material, dance improvisation and supported group movement generation (choreography). Through the principle of intersubjectivity, described by cognitive science philosopher, Hanne De Jaegher, as ‘perspectives that are influenced by and co-created by more than one subject,’ dance will be discussed as a social practice as well as a situation in which one participates physically and creatively.
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Ravn, Susanne. "Investigating Dance Improvisation: From Spontaneity to Agency." Dance Research Journal 52, no. 2 (August 2020): 75–87. http://dx.doi.org/10.1017/s0149767720000182.
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This article argues that the performance of a dance entails varying degrees of openness and spontaneity and that, on these terms, any dance can be considered improvised. The first part substantiates this claim, whereupon the second part deals with the contingent question as to how dancers then handle openness and spontaneity differently in improvisation practices. To answer this question, the article turns to enactive and phenomenological clarifications of agency—our capacity to perform acts—and by analyzing the improvisation of Danish performer Kitt Johnson, indicates how this clarification can help us understand the different ways agency is exercised when improvising.
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Aditia Candra Buana, Ika, Hartono Hartono, and Triyanto Triyanto. "Sada Sabai Dance in Komering Culture of East OKU Regency." Catharsis 9, no. 1 (May 31, 2020): 19–27. http://dx.doi.org/10.15294/catharsis.v9i1.38475.
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Sada Sabai dance as one of South Sumatra's traditional art works, especially in East Ogan Komering Ulu Regency is very closely related to Komering culture. Sada Sabai dance is one of the characteristics of the Komering culture that dwells in the South Sumatra region, created based on the spirit of the Komering community when holding a traditional wedding ceremony. Sada Sabai dance is one form of art that is used by many Komering people who are presented during the traditional wedding ceremony. The problem raised in this study aims to analyze the characteristics of the Sada Sabai dance that developed in the Komering culture. The method used is a qualitative method with a case study research design. Data collection techniques include observation, interview and document study. The results showed that Sada Sabai dance was a symbol of the harmony between the bride and groom family, so that in the past Sada Sabai dance was only danced by married families. This phenomenon was clearly seen when the groom's family and the bride danced on the stage how the two of them looked very close to each other. Then, the movement in Sada Sabai dance emphasized improvisation and exploration as its main approach and the main characteristic lied in the middle fingers of the dancers.
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Olsen, Andrea, Ann Cooper Albright, and David Gere. "Taken by Surprise: A Dance Improvisation Reader." Dance Research Journal 37, no. 1 (July 1, 2005): 125. http://dx.doi.org/10.2307/20444624.
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Tseng, Chiahuei, Miao Cheng, Hassan Matout, Kazuyuki Fujita, Yoshifumi Kitamura, Satoshi Shioiri, and Asaf Bachrach. "MA and Togetherness in Joint Dance Improvisation." Proceedings of the Annual Convention of the Japanese Psychological Association 85 (2021): PI—092—PI—092. http://dx.doi.org/10.4992/pacjpa.85.0_pi-092.
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Schupp, Karen. "Informed Decisions: Dance Improvisation and Responsible Citizenship." Journal of Dance Education 11, no. 1 (March 14, 2011): 22–29. http://dx.doi.org/10.1080/15290824.2011.540511.
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Leach, James, and Catherine J. Stevens. "Relational creativity and improvisation in contemporary dance." Interdisciplinary Science Reviews 45, no. 1 (January 2, 2020): 95–116. http://dx.doi.org/10.1080/03080188.2020.1712541.
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Varnacova, Eleonora. "The transformation and interpretation of Carmen’s image in contemporary sports choreography." Studiul artelor şi culturologie: istorie, teorie, practică, no. 1(44) (February 2024): 54–58. http://dx.doi.org/10.55383/amtap.2023.1.10.
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The novel Carmen by Prosper Mérimée and later the opera by Georges Bizet from the 19th century to this day serve as the basis for many works of various types and genres of art, including choreography. In the modern conditions of development, the sports dance, as a part of art and sport, is associated with current trends in the evolution of choreographic art. The sports dance is acquiring an increasingly bright aesthetic orientation, expanding the artistic possibilities of the choreographic language. Based on classical canons, using improvisation, the development of the personal style and manner of the dancer, the sports dance can open up new opportunities for the choreographic development, including in terms of involving classical plot themes. The relevance is also determined by the insufficient level of research into the problem of the development of the sports dance in the context of the modern development of choreographic art, the need to improve the training system, both for choreographers and sports dance performers.
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Zervou, Natalie. "Emerging Frameworks for Engaging Precarity and “Otherness” in Greek Contemporary Dance Performances." Dance Research Journal 51, no. 01 (April 2019): 20–31. http://dx.doi.org/10.1017/s0149767719000020.
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At the dawn of the European refugee crisis, and in the middle of the ongoing sociopolitical and financial crisis in Greece, Greek choreographers started creating dance works that engaged immigrants and refugees. In most such initiatives, improvisation became the tool for bridging the disparity between the professional dancers and the “untrained” participants, who were often the vulnerable populations of refugees and asylum seekers. In this essay, I question the ethics and aesthetics of these methodological approaches utilized for staging encounters between natives and migrants through dance. In particular, I consider the significance of improvisation as potentially perpetuating hierarchical inequalities in the framework of Western concert dance, while I also highlight the ways that such artistic endeavors end up presenting immigrants and refugees as “Others.”