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Journal articles on the topic 'Postmoderne dance'

Author: Grafiati

Published: 31 August 2024

Last updated: 31 July 2025

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1

Osumare, Halifu. "Choreographing Social Change: Reflections on Dancing in Blackness." Dance Research Journal 53, no. 2 (2021): 130–42. http://dx.doi.org/10.1017/s0149767721000218.

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AbstractThis autoethnography explores a dance scholar's previous choreographic trajectory, positioning the author's career within the sixties and seventies Black Arts Movement for social change. I explore several iterations of my dance lecture-demonstration in particular, which was produced over two decades and three continents, demonstrating how temporal and spatial shifts affect the content and context of a choreographic work. Additionally, I explore my shift into arts producing through my national dance initiative that helped define the work of eighties Black choreographers in the postmoder

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2

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 ta

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von Rosen, Astrid. "Bildaktivism i dansarkivet: Betydelsen av Anna Wikströms Akademi för dans." Nordic Journal of Dance 11, no. 1 (2020): 4–15. http://dx.doi.org/10.2478/njd-2020-0002.

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AbstractThe article combines Critical Archival Studies theory about agency and activism with an empirical exploration of dance history in Gothenburg, Sweden’s second city. It focuses on Anna Wikström’s Academy for Dance (1930-1965), an education which has not been explored in previous research. A previous member of The Swedish Ballet, Wikström offered her students courses in artistic dance, dance as physical exercise, pedagogy, and social dancing. Thereby, her broad education differed from the narrow, elitist Ballet School at The Stora Teatern. The article accounts for how the collaboration be

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4

Sirotkina, Irina. "Desire vs Biopower: Dance Revolution of the Twentieth Century." Sociology of Power 29, no. 2 (2017): 97–115. http://dx.doi.org/10.22394/2074-0492-2017-2-97-115.

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The article deals with the dance revolution of the twentieth century - the emergence of "new dance” in which desire is produced, and not simply represented. Contemporary dance places the emphasis on spontaneity, the autonomous functioning of the body, and improvisation. There are at least two basic conceptions of desire in philosophy: the first is mimetic desire of the other (longing for a recognition from the other) and bodily desire (which corresponds to libido in psychoanalysis). The first conception had been proposed by Hegel and developed by A. Kojève and René Girard, the second - by Niet

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Sirotkina, I.E. "Desire vs Biopower: Dance Revolution of the Twentieth Century." Sociology of Power, no. 2 (June 7, 2017): 97–115. https://doi.org/10.22394/2074-0492-2017-2-97-115.

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The article deals with the dance revolution of the twentieth century - the emergence of "new dance” in which desire is produced, and not simply represented. Contemporary dance places the emphasis on spontaneity, the autonomous functioning of the body, and improvisation. There are at least two basic conceptions of desire in philosophy: the first is mimetic desire of the other (longing for a recognition from the other) and bodily desire (which corresponds to libido in psychoanalysis). The first conception had been proposed by Hegel and developed by A. Kojève and René Girard,

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6

Alderson, Evan. "Dance and Postmodern Communities." Contemporary Theatre Review 6, no. 4 (1997): 63–74. http://dx.doi.org/10.1080/10486809708568436.

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7

Boiko, Olha. "Dance Performances as an Art Phenomenon." Bulletin of KNUKiM. Series in Arts, no. 35 (December 1, 2016): 69–77. https://doi.org/10.31866/2410-1176.35.2016.158246.

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The purpose of the article is to reveal the specificity of on- and off-stage dance performances. The research methodology consisted in the integration of the systematization of approaches to the definition of the concept of «performance», the extrapolation of theoretical concepts of performance into the sphere of choreography, and the art critical analysis of dance performative practices. The scientific novelty of the work lies in revealing the morphological features of on- and off-stage dance performances. Conclusions. The overwhelming majority of contemporary choreographic perfor

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8

Stanich, Veronica Dittman. "Turning the World Upside Down." Dance Research 36, no. 2 (2018): 198–223. http://dx.doi.org/10.3366/drs.2018.0238.

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A particular movement – inverting the body to a tail-over-head orientation and fleetingly taking weight on the hands – has been a staple of postmodern dance training and choreography since the early 1990s, yet it remains unnamed and uncodified. Taking a material culture studies approach, I examine this movement closely, using interviews, observation, historical analysis, and a survey of dance practitioners to situate this not-exactly-a-handstand within the field of American postmodern dance. These multiple perspectives yield new insights into the field, its practitioners, and its relationship

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9

Giersdorf, Jens Richard. "Trio ACanonical." Dance Research Journal 41, no. 2 (2009): 19–24. http://dx.doi.org/10.1017/s0149767700000620.

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Despite Yvonne Rainer's subversive refusal to stageTrio Aas a spectacle, to have it represent or narrate social structures, or to engage with the audience in a traditional manner, the landmarks of canonization have all been put upon it. The Banes-produced 1978 film of Rainer dancingTrio Awas recently exhibited while the dance was performed live simultaneously by Pat Catterson, Jimmy Robert, and Ian White at the Museum of Modern Art,theinstitution that determines what constitutes important modernist and contemporary art in the United States and, indeed, the Western world. In conjunction with Ra

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10

UCHIYAMA, Sumiko. "Semantics of dance for postmodern." Journal of the Philosophy of Sport and Physical Education 21, no. 2 (1999): 1–9. http://dx.doi.org/10.9772/jpspe1979.21.2_1.

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11

Rosenthal, Sarah. "Postmodern Dance: A Feminist Lineage." American Book Review 40, no. 4 (2019): 4–5. http://dx.doi.org/10.1353/abr.2019.0049.

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12

Banes, Sally, and Noël Carroll. "Cunningham, Balanchine, and Postmodern Dance." Dance Chronicle 29, no. 1 (2006): 49–68. http://dx.doi.org/10.1080/01472520500538057.

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13

Abbiazova, Bohdana. "Choreographic Aleatory in the Works of the Innovators M. Cunningham and J. Cage." Bulletin of KNUKiM. Series in Arts, no. 36 (June 10, 2017): 58–65. https://doi.org/10.31866/2410-1176.36.2017.157678.

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Today there is no holistic idea of contemporary art, including contemporary choreographic art, which is why it is impossible to investigate modern processes in this field. The purpose of the article is to study the latest phenomenon in modern choreography, J.Cage’s  method – aleatory, whose understanding is a necessary component for the improvement of modern artistic processes; to define choreographic aleatory as one of the peculiar methods of modern choreography; to explore the use of J. Cage’s choreographic aleatory in M. Cunningham’s productions. The methodology

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14

Kasyanova, Olena. "Architectonics of the "Dance of The Seven Veils "From Richard Strauss's Opera "Salome" Through the Prism of Historical Reconstruction." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 160–80. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251819.

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The phenomenon of the popularity of R. Strauss's opera "Salome" is explained through the prism of a new paradigm of performing arts, which is due to the rethinking of works of the modern era in the context of postmodern aesthetics. A comprehensive intersectional integrated analysis of musicological, iconographic, culturological, theological, social, psychological and physiological components of the work has been carried out. The methodology of key aspects of the research is determined: features of musical drama — genre-stylistic; content of ancient entertainments —historical and stylistic reco

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15

Volbea, Beatrice. "Contemporary Dance Between Modern and Postmodern." Theatrical Colloquia 8, no. 1 (2018): 307–15. http://dx.doi.org/10.2478/tco-2018-0011.

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Abstract As human beings and artists, what we produce, as well as our own selves, are visibly influenced by a complex ensemble of processes that take place around us and, in time, we can actually be regarded as their result. This evolutionary principle also applies to the role that body expression has in the wide specter of arts, including in dramatic dance and dramatic theatre. All along the XXth century and up until the first decade of the XXIst century, new performative genres have developed, for example, under the influence of political, social and cultural theories and philosophies. The r

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16

Callens, Johan. "The Double Recursiveness of Postmodern Dance." PAJ: A Journal of Performance and Art 30, no. 3 (2008): 70–80. http://dx.doi.org/10.1162/pajj.2008.30.3.70.

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МОВА, Людмила. "Contemporary dance as a component of students’ physical education." EUROPEAN HUMANITIES STUDIES: State and Society 3, no. I (2019): 16–29. http://dx.doi.org/10.38014/ehs-ss.2019.3-i.02.

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Today in the modern world the basic human need for the development of one's own body and keeping it healthy and fit is a topical issue. Health is one of the most important prerequisites for harmonious, full-fledged life and personal self-realization. And it is precisely physical education that is aimed at the formation of a healthy, physically complete personality and the functional improvement of the organism. Dance is an integral part of a human plastic culture. The danceplastic culture education begins with the knowledge and development of the musculoskeletal system of a dancer. First and f

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18

Kuryumova, Natalia. "Provincial dances theatre: From a local project to a flagship of contemporary choreography in 35 years." Managing of Culture 4, no. 1 (2025): 37–47. https://doi.org/10.70202/2949-074x-2025-4-1-37-47.

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The article is devoted to the consideration of the phenomenon of the domestic dance theater, which appeared in Russia in the early 1990s, and one of the iconic representatives of which is the Yekaterinburg troupe "Provincial Dances". The goal is an attempt to periodize the 35-year creativity of the troupe and the inextricably linked creativity of the choreographer Tatyana Baganova. The periodization is based on mixed criteria. On the one hand, the connection of each chronological period with certain organizational changes, on the other - their connection with certain artistic and stylistic shi

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19

Caux, Jacqueline. "Anna Halprin, pionnière de la postmodern dance." Repères, cahier de danse 45, no. 2 (2020): 5. http://dx.doi.org/10.3917/reper.045.0005.

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20

Young, Phillips Edward. "Dance and the Problem of Postmodern Politics." International Studies in Philosophy 30, no. 1 (1998): 131–43. http://dx.doi.org/10.5840/intstudphil1998301114.

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21

Van Dyke, Jan. "Vanishing: Dance Audiences in the Postmodern Age." Dance Chronicle 33, no. 2 (2010): 208–30. http://dx.doi.org/10.1080/01472526.2010.485902.

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22

Boiko, Olha. "Ukrainian Folk Dance Stage Adaptation in the Context of Postmodern Culture." Bulletin of KNUKiM. Series in Arts, no. 43 (December 22, 2020): 154–59. https://doi.org/10.31866/2410-1176.43.2020.220243.

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The purpose of the article is to identify the specifics of the implementation of the primary technique and artistic-figurative features of postmodern aesthetics in the Ukrainian folk dance stage adaptation of the 21st century. Research methodology. The author applied a cultural research method, which helped to develop an appropriate view towards the folk stage choreography of the 21st century and the specifics of the implementation of the concept of postmodernism in the stage space; the method of art history analysis, which made it possible to study the direction of stylisation of folk dance s

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23

Ross, Janice. "Anna Halprin's Urban Rituals." TDR/The Drama Review 48, no. 2 (2004): 49–67. http://dx.doi.org/10.1162/105420404323063391.

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How do Halprin's urban rituals contribute to today's dance aesthetics? Halprin forged her genre of urban ritual in the early 1960s by incorporating real-life tasks and relationships into her performances. Understanding Halprin's educational and philosophical history is essential to the writing of any postmodern dance history that takes into account ritual as a performance methodology and strategy.

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24

BAĞIROVA, G. M. "ROMAN QARİNİN “ÇİNGİZ XAİMANIN RƏQSİ” ROMANINDA POSTMODERNİST ELEMENTLƏR." Actual Problems of study of humanities 2, no. 2024 (2024): 115–19. http://dx.doi.org/10.62021/0026-0028.2024.2.115.

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Postmodernist Elements in Romain Gary’s Novel “The Dance of Genghis Cohn” Summary An outstanding representative of French literature of the 20th century, Romain Gary’s literary career is distinguished by its variety and color. The writer periodically presents the problems of the time he lived in and the Jewish identity to which he belongs. Also in his works “The dance of Genghis Cohn” highlighted the German-Jewish problem in a unique way. Using various principles of the postmodern novel, Romain Gary has created an interesting novel. From this point of view, the article first gives brief inform

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25

Archias, S. Elise, and Juliet Bellow. "“Dance and Abstraction” Special Issue Introduction." Arts 9, no. 4 (2020): 120. http://dx.doi.org/10.3390/arts9040120.

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In his 2013 book Hating Empire Properly, historian Sunil Agnani helpfully reminds his audience that an emphasis on cultural difference—a perspective that we tend to think of as the postmodern antidote to Enlightenment-era universalizing rhetoric—can in fact be traced back to early modern European thought [...]

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26

Bannerman, Henrietta. "Is Dance a Language? Movement, Meaning and Communication." Dance Research 32, no. 1 (2014): 65–80. http://dx.doi.org/10.3366/drs.2014.0087.

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This essay explores western theatre dance as meaningful, despite its difference from language or discourse. I contend that although like language dance communicates through cultural codes, it does not convey literal messages but then neither is dance dominated by a requirement for factual specificity. I argue, however, that dance is structured like a language and I provide an analysis of the methods according to which language functions on an everyday basis. I review linguistic categories and argue for their counterparts in dance including vocabulary and syntax, the utterance and the speech ac

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27

Järvinen, Hanna. "Democratic Bodies? Reflections on «Postmodern Dance» in the United States and Finland." Nordic Journal of Dance 8, no. 2 (2017): 18–29. http://dx.doi.org/10.2478/njd-2017-0009.

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Abstract By looking at how ’postmodern dance’ signifies in the dominant American and local Finnish contexts, I offer a critical reading of how the notion of ’democracy’ is intertwined with particular dancing bodies and ideas of nation and ethnicity. This requires a historical outline for how ’democracy’ entered the discourse of dance, and specifically, how its meaning has shifted in relation to the canon of the art form. Using the contrast between the hegemonic centre and what is constituted as a (geographic, linguistic, ethnic) periphery reveals how ’democracy’ is used in contemporary dance d

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Kiseyeva, Elena V. "Artistic Time in the Productions of Postmodern Dance." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (2015): 148–54. http://dx.doi.org/10.17674/1997-0854.2015.4.148-154.

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29

Chepalov, Oleksandr. "Dance Party on the Banks of the River Isar (XVIII International Contemporary Dance Festival Dance 2023 in Munich)." Dance Studies 6, no. 2 (2023): 173–90. https://doi.org/10.31866/2616-7646.6.2.2023.295183.

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<strong>The purpose of the article </strong>is to identify repertoire trends and stylistic features of contemporary dance forums on the example of the XVIII International Festival DANCE 2023 in Munich. <strong>Research methodology. </strong>While maintaining the old tools (academic criteria for analysing the overall development of world dance culture), the conceptual and categorical apparatus of art history and cultural studies is updated to support a scientific strategy that corresponds to postmodern and post-postmodern changes in culture in general. <strong>Scientific nov

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Vilella Morató, Eduard. "Dante fuori campo? David Lynch "dantista"." Tenzone, no. 22 (December 7, 2023): 15–40. https://doi.org/10.26034/fr.tenzone.2023.4093.

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Sebbene alcuni critici abbiano indicato possibili presenze dantesche nelle opere di David Lynch, la questione rimane elusiva, se non controintuitiva. I film di Lynch tendono a essere notoriamente enigmatici, con linee narrative complesse, immaginari ambigui e onirici, vicini all'allucinatorio. Inoltre, il loro orizzonte culturale non sembra particolarmente fare riferimento alla letteratura, pernon parlare della letteratura medievale. I modi in cui il cinema di Lynch, remoto esteticamente e concettualmente dal mondo dantesco, interagisca con Dante possono essere riscontrati dapprima partendo da

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31

Stanciu, Alba Simina. "Towards an Aesthetic of „Straniety” in Postmodern and Contemporary Dance." Theatrical Colloquia 11, no. 2 (2021): 50–59. http://dx.doi.org/10.2478/tco-2021-0019.

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Abstract The complicated physiognomy of dance in the XX-th and XXI-th century obviously exeedes the stable marks of „beauty” as an aesthetic category, by extending the limits of imaginary and techniques of artistic productions beyond any restraints. Both form and artistic expressions become suitable for specific interpretations, through the instruments and postmodern categories. The argumentation frequently refer to three moments of avantgardes, swiftly mentioning the reform’s beginings on the european artistic environment as a starting point, and underlying the Black Montain College phenomeno

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32

Tkachenko, Iryna. "Jiří Kylián's Choreographic Work: From the Ballet Stage to the Cinema Dance." Bulletin of KNUKiM. Series in Arts, no. 45 (December 17, 2021): 218–23. https://doi.org/10.31866/2410-1176.45.2021.247398.

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The purpose of the article is to highlight the stages of Jiří Kylián’s work as a ballet master and their influence on the development of postmodern choreographic art. Research methodology. Analysis, synthesis, generalisation, systematisation were applied to determine the current state of the issue, highlight the biographical data and characteristics of Jiří Kylián’s choreographic activity; the use of the biographical method contributed to the study of the choreographer’s creative activity; the historical and genetic analysis, and the method of peri

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Fajar Surya Sukro Manis, Danang Anikan. "Hibridisasi tari klasik dan teknologi: Drama koreografi “Sang Pangeran Mangkubumi” karya Anter Asmorotedjo sebagai representasi evolusi tari postmodern." Imaji 21, no. 1 (2023): 95–102. http://dx.doi.org/10.21831/imaji.v21i1.62982.

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Seni tari memiliki sejarah panjang dan berkembang seiring perkembangan jaman yang menyertainya. Bentuk perkembangan karya tari dalam posmodernisme yang sering dipakai untuk obyek inovasi adalah pemakaian teknologi dalam praktiknya. Revolusi industri 5.0 juga turut mempengaruhi cepatnya laju perkembangan teknologi dan pemanfaatannya dalam proses berkesenian yang selanjutnya disebut sebagai budaya teknologi. Perkembangan jaman menuntut perubahan dalam proses berkesenian, salahsatunya melalui proses hibridisasi. Hibidisasi membawa berbagai perubahan, tak terkecuali sistem tata nilai. Tata nilai d

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34

Coates, Emily. "Yvonne Rainer’s Archive." TDR: The Drama Review 65, no. 4 (2021): 84–102. http://dx.doi.org/10.1017/s1054204321000563.

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A close reading of Yvonne Rainer’s archival papers reveals new insights into the postmodern iconoclast. Revivifying Rainer’s early choreographic practice and verbalembodied explorations, Rainer’s own notes and journals illuminate and challenge reductive interpretations of a writing dance artist’s work over time.

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35

Renshaw, Scott W. "Postmodern Swing Dance and Secondary Adjustment: Identity as Process." Symbolic Interaction 29, no. 1 (2006): 83–94. http://dx.doi.org/10.1525/si.2006.29.1.83.

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36

Foster, Susan. "The Signifying Body: Reaction and Resistance in Postmodern Dance." Theatre Journal 37, no. 1 (1985): 44. http://dx.doi.org/10.2307/3207184.

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37

Encinias, Nevarez. "On self-extraction." Choreographic Practices 12, no. 1 (2021): 11–28. http://dx.doi.org/10.1386/chor_00026_1.

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Written under a pandemic stay-at-home order, this article conceives of flamenco choreography and performance as an artisanal craft, likening several of the tradition’s practices to the act of making a coffee. Drawing upon historical descriptions of the art form, theoretical debates from the postmodern shift in dance-making and personal anecdote, the article scrutinizes the notion of ‘self-expression’ and confronts flamenco’s enduring reputation as a dance of extravagant emotion, passion, spontaneity and authenticity. The article experiments with experiential and poetic modes of address to rumi

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Dodds, Sherril, and Janet Adshead-Lansdale. "Gesture, Pop Culture, and Intertextuality in the Work of Lea Anderson." New Theatre Quarterly 13, no. 50 (1997): 155–60. http://dx.doi.org/10.1017/s0266464x00011015.

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Lea Anderson is one of the leading choreographers to have emerged over the past decade, her most characteristic work having been with the all-female group she co-founded, the Cholmondeleys, and its all-male counterpart, the Featherstonehaughs. This article explores the distinctively intertextual elements in Lea Anderson's work – elements which, the authors suggest, make it at once accessible, distinctive, and distinctively postmodern. Sherril Dodds addressed the relationships between postmodernism and popular culture in Anderson's work, with particular focus on the television image and the dan

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Coelho, Sílvia Pinto. "Cathy Weis talks with Sílvia Pinto Coelho. Sept-Dec 2022, Weis Acres, Broadway SoHo, US." Revista Estud(i)os de Dança 1, no. 2 (2024): 1–14. http://dx.doi.org/10.53072/red202302/00301.

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This interview was carried out in the context of post-doctoral research centred on attention and choreographic thinking.[1] In this research, the work of US postmodern dance choreographers such as Lisa Nelson and Yvonne Rainer are examples of a type of ethics, aesthetics and even politics that is characteristic of the arts in a particular context and that expands to various other fields, both in terms of approach and focus of interest. Following a stay in New York, another choreographer entered the "collection of US dancers with a camera in their hand", and the use of cinema elements on stage.

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40

Brandstetter, Gabriele. "In Tact?" Sprache und Literatur 50, no. 2 (2021): 226–39. http://dx.doi.org/10.30965/25890859-05002005.

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Abstract Berührungen spielen im Tanz eine zentrale Rolle: Durch sie werden Motionen und Emotionen übertragen – und auch unterbrochen, gestört. Taktilität reguliert und de/synchronisiert „bodies in tact“. Im Folgenden soll anhand von Beispielen aus dem Bereich des Postmodern Dance (Trisha Browns Spanish Dance) und des zeitgenössischen Tanzes (Meg Stuart & Philipp Gehmachers Duo Maybe Forever) gefragt werden, wie Choreografien mit inter- und intrakorporalen Synchronisierungen arbeiten. Welche Modi des in oder aus dem Takt Tanzens werden sichtbar? Lassen sich – im zeitgenössischen Tanz – Hinw

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41

Moore, M. "Walk for Me: Postmodern Dance at the House of Harrell." Theater 44, no. 1 (2014): 5–23. http://dx.doi.org/10.1215/01610775-2370746.

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42

Chaleff, Rebecca. "Activating Whiteness: Racializing the Ordinary in US American Postmodern Dance." Dance Research Journal 50, no. 3 (2018): 71–84. http://dx.doi.org/10.1017/s0149767718000372.

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“Activating Whiteness: Racializing the Ordinary in US American Postmodern Dance” explores how the choreographic turn to postmodernism twisted the trope of racial exclusion from a focus on trained bodies to a focus on ordinary bodies. Analyses of Yvonne Rainer'sTrio A(1966) and Trisha Brown'sLocus(1975) demonstrate how ordinary bodies shape racially exclusive spaces and activate the biopolitical mechanisms of normalization that their choreography allegedly contests. This essay argues that the spaces activated by the bodies that shaped them carry the physical trace of the performers’ race throug

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Desmond, Jane. "Dancing Jewish: Jewish identity in American modern and postmodern dance." Studies in Theatre and Performance 36, no. 3 (2016): 285–87. http://dx.doi.org/10.1080/14682761.2016.1192388.

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Galea, Nicole, and Brett Freudenberg. "The Commerce of Dance: A Postmodern Analysis of the Firm’s Role in Shaping Dance in Brisbane." International Journal of Arts Theory and History 8, no. 2 (2014): 1–10. http://dx.doi.org/10.18848/2326-9952/cgp/v08i02/36233.

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Khisamov, Denis Nikolaevich. "Russian Ballet and Postmodern Trends." Философия и культура, no. 10 (October 2022): 66–74. http://dx.doi.org/10.7256/2454-0757.2022.10.38730.

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In this article, Russian ballet is considered from the point of view of the peculiarities of the aesthetics of postmodernism and as one of the brightest manifestations of postmodern culture. The subject of the study is the trends of postmodernism in modern Russian ballet. The novelty of the research lies in the fact that until now, in the scientific research literature, the phenomena of modern ballet have not been subjected to scientific theoretical understanding from the point of view of trends in the aesthetics of postmodernism. It is revealed that a new stage in the development of Russian b

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Rewa, Natalie, and Michael J. Sidnell. "Montreal: Festival de Theatre des Ameriques, May-June, 1995." Canadian Theatre Review 86 (March 1996): 51–55. http://dx.doi.org/10.3138/ctr.86.009.

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The Festival de theatre des Ameriques is remarkable for the range and quality of the performance spaces that it has available and deploys to such good effect. This is partly due to an extraordinary proliferation of performance spaces in Montreal over the last ten years, unequalled in any other city in Canada in this respect; and it is partly due to the enterprise of Marie Helene Falcon, the Festival’s Director, in acquiring the use of a variety of venues and matching them to specific productions. Her programming has always brought the spectators into performance spaces of various kinds, shapes

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Lannen, Maud. "Touching across: Performing new dance ecologies through dialogical choreographies." Journal of Dance & Somatic Practices 14, no. 2 (2022): 165–82. http://dx.doi.org/10.1386/jdsp_00085_1.

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Postmodern dance and somatics have foregrounded the sense of touch via the skin as a subject of inquiry and a catalyst for change, nowhere more so than in Paxton’s Contact Improvisation (CI). Touch continues to be explored choreographically, beyond CI, in contemporary dance to increasingly stage more daring, excessive sensuality and erotics between performers and performers/audience for mainstream theatre. Such tactile strategies and displays, I suggest, raise timely questions about the politics of touch and what touch constitutes. This article is the second instalment of a wider research proj

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Kiseyeva, Elena V. "Concerning Some Principles of Musical Form-Generation in Postmodern Dance Productions." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (September 2015): 47–54. http://dx.doi.org/10.17674/1997-0854.2015.3.047-054.

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Vilhovchenko, T. "SOME HISTORICAL ASPECTS FORMATION OF MODERN CHOREOGRAPHY." Aesthetics and Ethics of Pedagogical Action, no. 23 (August 4, 2021): 137–45. http://dx.doi.org/10.33989/2226-4051.2021.23.238271.

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The article traces the historical stages of the emergence and development of modern choreography, its main directions, the influence of outstanding choreographers on the development of the plastic language of modern dance. It is noted that modern dance and its many and varied styles, types, forms arouse interest and the most controversial reactions from both the viewer and the critic. The concept of "modern choreography" was used and was relevant at every stage of the historical development of dance. In this or that historical period, dance was considered innovative and in line with the spirit

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Filippou, Filippos, Dimitris Goulimaris, Vasilis Serbezis, Maria Genti, and Dimos Davoras. "Collective identity and dance in modern urban Greece." Issues in Ethnology and Anthropology 5, no. 1 (2010): 213–21. http://dx.doi.org/10.21301/eap.v5i1.11.

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The aim of this study is to trace the way some cultural groups demonstrate their identity through dance in the contemporary urban society. The survey follows revelry with folk music, singing and dancing organized by a local cultural troupe on the occasion of a feast day. The collection of the ethnographic data relied on long standing observation and the video recording of the revelries between 2000 and 2005. Further information was gathered with the means of a closed questionnaire and open question interviews. In the process of the material two theories were mainly employed: the performance th

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