Relevant bibliographies by topics / Presentations of art of movement. Choreography

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Academic literature on the topic 'Presentations of art of movement. Choreography'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Presentations of art of movement. Choreography"

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Rahmah, Sitti, Yusnizar Yusnizar, and Tuti Rahayu. "The Study of Moccak Tatak Textual in Pakpak Community." Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 3, no. 4 (2020): 3398–412. http://dx.doi.org/10.33258/birci.v3i4.1373.

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Tatak Moccak is one of the traditional dances in the Pakpak community which originates from pencak silat or martial arts. Moccak is a term of pencak silat or martial arts which is an element of art that is present in the daily activities of the people. Martial at the beginning of its appearance was closely related to human self-defense against nature. Moccak is adopted from the history of the way of life of the Pakpak people in ancient times who lived in the jungle in a nomadic manner, making humans often encounter wild animals in the forest.This research is an effort to preserve the Tatak Moc
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Todi, Cristina. "Ipostases of The Choreographic Dialogue." Review of Artistic Education 17, no. 1 (2019): 171–82. http://dx.doi.org/10.2478/rae-2019-0018.

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Abstract The analysis of the aesthetic face of dance brings to our forefront the fascination for the movement on many artists who experienced the movement and, above all, explored the possibilities of kinetic art or movement movement. In its most elevated form, dance contains not only this element but also the infinite richness of human personality. It is the perfect synthesis of the abstract and the human, of mind and intellect with emotion, discipline with spontaneity, spirituality with erotic attraction to which dance aspires; and in dance as a form of communication, it is the most vivid pr
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Blades, Hetty. "Work(s) and (non)production in contemporary movement practices." Performance Philosophy 2, no. 1 (2016): 35. http://dx.doi.org/10.21476/pp.2016.21105.

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This paper considers how the presentation of movement practices in performance contexts blurs the distinction between making and performance, raising questions about the nature of dance ‘works’. I examine the way that practice is foregrounded in the work of UK dance artists Katye Coe and Charlie Morrissey, and American choreographer Deborah Hay, troubling distinctions between the internal and external aspects of performance. In response to this, I examine the applicability of the work–concept (Goehr 1992), to current dance practices, suggesting that the concept is an open one and refers not so
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Foellmer, Susanne. "Choreography as a Medium of Protest." Dance Research Journal 48, no. 3 (2016): 58–69. http://dx.doi.org/10.1017/s0149767716000395.

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This article focuses on the idea of choreography as a possible medium of protest. Dealing with the media theory of Niklas Luhmann in the framework of social communication, and adopting Randy Martin's idea of an interrelation of (danced) movement and politics, the focus lies in the moments of migration of gestures from everyday life into art and then into the realm of politics. By analyzing the example of the IstanbulDuran Adamand the performance of choreographer Ehud Darash in Tel Aviv, I address the key question in which moments and what kind of formats choreography serves as a medium of prot
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Reva, Yana. "AESTHETIC AND THERAPEUTIC POTENTIAL CHOREOGRAPHY." Aesthetics and Ethics of Pedagogical Action, no. 14 (September 9, 2016): 184–91. http://dx.doi.org/10.33989/2226-4051.2016.14.171614.

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The article is about necessity of psyco-pedagogical attention to the problems of people psycophysical and emotional health saving. In order to get this difficult goal real, art of dance helps person to understand himself and leads to selfperfection. The dance is a merge of physical, psychological and esthetic activities. But the art of dance is also a therapeutic factor and its value is rising with developing of sangennic role of the art in modern life and in harmonization of Human-Universe relations.Functionality of dance art is quite wide. Thoughtful usage of dance impact leads to psychologi
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Vasiliev, O. S., S. P. Levushkin, and E. E. Achkasov. "Morphological patterns of the hip joint structure in students of choreography schools and young athletes involved in sports associated with the art of movement." Voprosy praktičeskoj pediatrii 15, no. 6 (2020): 90–93. http://dx.doi.org/10.20953/1817-7646-2020-6-90-93.

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Students of choreography schools and young athletes involved in sports associated with the art of movement usually have dysplastic hip joints with normal acetabular coverage and femoral Coxa valga, whose normal limits require further discussion. We have identified 5 X-Ray morphological patterns of the hip joint structure typical of such individuals, and analyzed their association with professional qualities. Key words: hip dysplasia, dysplastic constitution, Coxa valga, young athletes, rhythmic gymnastics, choreography, ballet
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Tkachenko, Mariia. "THE ROLE OF THE CHOREOGRAPHIC COMPONENT IN THE SYSTEM OF ARTISTIC DISCIPLINES OF THE EDUCATIONAL PROCESS OF ART SCHOOLS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 205–8. http://dx.doi.org/10.36550/2415-7988-2021-1-195-205-208.

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The system of artistic and aesthetic education with the help of various arts, elevation of rhythm and choreography in a bright pedagogical theory and practice was laid in the early 20's of the XX century. All the accumulated experience in this field contributed to the improvement of the content of choreographic training and led to the process of separating professional art education from amateur and the creation of appropriate educational institutions for children. Choreographic creativity is one of the means of comprehensive development of students studying at the school of arts. Performing c
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Huschka, Sabine. "Media-Bodies: Choreography as Intermedial Thinking Through in the Work of William Forsythe." Dance Research Journal 42, no. 1 (2010): 61–72. http://dx.doi.org/10.1017/s0149767700000838.

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Since Ballet Frankfurt was reconstituted as the Forsythe Company in 2004, William Forsythe has increasingly explored formats of installation art practice. Works such as Human Writes (in collaboration with Kendall Thomas, 2005) and You made me a monster (2005) develop within an interactive and intermedial space and experiment with new ways to experience the production and perception of movement. “Performance installation” is the new term for this intertwined process of movement production and movement perception. The choreographic composition itself grows out of procedures of performative sensi
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Stevens, Alison. "Music in the Body." Journal of Music Theory 65, no. 1 (2021): 81–106. http://dx.doi.org/10.1215/00222909-9124738.

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Abstract Dance in general and the contredanse in particular have long been recognized as important to eighteenth-century European music. But music theorists have tended to understate the contredanse's unique contribution, when they haven't overlooked it entirely: dances are more often treated as musical styles or topics than as movement patterns, and the minuet, with more explicit connections to art music, has received more attention than the contredanse. This article analyzes the choreography as well as the music of eighteenth-century contredanses to show how this dance supported the developm
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Todi, Cristina. "The Analysis of Choreographic Concept in Merce Cunningham’s Creation." Theatrical Colloquia 10, no. 1 (2020): 117–34. http://dx.doi.org/10.2478/tco-2020-0008.

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AbstractThrough this I intend to bring again to the attention of practitioners of stage, musical, choreographic and theatrical arts, Merce Cunningham’s contribution to the development of modern choreography. The constant searches of yesterday, today and tomorrow’s artists is and will be a priority for those who want to bring something new and revolutionize art. Today, we distinguish distinctly the phenomenon of transgression of borders between the stage genres, especially between theater, music and choreography. Choreography migrates towards theater and music and theater and music strongly inf
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Dissertations / Theses on the topic "Presentations of art of movement. Choreography"

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Abrantes, Margarida. "Dança teatral contemporânea-estudo de relações entre o público e a obra." Master's thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Motricidade Humana, 1999. http://dited.bn.pt:80/29060.

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Robalo, Elisabete Alexandra Pinheiro Monteiro. "As qualidades expressivo-formais na técnica de dança-construção, validação e aplicação de um instrumento de avaliação." Phd thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Motricidade Humana, 1995. http://dited.bn.pt:80/29922.

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Tércio, Daniel 1954. "História da dança em Portugal-dos pátios das comédias à fundação do Teatro São Carlos." Phd thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Motricidade Humana, 1996. http://dited.bn.pt:80/29924.

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Coelho, Helena. "Produção artística em dança-a dança teatral no primeiro período romântico português de 1834 a 1856." Phd thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Motricidade Humana, 1998. http://dited.bn.pt:80/29938.

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Oliveira, Ana Maria Macara de. "Estudo da vivência do bailarino em cena-relações com traços de personalidade e qualidade de interpretação artística." Phd thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Motricidade Humana, 1994. http://dited.bn.pt:80/29981.

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Kunz, Maria do Carmo Saraiva. "Dança e género na escola-formas de ser e viver mediadas pela educação estética." Phd thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Motricidade Humana, 2003. http://dited.bn.pt:80/30546.

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Pereira, Maria Isabel Varregoso Rebetim. "Construção, aplicação e demonstração da eficácia de um programa de dança tradicional portuguesa para idosos." Phd thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Motricidade Humana, 2004. http://dited.bn.pt:80/30579.

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Figueira, Ana Maria da Silva e. Sousa Reis. "Papel da improvisação nos processos de criação e interpretação coreográfica-caracterização de casos de três coreógrafos da nova dança portuguesa." Master's thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Motricidade Humana, 1999. http://dited.bn.pt:80/29062.

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Roubaud, Maria Luísa 1958. "Estudo psicológico do simbolismo na dança teatral-análise dos bailados portugueses Verde-Gaio (1940-1950)." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de Estudos Portugueses, 1991. http://dited.bn.pt:80/29917.

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Martins, Maria José Fazenda. "Elementos para uma reflexão antropológica sobre a dança." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de Antropologia, 1991. http://dited.bn.pt:80/29918.

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Books on the topic "Presentations of art of movement. Choreography"

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Uribe, Jorge Holguín. Danzas privadas: Manual de rituales. 3rd ed. [s.n.], 1989.

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Fight choreography: The art of non-verbal dialogue. Thomson Course Technology, 2008.

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

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Dance. MIT Press, 2012.

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Lepecki, André. Dance. MIT Press, 2012.

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Kreng, John. Fight Choreography: The Art of Non-Verbal Dialog. Course Technology PTR, 2007.

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

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

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

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There is no archive or museum of human movement where choreographies can be collected and conserved in pristine form. The central consequence of this is the incapacity of philosophy and aesthetics to think of dance as a positive and empirical art. In the eyes of philosophers, dance refers to a space other than art, considered both more frivolous and more fundamental than the artwork without ever quite attaining the status of a work. This book develops this idea and postulates a désoeuvrement (unworking) as evidenced by a conspicuous absence of references to actual choreographic works within ph
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Dance - 1. edición. MIT Press, 2012.

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Book chapters on the topic "Presentations of art of movement. Choreography"

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Pakes, Anna. "Action-Ballet and Ballet-Pantomime." In Choreography Invisible. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199988211.003.0003.

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Chapter 2 considers developments in dance practice in the eighteenth and early nineteenth centuries, traditionally considered the period in which dance achieves autonomy as an art form. The plausibility of this standard dance historical narrative is critically discussed and questioned. The chapter examines how dance is theorised in relation to the fine arts, and how dance representation develops with ballet d’action and ballet-pantomime. Changing conceptualisations of choreography are explored, along with their implications for practices of notation and identification via narrative or dramaturgical (rather than movement) content. The chapter argues that, if dance becomes an independent art in this period, this is not equivalent to medium specificity or autonomy as later understood. Despite the contribution of eighteenth- and nineteenth-century dance practice and theory to an emerging notion of the dance work, it is not clear that ballets d’action, and their successor ballets-pantomimes, are appropriately subsumed under that concept.
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Armond, Kate. "Baroque Bodies: Agency, Expression and Movement." In Modernism and the Theatre of the Baroque. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474419628.003.0006.

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The focus of this chapter is the human body as it is represented and interpreted in baroque writing and performance. In his 1677 treatise Ethics the philosopher Baruch Spinoza contradicts Cartesian dualism, claiming that matter and spirit are united by one fundamental universal substrate. Between the late 1800s and 1914 the German scientist and philosopher Ernst Haeckel popularised many of Spinoza’s ideas for a modern readership, and Haeckel’s comprehensive exposition of pantheism and monist beliefs underpinned his own aesthetic sense of nature and her forms. My work on the Trauerspiel in earlier chapters suggests a particular preoccupation with the realm of matter, the significance of the human body and soul and a defining relationship between subject and object. Duncan’s theories of dance allow me to further explore these themes and to strengthen my argument by using a completely different combination of modernist art-form and baroque source. My focus will be Spinoza’s definitions of body, spirit, ‘motion-and-rest’, ‘conatus’ and form, and the ways in which the Isadora Duncan assimilated these monist theories in her writing and choreography. Whilst developing arguments from previous chapters, this section reveals a very different kind of gesture and physicality when compared with those of baroque tableau and Schrei performance.
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Liang, Yu, Dalei Wu, Dakila Ledesma, Zibin Guo, Erkan Kaplanoglu, and Anthony Skjellum. "VIGOR: A Versatile, Individualized and Generative ORchestrator to Motivate the Movement of the People with Limited Mobility." In Smart and Pervasive Healthcare [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.96025.

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Physical inactivity is a major national concern, particularly among individuals with chronic conditions and/or disabilities. There is an urgent need to devise practical and innovative fitness methods, designed and grounded in physical, psychological and social considerations that will effectively promote physical fitness participation among individuals of all age groups with chronic health condition(s) and/or disabilities. This research is dedicated to achieving Versatile, Individualized, and Generative ORchestrator (VIGOR) to motivate the movement of the people with limited mobility. Tai-Chi is a traditional mind–body wellness and healing art, and its clinical benefits have been well documented. This work presents a Tai-Chi based VIGOR under development. Through the use of Helping, Pushing and Coaching (HPC) functions by following Tai-Chi kinematics, the VIGOR system is designed to make engagement in physical activity an affordable, individually engaging, and enjoyable experience for individuals who live with mobility due to disease or injury. VIGOR consists of the following major modules: (1) seamless human-machine interaction based on the acquisition, transmission, and reconstruction of 4D data (XYZ plus somatosensory) using affordable I/O instruments such as Kinect, Sensor and Tactile actuator, and active-orthosis/exoskeleton; (2) processing and normalization of kinetic data; (3) Identification and grading of kinetics in real time; (4) adaptive virtual limb generation and its reconstruction on virtual reality (VR) or active-orthosis/exoskeleton; and (5) individualized physical activity choreography (i.e., creative movement design). Aiming at developing a deep-learning-enabled rehab and fitness modality through infusing the domain knowledge (physical therapy, medical anthropology, psychology, electrical engineering, bio-mechanics, and athletic aesthetics) into deep neural network, this work is transformative in that the technology can be applied to the broad research areas of intelligent systems, human-computer interaction, and cyber-physical human systems. The resulting VIGOR has significant potentials as both rehabilitative and fitness modalities and can be adapted to other movement modalities and chronic medical conditions (e.g., yoga and balance exercise; fibromyalgia, multiple sclerosis, Parkinson disease).
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