Academic literature on the topic 'Site-specific dance'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Site-specific dance.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Site-specific dance"
1
Chung, EunJu. "A Study on the Type of Site-Specific Dance Performance : Focusing on the Concept of Site of Post-Modern Dance." Journal of Dance Society for Documentation & History 60 (March 31, 2021): 269–88. http://dx.doi.org/10.26861/sddh.2021.60.269.
Full text
2
Barbour, Karen, and Alexandra Hitchmough. "Experiencing affect through site-specific dance." Emotion, Space and Society 12 (August 2014): 63–72. http://dx.doi.org/10.1016/j.emospa.2013.11.004.
Full text
3
Supendi, Eko, and Satriana Didiek Isnanta. "STUDI PENCIPTAAN KARYA SITE SPECIFIC DANCE “HELAI KERTAS”." Acintya Jurnal Penelitian Seni Budaya 12, no. 1 (July 27, 2020): 33–43. http://dx.doi.org/10.33153/acy.v12i1.3140.
Full textAbstract:
ABSTRACTDance has experienced extraordinary development. Now, dance is no longer in the area of fairies but has entered the modern civilization, the tradition is shifted to the industry and academic. This is because of the role of academic dancers who conduct the research, both creation studies and scientific studies. Dance has become the object of laboratories in the studios of art academics in Indonesia and various parts of the world, so that dance laboratories and studios have emerged in various places in Indonesia. Now dance is not only seen as practicing soul, dance is no longer limited to the beauty of aesthetic invisible , but dance also has explored other art worlds, such as theater and fine arts.Now it is difficult to distinguish between dance and theater performance. The above phenomenon often becomes a trend of artists. Art observers call it a contemporary phenomenon. Contemporary phenomena continue to develop in artists and academic world. Contemporary art is critical towards social problems around it as well as the art itself. Contemporary spirit does not only break the ice of one art discipline but also across art disciplines. Almost all elements of dance are explored and developed, one of which is site specific dance. A genre of contemporary dance that focuses on creating dance works using special places.This study uses an artistic research method. The researchers as well as the creators of site specific dance works is in the lobby of the H.U office Solopos. The research stages are in accordance with the stages of artistic research.Keywords: site specific dance, space, body, time, dance. ABSTRAK Seni tari telah mengalami perkembangan yang luar biasa. Sekarang, tari tidak lagi berada di wilayah peri-peri, tetapi telah masuk ke sentrum peradaban modern, dari kantong-kantong tradisi bergeser ke kantong-kantong industri dan akademik. Hal tersebut tidak lepas dari peran penari akademik yang melakukan riset, baik studi penciptaan maupun kajian ilmiah. Tari telah menjadi objek laboratorium di studio-studio akademisi seni di Indonesia dan berbagai belahan dunia, sehingga bermunculan laboratorium-laboratorium dan studio tari di berbagai tempat di Indonesia.Tari saat ini dipandang tidak saja berolah sukma, tari tidak lagi sebatas keindahan estetika yang kasat mata, tetapi tari sudah menjelajah dunia seni lainnya, seperti teater dan seni rupa.Sekarang sulit membedakan antara penyajian tari dan teater. Fenomena di atas sering menjadi trend para seniman individual. Kalangan pengamat seni menyebut fenomena tersebut sebagai fenomena kontemporer. Fenomena kontemporer terus berkembang dalam kalangan seniman dan lingkungan akademik. Seni kontemporer selain kritis terhadap persoalan sosial yang ada di sekitarnya juga kritis kepada seninya sendiri. Spirit kontemporer tidak hanya mendobrak kebekuan sekat –sekat satu disiplin seni, tetapi juga lintas disiplin seni. Hampir semua elemen tari dieksplorasi dan dikembangkan, salah satunya adalah site specific dance. Sebuah genre seni tari kontemporer yang fokus kepada penciptaan karya tari menggunakan tempat-tempat yang khusus.Penelitian ini menggunakan metode penelitian artistik, dimana peneliti sekaligus pencipta karya site specific dance di lobi kantor H.U. Solopos yang tahapan penelitiannya sesuai dengan tahapan riset artistik. Kata kunci: site specific dance, ruang, ketubuhan, waktu, tari.
4
Hunter, Victoria. "Embodying the Site: the Here and Now in Site-Specific Dance Performance." New Theatre Quarterly 21, no. 4 (October 19, 2005): 367–81. http://dx.doi.org/10.1017/s0266464x05000230.
Full textAbstract:
In this article, Victoria Hunter explores the concept of the ‘here and now’ in the creation of site-specific dance performance, in response to Doreen Massey's questioning of the fixity of the concept of the ‘here and now’ during the recent RESCEN seminar on ‘Making Space’, in which she challenged the concept of a singular fixed ‘present’, suggesting instead that we exist in a constant production of ‘here and nows’ akin to ‘being in the moment’. Here the concept is applied to an analysis of the author's recent performance work created as part of a PhD investigation into the relationship between the site and the creative process in site-specific dance performance. In this context the notion of the ‘here and now’ is discussed in relation to the concept of dance embodiment informed by the site and the genius loci, or ‘spirit of place’. Victoria Hunter is a Lecturer in Dance at the University of Leeds, who is currently researching a PhD in site-specific dance performance.
5
Hunter, Victoria. "Spatial Translation and ‘Present-ness’ in Site-Specific Dance Performance." New Theatre Quarterly 27, no. 1 (February 2011): 28–40. http://dx.doi.org/10.1017/s0266464x11000030.
Full textAbstract:
In this article Victoria Hunter considers notions of spatial translation, ‘present-ness’, and ‘embodied reflexivity’ within site-specific dance performance. Through a discussion of the author's site-specific dance installation entitled Project 3, she explores choreographic processes that aimed to facilitate, transform, and heighten the lived experience of site by the performer and the audience through phenomenologically informed movement inquiry. Forming part of the author's practice-led PhD investigation into the relationship between the site and the creative process, the performance was the third in a trilogy of site-specific works exploring the potential for site-specific dance performance to ‘reveal’ the site through movement, challenging both performers and audience members to engage with new ways of experiencing the site-world. Victoria Hunter is a practitioner-researcher and lecturer in dance at the University of Leeds. Her research is practice-led and is concerned with the nature of dance-making processes within site-specific choreography. She completed her PhD in site-specific dance performance in December 2009.
6
Kloetzel, Melanie. "Site-Specific Dance in a Corporate Landscape." New Theatre Quarterly 26, no. 2 (May 2010): 133–44. http://dx.doi.org/10.1017/s0266464x10000278.
Full textAbstract:
Site-specific performance relies on the terms space and place as markers for discussing a performance's engagement with a site. However, practitioners and researchers are often disgruntled by the limitations such terms impose upon site-specific performance – as was Melanie Kloetzel, in the creation of The Sanitastics, a site-specific dance film created in the Calgary Walkway System. In this article, Kloetzel examines how theorists have struggled with space and place in the last four decades and how bringing in the perspective of the body allows us to reassess our assumptions about these terms. As she analyzes her creative process, she discovers the restrictions as well as possibilities in space and place, but she also notes the need for Marc Augé's idea of non-place to clarify her site-specific efforts in the homogenized, corporate landscape of the Walkway System. Kloetzel is an associate professor at the University of Calgary and the artistic director of kloetzel&co, a dance company founded in New York City in 1997 that has presented work across North America. Her site-specific films have been shown in Brazil, Belgium, Canada, and the United States, and her anthology with Carolyn Pavlik, Site Dance: Choreographers and the Lure of Alternative Spaces, was published by the University Press of Florida in 2009.
7
Coleman, Lucinda. "Performing Water: Site-specific dance-making as liquid art." Choreographic Practices 11, no. 1 (July 1, 2020): 101–22. http://dx.doi.org/10.1386/chor_00014_1.
Full textAbstract:
The Remnant Dance Project, Culaccini, developed site-specific dance movement in response to the waters of the Taleggio Valley, Italy, during the Nature, Art and Habitat Residency (NAHR) (2018). The intention was to respond to the Enna River system through documenting dance movement made in the region via film, photography and reflective writing. The practice-led research process was shared on the daily blog, ‘The drop of the day’. At the close of the NAHR, a short dance film, Performing Water, was made to further interrogate the nature of site-specific dance-making in water and the notion of what constitutes ‘site-dance’ in this context. In our journey of water-dance discovery, unique marks have remained on each other, the site and on things we have made, like the traces of a water vessel: culaccini. The dance made for the project was immersive and focused, constructed to invite interpretation through the use of symbolism and imagery. Progetto Culaccini sviluppa un movimento di danza site-specific in risposta alle acque dei torrenti della Val Taleggio, Italia (2018). L’intenzione è quella di rispondere al sistema del torrente Enna documentando il movimento di danza fatto sul luogo attraverso film, fotografia e scrittura riflessiva. Questo processo di ricerca guidato dalla pratica venne condiviso quotidianamente sul blog: La goccia del giorno. Al termine della residenza Natura, Arte e Habitat, la produzione di un cortometraggio di danza ha permesso l’analisi e approfondimento della danza site-specific in acqua e la nozione di ciò che costituisce la ‘danza’ in questo contesto. Nel nostro viaggio di scoperta della danza nell’acqua, segni unici rimangono impressi uno sull’altro, il luogo e le cose che abbiamo fatto, come le tracce di un vessello d’acqua: i culaccini. La danza fatta in questo contesto è stata immersiva e focalizzata; costruita per invitare l’interpretazione attraverso l’uso di simbolismo e immagini.
8
Katrak, Ketu H. "Jay Pather Reimagining Site-Specific Cartographies of Belonging." Dance Research Journal 50, no. 2 (August 2018): 31–44. http://dx.doi.org/10.1017/s0149767718000219.
Full textAbstract:
This essay examines Jay Pather's site-specific workCityscapes(2002) within a theoretical discussion of the conjuncture and disjuncture of space and race in South Africa. Jay Pather, a South African of Indian ancestry, an innovative choreographer and curator of site-specific works, creatively uses space to inspire social change by providing access and challenging exclusions—social, cultural, political—of black and colored South Africans during apartheid (1948–1994) and after. A progressive vision underlies his avant-garde work expressed via a hybrid choreographic palette of South African classical and popular dance styles, Indian classical dance, modern and contemporary dance. His choreography is performed across South Africa and the African continent as well as in Denmark, Mumbai, and New York City.
9
Kuppers, Petra. "Dancing Material History: Site-Specific Performance in Michigan." TDR/The Drama Review 61, no. 3 (September 2017): 132–40. http://dx.doi.org/10.1162/dram_a_00677.
Full textAbstract:
Site-specific dance in and by Northern Michigan lakes brings Petra Kuppers experientially into a different relation to environmental materiality. Autoethnographic method merges with an attention to the materiality of art practice and the difference dance makes. It beckons: let’s merge. Dancing bodyminds in space, in change, in time. Disability, precarity, economy, indigenous and settler history. Breathe in and out with the pull of edge land, the beach, the calmness of Michigan summer lakes.
10
MacBean, Arianne. "Site-Specific Dance: Promoting Social Awareness in Choreography." Journal of Dance Education 4, no. 3 (July 2004): 97–99. http://dx.doi.org/10.1080/15290824.2004.10387265.
Full textDissertations / Theses on the topic "Site-specific dance"
1
Randall, Jill Homan. "The Natural Settings Project| Choreographing and Researching Site-Specific Dance." Thesis, Saint Mary's College of California, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10151061.
Full textAbstract:
Site-specific dance emerged from the dance and visual arts scene of the 1960s and 1970s. It investigated and challenged where and how art could take place. My thesis looks back on Trisha Brown’s early site-specific choreography in the 1970s and then analyzes current site-specific choreography through viewing live performances, interviewing artists and audience members, and researching published books and articles on this genre. Site based work explores a deep relationship between choreographer, dancers, audience, and space. My final choreographic event, Natural Settings, was my two-year long exploration into creating an outdoor site-specific walking tour in Emeryville, California. The dance included four dancers and eleven sections in eleven different locations.
2
Meadows, Zoe. "pillow:you:blanket Dances: an Improvisational Dance Score Designed for a Quarantined World." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619179457863516.
Full text
3
Hunter, Victoria Margaret. "Site-specific dance performance : The investigation of a creative process." Thesis, University of Leeds, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522940.
Full textAbstract:
This thesis presents the findings of a practice-led investigation which explored relationships between the site and the author's choreographic process through the creation, performance and analysis of three site-specific dance works performed in different locations. Site-specific dance performance is defined here as dance performance created and performed in response to a specific site and location. The research contributes new knowledge to the field through the articulation of methods for site-specific choreography developed through practical experimentation. The thesis references key debates from the field of site-specific performance and explores how phenomenological theory was employed as a key framework throughout the research process. The research investigation is further informed by theory and practice drawn from the fields of choreography and performance, site-specific practice and theory, human geography and spatial theory. The investigation examines how a pathway through the site-specific creative process was navigated, and explores methods through which the choreographer created site-specific performance aimed at actively engaging the audience member with the work and its location. Through this process, this research proposes that choreographed site-performance can invoke an increased sense of awareness, engagement and a heightened sense of 'being-in-the-world' for the choreographer, performer and audience member. The thesis contains both a written component and DVD documentation of the practical work. Through discussion and analysis of the performance works and their creative processes the investigation provides an insight into how creative choreographic processes operated within each site-specific dance context. The investigation identifies and articulates creative, processes employed within the practice and aims to contribute new knowledge to the fields of site~specific dance discourse, choreographic studies and site-specific performance practice and theory.
4
Hooper, Colleen. "Public Movement: Dancers and the Comprehensive Employment Training Act (CETA) 1974-1982." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/372703.
Full textAbstract:
DancePh.D.
For eight years, dancers in the United States performed and taught as employees of the federal government. They were eligible for the Comprehensive Employment and Training Act (CETA), a Department of Labor program that assisted the unemployed during the recession of the late 1970s. Dance primarily occurred in artistic or leisure contexts, and employing dancers as federal government workers shifted dance to a labor context. CETA dancers performed “public service” in senior centers, hospitals, prisons, public parks, and community centers. Through a combination of archival research, qualitative interviews, and philosophical framing, I address how CETA disrupted public spaces and forced dancers and audiences to reconsider how representation functions in performance. I argue that CETA supported dance as public service while local programs had latitude regarding how they defined dance as public service. Part 1 is entitled Intersections: Dance, Labor, and Public Art and it provides the historical and political context necessary to understand how CETA arts programs came to fruition in the 1970s. It details how CETA arts programs relate to the history of U.S. federal arts funding and labor programs. I highlight how John Kreidler initiated the first CETA arts program in San Francisco, California, and detail the national scope of arts programming. In Part 2 of this dissertation, CETA in the Field: Dancers and Administrators, I focus on case studies from the Philadelphia, Pennsylvania and New York, New York CETA arts programs to illustrate the range of how dance was conceived and performed as public service. CETA dancers were called upon to produce “public dance” which entailed federal funding, free performances in public spaces, and imagining a public that would comprise their audiences. By acknowledging artists and performers as workers who could perform public service, CETA was instrumental in shifting artists’ identities from rebellious outsiders to service economy laborers who wanted to be part of society. CETA arts programs reenacted Works Progress Administration (WPA) arts programs from the 1930s and adapted these ideas of artists as public servants into the Post-Fordist, service economy of the 1970s United States. CETA dancers became bureaucrats responsible for negotiating their work environments and this entailed a number of administrative duties. While this made it challenging for dancers to manage their basic schedules and material needs, it also allowed for a degree of flexibility, schedule gaps, and opportunities to create new performance and teaching situations. By funding dance as public service, CETA arts programs staged a macroeconomic intervention into the dance field that redefined dance as public service.
Temple University--Theses
5
Morrison, Faith. "Creating and Conveying a Kinesthetic Experience of Place." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19277.
Full textAbstract:
This research uses dance and film to investigate the creation and conveyance of a kinesthetic experience of place. The choreographer, dancers, and videographer participating in the study aimed to create a kinesthetic experience of place by engaging the senses in a sensory experience of place and exploring the different feeling states of place. The study utilized choreographic methodologies of site-specific dance and screendance to facilitate a creative process rehearsed, performed, and filmed in the Oregon Dunes National Recreation area at Eel Creek. The footage from this choreographic process was edited into a screendance intended to convey a kinesthetic experience of place to viewers. The pilot study, At Eel Creek, and the final screendance, ensō, can be viewed through supplemental files included with this document. The evaluation of the study has resulted in key discoveries into the components necessary for the creation and conveyance of a kinesthetic experience of place.
6
Ernst, Erinn Kelley Thompson 1980. "A Collaborative, Site-Specific Dance Performance for Alton Baker Park in Eugene, Oregon: Focus on Community Building for Participating Artists Through the Concepts of Space and Time." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11481.
Full textAbstract:
viii, 77 p. : ill.The focus of this study was a free site-specific dance and music performance for the general public in Alton Baker Park (Eugene, Oregon), designed to enhance public engagement with the park and with dance. Collaborative processes with participating dancers, composers, and musicians fostered community building between the artists. Informing literature covers the impact of site-specific dance performances on communities, choreographic methodology, the history of site-specific artwork, the impact on, and consideration of, the audience in site-specific projects, and collaboration in the arts. Consideration of the surrounding community and the inherent political nature of site-specific work directly influenced every decision throughout the process. Themes emerged from the focus on building community, engaging the patrons with the site, and investigating process. Themes include the Culminating Performance, Common Values, Collaboration, Audience, Process, Journaling and Research, and a Final Summary. Reflection on the process reveals insights and suggestions for future endeavors.
Committee in charge: Dr. Jenifer P. Craig, Chairperson; Christian Cherry, Member; Walter Kennedy, Member
7
Walon, Sophie Geneviève. "Ciné-danse : histoire et singularités esthétiques d’un genre hybride." Thesis, Paris Sciences et Lettres (ComUE), 2016. http://www.theses.fr/2016PSLEE026/document.
Full textAbstract:
La ciné-danse est une forme artistique hybride qui entrelace étroitement les propriétés techniques et esthétiques de la danse et du cinéma. Ce n’est pas un genre nouveau: d’une certaine manière, la ciné-danse existe depuis les tout débuts du cinéma. Mais elle est théorisée pour la première fois au milieu des années 1940 par Maya Deren qui propose aussi avec A Study in Choreography for Camera (1945) un film-manifeste qui s’est avéré déterminant pour la reconnaissance et le développement decette catégorie la plus transdisciplinaire du film de danse.Néanmoins, c’est seulement à partir des années 2000 etsurtout depuis le début des années 2010 que les festivals spécialisés se sont multipliés et que le genre a commencé à recevoir un éclairage théorique. Cette thèse contribue ainsi à ce tout jeune domaine de recherche que sont les screendance studies en proposant un premier panorama historique de la ciné-danse et en examinant certaines de ses spécificités formelles et dramaturgiques dont beaucoup n’avaient pas encore été analysées.Cette étude prend notamment le parti d’explorer la ciné-danse sous l’angle inaperçu de son hyper-sensorialité et des corporéités originales qu’elle façonne.J’y commence par retracer l’histoire plus large dans laquelle la ciné-danse s’inscrit, celle de la danse au cinéma en général et du film de danse en particulier. Puis,je propose d’esquisser plus spécifiquement l’histoire du genre. Je souligne ensuite la fécondité de l’hybridation artistiquequi définit la ciné-danse en analysant certaines de ses singularités formelles et dramaturgiques. J’examine notamment l’usage sui generis du gros plan dans ces films, la (re)matérialisation des corps à laquelle ils procèdent par un traitement hyper-sensoriel et synesthésique des images et des sons ainsi que les corporéitésétranges qu’ils créent et les implications critiques que celles-ci renferment. Enfin, je me concentre sur un aspect capital de la ciné-danse : les lieux qu’elle investit et les rapports complexes entre corps et espaces qu’elle interroge. Cette thèse brosse ainsi le portrait historique et esthétique d’un art hybride, d’un genre éminemment corporel et sensoriel et d’une pratique in situ. J’y mets au jour des oeuvres expérimentales qui explorent la capacité de ce croisement artistique à mettre en exergue la matérialité des corps ainsi que la sensorialité des films et de l’art chorégraphiqueScreendance is a hybrid artistic form which inextricably interweaves the technical and aesthetic properties of both dance and cinema. It is not a new genre: in a certain sense, screendance has existed since the very beginnings of cinema. It was first theorised, however, in the mid-1940s by Maya Deren, whose film-manifestoA Study in Choreography for Camera (1945) proved central to the recognition and development of this most transdisciplinary category of dance films. Nevertheless, it is only from the 2000s and even more-so from the 2010s onwards that specialisedfestivals have proliferated and that the genre has begun to receive theoretical attention. This dissertation is thus a contribution to the emerging field of screendance studies: it proposes a historical panorama of the genre and examines its formal and dramaturgical specificities, many of which have not yet been the object of in-depth analysis. This examination aims in particular to explore screendance from the previously unconsidered perspective of its hyper-sensoriality and the originalcorporealities it constructs.I begin by retracing the larger history within which screendance has grown that of dance in film and especially that of dance films. I then propose a more specific history of screendace proper. Next, I emphasise the fecundity of the artistic hybridisation which defines screendance by analysing certain of its formal and dramaturgical singularities. More specifically, I examine its sui generis usage of closeups, its (re)materialisation of bodies through a hyper-sensorial and synaesthetic treatment of images and sounds, as well as its strange corporealities and the critical implications they suggest. Finally, I focus on a crucial dimension of screendance: the places it investigates and its complex interrogations of the relationships between body and space. This dissertation paints a historical and aesthetic portrait of a hybrid art, an eminently corporeal and sensorial genre, a site-specific practice; it celebrates experimental works which explore the richness of an artistic cross-over and highlight the materiality of bodies as well as the sensoriality of dance and film
8
Sharir, Yacov. "Beyond the electronic connection : the technologically manufactured cyber-human and its physical human counterpart in performance : a theory related to convergence identities." Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/1498.
Full textAbstract:
This thesis is an investigation of the complex processes and relationships between the physical human performer and the technologically manufactured cyber-human counterpart. I acted as both researcher and the physical human performer, deeply engaged in the moment-to-moment creation of events unfolding within a shared virtual reality environment. As the primary instigator and activator of the cyber-human partner, I maintained a balance between the live and technological performance elements, prioritizing the production of content and meaning. By way of using practice as research, this thesis argues that in considering interactions between cyber-human and human performers, it is crucial to move beyond discussions of technology when considering interactions between cyber-humans and human performers to an analysis of emotional content, the powers of poetic imagery, the trust that is developed through sensory perception and the evocation of complex relationships. A theoretical model is constructed to describe the relationship between a cyber-human and a human performer in the five works created specifically for this thesis, which is not substantially different from that between human performers. Technological exploration allows for the observation and analysis of various relationships, furthering an expanded understanding of ‘movement as content’ beyond the electronic connection. Each of the works created for this research used new and innovative technologies, including virtual reality, multiple interactive systems, six generations of wearable computers, motion capture technology, high-end digital lighting projectors, various projection screens, smart electronically charged fabrics, multiple sensory sensitive devices and intelligent sensory charged alternative performance spaces. They were most often collaboratively created in order to augment all aspects of the performance and create the sense of community found in digital live dance performances/events. These works are identified as one continuous line of energy and discovery, each representing a slight variation on the premise that a working, caring, visceral and poetic content occurs beyond the technological tools. Consequently, a shift in the physical human’s psyche overwhelms the act of performance. Scholarship and reflection on the works have been integral to my creative process throughout. The goals of this thesis, the works created and the resulting methodologies are to investigate performance to heighten the multiple ways we experience and interact with the world. This maximizes connection and results in a highly interactive, improvisational, dynamic, non-linear, immediate, accessible, agential, reciprocal, emotional, visceral and transformative experience without boundaries between the virtual and physical for physical humans, cyborgs and cyber-humans alike.
9
Dodge, Lila Ann Millberry. "Site-specific dance the place it takes /." 2009. http://hdl.handle.net/10090/8551.
Full text
10
LIAO, YU-LING, and 廖育伶. "A Study on Site-specific Dance Improvisation Curriculum." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/pmk8t6.
Full textAbstract:
碩士國立臺北藝術大學
舞蹈研究所
107
The main purpose of this paper is to develop dance curriculum on Site-specific Dance improvisation. In this study, I would like to apply the research method on Action research and mainly focus on exploring on how a specific site has an impact on bodily movements during the improvisation process. In addition, I would like to discuss the meaning-making process at the level of our sensorimotor while encountering a specific site. I also want to explore how “Quality” flows through site and body. And in this circular process, I want to find out how the participants react through body movements to “Quality” on a specific site. I began exploring my own experience to clarify the motivation and core question of this study. Following by that, I started to do a research on reading the relevant literature regarding “Quality”. From reading Mark Johnson, Maxine Sheets-Johnstone, Rudolf von Laban and John Dewey, I began to have a clear view on “Quality” in the realm of movements, specific site and inner feelings. In order to have an overview on designing a site-specific dance curriculum, I interviewed two Taiwanese choreographers, I-Fen Tung and Hsiao-Yin Peng, who had strong background of making site-specific dance works. I hope to collect the important data to improve my thinking in the process of designing curriculum. The third of this paper is to address my practical experience on site-specific dance teachings and how these practical experiences reflecting on the theoretical discourse. Finally, I would like to answer all the research questions based on my practical teaching experience and hopefully I can develop the structure of Site-specific Improvisation Dance curriculum in the future.
Books on the topic "Site-specific dance"
1
Meeting places: Locating desert consciousness in performance. Amsterdam: Rodopi, 2014.
Find full text
3
Hunter, Victoria. Moving Sites: Investigating Site-Specific Dance Performance. Taylor & Francis Group, 2015.
Find full textBook chapters on the topic "Site-specific dance"
1
Kloetzel, Melanie. "Location, Location, Location: Dance Film and Site-Specific Dance." In Dance’s Duet with the Camera, 19–47. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-59610-9_2.
Full text
2
Carrillo, Ana Baer. "Considerations on Site-Specific Screendance Production." In The Bloomsbury Handbook of Dance and Philosophy. Bloomsbury Academic, 2021. http://dx.doi.org/10.5040/9781350103504.ch-004.7.
Full text
3
Kloetzel, Melanie. "Site-specific dance in a corporate landscape." In Moving Sites, 239–54. Routledge, 2015. http://dx.doi.org/10.4324/9781315724959-17.
Full text
4
Tucker, April Nunes. "Activating intersubjectivities in site-specific contemporary dance." In Moving Sites, 423–39. Routledge, 2015. http://dx.doi.org/10.4324/9781315724959-29.
Full text
5
"Experiencing space: the implications for site-specific dance performance." In Contemporary Choreography, 416–32. Routledge, 2012. http://dx.doi.org/10.4324/9780203124918-38.
Full text
6
Sapsford, Tom. "Epic Poetry into Contemporary Choreography." In Epic Performances from the Middle Ages into the Twenty-First Century, 194–208. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198804215.003.0014.
Full textAbstract:
This chapter considers two recent dance adaptations of the Odyssey: New Movement Collective’s 2013 work Nest and Cathy Marston’s ‘Choreographing the Katabasis’, a project undertaken in 2015 at the APGRD, Oxford. The chapter analyses how both these works engage with the epic poem in ways that have historically been of interest to classical scholars. As a site-specific and multi-authored work, Nest emphasized the sense of multiplicity that has been noted both of the Odyssey’s mode of creation and its narration process. In developing her adaption from the Homeric text with the expertise of Oxford scholars, Cathy Marston produced a dance version of Odysseus’ encounter with the shade of his mother, Anticlea, which closely engaged with the formulaic aspects of the hexameter text in order to explore the interplay of rhythm and representation in both verbal and non-verbal languages.
7
Hardie, Philip. "The Metamorphoses of Sin." In Metamorphic Readings, 183–98. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198864066.003.0010.
Full textAbstract:
Ovid’s Metamorphoses, the encyclopedia of pagan mythology for later centuries, was also pressed into the service of Christian theology. This chapter shows how three Christian poets—Prudentius, Dante, and John Milton—reworked metamorphosis into a snake, each in his own specific way. The central text is Metamorphoses 4.569–603, where Cadmus and his wife Harmonia are transformed into snakes in fulfilment of a supernatural prophecy, the ultimate consequence of Cadmus’ slaying of the serpent of Mars on the site of Thebes. While the metamorphosed Cadmus falls physically to the ground, in the Christian authors serpentine metamorphosis signifies a theological and spiritual fall. In the late fourth century, Prudentius projects the transformation on to Satan, while Dante in the early fourteenth century exploits Ovidian metamorphosis into snakes for the punishment of sinners in Inferno. Milton, a reader of both Prudentius and Dante, applies the metamorphosis to Satan, but in a very different way from Prudentius. Each of these Christian poets explores the motif of serpentine metamorphosis in their own language, and within their own culture. The demonic repetition of falls into serpentine metamorphosis also figures the repetitive migration of the Ovidian motif through the Christian centuries.