Academic literature on the topic 'Site-specific dance performance'
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Journal articles on the topic "Site-specific dance performance"
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Hunter, Victoria. "‘Moving Sites’: Transformation and Re-location in Site-specific Dance Performance." Contemporary Theatre Review 22, no. 2 (May 2012): 259–66. http://dx.doi.org/10.1080/10486801.2012.666740.
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Han, Jung-Mi. "A Study on the Expansion of Public Art to Dance -Based on Site Specific Dance Performance." Dance Research Journal of Dance 78, no. 3 (June 30, 2020): 217–30. http://dx.doi.org/10.21317/ksd.78.3.12.
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Kloetzel, Melanie. "Site and Re-Site: Early Efforts to Serialize Site Dance." Dance Research Journal 49, no. 1 (April 2017): 6–23. http://dx.doi.org/10.1017/s0149767717000018.
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In this article, I investigate the historical precedents of site-adaptive dance. After walking through the mobility discourse as applied to site-specific art by such scholars as Miwon Kwon, Fiona Wilkie, and Victoria Hunter, I examine the mobile site works of North American choreographers Ann Carlson, PearsonWidrig DanceTheater, Eiko & Koma, and Stephan Koplowitz as exemplary of early attempts to take site dance on tour. Finally, I argue for the value of employing the lens of adaptation to analyze such works, both for the field of site performance and for the larger cross-disciplinary dialogues that could be activated.
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Mullis, Eric C. "Dancing for Human Rights: Engaging Labor Rights and Social Remembrance in Poor Mouth." Dance Research 34, no. 2 (November 2016): 220–42. http://dx.doi.org/10.3366/drs.2016.0160.
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There is a tradition of dance artists developing work for the concert stage in order to engage pressing social justice issues and, more specifically, the abuse of human rights. Anna Sokolow's Strange American Funeral (1935), Pearl Primus' Strange Fruit (1945), Katherine Dunham's Southland (1951), Alvin Ailey's Masekela Langage (1969), Jawole Willa Jo Zollar's Womb Wars (1992), William Forsythe's Human Writes (2005), and Douglas Wright's Black Milk (2006) are examples of acclaimed dances that address the manner in which marginalized individuals and social groups have not been granted equal ethical or political consideration. 1 In this essay I consider how dance enacts secular rituals of remembrance for victims of human rights abuses characteristic of a particular community's or nation's historical legacy. This entails discussion of aesthetic strategies used to portray human rights abuse, a consideration of the ethics of memory, and analysis of specific dance work. I discuss my site-adaptive work Poor Mouth (2013) which centers on labor rights issues in the American South during the Great Depression and I argue that dance which presents such issues performs a valuable social function as it encourages audiences to remember the past in a manner that facilitates a historically informed understanding of communal identity. Further, since historical instances of human rights abuse often have contemporary correlates and since remembrance affects the significance of places associated with the history in question, the implications of such work temporally and spatially extend beyond the performance venue and thereby contribute to political discourse in the public sphere. Dance intersects with human rights issues in many ways, but here I focus on dances intended for performance on the concert stage. For the purposes of this essay, the terms ‘dance activism’ and ‘political dance’ refer to dances that intentionally grapple with explicit human rights abuses and that are intended to be performed for a theatre-going audience. Along the way I note what bearing my points have for other forms such as popular dance, dance used in acts of public political protest, site-specific dance, and dance therapy, but I should emphasize that it is beyond the scope of this essay to consider the many ways that dance intersects with human rights and with political activism more generally. Lastly, I should say that my approach to this topic is informed by the personal experience of collaboratively creating and performing dance work in a particular community and that it is interdisciplinary in nature since its draw on aspects of philosophical ethics in order to reflect on that experience.
Dissertations / Theses on the topic "Site-specific dance performance"
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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.
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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.
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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.
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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
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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.
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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.
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Craighead, Clare. "Shifting spaces in the 'new South Africa' : site-specific performance as an intercultural exploration of sites, using as examples Jay Pather's Cityscapes, Durban (2002) and Home, Durban (2003)." Thesis, 2006. http://hdl.handle.net/10413/1513.
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This dissertation aims to investigate an extended notion of site within site-specific dance theatre. Using multiple theoretical frameworks, which include second wave feminism and its recognition of the body as a site of/for struggle (Goldberg, 1987) in conjunction with site-specific performance theory (Kaye, 2000; Kwon, 2004), Foucault's (1979) notion of 'biopower' and cultural studies, this dissertation seeks to engage site-specific dance theatre as a mode of social and cultural production. Multiculturalism (Schechner, 1988/1991) and interculturalism (Bharucha, 1996; Schechner, 1991) in performance theory and practice, are also engaged to solidify debates around performance as instances of cultural production. These frameworks are engaged in relation to the contemporary production of site-specific dance theatre in Durban, South Africa. Local dance practitioner and academic Jay Pather's site-specific/installation works CityScapes, Durban (2002) and Home, Durban (2003) are used as case-studies for interrogation and investigation in relation to the chosen theoretical discourses. CityScapes and Home provide two instances of site-specific dance theatre that have emerged from within post-apartheid South Africa. The two works are engaged in close relation to the post-apartheid South African context, and its promotion of a 'rainbow nation' in the 'New South Africa'. CityScapes provides a platform to engage ideas of access to and ownership of dance forms and the spaces which they occupy - prompting critical questioning around the impact of South Africa's historical segregations and their influence upon contemporary (South African) society/societies. Similarly, Home provides a platform to engage notions of 'homespaces' as these relate to access to and ownership of private and public spaces, and how this impacts cultural inter(re)actions in post-apartheid South Africa. Both case-studies provide instances of critical performance practice, which allows for meaningful theoretical inter(re)action in relation to the two chosen performance works. In this light, this dissertation also provides an instance of much needed academic enquiry into the local, South African contemporary dance-scape.Thesis (M.A.)-University of KwaZulu-Natal, 2006.
Thesis (M.A.)-University of KwaZulu-Natal, 2006.
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Стоян, Олена Володимирівна, and Olena Volodymyrivna Stoian. "Хореографічний перфоманс у мистецтві постмодерну." Master's thesis, 2020. http://repository.sspu.edu.ua/handle/123456789/9797.
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Хореографічні перфоманси широко розповсюджені як в Україні, так і закордоном. Вони мають досить вільний формат, що значно ускладнює можливість окреслити чіткі межі поняття «хореографічний перфоманс» і спонукає науковців розглядати його під різними кутами, один з яких – це взаємодія тіла та простору, і, у результаті, виділення такого напрямку у хореографічному перфомативному мистецтві, як сайт-специфік. Цей вид перфомансу на теренах України з’явився досить нещодавно і тільки починає привертати до себе увагу вітчизняних хореографів та мистецтвознавців. Він час від часу з’являється в українському мистецькому просторі. Однак у вітчизняній науці мало досліджень, присвячених вивченню цього феномена.
Актуальність роботи зумовлена: 1) поширеністю хореографічних перфомансів; 2) недостатньою кількістю досліджень, які б сприяли комплексному осмисленню явища «хореографічний перфоманс»; 3) необхідністю обґрунтування сутності та особливостей перфомансу сайт-специфік, як одного з його видів.
Мета і задачі дослідження. Метою роботи є з’ясування особливостей, притаманних хореографічному перфомансу в контексті мистецтва постмодерну.Choreographic performances are widely spread both in Ukraine and abroad. They have a rather open format and it complicates the possibility to define the limits of the notion «choreographic performance» and prompts researchers to study it from different perspectives, one of which is the interaction between body and space, and, as the result, highlighting such kind of performative arts as site-specific dance performance. In Ukraine this type of performance has appeared fairly recently and has only began to attract choreographers` and scholars` attention. It occasionally appears in Ukrainian art space. However, it lacks scientific studies focused on investigating this phenomenon. The relevance of the topic of the master`s thesis is due to: 1) the popularity of choreographic performances; 2) a small number of scientific investigations aimed at understanding the notion of choreographic performance; 3) the need to explain the essence and specific features of site-specific dance performance, as one of its types. The purpose and objectives of the study. The aim of the work is to identify the specifics of choreographic performance in the context of postmodern art.
Books on the topic "Site-specific dance performance"
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Meeting places: Locating desert consciousness in performance. Amsterdam: Rodopi, 2014.
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Hunter, Victoria. Moving Sites: Investigating Site-Specific Dance Performance. Taylor & Francis Group, 2015.
Find full textBook chapters on the topic "Site-specific dance performance"
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"Experiencing space: the implications for site-specific dance performance." In Contemporary Choreography, 416–32. Routledge, 2012. http://dx.doi.org/10.4324/9780203124918-38.
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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.
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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.
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Maskell, Shayna L. "Embodying (White, Middle-Class) Masculinity." In Politics as Sound, 178–98. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252044182.003.0008.
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As a site of control and self-agency, the body worked as a powerful channel through which DC hardcore punks could perform and negotiate difference. Chapter 7 explores the ways in which these performances of difference – through clothes, through hair, through dance—signaled a (white, classed, masculinized) DC hardcore identity, at once challenging and reinforcing the ways in which these vectors of identity are organized and naturalized through the body. Moreover, these constructions of masculinity are grounded in both a reaction to popular culture and an assertion of agency in the specific sociohistorical context of Washington, DC, in the late ’70s and ’80s.