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Journal articles on the topic 'Site-specific dance'
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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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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.
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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. "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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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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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.
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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.
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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.
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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.
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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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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.
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Harrington, Heather. "«Get in Your Theatres; the Street is Not Yours»: The Struggle for the Character of Public Space in Tunisia." Nordic Journal of Dance 8, no. 2 (December 1, 2017): 54–69. http://dx.doi.org/10.2478/njd-2017-0012.
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Abstract How people move and appear in public spaces is a reflection of the cultural, religious and socio-political forces in a society. This article, built on an earlier work titled ’Site-Specific Dance: Women in the Middle East’ (2016), addresses the ways in which dance in a public space can support the principles of freedom of expression and gender equality in Tunisia. I explore the character of public space before, during, and after the Arab Spring uprisings. Adopting an ethnographic and phenomenological approach, I focus on the efforts of two Tunisian dancers – Bahri Ben Yahmed (a dancer, choreographer and filmmaker based in Tunis, who has trained in ballet, modern dance and hip hop) and Ahmed Guerfel (a dancer based in Gabès, who has trained in hip hop) – to examine movement in a public space to address political issues facing the society. An analysis of data obtained from Yahmed and Guerfel, including structured interviews, videos, photos, articles and e-mail correspondence, supports the argument that dance performed in public spaces is more effective in shaping the politics of the society than dance performed on the proscenium stage. Definitions and properties of everyday choreography, site and the proscenium stage are analysed, along with examples of site-specific political protest choreography in Egypt, Turkey and Tunisia. I engage with the theories of social scientist Erving Goffman, which propose that a public space can serve as a stage, where people both embody politics and can embody a protest against those politics.
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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.
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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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Biehl-Missal, Brigitte. "Filling the ‘empty space’: Site-specific dance in a techno club." Culture and Organization 25, no. 1 (July 12, 2016): 16–31. http://dx.doi.org/10.1080/14759551.2016.1206547.
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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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Munjee, Tara. "Embodied Place: Variations of Spatial Engagement in Site-Specific Contemporary Dance Choreography." Spaces and Flows: An International Journal of Urban and ExtraUrban Studies 1, no. 4 (2012): 1–8. http://dx.doi.org/10.18848/2154-8676/cgp/v01i04/53817.
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Sortland, Venke Marie, and Ina Coll Kjølmoen. "Landing - dansekunstnere med stedssans." Nordic Journal of Dance 2, no. 1 (December 1, 2011): 2–7. http://dx.doi.org/10.2478/njd-2011-0002.
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Abstract The performance group Landing was established in 2005 by 11 dance and performing artists, with an artistic vision to create site-specific dance projects. In 2008 Landing created an extensive site-specific project at the fully running St Olavs Hospital in Trondheim that was entitled Landing08. In this article we will share some of our experiences of this project. In 2010 Landing was reorganized into a production unit lead by us. Our aim is to initiate, produce, and support art projects that challenge target groups, sites and formats of presentation.
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Snowber, Celeste. "Dancers of Incarnation." Thème 25, no. 1 (January 7, 2019): 125–38. http://dx.doi.org/10.7202/1055243ar.
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In poetic, sensuous and visceral language this article explores how one liturgical dance artist, whose work as a dancer and educator was centered in dance and theology for decades was informed by an incarnational theology to break open a field of embodied inquiry now situated outside the field of theological studies. The article is in itself a dance consisting of five movements which trace the journey of a liturgical dance artist from theology to doxology, embodied prayer and embodied inquiry to dancing in nature as a cathedral. Here in creating and performing site-specific work in the natural world, all of living and being is an embodied expression of spirit. Attention is given to the Biblical foundation of bodily expression and wisdom, moving to the fields of arts-based research rooted in phenomenology and curriculum theory to open up an embodied and poetic scholarship. Here writing is artistic and scholarly, personal and universal, evoking a physicality through the senses where connections between the holy and ordinary are honoured. Dance, movement and the body are rooted in incarnational and poetic expression and represent a philosophy through the flesh where physicality and spirituality are deeply intertwined.
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Munjee, Tara. "Appreciating “Thirdspace”: An Alternative Way of Viewing and Valuing Site-Specific Dance Performance." Journal of Dance Education 14, no. 4 (October 2, 2014): 130–35. http://dx.doi.org/10.1080/15290824.2013.879986.
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Da Silva, Aila Regina. "O corpo mediador: dança e mediação no museu." Repertório, no. 28 (December 5, 2017): 390. http://dx.doi.org/10.9771/r.v0i28.25018.
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<p class="p1">Resumo:<span class="Apple-converted-space"> </span></p><p class="p2">De um simples piscar de olhos a um pulo, a dança traz ao ser humano novos meios de conectar-se consigo e com o espaço a sua volta. Este artigo é um estudo sobre as relações da mediação com dança em comparação aos processos do <em>site specific</em> e performance, como produtos indiretos da experiência mediativa. Recorte da pesquisa de mestrado <em>Proibido tocar, permitido dançar: dança e mediação no museu de arte contemporânea</em>, que submete um grupo heterogêneo de pessoas a vivências de dança e, posteriormente, ao diálogo sobre a obra de arte no Museu de Arte Contemporânea da Universidade de São Paulo.</p><p class="p3"><span class="s1">Palavras-chave:<span class="Apple-converted-space"> </span></span>Dança. Performance. <em>Site specific</em>. Mediação.<span class="Apple-converted-space"> </span></p><p class="p3"><span class="Apple-converted-space"><br /></span></p><p>MEDIATOR BODY: DANCE AND MEDIATION IN THE MUSEUM</p><p class="p1"><em>Abstract:<span class="Apple-converted-space"> </span></em></p><p class="p5"><em>From a simple blink of eyes to an action of jumping, the dance provides to the human being new connections with himself and with the space around him. This article is a study about the relation among the mediation with dance, ‘site specific’ process and performance as indirect products from the mediation experience. Part of the Masters’ project “Do not touch. Dance, though. Dance and mediation in the Contemporary Museum</em><span class="s2"><em>”, the project put a heterogeneous group into living mediations that combine dance improvisations as a way to talk about contemporary art.</em></span></p><p class="p6"><span class="s1"><em>Keywords:<span class="Apple-converted-space"> </span></em></span><em>Dance. Performance. Site specific. Mediation.</em></p>
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Lim, su-jeong. "An attempt and effect of region characterization through a ‘site specific’ performance : Based on the Site-Specific Dance Performance 〈existence〉 performed in Soje-dong." Humanities Contens, no. 41 (June 30, 2016): 153. http://dx.doi.org/10.18658/humancon.2016.06.41.153.
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Kwon. "“Becoming One”: Embodying Korean P’ungmul Percussion Band Music and Dance through Site-Specific Intermodal Transmission." Ethnomusicology 59, no. 1 (2015): 31. http://dx.doi.org/10.5406/ethnomusicology.59.1.0031.
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Kukkonen, Aino. "Rural and urban encounters in Reijo Kela's choreographies "Ilmari's Ploughed Field" (1988) and "Cityman" (1989)." Nordic Theatre Studies 28, no. 1 (June 22, 2016): 64. http://dx.doi.org/10.7146/nts.v28i1.23973.
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Since the early 1980s, the solo performances of Reijo Kela (b. 1952) have brought original perspectives to Finnish dance, particularly in terms of how he wanted to dance in close proximity to the spectator and how the lines between art-forms were blurred. In his first large-scale site-specific works, Ilmari's Ploughed Field (Ilmarin kynnös, 1988) and Cityman (1989), he dealt with the relationship between dance, site, and changing Finnish society. They occurred in the heart of rural and urban life: one, in an abandoned field in Suomussalmi Eastern Finland and the other, in the busiest shopping area of the capital. In my article I examine how and what kind of ideas of countryside and city Kela's work manifest. What kind of cultural images they represent? And how they were received at the time of their premiere? The theoretical approach includes Rosalyn Deutsche's ideas of assimilative space and disturbance of space.
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Edensor, Tim, and Caitlan Bowdler. "Site-Specific Dance: Revealing and Contesting the Ludic Qualities, Everyday Rhythms, and Embodied Habits of Place." Environment and Planning A: Economy and Space 47, no. 3 (January 2015): 709–26. http://dx.doi.org/10.1068/a140042p.
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McNeilly, Jodie. "Bodily Schemata and Sartre's I and Me: Reflection and Awareness in Movement." Performance Philosophy 2, no. 1 (July 29, 2016): 83. http://dx.doi.org/10.21476/pp.2016.2190.
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Philosophers have faced the problem of self or inner awareness since the self, itself, became something to be known and/or understood. Once dancers ‘let go of the mirror’ (Emily Claid 2006) they too began to face the problem and limits to bodily awareness, developing specific reflective practices to obtain access to their inner bodily selves. But for the phenomenologist, reflection requires an active process of perception, which problematises our grasping of the so-called hidden, organising structures of movement that are unable to be perceived (bodily schemata). For the dancer, then, how is it possible to access and have a deeper understanding of these nonconscious bodily structures? What are the limits to inner bodily awareness?In this article, I draw upon Jean-Paul Sartre’s challenge to Edmund Husserl’s pure ego with his notion of object transcendence in his essay of 1937, Transcendence of The Ego: An existentialist theory of consciousness. I do this as a possible means for understanding bodily schemata and its expression through interactive dance technologies. Using examples from dance, I suggest how bodily schemata can be accounted for if our attention is not directed towards an inner sensing of the body, but towards a site of interaction where objects or materials extend or supraextend our bodies in the form of clothing, costume and digital representations, and where the dancer becomes audience to these distally extended bodily reflections.
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Quinlan, Meghan. "Abstractions of Whiteness in Downtown Los Angeles: Ate9’s Kelev Lavan." TDR/The Drama Review 60, no. 3 (September 2016): 171–77. http://dx.doi.org/10.1162/dram_a_00578.
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Ate9 Dance Company’s Kelev Lavan raised questions about the politics of individualism and the neutrality of whiteness in art, during a period of acute social tension surrounding police violence against people of color in the US. Issues of technique, aesthetics, and the invisibilization of identity politics are explored in the context of this site-specific performance.
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AMES, MARGARET. "Dancing Place/Disability." Theatre Research International 40, no. 2 (June 2, 2015): 170–85. http://dx.doi.org/10.1017/s0307883315000048.
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This article is developed from a paper presented at IFTR as part of the Performance and Disability Working Group in summer 2013. The work considered is a practice-as-research contribution by Welsh dance theatre company Cyrff Ystwyth towards a large Arts and Humanities Research Council-funded enquiry into performance, place, dislocation and vulnerability. The article uses contrasting concepts drawn from the work of critical theorists and dance scholars André Lepecki and Carrie Noland to think about the implications of Cyrff Ystwyth's site-specific performance authored by choreographer Adrian Jones, who has a learning disability. The research question is interrogated through the lens of the practice and understandings of place, performance and vulnerability, and proposed in the light of theory and its application to practice. The practice's challenge to theory is then considered as it confronts the researcher's expected outcomes and posits new understandings.
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Leonhardmair, Teresa. "Leiturgía – Ort der musiké: Plädoyer für eine Perspektive auf Kirchen-Musik als heteromodales Ereignis." Review of Ecumenical Studies Sibiu 7, no. 3 (December 1, 2015): 422–40. http://dx.doi.org/10.1515/ress-2015-0031.
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The meaning of music exceeds the mere acoustic noise. Liturgy clarifies that fact. Focusing aesthetic modes music is considered as defined by the ancient Greek term musiké, back then the union of movement/dance, sound, poetry. As performance musiké correlates with liturgy (performance as well) in a special way. The bodily and transcendent dimensions of musiké arise in liturgy – something performative, i.e. evolving from doing. Liturgy and music are connected with bodily presence (incarnation) and movement – the fundament of life. Both corporal actions and expressive dance in liturgy exist as a form of musiké. Using the example of resonance, listening, polyaisthesis, time/space it becomes apparent that musiké is movens, confronting us with the alien, carrying us to foreign spaces. Leiturgía is a specific aesthetic site where church music opens peculiar the human dimension of musiké. Our society is in need of such places.
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Han, Jung-mi, and Kwan-jung Son. "A Study on the Characteristics of Site-specific Dance Performance in Contemporary Art - Focused on the work of Stephan Koplowitz -." Dance Research Journal of Dance 77, no. 3 (June 30, 2019): 167–83. http://dx.doi.org/10.21317/ksd.77.3.9.
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Munn, Matthew Brendan, Adam Lund, Riley Golby, and Sheila A. Turris. "Observed Benefits to On-site Medical Services during an Annual 5-day Electronic Dance Music Event with Harm Reduction Services." Prehospital and Disaster Medicine 31, no. 2 (February 2, 2016): 228–34. http://dx.doi.org/10.1017/s1049023x16000054.
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AbstractBackgroundWith increasing attendance and media attention, large-scale electronic dance music events (EDMEs) are a subset of mass gatherings that have a unique risk profile for attendees and promoters. Shambhala Music Festival (Canada) is a multi-day event in a rural setting with a recognized history of providing harm reduction (HR) services alongside medical care.Study/ObjectiveThis manuscript describes the medical response at a multi-day electronic music festival where on-site HR interventions and dedicated medical care are delivered as parallel public health measures.MethodsThis study was a descriptive case report. Medical encounters and event-related data were documented prospectively using an established event registry database.ResultsIn 2014, Shambhala Music Festival had 67,120 cumulative attendees over a 7-day period, with a peak daily attendance of 15,380 people. There were 1,393 patient encounters and the patient presentation rate (PPR) was 20.8 per one thousand. The majority of these (90.9%) were for non-urgent complaints. The ambulance transfer rate (ATR) was 0.194 per one thousand and 0.93% of patient encounters were transferred by ambulance. No patients required intubation and there were no fatalities.Harm reduction services included mobile outreach teams, distribution of educational materials, pill checking facilities, a dedicated women’s space, and a “Sanctuary” area that provided non-medical peer support for overwhelmed guests. More than 10,000 encounters were recorded by mobile and booth-based preventive and educational services, and 2,786 pills were checked on-site with a seven percent discard rate.ConclusionDedicated medical and HR services represent two complementary public health strategies to minimize risk at a multi-day electronic music festival. The specific extent to which HR strategies reduce the need for medical care is not well understood. Incorporation of HR practices when planning on-site medical care has the potential to inform patient management, reduce presentation rates and acuity, and decrease utilization and cost for local, community-based health services.MunnMB, LundA, GolbyR, TurrisSA. Observed benefits to on-site medical services during an annual 5-day electronic dance music event with harm reduction services. Prehosp Disaster Med. 2016;31(2):228–234.
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Guo, Ying, and Xupeng Wang. "A Spatiotemporal data acquisition and processing method for Ansai waist drum based on motion capture." E3S Web of Conferences 179 (2020): 01024. http://dx.doi.org/10.1051/e3sconf/202017901024.
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In order to effectively promote the inheritance and preservation of the intangible cultural heritage project-Ansai waist drum. Based on motion capture systems, a spatiotemporal data acquisition and processing method is introduced in this works, which contains principles and specific methods for data acquisition and processing. Take a typical action as an example, the method is presented seriously, which refers to acquisition site, motion capture equipment, real-time acquisition, data output, post-processing software, as well as skeleton and excel data processing. Furthermore, the canonical motion data of Ansai waist drum also can be calculated by this method, and then used as the standard data for beginners. The method could be a reference for inheritance and preservation to sports and dance intangible cultural heritage projects.
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Fraga, Tania. "MindFluctuations: Poetic, Aesthetic and Technical Considerations of a Dance Spectacle Exploring Neural Connections." TecnoLógicas 21, no. 41 (January 15, 2018): 81–102. http://dx.doi.org/10.22430/22565337.728.
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In this era of co-evolution of humans and computers, we are witnessing a lot of fear that humanity will lose control and autonomy. This is a possibility. Another is the development of symbiotic systems among men and machines. To accomplish this goal, it is necessary to research ways to apply some key concepts that have a catalytic effect over such ideas. In the discussion of this hypothesis through the case study of the spectacle MindFluctuations— an experimental artwork exploring neural connections—we are looking for ways to develop them from conception to realization. The discussion also establishes a process of reflection on the design, development and production of this dance spectacle. This artwork uses a customized Java application, NumericVariations, to explore the quoted neural connections for spectacles, performances and site-specific installations. Its approach was made possible by recent neuroscience research and the development of a Brain Computer Interface (BCI) integrated with a virtual reality framework, which enable an experimental interactive virtual reality artwork to emerge. A neural helmet connected to the computer and entwined with mathematical procedures enabled a symbiosis of humans with computers.
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Fraleigh, Sondra. "Everyone needs to breathe." Dance, Movement & Spiritualities 7, no. 1-2 (November 1, 2020): 119–38. http://dx.doi.org/10.1386/dmas_00020_1.
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This article is written with an eye towards the future and a foot in the past. It is partly autobiographical, and in each of four parts offers reflective somatic practices. The author is sheltering at home, so her thoughts centre on the meaning of home, family and pets. At the same time, she articulates somatic skills to cultivate embodied presence, insightful verbal interactions and healing touch. Her writing invites readers into somatic movement explorations and somatic communication practices through poetry. Life and death, love and war, ground her article. The section on Simbi involves global shadow work through butoh and the healing essence of water. Golden shadows appear as elemental and ecosomatic in Morphic Curiosity, a butoh invitation to site-specific dance. Video links and photographs further embody the work. The final section, Dance back the world, presents somatic witnessing as an extraordinary process of intimate notice and care. Becoming friends with the whole world is an exhortation of Mahatma Gandhi, and the life work of this author. Her article was written before the brutal murder of George Floyd and the international protests that began in America as cries for social and racial justice. Now we have a new imperative for Gandhi’s call, because everyone has a right to breathe.
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Bennell, Kim, Karim Khan, Bernadette Matthews, Elizabeth Cook, Karen Holzer, Heather McKay, and John Wark. "Activity-Associated Differences in Bone Mineral Are Evident before Puberty: A Cross-Sectional Study of 130 Female Novice Dancers and Controls." Pediatric Exercise Science 12, no. 4 (November 2000): 371–81. http://dx.doi.org/10.1123/pes.12.4.371.
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It is not clear at what age or maturational stage physical activity is most effective in optimizing peak bone mass in girls. We compared bone mineral of 78 pre- and early-pubertal novice female ballet dancers (mean age, 9.6 years, SD, 0.8) with that of 52 age-matched controls. Dancers had 4.5% greater total hip bone mineral density (BMD) and 4.9% greater femoral neck BMD (both p < .01) than controls. BMD at the lumbar spine and upper and lower limbs was similar between groups. These findings could not be explained by maturity, size, body composition, or dietary calcium intake differences between groups. While genetics may partially explain these findings, we propose that the mechanical loading of dance training provided appropriate skeletal stimulus to generate site-specific BMD advantage.
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Mangold, Alex. "Failure, Trauma, and the Theatre of Negativity: the New Tragic in Contemporary Theatre and Performance." New Theatre Quarterly 35, no. 1 (January 16, 2019): 33–43. http://dx.doi.org/10.1017/s0266464x18000593.
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In this article, Alex Mangold identifies failure as a defining element of tragedy and argues that traditional understandings of the genre have been too narrow. Here, he asserts that tragic failure contributes to a tragic ‘mode’ that transcends genre definitions and, instead, extends to all kinds of contemporary theatre and performance. Examining a wide range of performance examples, including work from Sophocles to Sarah Kane, Forced Entertainment, Sasha Waltz, and Orlan, he argues that tragic failure, as it has come to be realized in examples of postdramatic writing and in site-specific or dance-based performance, is presented as an option, a dramatic choice, an outcome or part of an overall denial of dramatic form. The true power of the new tragic consequently lies in its ability to foster social change and a more ethical stance toward social dystopias. Alex Mangold lectures in the Department of Modern Languages at Aberystwyth University. He is co-editor (with Broderick Chow) of Žižek and Performance (Palgrave, 2014) and has published articles and chapters on the work of Sarah Kane and Howard Barker.
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Haravon, Leslie D. "Exercises in Empowerment: Toward a Feminist Aerobic Pedagogy." Women in Sport and Physical Activity Journal 4, no. 2 (October 1995): 23–44. http://dx.doi.org/10.1123/wspaj.4.2.23.
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The current popularity of aerobic dance exercise makes it an important site for the analysis of women and movement. Feminist researchers have critiqued aerobics as an activity which does more to maintain dominant ideologies of women’s powerlessness than it does to liberate women through movement and action (Kagan & Morse, 1988; MacNeil, 1988; Theberge, 1985, 1987) whereas, based upon psychological studies, a participation in aerobics has been shown to improve self-esteem (Labbe, Welsh, & Delaney, 1988; Plummer & Young, 1987; Skrinar, Bullen, Cheek, McArthur, & Vaughan, 1986). Other scholars point to the contradictions of empowerment and oppression that women must encounter when they participate in aerobic dance exercise (Haravon, 1992; Kenen, 1987; Markula, 1991).In this paper I consider an alternative feminist reading of aerobic dance exercise, arguing that there are specific ways to make the mainstream aerobic workout a site for empowerment for women. Using the commentary of physical education students, I explain how an aerobic workout can empower its female participants. My definition of the term empowerment is borrowed from the work of Nancy Theberge (1985, 1987) in which she discusses women’s liberation and feminist notions of power as they might apply to sport. Theberge argues that “the potential of sport to act as an agent of women’s liberation stems mainly from the opportunity that women’s sporting activity affords them to experience their bodies as strong and powerful and free from male domination” (Theberge, 1985, p. 202). Theberge discusses both energy and creativity as more feminist ways of conceiving of power in sport (Theberge, 1987). I argue that creative and energetic power as well as the experience of a strong body free from male domination can be cultivated in the aerobic workout.In the research presented here, I discuss common theoretical critiques of the practice of aerobics, review interactive studies of aerobics, and describe the method and practice of teaching both aerobics and Hatha Yoga. Quoting students in a yoga class, I note certain aspects of the class that might make it an empowering, consciousness-changing experience for these students. The yoga teaching methods discussed here are used as a guideline for the discussion of the empowering aerobic workout, which prescribes methods for teaching empowering aerobics using the recommendations, critiques and comments from the preceding sections. The purpose of this paper, rather than being a comparison of two representative samples of research subjects in yoga and aerobics classes, is to suggest that a juxtaposition of methods of teaching might reveal practical knowledge about empowering students in an aerobics class. Before discussing teaching and empowerment in particular, I offer the following theoretical perspectives on aerobics which are grounded in Cultural Studies, the assumptions of which are discussed below.
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Wright, Jan, and Shoshana Dreyfus. "Belly Dancing: A Feminist Project?" Women in Sport and Physical Activity Journal 7, no. 2 (October 1998): 95–114. http://dx.doi.org/10.1123/wspaj.7.2.95.
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The notion of the body as “a medium of culture” (Bordo, 1990, p. 13), and specifically the female body as a site on which the oppression of patriarchy is inscribed or played out has been discussed by many feminist theorists (Bartky, 1988; Bordo, 1990; Dimen, 1989). More recently there has been increasing interest in the material body as a source of kinesthetic pleasure rather than, or simultaneously as, a site of inscription and oppression. In searching for new ways to think and talk about the body, there is a recognition that it cannot be seen simply as either a site of oppression or pleasure, but rather as a site where many apparently contradictory and opposing discourses can coexist and where interesting and complex mixes of pleasure and oppression can occur simultaneously (Shilling, 1993).In this paper we attempt to explore these complexities through a study of belly dancing. This is a form of physical activity with an increasingly large following. On one hand, it seems possible to conceive of belly dancing as ‘feminist project’ as it offers possibilities for challenging hegemonic constructions of femininity and for women’s empowerment; on the other hand, many of the practices associated with belly dancing work to construct discourses which sit uncomfortably with feminist understandings of the body. This paper then becomes an exploration of the complex meanings which constitute the contemporary practice of belly dancing, with reference to a specific dance class in a regional city in Australia.While we are using the description ‘feminist project’ as a guiding principle for this paper, we also recognize that this is not a totalizing concept and will be different for different women in different contexts. We also recognize that the attribute “feminist” is itself not unitary but that feminist theory takes many forms, takes up different issues and defines its objects of study in a variety of ways. In the paper we draw on feminist post-structuralist theory to examine the various discourses and social practices of belly dancing. This allows us to recognize that in talking about the dance, the women interviewed may draw on a wide range of discourses which are concerned with women and their bodies, and which in their different ways may be characterized as feminist. On the other hand, the consequences of taking up one discourse rather than another have implications for how women are located and locate themselves in relations of power. We are wary, for instance, of essentializing discourses which attempt to naturalize sexual differences in a context where male and female attributes are often seen as constituting the opposite sides of a binary where those attributes associated with women are regarded as of lesser value.
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Krul, Jan, Björn Sanou, Eleonara L. Swart, and Armand R. J. Girbes. "Medical Care at Mass Gatherings: Emergency Medical Services at Large-Scale Rave Events." Prehospital and Disaster Medicine 27, no. 1 (February 2012): 71–74. http://dx.doi.org/10.1017/s1049023x12000271.
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AbstractObjective: The objective of this study was to develop comprehensive guidelines for medical care during mass gatherings based on the experience of providing medical support during rave parties.Methods: Study design was a prospective, observational study of self-referred patients who reported to First Aid Stations (FASs) during Dutch rave parties. All users of medical care were registered on an existing standard questionnaire. Health problems were categorized as medical, trauma, psychological, or miscellaneous. Severity was assessed based on the Emergency Severity Index. Qualified nurses, paramedics, and doctors conducted the study after training in the use of the study questionnaire. Total number of visitors was reported by type of event.Results: During the 2006–2010 study period, 7,089 persons presented to FASs for medical aid during rave parties. Most of the problems (91.1%) were categorized as medical or trauma, and classified as mild. The most common medical complaints were general unwell-being, nausea, dizziness, and vomiting. Contusions, strains and sprains, wounds, lacerations, and blisters were the most common traumas. A small portion (2.4%) of the emergency aid was classified as moderate (professional medical care required), including two cases (0.03%) that were considered life-threatening. Hospital admission occurred in 2.2% of the patients. Fewer than half of all patients presenting for aid were transported by ambulance. More than a quarter of all cases (27.4%) were related to recreational drugs.Conclusions: During a five-year field research period at rave dance parties, most presentations on-site for medical evaluation were for mild conditions. A medical team of six healthcare workers for every 10,000 rave party visitors is recommended. On-site medical staff should consist primarily of first aid providers, along with nurses who have event-specific training on advanced life support, event-specific injuries and incidents, health education related to self-care deficits, interventions for psychological distress, infection control, and disaster medicine. Protocols should be available for treating common injuries and other minor medical problems, and for registration, triage, environmental surveillance and catastrophe management and response.
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Wanke, Eileen M., Michael Arendt, Helmgard Mill, Franziska Koch, Jacqueline Davenport, Axel Fischer, and David A. Groneberg. "The Theatrical Stage as Accident Site in Professional Dance." Medical Problems of Performing Artists 29, no. 1 (March 1, 2014): 32–36. http://dx.doi.org/10.21091/mppa.2014.1008.
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OBJECTIVE: Reducing work-related health hazards at the different theatre workplaces is one aspect of preventive options in professional dance. This also applies to hazards on the highly variable theatrical stage areas. However, detailed information on these stages and their risks is not available. The aim of this study was to analyze and evaluate work-related traumatic injuries in the stage area. METHODS: The basis for the evaluation was accident reports, from the German National Statutory Insurance, of work-related traumatic injuries occurring on stage in professional dancers (n=790: 407 males, 383 females) over a 17-year period (1995-2011). RESULTS: Most (79.4%) of the accidents on stage occurred during an ongoing performance (frequency: 10.1/100 performances), with only 19.7% occurring during rehearsals on stage (p<0.001). Due to the sustained injury, 30.2% of the dancers sustained a time-loss injury. Most (57.7%) of the injured dancers were older than 25 years. Of the accidents, 59.3% were initiated by a definably extrinsic cause, with 40.7% caused by intrinsic factors (p<0.001). Injuries were most commonly caused by the “partner” (21.7%) or “floor” (21.0%). The lower extremity was the most commonly affected body region (63.6%) (p<0.001). CONCLUSION: Stage performances seem to carry an increased injury risk compared to rehearsals. The “risk” of on-stage work is spread across various factors that seem to be stage-specific. There is a need for further qualitative and quantitative research to be able to classify the stage as workplace more precisely.
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Premelč, Jerneja, Goran Vučković, Nic James, and Lygeri Dimitriou. "A Retrospective Investigation on Age and Gender Differences of Injuries in DanceSport." International Journal of Environmental Research and Public Health 16, no. 21 (October 29, 2019): 4164. http://dx.doi.org/10.3390/ijerph16214164.
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In spite of the extensive research on incidence site and type of injury in ballet and modern dancers, limited studies on injury in DanceSport have been reported. Therefore, this study determined retrospectively (within last 12 months) incidence, severity, site and type of injury, between gender and age-class in DanceSport. Participants were 97 international sport-dancers (female, 41; male, 56). Sixty-six (69%) dancers reported 96 injuries (1.00 (range = 4)) injuries per dancer) and an injury incidence of 1.7 (range = 14) per 1000 h. Females revealed significantly higher median injury incidence (females, 2.6 (range = 14); males, 1.9 (range = 9), p < 0.05) than males. A total of 61.5% of all injuries recorded were traumatic with a significant gender difference (Wald chi-square = 11.616, df = 1, p < 0.01). Injury severity was 3 (range 240) days with an interaction effect between gender and age-class (Wald chi-square = 251.374, df = 3, p < 0.001). Meanwhile, 72.3% of the dancers reported not including sport specific exercises besides dancing. These findings show gender and age-class differences in injury incidence, type and severity. Therefore, to reduce the likelihood of injuries, the implementation of supplemental DanceSport specific exercises that also considers the gender and age-class anatomical, functional, and choreographic demand differences in the training program should be recognized.
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Sanfilippo, G., A. Mondello, F. M. La Russa, and L. La Rosa. "INTEGRATED METHODS FOR THE CONSERVATION AND RESTORATION OF ARCHAEOLOGICAL SITES. AN EXPERIMENTAL APPLICATION ON THE “BALNEUM” OF PIAZZA DANTE IN CATANIA (ITALY)." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 661–68. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-661-2021.
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Abstract. Archaeological sites in urban areas are often poorly integrated with the modern urban fabric and appear as “trenches” at a lower level than the road. They become neglected and unvalued places. The study of archaeological ruins in urban centres must involve archaeologists and architects to integrate restoration, enhancement and improvement of physical and visual accessibility projects. New digital technologies can improve these activities thanks to 3D models, “digital replicas” that allow even remote study (especially during a pandemic). The paper presents the case study of a private Roman-imperial bath in Catania. The open-air site is located at a depth of 3 metres above the road level and is not exploited. Our study consisted of historical-bibliographical research, direct and SfM surveys that allowed creating a high-resolution textured 3D model. We have extracted orthophotos and sections for geometric and technical-constructive analyses and recognition of decay from this model. We drew up an archaeological restoration and valorisation design. In addition, we imported the model into the Sketchfab portal. So, we enriched the mesh with information from the analyses employing specific tags about annotations, 2D drawings, historical and technical-scientific information. In this way, the model becomes an interactive document to monitor over time the conservation state, validate the restoration design and contribute to the valorisation of the site. This is an easy tool of exchange between all involved users (researchers, professions and students). Thus, the digital replica also represents a very high potential for dissemination purposes.
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Bogucki, Mateusz. "O fragmentaryzacji srebra wczesnośredniowiecznego: na ile wiarygodne są dane metrologiczne? Przypadek skarbu z Mózgowa na Warmii (t.p.q. 1009)." Slavia Antiqua. Rocznik poświęcony starożytnościom słowiańskim, no. 60 (January 1, 2020): 221–38. http://dx.doi.org/10.14746/sa.2019.60.8.
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For years, a discussion has been held about the circulation of silver in the early Middle Ages and the role played by fragments of coins and ornaments. This multi-faceted discussion has also revolved around the function of the smallest fragments. Metrological research has indicated certain regularities in the incidence of fragments of a specified weight depending on region and chronology. New data for this discussion was provided by a treasure trove originally discovered in 1868 in Mózgowo in Warmia. Only slightly more than 400 coins have survived from the items discovered in the 19th century; they are a part of a collection of the Herzog Anton Ulrich Museum in Braunschweig. The place where the treasure was discovered was identified in 2010; more than 800 coins and fragments thereof were unearthed. In 2012, the area was examined as a site of excavation where subsequently over 370 specimens were discovered. The treasure trove must have been hidden sometime after 1009, most probably around 1015. The coins from the museum in Braunschweig are not suitable for metrological analysis because they were intentionally separated for a systematic collection. Following an analysis of the specimens discovered in 2010 and 2012, considerable discrepancies in weight frequencies were observed. It turns out that in the collection of objects excavated by professional metal detector operators, very small fragments of silver prevail. Before, they were rarely registered in early medieval treasures (fragments weighing more than 1 gram represent only 6.66%, pieces weighing less than 1 g represent 93.33%, fragments of up to 0.5 g represent 87.61%, while pieces weighing less than 0.1 g represent a whopping 55% of the entire collection).The differences in the weight of silver fragments in the specific parts of the treasure trove from Mózgowo shed new light on both the methodology of examining treasure troves and how representative the data used so far in statistical and metrological analyses are.
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Minasny, Budiman, and Alex B. McBratney. "Evaluation and development of hydraulic conductivity pedotransfer functions for Australian soil." Soil Research 38, no. 4 (2000): 905. http://dx.doi.org/10.1071/sr99110.
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Pedotransfer functions (PTFs) for predicting saturated hydraulic conductivity (Ks) were evaluated using published Australian soil data sets. Eight published PTFs were evaluated. Generally, published PTFs provide a satisfactory estimation of Ks depending on the spatial scale and accuracy of prediction. Several PTFs were developed in this study, including the power function of effective porosity, multiple linear regression, fractal model, and artificial neural networks. Different methods for estimating the fractal dimension of particle-size distributions showed no significant differences in predicting Ks . The simplest model for estimating fractal dimension from the log–log plot of particle-size distribution is therefore recommended. The data set was also stratified into 3 broad classes of texture: sandy, loamy, and clayey. Stratification of PTFs based on textural class showed small improvements in estimation. The published PTF of Dane and Puckett (1994) Proc. Int. Workshop (Univ. of California: Riverside, CA) gives the best prediction for sandy soil; the PTF of Cosby et al. (1984) Water Resources Research 20, 682–90 gives the best production for loamy soil; and the PTF of Schaap et al. (1998) Soil Science Society of America Journal 62, 847–55 gives the best prediction for clayey soil. The data set used comprised different field and laboratory measurements over large areas, and limited predictive variables were available. The PTFs developed here may predict adequately in large areas (residuals = 10–20 mm/h), but for site-specific applications, local calibration is needed.
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Farajova, Malahat N. "THE OVCHULAR SHELTER ON THE UPPER TERRACE OF MOUNTAIN BEYUKDASH." History, Archeology and Ethnography of the Caucasus 15, no. 3 (October 14, 2019): 471–85. http://dx.doi.org/10.32653/ch153471-485.
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Gobustan is a rich archaeological area where people lived at different period, thousands of rock paintings, dozens of sites, settlements, tombs and other monuments of different historical periods have preserved. Ovchular shelter takes a special place among these caves, which is date back to the Stone and Bronze ages, approximately before VI-IV Millenniums B.C. according to some archeologists.
Hence, the question of study of rock images of this complex with using geological and archaeological data for reconstruction the archaeological landscape of upper terrace of Boyukdash Mountain is extremely important challenge.
The archaeologists Dj. Russtamov and F. Muradova started first field works in the Ovchular cave. On the walls of the cave displayed hunting scenes, battle, ritual dances. Discovered archaeological artefacts and images by archaeologists show that habitat indications of human in the cave presumably date back to the period of domestication of animals.
During field works for night photography in 2004 here were discovered new petroglyphs – 2 figures of ibexes. A special interest represent dotted recesses engraved under one figure of animal. No doubt that this cave used for specific rituals and magic procedures.
Archaeologists date back this shelter by the period of transition from the Mesolithic to Neolithic. Discovered fragments of vessel from mixed coarse clay let researchers suppose about settling of this cave in the Bronze Age also. As a result of geological research in the western coast of the Caspian Sea, it was also possible to determine the transgression which observed 6 thousand years ago, and the beginning of regression which observed 4 thousand years ago ,so the retreat of the sea. Thus, while the lower terraces of Boyukdash mountain were periodically washed by the historical Caspian Sea and could not reach to the upper terraces, in particular, to the Ovchular site.
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Holand, Øystein, Anders Aa Ims, and Robert B. Weladji. "Scale-dependent effects of summer density on autumn mass in reindeer." Rangifer 30, no. 1 (March 1, 2010): 15–29. http://dx.doi.org/10.7557/2.30.1.248.
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The ongoing dispute about reindeer overabundance in the West Finnmark (Norway) herding region has accentuated the need for an in-depth understanding of the density-dependent and -independent processes driving this pastoral system, as well as the spatial and temporal scale(s) they operate on. Using 20 604 records of individual male reindeer yearlings we assessed the spatial and temporal variation in animals’ performance (measured by their autumn carcass mass), and investigated summer density dependent effects on autumn carcass masses at different scales. We defined three spatial scales; a regional scale represented by the whole summer range of West Finnmark, a sub-regional scale represented by the mainland (14) and the island (11) summer districts, and a fine scale represented by eight individual summer districts. We defined two temporal scales; the whole collection phase (13 years) and a temporal dimension based on the three periods of population growth. We found carcass masses to be higher at island than at mainland and to vary among districts. Effect of period was found at the regional, sub-regional and often at the district scale. The autumn carcass masses were sensitive to density at West Finnmark and mainland scales, but not at island scale, the effect being negative. This suggests intra-specific competition for summer forage due to consistent higher density resulting in reduced range quality at mainland as compared to island. On the finest scale the density effect was highly variable. Response of carcass mass to density appeared to be scale dependent both in space and time at regional and sub-regional scales. These findings underline the importance, for skilful management, of site specific biological understanding of (1) the density dependent processes and (2) the spatial and temporal scales these processes are operating on. Adaptive management strategies for sustainable use of the summer forage resources in West Finnmark have therefore to be district specific.Skala-avhengige virkninger av antallet rein på høstslaktevektene i Vest-FinnmarkAbstract in Norwegian / Sammendrag: Den stadig pågående diskusjon omkring reintall og overbelastning av beitene i Vest- Finnmark krever en bedre forståelse av tetthetsavhengige, så vel som tetthetsuavhengige prosesser som påvirker dette beitesystemet og på hvilke skalaer disse opererer. Vi benyttet 20 604 slaktevekter av varit (1,5 års gamle bukker) før brunst for å undersøke variasjonen i tid og rom i disse, og om sommerbeitebelegget på ulike skalaer påvirket vektene. Vi definerte tre romlig skalaer: 1) hele sommerbeiteområdet i Vest-Finnmark, 2) to underregioner: innlandsdistriktene samlet og øy/halvøydistriktene samlet og 3) det enkelte sommerbeitedistrikt. På distriktsnivå ble bare slaktedata fra 8 distrikt benyttet. Videre ble to tidsskalaer definert: 1) hele perioden samlet, 2) tre perioder basert på utviklingen i reintallet i Vest-Finnmark - økning i periode 1 (1983-87) og i periode 3 (2001-2004) og nedgang i periode 2 (1996 -2000). Slaktevektene var høyere for øy/halvøydistriktene sammenlignet med innlandsdistriktene samlet og varierte mellom distrikt. Periode påvirket også slaktevektene regionalt, subregionalt og ofte på distriktsnivå. Vi fant en negativ tetthetsavhengig effekt på slaktevektene for Vest-Finnmark samlet. Det samme gjaldt for innlandsdistriktene samlet, men ikke for øy/halvøydistriktene samlet. Dette forklares ved fødekonkurranse på innlandsdistriktenes sommerbeiter, sannsynligvis på grunn av at vedvarende høye tettheter har forringet beitekvaliteten, sammenlignet med øy/halvøydistriktene samlet. På distriktsnivå varierte effekten av tetthet. Resultatene tyder videre på skala-avhengige tetthetseffekter i tid og rom, i Vest-Finnmark samlet, så vel som på innlands- og øy/halvøynivå. Tetthet er et mangesidig og komplekst begrep som ikke kan sees uavhengig av skala. Det er derfor viktig å analysere slike prosesser på flere skalanivå for bedre å kunne forstå samspillet mellom vegetasjon og beitedyr. Dette innebærer i praksis at hvert sommerdistrikt (siida), som er den funksjonelle enheten i forvaltningssammenheng, må behandles uavhengig og danne grunnenheten i en fornuftig forvaltning.
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Calia, Angela. "Il paesaggio sonoro in relazione. Suono, movimento e immagini per stimolare complessità percettiva." Geography Notebooks 4, no. 1 (August 5, 2021). http://dx.doi.org/10.7358/gn-2021-001-cali.
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This article wants to explore the topic of the soundscape in the context of dance and video, especially in the site-specific creation process of dance live performances and video dance, with a brief mention to a particular type of audiovisual installations. The exploration develops starting from the soundscape that two dancing bodies produce merely moving in a dance rehearsal room, it continues with the description of a soundscape composed with sounds detected by a specific environment, and it ends with the analysis of the dance movie Car Men, by Paval Conen. The final reflections start from an example of dramaturgical use of sound in the context of film production and arrive at the description of laser drawing performance as a final example of perceptive complexity.
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Whiteside, Bethany. "Book review: Moving sites: investigating site-specific dance performance, edited by Victoria Hunter." Scottish Journal of Performance, June 29, 2016. http://dx.doi.org/10.14439/sjop.2016.0301.12.
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Meehan, Emma. "Home Practice: Irish women, Diaspora and Somatic Principles of Hosting." Repertório 1, no. 32 (September 25, 2019). http://dx.doi.org/10.9771/r.v1i32.26750.
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<span>Dr. Emma Meehan is a Research Fellow at Coventry University’s Centre for Dance Research. She received her BA and PhD from the Drama Department, Trinity College, Dublin, where she taught part-time on the BA and MA programmes. She also worked as the administrator for the Arts Technology Research Lab at Trinity College to support the Digital Arts and Humanities Doctoral Programme. Her doctoral research focused on the work of Irish choreographer Joan Davis, who combines dance and somatic practices in creating interactive, site-specific performances. Emma is associate editor for Journal of Dance and Somatic Practices, and was co-convenor of the Performance as Research Working Group at the International Federation for Theatre Research from 2013-2017.</span>
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Ismar, Madia Patra, and Rahayu Pratiwi. "ARTISTIC GAZE OF TWO PAPUAN CHOREOGRAPHERS: VISUAL PERSPECTIVES ROOTED IN THE ORAL TRADITIONS OF THE KAMORO AND ASMAT TRIBE." International Review of Humanities Studies 5, no. 1 (May 13, 2020). http://dx.doi.org/10.7454/irhs.v5i1.238.
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This article is based on the artistic practice of two Papuan choreographers trained in the Jakarta Institute of the Arts Dance Study Program. Both based their choreographies on their traditional roots which were presented as site specific performances in their respective villages. The choice of visuals and dramatic bodily expressions created by them, though a new dance design, was based on their deeply ingrained roots as indigenous Papuans. The roots called upon to be re-interpreted as choreography were based on the oral traditions they grew up with as part of their identity. The focus in this article is on the work by Martinus Akai from the Asmat tribe performed in 2013, and the work by Alfo Smith from the Kamoro Tribe performed in 2018. The purpose of this study is to understand the way Papuan choreographers ingrained in their cultural heritage re-imagine the traditions passed down from ancient times through their ancestors. The research done by the choreographers was in the context of revisiting the rituals and ancestral narratives and interpreting for a contemporary expression. The research done for this paper was based on discussions had with both the choreographers during the process of creating their individual work. Among the methods for collecting data by the choreographers for creating their work was field research, observations, interviews and personal memories experiencing their cultural heritage. The observations by the writers for this article were during the creating process in the studio and on site and viewing the end results both as presentations and site specific performances.