Suchergebnisse

One of the core objectives of dance philosophy is research into dance movements as the main means of artistic expression in choreography. This article aims to break the tether of semiotic interpretation of dance movements, to analyze them outside the context of any corporal movement-based practice, and to determine their ontological base, being an irrevocable and immanent quality of human nature itself. Based on various research works in the fields of philosophy, culture studies and art studies, the nature and spe-cific features of the choreographic arts' expressive language are defined. Semiotic approach to the expressive specifics of dance movements is critically re-evaluated. Its limitations connected with the inter-pretation of the nature of dance movements in the context of understanding the nature of art are substanti-ated. With the help of the method of phenomenological reduction, the dance is represented as an inde-pendent phenomenon. Three important qualities of the nature of dance movements are identified: they oc-cur spontaneously under the influence of positive emotions, have a connection with a person's special mental state, contribute to the harmonization of a person's lifeworld. Dancing is characterized by «happi-ness affect», being a source of an individual's motional activity. This is the state of happiness, positive and joyful emotions that direct a person towards self-actualization. The research is novel in that it defines the ontological aspect of dance movements as those occurring as a result of the «happiness affect» and transferring the energy arising in the human body into an objectified form. Feeling the increased ability of their body to act and its internal energy, doing dance movements, a person experiences satisfaction and joy, and as a result harmony fills their lifeworld.

Focuses on ethical issues confronting Western theatrical dance, from treatment of dancers to choreography, dance criticism, presenting and paradigm shifts in the dance field. It aims to equip dance artists with alternative frameworks and ethical decision-making skills for different stages of their careers and with dignity and respect.

Because dance materializes through and for people, because we learn to dance from others and often present dance to others, the moment of its transmission is one of dance's central and defining features. Valuing Dance looks at the occasion when dancing passes from one person to another as an act of exchange, one that is redolent with symbolic meanings, including those associated with its history and all the labor that has gone into its making. It examines two ways that dance can be exchanged, as commodity and as gift, reflecting on how each establishes dance's relative worth and merit differently. When and why do we give dance? Where and to whom do we sell it? How are such acts of exchange rationalized and justified? Valuing Dance poses these questions in order to contribute to a conversation around what dance is, what it does, and why it matters.

Cover Page -- Author Bio -- Talking Dance -- Title Page -- Copyright Page -- Dedication -- Table of Contents -- Illustrations -- Acknowledgements -- Series preface -- Introduction -- 1: Beginnings -- 2: Learning -- 3: Making -- 4: Performing -- 5: Teaching and teachers -- 6: Family, relationships and meetings -- 7: Heritage and history -- 8: Change and turning points -- 9: Travelling -- 10: Futures, challenges and questions -- List of interviewees -- List of references -- Glossary -- Notes -- Index.

The art of dancing involves the motions of many body parts, particularly those that are rhythmically and musical. Modern dance is viewed as a type of nonverbal interaction that may be utilized to convey ideas, feelings, or even a narrative. Modern dances might be communal, audience-participatory, or both. Thus, following how the concept is used in the fast-expanding subject of the theory of dance, "philosophy" is understood widely here. Dance philosophy has a tone of promise, in part because dance is so diverse that it may have connections to many different schools of thought. Modern dance has been practiced for a variety of goals all over civilization, including medicinal, economic, societal, cultural, and religious ones. Hence, in this paper, we review the conceptual foundations of Modern dance and how Marxist Philosophy was employed to create it. A recurrent procedures linear mixed model was developed for the study to predict a creative score and ascertain the impact of the key factors under consideration: experience and competence. The analysis of variance (ANOVA) was used to compare the average ratings of dance performance videos, and Pearson's correlation was used to investigate the relationships between the evaluations.

The first systematic reading of Gilles Deleuze's mature philosophy through the lens of creative practiceSix authors – two fine artists, a dancer, a creative writer, a designer and a philosopher – open multiple dialogues between contemporary creative practices and the generative philosophy of Deleuze. These conversations are focused around key aspects of production: forming, framing, experiencing, encountering and practising.Key FeaturesMaintains a rigorous relationship with Deleuze's texts, including Difference and Repetition and A Thousand PlateausGives creative practitioners a way to engage creatively with the ideas of DeleuzeDemonstrates a creative approach for philosophers to engage conceptually with arts practitioners With an introduction by Gregory Flaxman

Both the identity of dance and that of theory are at risk as soon as the two intertwine. This anthology collects observations by choreographers and scholars, dancers, dramaturges and dance theorists in an effort to trace the multiple ways in which dance and theory correlate and redefine each other: What is the nature of their relationship? How can we outline a theory of dance from our particular historical perspective which will cover dance both as a practice and as an academic concept? The contributions examine which concepts, interdependencies and discontinuities of dance and theory are relevant today and promise to engage us in the future. They address crucial topics of the current debate in dance and performance studies such as artistic research, aesthetics, politics, visuality, archives, and the »next generation«

Biographical note: Gabriele Brandstetter is Professor of Theatre and Dance Studies at the Freie Universität Berlin, Germany, and Director of the Institute for Movement Research. Her research fields are theory of re-presentation, concepts of body and movement in writing, visuals and performance and research on dance and theatricality. Gabriele Klein is Professor of Sociology of Movement and Dance and Director of Performance Studies at the University of Hamburg, Germany. Her research fields are social and political theory of dance, choreography and performance, body and gender politics, urban and transnational dance cultures.

Introduction -- Dance and organisation studies -- Dance as a metaphor -- Kinaesthetic politics (gender) -- Kinaesthetic empathy (leadership) -- Choreography (collaboration and space) -- Kinaesthetic training (arts-based interventions) -- Dance as a method (research) -- Concluding thoughts

This article presents examples of the relationship between culture, dance, and the body in the fields of communication (with oneself, the community, God/deity), the social hierarchy, social values, relations between the individual and the group, and relations between genders, from the perspective of the sociology of the dance. The sociological perspective also indicates the various historical, ritual, control, and regulatory roles that traditional and modern dances play in the communities in which they arise and are performed. The second part of the text contains a case study of the Japanese ankoku butoh dance. The author presents the philosophical roots of the dance (e.g., Japanese mythology, Zen Buddhist philosophy) and the creator's personal experiences (childhood trauma and post-war social situation) as factors that influenced the dance's development. The example of ankoku butoh illustrates the interrelation between cultural meanings and dance movements.