It involves creative and critical work that may be performed live, published on the page and exhibited in gallery settings. A current focus is on time- specificity of performance and how to develop a temporal philosophy of live art. He is also the founder and curator of The Practice Gallery, a bespoke pop up gallery that displays materials of interdisciplinary practice as research and a member of Generative Constraints, an interdisciplinary research collective organising conferences, making performances and writing poetry and theory.
His teaching is at the interstices of dance and theatre.
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Dr Sofie Narbed is a cultural geographer and dancer interested in the politics and poetics of moving bodies. Her research focuses on the geographies of contemporary dance in Ecuador and thinks particularly about the intersections of bodily practice, the postcolonial, and the making of 'the contemporary'. Her current research focuses on the mulata as conjurer across spatial and temporal geographies, and the corporeal aesthetics of cool in Latin America. The idea that art is to have value and be for the benefit of society has resulted in a very streamlined aesthetics which seems defined through the plainness with which the message is transported.
Art for its own sake that challenges expectations and leaves audiences puzzled and wondering seems not worth funding. But could students experiment the way they are educated? All those are to be gained through the studying of technique, improvisation and choreography with some contextual frame.
What the practitioners of the Judson Church Dance Theatre wanted to achieve seemed to have been lost. And, in how far has dance making changed in the last five decades and have those changes be sufficiently been entered into education? Therefore, instead of clinging to what was achieved, ways to open up for new pathways should be explored. My paper will explore and compare strategies of making and teaching and the funding related to it in Europe. While I cannot offer solutions, I might offer food for thought. She served as associate lecturer and lecturer at different German and British universities before becoming a senior lecturer and course leader at the University of Northampton.
She received her PhD. Her main research interests are choreomusical relationships and choreographic processes particularly in relation to the choreography of George Balanchine and Anne Teresa de Keersmaeker. She has widely published both in her native language and English. Additionally, the panel explores collaboration, scholarship, and friendship as fluid and significant components of the presenters' relationships, scholarly endeavours, and participation in local and regional communities, whose aesthetic perspectives they variously produce, reflect, resist, and embody.
Joining a range of movement forms and presentational modes and blurring embodied practice with textual and visual discourses, the panel will ponder the divergent and crisscrossing dance trajectories of the three presenters. Through the sometimes overlapping execution of a scored site-specific dance trio and the individual presentations of papers, the panelists reflect on and critically situate their ongoing movement practices.
These practices recognize movement as it exists in studios and performance venues, of course, but link it to the broader navigation across cultural and generational dance worlds as well as academic disciplines and investigative modes—from practice to research, from research to practice, from pedagogy as a nominally discourse-driven phenomenon the traditional classroom to the pedagogy of the studio, primarily situated in an arena of bodies, energy, time, and space.
The panel will also address, in words and movement, the element of friendship as it contributes to collaborative work, a seldom-addressed element of artistic and scholarly development and creativity. Incorporating three short papers with video and performance derived from individual and collective scores, it articulates themes of space, time, site-specific performance, and everyday life encompassed within the presenters' work as dance pedagogues and practitioners.
Through the sometimes overlapping execution of a scored site-specific dance trio and the individual presentations of papers, the panellists reflect on and critically situate their ongoing movement practices. Victoria Hunter Scoring and Siting: Improvisatory Approaches to Site-Specific Dance Making In this presentation Hunter explores approaches to designing and utilizing improvised movement scores within site-specific dance making. Through this critical approach, Hunter considers how movement scores might bring us closer to space and place and, through doing so develop understandings of being-in-the-world.
In this presentation, Brazzale questions the stakes st and disciplinary boundaries of Dance Studies in the 21 century by retracing her first tentative steps into the field twenty years ago and placing them in dialogue with her own dance practice, her tensions with dance as a scholarly discipline and her movements in and out of the subject as well as her long-term and multi-sited relationship with Leslie Satin, her first Dance Studies mentor and then her friend and colleague.
Through this performative autoethnography Brazzale will address the parameters of dance study and the challenges and potentials of dance scholarship. Satin draws on human geography; affect, cultural, and autobiography theory; and phenomenology, as well as on dance, art, and literary scholarship, to contemplate this interaction that poetically merges the formalist and the non-formalist. Her inquiry extends to the aspect of attention as it charges the experience of space, time, and the everyday for the dancer, in rehearsal, performance, or the social choreography of daily life.
This publication explores regionally based site -dance practice in relation to global socio-economic, political and ecological themes through a range of interdisciplinary perspectives that encompass feminist scholarship, human geography, neoliberalism and New Materialist discourses. Her choreography has been presented in numerous NYC venues and elsewhere in the U.
Claudia Brazzale is a dancer, choreographer and scholar originally from Italy. Brazzale holds a Ph. This scholarly intervention proposes a reconvening of the field of dance studies through the affordances of new media. It draws upon transdisciplinary research into contemporary modes of kinesthetic experience within a tangled network incorporating somatic knowledge, site-responsive choreography and virtual environments.
If we are fusions of human and technology, a challenge for dance studies is how to navigate kinaesthetic experience in ways that open understandings and potentials for this altered sense of agency. We are here and we are everywhere at once is an inter-disciplinary project exploring the fractal sense of embodiment that comes from dancing in mixed reality environments. It experiments with how choreography, coding and cultural narratives meet through somatic sensing. Drawing on Skinner Releasing Technique, images from physical environments affect and inform dancers improvisations in a Motion Capture Studio.
The dancers are simultaneously active in tailor-made virtual environments accessed through Virtual Reality headsets. To participate in this experience attendees will be given the opportunity to don a headset and be motion captured. In questioning the status of corporeality as a site for dance as a disciplinary field, this intervention engages in choreographic loops of connection between response, action and experience across physical and virtual thresholds. Delegates will be invited to navigate their own kinaesthetic stories within an expanded vision of dance studies in the digital age.
Visual artist and choreographer Ruth Gibson works across disciplines to produce objects, software and installations in partnership with artist Bruno Martelli. She exhibits in galleries and museums internationally creating award-winning projects using computer games, virtual reality, print and video.
A Senior Research Fellow at the Centre for Dance Research, Coventry University, Gibson investigates and creates new performance spaces playfully addressing the position of the self in relation to technology. Her commitment to the field of interdisciplinary and collaborative research was recognised in when she was awarded a three year Arts and Humanities Research Council AHRC Creative Fellowship to examine image interpretation through motion capture, dance and computer visualisation.
Skinner Releasing Technique underpins her practice, she is a certified SRT teacher and combines the technique with her performance technology research. Her final doctorate performance led to her being invited to become Choreographer in Residence at the Place Theatre London, where she founded Carol Brown Dances. She regularly presents her work internationally and has been programmed by festivals including Roma Europa, Prague Quadrenniale, Dance Umbrella and the Brighton Festival.
Publications include chapters in books and articles in peer reviewed journals on site dance, dance and somatics, bi-cultural collaboration, dance and technology, and sexuate culture. From the late s until the early s, he appeared on stage and screen as a dancer, and sometimes actor, in Britain. The history of contemporary dance in Britain has not been researched in the way US modern dance history has been documented.
Josephs specialised in jazz dance. Because high art and popular entertainment are invariably treated as entirely separate, the ways in which, at any period, both emerge from the same socio-cultural matrix is often not recognised. In , with Professor Christy Adair, he undertook a two year funded research project into British Dance and the African Diaspora which culminated in an exhibition at the International Slavery Museum in Liverpool. English Baccalaureate ; and the consequences of performativity tensions Ball, in dance development e. Chappell, Rolfe, Craft and Jobbins, Young Creatives and Boy Blue Entertainment; the researchers also aim to search out unknown practice to incorporate varied voices.
It aims to contribute to debates about what dance is e. References Ball, S. Journal of Education Policy 18, no. Bell, W. Her research focuses on creativity in arts education e. Dance Partners for Creativity, AHRC-funded, , alongside the contribution this can make to educational futures debates e. Kerry is also a Trustee of the regional organisation Dance in Devon.
She was instrumental in the formation of the National Dance Teachers Association, and still takes an active interest in promoting and developing dance in schools. She regularly writes for journals and presents at conferences in the UK and abroad and serves on various dance, arts and education boards and working groups concerned with youth dance and dance in the curriculum.
Special interests in include; place and role of dance in the school curriculum, dance education policy, curriculum development, training dance artists to work in education and participatory settings, creativity within dance teaching. Her research focuses on dance and new technologies, dance analysis and documentation, somatic dance practice and pedagogy, and inclusive dance. She is also founding editor of the Journal of Dance and Somatic Practices and sits on the editorial boards of several other Journals. Matthew Wyon This panel looks at the emergent discourse between art and science within the field of dance science.
The important role which dance science research and applied practice plays st in dance is becoming more recognised and acknowledged internationally in the 21 century. We explore the current position of both dance science research and the delivery of dance science in the undergraduate and postgraduate curriculum at the University of Wolverhampton and the rippling effects of confluence in these areas across the world.
I will provide practitioner wisdom and some qualitative evidence on how these applications help students maximise their dance practice. I will also discuss how the "small in class trials" have resulted in the creation of hour long movement sessions that can easily be shared in the studio with dancers, dance students and dance teachers to enhance their understanding of dance science applications. Derrick D Brown Bridging the gap: A bibliometric analysis of research on dance in medicine and science Bibliometrics is a quantitative approach to measuring scientific publications generated within a particular field.
It attempts to reveal the breadth as well as the depth of intellectual discourse in emergent and established professional domains across time. It can be particularly useful in revealing connections not immediately evident amongst different scholarships. Dance as a profession has received increased attention in medical, scientific and educational paradigms over the past four decades. Along a spectrum we see at one end an emphasis on pathology and injury reduction while at the other, accents on expertise and performance. As the medical and scientific developments behind professional dance transition from a nascent to an established field, an important question is the effect of this transition on the creation and dissemination of ideas.
This transition is particularly important concerning how and where key networks of research concentration geographically exist. The purpose of this study then is a comprehensive bibliometric depiction of the co- authorship, organisation and bibliographic coupling formed within medical and scientific research comprising recreational, pre and professional dancers between Through research partnerships, collaborations, and combined modes of inquiry, researchers and academics from the United Kingdom are blurring geographical boundaries as they dialogue with international frameworks, in particular, colleagues in the USA.
The field of Dance Medicine and Science, while gaining momentum as a university major in American universities, attracts students globally with both artistic and academic aptitude thereby adding dimension and international frameworks to this field of inquiry. This presentation reveals the relationship between theory and practice in the delivery of dance science modules and dissertations which are embedded in the curriculum at the University of Wolverhampton.
Our dance science curriculum links research, practice and pedagogy and interweaves the previously assumed distinct boundaries of science and art. The curriculum design and practice of dance science in our HE programme is underpinned by current research findings and taught by staff with research expertise in both performance and the dance science field. This enhances the multidimensional approach to the subject, and further informs the training and experience of young dancers, and the development of their education, health and the wellbeing. Encouraging a task-involving learning environment, devised content and delivery is supported by recent findings of the role that dance science has played in illuminating important principles in dance pedagogy.
In addition, the areas studied in dance science are implemented in the studio practice based modules which allows students to reflect on the application of their cross-curricular learning and develop greater self-efficacy in their dance practice. Matthew Wyon Dance Science: the embodiment of art and science Dance is the most physical of the art forms and how the body and mind cope with its demands has only recently become a subject for study. Dance science is a term that encompasses the applied sciences of physiology, psychology and biomechanics, but finds itself between dance and the exercise sciences; it takes the methodologies from the later to apply to the former.
Its aim is to support the artistic process, whether technical or choreographic, in understanding the physical and mental demands the dancers need to cope with and provide evidence-based interventions. Its goals are to reinforce and challenge present practice to enhance performance, reduce injury incidence and augment the health and well-being of dancers. Her undergraduate dance training included study at both conservatoire and liberal arts institutions in Canada, and she gained her MSC Dance Science from the University of Wolverhampton in the UK.
Her varied academic portfolio is evident in the variety of modules she contributes on, both at the undergraduate, and postgraduate levels. Her technique teaching practice is informed by a passion for anatomy, alignment, injury prevention and dance science, whereas her choreographic and creative process works are based on self-portraiture, identity and gender.
Derrick Brown MSc. Dist is a researcher and educator. Janine's is a doctoral candidate at the University of Wolverhampton and her research focuses on aging and spinal range of motion. Janine writes a monthly syndicated blog entitled Bryant's Dance Medicine and Science, for philadelphiadance. Her performance career has spanned over three decades and has included the role of Artistic Director of Springs Dance Company. In education, she has founded and led a number of dance departments in the UK, and been an external advisor for dance companies and universities and is currently an advisor on projects at the University of Oxford, and the University of Cambridge.
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She is a doctoral candidate at the University of Wolverhampton and her research focuses on balance and dance performance. He has worked with numerous dancers and companies within the UK and Europe as an applied physiologist and strength and conditioning coach.
His research focuses on injury epidemiology and performance enhancement in dance; presently he has published over 90 peer- reviewed articles in dance medicine and science. Rebecca Marta D'Andrea. Tracing Invisible Identities: exploring the relevance of the embodiment of our archive of memories in re-shaping our individual and collective orientation in the present moment Through our dancing body engaged in a process of rediscovering and reorienting its archive of memories through a somatic practice, we can access a transformational place of understanding that can shift our perception of the present moment, enhancing a permeability that affects our way of moving as part of it.
How would an overall shift of our parameters of time and space, on a more tangible and practical level, affect our way of coming together in our everyday life, as individuals and social communities, and meet a need of identification and belonging to a wider sense of self? Her work explores improvisational forms of creativity across different mediums, as a way to investigate the role of perception in shaping and being shaped by our environment.
She graduated in Choreography at Dartington College of Arts in , and has ever since continued studying and researching, as well as creating performances and installations in collaboration with other artists and co-organizing performative events to promote the dialogue across art forms. The dance field was one of the most benefited from these politics. Currently, there are 29 Brazilian Universities offering these courses. At least 19 of these universities are public and free.
The purpose of this paper is to reflect about the impact of the creation of undergraduate dance courses in Brazilian public universities on the development of dance studies in this country. How have we been structuring contents and methods to teach dance in the University? Have we been working in collaboration with dance community?
Have we been integrating teaching, scholarly research and artistic practices? Created in , this course is guided by a contextualized model and in tune with both teacher training policies and the promotion of artistic and cultural production. So, the course seeks to integrate teaching, practice based research and an effective collaboration with the artistic community. The situation of dance in Brazilian universities shows that there are still a lot to be done, considering that the creation of these courses is rather new.
The struggle to create and to enhance the undergraduate dance courses is also part of the effort to make advances in dance studies in Brazil. She is also a contemporary dancer. Timmy De Laet. At the Parting of Paradigms. Ontology and Epistemology in Choreographic Reenactment The rise of re-enactment in contemporary dance has opened up new possibilities that go beyond traditional reconstructions.
Rather than reconstituting historical dance works as faithfully as possible, various choreographers e. While re-enactment, in this sense, is often hailed as a timely defiance of the persistent belief in the sheer ephemerality of performance, it seems to divide scholarly discourse into two camps. Whereas, for some, re- enactment epitomizes the impossibility of presence Jones , for others, it exposes a chiasmatic cross-temporality in which the past and the present are intertwined Schneider In this paper, I intend to show that these seemingly opposite opinions result from a confusion of ontological and epistemological arguments.
To this end, I zoom in on three recurrent tropes in the discourse on re-enactment: the body as archive, presence, and temporality. Pursuing a cross-disciplinary dialogue between dance studies e. By tracing the underlying frameworks that inform our ways of looking at re-enactment and its relationship with history, time, memory, and the archive, I aim to take the concrete reality of re-enactment as an impetus to think through its methodological significance for dance studies.
Doris Dornelles de Almeida. Dancer's Embodied Identities in a professional ballet company This paper investigates how dancers' identities are embodied in a professional ballet company, focusing on their daily interactions at work. It is a qualitative ethnographic study of a ballet company involving observation with thirty-nine dancers, twelve interviews including dancers and director , videos, photographies and documents.
The concept of identity expands the boundaries of cognitive, behavioural or representational attributes. Dancer's experience transformational identities - identification and resistance — whilst working in professional dance companies. The dancer's identity is embodied by institutional dimensions explained in this paper as: 1 the experience of exhausting working hours and the experience of 'subject to change'; 2 the embodiment of hierarchy and institutional control; and 3 embodiment of choreographic diversity.
Contributions of this study contemplates the field of Dance and Organizational studies. Founder of Ballet Virtuose dance company.
Dancer with national and international professional experience since Dancer, choreographer and researcher of Human and Social Sciences, Philosophy and Arts, the fields of dance, organizational culture and cultural industry, trough the perspective of social- historical-cultural body and embodiment. The performance is a minute excerpt titled This is… from a full-length dance performance, titled Renaissance, which uses dancing and speaking to investigate how memory can serve as a fundamental line of enquiry to produce improvised contemporary performance.
This is… is designed to develop multiple layers of meaning for both performers and audience through the interrelationship of movement and text. Memory, as the driver in the work, places dual creative and performative demands on us as performers, which is to generate improvised movement and speech drawing from memory, and to commit as much of it to memory as we can in order to revisit and conclude it later on. This is…. Renissance is supported by Arts Council England, Dance4 and De Montfort University Sally Doughty has an established background in dance improvisation practices, is published on her work and has performed throughout the UK and internationally.
Pete Shenton is co- artistic director of New Art Club with an international reputation for making critically acclaimed comedy- dance performances. He has vast experience as choreographer, writer and performer in dance and dance theatre; has been commissioned by Dance Umbrella and directed works for Probe and Scottish Dance Theatre, amongst others. He considers dance material as something that is not fixed set but rather processual setting or settling and disruptive unsettling.
Taught sequences, then, are considered as a means of provoking possibilities for particularity. How might this usefully upset bodily our expectations and assumptions? Jamieson Dryburgh has been a dance artist for over twenty years. Through much of this time he has been a member of the faculty of dance at Trinity Laban. He teaches Contemporary dance technique and Dance Teaching. He is a board member of DanceHE. We argue that a better understanding of the transnational networks of dance touring is critical to placing dance within larger theatrical and cultural systems.
Larger questions of mobility, transportation, infrastructure, and cultural transmission are central to studying dance touring, and digital methods of research and representation can greatly assist scholars in the comparative analysis and interpretation of this phenomenon. While Dunham toured with her company like other mid-century dance artists, she also travelled for film engagements, curatorial work, as well as her own anthropological research, through which she cultivated a global network of support and influence.
This new work broadens the scope of our focus on touring to show the scale of networks surrounding a single mobile artist, and what such networks propose for dance history. Her research sits at the intersections of dance, media, and performance studies, with a recent turn toward leveraging digital tools for scholarly inquiry. Projects underway include a book in contract with University of Minnesota Press, tentatively entitled Dance as Common: Movement as Belonging in Digital Cultures, as well as Mapping Touring, a digital humanities and database project focused on the th performance engagements of early 20 century dance companies.
Callaway Prize—and her research has been supported by many sources, including a Marshall Scholarship, a postdoctoral fellowship in the Andrew W. She has taught at Trinity-Laban, Stanford University, CalArts, and the University of Bristol and also works as a choreographer, curator, and dramaturg. Virginia Farman Dances on Street Corners Dances on Street Corners is the title for a practice led research project that unfolds around a solo performance in which audiences are led on a approximately minute-long journey through an area of urban landscape.
Dances on Street Corners, presents a metaphor for exploration into how choreography can be used to capture the relationship between prescribed, and un-prescribed images within the context of live out door dance performance. Virginia Farman is a freelance choreographer with an established practice in choreographing outdoor performance works that incorporate professional practice with community participation in relation to location. Her choreographic work incorporates contemporary dance and performance techniques with a strong visual aesthetic, humour and irony; blending dance vocabulary with an expressive performance style.
Farman is currently undertaking a practice based doctoral research project into representations of wildness in choreographic compositional practices for non-theatre settings. Rachel Farrer MA. Understanding the independent dancer: Roles, development and success Little research has been published about the varied role of professional independent dancers despite evidence indicating that they make up a large part of the UK dance workforce Burns, Harrison, Where are independent dancers now?
How are they managing their careers? And how are they supported? The aim of this study was to provide insight into the work independent dancers undertake, how their careers change over time, and how they are valued within the sector.
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Semi-structured interviews were conducted with 14 independent dancers. Content analysis revealed that the dancers had multifaceted careers that relied on both formal and informal activities, and varied according to three distinct stages early, middle, late. The experiences reported by the dancers indicated that the realities of their role are not sufficiently recognised or supported within the industry and that a pervading hierarchy continues to inform how independent dancers are valued and understood.
The research provides new evidence about the independent dance sector that is relevant to artists, organisations and educators Rachel Farrer is a Lecturer in Dance at the University of Bedfordshire and recruitment coordinator for the School of Media and Perfomane. Prior to this, she worked as an independent dance artist based in the Midlands, undertaking freelance projects with artists and organisations including Akram Khan, Katie Green, Coventry Performing Arts service and Dance4, as well as working as a visiting lecturer at De Montfort University and the University of Lincoln.
An examination of the role of authenticity within 21 Century choreographic practices This paper discusses current choreographic practices that forefront notions of authenticity and will be examined through the lens of Gestalt Psychotherapy. Drawing on Gestalt conceptions of the contact boundary, relational encounter and field theory the author will explore how the reconfiguration of audience-performer relationships and the assertion of the identity and individuality of the dancer via phenomenological enquiry are shaping st engagement with dance in the 21 Century. Discussions will consider current discourse surrounding dance and authenticity.
Marie Fitzpatrick is a senior lecturer in dance at De Montfort University where she teaches undergraduate and postgraduate courses in Dance and Performing Arts. Her work focuses on the relationship between body, space and environment and how innovative choreographic practice and ideas in relation to embodiment can be used as an investigative tool within a wider context.
Whereas the archive has been challenged most recently with regard to disrupting the idea of being an eternal container of unmovable knowledge towards other more open conceptions, the common denominator stills seems to be based on the assumption that something can be, and has to be preserved. And if records are available: How do they fit into the realm of tangibility when it comes to legal frameworks? The panel addresses those questions, meandering between ontological, theatrical, artistic and legal perspectives.
We will talk about these issues with regard to the archive as a fluid arrangement that triggers reflections on the very generation of meaning, followed by considerations on how an archive could be delineated when the artistic work in question, e. We will then trigger ontological questions, conceiving of the archive as a temporal situation, that also scrutinizes the modalities of the document, and further develop the notion of re-enactment as archival practice that opposes both the discourse on dance as being an ephemeral art from as well as the document as persistent entity.
I suggest that archive today has changed its nature from static to fluid, from perennial to malleable. Its current status within the field of dance and performance is more that of an event than of an authorial institution exerting power on memory making and knowledge transfer. The problem at stake seems to be at what point and according to which processes the meaning of performance actually occurs and in what way relevant knowledge informing the performance can be extracted, communicated, and analysed in discursive situations that of necessity will always lie outside of the realm of presentation.
Alexandrina Hemsley The Amnesiac Archive In one way or another, archives and archivists are not impartial, neutral or objective. I think that archives have the power to make memory and the power to withhold or forget memories. What if you are being forgotten daily? Building up my knowledge of black dance and archives feels a daunting and heavy place.
A heavy place sometimes best ignored because it is too vast and I lack too much. Because the archives of people of colour are insufficient, my ability to conjure up these memories, falters and stalls. My imagination is rendered incomplete. I suggest that I can only imagine what someone before me has already known…? Or already traced…? The amnesia concerning black dance in the UK is by definition more than the personal encounter. It is a social - at times deliberate - forgetting. It leaves a collective searching in its wake.
It is a searching that misleads. Those who have benefited from the privileging of information or history over others, and those who have not, all lack the complete picture. None of us are even close. Whose responsibility is it to keep records? An individual artist? Or does this add to an already exhausting list of things to be concerned with when trying to live with care and make work?
Susanne Foellmer The Archive as Situative Arrangement Since several years, contemporary choreographers have been developing a fortified interest in both dance history, especially from the last years, as well as asking questions with regard to the self- conservation of the own artistic work. Hence the position of the archive is increasingly shifting into the centre of critical debates: as phenomenon, institution and situation. Based on aesthetic fragilities and incompatibilities of the to-be-kept the dance archive is qualified by a phenomenality that gives cause to scrutinize its institutional and hegemonic features.
Mark Franko The Power of Recall in A Post-Ephemeral Era The new investment of dance in the archive concerns the way in which dance displays itself as knowledge of itself in relation to the past. There is a difference between the way reenactment is handled in discourse on art and performance and in dance. I raise the reputation of dance as being ephemeral and suggest that reenactment may be putting an end to the ephemerality trope of dance.
I develop a critique of reconstruction in the light of reenactment and distinguish between the two while maintaining the reenactment is not a wholesale rejection of reconstruction. Instead, reconstruction is a methodology embedded within reenactment while reenactment is a choreographic strategy and dramaturgical modality. This contribution will focus on two: the first is the intersections between dance archives and the legal frameworks for intangible cultural heritage; the second is copyright law.
For the first time in intangible cultural heritage was recognized as a formal part of the international legal framework for the safeguarding of heritage. Although the UK is among a small number of countries that has not yet signed up to the relevant UNESCO Convention, the fact that the majority of the countries in the world have, means that it is likely to be the most important standard setting instrument in this area for the foreseeable future. The Convention places certain obligations on States Parties to safeguard intangible heritage.
Could, or should, dance be comprehended as a formal part of this framework, and if so, what legal and practical consequences might flow? Relatedly, being recognized as intangible cultural heritage under this Convention places obligations on States to make inventories of intangible heritage within their territories. Once an intangible dance is captured in a tangible inventory, this immediately raises questions over copyright: copyright will subsist in at least the recording of the dance if not in the dance itself.
How should that copyright be thought about and managed within the dance community in which there are competing views as to the suitability and usability of copyright in connection with dance? Franz Anton Cramer currently holds the position as visiting professor in dance studies at Salzburg University. Prior to this, from till , he was Visiting Professor at the Centre national de la danse in Paris. Franz Anton Cramer is living in Berlin.
Susanne Foellmer. Mark Franko. Laura H. Alexandrina Hemsley is a performer and choreographer.
Her practice aims to celebrate and reclaim her identity as a mixed-race woman and challenge the various cultural frameworks that mark, violate and subjugate these bodies. Her writing finds its home on Feminist Shakedown. She is an associate at The Yard Theatre. Charlotte Waelde. My research is inspired by my desire to deepen and expand my knowledge around how the legal frameworks regulating intellectual property in general and copyright in particular are shaped in response to developments in technology. Allied to this is my quest to understand how those laws impact upon the work of those to whom they seek to regulate.
Most recently my research has moved into the domain of intangible cultural heritage where I focus on how contemporary practices can become part of the heritage ecosystem and, importantly, how such practices can then benefit from the formal, and protective legal frameworks. Is taking a position inevitable?
What are the dangers and possibilities of in-between positions? Based on this general outcome, we wish to examine further the meaning of positioning in relation to dance studies and expanded choreography, as these fields take shape across the geopolitical areas of the UK and the rest of Europe, and to explore what dance — with its fluctuating yet clearly situational form — can offer to an understanding of positioning as a socio-political practice. What does it mean for the individual and collective bodies of dance artists to be positioned during the age of digital ubiquity, cultural mobility, and economic instability?
By facilitating an in situ and collaborative enquiry into our topic, we hope to explore and support the politics of participation in the process of knowledge production. Elisa Frasson is an Italian dance scholar, movement educator and dancer, currently based in Venice. Beside her artistic projects, selected for some festivals e.
Recently, she has started to be interested and involved in the works of creative independent organizations in the under-researched Venetian area. Particularly, in she has analysed some specific groups and has presented her work in some international conferences. Ariadne Mikou born is an interdisciplinary dance artist, movement educator and emergent dance scholar from Greece interested in screen dance, dance installations and technologically mediated performances. She is currently pursuing her practice-as-research PhD Department of Dance, The University of Roehampton funded for three consecutive years by the University of Roehampton.
Her research concentrates on the body-spatial forms emerged from the intersection of expanded choreography, architecture and film. Betina Panagiotara is a journalist and dance researcher living and working between Athens and London. She is currently on a PhD research at the University of Roehampton looking at contemporary dance in Greece during the socio-political crisis, focusing on emerging artistic practices and collective working modes.
She collaborates with festivals and artists in research and production, and works as journalist with international media. Her research interests are artistic production modes, ethnography, politics, history, and animation in performance. Claire French Choreographic Process as Social Cognition The paper highlights cognitive processes relevant to choreographic engagement, shifting the focus away from the process of dancers learning and memorising dance steps and toward the identification, communication, and transposition of concepts and ideas through physical and verbal exchange.
I present a choreographic perspective on the socio-temporal space of the studio, where interactivity between the choreographic and the performative—between dancers and choreographers—is implicit. The aesthetic product is thus an accumulation of the types of choreographic and performative knowledges communicated and revealed in the process.
Choreographic concepts are to some extent cultivated and generated in a real-time social space, impacted and informed by intersubjectivity Buber, Arendt. These shared knowledges form a social cognition—the work itself a new entity, resultant of the group. This approach enables debate about the slippage between the choreographic and the performative, at once problematizing and essentialising the inter-relational capacities of these two forms. The paper discusses its operational, interrelational components and, drawing on my own creation process for a new contemporary dance work and observations of other contemporary dance works considers these in direct correlation with choreographic practice.
Claire French is a choreographer with over 20 years of diverse, international experience. Alongside composer James Maxwell, she is co-artistic director of Restless Productions. The company presents large and small scale collaborative works internationally. In , she founded Project CPR Choreographic Practice and Research - an annual choreographic mentoring program, now in its eighth year. Medical writers in particular saw evidence of disruptive corporeality in history books, clinics and streets. But kinesis also underscores a temporal to-and-fro, not just a disciplinary or geopolitical one.
The present, in this kinetic view, recalls the past presently: the present, in recalling the past, becomes activated, mobile, through a continually reconstituted experience of historicity, what historian and philosopher of history F. For Kierkegaard as for Nietzsche, present and past are not just indissociable; the notion of the past suffuses the present with its constant presencing.
Writing history for Nietzsche was an exercise in making the present more alive through its sublime encounter with antiquity. But this present notion of the past is also suffused with fantasy, the performative qualities of fiction. Dance in particular, frequently cast as inchoate corporeality, serves as a privileged site for historical phantasmatization, offering writers a preverbal space of illegibility whose apparent proximity to a primeval state signals a privileged form of historicity approaching ahistoricity, its origin and negation.
She is co-editor of the forthcoming Theatre, Performance, Foucault! She has collaborated widely in Europe and North America on dance, theatre and opera productions as a dancer, choreographer, actor, director, translator, librettist, dramaturge and curator. Professor Christy Adair, Dr Laura Griffiths Intergenerational Dance Revival: the multiple contexts and values of revisiting historical dance repertoire This paper presents a critical narrative surrounding the role of past dance making and performance contexts in the present.
It considers the value of historical dance repertoire and the place of multi-generational dancers in the presentation of such repertoire. The discussion refers to the revival work undertaken by the company in Autumn whereby a key piece of repertoire, Nightlife at the Flamingo has been re-staged by three generations of company dancers, including those who originally performed the work.
Characteristically, the work incorporates Jazz, Lindy-hop and contemporary styles which were those favoured by the early company members and co-founders in the s. The cultural specificity of the experience embedded within the choreography is distinct from that of the current dance company. Therefore, how this translates across different generations of shared performers raises key issues around embodiment and archival practice.
In particular, it prompts consideration of how the body as archive can inform the creative process within dance revival work. This paper will offer critical insight into the shifting cultural contexts within which the company has existed and how these are highlighted, challenged and reinforced through the process of re-staging historical dance works. Her research continues to investigate contemporary dance in Africa and the Diaspora.
Her research interests, developed in Women and Dance: sylphs and sirens Macmillan: continue to focus on gender and ethnicity in relation to dance studies and performance. This focused upon notions of the body as archive and the intersection between dance practice and archival principles. She has published her work in the International Journal of Performance Arts and Digital Media, recently edited a special issue of Choreographic Practices and has two book chapters forthcoming in Professional industry experience has encompassed project management within the arts, dance teaching in community settings, lecturing and research project assistance.
Previous appointments have included visiting lectureships and Teaching Fellow in Performance and Archival Practices at the University of Leeds. The first presentation analyses the dual and sometimes triple professional identities Spours and Hodgson, of dance tutors in higher education, which present a range of tensions emanating from the wider dance profession, dance as an academic discipline and regulatory factors which underpin accountability and compliance Becher and Trowler, ; Robson, ; Barnett and di Napoli, ; Fanghanel, Reflection on how dance tutors negotiate these tensions reveals that notions of what it is to be a dance tutor in higher education is multi-faceted and wide-ranging.
The second presentation explores some of the challenges associated with developing dance curricula which prepare graduates for diverse careers in dance teaching while also addressing the numerous regulatory requirements faced by higher education, including increased emphasis on student employability and digital literacy QAA, The presentation considers the complex educational landscape that informs international dance teacher education by discussing two selected case studies: the collaborative practices that inform curriculum design and development of dance education specific assessment grade descriptors.
The final presentation focuses on the transition from undergraduate to postgraduate study that trainee dance teachers undergo whilst completing a Postgraduate Certificate in Education PGCE in Dance Teaching. The presentation outlines the challenges trainee teachers face, including the emphasis on autonomous learning within postgraduate contexts, and the managing of differing expectations and approaches to learning Harvey et al, ; Schupp, As such, one can question how the pressure of having to fulfil academic and professional expectations might impact Initial Teacher Training recruitment and retention of high quality applicants Department for Education, References Barnett, R.
Voicing Perspectives. London: Routledge, Kindle file. Becher, T. Department for Education. Accessed 28 September Fanghanel, J. Abingdon, Oxon: Routledge. Harvey, L. Drew, and M. Accessed 22 September Gloucester: QAA. Robson, J. Journal of Dance Education, vol. Spours, K. Summer 13 , Michelle Groves, MA, BSc Hons , BPhil Hons , Doctoral candidate UCL, Institute of Education, has a wealth of experience spanning over 30 years in the teaching of dance, dance training and dance education across private and vocational schools, higher and further education and community contexts. Having established a wide-ranging freelance career as a professional dancer and educator, Michelle joined the Faculty of Education at the Royal Academy of Dance in She has extensive experience in tutoring, leadership and management across a range of undergraduate, postgraduate and professional programmes.
She now oversees the strategic development of learning and teaching and contributes actively to the quality assurance and enhancement processes that ensure compliance with academic and professional standards. Her previous freelance career included teaching extensively across the private, public and leisure sectors. As a graduate of The Royal Academy of Dance and the University of Roehampton, Verity has developed comprehensive knowledge of dance pedagogy, both within the public and private sectors. Verity's research interests cover Gifted and Talented education, reflective practice and secondary dance curriculum design.
Cultural studies, therefore, offered dance studies an escape from the limitations of history practiced more conventionally. But this paper intervenes to ask whether dance studies been too hasty and unnecessarily harsh in its condemnation of history. As Gay Morris points out, key cultural studies foundational thinkers advocated historical method Morris: While Anglo-American generated dance studies might endure as a dominant model for dance scholarship, this paper suggests it too can now be historicized.
A recent article examined historicity in postmodern Brechtian dance performance Dance Research, The dance department had invited British choreographer and visual artist Florence Peake to work with students to re-create one of her pieces. The piece addressed and critiqued, however subtly and somewhat un-intentionally, the corporate market-driven image of the University, the impetus towards treating students as consumers as opposed to producers of knowledge and the neoliberal commercialisation of education in the current UK HE climate.
Antje Hildebrandt is a choreographer, performer, researcher and lecturer based in the UK. Her work, which takes the form of conventional theatre pieces as well as site-specific works, videos and installations, has been presented in various platforms, festivals and galleries in the UK, Germany, Greece, Italy and Sweden. Antje is a member of Trio, a collective of four artists who are interested in collaborative performance practice. Antje holds a practice-led PhD on post-conceptual dance and expanded choreographic performance practices. Detta Howe Unknown choices…Unspoken voices.
As an artist, this practice allows her to experience a lost body; as an educator, it allows space for others to experience theirs. Awareness in Motion is an evolving somatic practice in which Detta uses words to find the body; body to find a language; language to find a voice. Connecting with our bony architecture through the Feldenkrais method, we delve beneath the skin to access new movement pathways; enriching bodied sensation to encourage letting go of the held, external image of self and instead experiencing the lesser known, felt self.
This story helps explain a historical paradox: how the uniquely American system of formal presidential control over prosecution evolved alongside the norms and structures of professional independence. Labels: Legal profession , Politics , Scholarship -- Articles and essays. March Issue of Reviews in American History. The March issue of Reviews in American History is out.
Full content is available to subscribers only, but here's a peak at some reviews of interest:. He holds a Ph. Von der Linn has an ongoing interest in the history of American legal education. The talk is free and open to the public. Hat tip: H-Law. Weekend Roundup. Magliocca and my Georgetown Law colleague Marty Lederman , who provided me with this link to Felix Frankfurter and Thomas Corcoran's draft and this link to the final text , were struck by what Marty calls FDR's " swagger, disdain and passion," in what is, in effect, "a victory lap," notwithstanding the defeat of the Court-packing plan.
A few months ago, after my message to the Congress on the rejuvenation of the Judiciary, the Odd Man admitted that the Court had been wrong—for all those twenty years—and overruled himself. Check out the for me, at least arresting photograph of the "authors of the history of the Supreme Court of the United States meet in the Library of Congress, June , ": Charles Fairman, Paul A. Freund, Carl B. Swisher, Phil C. Neal, Alexander M. Bickel, and Julius Goebel, Jr. How about a restaging with more recent contributors to the Holmes Devise? With ASLH presidents? The Reports of the Advisory Committee on the Records of Congress including the fifth and latest are here.
Check out the Roman Law Exhibit in person or on-line. Nixon began a secret bombing campaign in Cambodia, sending B bombers over the border from South Vietnam. Read on here. Labels: War , war on terror. Banner's "Baseball Trust". Saith the press: The impact of antitrust law on sports is in the news all the time, especially when there is labor conflict between players and owners, or when a team wants to move to a new city.
- Lesson Plans Taltos: Lives of the Mayfair Witches.
- A Sword in the River.
- Table of contents.
And if the majority of Americans have only the vaguest sense of what antitrust law is, most know one thing about it-that baseball is exempt. In The Baseball Trust , legal historian Stuart Banner illuminates the series of court rulings that resulted in one of the most curious features of our legal system-baseball's exemption from antitrust law. A serious baseball fan, Banner provides a thoroughly entertaining history of the game as seen through the prism of an extraordinary series of courtroom battles, ranging from to the present.
Why We Hate Abstract Painting Right Now
The book looks at such pivotal cases as the Supreme Court case which held that federal antitrust laws did not apply to baseball; the Flood v. Kuhn decision that declared that baseball is exempt even from state antitrust laws; and several cases from the s, one involving boxing and the other football, that made clear that the exemption is only for baseball, not for sports in general.
Banner reveals that for all the well-documented foibles of major league owners, baseball has consistently received and followed antitrust advice from leading lawyers, shrewd legal advice that eventually won for baseball a protected legal status enjoyed by no other industry in America. As Banner tells this fascinating story, he also provides an important reminder of the path-dependent nature of the American legal system. At each step, judges and legislators made decisions that were perfectly sensible when considered one at a time, but that in total yielded an outcome-baseball's exemption from antitrust law-that makes no sense at all.
As you might expect, baseball fans in the ranks of American legal historians have stepped up to the plate and blurbed away: "This is the best single-volume history of baseball's antitrust exemption. Banner does an excellent job mining primary sources to show how savvy lawyers and baseball officials laid the groundwork for 'baseball's bizarre monopoly. This is a tale that needed to be told. Nearly everyone agrees that the exemption, which is not available to other professional sports, makes very little sense as a matter of law or economics. Stuart Banner demonstrates that the exemption was not intended to serve the usual reason for avoiding anti-trust laws, but rather to preserve baseball's 'reserve clause,' which bound players indefinitely to their clubs and thereby reduced the players' leverage.
By following shrewd advice from lawyers, organized baseball was able to convince both the courts and Congress that replacing the reserve clause with free agency would undermine competitive balance. Even though this turned out not to be the case, baseball's anti-trust exemption remains in place. Banner's book will be the place to start in understanding that curious anomaly. Edward White, author of Creating the National Pastime. Kirmse , ed. Here's a description from the University of Chicago Press which is distributing the book for Campus Verlag : Examining new archival material from the nineteenth and early twentieth centuries, One Law for All?
The essays collected here analyze the legal sphere as a site of struggle, both in debate and in everyday life, from the level of universal aspirations to particular local practices. The contributors explore the ways in which both lawmakers and ordinary people talk about and actively use the law, thereby telling a story of contested European hegemony, local assertions, and multiple legal borrowings. Kirmse 9. A Step for the "Whole Civilized World"? Siegel and Greenhouse, "Backlash to the Future?
Here's the abstract:. Thursday, March 21, Dean Daniel Hamilton! The William S. Hamilton , now of the University of Illinois's law faculty, as dean. According to the announcement: Dean-Elect Hamilton received his Ph. He received his J. He teaches property law, legal history, and constitutional law, and he researches and writes primarily on American property ideology and the legal and constitutional issues raised by the Civil War.
A press release is here. Labels: Historians. The press explains: Best known for his edition of Blackstone's Commentaries , St. George Tucker , a lawyer and judge in the state and federal courts of Virginia, played a central role in the legal history of post-Revolutionary Virginia and of the new nation.
This comprehensive three-volume edition of Tucker's law reports and selected loose papers, edited by Charles F. Hobson, is an unsurpassed archive for studying the "republicanization" of the common law as it unfolded in the commonwealth of Virginia. In addition, Tucker's papers provide an invaluable source for tracking Virginia's efforts to establish a system of state superior courts operating alongside the older county court system dating from the colonial period.
Tucker's reports fill a documentary gap caused by the fire that destroyed Virginia's higher court records. The editor's general introduction supplies an informative overview of Tucker's life and judicial career. Editorial aids and appendixes include a guide to Tucker's abbreviations, a short-title bibliography, a glossary of selected legal terms, a biographical register of the Virginia bench and bar, and correspondence and documents relating to the rupture between Tucker and Spencer Roane.
Here are the blurbs: "St. George Tucker belongs with James Kent as one of the most important and influential legal thinkers of the post-Revolutionary era. His reports provide crucial insight into the legal debates shaping major ideological issues such as slavery, crime and punishment, debt regulation, the power between church and state, judicial review, and the common law in the new nation.
Through the lens of a deeply divided court, we see these abstract intellectual questions made concrete in legal decisions affecting actual people. This is a real gift. George Tucker was a towering figure among lawyers and judges of the early republic. His papers offer a comprehensive picture of law in Virginia across forty years, from the technical minutiae of procedure to broader questions of inheritance, contract, debt, land title, crime, and more, including whether a person was slave or free. This superbly executed edition will be an essential resource for anyone interested in the development of American law in a crucial period of its history.
Mann, Harvard Law School. March issue of the Journal of American History. The March issue of the Journal of American History is out. Subscribers may access full content online. Kate Masur shows that unprecedented opportunities for federal employment opened to African Americans at the same time. Her article follows a remarkable woman named Kate Brown from her work as a restroom attendant in the U. Capitol to her protest against discrimination on a local railroad to her marriage and divorce.
This history offers a human—scale perspective on African Americans and Republican patronage in the Civil War era and shows how access to government work shaped black life in Washington, D. It reveals something of the mechanics of patronage: how African Americans mobilized their connections to prominent whites, and to one another, to create opportunities for advancement. It also allows us to see how public protest was woven into an individual life preoccupied, as well, with making a living, sustaining and breaking kinship ties, and creating a safe and satisfying personal existence.
The Moment of Transition: State Officials, the Federal Government, and the Formation of American Immigration Policy The Immigration Act of was the first general immigration legislation at the national level with exclusion and deportation clauses. He also argues that the roots of the almost—unlimited official power in determining the excludability and deportability of aliens, which characterized federal immigration control from the late nineteenth century onward, lay in the administration of the act by state officials in New York and Massachusetts.
Buckley Jr. According to the announcement: This one-day conference will explore ways in which region affected the "packaging" of legal traditions within disparate cultures that flourished in geographic contiguity between the sixth and the twelfth centuries. Students of late Roman, Sassanian, Byzantine, Jewish, Islamic and Christian canon law will consider how their respective traditions of law were shaped by such extra-legal phenomena as patronage networks, institutions, circumstances of material production, compositional choices, modes of disseminating law and jurisprudential theories.
By facilitating awareness of the regionalism of certain formative, extra-legal factors, this cross-cultural collaboration should stimulate new avenues of historical research. Graduate students from outside the Philadelphia area may be eligible for a modest transportation stipend. Those interested should contact Chrissy Walsh at chwalsh sas. Joel H. Smith Smith, an early piracy case, has influenced developments in both domestic and international law on piracy, universal jurisdiction, and a range of broader themes.
This article is the first to explore the context within which the case arose, as well as the circumstances of the case itself. In addition to the details of the case, the story of the men prosecuted for their cruise aboard the vessel known as the Irresistible in the late spring and early summer of also offers a window into important issues of the day, including growing federal assertions of power over the states, the roles of Congress and the courts in defining and punishing piracy under the Constitution, theories of punishment, and the power of the press. More from Quid Pro Books.
Yesterday the mail brought another reminder of the value for legal historians of Quid Pro Books , a press created and run by Alan Childress of Tulane Law. First, it publishes out-of-print classics. Although the press publishes in all the electronic formats you'd expect, I'll reveal my biases and confess that it is a real pleasure to hold in my hands a paperback copy of Harry N. How nice as well that our students can download an electronic edition of Karl N.
Second, Quid Pro has published festschriften and other conference volumes. My recent mailing inlcuded Law and the Quest for Justice , ed. Marjorie S. Walsh, a volume that honors John P. Frank , whose remarkable career took him from a realist legal education at the Wisconsin Law School of Lloyd Garrison and Willard Hurst, to a clerkship with Hugo Black, to an SJD at Yale and a somewhat peripatetic and prolific period in legal education, to the Phoenix bar, where he litigated Miranda , advocated for reforms of the federal judiciary and lawyered for the Arizona Democratic Party.
Finally, Quid Pro Brooks has published useful histories by working lawyers who might not otherwise find a press. Labels: Publishing advice , Scholarship -- Books. Legal scholarship has principally focused on the changes that occurred in three areas — federalism, delegation, and economic liberty. This Article identifies a new and important fourth element of New Deal constitutionalism: a change in the constitutional doctrine of due process notice, the doctrine that specifies the minimum standards for constitutionally adequate notice of the law.