Dance and Science: an analysis of the creative process behind "Transitions", a show by Contemporary Dance Company of UFRJ

Abstract

This study proposes an esthetic reflection on the influence of the biological sciences on dance as a variety of contemporary art. The relationship between science and art in this study is grounded on François Dagognet’s hyperphenomenology, particularly his representation of the major role played by the image-symbol as essential base of present-day scientific activity [1]. Contemporary dance creators and companies such as Wayne Mac Gregor, Phylobolus Dance Company and Liz Lerman Dance Exchange are analyzed, in order to highlight how some biosciences themes are explored as creative potentials in their dance performances [2,3,4]. We aim at relating biological shapes and patterns existing in the cellular and molecular universe with the fundamentals of dance described by Helenita Sá Earp. Earp’s conception posits dance as wide-scoped knowledge, including a “science of dance” where intuition works as basic foundation and its epistemology is made of an open type of knowledge named “dance parameters”, namely motion, space, shape, dynamics and time. These parameters allow establishing access points for multiple connections within the realm of dance. This approach tends to generate a kind of access to body actions stimulating interdisciplinarity between several areas of knowledge [4]. As study-case, we focus methodologically on the processes of esthetic creation involved in the production of a multimedia show entitled “Transitions” by appealing to biochemical notions, especially some features of cytology and cellular morphology, cell proliferation and processes of cellular transportation [5].