Contemporary Dance Research Articles

Use of Computer Technology in the Internet Using the Youtube in Teaching and Learning Student Basic Technique Dances Contemporary University of Malaysia Terengganu

This article will discuss the use of computers in internet access through the use of you tube in learning and teaching beginners the techniques of contemporary dances moves. In this regard, the application of internet usage is so widespread around the world that it has the potential to help the student learning process. Besides being able to stimulate students learning interest in learning and mastering basic techniques of body movement and learning as a beginner of dance moves. Besides, how to control the internet access like you tube is limited just to help students learn. In addition, using the internet as one of teaching tools in the classroom and learning the basic techniques of dance movement can help attract students with background in different programs of study taking dance classes in the classroom learning process. In addition, researching the effectiveness of implementing internet teaching applications has the potential to enhance the learning skills of students who attend dance classes. In addition researching the extent to which the internet can interest students in learning. In addition, research on the frequency of students use of computers from internet access includes you tube, cd rom, video during dance class learning. The design of the research is based on observations and questionnaires with a sample of twenty students who have taken basic dance classes at the University of Malaysia Terengganu. In addition, researching dance can create physical intelligence and improve student mindset. The questionnaire was used to measure the frequency of internet use in teaching basic dance techniques among students and to student’s interest in learning dance. Data collection was conducted on twenty students attending dance classes at University Malaysia of Terengganu. This data collection is done using a questionnaire that covers various items on the application of teaching you tube, cd rom, video in developing basic skills of dance technique in beginner to basic learning in dance class. Re-documenting this study could add further sources of reference to other researchers in the future.

The Briarwood Ballet: An Artistic Expansion

Synopsis: Briarwood Ballet in Birmingham, Alabama, was a non-profit organization that provided classical ballet and contemporary dance classes under a mission of spreading the Christian gospel through dance. In late 2015 Executive Director Peggy Townes was considering whether Briarwood Ballet should attempt to target a wider, more secular audience through additional performances. A move in this direction would have administrative, artistic, staffing, and financial implications. It could also heighten the tension between the religious mission of the organization and Peggy’s desire to have Briarwood Ballet be viewed as a professional ballet troupe with quality equal to that of secular dance companies. Research Methodology: This field case was written based on first-person interviews conducted over a period of four months (January to April, 2015) with follow-up interviews (October and December, 2015). These interviews were conducted both in person and over the phone, with follow-up information provided through email. In addition, Briarwood Ballet provided source documents, including financial, marketing, and administrative material. The case authors also used the company’s external website (http://briarwood.org/ballet) as a source of information as well as secondary sources to gain insight into the overall industry and the Birmingham community. None of the information provided in the case is disguised. Relevant Courses and Levels: This case would be most appropriate for capstone courses in strategic/general management for undergraduate students. It would also be highly applicable for specialized business courses in nonprofit management and arts management. It can be positioned early on in a strategic management course to help students get familiar with case analysis while focusing on the role of a mission in an organization. It is designed to be used in a 75-90-minute class. Theoretical Basis: This case is focused on the role of mission and vision in nonprofits as linked to strategic analysis and planning. It builds on a number of theoretical models related to mission analysis and strategy creation as outlined in detail in the instructor’s manual.

Effect of Pronated And Supinated Foot Postures on Static and Dynamic Balance in Dancers

Aim: Foot being the most distal segment represents a relatively small Base of Support (BOS) on which theentire body maintains balance. Postural control is not a fully automatic process, requires a certain level ofattention to maintain balance. A minor biomechanical alteration can disrupt the process. Hence the currentstudy aims to assess the static and dynamic balance of contemporary dancers with altered foot posture.Methodology: Altered foot posture was assessed using the Navicular drop test following that the staticbalance (using the flamingo balance test) and dynamic balance (using star excursion balance test (SEBT))were assessed in 30 contemporary dancers.Results: Out of 30 dancers (21 had pronated foot, 8 had neutral and 1 with supinated foot). Strong correlationwas found between the foot posture and the static balance (r=0.753; right foot and r=0.702; left foot). SEBTshowed that balance was affected in certain directions which were different for the dancers with differentfoot alterations. Supinated foot showed affection in anterior and antero-medial directions and pronated footshowed alterations in posterior, postero-lateral and lateral directions.Conclusion: Overall the study showed that contemporary dancers are affected most with the pronated footproposing higher risk of injuries in future and the overall reach distance was affected in supinated footcompared to neutral foot and pronated foot.

Young, talented dancers in contemporary dance training: widening participation and fair access, rhetoric or reality?

ABSTRACT Socio-economic disadvantage can be a significant barrier to accessing high-quality dance training for young, talented dancers. Government policy and strategy relating to widening participation and talent development in the UK are premised on raising aspirations and meritocracy. This article uses Pierre Bourdieu’s conceptual framework of field, capital and habitus to examine social variations, that can act as barriers to talent identification and talent development in dance. An interview study was undertaken with 33 talented, contemporary dancers, between the ages of 13–16 years, from a variety of backgrounds, about their experiences prior to and during their participation in a dance Centre of Advanced Training programme. Findings suggest the dancers’ have experienced barriers to access, but also capital gain, symbolic exchange and transformative potential.

The Phenomenology of the Body Schema and Contemporary Dance Practice: The Example of “Gaga”

ABSTRACT In recent years, the notion of the body schema has been widely discussed, in particular in fields connecting philosophy, cognitive science, and dance studies, as it seems to have bearing across disciplines in a fruitful way. A main source in this literature is Shaun Gallagher’s distinction between the body schema—the “pre-noetic” conditions of bodily performance—and the body image—the body as intentional object—, another is Merleau-Ponty’s writings on the living body, that Gallagher often draws upon. In this paper, I will first discuss Gallagher’s presumed clarification of body schema–body image, and discuss a recent critique by Saint Aubert (2013), who evaluates it against the backdrop of Merleau-Ponty’s thoughts on this issue. While I believe that Saint Aubert’s criticism overshoots the mark, it is useful for a clarification of Gallagher’s analysis and points to a problematic feature, namely the alleged inscrutability of the body schema to phenomenological reflection. This is particularly interesting in relation to contemporary dance and performance practice, where working with—and against—habitual structures is a core element. Certain contemporary training techniques are explicitly aimed at raising awareness of those bodily aspects that condition movement and expression—that Gallagher sees as pertaining to the body schema—and that in ordinary activities often remain hidden. In order to clarify the role that reflection on our own body and its habitual patterns plays in contemporary dance practice, I will examine the movement language and improvisation practice “Gaga,” where this aspect is arguably fundamental.

Dances with laws: from metaphor to methodology

ABSTRACT Though law in/and/as performance is a burgeoning area of scholarship, with scholars exploring the relation between theatre, music and law, there is substantially less attention paid to the possibilities of dancing the law. In this article, the author identifies three styles of legal dance – (1) dance as legal practice, (2) dance as legal resolution, and (3) dance as legal research – providing case studies of each from amongst contemporary dance practice. Drawing from this legal dance practice and a survey of the existing field of dance and law research, the author asserts then challenges some common dichotomies between dance and law, most predominant of which is the claim that dance is body oriented whereas law is word oriented. Arguing against this common dichotomy, as the curtains close, the author choreographs the beginnings of dance as an embodied jurisprudence – one that moves the discussion of dance and law from metaphor to methodology.

Annotating the captured dance: reflections on the role of tool-creation

ABSTRACT The WhoLoDancE project was a three-year EU-funded project that bridges dance with research in movement computing. One of the outcomes of this project was a web-based Movement Library that includes a large number of motion-captured sequences of contemporary dance, ballet, Greek folk and flamenco, and allows the users to annotate the content by selecting predefined tags or writing new ones. During the different stages of the project, such as defining specific movement sequences to capture, developing the conceptual framework for the analysis, and designing interfaces for learning, language applied to dance was a key aspect to drive research. In this paper, we reflect on how the annotation tool and the whole process provides an instrument to study the contexts and procedures for conceptualising dance. We envision that dance annotation based on language, creates new opportunities for ethnographic and practice-based participatory research.

Body adaptation to Dance: A Gerontological Perspective.

A number of studies have investigated the effectiveness of dance in older adults in the context of healthy aging. Analysing results across studies is important to understand whether dance in older adults is an effective adjunctive intervention for the healthy aging. To summarize the current research results about the effectiveness of dance in older adults in the context of healthy aging, and to identify key areas for future research. The search was conducted in Web of Science, PubMed and Google Scholar databases, using the following search string and Boolean logic (‘AND’, ‘OR’) locating studies published between database inception and September 2018: Dance OR contemporary dance OR ballroom dance OR Latin dance OR standard dance OR hip-hop dance OR tango AND Cardiovascular OR circulation AND Emotion OR well-being OR blood pressure OR disease OR thrombosis OR vascular OR glucose OR blood OR cardiac OR mental OR heart rate. Two reviewers independently extracted studies data. Eight suitable publications were included. The results showed that dance promote improvements in cognitive parameters when compared to other types of exercise or no-exercise. Significant effects were found on some physiological parameters, even after a short intervention period. Dance proved to be able to assist older adults in the context of healthy aging. The improvements in the cognitive, physiological and motor control parameters are very relevant for this population, due to the impact in a better quality of life.

A fúria escancarada da memória

In this text I intend to address the issue of memory as the central axis of this work of Rodrigues, articulating it with forgetfulness and negations of history. Such articulation leads to the notions of “memorylessness” and “discursive a‑memory” (Robin/Paveau, 2013). Bluntly, Fúria speaks of the memory of a country that poorly cultivates, documents and reflects on its history, based on a dramaturgical construction that shows the tensions that emerge from such absence. Violence, loneliness, fear, oppression, prejudice, racism, beauty, seduction, complicity and trust, emerge on the scene in a non‑linear historical path. Epic building and dismantling a parade, the work creates metaphorical images in a kind of hallucinating spiral. The show, entitled to its title, exposes the countless wounds of a society at risk. Here we can perceive all the characters in this story – past, present and potential future – so forgotten and neglected. Noble European settlers, slaves, mythological images, politicians, street dwellers, prostitutes, references to money, power and sex. Although Fúria makes a ruthless portrait of Brazil’s current moment, it seems evident that it is not only talking about this South American society, but about a whole Western capitalist society in deep crisis and in urgent alertness.   CONTEMPORARY DANCE / MEMORY / A-MEMORY / NON-MEMORY / DRAMATURGY

“In the name of harmony.” The imaginary of whiteness in the field of contemporary dance

Cet article interroge la construction sociale des corps au prisme d’un imaginaire de la blanchité et des processus de racialisation dans le champ transnational de la danse contemporaine afin de comprendre comment les corps deviennent marqués par la différence raciale lors des auditions et du travail de création. Fondé sur une enquête sociologique qualitative avec des danseurs et danseuses et des chorégraphes circulant dans ce champ, il expose dans un premier temps comment la blanchité représente une norme hégémonique fortement invisibilisée dont les effets performatifs participent à produire des corps altérisés. Nous verrons par la suite comment les danseur·euse·s et les chorégraphes marqué·e·s par cette différence se réapproprient et revalorisent cette dernière à travers des pratiques de création. L’enquête soulignera dès lors comment ces dernier·ère·s peuvent subvertir ces assignations par l’intermédiaire de registres chorégraphiques et d’esthétiques des corps pensés autour de l’idée de créolisation et d’hybridité.

Dance Theory as a Practice of Critique

ABSTRACT Using dance as an example, the text discusses the questions of what aesthetic criticism means and how it manifests itself. Drawing on philosophical and social science positions on critique (Foucault, Butler, Bourdieu), he develops a practical-theoretical view of the practice of critique in contemporary dance.

Ecoartivism in Times of Climate Change and Toxic Waste Emergencies: A Theoretical Perspective through the Lens of ziREjA's Photography and Performance Art

Ecoartivism in Times of Climate Change and Toxic Waste Emergencies:A Theoretical Perspective through the Lens of ziREjA's Photography and Performance Art Rosita Scerbo The 21st century ecological crisis is a tragic reality. In recent years, contemporary artists have become advocates for climate change solutions and environmental activism, addressing issues like ecological practices, toxic waste, sustainability, loss of biodiversity, and pollution. In this context, this study aims to explore and analyze the photography and performance art of Irene Sanfiel (ziREjA), an award-winning contemporary artist based in Tenerife, a Spanish archipelago located in the Atlantic Ocean. The different sections of my investigation will introduce a selection of theoretical approaches that will attempt to conceptualize some fundamental notions such as eco-art, ecology, and ARTivism (Buckland 2010; Bunting 2014; Cheetham 2013; Andrews 2004; Lippard 2007; Morton 2010). On the one hand, one of the main focuses of this essay will be her trash art images that include the human figure, different representations of climate change, and trash accumulation's exponential effects, and its related problems. Some of her activist projects' objects of my study, such as "La maga vestida", gather photographs of ziREja wearing the traditional Tenerife folkloric dress in the insular garbage management service. The female subject is always surrounded by a waste mountain that shows the reality of the island and a side that is not often shown to the public. The Spanish artist plays with concepts related to gender, body, tradition, trash accumulation, and responsibility, thus turning her activist work into a powerful weapon against our destructive treatment of the earth. Other photographic projects, such as "itrash coreografías con la basura" and "yesWetrash", play with the image of the body adjacent to trash and sometimes use irony and comedy employing contradictory and oxymoron illustrations to engage the viewers and provoke them to think about the consequences that our actions and decisions have on the future of the planet. On the other hand, another center of attention of this research will be ziRejA's performance art and how it dialogues with ecological and social problems. Her eco-art installations show the disposition of the garbage in different parts of the city to make the spectators reflect on how much waste is produced by an average citizen ("Trash comes back to the city") or make the viewers contemplate the relation between trash and [End Page 141] the body through contemporary experimental dance performances ("iTrash"). Ultimately, this investigation will consider how these different uses address environmental issues and connect with her audiences and how they engage with her activist goals. The entirety of the art pieces analyzed in this study was produced on the famous island of Tenerife, ziREjA's own native land and well-known location of mass tourism and damaging socioenvironmental processes. As the most populous island of the Canary Islands, Tenerife receives about 5 million tourists each year (Andrews 2004) who contribute drastically to the increase of the toxic waste emergency. This large island in the Atlantic Ocean represents perfectly the innovative concept of "slow violence" introduced by Rob Nixon as the violence wrought by climate change, toxic drift, and other environmental emergencies that take place gradually and often invisibly. Nixon highlights the inattention we have paid to the lethality of many environmental crises, and we will see how this approach resonates with ziREjA's activist work. Historical Overview Ecological art or Eco-art is a practice in the art world that aims to preserve and repair the different life forms and resources of the earth. This approach to art applies the principles of ecosystems to living species and their environment and it includes wilderness, rural, suburban, and urban locations (Weintraub 2012). It is essential to clarify that this is a distinct genre from Environmental art that instead focuses its attention on functional ecological systems-restoration. This genre takes part in socially engaged, activist, and community-based interventions. Another specific aspect of Ecological art is based on the fact that this practice deals with economics, ethics, politics, culture, and aesthetic values and the way these impact the conditions of ecosystems. Ecological art brings together artists, scientists, philosophers, and activists who work in a collaboratively on restoration...

PRAGMATIST PHILOSOPHY AND DANCE: INTERDISCIPLINARY DANCE RESEARCH IN THE AMERICAN SOUTH BY ERIC MULLIS

Reviewed by: Pragmatist Philosophy and Dance: Interdisciplinary Dance Research in the American South by Eric Mullis Aili Bresnahan By Eric Mullis Pragmatist Philosophy and Dance: Interdisciplinary Dance Research in the American South Palgrave MacMillan, 2019, 247 pp. with index Eric Mullis' Pragmatist Philosophy and Dance is a thoroughly multi-disciplinary and transdisciplinary book that is centered on and deeply engaged in the experimental and lived experience of Pentecostal dance in the American and Appalachian South. The focal point for Mullis' research is not observation and critique of dance as embodied religious practice from a critical distance (although he does engage it critically and analytically) but from the inside, embedding his own person and body into the environment with all the resources of the unifying self that he has at his disposal to not just understand the form but feel it and live it. This makes Mullis a true William Jamesian and John Deweyan pragmatist; he doesn't just critically reflect on the work of classical pragmatists but he takes the reader on a sustained and deep dive into the qualitative, aesthetics, doing-and-undergoing world of the phenomenon he is analyzing. He does this as both a maker and creator of his own form of artistic representation of religious, ecstatic dance, using tools from contemporary and postmodern dance, theatre, and performance, and as an audience member and participant of Pentecostal services. He tells us about his process, which is reminiscent of Dewey's Barnesian explanation of how artists create art in Art as Experience, and he is willing to open himself up to the worries and possibility that he might, in the process, also experience true transformation and religious conversion (which has echoes of James' Varieties of Religious Experience). The primary value of this book for the pragmatist scholar is thus not historical analysis of pragmatic texts (although Mullis does some exegesis as well) but his example of how to be a pragmatist philosopher. To clarify, this is not beauty-parlor or armchair philosophy but one that lives, transacts, and trades in the historical and cultural environment that Mullis seeks to understand. The reader who chooses to follow his lead finds themselves immersed in theories of religion, comparative dance practice, theatre studies, ethnography of folk aesthetics, philosophy of pragmatism, Continental philosophy, analytic philosophy, and East Asian philosophies (also reminiscent of Dewey), as well as experiential choreographic and religious practice. It's comprehensive, dense, and at times, a bit unwieldy as a result, but it is organized in such a way [End Page 402] that the reader can skip around and focus on the parts and pieces of most interest and relevance to them. The organization and movement of the book is as follows: Eight chapters progress not in linear or chronological fashion but in an interweaving way. The book does have forward motion in that it's laid out in a way that seeks to advance our understanding of the exploration that Mullis is undergoing, but it does not take the form of an analytic unfolding argument. There is no propositional claim that Mullis is providing evidence for; the exploration, growth, development and embracing of fallibilism along the way is also more pragmatic in overarching method than analytic. And yet, conclusions are drawn and theories advanced along the way. Close explanation of all the methodologies employed, how they intersect, and the difficulties and limitations of interweaving all of these into the rich tapestry that he has created, shows up in the "Concluding Thoughts" section of Chapter 8. It's so illuminating that it may benefit the reader to skim this section before beginning to read the rest of the book for frame of reference. Chapters 1–4 set the historical stage for the book's philosophical and theatrical dance analysis. Chapter 1 outlines the pragmatic sources to be used in the book, including references to Dewey, James, and Richard Shusterman. Here Mullis explains why this is a pragmatist book, which for Mullis means that it is centered on experimental, first-person research as well as embracing pluralism and meliorism (the idea that the world can be made better with effort). He then explains how all of these theories...

Rudolf von Laban’s Concepts in Embodiment

I will present the foundations of Laban Movement Studies and its theoretical framework as theorized by Hungarian dancer-scientist-artist Rudolf von Laban (1879-1958). The four centers of his work that systemize and articulate human movement in relationship to the mover’s environment; the body, effort (antrieb), shape and space, aided by members of the Indiana University Contemporary Dance Theater. I will explicate his notation system for movement, Labanotation, and provide an historic locus for his work in the context of the Hungarian avant-garde.

Dance, Bravo! Magazine, the Education of the Public: cultural reverberations of pedagogical ideas

ABSTRACT In order to analyze the relationships between dance and education from a perspective not limited to teaching the artistic practice, this study examined articles on dance published in the cultural magazine Bravo! (1997 to 2013). From the categorization of three major themes - classical ballet and its disciplinary content; ethnic and popular aspects of Brazilian contemporary dance; and the building of an audience for dance - an analysis of the material verified the emergence of a pedagogical bias in the magazine’s discourse, expressed in a proliferation of imperatives aimed at educating the dance audience.

Enrich Festival

Reviewed by: Enrich Festival Winter Phong ENRICH FESTIVAL. Herts Inclusive Theatre, Watford, UK. Online, September 5–6, 2020. Even before the COVID-19 pandemic, theatre companies sought ways to engage persons with learning and cognitive disabilities. Companies have mainly focused on audience initiatives relying upon relaxed performances to create space in theatre for more diversity. While efforts to include patrons with disabilities remains paramount, there are markedly fewer performance and training opportunities for artists with the same disabilities. Enrich Festival takes on the challenge of creating opportunities for both artists and audiences. Challenging itself to reimagine community arts performance, the festival seeks to overcome socially constructed ideas around disability and overtake the dominant narrative of disability, supplanting it with one defined and performed by artists with disabilities. The Enrich Festival was created and first produced as a live event in 2019 amid increasing social expectations to improve representation through diversity, equity, and inclusion initiatives. Through funding by Arts Council England and Hertfordshire County Council, the festival was designed to provide a venue to showcase visual and performing arts companies working with professional and amateur artists. Amid the COVID-19 pandemic, the 2020 festival forged ahead, taking on the challenge of fostering opportunities for artists and audiences while practicing safe social distancing. Featuring online programming, the festival utilized interactive workshops combined with previously recorded and newly imagined performances. From the onset of the festival, Teatr Bomba Bomba and DanceSyndrome set an early tone for inclusiveness through their company-hosted workshops. Day 1 opened with an interactive physical workshop hosted by Polish theatre company Teatr Bomba Bomba. Led by Janusz Janiszewski through modeled action with more than a half-dozen company members and an English translator, Janiszewski utilized a combination of physical directives and vocal commands reminiscent of Jerzy Grotowski. Participants were encouraged to turn on their camera and curate a personal narrative as part of a digital collective, forming a theatre using gallery view at home on Zoom. Physical storytelling in this environment helped to overcome speech and movement limitations that some participants were likely to experience while defining a character suited to their ability. Click for larger view View full resolution Xandri Selwyn in My Hands and Feet Are Wiggling. (Photo: Access All Areas.) The follow-up workshop was hosted by Dance-Syndrome, a contemporary dance company started and helmed by Jen Blackwell, a dancer diagnosed with Down syndrome. In their workshop led by three company members, participants experienced what inclusiveness and diversity might look like within performing arts. Physically identified by pregnancy, Down syndrome, and wheelchair reliance, the workshop leaders showcased inclusion of bodies frequently excluded in performing arts. DanceSyndrome subverts the common expectation of body type and ability through the simple act of including and showcasing dancers outside expected conventions. DanceSyndrome’s creation of space for broader body types allows aspiring performers to see themselves reflected within the art form. This is not to say that only those marked [End Page 242] with disability can find benefit in such workshops; instead, space created with artists with disabilities allows performing arts professionals and companies to move beyond conventional notions of ability and identify new modes of performance. While these workshops were a form of performance, they were not strictly defined as such. Through curated, forty-five-minute workshops, participants, scholars, and engaged community members were exposed to inclusive training hosted by diverse artist bodies. Click for larger view View full resolution Cast in Zara. (Photo: Andrew Youngson.) The Enrich Festival goes beyond mere inclusion for artists and audiences. Productions in 2020 by Access All Areas, Mind the Gap, and DIY Theatre provided what disability theatre activist and workshop host Jenny Sealy described as protest theatre. Sealy suggested that all actions taken in art by those defined as fringe members of society are protest. In this protest, we find the challenge of equity. While the workshops and training offered by these companies attempts to overcome this inequity, the simple act of performing stories showcasing their life experiences addresses major concerns for these artists and their identified social groups. In the talkback/workshop, Here’s Me, Access All Areas artist Xandri Selwyn and artistic director Nick Llewellyn discussed the process used...

BİR MİM OYUNUNDAN HAREKETLE ÇAĞDAŞ DANS SOLO ESER KOREOGRAFİSİ ETÜT: SÖZSÜZ OYUN I

Bu çalışma, Samuel Beckett’in özellikle bir dansçı ile çalıştığı Sözsüz Oyun I (Becket, 1993) adlı mim eserinin oyun yapısı ile çağdaş dans solo ilişkisine bakmakta ve eser üretim sürecine dair bilgiler vermektedir. Araştırmanın temeli, Beckett’in oyun, beden ve sahne tavrı ile dansçı bedenine ait hareket deneyiminin ürünü olan bedensel enerji, hareket tekniği, algı ve hafızanın metinle ilişkisi nasıl kurulabilir sorularından hareketle oluşturulmaktadır. Araştırma sürecinde oyun metnine ait mekân, hareket ve uzam unsurlarının dansçı bedenle olan ilişkisi ve beklentileri arasındaki bağlantısı doğaçlama hareket araştırmalarıyla kurulmakta ve yeni çalışma önerilerinde bulunmaktadır. Hareket araştırmalarında dansı biricik ve metnin ihtiyaçları doğrultusunda değerlendirirken, koreografiyi metnin verili kaynakları içinde dönüştürerek uygulamaktadır. Çalışma son olarak müzisyenin tasarladığı ses tasarım kompozisyonu ve hareket kompozisyonel öğelerinin biçimlendirilmesi ile birlikte tamamlanmış, 15 dakika uzunluğunda çağdaş dans solo eseri ‘Etüt: Sözsüz Oyun I (Demircan, 2019)’ üretilmiş ve sahnelenmiştir.

Can "contemporary dance" be defined?

Can "contemporary dance" be defined?

KOREOGRAFI KRIDHA MANGGALA KARYA DWI MARYANI

This research is a discussion about the dance Kridha Manggala by Dwi Maryani which was created based on the Javanese dance tradition of Surakarta and Poco-Poco dance. The problem in this study was the form and creation of this work. To discuss the issue using the thought of choreography according to Sal Murgiyanto, the category of contemporary dance based on tradition according to Matheus Wasi Bantolo, the form of the dish using the analysis of Janet Adshead, and the process of creation using thinking of Alma M Hawkins. The methods in this study are descriptive analytic with qualitative data, and use a choreographed approach.The results showed that this work is a work Dwi Maryani showed that there is a combination of two elements that are Java elements and the Poco-Poco. The second combination of this element makes a fierce idea for Dwi Maryani in creating the work of Kridha Manggala. The combination of these two elements can be seen in terms of motion, music, and costumes. The process of creating this work through stages, viewing, sensing, interning, imagining or imagination, tilling, and forming. Live through the exploration, improvisation, and composition stages. Keywords: Kridha Manggala, Dwi Maryani, choreography.

CONSTITUICIÓN DEL CAMPO Y RELACIONES DE PODER,

En este texto se trata de dar un panorama de los momentos que la autora considera más significativos en la constitución del campo de la danza escénica contemporánea mexicana. Se plantea que estos momentos han sido definitorios para la permanencia de ciertas prácticas, formas de ver la danza y hacerla, así como de habitus propios de los hacedores de danza en México. Este habitus tiene sus raíces en la relación que estos actores tienen con el Estado y sus instituciones, y que ha aglutinado a los actores de la danza de diversas maneras, apoyando a algunos y excluyendo a otros en diversos momentos. Sin duda para esta reflexión son importantes los planteamientos de varios teóricos entre quienes destaca Pierre Bourdieu, pues su aparato conceptual auxilia a pensar en las relaciones de poder que se establecen en los campos artísticos. También se mencionan algunos autores que han escrito sobre la danza mexicana y latinoamericana, y que aportan para conocer ciertas visiones de las historias de la danza en nuestros países.