Dance Work Research Articles

Unfinished Painting

Unfinished Painting

Sistem Manajemen Seni Pertunjukan Sanggar Seni Sabai Nan Aluih Di Kurao Pagang Kota Padang

This research aims to explain and describe the Art Galeri Sabai Nan Aluih Performing Arts Management System in Kurao Pagang Kota Padang. This type of research is qualitative research using descriptive methods. The instruments in this study were researchers themselves using supporting instruments such as stationery and cameras. The types of data used are primary data and secondary data. The data collection techniques used in this study are literature studies, observations, interviews and documentation. The data analysis techniques used in this study use data reduction activities, presentation of data and concluding/verification. The results of this study show that Sanggar Seni Sabai Nan Aluih has a single leadership management system. Its implementation is assisted by the sovereignty of the core dancers. Art Galeri Sabai Nan Aluih's performance arts management system rests on project management, marketing management and financial management. The project management of Art Galeri Sabai Nan Aluih adjusts to the demand for performances from consumers, in addition to Art Galeri also having dance provisions displayed at each event. To produce dance works includes factors of production such as material materials, capital, labour, equipment and information.

THE FORM OF THE DYNAMICS OF CIVILIZATION CHANGES IN GIG BEBEGIG'S DANCE WORK: A STUDY OF DANCE THROUGH CHARLES SEMIOTICS. S. PEIRCE

Globalization has positive implications with ease through the development of technology. In line with technological developments, this also has an impact on the regeneration of farmers where young people no longer choose farming jobs. This problem was communicated by Farhan Apriadhi Ghazaly through the dance work of Gig Bebegig. This study uses a qualitative method that is described descriptively through the semiotic analysis of Charles S. Peirce and a socio-cultural perspective. The results of this study reveal the Representament-Object-Interpretant from wardrobe, music, property, and dance scenes, as well as see through a socio-cultural perspective.

A Holding Space

This writing introduces early reflections on a site dance micro project titled ‘A ‘Holding Space’ conducted from June to Sept 2021 in West Sussex, UK. The work was performed by dancers Natasha Margerison and Kate Welch, choreographed by Vicky Hunter and filmed and edited by Jack Leslie. During lockdown the lack of touching and holding our loved ones was expressed as a significant loss by many. As we emerged from lockdown in the summer of 2021, individuals, friends, and families were able to touch and hug each other. However, this also required a process of adjustment to the ‘new normal’ in which proximity and touch with those outside support bubbles and family groups needed to be navigated and managed. Alongside this phenomenon, during lockdown a significant number of people discovered renewed pleasure and comfort through engagement with nature spaces and woodland sites. The writing discusses some of the motivations and theoretical ideas informing the work and presents key questions and creative approaches explored during the creative process that led to the presentation of a live dance work, participant workshops and the production of a site dance film (link provided) that captures some of the project’s key outcomes.

Corporeal Politics: Dancing East Asia ed. by Katherine Mezur and Emily Wilcox

Reviewed by: Corporeal Politics: Dancing East Asia ed. by Katherine Mezur and Emily Wilcox Fangfei Miao CORPOREAL POLITICS: DANCING EAST ASIA. Edited by Katherine Mezur and Emily Wilcox. Ann Arbor: The University of Michigan Press, 2020; pp 355. Corporeal Politics: Dancing East Asia is the first English-language anthology that focuses on dance and performance histories in East Asia. The editors Katherine Mezur and Emily Wilcox situate the anthology in the intersection of East Asian studies and dance studies and define East Asia as "a [geographic] place, a transnational community, and a political idea" that is under constant scholarly debate (Wilcox 2020, 7). Using "corporeal politics" as the overarching methodology, this book endeavors to exhibit the rich potential of dancing bodies in generating new knowledge for area studies. The diverse backgrounds of the contributors promote an interdisciplinary, transnational, and cross-cultural research of dance. However, several paradoxical features of the volume complicates its purported goals and reinforces hegemonies that it seeks to dismantle. Led by scholars of the global minority and produced from within the Euro-American academic setting, the anthology risks racializing the cultural Other in East Asia. Thus instead of demonstrating a way forward, the anthology stokes the question of how to include research of East Asian dance in the English-language academic world. The methodology of "corporeal politics" focuses on "offering politicized readings of dancing bodies" and "taking dance as an art that makes the politics of bodies visible, palpable, and transformable" (Wilcox 2020, 12). The editors adopt this methodology to uncover five body politics shared by dance performance in China, Taiwan, Japan, South Korea, and North Korea and structure the book accordingly in five parts: Contested Genealogies, Decolonizing Migration, Militarization and Empire, Socialist Aesthetics, and Collective Technologies. The contributors examine historically influential or previously overlooked dance figures, milestone or unnoticed dance works, performance events in pedestrian contexts, history of a dance style, and transcultural encounters of dancing bodies. Based on archival and ethnographic works, the chapters investigate body in performance as the site for political intervention, where nationalism, racism, gender politics, and questions of "the modern" entangle with one another. The last two decades have witnessed increasing scholarly attention to performing bodies in East Asian studies. Dance has, however, continued to be under-represented within this conversation. Corporeal Politics fills this void, albeit by repeating some of the missteps reminiscent of area studies' forays into Asia. It is worthwhile to remind ourselves that area studies emerged in the aid of American expansionism and speaks directly to the US's political and economic concerns. Several scholars have questioned the innate limitations of area studies that centers whiteness and privileges Euro-America (Masao and Harootunian 2002; Yapp 2021). This anthology seems to uncritically overlook these limitations. "Corporeal politics" as an analytical tool centers Euro-American perspectives. The critical apparatus approaches the performing bodies of the non-Western Other solely for political meanings to make these bodies fully knowable in the West. In other words, the volume seems more concerned about facilitating Western comprehension of the Asian Other. Nevertheless, Corporeal Politics showcases a stretching tension between two facets of East Asia: its relations to the West and its internal interactions. For the East-West relation, the volume defies a postcolonial framework that tends to read dance in former colonies as either submissive to colonial maneuver or completely resistive to imperialism, but instead demonstrates a more complex interaction between East Asia and the "advanced" West. In Catherine Yeh's chapter, the West functions as a source for artistic inspirations that can stimulate domestic cultural transformation. Yeh argues that the transcultural encounter with modern dance during Qi Ru-shan's visit to Europe in the 1920s inspired him to innovate Peking Opera by inserting more dances to it. Together with Chinese Peking Opera master Mei Lan-Fang, Qi designed new choreographies of Chinese conventional dance inspired by the modern dance he saw to "dancify" Peking Opera as a method of modernization. Comparatively, for Okju Son, the West galvanized new self-identification and encouraged dance production based on East Asian traditions in opposition to the Western counterparts. Son suggests that the performance opportunities in Germany stimulated Park Yeong-in, a Korean-Japanese...

Exploring “ownership” of Irish traditional dance music: Heritage or property?

AbstractDance has rarely been accepted as the subject of copyright protection because works of dance and choreography have lacked commodified property-object status in intellectual property law. If dance is “haunted by its own ephemerality” and, thus, rarely embodied as property, then what of dance music? Music composed, performed, and recorded with a dance audience in mind has formed, on many occasions, the subject matter of intellectual property law claims, as the rancorous recent litigation over the nightclub (and online-streaming) hit “Blurred Lines” demonstrates. In this article, I utilize the case study of traditional Irish dance music to explore how traditional music occupies a space somewhat outside the formal legal system, defined by informal social norms such as reciprocity, sharing, and acknowledgment (attribution). I consider how Irish traditional music can be represented as heritage and as property, reflecting on the type of ownership at play in the Irish traditional music community. I observe that Irish traditional dance music provides an example of “heritage as resistance” – a mode of cultural and social practice that continues to thrive as a living tradition, even in the contemporary market-oriented world of the global North.

Mutable Bodies: Abstraction and Modern Dance in 1960s Argentina

A frontal shot of a slowly moving, faceless body rising vertically from the floor as it forms a triangle with legs and arms opens the first known work of video dance in Argentina. The 10.25 minute piece was filmed on black-and-white 16 mm stock by Argentine filmmaker Marcelo Epstein in 1969, and features experimental dancer and choreographer Ana Kamien. As the initially dark frame becomes illuminated, the dancer appears immersed in a black scenery, which contrasts sharply with the contours of the white leotard that covers her body. Her horizontally extended legs form the base for a torso that moves back and forth, side to side, accompanied by tensely symmetrical arms that fold and extend, depart from the core and return to it, leaving the fingers of each hand reaching to the outside (Fig. 1). Sixteen seconds into the dance, a woman begins to read a poem as...

“BEAUTY OF MEN” DANCE CHOREOGRAPHY

The evolution of high heels from women’s to men’s and finally to jockeys’ footwear in horse racing has attracted the authors. The wearers’ poses and movements can be elevated to a level of dance. Likewise, the drag queen in the Cabaret show faces difficulties in his personal and professional life. The choreographic form of “Beauty of Men” entails the creation of this dance. The dance work of “Beauty of Men” is presented in ensembles. This dance work is composed and presented by developing dance movements. The dance work consists of four sections, beginning with introducing the self’s inner conflict. The first section designates the issues that confront families and communities. The second section describes the difficulties associated with social friendship. The third section illustrates the self’s difficulties and the quest for self-identity. Lastly, the fourth section expresses how the problems encountered were resolved. The process of creating the dance work of “Beauty of Men” reflects the dancer’s creative ability as a result of his experience.

Choreography Invisible: The Disappearing Work of Dance

Choreography Invisible: The Disappearing Work of Dance

The Dance Company Film

The Dance Company Film

Meningkatkan Minat dan Hasil Belajar Seni Tari Melalui Pendekatan PAIKEM Berbantuan Metode Demonstrasi Semester 2 Siswa Kelas VII-3 SMP Negeri 5 Penajam Kabupaten Penajam Paser Utara Provinsi Kalimantan Timur Tahun Pelajaran 2019/2020

Cultural Arts at SMP Negeri 5 Penajam, PPU Regency applies Integrated Cultural Arts lessons which have been developed based on the 2013 Curriculum by considering, Complexity, carrying capacity, student context. In addition to the above, the diversity of students' talents and interests is also one of the reasons for the implementation of integrated Cultural Arts lessons. However, with the amount of material and the limited time for face-to-face hours, several obstacles arise related to students. Students find it difficult, especially in dance subjects that are rarely studied at the previous school level, causing a lack of interest and student participation in the learning process. These obstacles need to be considered and find a way out by the teacher as a motivator, facilitator and evaluator in the learning process. The purpose of this research is to find out: 1) the teacher's efforts in the learning process to increase the interest of Class VII-3 students of SMP Negeri 5 Penajam in learning dance. 2) the teacher's efforts in improving student learning outcomes for Class VII-3 SMP Negeri 5 Penajam in dance lessons. This research will apply the Active, Creative, Effective, and Fun Learning (PAKEM) approach which is divided into two cycles. Based on the results of classroom action research, the teacher's efforts by applying the PAIKEM approach combined with the Demonstration technique can increase students' interest and learning achievement in the arts and culture subjects of the dance branch with competency standards for expressing themselves through dance works, especially in the basic competence of exploring floor movement patterns. dance in pairs/local groups. In the first cycle of 32 students who completed it reached 59.37% or 19 students and who did not complete there were 40.62% or 13 students, and the average score was 74.53. While in the second cycle of the 32 students who successfully completed there were 30 students or 92.75%, and the average value was 79.84. Based on the conclusions above, the research was stopped until the second cycle.

Introduction to special focus issue: teaching artists and arts education policy

This Special Focus issue of Arts Education Policy Review highlights the work of diverse scholars who consider policies at the local and organizational levels that impact the preparation and work of dance, music, and theater teaching artists in P-12 school and community youth development settings. Doug Risner and I (Colleen) were Guest Editors for this issue and are excited to bring this scholarship forth. We (Colleen, Sarah, Mike) begin this introduction discussing the emergence of the term teaching artist. The middle section addresses the preparation and professional development of teaching artists as well as the varied types of programs employing teaching artists. The introduction ends by situating the six articles in this Special Focus issue within arts education policy and the concepts discussed.

ELEMEN-ELEMEN KOREOGRAFI DAN REFLEKSI DALAM SAJIAN KARYA TARI TUNJUNG PUTIH

Tunjung Putih dance by the choreographer; Divany Rico Jhosua in 2020 is a new traditional art whose dance work creation is motivated by the problem of social discrimination experienced by cross-dressers and cross-gender dancers. The idea of creating this work is the story of Wrahatnala's character while posing as a woman and acting like a sissy. To find out the elements of choreography in Tunjung Putih dance, the author uses the concept presented by Y. Sumandyo Hadi, namely the explanation of the concepts of cultivation through the elaboration of choreographic elements. The result of this study is to know the form of Tunjung Putih dance through the description of 11 elements of choreography in it. Reflection of the creation of Tunjung Putih dance in the form of critical analysis with further research to respondents on issues and responses related to the presentation of this dance work.

Intercultural communication, creative practice and embodied activisms: arts-based interculturality in the Maghreb

ABSTRACT Grounded by a theoretical framework of art and interculturality, critical intercultural communication, and performance studies, this study analyses women's intercultural arts-based practice and performance in the North African Maghreb region. We examine how creative practice is employed in constructing cultural identity, peaceful political resistance, and decolonisation of Maghrebi citizens and nations. We analyse how Maghrebi creative practice transcends linguistic, social, and political boundaries, offering possibilities for profound intercultural exchange. We also examine how creative practice allows re/envisioning cultural identities through music, dance and theatrical work, and developing diverse embodied, performative communities of feminist practice both within and outside the Maghreb.

무용예술의 객관성 고찰

초록·키워드 목차 오류제보하기 The purpose of this study was to understand the problems of subjectivity that occur in dance art and to examine the objective aspects of dance art through Aristotle"s theory of mimesis. Accordingly, this researcher investigated the subjectivity and objectivity of dance art under the theme of "Examination of the subjectivity and objectivity of dance art". And in order to help the understanding of this study, the objectivity of dance art from the perspective of Aristotle"s mimesis theory was considered philosophically and aesthetically. In conclusion, as Aristotle speaks of mimesis as the horizon of art at the daily level, he reveals the essence of artistic imitation and representation in the principle of mimesis. In other words, dance art imitates the basic movements inherent in dance to express beauty using the body, and then creates a dance work through music, costumes, and stage equipment. In addition, it can be seen that dance art as a work of art is expressed as a work that is reproduced or expressed through universal elements. In the end, it was possible to derive the implications of the subjectivity and objectivity of dance art from the perspective of Aristotle"s mimesis theory. #dance #art #subjectivity #objectivity #Aristotel #mimesis AbstractⅠ. 서론Ⅱ. 무용예술의 이해Ⅲ. 아리스토텔레스의 미메시스 이해Ⅳ. 무용예술에 대한 아리스토텔레스의 미메시스 해석Ⅴ. 결론참고문헌

Characteristics and Influence of Multimedia Technology on Dance Choreography

In contemporary times, with the development of multimedia technology, especially in consideration of the advantages of multimedia technology in performance, dance, as an expressive art, is bound to be concatenated with multimedia technology to enrich its form of display. The influence of multimedia technology in dance choreography on dance works and the effect of multimedia technology itself on dance choreography are worth further discussion. There is no doubt that with the application of multimedia technology in the dance field, choreographers have more open and creative ideas. Perhaps, in view of the role of multimedia technology in dance creation, the involvement of various disciplines and different technologies in dance choreography would expand in the future. However, it is necessary to consider the integration of new technologies, especially the negative impact of their improper use on the expression of dance works. Therefore, this study aims to explore the elements and relations between multimedia technology and dance choreography in the new era, seek for methods and rules of multimedia technology in dance creation, pursue its positive significance, and provide certain theoretical reference for the creation of dance works through multimedia technology.

Making Dance Work in West Africa: Women Artists in a Shifting Landscape of Institutional Patronage

This article considers the stakes articulated by French-speaking West African women who claim dance as work opens up critical perspectives on the global political economy of concert dance. African states encouraged creative dance work following independence, but in the era of structural adjustment, French state-affiliated institutions took the lead as foreign patrons for African contemporary dance. Juxtaposing these women’s reflections on their trajectories as dance artists with an account of the institutional politics surrounding patronage in the region, I argue that these women reenvision the value of cultural labor as a substantive contribution to their societies and economies in West Africa.

Making the Museum Dance: Simone Forti’s Huddle (1961) and its Acquisition by the Museum of Modern Art

In 2015, Simone Forti’s Dance Constructions, a group of understated, equipment-based performances from 1960–1961, entered the permanent collection of the Museum of Modern Art in New York (MoMA) as the museum’s first acquisition of historical dance works. This essay details Forti’s arrangements with MoMA for the Dance Construction Huddle, which complicated the already complicated proposition of how to collect and care for dances in a visual art institution. Examined closely, the acquisition process reveals both how the museum transformed Forti’s work and how Huddle—and dance more generally—presses back on the institution and its investments in objecthood, singular authorship, and private property.

Teaching of Dance Choreography Course Based on Multimedia Network Environment.

The growth of society has been significantly impacted by the introduction of the new multimedia era. A new task will present itself to the choreographer in light of this context. This paper makes the argument that multimedia technology should be incorporated with dance art so that dance works can give audiences a deeper feeling and impression and promote the diversified development of dance art by outlining the characteristics of multimedia and its application advantages in choreography. A multimedia network classroom contains a variety of features, including real-time educational feedback, an interactive learning environment, and a diverse instructional content. Based on this, this article builds and integrates the instructional resources for the dance choreography course as well as the instructional management system for the course. In order to precisely and effectively teach choreography, it is necessary to give the proper instructional materials. According to experimental findings, the recall and precision of the suggested method can both approach 95.71% and 96.84%, respectively. It partially resolves the issues of users having trouble locating necessary educational resources and instructional resources being underutilised. The dance choreography course is being taught using this way in a multimedia network setting.

The Importance of Cultivating Talents in Chinese Musical Choreography

Through the analysis of the market data of Chinese musicals from 2014 to 2021, it can be found that the Chinese musicals market is constantly improving in terms of performances and box office revenue, and the market potential is huge. Therefore, this study starts from the current situation of the development of Chinese musicals and adopts the main research methods of literature research and case analysis. The purpose of the research is to study the main problems in the current situation, and to demonstrate the importance of choreography talent training in the development of Chinese musicals at this stage. Through the research on the development of musicals in Europe and the United States and the analysis of representative works, the results of this research are as follows. First, the prominent problems in the development status of Chinese original musicals are the imperfect industrial chain and insufficient training of professional talents. Second, it is very necessary to train specialized talents in the choreography of Chinese musicals. The main reason is that the dances in musicals are different from individual dance works, and have the value of interpreting the script and strengthening the musical expression.