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In Body, Movement, and Culture, Sally Ann Ness provides an original interpretive account of three forms of sinulog dancing practiced in Cebu City in the Philippines: a healing ritual, a dance drama, and a "cultural" exhibition dance. Ness's examination of these dance forms yields rich insights into the cultural predicament of this Philippine city and the way in which kinesthetic and visual symbols interact to create meaning.Ness scrutinizes the patterns of movement, the use of the body and of objects, and the shaping of space common to all three versions of the sinulog. She then relates these elements to the fundamental ways the culture bearers of Cebu City experience their world. For example, she shows how each of the dance forms functions to reinforce class distinctions and to establish a code of authenticated "cultural" action. At the same time, Ness demonstrates, the dances manifest and actualize widely applied notions about the nature of "devotion," "sincerity," "naturalness," and "beauty."Throughout the text, Ness provides a close analysis of movement that is all too often missing from anthropological studies of dance. Most significantly, she works to relate the movements used in dance to everyday movement and to interpret the attitudes and values that are embodied in both choreographed and "idian movement.Important and illuminating, Body, Movement, and Culture is of particular interest to students and scholars of anthropology, folklore, dance, and Asian studies.
Sinulog (Dance) --- Folk dancing --- Choreography --- Social aspects
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Choreography. --- Greek drama (Tragedy) --- Nicoloudi, ZouZou. --- Dance --- Greek drama --- Nikoloudi, Zouzou,
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choreography --- visual arts --- Brown, Trisha --- Choreografen. --- choreography. --- visual arts. --- Brown, Trisha, --- visual arts [discipline] --- Artists --- Dancers --- Choreographers --- Brown, Patricia Ann, --- Brown Schlichter, Trisha, --- Schlichter, Trisha Brown, --- Trisha Brown Company
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Une étude consacrée à la belle danse et à sa notation au XVIIIe siècle. Les arts chorégraphiques sont considérés en lien avec la tradition écrite. ©Electre 2016
Dance --- Choreography --- Danse --- Chorégraphie --- History --- Histoire --- Recreation. Games. Sports. Corp. expression --- anno 1700-1799 --- Chorégraphie --- History.
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Dance travels as does thought about dance. This book renews thinking about the moving body by drawing on dance practice and performance from across the world. Eighteen internationally recognised scholars show how dance can challenge our thoughts and feelings about our own and other cultures, our emotions and prejudices, and our sense of public and private space. In so doing, they offer a multi-layered response to ideas of affect and emotion, culture and politics, and ultimately, the place of dance and art itself within society. The chapters in this collection arise from a number of different political and historical contexts. By teasing out their detail and situating dance within them, art is given a political charge. That charge is informed by the work of Michel Foucault, Stuart Hall, Gilles Deleuze, Jacques Derrida, Rancière and Luce Irigaray as well as their forebears such as Spinoza, Plato and Freud. Taken together, Choreography and Corporeality: RELAY in Motion puts thought into motion, without forgetting its origins in the social world.
Culture --- Performing arts. --- Cultural and Media Studies. --- Performing Arts. --- Study and teaching. --- Choreography. --- Dance --- Show business --- Arts --- Performance art
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André Lepecki surveys a decade of experimental choreography to uncover the dual meaning of 'performance' in the twenty-first century: not just an aesthetic category, but a mode of political power. He demonstrates the enduring ability of performance to critique and subvert this power, examining this relationship through five 'singularities' in contemporary dance: thingness, animality, persistence, darkness, and solidity. Exploring the works of Mette Ingvartsen, Yvonne Rainer, Ralph Lemon, Jérôme Bel and others, Lepecki uses his concept of 'singularity'--the resistance of categorization and aesthetic identification--to examine the function of dance and performance in political and artistic debate.
performance art --- dances [performance events] --- Theatrical science --- choreography --- Ingvartsen, Mette --- Rainer, Yvonne --- Lemon, Ralph --- Bel, Jérôme --- Movement (Philosophy). --- Performance art.
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This book renews thinking about the moving body by drawing on dance practice and performance from across the world. Eighteen internationally recognised scholars show how dance can challenge our thoughts and feelings about our own and other cultures, our emotions and prejudices, and our sense of public and private space. In so doing, they offer a multi-layered response to ideas of affect and emotion, culture and politics, and ultimately, the place of dance and art itself within society.The chapters in this collection arise from a number of different political and historical contexts. By teasing out their detail and situating dance within them, art is given a political charge. That charge is informed by the work of Michel Foucault, Stuart Hall, Gilles Deleuze, Jacques Derrida, Rancìere and Luce Irigaray as well as their forebears such as Spinoza, Plato and Freud. Taken together, Choreography and Corporeality: Relay in Motion puts thought into motion, without forgetting its origins in the social world.
Sociology of culture --- Didactics of the arts --- Theatrical science --- performances (kunst) --- theater --- cultuur --- Choreography. --- Dance. --- Chorégraphie --- Danse
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Wer schreibt die Tanzgeschichte und aufgrund von welchen Annahmen und Interessen? Wie findet Erinnerung Eingang in historiografische Prozesse und welche Rolle spielt dabei der Körper? Diese Fragen prägen seit den 1990er-Jahren die europäische Tanzszene und bilden Anlass für eine grundlegende Revision der Tanzgeschichtsschreibung. Ausgehend von Arbeiten u.a. von Boris Charmatz, Olga de Soto, Foofwa d'Imobilité und Thomas Lebrun, entwirft Julia Wehren das Konzept der »choreografischen Historiografien«. Sie hält der Flüchtigkeit des Tanzes seine Geschichtlichkeit entgegen und plädiert für eine Erweiterung des Archivs um den Körper in Bewegung. »Das Buch [kann] mit Gewinn als Einführung in ein weitverzweigtes Gebiet gelesen werden, an dem die Tanzwissenschaft seit Mitte der 1990er Jahre sehr interessiert ist und mit dem sich Wehren produktiv auseinandersetzt.« Katja Schneider, Forum Modernes Theater, 2 (2018) »[Der Autorin] gelingt nicht nur ein präziser Überblick über die wichtigsten Ansätze tanzwissenschaftlicher Archivforschung. Vielmehr verankert sie den tanzenden Körper selbst ganz explizit als das zentrale Archiv schlechthin.« Janine Schulze-Fellmann, tanz, 10 (2016) »Das Buch entwickelt in anschaulicher Darstellung ein Konzept der Tanzhistoriografie, dass die Entwicklungen seit den 1990er Jahren berücksichtigt und zu einer systematischen Betrachtung dieses Phänomens auffordert, das sich durch Tourneetätigkeit und Institutionalisierung immer noch und weiterhin in einem fortwährenden Entwicklungsprozess befindet.« Peter Dahms, TanzInfo Berlin, 03.06.2016 Besprochen in: KunstKulturLifestyle, 18.05.2016 Up To Dance, 4 (2016) Auskunft, 37/1 (2017), Assia M. Harwazinski
Music and dance. --- Choreography --- Dance --- Dance archives. --- History. --- Archives --- Dance and music --- Archiv. --- Archive. --- Body. --- Choreografie. --- Choreography. --- Historiografie. --- Historiography. --- Körper. --- Reenactment. --- Theaterwissenschaft. --- Theatre Studies. --- PERFORMING ARTS / Dance / General. --- Tanz; Körper; Archiv; Historiografie; Reenactment; Choreografie; Theaterwissenschaft; Dance; Body; Archive; Historiography; Choreography; Theatre Studies
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"How can we think of film as political action? Bridging the gulf between aesthetics and politics, artist and filmmaker Petra Bauer reflects on her own experience of making political films and launches a theoretical argument that -- via Hannah Arendt's ideas about the constitution of the political arena -- uncovers the aesthetic mechanisms that underlie contemporary strategies for collective and feminist filmmaking. An exploration in artistic research, Sisters! Making Films, Doing Politics draws on an extensive historical archive of radical filmmaking and film theory, with particular focus on the British film collectives of the 1970s and films made by Palestinian and Israeli filmmakers. At the centre of the investigation stands Sisters!, Petra Bauer's collaborative film project with the London-based feminist organisation Southall Black Sisters." -- Page 4 of cover.
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"Choreographing Copyright provides a historical and cultural analysis of U.S.-based dance-makers' investment in intellectual property rights. Although federal copyright law in the U.S. did not recognize choreography as a protectable class prior to the 1976 Copyright Act, efforts to win copyright protection for dance began eight decades earlier. In a series of case studies stretching from the late nineteenth century to the early twenty-first, the book reconstructs those efforts and teases out their raced and gendered politics. Rather than chart a narrative of progress, the book shows how dancers working in a range of genres have embraced intellectual property rights as a means to both consolidate and contest racial and gendered power. A number of the artists featured in Choreographing Copyright are well-known white figures in the history of American dance, including modern dancers Loie Fuller, Hanya Holm, and Martha Graham, and ballet artists Agnes de Mille and George Balanchine. But the book also uncovers a host of marginalized figures - from the South Asian dancer Mohammed Ismail, to the African American pantomimist Johnny Hudgins, to the African American blues singer Alberta Hunter, to the white burlesque dancer Faith Dane - who were equally interested in positioning themselves as subjects rather than objects of property, as possessive individuals rather than exchangeable commodities. Choreographic copyright, the book argues, has been a site for the reinforcement of gendered white privilege as well as for challenges to it. Drawing on critical race and feminist theories and on cultural studies of copyright, Choreographing Copyright offers fresh insight into such issues as: the raced and gendered hierarchies that govern the theatrical marketplace, white women's historically contingent relationship to property rights, legacies of ownership of black bodies and appropriation of non-white labor, and the tension between dance's ephemerality and its reproducibility"--
Copyright --- Dance --- LAW / Intellectual Property / Copyright. --- Choreography --- Law and legislation --- Social aspects --- Droit d'auteur --- Danse --- Chorégraphie --- Droit --- Aspect social --- Chorégraphie --- Arts du spectacle --- LAW --- Propriété intellectuelle --- Choreography. --- Law and legislation. --- Social aspects. --- Aspect social. --- Intellectual Property --- Copyright. --- United States.
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