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This book traces the history of engagements between dance and the
visual arts in the mid-twentieth century and provides a backdrop
for the emerging field of contemporary, intermedial art practice.
Exploring the disciplinary identity of dance in dialogue with the
visual arts, this book unpacks how compositional methods that were
dance-based informed visual art contexts. The book provokes fresh
consideration of the entangled relationship between, and
historiographic significance of, visual arts and dance by exploring
movements in history that dance has been traditionally mapped to
(Neo-Avant Garde, Neo-Dada, Conceptual art, Postmodernism, and
Performance Art) and the specific practices and innovations from
key people in the field (like John Cage, Anna Halprin, and Robert
Rauschenberg). This book also employs a series of historical and
critical case studies which show how compositional approaches from
dance-breath, weight, tone, energy-informed the emergence of the
intermedial. Ultimately this book shows how dance and choreography
have played an important role in shaping visual arts culture and
enables the re-imagination of current art practices through the use
of choreographic tools. This unique and timely offering is
important reading for those studying and researching in visual and
fine arts, performance history and theory, dance practice and dance
studies, as well as those working within the fields of dance and
visual art. Chapter 1 of this book is freely available as a
downloadable Open Access PDF under a Creative Commons
Attribution-Non Commercial-No Derivatives 4.0 license available at
http://www.taylorfrancis.com
This book traces the history of engagements between dance and the
visual arts in the mid-twentieth century and provides a backdrop
for the emerging field of contemporary, intermedial art practice.
Exploring the disciplinary identity of dance in dialogue with the
visual arts, this book unpacks how compositional methods that were
dance-based informed visual art contexts. The book provokes fresh
consideration of the entangled relationship between, and
historiographic significance of, visual arts and dance by exploring
movements in history that dance has been traditionally mapped to
(Neo-Avant Garde, Neo-Dada, Conceptual art, Postmodernism, and
Performance Art) and the specific practices and innovations from
key people in the field (like John Cage, Anna Halprin, and Robert
Rauschenberg). This book also employs a series of historical and
critical case studies which show how compositional approaches from
dance-breath, weight, tone, energy-informed the emergence of the
intermedial. Ultimately this book shows how dance and choreography
have played an important role in shaping visual arts culture and
enables the re-imagination of current art practices through the use
of choreographic tools. This unique and timely offering is
important reading for those studying and researching in visual and
fine arts, performance history and theory, dance practice and dance
studies, as well as those working within the fields of dance and
visual art. Chapter 1 of this book is freely available as a
downloadable Open Access PDF under a Creative Commons
Attribution-Non Commercial-No Derivatives 4.0 license available at
http://www.taylorfrancis.com
There is a category of choreographic practice with a lineage
stretching back to mid-20th century North America that has
re-emerged since the early 1990s: dance as a contemporary art
medium. Such work belongs as much to the gallery as does video art
or sculpture and is distinct from both performance art and its
history as well as from theater-based dance. The Persistence
of Dance: Choreography as Concept and Material in Contemporary Art
explores this history by looking at the continuities and
differences between the second-wave dance avant-garde in the
1950s‒1970s and the third-wave starting in the 1990s. Through
close readings of key artists such as Maria Hassabi, Sarah
Michelson, Boris Charmatz, Meg Stuart, Philip Gehmacher, Adam
Linder, Agatha Gothe-Snape, Shelley Lasica and Latai Taumoepeau,
The Persistence of Dance traces the relationship between the
third-wave and gallery-based work. Looking at these artists
highlights how the discussions and practices associated with
'conceptual dance' resonate with the categories of conceptual and
post-conceptual art as well as with the critical work on the
function of visual art categories. Brannigan concludes that within
the current post-disciplinary context, there is a persistence of
dance and that a model of post-dance exists that encompasses dance
as a contemporary art medium.
Dancefilm: Choreography and the Moving Image examines the
choreographic in cinema - the way choreographic elements inform
cinematic operations in dancefilm. It traces the history of the
form from some of its earliest manifestations in the silent film
era, through the historic avant-garde, musicals and music videos to
contemporary experimental short dancefilms. In so doing it also
examines some of the most significant collaborations between
dancers, choreographers, and filmmakers.
The book also sets out to examine and rethink the parameters of
dancefilm and thereby re-conceive the relations between dance and
cinema. Dancefilm is understood as a modality that challenges
familiar models of cinematic motion through its relation to the
body, movement and time, instigating new categories of filmic
performance and creating spectatorial experiences that are grounded
in the somatic. Drawing on debates in both film theory (in
particular ideas of gesture, the close up, and affect) and dance
theory (concepts such as radical phrasing, the gestural anacrusis
and somatic intelligence) and bringing these two fields into
dialogue, the book argues that the combination of dance and film
produces cine-choreographic practices that are specific to the
dancefilm form. The book thus presents new models of cinematic
movement that are both historically informed and thoroughly
interdisciplinary.
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