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This anthology negotiates the influential, yet silent educational
presence of spiritualities within the field of somatic movement
dance education internationally. The expressive and integral nature
of spiritual experience remains academically undefined and
peripheral to our understanding of creative practice. Lack of
theoretical rigour, as well as a lack of a substantive definitional
and methodological competency, has resulted in spirituality being
marginalised. To date, important questions about how diverse
spiritualities shape professional practice in the somatic movement
and dance arts remain unanswered. This cutting-edge collection
fills that void, providing greater creative and discursive clarity.
This interdisciplinary book brings together essays that consider
how the body enacts social and cultural rituals in relation to
objects, spaces, and the everyday, and how these are questioned,
explored, and problematised through, and translated into dance,
art, and performance. The chapters are written by significant
artists and scholars and consider practices from various locations,
including Central and Western Europe, Mexico, and the United
States. The authors build on dialogues between, for example,
philosophy and museum studies, and memory studies and
post-humanism, and engage with a wide range of theory from
phenomenology to relational aesthetics to New Materialism. Thus
this book represents a unique collection that together considers
the continuum between everyday and cultural life, and how rituals
and memories are inscribed onto our being. It will be of interest
to scholars and practitioners, students and teachers, and
particularly those who are curious about the intersections between
arts disciplines.
This interdisciplinary book brings together essays that consider
how the body enacts social and cultural rituals in relation to
objects, spaces, and the everyday, and how these are questioned,
explored, and problematised through, and translated into dance,
art, and performance. The chapters are written by significant
artists and scholars and consider practices from various locations,
including Central and Western Europe, Mexico, and the United
States. The authors build on dialogues between, for example,
philosophy and museum studies, and memory studies and
post-humanism, and engage with a wide range of theory from
phenomenology to relational aesthetics to New Materialism. Thus
this book represents a unique collection that together considers
the continuum between everyday and cultural life, and how rituals
and memories are inscribed onto our being. It will be of interest
to scholars and practitioners, students and teachers, and
particularly those who are curious about the intersections between
arts disciplines.
This book explores the interplay between performing arts,
intangible cultural heritage and digital environments through a
compendium of essays on emerging practices and case studies, as
well as critical, historical and theoretical perspectives. It
features essays that engage with varied forms of intangible
cultural heritage, from music and storytelling to dance, theatre
and martial arts. Cases of digital technology interventions are
provided from different geographical and cultural settings, from
Europe to Asia and the Americas. Together, the collection reflects
on the implications that digital interventions have on intangible
cultural heritage engagements, its curation and transmission in
diverse localities. The volume is a valuable resource for
discovering the multiple ways in which cultural heritage is
mediated through digital technologies, and engages with audiences,
artists, users and researchers.
This book explores the interplay between performing arts,
intangible cultural heritage and digital environments through a
compendium of essays on emerging practices and case studies, as
well as critical, historical and theoretical perspectives. It
features essays that engage with varied forms of intangible
cultural heritage, from music and storytelling to dance, theatre
and martial arts. Cases of digital technology interventions are
provided from different geographical and cultural settings, from
Europe to Asia and the Americas. Together, the collection reflects
on the implications that digital interventions have on intangible
cultural heritage engagements, its curation and transmission in
diverse localities. The volume is a valuable resource for
discovering the multiple ways in which cultural heritage is
mediated through digital technologies, and engages with audiences,
artists, users and researchers.
This book offers a set of eleven discipline-specific chapters from
across the arts, humanities, psychology, and medicine. Each
contributor considers the creative potential of error and/or
ambiguity, defining these terms in the particular context of that
discipline and exploring their values and applications. Themes
include error in choreography, poetry, media art, healthcare,
psychology, critical typography and mixed reality performance. The
book emerges from a core question of how dance research and HCI can
inform each other through consideration of error, ambiguity and
'messiness' as methodological tools. The digital age had heralded
the possibility that error could be eradicated by the logic of
computers but several chapters focus on glitch in arts practices
that exploit errors in computer programmes, or even create
programmes specifically to produce errors. Together, the chapters
explore how error can take us somewhere different or somewhere new,
to develop a new, more interesting way of working.
This collection is the first book to focus on the intersection of
dance, disability, and the law. Bringing together a range of
writers from different disciplines, it considers the question of
how we value, validate, and speak about diversity in performance
practice, with a specific focus on the experience of
differently-abled dance artists within the changing world of the
arts in the United Kingdom. Contributors address the legal
frameworks that support or inhibit the work of disabled dancers and
explore factors that affect their full participation, including
those related to policy, arts funding, dance criticism, and
audience reception.
This edited collection draws on the conference, Attending to
Movement: Somatic Perspectives on Living in this World, run at
C-DaRE, the Centre for Dance Research, Coventry University, 12 - 14
July, 2013. Somatic practitioners, dance artists and scholars from
a wide range of subject domains cross discipline borders and
investigate the approaches that embodied thinking and action can
offer to philosophical and socio-cultural inquiry. The book
celebrates and builds upon the work of visionary dance artist,
teacher and scholar Gill Clarke (1954 -2011), who championed the
value of somatic approaches within and beyond dance education and
creative practice. This collection of papers covers the themes of:
Somatics in the wider social context Pedagogy/Education
Intercultural Dialogues Lived lineages Interplay of practice and
writing Partial Contents As my attention is wandering: A score for
somatic enquiry - Carolyn Roy Not Without My Body: The Struggle of
Dancers and Choreographers in the Middle East - Nadra Assaf
Disorganising Principles: Corporeal Fragmentation and the
Possibilities for Repair - Jennifer Roche Attending to ethics and
aesthetics in dance - Fiona Bannon & Duncan Holt At dusk, the
collaborative spills and cycles of L219 - Cath Cullinane, Natalie
Garrett Brown, Christian Kipp & Amy Voris The Art of Making
Choices: The Feldenkrais Method as a soma-critique - Thomas Kampe
Motion Capture and The Dancer: Visuality, Temporality and the
Dancing Image - Sarah Whatley The fool's journey and poisonous
mushrooms - Adam Benjamin 'The daily round the common task':
Embodied Practice and the Dance of the Everyday - Hilary Kneale
Re-sourcing the body: embodied presence and self-care in working
with others - Penny Collinson Thinking, Reflecting and
Contemplating With the Body - Lalitaraja (Joachim Chandler)
Mythbusting: Using the Alexander Technique to free yourself from
detrimental misconceptions in the performing arts - Jennifer
Mackerras & Jane Toms A Moving and Touching Career in Dance and
Chiropractic - Duncan Holt Attending to movement: the need to make
dance that was different to that which went before - Sara Reed
Towards a constructive interaction between somatic education and
introspective verbalization - Nicole Harbonnier-Topin & Helen
Simard Choreographic Mobilities: Embodied Migratory Acts Across the
US-Mexico Border - Juan Manuel Aldape Munoz Readership Designed as
a guide and stimulus for: teachers, students and practitioners of
dance and somatic practices researchers and academics in these
fields.
This book offers a set of eleven discipline-specific chapters from
across the arts, humanities, psychology, and medicine. Each
contributor considers the creative potential of error and/or
ambiguity, defining these terms in the particular context of that
discipline and exploring their values and applications. Themes
include error in choreography, poetry, media art, healthcare,
psychology, critical typography and mixed reality performance. The
book emerges from a core question of how dance research and HCI can
inform each other through consideration of error, ambiguity and
'messiness' as methodological tools. The digital age had heralded
the possibility that error could be eradicated by the logic of
computers but several chapters focus on glitch in arts practices
that exploit errors in computer programmes, or even create
programmes specifically to produce errors. Together, the chapters
explore how error can take us somewhere different or somewhere new,
to develop a new, more interesting way of working.
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