Unfolding Gesture: Movement, Inscription, Music

Total Page：16

File Type：pdf, Size：1020Kb

Unfolding Gesture: Movement, Inscription, Music Saturday 10h July 11.00am Alastair Macaulay: Opening Guest Lecture Writing into Dancing. Alastair will explore issues arising from dance notation, choreographers’ preparatory notes for choreography, and show examples of literature promoting dances. 12.15pm Gabriela Minden (Oxford): Rupert Doone's Choreographic Didascalia and Censorship of the 1930s British Stage. Gabriela is presenting on the relationship between theatre censorship and Rupert Doone's choreography - for his & W.H. Auden's Dance of Death (indicated only by stage directions and sketches that the censor never sees). 2 4.00pm Workshop Part I with Joseph Kay, Eric Clarke, Bruno Guastalla, Thomasin Gülgeç: Exploring Beauchamp/Feuillet Notation as Compositional Potential for Music and Dance (audience welcome/discussion) Musicians and dancers reflect on the ways in which written inscription/notation of music/dance may relate to one another and may prompt musical/choreographic composition. Sunday 11th July 10.30am Jennifer Johnson (Oxford, History of Art): Marks in the Sand. Jennifer explores the material and movement of inscriptions that prompt creation in the visual arts. 11.45pm Megan Smith: It might seem a strange way to perform Shakespeare: negotiating character interiority and gestural expression in Shakespearean ballet. Megan will talk about gestures in Shakespeare ballets and their signalling of a character's interiority and consciousness. 2-4.00pm: Workshop Part II: Open Rehearsal with Joseph Kay, Estela Merlos, Thomasin Gülgeç Following from Workshop I’s discussions, Joseph, Estela, Thomasin develop a new piece of music/choreography. Monday 12th July 10.30am: Lucia Camacho Acevedo (Royal Holloway): Agon: another musical/choreographic analysis Lucia will discuss “choreomusicology” and the relations of music/choreography in Balanchine’s Agon. 11.45am: Marcus Bell (Oxford): Dimitris Papaioannou. Marcus explore the work of choreographer Papaioannou, whose art integrates inscription and movement in innovative formations. 2.00pm: Recorded lecture: Anna Chamberlain: Hilde Holger, Ausdruckstanz, Photography. Anna discusses the close relationship of photography and the moving body in the work of Holger’s Expressionist dance. 2.45pm: Workshop Part III: Sharing. Joseph Kay, and dancers Estela Merlos, Thomasin Gülgeç A sharing of the piece made during the last two Workshops. Followed by Discussion .

Copy Link

Recommended publications

Rokdim-Nirkoda” #99 Is Before You in the Customary Printed Format
Dear Readers, “Rokdim-Nirkoda” #99 is before you in the customary printed format. We are making great strides in our efforts to transition to digital media while simultaneously working to obtain the funding מגזין לריקודי עם ומחול .to continue publishing printed issues With all due respect to the internet age – there is still a cultural and historical value to publishing a printed edition and having the presence of a printed publication in libraries and on your shelves. עמותת ארגון המדריכים Yaron Meishar We are grateful to those individuals who have donated funds to enable והיוצרים לריקודי עם financial the encourage We editions. printed recent of publication the support of our readers to help ensure the printing of future issues. This summer there will be two major dance festivals taking place Magazine No. 99 | July 2018 | 30 NIS in Israel: the Karmiel Festival and the Ashdod Festival. For both, we wish and hope for their great success, cooperation and mutual YOAV ASHRIEL: Rebellious, Innovative, enrichment. Breaks New Ground Thank you Avi Levy and the Ashdod Festival for your cooperation 44 David Ben-Asher and your use of “Rokdim-Nirkoda” as a platform to reach you – the Translation: readers. Thank you very much! Ruth Schoenberg and Shani Karni Aduculesi Ruth Goodman Israeli folk dances are danced all over the world; it is important for us to know and read about what is happening in this field in every The Light Within DanCE place and country and we are inviting you, the readers and instructors, 39 The “Hora Or” Group to submit articles about the background, past and present, of Israeli folk Eti Arieli dance as it is reflected in the city and country in which you are active.
[Show full text]
Manx Traditional Dance Revival 1929 to 1960
‘…while the others did some capers’: the Manx Traditional Dance revival 1929 to 1960 By kind permission of Manx National Heritage Cinzia Curtis 2006 This dissertation is submitted in partial fulfilment of the degree of Master of Arts in Manx Studies, Centre for Manx Studies, University of Liverpool. September 2006. The following would not have been possible without the help and support of all of the staff at the Centre for Manx Studies. Special thanks must be extended to the staff at the Manx National Library and Archive for their patience and help with accessing the relevant resources and particularly for permission to use many of the images included in this dissertation. Thanks also go to Claire Corkill, Sue Jaques and David Collister for tolerating my constant verbalised thought processes! ‘…while the others did some capers’: The Manx Traditional Dance Revival 1929 to 1960 Preliminary Information 0.1 List of Abbreviations 0.2 A Note on referencing 0.3 Names of dances 0.4 List of Illustrations Chapter 1: Introduction 1.1 Methodology 1 1.2 Dancing on the Isle of Man in the 19th Century 5 Chapter 2: The Collection 2.1 Mona Douglas 11 2.2 Philip Leighton Stowell 15 2.3 The Collection of Manx Dances 17 Chapter 3: The Demonstration 3.1 1929 EFDS Vacation School 26 3.2 Five Manx Folk Dances 29 3.3 Consolidating the Canon 34 Chapter 4: The Development 4.1 Douglas and Stowell 37 4.2 Seven Manx Folk Dances 41 4.3 The Manx Folk Dance Society 42 Chapter 5: The Final Figure 5.1 The Manx Revival of the 1970s 50 5.2 Manx Dance Today 56 5.3 Conclusions
[Show full text]
No. 22 How Did North Korean Dance Notation Make Its Way to South
School of Oriental and African Studies University of London SOAS-AKS Working Papers in Korean Studies No. 22 How did North Korean dance notation make its way to South Korea’s bastion of traditional arts, the National Gugak Center? Keith Howard http://www.soas.ac.uk/japankorea/research/soas-aks-papers/ How did North Korean dance notation make its way to South Korea’s bastion of traditional arts, the National Gugak Center? Keith Howard (SOAS, University of London) © 2012 In December 2009, the National Gugak Center published a notation for the dance for court sacrificial rites (aak ilmu). As the thirteenth volume in a series of dance notations begun back in 1988 this seems, at first glance, innocuous. The dance had been discussed in relation to the music and dance at the Rite to Confucius (Munmyo cheryeak) in the 1493 treatise, Akhak kwebŏm (Guide to the Study of Music), and had also, as part of Chongmyo cheryeak, been used in the Rite to Royal Ancestors. Revived in 1923 during the Japanese colonial period by members of the court music institute, then known as the Yiwangjik Aakpu (Yi Kings’ Court Music Institute), the memories and practice of former members of that institute ensured that the music and dance to both rites would be recognised as intangible cultural heritage within the post-liberation Republic of Korea (South Korea), with Chongymo cheryeak appointed Important Intangible Cultural Property (Chungyo muhyŏng munhwajae)1 1 in December 1964 and a UNESCO Masterpiece of the Oral and Intangible Heritage in 2001, and the entire Confucian rite (Sŏkchŏn taeje) as Intangible Cultural Property 85 in November 1986.2 In fact, the director general of the National Gugak Center, Pak Ilhun, in a preface to volume thirteen, notes how Sŏng Kyŏngnin (1911–2008), Kim Kisu (1917–1986) and others who had been members of the former institute, and who in the 1960s were appointed ‘holders’ (poyuja) for Intangible Cultural Property 1, taught the dance for sacrificial rites to students at the National Traditional Music High School in 1980.
[Show full text]
ICTM Abstracts Final2
ABSTRACTS FOR THE 45th ICTM WORLD CONFERENCE BANGKOK, 11–17 JULY 2019 THURSDAY, 11 JULY 2019 IA KEYNOTE ADDRESS Jarernchai Chonpairot (Mahasarakham UnIversIty). Transborder TheorIes and ParadIgms In EthnomusIcological StudIes of Folk MusIc: VIsIons for Mo Lam in Mainland Southeast Asia ThIs talk explores the nature and IdentIty of tradItIonal musIc, prIncIpally khaen musIc and lam performIng arts In northeastern ThaIland (Isan) and Laos. Mo lam refers to an expert of lam singIng who Is routInely accompanIed by a mo khaen, a skIlled player of the bamboo panpIpe. DurIng 1972 and 1973, Dr. ChonpaIrot conducted fIeld studIes on Mo lam in northeast Thailand and Laos with Dr. Terry E. Miller. For many generatIons, LaotIan and Thai villagers have crossed the natIonal border constItuted by the Mekong RIver to visit relatIves and to partIcipate In regular festivals. However, ChonpaIrot and Miller’s fieldwork took place durIng the fInal stages of the VIetnam War which had begun more than a decade earlIer. DurIng theIr fIeldwork they collected cassette recordings of lam singIng from LaotIan radIo statIons In VIentIane and Savannakhet. ChonpaIrot also conducted fieldwork among Laotian artists living in Thai refugee camps. After the VIetnam War ended, many more Laotians who had worked for the AmerIcans fled to ThaI refugee camps. ChonpaIrot delIneated Mo lam regIonal melodIes coupled to specIfic IdentItIes In each locality of the music’s origin. He chose Lam Khon Savan from southern Laos for hIs dIssertation topIc, and also collected data from senIor Laotian mo lam tradItion-bearers then resIdent In the United States and France. These became his main informants.
[Show full text]
Dance Chronicle Voicing Israeli Dance
This article was downloaded by: [University of Haifa] On: 4 April 2011 Access details: Access Details: [subscription number 931225827] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37- 41 Mortimer Street, London W1T 3JH, UK Dance Chronicle Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713597243 Voicing Israeli Dance Liora Malka Yellin Online publication date: 18 March 2011 To cite this Article Malka Yellin, Liora(2011) 'Voicing Israeli Dance', Dance Chronicle, 34: 1, 152 — 158 To link to this Article: DOI: 10.1080/01472526.2010.518469 URL: http://dx.doi.org/10.1080/01472526.2010.518469 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Dance Chronicle, 34:152–158, 2011 Copyright C 2011 Taylor & Francis Group, LLC ISSN: 0147-2526 print / 1532-4257 online DOI: 10.1080/01472526.2010.518469 VOICING ISRAELI DANCE LIORA MALKA YELLIN Dance Discourse in Israel Edited by Dina Roginsky and Henia Rottenberg.
[Show full text]
The Symphony in C Saga
Volume IX No. 4 Summer 2015 From the Dance Notation Bureau INSIDE THIS ISSUE THE SYMPHONY IN C SAGA by Ann Hutchinson Guest • The Symphony in C Saga For a long time the USA copyright law did not include dance. Dance was Dance Notation Bureau Library considered as a form of ballroom dance, which the copyright powers considered to Monday - Friday 10 am – 5 pm be below the dignity of being given copyright protection. If considered at all, it Advance Notification by Phone/Email came under the heading of a Dramatico-musical composition. It had to have a Recommended story. Then the copyright law changed; dance was considered as a serious art, but 111 John Street, Suite 704 Pure Dance choreography, abstract composition without a story, was still New York, NY 10038 debatable. Phone: 212/ 571-7011 Fax: 212/571 -7012 Copyright registration of Balanchine’s ballet Symphony in C became quite a saga. Email: [email protected] But let us go back to the beginning. Website: www.dancenotation.org Facebook: NOTATING FOR BALANCHINE 1948 -1961 www.facebook.com/dancenotationbureau Library News is published four times a year John Coleman took my hand. "Come," he said, "You've got to meet Balanchine!" in New York It was the Fall of 1946, I was at the San Francisco Opera House seeing a performance of the Ballets Russes. John Coleman, musician, composer, teacher, Editors: and expert on Dalcroze, was a crazy, endearing man who knew everyone. He had Senta Driver worked with Balanchine and also with Kurt Jooss and so knew me from Dartington Mei-Chen Lu Hall days.
[Show full text]
A Study of How the Knowledge of Dance Movements Affects the Interpretation of Music
Music in Motion: A Study of How the Knowledge of Dance Movements Affects the Interpretation of Music. By © 2018 Sunjung Lee Submitted to the graduate degree program in the School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. Chair: Steven Spooner Colin Roust Michael Kirkendoll Hannah Collins Jerel Hilding Date Defended: 4 September 2018 The dissertation committee for Sunjung Lee certifies that this is the approved version of the following dissertation: Music in Motion: A Study of How the Knowledge of Dance Movements Affects the Interpretation of Music. Chair: Steven Spooner Date Approved: 4 September 2018 ii Abstract This paper will discuss research on how knowledge of actual dance movements affects the interpretation of music. The essence of rhythmic elements can be easily misunderstood, despite performers’ efforts to study the context of the notes including programmatic backgrounds, dynamics, harmonic languages, and textures. One of the reasons why rhythm can be easily misinterpreted is the current notation system, which hardly can give the performers enough information to show the characteristics of rhythmic movements unless the performer comprehends the context of the rhythm. This problem can lead musicians to misinterpretations of the aesthetics of the piece because rhythm is one of the major elements that makes music distinctive. People often think music inspires the dancer’s movements. However, we should know the beat is, in fact, from our body’s natural rhythms. Eventually, our body rhythm and the beat are intermingled. Also, even before composers write their music, what they hear and experience in their culture, which is deeply associated with the folk dances, courtly dances, and simple body movements, can have a strong influence on their music.
[Show full text]
Transmissions and Traces: Rendering Dance
INAUGURAL CONFERENCE Transmissions and Traces: Rendering Dance Oct. 19-22, 2017 HOSTED BY THE DEPARTMENT OF DANCE Sel Fou! (2016) by Bebe Miller i MAKE YOUR MOVE GET YOUR MFA IN DANCE AT THE UNIVERSITY OF MICHIGAN We encourage deep engagement through the transformative experiences of dancing and dance making. Hone your creative voice and benefit from an extraordinary breadth of resources at a leading research university. Two-year MFA includes full tuition coverage, health insurance, and stipend. smtd.umich.edu/dance CORD program 2017.indd 1 ii 7/27/17 1:33 PM DEPARTMENT OF DANCE dance.osu.edu | (614) 292-7977 | NASD Accredited Congratulations CORD+SDHS on the merger into DSA PhD in Dance Studies MFA in Dance Emerging scholars motivated to Dance artists eager to commit to a study critical theory, history, and rigorous three-year program literature in dance THINKING BODIES / AGILE MINDS PhD, MFA, BFA, Minor Faculty Movement Practice, Performance, Improvisation Susan Hadley, Chair • Harmony Bench • Ann Sofie Choreography, Dance Film, Creative Technologies Clemmensen • Dave Covey • Melanye White Dixon Pedagogy, Movement Analysis Karen Eliot • Hannah Kosstrin • Crystal Michelle History, Theory, Literature Perkins • Susan Van Pelt Petry • Daniel Roberts Music, Production, Lighting Mitchell Rose • Eddie Taketa • Valarie Williams Norah Zuniga Shaw Application Deadline: November 15, 2017 iii DANCE STUDIES ASSOCIATION Thank You Dance Studies Association (DSA) We thank Hughes, Hubbard & Reed LLP would like to thank Volunteer for the professional and generous legal Lawyers for the Arts (NY) for the support they contributed to the merger of important services they provide to the Congress on Research in Dance and the artists and arts organizations.
[Show full text]
JOSEARCADIO Limon (1908 -1972)
CREATING SELFTHROUGH DANCE PERFORMANCE: A SELECTIVE INQUIRY INTO THE LIFE AND WORK OF JOSEARCADIO LIMoN (1908 -1972) A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Sarah Marie Adams, B.A. ***** The Ohio State University 1998 Master's Examination Committee: Approved by Professor Angelika Gerbes, Ph.D., Advisor Professor Michael Kelly Bruce Professor Sheila Marion, Ph.D. Professor Rosalind Pierson Department of Dance Copyright by Sarah Marie Adams 1998 ABSTRACT José Limón (1908 - 1972) was one of the most prominent American modern dance choreographer-performers of this century. His work survives through contemporary performances of the José Limón Dance Company, and through his students' teachings. However, Limón's contribution to the field of dance remains dramatically under-researched. While there are at least two forthcoming publications which will address Limón's life and work, dance research to date has largely neglected the contributions of this major artist. My thesis project addresses this gap in dance scholarship, exploring the manner in which Limón created his identity through dance. By studying José Limón, I also seek to understand the artistic heritage in which I place myself, as a dancer trained in the Limón style. I have investigated José Limón's life and work by consulting a wide variety of source materials. These include Limón's personal correspondence and handwritten autobiography, films of Limón's dancing and choreography, my own physical experience of dancing his choreographic movement, personal and previously recorded interviews with Limón dancers, and dance criticism texts which include analyses of Limón's work.
[Show full text]
Locating the Choreomusical: the Case of European and American Dance Fiddling
Thematic Section Articles 515 Locating the Choreomusical: The Case of European and American Dance Fiddling Colin Quigley DOI: 10.21104/CL.2016.4.01 Abstract This essay takes the term Keywords choreomusicology, choreomusical as a starting place for ethnomusicology, ethnochoreology, discussion of attention to the study of Fiddle, Step dance. music and dance relationships within ethnomusicology and ethnochoreology. Contact Colin Quigley, PhD., Extending this neologism, Senior Lecturer and Course Director choreomusicology has been proposed Ethnomusicology, University of Limerick, as a distinct disciplinary perspective on Irish World Academy of Music and Dance, its own. Recent publications advocating Limerick, Ireland; e-mail [email protected]. for the usefulness of this joint research perspective have begun to establish this Jak citovat / How the cite Quigley, Colin. terminology more generally. Explicit studies (2016). Locating the Choreomusical: The of music-dance as a unitary phenomenon Case of European and American Dance in performance, however, long predate this Fiddling. Český lid 103, 515–536. doi:http:// development, particularly in the closely dx.doi.org/10.21104/CL.2016.4.01 connected fi elds of ethnomusicology and ethnochoreology. This history is here acknowledged, tracing interest in this research topic to major founding fi gures in both disciplines, as they took shape in the 1950s. An examination of the application of the choreomusical perspective to the case of European and American dance fi ddling provides examples of how such inquiry has been carried out and identifi es emergent methods which make use of advances in digitally based sound and movement analysis. A more nuanced usage of the terms is advocated.
[Show full text]
Music-Dance Sound and Motion in Contemporary Discourse Edited by Patrizia Veroli and Gianfranco Vinay
20% Discount with this Flyer! Music-Dance Sound and Motion in Contemporary Discourse Edited by Patrizia Veroli and Gianfranco Vinay Series: Musical Cultures of the Twentieth Century Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score November 2017 | 268 pages changes its prescriptive status when it becomes part of 44 B/W Illus. a choreographic project, the encounter between sound Hb: 978-1-138-28051-9 | £85.00 and motion on stage, and the intersection of listening Ebk: 978-1-315-27199-6 | £34.99 and seeing. As well as being of interest to musicologists and choreologists considering issues such as notation, ABOUT THE EDITORS: multimedia and the analysis of performance, this Patrizia Veroli is an independent volume will appeal to scholars interested in applied dance scholar. She has been research in the fields of cognition and neuroscience. awarded a number of fellowships The line-up of authors comprises representative figures and grants and was a fellow of the of today’s choreomusicology, dance historians, scholars Italian Academy for Advanced Studies at Columbia in 1998. of twentieth-century composition and specialists in cognitive science and performance studies. Gianfranco Vinay has been Professor of History of Music at the 20% Discount Available - enter the code FLR40 at Conservatory of Turin (1974-1992) checkout* and later Maître de conférences in the Music Department of the Hb: 978-1-138-28051-9 | £68.00 University of Paris.
[Show full text]
Al Parco Rignon
La sera del 23 giugno 1987 si inaugurava il Cen- servizio nei confronti della popolazione torinese, pro- tro per la Danza Documentazione e Ricerca e, contem- ponendo le esperienze più significative sia nel campo poraneamente, al parco Rignon aveva luogo la serata della ricerca, sia in quello della tradizione ballettistica d'apertura del suo fratello gemello, il Festival Torino- con le grandi stelle della danza. Danza. Da allora, nel lungo cammino che ha portato Per farla scoprire al maggior numero possibile di al traguardo del decimo anno consecutivo, il Centro si persone, così da arrivare a un pubblico sempre più va- è assestato nelle sue strutture, ha accolto nuovi fondi, sto e appassionato. In questo senso, la nuova collabo- si è arricchito di nuovi acquisti, ed è ora una realtà con- razione con la Regione Piemonte non può che essere sistente presso la Biblioteca Musicale Della Corte. accolta con entusiasmo. Perché uno solo è l'obiettivo Il Festival, d'altro canto, ha saputo non solo portare di TorinoDanza con il Regio: offrire spettacolo, ma an- nella nostra città oltre ottanta compagnie, fra italiane che cultura, come ogni grande, vero appuntamento in- e straniere, ma anche conquistare un prestigio ormai ternazionale. indiscutibile nel panorama internazionale delle attivi- Elda Tessore Ugo Perone tà di danza. L'edizione 1993, caratterizzata dalla pre- Sovrintendente Teatro Regio Assessore per le Risorse Culturali senza per la prima volta del Teatro Regio come sede e la Comunicazione degli spettacoli e referente organizzativo dell'intera ras- segna, ha rappresentato poi un momento importante Nato nel 1987, TorinoDanza si è configurato come nel percorso di crescita della manifestazione, un 'salto un appuntamento artistico culturale dell'estate torine- di qualità' che ha assunto sin dall'edizione del 1994 le se e, nel corso di questi dieci anni, le presenze registra- caratteristiche della coproduzione.
[Show full text]