The Political Kiaesthetics of Contemporary Dance:—

Total Page:16

File Type:pdf, Size:1020Kb

The Political Kiaesthetics of Contemporary Dance:— UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Political Kinesthetics of Contemporary Dance: Taiwan in Transnational Perspective Permalink https://escholarship.org/uc/item/5gg5d9cm Author Seetoo, Chia-Yi Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Political Kinesthetics of Contemporary Dance: Taiwan in Transnational Perspective By Chia-Yi Seetoo A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Miryam Sas, Chair Professor Catherine Cole Professor Sophie Volpp Professor Andrew F. Jones Spring 2013 Copyright 2013 Chia-Yi Seetoo All Rights Reserved Abstract The Political Kinesthetics of Contemporary Dance: Taiwan in Transnational Perspective By Chia-Yi Seetoo University of California, Berkeley Doctor of Philosophy in Performance Studies Professor Miryam Sas, Chair This dissertation considers dance practices emerging out of post-1980s conditions in Taiwan to theorize how contemporary dance negotiates temporality as a political kinesthetic performance. The dissertation attends to the ways dance kinesthetically responds to and mediates the flows of time, cultural identity, and social and political forces in its transnational movement. Dances negotiate disjunctures in the temporality of modernization as locally experienced and their global geotemporal mapping. The movement of performers and works pushes this simultaneous negotiation to the surface, as the aesthetics of the performances registers the complexity of the forces they are grappling with and their strategies of response. By calling these strategies “political kinesthetic” performance, I wish to highlight how politics, aesthetics, and kinesthetics converge in dance, and to show how political and affective economies operate with and through fully sensate, efforted, laboring bodies. I begin my discussion with the Cursive series performed by the Cloud Gate Dance Theatre of Taiwan, whose intersection of dance and cursive-style Chinese calligraphy initiates consideration of the temporal implication of “contemporary” as “contemporaneity” that underlies the simultaneous negotiation of local and transnational concerns. Extending from the Cursive series, I depart momentarily from the milieu of Taiwan to engage with two contemporaneous transnational Chinese choreographers whose works blend dance and Chinese calligraphy differently as a way to problematize further the performance of “Chineseness” and the economy of forces and power at work in the transnational. The dissertation then takes up another prime case of temporal reconfiguration, examining the Legend Lin Dance Theatre of Taiwan and its artistic director Lin Lee-Chen’s early works whose kinesthetic shifting and continuity form a prism through which dance mediates, complicates, and alters Taiwan’s developmentalist ethos, in a way that complicates readings of (self-)Orientalisms. Finally, the dissertation engages with the Yellow Butterfly Flying to the South Butoh Troupe led by Japanese butoh dancer Hata-Kanoko, who lived and worked in Taiwan for nearly a decade and whose works draw attention to the legacy of Japanese colonial modernity in Taiwan and East Asia. The troupe’s leftist and self-marginalizing politics in the legacy of Japanese postwar avant-garde performance produce alternative inter- Asian engagements. Enacting different ways of negotiating temporalities of modernity across space, these performances are counterpoints to one another on various levels. They also articulate ways of 1 thinking, performing, and “moving” Taiwan transnationally: transnational Chineseness, self- conscious formations of “Asian” culture in opposition to an idea of the “West,” and inter-Asian relationships. Parsing out the complexity within the colossal designation of “transnationalism,” this project also proposes a concept of “contemporary dance” that moves beyond simple periodization or labeling of dance genres and styles and instead unpacks the temporal negotiations of moving bodies implicated in transnational relationships from differing and sometimes contradictory perspectives. Although seeking to transcend the periodization paradigm, my historicized case studies addressing the post-1980s conditions of Taiwan and globalized Chinese culture also index shifts from the end of the Cold War to globalization that affect cultural forms and their conditions of production and circulation. 2 To my parents and those who generously lent their guidance and support to this research. i The Political Kinesthetics of Contemporary Dance: Taiwan in Transnational Perspective Contents Introduction Chapter 1 Suturing Times: Contemporary Dance and Contemporaneity Chapter 2 The Materiality of the Immaterial: Training and Transnational Kinesthesia Chapter 3 Fluid Sinographies: De-/Reterritorializing Chineseness through Dancing, Painting, and Calligraphy Pause. Kinesthetics of Dance and Kinetics of Modernity Chapter 4 Kinesthetic Velocities: Mediating Development in Early 1980s Taiwan Chapter 5 Economy of Mobility: Persisting huan (緩) in the Force Field of Aesthetics and Politics Chapter 6 Exchanges (jiaohuan 交換) Actual and Phantasmagoric: Biopolitical Protest and the Seeding of Alternative Inter-Asian Transnationalism Coda. Shifting Rhythms Bibliography ii Introduction “Contemporary Dance” In 2001, Cloud Gate Dance Theatre (Yun men wu ji 雲門舞集), the largest professional modern dance company in Taiwan, created Cursive (Xingcao 行草), a dance piece inspired by cursive-style Chinese calligraphy (xingcao). This piece marked the beginning of a sustained aesthetic exploration, with three subsequent installments over the next decade: Cursive II (Xingcao er 行草 貳, 2003),1 Wild Cursive (Kuangcao 狂草, 2005), and Water Stains on the Wall (Wu lou hen 屋漏痕, 2010). Cursive, Cloud Gate’s first attempt to explore the intersection between Chinese calligraphy and modern dance, contains sections that juxtapose dancing and images of ancient Chinese calligraphy scrolls projected on stage. Modern mechanical and digital technology brings into the present ancient writing in fluid ink traces, while the dancing absorbs, interprets, and interacts with the kinesthetic capacity retained in the writings. The imbrication of modern technology, dancing bodies, and ancient writings brings forth questions of aesthetics, medium, and temporality. Cloud Gate artistic director Lin Hwai-Min’s 林懷民 remarks about the aesthetic effects and generative process of this piece expose how complex these terms really are, as in the following excerpt from dance critic Tsou Chih-Mu’s 鄒之牧 interview with Lin about the clean-cut (“neat”) quality brought forth by the way Cursive includes technology: [Tsou:] How did you come up with the sense of “technology” and “neat”-ness this time? [Lin:] […] In recent years when my pieces toured abroad, people called them “contemporary dance”; as for this piece, it should not simply become a “folk dance”! I want the piece to have clarity, to have things like the slides that give a high-tech feel, with lines that are very clean cut, in order to create a counterpoint to the soft bodies and soft lines of the dancers in front of them, to create a tension. Everything is hard-edged. For example: every frame that appears as a result of the projection, the squares, the rectangles, the hard lines.[…] It might seem easy, but [the stage designer] Lin Keh-hua has to synthesize them all. Finally, there is the question of balance: how do things combine? What Chinese characters [from the scrolls] to show in the background, and what dances to make in the foreground? How to create parallels, correspondences, and contrasts between them? These are all very interesting challenges!2 Tsou faithfully retained in her transcription the question and answer session conducted in Chinese with English phrases. I try to express this “bilingual” quality by placing the English phrases used in the conversation in italics: neat, contemporary dance, folk dance, clarity, slides, high-tech, clean cut, counterpoint, tension, hard-edged, balance, and combine. These terms range from aesthetic qualities to materials, categories, and methodologies. What is certain is that aesthetics is not neutral, as the splitting of language discloses the varying frames of references Tsou and Lin draw on, which can be unsettled again if we begin to wonder what exactly determines the language being chosen to carry forth concepts at the moment of their enunciation—habit, the conscious, or the subconscious? I would note that the manifest linguistic 1 Cursive II is later renamed as Pine Smoke (Songyan 松煙). 2 Chih-Mu Tsou, Cursive: The Birth of a Dance (行草─一齣舞蹈的誕生) (Taipei: Ecus Publishing House, 2001), 42. Translation mine. Italics refer to the words spoken in English. iii split does not operate as a simplistic reflection of Chinese and English aesthetic references; rather, it gestures to a complex historical proliferation of international versus local frameworks, not in the form of stark contrasts but of permeable impurities. This passage, at its base, signals how Cursive could really be seen as a performance of the negotiations between differently perceived and evolving aesthetic traditions and concepts, negotiations having intimately to do with the embeddedness of the piece in transnationalized performing arts conditions and contexts. Aesthetic,
Recommended publications
  • Is a Genre of Dance Performance That Developed During the Mid-Twentieth
    Contemporary Dance Dance 3-4 -Is a genre of dance performance that developed during the mid-twentieth century - Has grown to become one of the dominant genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S. and Europe. -Although originally informed by and borrowing from classical, modern, and jazz styles, it has since come to incorporate elements from many styles of dance. Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles. -It also employs contract-release, floor work, fall and recovery, and improvisation characteristics of modern dance. -Involves exploration of unpredictable changes in rhythm, speed, and direction. -Sometimes incorporates elements of non-western dance cultures, such as elements from African dance including bent knees, or movements from the Japanese contemporary dance, Butoh. -Contemporary dance draws on both classical ballet and modern dance -Merce Cunningham is considered to be the first choreographer to "develop an independent attitude towards modern dance" and defy the ideas that were established by it. -Cunningham formed the Merce Cunningham Dance Company in 1953 and went on to create more than one hundred and fifty works for the company, many of which have been performed internationally by ballet and modern dance companies. -There is usually a choreographer who makes the creative decisions and decides whether the piece is an abstract or a narrative one. -Choreography is determined based on its relation to the music or sounds that is danced to. .
    [Show full text]
  • Cataloguing Chinese Art in the Middle and Late Imperial Eras
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations Spring 2010 Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras YEN-WEN CHENG University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Art and Architecture Commons, Asian History Commons, and the Cultural History Commons Recommended Citation CHENG, YEN-WEN, "Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras" (2010). Publicly Accessible Penn Dissertations. 98. https://repository.upenn.edu/edissertations/98 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/98 For more information, please contact [email protected]. Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras Abstract After obtaining sovereignty, a new emperor of China often gathers the imperial collections of previous dynasties and uses them as evidence of the legitimacy of the new regime. Some emperors go further, commissioning the compilation projects of bibliographies of books and catalogues of artistic works in their imperial collections not only as inventories but also for proclaiming their imperial power. The imperial collections of art symbolize political and cultural predominance, present contemporary attitudes toward art and connoisseurship, and reflect emperors’ personal taste for art. The attempt of this research project is to explore the practice of art cataloguing during two of the most important reign periods in imperial China: Emperor Huizong of the Northern Song Dynasty (r. 1101-1125) and Emperor Qianlong of the Qing Dynasty (r. 1736-1795). Through examining the format and content of the selected painting, calligraphy, and bronze catalogues compiled by both emperors, features of each catalogue reveal the development of cataloguing imperial artistic collections.
    [Show full text]
  • It Takes Two by Carolyn Merritt
    Photo: Keira Heu-Jwyn Chang It Takes Two by Carolyn Merritt What will become of us if we can’t learn to see and be with others? Can we see ourselves as others do, in order to navigate the path toward greater communication and understanding, without relinquishing our identity in the process? Together, Union Tanguera and Kate Weare Dance Company probe these questions in Sin Salida, their stunning cross-pollination of Argentine tango and contemporary dance recently presented at the Annenberg Center. Titled after Jean-Paul Sartre’s 1944 play No Exit (Huis clos in French), the production weaves together essential elements of each form with points of connection and tension, positing dance as a metaphorical map for human relations. Five chairs mark the upstage space and a single light hangs above a piano downstage left, evoking a tense audition. Film images, in negative, appear against the backdrop—a woman tending her hair at a vanity, a couple framed in a doorway, their essence muddied in the wash of black. Union Tanguera Co-Artistic Directors Claudia Codega and Esteban Moreno dance an elegant, salon-style tango that combines the outward focus and enlarged vocabulary of stage tango with the inward intention of the improvised, social Argentine form. They spin as if in balancé turns to the sounds of tango waltz, heads and focus trailing behind. Moreno lifts Codega to fan her legs wide in a split en l’air. Their costuming—stiletto heels and a tight red, knee-length dress slit to the hip for Codega, and dark dress shirt and slacks for Moreno—reference “traditional” tango aesthetics and gender dynamics.
    [Show full text]
  • Jacob's Pillow Presents Canada's Red Sky
    NATIONAL MEDAL OF ARTS | NATIONAL HISTORIC LANDMARK ​ FOR IMAGES AND MORE INFORMATION CONTACT: Nicole Tomasofsky, Public Relations & Communications Manager 413.243.9919 x132 [email protected] JACOB’S PILLOW PRESENTS CANADA’S RED SKY PERFORMANCE, AUGUST 7-11; CENTERPIECE OF WEEKLONG CELEBRATION OF INDIGENOUS DANCE AND CULTURE July 22, 2019 – (Becket, MA) Red Sky Performance makes their Doris Duke Theatre debut with the U.S. Premiere of Trace, August 7-11. Red Sky is a leading company of contemporary Indigenous performance in Canada and ​ ​ worldwide, led by Artistic Director Sandra Laronde. “Magnificent in the scope of its imagination” (Globe and ​ Mail), Trace is a highly kinetic contemporary dance work influenced by Anishinaabe sky and star stories, offering ​ ​ ​ a glimpse into Indigenous origins. The U.S. premiere of Trace is the centerpiece of The Land On Which We ​ ​ Dance, a landmark gathering of Indigenous dance and culture at Jacob’s Pillow, curated by Sandra Laronde in ​ association with Hawaiian dancer/choreographer Christopher K. Morgan and Massachusetts-based Nipmuc Elder Larry Spotted Crow Mann. ​ “Jacob’s Pillow’s identity is entwined with the beauty and majesty of our land and natural surroundings. It is important to welcome back to the Pillow the original inhabitants of this land with a landmark celebration that will not only assemble local elders and artists, but also a premiere company like Red Sky Performance, whose work acts as a vehicle for storytelling and transformation,” says Jacob’s Pillow Director Pamela Tatge. In an interview with the Smithsonian’s American Indian Magazine, Laronde says, “The idea of Trace came from ​ ​ ​ ​ the notion that all things are traceable and what we leave behind as humans, as a culture, as a nation, and as an individual is our legacy.” In creating the work, Laronde realized all traces have origins, and then began to question the origin of Indigenous people and more specifically, Anishinaabe people.
    [Show full text]
  • Download File
    On A Snowy Night: Yishan Yining (1247-1317) and the Development of Zen Calligraphy in Medieval Japan Xiaohan Du Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2021 © 2021 Xiaohan Du All Rights Reserved Abstract On A Snowy Night: Yishan Yining (1247-1317) and the Development of Zen Calligraphy in Medieval Japan Xiaohan Du This dissertation is the first monographic study of the monk-calligrapher Yishan Yining (1247- 1317), who was sent to Japan in 1299 as an imperial envoy by Emperor Chengzong (Temur, 1265-1307. r. 1294-1307), and achieved unprecedented success there. Through careful visual analysis of his extant oeuvre, this study situates Yishan’s calligraphy synchronically in the context of Chinese and Japanese calligraphy at the turn of the 14th century and diachronically in the history of the relationship between calligraphy and Buddhism. This study also examines Yishan’s prolific inscriptional practice, in particular the relationship between text and image, and its connection to the rise of ink monochrome landscape painting genre in 14th century Japan. This study fills a gap in the history of Chinese calligraphy, from which monk- calligraphers and their practices have received little attention. It also contributes to existing Japanese scholarship on bokuseki by relating Zen calligraphy to religious and political currents in Kamakura Japan. Furthermore, this study questions the validity of the “China influences Japan” model in the history of calligraphy and proposes a more fluid and nuanced model of synthesis between the wa and the kan (Japanese and Chinese) in examining cultural practices in East Asian culture.
    [Show full text]
  • [Re]Viewing the Chinese Landscape: Imaging the Body [In]Visible in Shanshuihua 山水畫
    [Re]viewing the Chinese Landscape: Imaging the Body [In]visible in Shanshuihua 山水畫 Lim Chye Hong 林彩鳳 A thesis submitted to the University of New South Wales in fulfilment of the requirements for the degree of Doctor of Philosophy Chinese Studies School of Languages and Linguistics Faculty of Arts and Social Sciences The University of New South Wales Australia abstract This thesis, titled '[Re]viewing the Chinese Landscape: Imaging the Body [In]visible in Shanshuihua 山水畫,' examines shanshuihua as a 'theoretical object' through the intervention of the present. In doing so, the study uses the body as an emblem for going beyond the surface appearance of a shanshuihua. This new strategy for interpreting shanshuihua proposes a 'Chinese' way of situating bodily consciousness. Thus, this study is not about shanshuihua in a general sense. Instead, it focuses on the emergence and codification of shanshuihua in the tenth and eleventh centuries with particular emphasis on the cultural construction of landscape via the agency of the body. On one level the thesis is a comprehensive study of the ideas of the body in shanshuihua, and on another it is a review of shanshuihua through situating bodily consciousness. The approach is not an abstract search for meaning but, rather, is empirically anchored within a heuristic and phenomenological framework. This framework utilises primary and secondary sources on art history and theory, sinology, medical and intellectual history, ii Chinese philosophy, phenomenology, human geography, cultural studies, and selected landscape texts. This study argues that shanshuihua needs to be understood and read not just as an image but also as a creative transformative process that is inevitably bound up with the body.
    [Show full text]
  • Process of Improvisational Contemporary Dance
    Process of Improvisational Contemporary Dance Yuko Nakano ([email protected]) Graduate School of Interdisciplinary Information Studies, University of Tokyo Tokyo 113-0033, Japan Takeshi Okada ([email protected]) Graduate School of Education & Interfaculty Initiative in Information studies, University of Tokyo Tokyo 113-0033, Japan Abstract process of improvisational dance contains the essence of artistic creation and expression. The purpose of this study is to investigate the process of improvisational contemporary dance. To achieve this goal, we Previous studies in the domain of dance have pointed out combine two types of methodology: analysis of data from the importance of improvisation in the creation of dance interviews with dancers and analysis of their dance works, and the importance of impromptu expressions performances. Our findings reveal that while dancing, in themselves (Fukumoto, 2007; 2009; Hosokawa, 2011; De order to create their movements, improvisational dancers Spain, 1997; Ribeiro & Fonseca, 2011; Soma & Hosokawa, interact with various stimuli that come from inside and 2007; Tsujimoto, 2010). Reviewing previous studies outside of themselves (for example, images and feelings that they entertain during their dancing, and the music, space and focused on how historically eminent dancers used audience of their dance performances). Through such improvisation to express themselves or create their dance interactions, dancers organize movements in their works, Tsujimoto (2010) emphasized the significance of performances extemporarily, using various expressive improvisation in dance. Tsujimoto (2010) also described an techniques (for example, changing speed or image anecdote that when dancing extemporarily, the dancer's intentionally and seeing themselves from the viewpoint of a body instantly responded to stimuli from dance partners, the third person).
    [Show full text]
  • University of Exeter As a Thesis for the Degree of Doctor of Philosophy by Research in Sport & Health Sciences, August 2010
    1 Fighters, Thinkers, and Shared Cultivation: Experiencing Transformation Through the Long-Term Practice of Traditionalist Chinese Martial Arts Submitted by George Bradley Jennings, to the University of Exeter as a thesis for the degree of Doctor of Philosophy by Research in Sport & Health Sciences, August 2010. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. _______________________ George Bradley Jennings 2 Acknowledgements There are so many people that deserve thanks for their individual and collective contributions to this study. To borrow a popular metaphor, this PhD has been a magnificent journey assisted by the guidance of some brilliant people who all played a role in me enrolling in University to finishing the draft after an intense three years. I’ll write these acknowledgements in an attempted chronological order of guidance, but my sincere apologies to those who I have left out. Due to ethical reasons, I cannot name some of the individuals featuring in this study, so pseudonyms will be used in various instances. However, if you’re reading this, you know who you are, and thank you so much. Without their willing enthusiasm and passion in martial arts, I probably would have never considered starting this PhD, let alone complete it. I hope the finished project does their stories justice in regards to evocativeness, vividness and respect.
    [Show full text]
  • Comparisons in Physical Characteristic of Professional Ballet
    COMPARISONS IN PHYSICAL CHARACTERISTIC OF PROFESSIONAL BALLET AND COLLEGIATE DANCERS by Valerie Williams Bachelor of Science, Slippery Rock University, 2005 Doctor of Physical Therapy, Slippery Rock University, 2008 Master of Science, University of Pittsburgh, 2010 Submitted to the Graduate Faculty of School of Health and Rehabilitation Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH SCHOOL OF HEALTH AND REHABILITATION SCIENCES This dissertation was presented by Valerie Williams It was defended on April 7, 2016 and approved by Christopher Connaboy, PhD, Assistant Professor, Department of Sports Medicine and Nutrition Takashi Nagai, PhD, CSCS, Assistant Professor, Department of Sports Medicine and Nutrition Bradley Nindl, PhD, FACSM, Professor, Department of Sports Medicine and Nutrition Timothy Sell, PhD, PT, Associate Professor, Department of Orthopaedic Surgery, Duke University Dissertation Advisor: Mita Lovalekar, MBBS, PhD, MPH, Assistant Professor, Department of Sports Medicine and Nutrition ii Copyright © by Valerie Williams 2016 iii COMPARISONS IN PHYSICAL CHARACTERISTICS OF PROFESSIONAL BALLET AND COLLEGIATE DANCERS Valerie Williams, PhD University of Pittsburgh, 2016 Dancers are a group of athletes with unique physical and performance characteristics. Dance medicine and science is a growing field, as researchers and clinicians see the need for information specific to this population due to high injury rates. Comprehensive information on separate types of dancers, especially collegiate dancers, is unavailable. The purpose of this study was to describe and compare characteristics of professional ballet and collegiate dancers, as well as investigate the relationships among these characteristics. The first portion of the study investigates differences in body composition, lower extremity and trunk muscular strength, dynamic postural stability, and landing kinematics of professional ballet dancers and collegiate dance majors.
    [Show full text]
  • A Study on the Gender Imbalance Among Professional Choreographers Working in the Fields of Classical Ballet and Contemporary Dance
    Where are the female choreographers? A study on the gender imbalance among professional choreographers working in the fields of classical ballet and contemporary dance. Jessica Teague August 2016 This Dissertation is submitted to City University as part of the requirements for the award of MA Culture, Policy and Management 1 Abstract The dissertation investigates the lack of women working as professional choreographers in both the UK and the wider international dance sector. Although dance as an art form within western cultures is often perceived as ‘the art of women,’ it is predominately men who are conceptualising the works and choreographing the movement. This study focuses on understanding the phenomenon that leads female choreographers to be less likely to produce works for leading dance companies and venues than their male counterparts. The research investigates the current scope of the gender imbalance in the professional choreographic field, the reasons for the imbalance and provides theories as to why the imbalance is more pronounced in the classical ballet sector compared to the contemporary dance field. The research draws together experiences and statistical evidence from two significant branches of the artistic process; the choreographers involved in creating dance and the Gatekeepers and organisations that commission them. Key issues surrounding the problem are identified and assessed through qualitative data drawn from interviews with nine professional female choreographers. A statistical analysis of the repertoire choices of 32 leading international dance companies quantifies and compares the severity of the gender imbalance at the highest professional level. The data indicates that the scope of the phenomenon affects not only the UK but also the majority of the Western world.
    [Show full text]
  • Michael Crotty
    Michael Crotty ______________________________________________________________________________ Current Position: Assistant Professor of Dance, Department of Speech, Theater and Dance, The University of Tampa Education MASTER OF FINE ARTS, MODERN DANCE, THE UNIVERSITY OF UTAH- 2017 INTEGRATED MOVEMENT STUDIES, DIPLOMA - 2016 ROTTERDAMSE DANSAKADEMIE (NOW CODARTS), DIPLOMA - 2005 BACHELOR OF FINE ARTS, DANCE, THE OHIO STATE UNIVERSITY, DEANS LIST- 2006 Teaching: The University of Tampa DEPARTMENT OF DANCE (2019-Present) • (DAN 242) Intermediate Modern Dance • (DAN 2011) Dance History • (DAN 200) Dance and World Cultures • (DAN 269) Improvisation Southern Utah University DEPARTMENT OF DANCE (2017- 2019) • (DANC 2150): Ballet Technique III • (DANC 1500): Jazz Dance I • (DANC 4150): Ballet Technique V • (DANC 3500): Dance History I • (DANC 4500 ): Dance History II • (DANC 3530): Dance Composition III • (DANC 3900): Creative Movement for Children • (DAN 3950): Methods in Performing Arts Education • (DANC 4900): Advanced Methods in Dance Education • (DANC 3530): Principles of Choreography • (DANC 2160 ): Modern III • (DANC 3180): Modern VI • (DANC 4300): Dance Ensemble • (DANC 4980): Student Teaching University of Utah DEPARTMENT OF MODERN DANCE (2014-2017) • (DANC 2311, 6111): Ballet Technique II • (DANC 1021): Contact Improvisation • (BALLE 4401): Kinesiology • (DANC123): Dance Composition for Non- Majors • (DANC 6210): Grad Dance Workshop • (DANC 1111): Movement Fundamentals • (DANC 6961) Dance and Special Education GUEST TEACHER (2014- PRESENT)
    [Show full text]
  • Brian Brooks Press Release for Review
    NATIONAL MEDAL OF ARTS | NATIONAL HISTORIC LANDMARK FOR IMAGES AND MORE INFORMATION CONTACT: Elise Linscott, Public Relations & Communications Coordinator [email protected] BRIAN BROOKS / MOVING COMPANY PRESENTS CLOSING DISTANCE AND THREE NEW WORKS AT JACOB’S PILLOW; CONTRA-TIEMPO PREMIERES FOR ONLINE AUDIENCES July 9, 2021 – (BECKET, Mass.) – Jacob’s Pillow presents Brian Brooks / Moving Company on the Henry J. Leir Stage and in a site-specific performance, utilizing augmented reality technology, from July 21-25. The company will perform Closing Distance, which premiered before the pandemic and has not been performed since, on the newly renovated Henry J. Leir Stage, along with a world premiere entitled Flight Study. Brooks will also premiere a new self-choreographed solo work entitled Quiet Music, set to the Nico Muhly piano score of the same name. Additional on-site events this week include a PillowTalk discussion about the history of all of the Pillow’s performance venues, and online events include performances by CONTRA-TIEMPO, Nrityagram Dance Ensemble, and Dorrance Dance as well as newly-posted PillowTalks. The Contemporary Program Performance Ensemble at The School at Jacob’s Pillow, directed by renowned choreographers Helen Pickett and Milton Myers, will also perform on the Henry J. Leir Stage on Saturday, July 24. This performance will be live-streamed via Zoom simultaneously. In addition to the Henry J. Leir Stage performances, Brian Brooks / Moving Company will premiere a site-specific performance entitled Viewpoint which pilots a tele-presence mobile dance studio to bring live performance from the Pillow to audiences around the world on Sat., July 24 at 12 p.m., created specifically for the Jacob’s Pillow campus.
    [Show full text]