This text has emerged from a dialogue between two generations of Practice-as-Research (PaR) scholars. Through it, we seek to identify and address some of the motivations with which individual artists might enter into academia, and the tensions that often arise from their misaligned relation to a university's values and processes. Rather than offering an(other) argument for the epistemological validity of the now-established field of PaR, we draw on various anecdotes and experiences to make sense of the sensibilities and attitudes of artist-scholars, particularly in regards to the shifting conditions of UK universities over the past two decades, and with reference to debates within institutional critique, decolonisation and immaterial labour.
{"title":"The Spider and the Crab: Ways of Being with Practice-as-Research","authors":"Paul Paschal, E. Protopapa","doi":"10.3366/drs.2023.0402","DOIUrl":"https://doi.org/10.3366/drs.2023.0402","url":null,"abstract":"This text has emerged from a dialogue between two generations of Practice-as-Research (PaR) scholars. Through it, we seek to identify and address some of the motivations with which individual artists might enter into academia, and the tensions that often arise from their misaligned relation to a university's values and processes. Rather than offering an(other) argument for the epistemological validity of the now-established field of PaR, we draw on various anecdotes and experiences to make sense of the sensibilities and attitudes of artist-scholars, particularly in regards to the shifting conditions of UK universities over the past two decades, and with reference to debates within institutional critique, decolonisation and immaterial labour.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":"22 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139296880","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article documents ‘Funmi Adewole Elliott's Practice as Research project into her solo performance practice which is derived from African dance-drama. Her aim is to develop the theoretical context of her practice. Using methods proposed by Robin Nelson, Linda Candy and Ernest Edmonds, her project focuses on the making of a short solo performance The Blind Side (2022). Through analysis of The Blind Side, Adewole Elliott describes how she utilises conventions of African storytelling and Neotraditional Creative Dance to create the performance piece and locate its discursive context. The project opens up a space of ‘know-what’ for her practice leading her to form three lines of inquiry; the conceptual-cultural domain in African dance-drama, the physical dramaturgy of the storyteller and what physical dramaturgy can offer Neotraditional Creative Dance practice.
{"title":"Dancing and the Stance: Mapping a Creative Practice in African Dance-Drama","authors":"‘Funmi Adewole Elliott","doi":"10.3366/drs.2023.0403","DOIUrl":"https://doi.org/10.3366/drs.2023.0403","url":null,"abstract":"This article documents ‘Funmi Adewole Elliott's Practice as Research project into her solo performance practice which is derived from African dance-drama. Her aim is to develop the theoretical context of her practice. Using methods proposed by Robin Nelson, Linda Candy and Ernest Edmonds, her project focuses on the making of a short solo performance The Blind Side (2022). Through analysis of The Blind Side, Adewole Elliott describes how she utilises conventions of African storytelling and Neotraditional Creative Dance to create the performance piece and locate its discursive context. The project opens up a space of ‘know-what’ for her practice leading her to form three lines of inquiry; the conceptual-cultural domain in African dance-drama, the physical dramaturgy of the storyteller and what physical dramaturgy can offer Neotraditional Creative Dance practice.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":"230 2 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139299757","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Bruce Baird, A History of Butô","authors":"S. Fraleigh","doi":"10.3366/drs.2023.0408","DOIUrl":"https://doi.org/10.3366/drs.2023.0408","url":null,"abstract":"","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":"24 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139291311","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction: Studies in Practice as Research","authors":"Sarah Whatley","doi":"10.3366/drs.2023.0399","DOIUrl":"https://doi.org/10.3366/drs.2023.0399","url":null,"abstract":"","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":"34 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139298744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Dance was ubiquitous on the early Victorian stage but theatre dance of the period has received little critical attention. Examination of the repertoire of the Adelphi Theatre in London in 1840–1860 shows that dance occurred in a wide range of theatrical contexts including melodrama, farce, extravaganza and burlesque. The Adelphi also specialised in adaptations of Romantic ballets that combined spectacle, narrative, dance and song. In such theatre pieces dance could be not only decorative, but also fully integrated into the structural and thematic contexts in which it was embedded. In The Enchanted Isle, for example, dance makes a suggestive contribution to the political agenda of the play.
{"title":"Dancing on the Strand: The Adelphi Theatre’s Dance Repertoire, 1840–1860","authors":"Amanda Hodgson","doi":"10.3366/drs.2023.0405","DOIUrl":"https://doi.org/10.3366/drs.2023.0405","url":null,"abstract":"Dance was ubiquitous on the early Victorian stage but theatre dance of the period has received little critical attention. Examination of the repertoire of the Adelphi Theatre in London in 1840–1860 shows that dance occurred in a wide range of theatrical contexts including melodrama, farce, extravaganza and burlesque. The Adelphi also specialised in adaptations of Romantic ballets that combined spectacle, narrative, dance and song. In such theatre pieces dance could be not only decorative, but also fully integrated into the structural and thematic contexts in which it was embedded. In The Enchanted Isle, for example, dance makes a suggestive contribution to the political agenda of the play.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":"7 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139299859","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Janet Borgerson and Jonathan Schroeder, Designed for Dancing: How Midcentury Records Taught America to Dance","authors":"Jo Read","doi":"10.3366/drs.2023.0411","DOIUrl":"https://doi.org/10.3366/drs.2023.0411","url":null,"abstract":"","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139296711","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Robert Hylton is a first-generation UK hip hop theatre practitioner, who is currently writing a PhD at the Centre for Dance Research Coventry University on the nature of transmission of knowledge in black British Popping. Jonathan Burrows is a choreographer and Associate Professor at C-DaRE Coventry, who has worked for many years with hip hop artist Jonzi-D, mentoring hip hop artists interested in theatre practice. Robert and Jonathan have shared a long and ongoing conversation over many years about the nature of hip hop and its uneasy relationship to contemporary dance. The following text reflects that conversation, focussing specifically on the nature of practice in hip hop dance including transmission of physical and philosophical knowledge, respect for lineage, innovation and the relationship or not to academic research and the space of theatre.
{"title":"Creativity, Skill, Integrity, Intelligence and Community: A Conversation on the Nature of Practice in Hip Hop","authors":"Robert Hylton, Jonathan Burrows","doi":"10.3366/drs.2023.0401","DOIUrl":"https://doi.org/10.3366/drs.2023.0401","url":null,"abstract":"Robert Hylton is a first-generation UK hip hop theatre practitioner, who is currently writing a PhD at the Centre for Dance Research Coventry University on the nature of transmission of knowledge in black British Popping. Jonathan Burrows is a choreographer and Associate Professor at C-DaRE Coventry, who has worked for many years with hip hop artist Jonzi-D, mentoring hip hop artists interested in theatre practice. Robert and Jonathan have shared a long and ongoing conversation over many years about the nature of hip hop and its uneasy relationship to contemporary dance. The following text reflects that conversation, focussing specifically on the nature of practice in hip hop dance including transmission of physical and philosophical knowledge, respect for lineage, innovation and the relationship or not to academic research and the space of theatre.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":"245 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139296813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Massimiliano Locanto, Stravinsky and the Musical Body: Creative Process and Meaning","authors":"Stephanie Jordan","doi":"10.3366/drs.2023.0409","DOIUrl":"https://doi.org/10.3366/drs.2023.0409","url":null,"abstract":"","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":"31 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139298501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Grace Barnes, National Identity and the British Musical","authors":"Luke Purshouse","doi":"10.3366/drs.2023.0410","DOIUrl":"https://doi.org/10.3366/drs.2023.0410","url":null,"abstract":"","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":"11 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139293453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study addresses the collaboration of the stage designer Ignazio Degotti (1758–1824) with the choreographer Pierre Gardel (1758–1840) in a series of works presented at the Théâtre de l’Opéra in Paris during the Napoleonic administration (1804–1815). Backstage episodes in three key performances demonstrate that although the Opéra was politically crucial to Napoleon, there were practical problems in theatre management on his watch. This study argues that the inadequacy of spaces for artistic creation and a lack of coordination among the creative team were the most pressing issues in this respect.
{"title":"Performing for Napoleon: Production Quarrels at the Paris Opéra","authors":"E. Cazzato","doi":"10.3366/drs.2023.0407","DOIUrl":"https://doi.org/10.3366/drs.2023.0407","url":null,"abstract":"This study addresses the collaboration of the stage designer Ignazio Degotti (1758–1824) with the choreographer Pierre Gardel (1758–1840) in a series of works presented at the Théâtre de l’Opéra in Paris during the Napoleonic administration (1804–1815). Backstage episodes in three key performances demonstrate that although the Opéra was politically crucial to Napoleon, there were practical problems in theatre management on his watch. This study argues that the inadequacy of spaces for artistic creation and a lack of coordination among the creative team were the most pressing issues in this respect.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":"188 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139291844","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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