This writing is about the relationships between artistic processes, artistic works, and how we might frame these as practice research. It has two aims: 1) to describe when artistic processes are framed as practice research through written forms, and the implications of this timing; and ii) to propose that our responsibility as practice researchers is to draw our work deeply into dialogue with other artistic work that exists in tangible ecosystems of artistic practice. The alternative is the status quo in which we rely on arguments made by the authority of totemic theoreticians who exist beyond our communities of practice. These ideas are not specific to dance practice research, but rather are about practice research more broadly. As part of the writing I use as an example an artwork of mine that emerged through body-based practices – Children of the Soil – to explore the messiness of how we might reliably produce practice research while respecting the unfinished thinking of the artwork itself. 1
{"title":"Ecosystemic Practice-Research (for the Benefit of Others)","authors":"Simon Ellis","doi":"10.3366/drs.2023.0400","DOIUrl":"https://doi.org/10.3366/drs.2023.0400","url":null,"abstract":"This writing is about the relationships between artistic processes, artistic works, and how we might frame these as practice research. It has two aims: 1) to describe when artistic processes are framed as practice research through written forms, and the implications of this timing; and ii) to propose that our responsibility as practice researchers is to draw our work deeply into dialogue with other artistic work that exists in tangible ecosystems of artistic practice. The alternative is the status quo in which we rely on arguments made by the authority of totemic theoreticians who exist beyond our communities of practice. These ideas are not specific to dance practice research, but rather are about practice research more broadly. As part of the writing I use as an example an artwork of mine that emerged through body-based practices – Children of the Soil – to explore the messiness of how we might reliably produce practice research while respecting the unfinished thinking of the artwork itself. 1","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":"186 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139292198","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}
Starting in the late 1820s, romantic ballet swept over US stages, most often presented by European ballerinas who revealed a new movement world, new theatrical expressivity, and their bodies to viewers curious, shocked, inspired, and moved by their performances. These dancers were subject to visual, aesthetic, and moral scrutiny – notable in both graphic and textual descriptions emerging from US presses. Three ballerinas are the subject of this presentation, based on their depictions in American-produced visual and verbal commentary. This essay investigates the corporeal and costume allusions in these depictions, as they reveal the technical and expressive capacities of performers, and – perhaps more so – the aesthetic exaltation and moral scruples expressed by viewers of those performances.
{"title":"So Revealing: Ballerinas on Antebellum US Stages","authors":"Lynn Matluck Brooks","doi":"10.3366/drs.2023.0406","DOIUrl":"https://doi.org/10.3366/drs.2023.0406","url":null,"abstract":"Starting in the late 1820s, romantic ballet swept over US stages, most often presented by European ballerinas who revealed a new movement world, new theatrical expressivity, and their bodies to viewers curious, shocked, inspired, and moved by their performances. These dancers were subject to visual, aesthetic, and moral scrutiny – notable in both graphic and textual descriptions emerging from US presses. Three ballerinas are the subject of this presentation, based on their depictions in American-produced visual and verbal commentary. This essay investigates the corporeal and costume allusions in these depictions, as they reveal the technical and expressive capacities of performers, and – perhaps more so – the aesthetic exaltation and moral scruples expressed by viewers of those performances.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":"20 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139295458","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 examines a largely neglected chapter of Spanish and Catalan dance history: the attempts to create and develop a dance culture in Catalonia during the first half of the twentieth century, following the visits of Diaghilev’s Ballets Russes in Spain. Two Catalan writers and promoters, Sebastià Gasch and Alfons Puig i Claramunt, were the key figures who sought to position Barcelona alongside other European dance capitals, like London or Paris. Sebastià Gasch was an important art critic and friend of many avant-garde artists, including Joan Miró, Salvador Dalí and Federico García Lorca. His proximity to Paris and its artistic milieu drew him to the writings of André Levinson and Serge Lifar when he started writing about dance. Alfons Puig i Claramunt, an art critic and promoter, noticed how England was developing a thriving dance culture and identified the importance of the writings and active role of Arnold Haskell, who became his model. Gasch and Puig championed their friend Joan Magrinyà, enlisting him in their creative and artistic enterprise. However, unlike what happened in Paris or London, their attempts failed. The emerging narrative shows how the different social and cultural contexts and lack of a serious understanding of ballet as art form prevented their enterprise from overcoming the weaknesses and vulnerabilities of their efforts.
本文探讨了西班牙和加泰罗尼亚舞蹈史上被忽视的一章：20 世纪上半叶，继迪亚吉列夫的俄罗斯芭蕾舞团访问西班牙之后，加泰罗尼亚试图创建和发展舞蹈文化。两位加泰罗尼亚作家和推广者 Sebastià Gasch 和 Alfons Puig i Claramunt 是力图将巴塞罗那与伦敦或巴黎等其他欧洲舞蹈之都相提并论的关键人物。塞巴斯蒂-加什是一位重要的艺术评论家，也是许多前卫艺术家的朋友，其中包括琼-米罗、萨尔瓦多-达利和费德里科-加西亚-洛尔卡。由于他与巴黎及其艺术环境的密切关系，当他开始撰写有关舞蹈的文章时，安德烈-莱文森和塞尔日-利法尔的著作吸引了他。阿方斯-普伊格-伊-克拉拉蒙特（Alfons Puig i Claramunt）是一位艺术评论家和推广者，他注意到英国的舞蹈文化正在蓬勃发展，并发现了阿诺德-哈斯凯尔的著作和积极作用的重要性，哈斯凯尔成为了他的楷模。加施和普伊格支持他们的朋友琼-马格里亚，让他参与到他们的创意和艺术事业中。然而，与巴黎或伦敦的情况不同，他们的尝试失败了。新的叙述表明，不同的社会和文化背景以及对芭蕾舞这种艺术形式缺乏认真的理解，阻碍了他们的事业，使他们的努力无法克服弱点和薄弱环节。
{"title":"The Influence of André Levinson and Arnold Haskell in the Attempts to Develop a Ballet Culture in Catalonia during the First Half of the Twentieth Century","authors":"Ana Abad-Carlés, Marina Peñaranda-Abad","doi":"10.3366/drs.2023.0404","DOIUrl":"https://doi.org/10.3366/drs.2023.0404","url":null,"abstract":"This article examines a largely neglected chapter of Spanish and Catalan dance history: the attempts to create and develop a dance culture in Catalonia during the first half of the twentieth century, following the visits of Diaghilev’s Ballets Russes in Spain. Two Catalan writers and promoters, Sebastià Gasch and Alfons Puig i Claramunt, were the key figures who sought to position Barcelona alongside other European dance capitals, like London or Paris. Sebastià Gasch was an important art critic and friend of many avant-garde artists, including Joan Miró, Salvador Dalí and Federico García Lorca. His proximity to Paris and its artistic milieu drew him to the writings of André Levinson and Serge Lifar when he started writing about dance. Alfons Puig i Claramunt, an art critic and promoter, noticed how England was developing a thriving dance culture and identified the importance of the writings and active role of Arnold Haskell, who became his model. Gasch and Puig championed their friend Joan Magrinyà, enlisting him in their creative and artistic enterprise. However, unlike what happened in Paris or London, their attempts failed. The emerging narrative shows how the different social and cultural contexts and lack of a serious understanding of ballet as art form prevented their enterprise from overcoming the weaknesses and vulnerabilities of their efforts.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":"19 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139295593","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":"Skinner Releasing Technique: A Movement and Dance Practice, ed. Manny A. Emslie","authors":"Elisa Frasson","doi":"10.3366/drs.2023.0395","DOIUrl":"https://doi.org/10.3366/drs.2023.0395","url":null,"abstract":"","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46711250","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 acknowledges Sigurd Leeder (1902–1981) as a key figure in the dance scene in Europe and Chile from the 1920s through to the 1970s. Through reference to articles, reviews, letters, interviews, notation scores, performances and seminal texts his work as a visual artist, movement notator, dancer, choreographer and teacher is fully explored, and the influences of Rudolf Laban and Kurt Jooss on Leeder's life and work are examined. It is concluded that while he was of some significance during his lifetime, little of Leeder's legacy now survives.
{"title":"Sigurd Leeder: A Forgotten Master?","authors":"Clare Lidbury","doi":"10.3366/drs.2023.0392","DOIUrl":"https://doi.org/10.3366/drs.2023.0392","url":null,"abstract":"This article acknowledges Sigurd Leeder (1902–1981) as a key figure in the dance scene in Europe and Chile from the 1920s through to the 1970s. Through reference to articles, reviews, letters, interviews, notation scores, performances and seminal texts his work as a visual artist, movement notator, dancer, choreographer and teacher is fully explored, and the influences of Rudolf Laban and Kurt Jooss on Leeder's life and work are examined. It is concluded that while he was of some significance during his lifetime, little of Leeder's legacy now survives.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48167269","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 returns to issues raised in the pages of this journal regarding dance in the context of UNESCO's 2003 adoption of the Convention for the Safeguarding of the Intangible Cultural Heritage. 1 Bakka and Karoblis' article published in 2021 2 refuted the proposal made by Iacono and Brown in 2016 3 to replace the Convention's term ‘Intangible Cultural Heritage’ (ICH) with the concept of ‘living cultural heritage’. However, Bakka and Karoblis' response was written in the spirit of ‘a discursive unity’ 4 and, sharing in this spirit, I aim to consider both articles with the aim of highlighting how the discourses surrounding safeguarding ICH and those that consider dance as a significant part of culture might inform one another.
{"title":"The Tangible and Intangible: Dance and the Safeguarding of Intangible Cultural Heritage","authors":"J. Carr","doi":"10.3366/drs.2023.0390","DOIUrl":"https://doi.org/10.3366/drs.2023.0390","url":null,"abstract":"This article returns to issues raised in the pages of this journal regarding dance in the context of UNESCO's 2003 adoption of the Convention for the Safeguarding of the Intangible Cultural Heritage. 1 Bakka and Karoblis' article published in 2021 2 refuted the proposal made by Iacono and Brown in 2016 3 to replace the Convention's term ‘Intangible Cultural Heritage’ (ICH) with the concept of ‘living cultural heritage’. However, Bakka and Karoblis' response was written in the spirit of ‘a discursive unity’ 4 and, sharing in this spirit, I aim to consider both articles with the aim of highlighting how the discourses surrounding safeguarding ICH and those that consider dance as a significant part of culture might inform one another.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41767957","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}
Istanbul Educational and Cultural Association of Oriental Dancers (Istorder) is a unique institution that brings together professional belly dancers in Istanbul/Turkey. Between 2019–2021, I participated in belly dance courses in their dance studio. In this study, I examine my own experience, utilizing the data obtained from participant observation, fieldnotes, and semi-structured interviews with a feminist autoethnographic approach. I consider both my own experience and the narratives of other women who learn and teach belly dance in Istorder. Furthermore, I compare my findings with other research on women’s experiences of belly dance in the United States of America in different historical contexts.
{"title":"An Autoethnographic Analysis of a Space for Belly Dancing Women: Istanbul Educational and Cultural Association of Oriental Dancers","authors":"Berna Kurt","doi":"10.3366/drs.2023.0388","DOIUrl":"https://doi.org/10.3366/drs.2023.0388","url":null,"abstract":"Istanbul Educational and Cultural Association of Oriental Dancers (Istorder) is a unique institution that brings together professional belly dancers in Istanbul/Turkey. Between 2019–2021, I participated in belly dance courses in their dance studio. In this study, I examine my own experience, utilizing the data obtained from participant observation, fieldnotes, and semi-structured interviews with a feminist autoethnographic approach. I consider both my own experience and the narratives of other women who learn and teach belly dance in Istorder. Furthermore, I compare my findings with other research on women’s experiences of belly dance in the United States of America in different historical contexts.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48755708","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}
The Chinese American skater Nathan Chen and the Japanese skater Yuzuru Hanyu have demonstrated what we call a ‘hyperathletic-artistic turn’: recognizing an almost superhuman, quad-jumping ability along with an equally developed artistic side. This article closely analyses their 2018 Olympic season performances exploring costuming, music, dance choreography, and jumping ability. While Chen's balletic and dancerly choreography – a ‘return of the dancer’ aesthetic – maintains an individualistic maverick instead of commercially recognisable macho hypermasculinity, Hanyu's ‘soft masculine queer turn’ draws from the queer costuming and mannerisms of Johnny Weir and the confidence of Evgeni Plushenko. Through their performances and choreography, we argue that Chen and Hanyu importantly carve out emerging artistic forms of East Asian and Asian-American masculinities in the predominantly white sport of figure skating. These skaters are part of a driving force in an East Asian turn in men's figure skating.
{"title":"Hyperathletic Artistry: Nathan Chen and Yuzuru Hanyu Performing Asian Masculinities","authors":"Wesley Lim, Michelle H. S. Ho","doi":"10.3366/drs.2023.0387","DOIUrl":"https://doi.org/10.3366/drs.2023.0387","url":null,"abstract":"The Chinese American skater Nathan Chen and the Japanese skater Yuzuru Hanyu have demonstrated what we call a ‘hyperathletic-artistic turn’: recognizing an almost superhuman, quad-jumping ability along with an equally developed artistic side. This article closely analyses their 2018 Olympic season performances exploring costuming, music, dance choreography, and jumping ability. While Chen's balletic and dancerly choreography – a ‘return of the dancer’ aesthetic – maintains an individualistic maverick instead of commercially recognisable macho hypermasculinity, Hanyu's ‘soft masculine queer turn’ draws from the queer costuming and mannerisms of Johnny Weir and the confidence of Evgeni Plushenko. Through their performances and choreography, we argue that Chen and Hanyu importantly carve out emerging artistic forms of East Asian and Asian-American masculinities in the predominantly white sport of figure skating. These skaters are part of a driving force in an East Asian turn in men's figure skating.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42358608","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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