DANCE STUDIES – GROUP A – 2nd SESSION – OCTOBER 10, 2017
ABOUT CHOREOGRAPHY / CONCEPT AND REALISATION
The way in which dance defined is culture dependent.
How is it in relation to choreography? Is it a metaphor referring to dance?
Writing with the body? Or inscribing into the body?
Thoinot Arbeau: Ochésographie (16th century) > notation of existing dance steps
In 18th century > inventing new steps and patterns
Choreography is both the considered structure and the visible pattern of moving bodies in space and time. Choreography is not limited to that which is rendered visible. Tim Etchells
This idea coincides with Egil Bakka & Gediminas Karoblis' idea of Concept and Realisation.
Arlene Croce: Discussing the Undiscussable – Review of a never seen performance of Bill T. Jones' Still / Here
(not seeing the realisation, but evaluating the concept)
One chooses what one will be – dying as art?! It is a menace to all art forms…
(Similarly to Denis Diderot's Paradox of Acting)
Are you used by art, or you use it?
WHERE DOES DANCE COME FROM? / TRADITIONAL AND FOLK DANCES
To whom it belongs to?
Andrée Grau: Myths of Origins > Evolutionary and Universal fallacies
What is the difference between traditional and folk dances?
trado, -ere: (latin) to pass on > from generation to generation, because it has a significant meaning to the community
folk(lore): in the 19h century it referred to the rural, non-literal, poor peasants' world, then by 1960s it is the expressive body of culture: 1) material culture e.g. artifacts 2) verbal tradition as songs, tales, curses etc. 3) customs (remembered enactments and re-enactments e.g. Thanksgiving, Santa Claus)
Are you a product of where you live?
1 ) Living/ongoing tradition
2 ) Revivals
– based on a mythic past (pre 20th century)
– based on a documented past
Binaries are in use accordingly:
Old/New, Authentic (or real)/Invented (or representation)
Appreciation/Appropriation