By Thomas F. DeFrantz, Philipa Rothfield
This ebook renews brooding about the relocating physique via drawing on dance perform and function from the world over. Eighteen across the world regarded students convey how dance can problem our suggestions and emotions approximately our personal and different cultures, our feelings and prejudices, and our feel of private and non-private house. In so doing, they provide a multi-layered reaction to rules of impact and emotion, tradition and politics, and finally, where of dance and artwork itself inside of society.
The chapters during this assortment come up from a couple of diverse political and historic contexts. by way of teasing out their element and situating dance inside them, paintings is given a political cost. That cost is expert through the paintings of Michel Foucault, Stuart corridor, Gilles Deleuze, Jacques Derrida, Rancière and Luce Irigaray in addition to their forebears reminiscent of Spinoza, Plato and Freud. Taken jointly, Choreography and Corporeality: RELAY in Motion places notion into movement, with no forgetting its origins within the social world.
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Additional info for Choreography and Corporeality: Relay in Motion
In the practice of the work, Hay suggests that the dancer neither anticipate some future movement, nor dwell upon the past: an attitude she articulates through the phrase, ‘here and gone, here and gone’ (Hay 2014). Invoking the phrase within the dance helps to annul the memorial trace of movements past, including the critical judgements and anxieties that these memories often provoke, and which can interfere with the perception of what’s happening now. The dancer’s habitual, performative self is at stake in this proposition.
The identity of choreography may bear a certain likeness to the identity of the script. But dance has its own embodied history and provenance, a temporal flow which is found in the transmission of knowledge and kinaesthetic heritage from body to body. The corporeality, cultural and kinaesthetic provenance of the dancer/choreographer generates the material field within which subtraction operates. The corporeal nature of dance raises the following question: what are the forces of stabilisation that operate within and in relation to the dancer’s body, and which forces may fruitfully be subject to the operations of subtraction?
The notion of subtraction speaks to the problematic of movement creation—how to become open to the new rather than produce more of the same. Subtraction requires an operation according to which new potential becomes available. 22 Postmodern choreographer, Russell Dumas’ approach towards making work could also be viewed in relation to subtraction, less as taking something away than as a mode of resistance to stabilisation which is itself productive. Dumas engages and selects movement material which he simultaneously destabilises so as to remain open to the possibility that new movement material may arise from the given.