Tag: dance

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Embodied Experience

“That embodied experience of staged performances has sharpened my observational and analytical ability to see past the spectacle of performance, the glamour of the costumes, and the dazzle of the footlights.  This enables me to provide a unique analytical picture of the performance of these ensembles – viewed through a trained angle of observation, informed by the practice of performing (my emphasis)…” – Anthony Shay from the preface of Choreographic Politics: State Folk Dance Companies, Representation and Power

Yes! An academic (who is also a practitioner) who gets it!!!

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Two definitions of Contemporary

Aphorism 3

Contemporary – adopting an ever-shifting set of values so as to elude any sort of qualitative criteria. Contemporary – adopting a differing set of values so as to problematize the normative set of qualitative criteria

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Jam ~ Performance

A Jam is a situation in which all participants have equal access to movement, location, and observation.

A Performance is a situation in which participants have unequal access to movement, location, and observation.

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Contemporary Contact Improvisation…or achieving the full potential

If, as some have stated contemporary dance is about the search for and exploration of potential, then contact improvisation in its nigh-omnipresent hetero-normative iterations is not contemporary as the hetero-normativity represents merely a third of the potential permutations of the duet based on biological sex.

Extending this thought to the duet in relation to number, the normativity of the duet in relation to the physical practice of the form is also a limitation of potential.  A dancer of CI, in order to make use of the full potential of the form, should be able to dance with anyone in the place of practice and not be limited to one person.

In order to achieve the full potential of the form, and thus bring CI into back into contemporality, practitioners of the form must move beyond the hegemony of the hetero-normative duet.

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Tanznacht Berlin 2014 – a simple financial analysis

at 1.43 minute per €  „KELLERKINDER“ byTanzzeit Jugendcompany Evoke & Kadir Amigo Memis was the most expensive performance of Tanznacht Berlin.

at 10 minutes per € KRUMP „N“BREAK RELEASE“ by Shifts-Art in Movement was the best deal of Tanznacht Berlin.

(note: this does not take into account the reduced rate for tickets.  Maybe I should go back to school or get the Tanzcard)

Artist &Performance Cost in € Length in minutes minutes per €
JUAN GABRIEL HARCHA – „ANGELA LOIJ“ + „TULLE LABYRINTH“ 14 45 3.214285714
DRAGANA BULUT -“WHERE IS THE ZOMBIE?” EPISODE 2 14 70 5
SIEGMAR ZACHARIAS & ALICE CHAUCHAT “INVASIVE HOSPITALITY #4 9 60 6.666666667
TANZZEIT JUGENDCOMPANY EVOKE & KADIR AMIGO MEMIS „KELLERKINDER“ 14 20 1.428571429
SHIFTS – ART IN MOVEMENT / DAVID BRANDSTÄTTER/MALGVEN GERBES „KRUMP „N“BREAK RELEASE“ 5 50 10
NIELS `STORM’ ROBITZKY, RAPHAEL HILLEBRAND, LOUISE WAGNER  ”DIALOGIC MOVEMENT – FORUM FÜR ZEITGENÖSSISCHEN URBANEN TANZ” 14 90 6.428571429
EVA MEYER-KELLER & SYBILLE MÜLLER “KATASTROPHENKOMPOSITIONEN” 9 30 3.333333333
KENJI OUELLET „LE SACRE DU PRINTEMPS – A HAPTIC RITE“ 9 15 1.666666667
RICARDO DE PAULA „SHOOT FIRST“ 9 25 2.777777778
DEWEY DELL “CINQUANTA URLANTI QUARANTA RUGGENTI SESSANTA STRIDENTI” 5 10 2
MARTIN HANSEN “MONUMENTAL” 9 40 4.444444444
KAT VALASTUR “GLAND” – THE MARGINAL SCULPTURES OF NEWTOPIA (DIMENSION A & B 14 60 4.285714286
SHIFTS – ART IN MOVEMENT/DAVID BRANDSTÄTTER & MALGVEN GERBES „FESTINA LENTE – MAKE HASTE SLOWLY“ 14 60 4.285714286
BEGÜM ERCIYAS „HYPNOSIS“ 14 70 5
CHRISTOPH WINKLER „DAS WAHRE GESICHT – DANCE IS NOT ENOUGH“ 14 70 5
TIAN ROTTEVEEL „HARDCORE“ 9 30 3.333333333
FRÉDÉRIC GIES „SEVEN THIRTY IN TIGHTS“ 14 70 5
SERGIU MATIS „FAKE – THE REAL DEAL“ 14 120 8.571428571
ANGELA SCHUBOT & JARED GRADINGER “SOON YOU ARE THEIRS” 9 25 2.777777778
ALEXANDRE ACHOUR „THIS ISN´T GONNA END WELL“ 14 70 5
JOCHEN ROLLER & MONICA ANTEZANA „DER CARPENTER-EFFEKT“ 14 65 4.642857143
Averages 11.47619048 52.14285714 4.517006803
Mode or most common value 14 70 5
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The Penumbra of Spatial Apprehension

The Penumbra of Spatial Apprehension

The Penumbra of Spatial Apprehension, the downstage semi-circle shown here in red, is the area of the performance space that the performers, unless required to do so by a predetermined spatial choreography, tend to avoid.

When performers enter this penumbra, they tend to face upstage if vertical; or keep their pelvises close to the ground if facing downstage; or move through the penumbra with a trajectory parallel with the front of the stage.

Experience and the likelihood of entering the penumbra do not have a direct relationship.