Made available in DSpace on 2014-11-10T11:09:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-07-11Bitstream added on 2014-11-10T11:58:08Z : No. of bitstreams: 1 000702783.pdf: 6490053 bytes, checksum: 80a140d0dadfed2ce0a6993a0525bd34 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Nesta pesquisa, analisa-se como coreógrafos e intérprete-criadores identificados com a linguagem da dança afro engendram os saberes dessa arte em suas práticas. Busca-se refletir como esse estilo se inscreve na história da dança brasileira por meio da indicação de linhagens artísticas e da reconstrução das trajetórias de seus personagens. Para tanto, compara-se as diversas perspectivas de seus criadores, vistos como interlocutores na construção de um conhecimento crítico sobre a dança afro. São abordadas as tensões entre suas formações artísticas, identidades sociais e posicionamentos no campo da produção cênica. Também procurou-se refletir sobre as negociações em torno dos engajamentos políticos dos artistas, seus vínculos com as tradições religiosas, o debate com a produção cênica contemporânea e as tensões entre os espaços institucionais onde as performances se realizam com intuito de rever estereótipos e identificar mediações responsáveis pela construção dinâmica de seus repertórios e particularidades / In this research, the aim is to examine how choreographers and creators identified with the language of African dance engender the knowledge of this art in their practice. I reflect how this style enroll in the history of Brazilian dance through multiple artistic lineages and the reconstruction of the personal trajectories. Here I compare the different perspectives of their creators seen as partners in building a critical knowledge about the African dance and also analyze the tensions between their artistic formation (training), social identities and positions in the theatrical production field. I also discuss the negotiations over the political engagement of artists, their links with religious traditions, the debate with contemporary theatrical production and tensions between institutional spaces where they perform in order to review stereotypes and identify mediations responsible for a dynamical building of its repertoires and particularities

This thesis documents the artistic connections made between composers and choreographers in Australia during the period 1960-2000. These 40 years saw a growth in the establishment of dance companies, resulting in many opportunities for composers to write original music for original dance works. The findings of original dance-music are tabulated in an extensive database giving details of 208 composers and over 550 music compositions written specifically for dance. Examples of choreographer and composer collaborative relationships and attitudes to each other???s artforms are discussed. Further examination of how these relationships have affected the sound of the music is detailed in four case studies. These concern the works The Display (music by Malcolm Williamson, choreography by Robert Helpmann, 1964), Poppy (music by Carl Vine, choreography by Graeme Murphy, 1978), Ochres (music by David Page, choreography by Stephen Page, 1994), and Fair Exchanges (music by Warren Burt and Ros Bandt, choreography by Shona Innes, 1989). These case studies look at dancemusic collaborated in different styles: ballet, modern dance, dance-theatre and experimental dance. This discussion is carried out through the analysis of the context of the collaborative relationships, and the temporal and interpretive aspects of the original dance-music. It is found through the investigation of collaborative relationships and discussion of these case studies, that similar methods of writing are used when composing music for theatrical dance, regardless of the type of dance. These methods show that composers have intentionally crafted scores that fulfil needs in the dance works and that are suited to choreographers??? intentions. Importantly, it is also found that involvement with dance has influenced some composers??? styles, aided musical innovation and added significantly to the corpus of Australian music.

This thesis documents the artistic connections made between composers and choreographers in Australia during the period 1960-2000. These 40 years saw a growth in the establishment of dance companies, resulting in many opportunities for composers to write original music for original dance works. The findings of original dance-music are tabulated in an extensive database giving details of 208 composers and over 550 music compositions written specifically for dance. Examples of choreographer and composer collaborative relationships and attitudes to each other???s artforms are discussed. Further examination of how these relationships have affected the sound of the music is detailed in four case studies. These concern the works The Display (music by Malcolm Williamson, choreography by Robert Helpmann, 1964), Poppy (music by Carl Vine, choreography by Graeme Murphy, 1978), Ochres (music by David Page, choreography by Stephen Page, 1994), and Fair Exchanges (music by Warren Burt and Ros Bandt, choreography by Shona Innes, 1989). These case studies look at dancemusic collaborated in different styles: ballet, modern dance, dance-theatre and experimental dance. This discussion is carried out through the analysis of the context of the collaborative relationships, and the temporal and interpretive aspects of the original dance-music. It is found through the investigation of collaborative relationships and discussion of these case studies, that similar methods of writing are used when composing music for theatrical dance, regardless of the type of dance. These methods show that composers have intentionally crafted scores that fulfil needs in the dance works and that are suited to choreographers??? intentions. Importantly, it is also found that involvement with dance has influenced some composers??? styles, aided musical innovation and added significantly to the corpus of Australian music.

In the years following the fall of Apartheid in South Africa, dance and choreography have undergone considerable transformation. This investigation stems from one observation relative to this change that has been articulated by two of South Africa's most respected dance critics, Adrienne Sichel and Matthew Krouse. Both critics have noted a growing concern for narrative in South African contemporary choreography, coupled with an apparent propensity for narratives of a distinctly personal and 'autobiographical' nature. In Part One: 'Just after the beginning', the proposed preoccupation with narrative in South African contemporary choreography is discussed in light of the relationship between narrative and the notion of personal identity. The use of the performed narrative as a medium to explore questions about identity is offered as one explanation underpinning this increased proclivity, where the interrogation of the form of the danced narrative provides a site for exploration of personal identity. Part Two: 'Somewhere in the middle' interrogates the notion of form through an in-depth discussion of the experimentation with form within theatrical and antitheatrical dance traditions over the last fifty years. Specific works by three selected South African choreographers (Ginslov, Maqoma and Sabbagha) are discussed in terms of their general approach to narrative form. This provides an illustration of some of the approaches to narrative form emergent in contemporary South African choreographic practices. Part Three: 'Nearing the end' offers Acty Tang's Chaste (2007) as a case study to illustrate the practical application of the dance narrative as a means to interrogate questions relating to personal identity. A detailed analysis of Tang's particular approach to forming the narrative of Chaste is conducted, exposing the intertextual, multimedia and multidisciplinary approach to creating the danced narrative.

Queer Transgressions: The choreographing of a male homosexual presence with reference to selected choreographers explores queer identity and in particular representations of a male homosexual presence in dance. Within the methodological framework of dance studies and queer theory I explore the ―self fashioning‖ of my male homosexual presence in dance. This is achieved by critically deconstructing my choreographic process when making choreography. Therefore this thesis is informed by both academic research and my self-reflexive experience of choreography and dance performance. The deconstruction of my autobiography and choreographic process is discussed with reference to both international and South African queer choreographers. This means that by accounting for my own experiences and approaches toward representing a male homosexual presence in dance, I explore the history and engagements of other queer choreographers also creating such representations. I therefore examine the works of selected choreographers and chart the development of the representation of a male homosexual presence in dance. By exploring the choreographic process of other queer choreographers I identify choreographic tactics that queer choreographers are using when making work. From this point of departure I shift the focus away from international queer choreographers and provide insight into the choreographic processes of South African queer choreographers. By accounting for the works and choreographic processes of South African choreographers, I provide a context in which my choreographic explorations on the subject matter can take place. This choreographic exploration manifests itself through a self-reflexive/autobiographic account on the research and practice of my choreographic process. During my choreographic exploration I set the challenge to both engage with and explore further, established ―queering tactics. This is done with the intention to reveal and create representations of a male homosexual presence in dance.

The career of Danny Daniels was significant for its contribution to dance choreography for the stage and screen, and his development of concept choreography. Danny's dedication to the art of dance, and the integrity of the artistic process was matched by his support and love for the dancers who performed his choreographic works.

Cette thèse a pour objet d’étude les processus d’élaboration de nouveaux ballets dans les compagnies de répertoire. À travers une enquête internationale, elle se propose d’interroger dans une perspective sociologique la situation de création spécifique qui est celle des chorégraphes de formation classique, insérés dans des institutions vouées principalement à l’entretien d’un répertoire d’œuvres existantes. Leurs trajectoires professionnelles et les différences genrées qu’elles mettent en évidence y sont élucidées, ainsi que la dimension fondamentalement collective d’un travail artistique qui implique la coopération d’autres acteurs, notamment les interprètes et les répétiteurs. À partir des formes d’incorporation et de circulation du mouvement, des logiques de création se dégagent, qui permettent d’interroger la nature de l’autorité créative du chorégraphe.Appuyé sur l’observation des répétitions de cinq créations au Ballet du Bolchoï, au Ballet de l’Opéra de Paris, à l’English National Ballet et au New York City Ballet, ce travail est complété par 29 entretiens et une base de données recensant toutes les créations des compagnies étudiées entre 2000 et 2016. Ces données croisées permettent de faire ressortir l’imaginaire commun qui sous-tend le travail des chorégraphes au XXIe siècle, les différences entre les quatre pays ainsi que les tensions propres à une forme de création identifiée comme classique. / Creativity within classical art forms is often underrated, and little is known about what it takes to craft a new ballet. This thesis explores the process of making new works in ballet companies today from a sociological perspective. Drawing on original field work in four countries, it looks at the specificity of the creative endeavours of ballet-trained choreographers, who work in institutional contexts where creation is allowed only limited space in comparison to the existing repertoire. The career trajectories of classical choreographers are addressed along with gender biases in the field. An in-depth look at the ways in which movement is shared, shaped and incorporated in the studio reveals the collective nature of creative processes which closely involve dancers and ballet masters.In addition to sustained periods of observation related to five creations at the Bolshoi Ballet, English National Ballet, New York City Ballet and the Paris Opera Ballet, the data gathered includes 29 interviews and a database listing every ballet created by the four companies above between 2000 and 2016. These findings shed light on the classical imaginary – a network of images and models, I argue, underpinning the work of 21st-century ballet choreographers – and highlight the complexity of classical artistic identities today.

Cette thèse est d’une approche ethnographique de la notion de l’acte de marcher et son application dans la danse, avec en particulier les pratiques créatives de la chorégraphe taiwanaise Lin Leechen林麗珍, issues de la pensée et de la culture chinoises. L’objectif principal est, d’une part, de saisir les caractéristiques de ce mouvement dans la danse et comment cette action de locomotion a inspiré les chorégraphes ; d’autre part, de connaître ses interprétations et ses valeurs dans le travail de Lin Leechen, ce qui se présente comme un exemple de cette problématique. La procédure utilisée est l’analyse de l’application de l’acte de marcher dans quatre formes de spectacles, dans des créations chorégraphiques contemporaines et dans les conceptions personneless des chorégraphes de notre époque. Pour atteindre l’objectif fixé, nous nous penchons d’abord sur les liens de ce geste avec l’ être humain, son corps et ses usages dans la vie quotidienne, puis sur la pratique de ce mouvement dansant et son interprétation dans des créations chorégraphiques et dans des entretiens de chorégraphes. Nous analysons enfin des entraînements à la marche de Lin Leechen et ses principes phrases chorégraphiques utilisant la marche dans sa trilogie de création : Jiào醮 (Miroirs de vie), Huā shénjì花神祭 (Hymne aux fleurs qui passent). Quān觀 (Chants de la destinée). / This thesis is the result of ethnographic research into the act of walking, its application in dance and practical implementation in the creations of Taiwanese choreographer Leechen Lin, which draw on Chinese philosophy and culture. The main objective is to understand how the movement is used in dance and how it inspires choreographers. It also explains how it is interpreted and its value in the work of Leechen Lin, presented as an illustration. The approach is to analyse the act of walking in four types of representation in contemporary choreography and from the personal perspective of contemporary choreographers. It first explores how human beings relate to walking in terms of their body and use in everyday life, and then how the movement is integrated into dance and interpreted in choreographers' creations and perspectives. Finally, it analyses Leechin Lin's coaching of walking and choreographic phrases in her trilogy.

Throughout the 1960s and 1970s, a trailblazing cohort of African American choreographers, dancers, and teachers innovated the aesthetics of their art while also using dance performance as a tool for civic education and community engagement. This group, which included figures like Alvin Ailey, Eleo Pomare, Rod Rodgers, Carole Johnson, and Mozel Spriggs, harnessed the creative potential of the ongoing “dance boom” to intervene in cultural, political, and social debates in American life. They advanced a multistylistic definition of “Black dance,” embracing both Western and Africanist artistic elements. By translating their ideas about pressing sociopolitical topics into the embodied language of movement, they used their choreography to offer explicit commentary on the world around them. Placing a particular emphasis on community engagement, they brought this work to new spaces and contexts, performing in public parks, city streets, college auditoriums, and on broadcast television. Supported by an institutional infrastructure of publications and administrative alliances dedicated to Black dance, they built a national, multiracial audience for their art. Together, these dancemakers functioned as a cohort of public intellectuals, contributing to broader discourse on race, cultural identity, citizenship, and activism within the context of the ongoing Civil Rights and Black Arts Movements. This dissertation marks the first comprehensive study of this innovative generation of Black dance artists. Combining methods from intellectual history, cultural history, and dance studies, it examines their intervention in American life during a period of urban unrest, cultural revolution, and political transformation. Drawing on a wide range of archival materials, including government and foundation records, lesson plans, choreographic notes, personal papers, critical reviews, programs, correspondence, oral histories, video, and photography, this analysis reconstructs choreographers’ embodied ideas and contextualizes audience reception. In their choreography, creative practice, and pedagogy, these dancemakers elevated the beauty and strength of the Black body in motion and emphasized the universality of African American stories. This dissertation likewise argues that Black modern dance offers a new way of thinking about art and its real-world implications, advancing our understanding of the body’s capacity to communicate ideas, educate audiences, and intervene in public life.

This dissertation examines experimental dance in New York City in the 1990s. Earlier periods of American concert dance have received significant scholarly attention to the historical, political, and aesthetic aspects of dance practice. Moreover, certain periods of modern dance — especially the 1930s and the 1960s — have been analyzed as moments of significant change, and the artists that emerged from the Judson Dance Theater in particular have held a significant place in the theorizing and historicizing of dance in the United States. However, experimental dance practices of the early 21st century demonstrate dramatically different aesthetics, approaches, and circumstances of production than those of earlier periods, including their Judson forebears. This project argues for understanding the 1990s as a period of significant change for dance, one with continuing resonance for the decades that follow.This project uses the term "downtown dance" to situate experimental dance in New York City as a community of practitioners, rather than as a particular set of aesthetic or artistic practices. Each of the four chapters focuses on an aspect in this period that would define how dance looked, how dancers practiced, and what shaped the artistic values and priorities of this community. The first chapter presents a history of the dance-service organization Movement Research. Tracing the history of the organization from its founding in 1978 through the establishment of its most influential programs in the 1990s — including the Movement Research Performance Journal and the performance series Movement Research at the Judson Church — the chapter locates Movement Research as a central entity in building the community and shaping theaesthetics of downtown dance. The second chapter examines the effects of the AIDS crisis on dance in the 1990s. As AIDS entered its second decade, it collided with and magnified downtown dance's complex relationship with emotion. This chapter draws on scholarship of AIDS' relationship to visual art, theater, and activism, as well as close readings of several works — by artists including Donna Uchizono, Neil Greenberg, John Jasperse, RoseAnne Spradlin, Jennifer Monson, and DD Dorvillier — most not generally understood as "AIDS dances," to argue that AIDS' impact generated a fundamental shift in the role of emotion in downtown dance. The third chapter examines how shifts in arts funding in the 1990s connected to a major restructuring in production models for dance. This chapter connects the history of the modern dance company with both aesthetic and economic developments over the course of the 20th century, arguing that the company should be understood as a combined economic-aesthetic system. Furthermore, the chapter demonstrates the new model for dance production that began to take hold in the 1990s in the wake of widespread funding and economic shifts: the project model. Teasing out the complex web of funding for dance, this chapter makes extensive use of dance periodicals; several funding trend analyses from organizations including Dance/USA, National Endowment for the Arts, Dance/NYC, and private corporate and foundation reports; and the archives of the presenting institution Danspace Project. The final chapter looks at how the shifts in economic models for dance discussed in the previous chapter connected to changes in training and bodily technique of dancers and performers. Specifically investigating the history of "release technique," this chapter examines how attitudes toward technique and training in downtown dance in the 1990s shifted the connection between movement practices and creative output, reconceiving the role of the dancer in the dancer-choreographer relationship.