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1	Movement Speaks: Learning of Self, Others and Civic Responsibility January 2017 (has links) abstract: What is driving my applied project are questions derived from lived and observed experiences as an African American female born and raised in Los Angeles California to a non-native of twelve years in Arizona. I recognize situations I have gone through may not have happened if I was not a person of color and a woman. This is also true for Hispanics, Latinos, Native Americans, Pacific Islanders, Asians and other immigrants. The history of America as taught in public, secondary and post-secondary institutions speaks to this truth and raises the questions that I will explore in this document in relation to the process of creating my performance work Movement Speaks. / Dissertation/Thesis / Masters Thesis Dance 2017 Performing arts Dance Advocacy Dance for Social Change Ethnic Studies Moore Movement Method Social Choreography
2	O que o ar-tista faz com o que a televisão faz com a arte? / What the artist does with what the television does with art? Freire, Bruno Farias de Mello 22 November 2012 (has links) Made available in DSpace on 2016-04-26T18:12:33Z (GMT). No. of bitstreams: 1 Bruno Farias de Mello Freire.pdf: 34443456 bytes, checksum: f03750c2606d2f59d70e613a15ba5bb7 (MD5) Previous issue date: 2012-11-22 / Fundação de Amparo a Pesquisa do Estado de São Paulo / In the era of mobile communication, television is adapting. Viewers watch TV in transit on portable devices. New technologies diversify communication, providing more free and democratic practices. However, the most influential opinion makers still focus on the same platforms of yore. Some datas shows that 75% of Brazilians have on open TV their main source of information about politics (BAVA, 2010). Increasingly, TV acts body-to-body, inserting itself in daily life, promoting a dance of habits. The hypothesis of this project is that we are being choreographed by our daily contact with television, which also teaches us what an artist is and how art should be. We use the concept of social choreography (HEWITT, 2005) to argue that the values prevailing in society and choreography alter our bodily habits, inside and out television. This hypothesis is based on two themes: the understanding that there is a co-dependency between body and environment, explained by the Corpomídia s Theory (KATZ and GREINER, 2004), and that the mediations involved there go towards BARBERO s proposal (1997). In contemporary society, the profession of an artist has lost the ability to have a concrete social status (AGAMBEN, 1974/2012), making it an abstract adjective that can be applied to anyone. The object of the research is the program schedule of TV Globo, SBT and Record, and his goal, to investigate the social choreography they promote regarding the understanding of what an artist is. The second chapter makes a poetic exercise that proposes a form of relationship between art and communication. The third chapter is a pilot project for TV, a possibility of intervention and development of academic s issues inside society / Na era da comunicação móvel, a televisão está se adaptando. Telespectadores assistem tevê no trânsito, em aparelhos portáteis. As novas tecnologias diversificam a comunicação, propiciando práticas mais livres e democráticas. No entanto, os mais influentes formadores de opinião ainda se concentram nas mesmas plataformas de outrora. Dados revelam que 75% dos brasileiros têm na TV aberta sua principal fonte de informação sobre política (BAVA, 2010). Cada dia mais, a tevê atua corpo-a-corpo, inserindo-se no cotidiano, promovendo uma dança dos hábitos. A hipótese desta dissertação é a de que estamos sendo coreografados pelo nosso contato diário com a televisão, que também nos ensina o que é um artista e como a arte deveria ser. Usamos o conceito de coreografia social (HEWITT, 2005) para sustentar que os valores praticados em sociedade coreografam e alteram nossos hábitos corporais, dentro e fora da televisão. Esta hipótese fundamenta-se em dois eixos teóricos: no entendimento de que há uma co-dependência entre corpo e ambiente, conforme explica a Teoria Corpomídia (KATZ e GREINER, 2004), e de que as mediações aí implicadas vão na direção do que propõe BARBERO (1997). Na sociedade contemporânea, a profissão de artista perdeu a possibilidade de ter um estatuto social concreto (AGAMBEN, 1974/2012), tornando-se um adjetivo abstrato, que pode ser aplicado a qualquer um. O objeto da pesquisa é a grade de programação das TVs Globo, SBT e Record, e seu objetivo, o de investigar a coreografia social que elas promovem no que diz respeito ao entendimento do que é um artista. O segundo capítulo realiza um exercício poético que propõe uma forma de relacionamento entre arte e comunicação. Já o terceiro capítulo é um projeto piloto para Tv, uma possibilidade de elaboração e intervenção das questões da academia na sociedade Arte Corpomídia Arte e tevê Tevê e sociedade Poética e estética Coreografia social Art corpomídia Art and Tv TV and society Poetics and aesthetics Social choreography
3	EXPANDED CHOREOGRAPHY : Shifting the agency of movement in The Artificial Nature Project and 69 positions Invartsen, Mette January 2016 (has links) Through two books and a series of video documentations of live performances Mette Ingvartsen makes choreography into a territory of physical, artistic and social experimentation. The Artificial Nature Series focusses on how relations between human and non-human agency can be explored and reconfigured through choreography. By investigating and creating a ‘nonhuman theater’ questions regarding material agency, ecology, natural disasters, the Anthropocene and non-subjective performativity are posed. The resulting reflections are closely related to the poetic principles utilized to create the performances, while also drawing connections to territories outside theater. By contrast, 69 positions inscribes itself into a history of human performance with afocus on nudity, sexuality and how the body historically has been a site for political struggles. By creating a guided tour through sexual performances – from the naked protest actions of the 1960’s, through an archive ofpersonal performances into a reflection on contemporary sexual practice – this solo work rethinks audience participation and proposes a notion of soft and social choreography. The contrasting performative strategiesarticulate a twofold notion of expanded choreography: on the one hand movement is extended beyond the human body by including the agency of nonhuman performers, and on the other hand, movement is expanded into animaginary and virtual space thanks to ‘language choreography’. / <p>LINKS</p><p>https://vimeo.com/164552586</p><p>https://vimeo.com/164558381</p> material agency vibrant matter sensorial participation sensorial problems immersive stage environments color perception nonhuman choreography actants the Anthropocene non-subjective performativity ecology catastrophe technological extensions of the body the triple image animate/inanimate expression action production of affect evaporation dissolution and dispersion poetics expanded choreography Sexuality sexual liberation the performance history of the 1960s protest and politics ‘language choreography’ orality storytelling pornography affect and economy expression and liberty immaterial labor self-experimentation dance ‘soft choreography' social choreography Koreografi Dans Konstnärlig forskning Performing Arts Scenkonst
4	Hur blir du en framgångsrik tiggare i Sverige? : en undersökning av tiggandets och givandets bilder 2011 till 2016 / How do you become a successful beggar in Sweden? : an inquiry into the images of begging and giving 2011 to 2016 Parsberg, Cecilia January 2016 (has links) Mitt första möte med en tiggande föranledde mig att under fem år undersöka den nya situationen för tiggeriet och giveriet i Sverige. Förutsättningen är att vardagliga handlingar och reaktioner gentemot en annan människa kan synliggöras estetiskt med en etisk klangbotten. Min undersökning utspelar sig i första hand i gaturummet och i medierna. Det är hela tiden bilderna som är utgångspunkten för resonemangen och de gestaltande verken. Bilder som både separerar och länkar samman kroppar. Vilka bilder är i spel i tiggeriets och giveriets sociala koreografi? Hur kan bilder i detta sammanhang aktiveras på nya sätt? Hur kan nya genereras? Tiggandet är en uppmaning till social interaktion, och vare sig givaren socialt interagerar eller inte med den tiggande människan på gatan så involveras givaren i det europeiska samfundets asymmetriska värdesystem. I min första gestaltning anlitas en professionell marknadsundersökare för att ta reda på hur en tiggare i Sverige skulle kunna göra för att bli framgångsrik. Det blir en film som jag sedan visar mittemot en film där tiggande pratar om hur givare ger. Ur detta verk följer så en rad gestaltningar och en interdisciplinär teoretisk diskussion med bland andra Judith Butler, Sara Ahmed och Hannah Arendt, samt med en rad konstnärers arbeten, kring hur bilder – och kroppsliga handlingar – är kopplade till samhällsbilden och samhällskroppen? Körernas uppställning i gestaltningen Tiggandets kör och Givandets kör anger ett utrymme för social interaktion och demonstrerar därmed en annan ordning som kräver andra insatser, i språk, rörelse och attityd gentemot varandra. Det är en social koreografi: när körerna tränade och sjöng tillsammans uppstod en politisk form. Min förhoppning är att estetiskt synliggöra ett politiskt handlingsutrymme mellan tiggandet och givandet som kan utnyttjas för fortsatta etiska förhandlingar, och nya gestaltningar. / My first encounter with a begging person led me to spend five years investigating the new situation regarding begging and giving in Sweden. The premise is that every-day actions and reactions to another person can be made visible through aesthetics with ethical underpinnings. My investigation takes place mainly in the urban landscape and in the media. The images always constitute the point of departure for the reasoning and for the staged works. Images that separate as well as connect bodies. Which images are at play in the social choreography of begging and giving? In this context, how can images be activated in new ways? How can new images be generated? Begging is a call to social interaction, and regardless of whether the giver interacts socially with the begging person on the street, the giver is implicated in the asymmetrical value systems of the European Union. In my first staged work I hire a professional market researcher to find out how a beggar in Sweden should behave to be successful. This becomes a film that I then show opposite another film in which begging people talk about how givers give. This is followed by a number of staged works and an interdisciplinary theoretical discussion involving, among others, Judith Butler, Sara Ahmed, and Hannah Arendt, as well as a number of artistic works concerning how images – and bodily actions – are linked to the social image and the body politics. The arrangement of the choirs in the staged work The Chorus of Begging and The Chorus of Giving, indicates a space for social interaction and thus demonstrates a different order that demands different actions in terms of language, movement, and attitude toward each other. It’s a social choreography: when the choirs rehearsed and sung together a political form emerged. My hope is to make visible a space for action between the begging and the giving that can be used for continued ethical negotiations and new staged works. / <p>Föreliggande doktorsarbete har genomförts och handletts i forskarutbildningen i Fri konst vid Konsthögskolan, Umeå universitet. Doktorsarbetet läggs fram vid Lunds universitet inom ramen för samverkansavtalet mellan Konstnärliga fakulteten vid Lunds universitet och Konsthögskolan Umeå angående utbildning på forskarnivå i ämnet Fri konst inom ramen för Konstnärliga forskarskolan.</p><p>This dissertation has been carried out and supervised within the graduate programme in Fine Arts at Umeå Academy of Fine Arts, Umeå University. The dissertation is presented at Lund University in the framework of the cooperation agreement between the Malmö Faculty of Fine and Performing Arts, Lund University, and Umeå Academy of Fine Arts regarding doctoral education in the subject Fine Arts in the context of Konstnärliga forskarskolan.</p><p>Avhandlingen är även utgiven i serien: Malmö Faculty of Fine and Performing Arts, Lund University: Doctoral Studies and Research in Fine and Performing Arts, 14. ISSN: 1653-8617</p> fine arts images begging giving beggar giver successful solidarity empathy affect space of action free movement borders politics of waiting gestures urban life participating art filminstallation asymmetry symmetry place house co-presence framing social choreography power activate the image ethics aesthetics ethics video documentation artistic research phronesis Hannah Arendt Judith Butler Sara Ahmed Sven-Eric Liedman fri konst bilder tiggande givande tiggare givare framgångsrik solidaritet empati affekt förhandlingsutrymme den fria rörligheten gränser politiskt väntrum gester urbant liv deltagande konst filminstallation asymmetri symmetri plats hus co-presence framing social koreografi makt aktivera bilden etik estetik videodokumentation konstnärlig forskning fronesis Hannah Arendt Judith Butler Sara Ahmed Sven-Eric Liedman

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