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Worlding dance and dancing out there in the world
... Using the work of Body Weather (BW) practitioners such as Snow (2006), Grant & de Quincey (2006), andTaylor (2010), this article will explore their unique viewpoints and somatic approaches to engaging with place. Also the works of other scholars and movement practitioners will be used to investigate how place shapes dance practices (Alexeyeff, 2009; Brown, 1997;Gray, 2010;Mazer, 2007;Savigliano, 2009). BW threads within the Aotearoa/New Zealand contemporary dance scene will be traced, culminating in suggestions about the implications for practicing BW in an Aotearoa context. ...
... 'World Dance' breaks down and reframes what 'dance' is, opening up new territory and broadening the conceptual framework of how we see dance. Savigliano (2009) argues for a re-thinking of the umbrella term 'World Dance' and asks how choreography (a Western notion) can be used as "a processor of differences" (Savigliano, 2009, p. 175). She suggests that different cultures of dance can come together to engage in dialogue. ...
... In the territory of globalisation, we must be open to multiplicity, processes of translation, and tailoring or reframing of dance. She says dancers need to enter into intercultural dialogue with producers, scholars, critics, students, or with other dancers (Savigliano, 2009). ...
This article will explore the relationship between dance and place. Using the work of Body Weather (BW) practitioners such as Snow (2006), Grant & de Quincey (2006), and Taylor (2010), this article will explore their unique viewpoints and somatic approaches to engaging with place. Also the works of other scholars and movement practitioners will be used to investigate how place shapes dance practices (Alexeyeff, 2009; Brown, 1997; Gray, 2010; Mazer, 2007; Savigliano, 2009). BW threads within the Aotearoa/New Zealand contemporary dance scene will be traced, culminating in suggestions about the implications for practicing BW in an Aotearoa context. How understandings of movement can emerge from different environments is the focus of the research.
... La pièce de Bel offre également une analyse en profondeur du contexte ayant pu faire naître son désir de travailler avec un artiste thaïlandais. Le succès et les nombreuses tournées de la pièce semblent indiquer qu'elle trouve sa place dans une tendance plus large de la mondialisation : celle qui tend à situer les types de danse « nouveaux » (du point de vue, contestable, de la danse occidentale mainstream) dans la catégorie des « danses du monde », destinées à insuffler une nouvelle vigueur au « vieux » monde de la danse (Savigliano, 2009) 12 . Mais le titre choisi pour la pièce, Pinchet Klunchun and myself, peut aussi indiquer une appropriation culturelle occidentale : il crédite Bel en tant qu'auteur et fait de lui le point de référence, révélant du même coup la hiérarchisation à l'oeuvre dans le fait de re-présenter les dites « danses du monde ». ...
After multiple cases of misappropriation of indigenous dances, knowledge and cultures, indigenous communities still have to rely on the public outcry to stop third parties from illegitimately exploiting their traditions. Beyond raising awareness of the pervasiveness of these practices, pragmatic tools have to be developed to strengthen the conservation and transmission of traditional cultural expressions in action, such as dances, rituals, and performances with special attention to the digital environments wherein they circulate. To defy the apparent contradiction between technology and indigenous culture, this interdisciplinary research project underscores the insufficiency of the several layers of the legal frameworks wherein indigenous dances are embedded. Simultaneously, theoretical and empirical explorations of new technology within the RITMO centre of the University of Oslo enabled the realisation of how similarity algorithms, motion-capture repositories, computer-assisted transmission of dances, interoperable documentation and multimodal archiving could filled the shortcomings on the normative front. These interconnections are suggested to protect the interests and livelihoods of indigenous peoples in relation to their intangible cultural heritage, until new parameters to prevent their misappropriation arise on a global scale.
This article is interested in popular and institutional or state responses to the representations of queerness offered in the films Inxeba/The Wound (South Africa, 2017) and Rafiki (Kenya, 2018). Aside from portraying the marked homophobia that continues to circulate on the African continent, the institutional and state responses to the films have overshadowed the positive popular reception which has characterised conversations around the films on social media and public spaces. This article shows how social media functions as animportant space of contestation for diverse issues relating to non-normative gender and sexual identities. As these films circulate in different spaces and are viewed by diverse audiences, they elicit equally diverse reactions and responses. The article examines how viewers, in Africa and beyond, receive and engage with the queerness represented in the two films. It argues that the multifaceted reactions to Inxeba/The Wound and Rafiki are central to articulating important questions about what it means to be queer in Africa,and particularly what it implies for black queers to inhabit heteronormative and patriarchal spaces on the continent. Through an analysis of the reactions and receptions of the two films in Africa and the global North, it is argued that it is possible to trace important inter-regional, intra-continental and intercontinental dialogues and conversations regarding the representation of queer African subjectivities. The intra-continental and inter-continental dialogues bring to light questions of gaze and viewing that are inherent in the circulation of queer-themed films. Kewords: Inxeba/The Wound, Rafiki, reception, popular culture, queerness
K. Wycisk, M. Zamorska, Nowa choreografia i posttaniec w przestrzeni sztuki współczesnej, "Biuro - organ prasowy BWA Wrocław", s. 68-72.
Abstrakt
Choreografia - pisanie ruchu, chwytanie ruchu, unieruchamianie ruchu. Kulturowy gest,
którego ceiem jest okiełznanie tańca, bez względu na to, czy rozumie się go jako wyraz
relacji społecznych, czy jako spontaniczną ekspresję wewnętrznych przeżyć. Choreografia
jako narzędzie dyscyplinowania pozwala uzyskać poprawny, właściwy i oczekiwany przepływ
ruchu - w ciałach i w przestrzeni. Choreografie społeczne i polityczne podporządkowują ciała
(ludzkie i nie-ludzkie) i nadają przepływom (ruchu, danych, pojazdów) kierunek, tempo i rytm.
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