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206 pages

English

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This edited collection draws on the conference, Attending to Movement: Somatic Perspectives on Living in this World, run at C-DaRE, the Centre for Dance Research, Coventry University, 12 - 14 July, 2013.Somatic practitioners, dance artists and scholars from a wide range of subject domains cross discipline borders and investigate the approaches that embodied thinking and action can offer to philosophical and socio-cultural inquiry.The book celebrates and builds upon the work of visionary dance artist, teacher and scholar Gill Clarke (1954 -2011), who championed the value of somatic approaches within and beyond dance education and creative practice.ContentsPART ONE - INTERCULTURAL DIALOGUES Carol Brown: So, Remember the Liquid GroundLalitaraja: Thinking, Reflecting and Contemplating With the BodyNadra Assaf: Not Without My BodyJuan Manuel Aldape Muoz: Choreographic MobilitiesPART TWO - SOMATICS IN A WIDER SOCIAL CONTEXT Thomas Kampe: The Art of Making ChoicesLizzy Le Quesne: An Intricate FieldSomaticatica (Bernadette Cronin, Jools Gilson, Roisin O'Gorman): Embodied Adventures in and out of the Irish CountrysidePART THREE - INTERPLAY OF PRACTICE AND WRITINGAdam Benjamin: The Fool's Journey and Poisonous MushroomsCath Cullinane, Natalie Garrett Brown, Christian Kipp & Amy Voris: At Dusk, the Collaborative Spills and Cycles of L219Carolyn Roy: As My Attention is WanderingSally E. Dean: Amerta Movement and Somatic CostumeHilary Kneale: 'The Daily Round, The Common Task'Sarah Whatley: Motion Capture and The DancerPART FOUR - PEDAGOGY/EDUCATION Sara Reed: Attending to MovementFiona Bannon and Duncan Holt: Attending to Ethics and Aesthetics in DancePenny Collinson: Re-sourcing the BodyNicole Harbonnier-Topin and Helen Simard: Somatic Education and Introspective VerbalisationPART FIVE - LIVED LINEAGES Jenny Roche: Disorganising PrinciplesJennifer Mackerras and Jane Toms ~ Myth-BustingDuncan Holt: A Moving and Touching Career in Dance and ChiropracticMartha Eddy: Early TrendsABOUT THE EDITORSSarah Whatleyis Professor of Dance and Director of the Centre for DanceResearch (C-DaRE) at Coventry University.Dr Natalie GarrettBrownis principal lecturer in dance at Coventry University, UK, where she contributes to the BA(Hons) Dance course and co-ordinates postgraduate provision for the Performing Arts Department.Kirsty Alexanderstudied law and then trained in contemporary dance. Sheperformed with a diverse range of artists including Gill Clarke, Rosemary Butcher, GabyAgis, Michael Clarke, Station House Opera and Michel Laub.

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Dance

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Publié par	Distributed By PublishDrive
Date de parution	01 mai 2015
Nombre de lectures	0
EAN13	9781909470644
Langue	English
Poids de l'ouvrage	8 Mo

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Extrait

Published in this first edition in 2015 by:
Triarchy Press
Axminster, EX13 5PF
England
+44 (0)1297 631456
info@triarchypress.net
www.triarchypress.net
This complete edition copyright © Triarchy Press, 2015
Each chapter, including any images in it, remains copyright © 2015 of the named author(s) of that chapter unless otherwise stated.
The author(s) of each chapter assert(s) his, her or their moral right under the Copyright, Designs and Patents Act 1988 to be so identified.
All rights reserved.
No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means including photocopying, electronic, mechanical, recording or otherwise, without the prior written permission of the publisher.
A catalogue record for this book is available from the British Library.
Paperback ISBN: 978-1-909470-63-7
ePub ISBN: 978-1-909470-64-4
pdf ISBN: 978-1-909470-65-1
5 Rhythms, Body-Mind Centering (BMC), the Feldenkrais Method, Awareness through Movement (ATM) and Functional Integration (FI) are registered trade or service marks.
Cover image: Christian Kipp (see p.188 for details).
CONTENTS
Contributors
Editors’ Introduction
PART ONE
INTERCULTURAL DIALOGUES
Carol Brown
So, Remember the Liquid Ground
Lalitaraja
Thinking, Reflecting and Contemplating With the Body
Nadra Assaf
Not Without My Body
Juan Manuel Aldape Mu oz
Choreographic Mobilities
PART TWO
SOMATICS IN A WIDER SOCIAL CONTEXT
Thomas Kampe
The Art of Making Choices
Lizzy Le Quesne
An Intricate Field
Somaticatica
Embodied Adventures in and out of the Irish Countryside
PART THREE
INTERPLAY OF PRACTICE AND WRITING
Adam Benjamin
The Fool’s Journey and Poisonous Mushrooms
Cath Cullinane, Natalie Garrett Brown, Christian Kipp & Amy Voris
At Dusk, the Collaborative Spills and Cycles of L219
Carolyn Roy
As My Attention is Wandering
Sally E. Dean
Amerta Movement and Somatic Costume
Hilary Kneale
‘The Daily Round, The Common Task’
Sarah Whatley
Motion Capture and The Dancer
PART FOUR
PEDAGOGY/EDUCATION
Sara Reed
Attending to Movement
Fiona Bannon and Duncan Holt
Attending to Ethics and Aesthetics in Dance
Penny Collinson
Re-sourcing the Body
Nicole Harbonnier-Topin and Helen Simard
Somatic Education and Introspective Verbalisation
PART FIVE
LIVED LINEAGES
Jenny Roche
Disorganising Principles
Jennifer Mackerras and Jane Toms
Myth-Busting
Duncan Holt
A Moving and Touching Career in Dance and Chiropractic
Martha Eddy
Early Trends
About the Editors
www.triarchypress.net/attending-to-movement
CONTRIBUTORS
Kirsty Alexander studied law and then trained in contemporary dance. She performed with a diverse range of artists including Gill Clarke, Rosemary Butcher, Gaby Agis, Michael Clarke, Station House Opera and Michel Laub. Her own choreographic work is generally site specific and in collaboration with artists from other disciplines. She has been involved in educating dancers within the higher education sector for over 15 years, including as Head of Undergraduate Studies at Laban from 2000-2004, and as Assistant Director of London Contemporary Dance School from 2005-2010. As a certified teacher of Skinner Releasing Technique, Kirsty’s approach to the philosophy of education has been significantly influenced by somatic practice and she is Associate Editor of the Journal of Dance and Somatic Practices . She undertook the MA Values in Education at the Institute of Education, London. In October 2010 she was awarded a University of Stirling PhD studentship, and is currently drawing on kinaesthetic experience to reconsider the dynamics of pedagogical experience.
Nadra Assaf received her MFA in Dance from Sarah Lawrence College, and a Doctorate of Education from Leicester University. She has been teaching at the Lebanese American University since 1991. Her recent dance productions include: STS: Space-Time-Shape (2012), I Matter: An Audience Interactive Performance (2010), T he Faces of EVE (2008-2009), and Majnoun Leila (2007). She is the Artistic Director and founder of Al-Sarab Alternative Dance School (1991 to date). In April 2011 she organised and implemented the first annual International Dance Day Festival in Lebanon. Among her publications are: ‘The Meanings of a Modern Dance: An Investigation into the Communicative Properties of a Non-Verbal Medium’ (2009) and ‘“I Matter”: An Interactive Exploration of Audience-Performer Connections’ (2012).
Fiona Bannon PhD trained as a community dance practitioner and later transferred these skills to lecturing in Dance. She is Senior Fellow of the Higher Education Academy and Senior Lecturer in Dance at the University of Leeds, where she teaches undergraduate and postgraduate courses in research methods, collaboration, choreography. As Chair of DanceHE she represents and advocates for dance in higher education in various forums. She is a member of the editorial board of Research in Dance Education and regularly reviews articles for several publications. She writes and presents work on a range of topics; recent projects have included reflections on choreographic practice, collaboration, aesthetics and relational ethics.
Adam Benjamin is a choreographer and improviser. Adam is a founder member of ‘Five Men Dancing’ and he has performed and taught with Kirstie Simson, Rick Nodine, Kim Itoh, Jordi Cortés and Russell Maliphant. He was joint founder/artistic director of CandoCo Dance Company (with Celeste Dandeker) and has made work for community groups and professional companies around the world including Vertigo Dance Company and Scottish Dance Theatre. In South Africa, shortly after the dismantling of apartheid, he founded Tshwaragano Dance Company and also choreographed for Remix Dance Project in Cape Town. In Ethiopia he developed the integrated strand for the Adugna Dance Theatre Company. Adam has been a Wingate Scholar, an Associate Artist at The Place and a Rayne Fellow (2006-8). In 2013 he was awarded a National Teaching Fellowship. He lectures at Plymouth University (UK).
Carol Brown is a choreographer, a performer, an Associate Professor at the University of Auckland, New Zealand and a visiting Reader at Roehampton University, UK. Her work evolves through dialogue, experimentation and creative research in response to contemporary issues of space and becoming. After completing a practice-led PhD at the University of Surrey, Carol was invited to be Choreographer in Residence at the Place Theatre, London. While there, she developed Carol Brown Dances. Carol’s dance theatre and performance installation works have toured internationally, and she has been commissioned to create large-scale works for urban contexts in Barcelona, Athens, Perth, Prague and Auckland. Her writings on dance, space, technology and sexuality are published widely.
Penny Collinson MA is a Senior Lecturer and Course Leader of MA Dance & Somatic Wellbeing: Connections to the Living Body, an ISMETA Approved Training Programme at the University of Central Lancashire, UK. Penny has worked as a contemporary dance performer and lecturer since 1992. She trains with Linda Hartley, holding a Diploma from the Institute for Integrative Bodywork and Movement Therapy (IBMT) and is now an external assessor for the programme. She practices Authentic Movement, and was fortunate to receive the Lisa Ullmann Travelling Scholarship Fund (2002) to study at the Authentic Movement Institute in Berkeley, whilst completing her MA by Research. Penny is a registered Somatic Movement Educator with ISMETA, and runs a private practice in Lancashire offering supervision and client work.
Bernadette Cronin is a theatre practitioner-researcher. Her interdisciplinary performance work is carried out in the main with Gaitkrash performance group, of which she is a founder member. She holds a PhD in Drama from the University of Exeter, an acting diploma from LAMDA, and publishes in the areas of Performance Studies and Adaptation Studies. Bernadette’s most recent collaboration, Playing the Maids , (with the Llanarth Group and Theatre P’Yut) will tour in Wales during 2015 funded by Arts Council Wales. She teaches in the department of Drama & Theatre Studies at University College Cork, where she is currently head of department.
Cath Cullinane is originally from Liverpool. She has worked as a Performance Technician for over 20 years in theatres, colleges and festivals in the UK and Europe. She has worked as Senior Theatre Technician / Skills Instructor at Coventry University and has recently moved to Armagh.
Sally E. Dean has been a performer, performance maker and teacher for over fourteen years – in university, professional and community settings. Informed by somatic-based practices, Sally’s work interlinks the fields of health, movement, expression, culture and performance. She is a certified teacher of Skinner Releasing Technique, an Amerta Movement practitioner (trained with Suprapto Suryodarmo from Java), and is a British Wheel of Yoga certified Scaravelli teacher. She also has a background in butoh, physical theatre, improvisation and playwriting. Sally’s ethos is interdisciplinary and transcultural collaboration. Her teaching and performance work integrate site, object, nature and costume. She also is the director of the ‘Kolaborasi Project’, which facilitates performance and teaching collaborations among American, European and Asian artists ( www.kolaborasi.org ), with recent projects in Sri Lanka and Indonesia. She has been supported by the Arts Council England and the British Council.
Martha Eddy CMA, RSMT helped to register the field of Somatic Movement Education & Therapy with the United States Department of Labor in 1992 as a board trustee of ISMETA. She maintains a somatic movement practice with neo-nates to the hospice. She taught with Irmgard Bartenieff and Bonnie Bainbridge Cohen before founding and directing