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273 pages

English

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A propos
Informations
Extrait

Description

Site-based dance performance and sited movement explorations implicate dance makers, performers and audience members in a number of dialogical processes between body, site and environment. This book aims to articulate international approaches to the making, performing and theorising of site-based dance. Drawing on perspectives from three practitioner-academics based in three distinct world regions – Europe, North America and Oceania – the authors explore a range of practices that engage with sociocultural, political, ecological and economic discourses, and demonstrate how these discourses both frame and inform processes of site dance making as well as shape the ways in which such interventions are conceived and evaluated.

Intended for artists, scholars and students, (Re)Positioning Site Dance is an important addition to the theoretical discourse on place and performance in an era of global sociopolitical and ecological transformation.

List of Illustrations

Introduction: (Re)positioning site dance: Local acts, global perspectives

Karen Barbour, Victoria Hunter, Melanie Kloetzel

Section One: Historical lineages and contemporary concerns: Tactics, encounters and contexts

Chapter 1: From recontextualisation to protest: 50 years of site dance practice in North America

Melanie Kloetzel

Chapter 2: Activism, land contestation and place responsiveness

Karen Barbour

Chapter 3: Sited English folk dance as a form of site dance: Heritage, tradition and resistance

Victoria Hunter

Section Two: Practice into theory: Materials, dialogues and affect

Chapter 4: Dancing gardens, Phenomenology and affective practices

Karen Barbour

Chapter 5: Material touchstones: Weaving histories through site-specific dance performance

Victoria Hunter

Chapter 6: Lend me an ear: Dialogism and the vocalising site

Melanie Kloetzel

Section Three: Moving towards the global: Ethics, morality and marginalisation

Chapter 7: Performing parks and squares

Victoria Hunter

Chapter 8: Site-specific dance and environmental ethics: Relational fields in the Anthropocene

Melanie Kloetzel

Chapter 9: Dancing in Foreign places: Practices of place and tropophilia

Karen Barbour

Conclusion

References

Index

Sujets

Modern

Performing Arts

Modern history

Contemporary dance

Dance

Obermodern-Zutzendorf

Informations

Publié par	Intellect Books
Date de parution	15 juillet 2019
Nombre de lectures	0
EAN13	9781789380132
Langue	English
Poids de l'ouvrage	2 Mo

Informations légales : prix de location à la page 0,3800€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

First published in the UK in 2019 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2019 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2019 Intellect Ltd
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, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Copy-editor: MPS Technologies
Cover designer: Aleksandra Szumlas
Production manager: Mareike Wehner
Typesetting: Contentra Technologies
Cover image: Site-based exploration of West Wittering beach, 2018, West Sussex, UK. Image: Victoria Hunter. Dancer: Yuquing Han.
Print ISBN: 978-1-78320-998-9
ePDF ISBN: 978-1-78938-014-9
ePub ISBN: 978-1-78938-013-2
Printed and bound by TJ International, UK.
This is a peer-reviewed publication.
This book is dedicated to our students, our individual dance communities and to the global community of movers. With special thank you to our families – Arana and Tahukiterangi; Scott, Finlay and Molly; Andy, Camas and Day – who have tolerated our global collaboration (and Skype calls) at all sorts of inconvenient hours and generously accepted our need to write this book.
Contents

List of Illustrations
Introduction: (Re)positioning site dance: Local acts, global perspectives Karen Barbour, Victoria Hunter, Melanie Kloetzel
Section One: Historical lineages and contemporary concerns: Tactics, encounters and contexts
Chapter 1: From recontextualization to protest: 50 years of site dance practice in North America
Melanie Kloetzel
Chapter 2: Activism, land contestation and place responsiveness
Karen Barbour
Chapter 3: Sited English folk dance as a form of site dance: Heritage, tradition and resistance
Victoria Hunter
Section Two: Practice into theory: Materials, dialogues and affect
Chapter 4: Dancing gardens: Phenomenology and affective practices
Karen Barbour
Chapter 5: Material touchstones: Weaving histories through site-specific dance performance
Victoria Hunter
Chapter 6: Lend me an ear: Dialogism and the vocalizing site
Melanie Kloetzel
Section Three: Moving towards the global: Ethics, mobility and marginalization
Chapter 7: Performing parks and squares
Victoria Hunter
Chapter 8: Site-specific dance and environmental ethics: Relational fields in the Anthropocene
Melanie Kloetzel
Chapter 9: Dancing in foreign places: Practices of place and tropophilia
Karen Barbour
Conclusion
References
Index
List of Illustrations

Introduction Figure 0.1: A Dance for You by Victoria Hunter, June 2015, Royal Holloway Great Charter Fair, performers: Aimee Papworth and Daisy Farris. Photo by Victoria Hunter. Figure 0.2: This place is here created by Karen Barbour with students and professional dancers, October 2014. Photo by Chloe Palmer. Figure 0.3: The Gate City: Rail Town Reflections created and directed by Melanie Kloetzel with students and community members in a train depot in Pocatello, Idaho for First Friday ArtWalk, May 2007. Photo by Greg Nicholl.
Chapter 1 Figure 1.1: On the lookout for contamination in corporate spaces in The Sanitastics (2011). Choreography and direction by Melanie Kloetzel. Figure 1.2: Laurence Lemieux and Andrea Weber blend into the rock striations in Coleman Lemieux & Compagnie’s Feel the Earth Move: The Gros Morne Project (2006). Choreography by Bill Coleman. Figure 1.3: Women defying perceptions of the female body. Flyaway Production’s Needles to Thread (2015) in Continuum Alley, San Francisco, USA. Choreography and direction by Jo Kreiter. Photo by Austin Forbord. Figure 1.4: Zaccho Dance Theatre performers highlighting the historical (and present) exile experienced by African Americans on Market Street in San Francisco, USA in Joanna Haigood’s Sailing Away (2010). Choreography and direction by Joanna Haigood. Photo by Anthony Lindsey. Figure 1.5: Protesting the marriage of corporate interests and politics in kloetzel&co.’s It began with watching (2017), in City Hall in Edmonton, Canada. Choreography and direction by Melanie Kloetzel. Photo by Kevin Leiver.
Chapter 2 Figure 2.1: Creaturely movement. Helene Burgstaller in Whenua – Land (2015). Photography by Marcia Mitchley. Figure 2.2: Connection to land. Helene Burgstaller (standing), Marangikapiua Hare and Harrietanne Embling in Whenua – Land (2015). Photography by Marcia Mitchley. Figure 2.3: Feeling within. Marangikapiua Hare in Whenua - Land (2015). Photograph by Molly McCabe. Figure 2.4: Convoluted and circuitous connections. Eve Veglio-White (foreground), Harrietanne Embling, Marangikapiua Hare, Karen Barbour and Helene Burgstaller in Whenua – Land (2015). Photo by Marcia Mitchley. Figure 2.5: The challenge. Harrietanne Embling, Marangikapiua Hare, Eve Veglio-White and Helene Burgstaller in Whenua – Land (2015). Photo by Chloe Palmer.
Chapter 3 Figure 3.1: Padstow ‘Oss Dance . Photo by Victoria Hunter. Figure 3.2: The Abbots Bromley Horn Dance . Photo by Michaela Roper. Figure 3.3: The Grenoside Sword Dance . Photo by Jeremy Carter-Gordon. Figure 3.4: The Abbots Bromley Horn Dance by Michaela Roper. Figure 3.5: The Abbots Bromley Horn Dance by Michaela Roper. Figure 3.6: Padstow ‘Oss Parade . Photo by Victoria Hunter. Figure 3.7: Model of site-specificity (Wilkie 2002). Developed by Victoria Hunter, 2017.
Chapter 4 Figure 4.1: Streaming images. Patti Mitchley and Hannah May in Fluid echoes dance (2005). Photo by Alana MacKay. Figure 4.2: Dynamic balancing. Patti Mitchley and Helene Burgstaller in Bliss . Photo by Marcia Mitchley. Figure 4.3: Doves on the rocks. Marie Hermo Jensen in Whispering Birds (2012). Photo by Marcia Mitchley. Figure 4.4: Reflective experiences. Olivia Buchannan, Karen Barbour, Alex Hitchmough, Claire Gray and Patti Mitchley in Whispering Birds (2012). Photo by Grant Triplow. Figure 4.5: Audience perspective. Fluid echoes dance (2005). Photo by Alana MacKay.
Chapter 5 Figure 5.1: The George Abbot Almshouse Building, Guildford, United Kingdom. Photo by Victoria Hunter. Figure 5.2: The Abbots Dances string section (2014). Dancers; Aimee Papworth and Rebecca Ankers. Photo by Victoria Hunter. Figure 5.3: The Abbots Dances opening scene (2014). Dancers; Aimee Papworth, Jenna Owles, Alexandra Doe, Daisy Farris and Rebecca Ankers. Photo by Victoria Hunter. Figure 5.4: Almshouse resident Ian Henderson telling the story of ‘Brother Pile’. Photo by Victoria Hunter. Figure 5.5: The Abbots Dances (2014). Dancer: Daisy Farris. Photo by Victoria Hunter.
Chapter 6 Figure 6.1: Tamara Lee as Caliban using the lexicon of technology in 1024 Tempest (2015), Calgary, Canada. Directed by Melanie Kloetzel. Figure 6.2: Melanie Kloetzel as Ferdinand getting inundated by popcorn ‘snow’ thrown from above by Prospero (Danny Levinson) and Caliban (Tamara Lee) in 1024 Tempest (2015), Calgary, Canada. Directed by Melanie Kloetzel. Figure 6.3: Hawking our wares in multiple languages at the ‘Wurst’ kiosk. Melanie Kloetzel and Deanne Walsh in Cowboys and Wurst (2015), Calgary, Canada. Choreography and direction by Melanie Kloetzel and Deanne Walsh. Figure 6.4: Melanie Kloetzel and Deanne Walsh ride the ‘sausage-link pony’ in Cowboys and Wurst (2015), Calgary, Canada. Choreography and direction by Melanie Kloetzel and Deanne Walsh. Figure 6.5: Melanie Kloetzel and Deanne Walsh offer sausages to the audience before pulling them up to polka in Cowboys and Wurst (2015), Calgary, Canada. Choreography and direction by Melanie Kloetzel and Deanne Walsh.
Chapter 7 Figure 7.1: St Mark’s Square, Venice, October 2015. Photo by Victoria Hunter. Figure 7.2: Tourists’ performances of tourism. St Mark’s Square, Venice, October 2015. Photo by Victoria Hunter. Figure 7.3: Solomos Square, Zakynthos, July 2015. Photo by Victoria Hunter. Figure 7.4: Solomos Square, Zakynthos, July 2016. Photo by Victoria Hunter. Figure 7.5: Instant Dissidence, Dancing with strangers , Croydon, 2016. Photo by Arthur Godden.
Chapter 8 Figure 8.1: Nina Haft & Company along the California shoreline in King Tide (2016). Choreography and direction by Nina Haft. Figure 8.2: Melanie Kloetzel addressing adaptive responses to climate change in Room (2014–15). Choreography by Melanie Kloetzel, design by Fergus Dunnet. Photo by Chantal Wall. Figures 8.3 and 8.4: Performing among protesters in the snow in Calgary, Canada and in the summer heat in front of City Hall in Edmonton, Canada. Rooms (2015, 2016). Choreography and direction by Melanie Kloetzel. Figure 8.5: Jennifer Monson and guests experimenting with flocking dances in preparation for duck and geese migrations in New York City. BIRD BRAIN (2004) . Times Square, New York . Directed by Jennifer Monson. Photo by Andrew Lichtenstein.
Chapter 9 Figure 9.1 and 9.2: Walking up and down in Cinque Terre, Italy, June 2014. Photo by Karen Barbour, June 2014. Figure 9.3: Stillness. Karen Barbour in Snow Canyon, Utah. Photo by Alaina Deaver, 2016. Figure 9.4: Dancing. Karen Barbour in Hammerfest, Norway. Photo by Solveig Leinan-Hermo, 2015. Figure 9.5: Earth. Google map location New Zealand, 2018.
Introduction

(Re)positioning site dance: Local acts, global perspectives
Karen Barbour, Victoria Hunter, Melanie Kloetzel
Look around and situate yourself, here in this place, at this time, in front of the computer screen, in the studio, at the table with book in hand. Where and how are you situated, in relation to whom and what, to where and when?
Where are you located, what is this local site, can you map the grid coordinates, identify your position in metres above sea level, the distance to and from points x and y?
What, where and how is the space above, below and around your body? Can you shift your body imperceptibly in the space, what ripple effects occur here and now?
What surround