Choreographing Empathy: Kinesthesia in Performance by Susan Leigh Foster (review)

Nereson, Ariel

doi:10.1353/tj.2013.0095

Cited by 4 publications

(5 citation statements)

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“…Rather than Martin's idea of feeling universals based on movement, kinesthetic empathy asserts that each person has their own experience of movement. See Reynolds and Reason (2012) and Foster (2011).…”

Section: Discussionmentioning

confidence: 99%

Curtain Calls in Dance: Negotiating the Terms of Disengagement

Clark

2023

Dance Res. J.

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Through curtain calls in Eurocentric theatrical dance forms, dance artists, audience members, and staff coordinate how dance concerts end and participants disperse. Nevertheless, despite the widespread use of such practices, the rituals of bows and applause have largely eluded critical inquiry. This article offers dance practitioners choices toward thoughtfully negotiating the processes of engagement and disengagement in groups contingently assembled for dance events. A brief historical inquiry introduces how such behaviors may enact deeply embedded, power-laden agendas of relationship. Then, curtain calls are revealed as complex spaces of intersubjective negotiations, iterative of numerous possible functions at work.

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Section: Discussionmentioning

confidence: 99%

Curtain Calls in Dance: Negotiating the Terms of Disengagement

Clark

2023

Dance Res. J.

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“…Lepecki's statement equally opens the possibility to probe the issues of control, desire, discipline and representation, through the embodied cultural practice of dance and how this practice can produce modes of thinking towards rechoreographing, re-designing or reshaping the discourses around these issues in Arab culture. While the word choreography, which is derived from the Greek choreia or 'dancing in unison' and graphia or 'writing' , initially means a 'written notion of dancing' and refers to the art of composing and arranging dance movement, its meaning is expanded in contemporary performance theory to include a description of the mobility of technology (Foster 2011) and global capital (Lepecki 2008). The critical metaphor of 'choreographing' has equally gained currency in recent scholarly research about how the colonial dancing body, including the Orientalized body, 're-choreographs postcolonial theories of dance' through its movement (Belghiti 2013).…”

Section: Tarik Sabrymentioning

confidence: 99%

Introduction

Belghiti,

Sabry

2023

Middle East J. Cult. Commun.

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“…Recently, choreographers and other artist have nonetheless begun utilizing choreography as a concept relating to artistic work that does not necessarily involve such performed movements. Indeed, choreography has increasingly become to be related to as an open-ended approach to frame or organize the movement of diverse actors and materials (Foster 2010a;2010b;Lepecki 2010). In the wake of this trend, choreography has also been explored from the perspective of 'graphia', questioning how it can be rehearsed through written scores, drawing, letter writing and other forms of experimental writing and reading (e.g.…”

Section: Post-scriptum On Choreographymentioning

confidence: 99%

In the shadows: Phenomenological choreographic writing

Heimonen

Rouhiainen

2022

Choreographic Practices

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This article introduces a piece of choreographic writing. It likewise discusses the kind of site-specific choreographic process of opening up to what in everyday life is not apparent and left in the shadows that generated the writing. The objective of the choreographic process was to allow the impact of the bodily sense of being in contact with an urban location to permeate the authors’ activities in writing. To support this intention, they generated a phenomenologically informed performative score of experimental writing that aims at appreciating the vitality of the sensuous. The first part of the submission presents the actual choreographic writing as an evocative piece of choreography that can be read independently of the second part. This latter part contains an exploration into conceptions about choreography and writing. Here, the article draws specifically on Jean-Luc Nancy’s insights to articulate the kind of phenomenological approach the authors engaged in. It aims at establishing their artistic process as a phenomenologically oriented method in expanded choreography and argues that the writing they generated exscribes their encounter with the Hakaniemi bank in Helsinki on a late December day. It likewise details the significance the body bears on their take on choreographic writing and points towards the manner in which this writing contains traces of the inexpressible and non-thinkable.

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Choreographing Empathy: Kinesthesia in Performance by Susan Leigh Foster (review)

Cited by 4 publications

References 0 publications

Curtain Calls in Dance: Negotiating the Terms of Disengagement

Curtain Calls in Dance: Negotiating the Terms of Disengagement

Introduction

In the shadows: Phenomenological choreographic writing

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