Dance and Not Dance

When Is Contemporary Dance?

“… 10. As Birringer rhetorically asks, “Have we not seen these operations before? The sincere authentic gesture, the chance procedure, the everyday movement improvisation, the infantile regression, the arrogant posture of provocation, the refusal to dance, the self-reflexive turn?” (2005, 12). …”

Lietuvos šiuolaikinio šokio kryptys

“…J. Birringeri mini, jog konceptualaus šokio atstovai geba gerai tirti šokio terpę, organizuoti ir vykdyti kūrybinį procesą ir kartu paneigti visus estetinius šokio atstovavimo būdus. Pasak jo, didelis vaidmuo šiuose pasirodymuose tenka pačiai auditorijai ir jos kūrinio suvokimui (10,(10)(11)(12)(13)(14)(15)(16)(17)(18)(19)(20)(21)(22)(23)(24)(25). Pasirodymuose dažnai pateikiami tokie kontekstai ir elementai, kurie žiūrovams kelia asociacijas ir skatina juos mąstyti.…”

To be or not to be – able to dance: integrated dance and children’s perceptions of dance ability and disability

“…The cultural tools of dance include dance steps , technique (Birringer, 2005;Wainwright, Williams & Turner, 2006), terminology (Leigh-Foster, 1997), and choreography work (Humphrey, 1959). Standards set for achievement of various participatory roles in a given cultural setting include knowledge and cognitive capacities (Kelly & Green, 1998; as well as physical capacities (Benjamin, 1993;Kupers, 2000;Leigh-Foster, 1997;Wainwright, Williams & Turner, 2006;Walker & Walker, 1997;).…”

“…(QEP secondary school dance curriculum, p.5). Dance has evolved through the course of history from being a main part of people"s lives in ancient cultures (Birringer, 2005;Levy, 1988;Udall, 2001) to its current representation as an elite cultural and artistic form only reserved for those who possess certain physical capacities and body structures (Benjamin, 2002;Boswell, 1989;. Ballet is likely the most dominate cultural image of dance in western society (Kealiinohomoku, 2001;Kuppers, 2000;Leigh-Foster, 1997;Walker & Walker, 1997;).…”