<i>Scène</i> and Contemporaneity

Pouillaude, Frédéric; Solomon, Noémie

doi:10.1162/dram.2007.51.2.124

Cited by 77 publications

(17 citation statements)

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“…the "scène" in the original French) as "nothing else but a structure of contemporaneity and therefore a structure of temporality". 30 In the following discussion, we will demonstrate that the contemporary dance scene, in which the Brussels dance community is embedded, is indeed such a structure of temporality. In order to do so, we will elaborate on the concept of murmuring introduced by Pascal Gielen and the term multitude as defined by political and social theorists Paolo Virno, 31 Michael Hardt and Antonio Negri.…”

Section: A Swarm Of Pure Potential Moving From the Marginmentioning

confidence: 83%

The Brussels Dance Swarm on the Move: Precarious Bodies (not) at Home

Assche¹,

Pewny²

2013

Forum Modernes Theater

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Section: A Swarm Of Pure Potential Moving From the Marginmentioning

confidence: 83%

The Brussels Dance Swarm on the Move: Precarious Bodies (not) at Home

Assche¹,

Pewny²

2013

Forum Modernes Theater

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“…Although many scholars explore the ways in which embodied dance might materialize through choreographic writing (Longley 2009;Pouillaude 2007), in contrast, I explore the ways in which embodied writing might materialize through dance. Where my approach mostly differs is in the shift from approaching writing as a means of studying embodiment in dance to approaching writing as an embodied methodology for dance.…”

Section: Why Choreographic Writing?mentioning

confidence: 99%

“…As a consequence of such tensions, disparate writing systems (drawing from disparate theories of embodiment) have emerged within dance scholarship. Despite attempts to write choreography through scores, notebooks, pictographic systems, and movement texts, 1 written choreographic notation has yet to be fully incorporated into dance practice (Pouillaude 2007).…”

Section: Deleuzian Embodimentmentioning

confidence: 99%

“…The term 'choreography' emerged when Feuillet (1701) published the Beauchamps-Feuillet system of dance notation in Chorégraphie, ou l'art de décrire la danse (Choreography, or the art of writing dance). In drawing from this history, Pouillaude (2007) explains that the word 'choreography' means composition and that choreography constitutes a form of writing in and of itself. For Pouillaude, this raises implications for writing dance in which contemporary choreographic writing no longer consists of fixing a determined gestural trace that the performer would have to mechanically actualize from one evening to the next, but rather of setting open apparati that would have to be reencountered and reexperimented with in a different way in every instance.…”

Section: Deleuzian Embodimentmentioning

confidence: 99%

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Embodied writing: choreographic composition as methodology

Ulmer

2014

Research in Dance Education

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This paper seeks to examine how embodied methodological approaches might inform dance education practice and research. Through a series of examples, this paper explores how choreographic writing might function as an embodied writing methodology. Here, choreographic writing is envisioned as a form of visual word choreography in which words move, pause, gain emphasis, and flow as if dancing across the open page. To explore writing as choreography, this paper primarily draws from three theoretical perspectives on embodiment: phenomenological, new materialist, and Deleuzian. For each of these perspectives, this paper describes its approach to embodiment, provides choreographic writing examples, and discusses the implications thereof for dance education practice and research. Given the increasing importance of practice-as-research and creative arts inquiry, this paper finds that choreographic writing provides an alternative mode of communication for dance writers and qualitative researchers alike. Significantly, choreographic writing also offers new pedagogies for dance education researchers. In so doing, dance provides a venue for written arts-based research. IntroductionDance practitioners-as-researchers and dance scholars continue to explore how one might write dance. I wonder how dance might reshape writing. I situate these questions within the editors' invitation to explore how differing embodied methodological approaches might inform dance education practice and research. By creating examples of choreographic writing, I engage practice-based and academic composition through the lens of embodied methodological writing. Given the significance of embodied knowledges within dance education research, the development of new writing methodologies might help practitioners and researchers find new ways of not only writing about their practice, but also write in a style that perhaps is more aligned with the creative spirit of dance. Additionally, alternative approaches to writing might increase understanding of how theories and philosophies are increasingly relevant within the context of practice-as-research (Barrett and Bolt 2007).To work within the tensions that exist between writing movement and dancing movement, I follow Stinson's (2006) call for scholars to approach writing as

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“…Pouillaude shows this conjunction to be a core concern of contemporary dance. 9 Giorgio Agamben conceives contemporaneity above all in terms of subjective experience taking as his key point of reference those intellectuals, poets, artists, scientists who feel most deeply the spirit of the times in their very alienation from it.…”

Section: Contemporaneity In the History Of Artmentioning

confidence: 99%

Contemporaneity in the History of Art: A Clark Workshop 2009, Summaries of Papers and Notes on Discussions

Smith¹

2011

Comtemporaneity

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Sponsored by the Clark Institute, Williamstown, and the Getty Research Institute, Los Angeles, the workshop was convened by Terry Smith, and held at the Sterling and Francine Clark Institute, Williamstown, Mass., October 8 and 9, 2009. These notes do not record the exact statements of all participants, neither in the summaries of papers nor notes on discussions; rather, they represent the author’s own impressions of the workshop as it unfolded. See also, in this issue of Contemporaneity, Wu Hung’s contribution to the workshop.

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Scène and Contemporaneity

Cited by 77 publications

References 1 publication

The Brussels Dance Swarm on the Move: Precarious Bodies (not) at Home

The Brussels Dance Swarm on the Move: Precarious Bodies (not) at Home

Embodied writing: choreographic composition as methodology

Contemporaneity in the History of Art: A Clark Workshop 2009, Summaries of Papers and Notes on Discussions

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