590 research outputs found

    Issues of control and agency in contemplating Cunningham’s legacy

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    A discussion of Merce Cunningham’s 1967 work Scramble within the context of it being learned and performed by Laban students in London 2010. Cunningham’s significance to a new generation of dancers is considered drawing on discussions with the students and the Cunningham dancer and teacher, Patricia Lent, who set Scramble and is a trustee of the Cunningham legacy. In particular Cunningham’s approaches to dance, both in terms of his technique and choroegraphic methods, are examined in relation to how dance can embody both the potential and limits of human agency

    Claiming their space: virtuosity in British jazz dance

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    A discussion of the jazz dancing that took place in British clubs in the 1970s and 1980s

    The problem of significance: revisiting aspects of Laban’s discussions of the significance of movement and dance from a twenty-first century perspective

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    How cultural difference is contemplated has changed since Laban first formulated his theories.In Britain today, informed by experiences of diversity, dance theorists may be more wary of accepting the universalism underlying Laban's therories. However, it is argued that it is important to keep in mind that the experience of dance is enriched by an engagement that, in Laban’s terms, requires thinking in movement. This paper revisits Laban's effort theory to suggest how his work might provide the means to develop a sensitivity to how different ways of being in the world are manifested, and perhaps even negotiated, in performance

    Diasporic experience and the archival process: reflections upon the initial phase of the Black Dance Archives project (UK)

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    State of Trust has been funded to archive ‘collections from eminent individuals and organisations from the British Black dance sector’ (http://blackdancearchives.co.uk/). The Black Dance Archive may be considered as a ‘contingent, dynamic and transformative site’ (Heathfield 2012, 238) whose presence facilitates an historical ‘re-remembering’ (Bindas 2010). It stands as the site of negotiation between ‘Black British’ dance artists and the ‘archontic principle’ (Derrida, 1995) through which the archive retains the traces of a power that consigns documents to their place within a (dominant) signifying system.   Through a diaologic, reflective and trans-disciplinary process, we consider the role of the performance archive within the context of decolonisation. For those artists whose work is included, the transition of artefacts from private to public space marks a legitimization that nevertheless is fraught with the risk of appropriation. The archival process repeats previous tensions between hegemonic dance discourses and the artists’ aims to respond authentically to their lived diasporic experiences. The archive also marks a coming to terms with, even a mourning of, a past that for many of the artists was already shaped by a sense of loss. If, ‘the theory of psychoanalysis… becomes a theory of the archive and not only a theory of memory’ (Derrida 1995, p.18 ), can this archive be conceptualised and experienced in ways that allow for recognition of the lived trauma of diasporic experience while also celebrating how such experiences engendered new danced identities?

    Researching British (underground) jazz dancing c1979-1990

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    The concept of 're-remembering' (Bindas, 2010) informs my account of researching the  jazz dancing performed in clubs in Britain in the late 1970s and 1980s in which I reflect upon the findings of  my own interviews with jazz dancers and those published by the DJ’s  Mark (Snowboy) Cotgrove (2009) and Seymour Nurse (n.d. b). Further, drawing on Pierre Bourdieu’s concepts of habitus and field (1984), I consider how jazz styles may be understood to have proposed new British dance identities within the changing cultural field of dance in postcolonial Britain. With specific reference to video recordings of Brothers in Jazz, IDJ and the Jazz Defektors, I explore this jazz dancing in the context of the social changes of the period 1979-1990, the era in which, under the government of Margaret Thatcher, economic and political changes took place that were (and still are) a source of much controversy. Here, Bourdieu’s analysis of cultural fields provides a useful framework from which to consider how differences in practices within an arena such as jazz dancing can be understood both in relation to each other and to a wider context. Finally, recognising how the synchronic and diachronic dimensions of experience and understanding intersect (Bourdieu 1993), and drawing on the words of dance artist Sean Graham, I consider how inclusion of British (Underground) jazz dancing (also known as UK jazz)  in the wider historical understanding of dancing in Britain is important to  the current ‘field’ of dance that is still coming to terms with the social, economic and cultural changes of the recent past.

    The possibilities of different geographies

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    'The Possibilities of Different Geographies’ is the title of a dance work Jane Carr and Bruce Sharp  first created in 1997 that investigated the significance of human embodiment. Twenty years later they revisited the themes informing their earlier work in order to create a participatory performance-installation focused on the significance of the embodied dimensions of intersubjective experience.   The authors present the philosophical and political ideas underpinning their aims to challenge the boundaries that act as limits upon how humans experience their embodied identities and reflect on how, in developing the project, artistic and activist principles became interwoven. They describe the creation of movement scores for participants to perform and consider how elements of movement, sound, lighting and opportunities for reflection contribute to an environment that affords creative participation focused on the intercorporeal dimension of human geographies.

    PASSPORT Quality Assurance and Quality Management

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    This report addresses findings related to the quality standards of the PASSPORT program. Although all evaluation components address aspects of quality assurance and improvement, this study addressed issues regarding the safety and welfare of program participants and the congruence of the PASSPORT program with the CMS Home and Community-Based Service Quality Framework. Findings show that there are numerous structures and processes in place to safeguard program participants. In addition, a strong consumer focus and the development of the Quality Management Improvement System show significant strides toward the CMS Quality Framework
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