Contemporary Choreography

Nyhet

A Critical Reader

Inbunden, Engelska, 2026

Av Jo Butterworth, Vicky Hunter, Malta) Butterworth, Jo (University of Malta

3 009 kr

Kommande

Fully revised and updated, this third edition of Contemporary Choreography presents a range of articles covering choreographic enquiry, investigation into creative processes, and innovative challenges to understandings about dance-making.Contributions from a global range of practitioners and researchers address a spectrum of concerns in the field, organised into six broad domains:Processes of makingCulture, contexts and intersectionsChoreography, politics and powerChoreography and interdisciplinary arts practiceTechnology, transmission and immersionChoreographic environments and interventionsIncluding 24 new chapters and six updated ones, Contemporary Choreography captures the essence and progress of choreography in the third decade of the twenty-first century, supporting and encouraging rigorous thinking and research for future generations of dance practitioners and scholars.

Produktinformation

Utgivningsdatum2026-01-30
Mått156 x 234 x undefined mm
Vikt453 g
FormatInbunden
SpråkEngelska
Antal sidor494
Upplaga3
FörlagTaylor & Francis Ltd
ISBN9781032645742

Tillhör följande kategorier

Teater inom Kultur
Koreografi inom Kultur

General Introduction: Studying contemporary choreographySection 1. Processes of MakingSection Introduction1. Choreography through a Somatic Lens2. Dancing identities: How dancers’ embodied knowledge underscores creative methods in contemporary dancemaking3. ‘Finding the light’: Curiosity, texts and contemporary ballet in Helen Pickett’s The Crucible (2019)4. “If you don’t keep it open, you close”: Crystal Pite and Jonathon Young’s Betroffenheit (2017) and the emotional and psychological implications of theatre dance5. Creating Future Memories, NOW: FORWARD DANCE COMPANY by LOFFT - DAS THEATER and the reimagining of disability, diversity, and cultural memorySection 2. Culture, Contexts and IntersectionsSection Introduction6. Maybe You Could Close Your Eyes While I Dance: Age, Ageing, and in/visibility as choreographic drivers in Acting our Age7. Recomposing Thai Dance for Today’s World: Three Modes of Contemporary Choreographic Practice8. Gaga’s Aspirational Politics: Passepartout Bodies and Choreographic Passports9. Dancing Culture, Talking Global10. Choreography in Ghana: evolving methods and techniques11. Choreography as Research: Iteration, Object, ContextSection 3. Choreography, Politics and PowerSection Introduction12. Vulnerable practice: Thinking through discomfort and precarity in Project O’s Voodoo (2017)13. Dancing Simply together: an example transdisciplinary research in arts and sciences14. Prize-winning dances; choreography and the competition stage15. Multifarious identity: Barbardian street dance on the concert stage16. Moving into Action: change-making through dance activismSection 4. Choreography and Interdisciplinary Arts PracticeSection Introduction17. Choreography as a practice of border crossing: ten insights into embracing the impossible in interdisciplinary dance practice18. HOMECOMING19. Beyond Dancing: The Choreographic Turn in the 2022 Taiwan Arts Biennial20. Dance in the Museum21. From Improvements to Care: gardening as choreographic dwellingSection 5. Technology, Transmission and ImmersionSection Introduction22. Unlocking Touch23. Virtual Reality and Dance-Making: unbounding choreographic practice from the realm of real-time performance24. Social Media and Choreographic Practice: Tools for collaboration, co-creation and creative practice25. Shifts in Embodiment: Choreographic practice for Virtual RealitySection 6. Choreographic Environments and InterventionsSection Introduction26. Navigating Diasporic ‘Third Spaces’ and (New) Borderlands through Dance and Choreography27. Dancing Places: Sites, Situations, and Taking-Place28. Sensóriagrafia in Public Spaces: Dance and words as a relational sensory, poetic intervention29. A Reservoir of Gestures, or Choreography is Relational30. Unlocking Liberation: Choreographing the ‘Club State’