The Perpetual 'Present' of Dance Notation.
Dance notation systems disclose information about the historically located experience of moving while at the same time necessitating that understanding of the moving body be accessed through the very particularities of the reader's/ dancer's own contemporary body. Practices of dance notation--graphi...
| Publicado en: | Ekphrasis (2067-631X) Vol. 12; no. 2; pp. 180 - 200 |
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| Formato: | Artículo |
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Babes-Bolyai University, Faculty of Theatre & Television
2014
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=100652534&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 100652534 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 2067631X H6D0 jtl: Ekphrasis (2067-631X) issn: 2067631X maglogo: N pubinfo: dt: 2014 vid: 12 iid: 2 pid: 91118 pub: Babes-Bolyai University, Faculty of Theatre & Television artinfo: ui: 100652534 ppf: 180 ppct: 20 formats: fmt: @attributes: type: P size: 4.6MB tig: atl: The Perpetual 'Present' of Dance Notation. aug: au: WATTS, Victoria affil: University of South Australia su: Dance notation Movement notation Body movement Choreography Benesh notation sug: subj: Dance notation Movement notation Body movement Choreography Benesh notation keyword: cultural phenomenology embodiment ab: Dance notation systems disclose information about the historically located experience of moving while at the same time necessitating that understanding of the moving body be accessed through the very particularities of the reader's/ dancer's own contemporary body. Practices of dance notation--graphic, iconic, symbolic documentations of dance and movement--date back to the 15th century in Europe. Most commonly their history has been conceptualised as a quest for a viable, 'universal' system of documentation, regardless of the intention of the inventors. I argue instead that systems of dance notation are intimately connected to the visual and physical cultures of the time and place in which they were developed. Each system provides insight into the way its inventor and users conceptualized their experiences of the moving body. However, these systems do not represent the dance in a mimetic way. In spite of my expertise as a notator, using Benesh Movement Notation and Labanotation, I cannot 'see' the dance when I read a dance score. Rather, the notation serves as a visual technology through which embodiment is encoded and can be re-enacted. That is to say, dance notation does not primarily visualize how the body looks--visual markers of identity are absent from the score--but instead gives graphic form to the experience of moving. This encoding does not happen in the symbols themselves but through the interplay amongst the symbols and between the score and the reader/dancer. In this paper I explore the paradoxes of past/present, text/embodiment, and objectivity/subjectivity that animate research using dance notation systems. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Ekphrasis (2067-631X) is the property of Babes-Bolyai University, Faculty of Theatre & Television and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Ekphrasis (2067-631X) holder: Babes-Bolyai University, Faculty of Theatre & Television dt: @attributes: year: 2014 holdings: @attributes: islocal: N |
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