The autoethnographic act of choreography: considering the creative process of storytelling with and on the performative dancing body and the use of Verbatim Theatre methods.
This article, which takes on Maurice Merleau-Ponty’s (1962) notion of the body as the prime means of knowing the world, starts with the understanding that wehavea body,area body andbecomea body. These are key concepts for those, like me, who tell stories with the body – the act of choreography. Argu...
| Published in: | Critical Arts: A South-North Journal of Cultural & Media Studies Vol. 30; no. 3; pp. 376 - 392 |
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| Format: | Article |
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Taylor & Francis Ltd
Jun2016
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=117922527&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 117922527 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 02560046 CTA jtl: Critical Arts: A South-North Journal of Cultural & Media Studies issn: 02560046 maglogo: N pubinfo: dt: Jun2016 vid: 30 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 117922527 10.1080/02560046.2016.1205323 ppf: 376 ppct: 16 formats: fmt: @attributes: type: P size: 8.4MB tig: atl: The autoethnographic act of choreography: considering the creative process of storytelling with and on the performative dancing body and the use of Verbatim Theatre methods. aug: au: Loots, Lliane affil: University of KwaZulu-Natal. su: Autoethnography Ethnographic analysis Choreography Critical analysis Artistic collaboration sug: subj: Autoethnography Ethnographic analysis Choreography Critical analysis Artistic collaboration keyword: autoethnography choreography dance feminism FLATFOOT DANCE COMPANY Verbatim Theatre ab: This article, which takes on Maurice Merleau-Ponty’s (1962) notion of the body as the prime means of knowing the world, starts with the understanding that wehavea body,area body andbecomea body. These are key concepts for those, like me, who tell stories with the body – the act of choreography. Arguing for the notion of the embodied ‘I’ and interrogating the politics of autoethnography (see, for example, Holman Jones 2005), this article offers an encounter with my own process of conceptualising and choreographingdays like these(2015). Working with Verbatim Theatre (also called documentary theatre) methodologies I looked at the politics of memory and history, for a potential crossover between this theatremaking method and the choreographic process. The way I choreograph is essentially ‘verbatim’ in that I am constantly asking dancers to bring their own life experience – through their bodies – into the dance theatre we create. In looking atdays like these(2015) I offer a critical analysis of my own choreography (beyond the encounter and analysis of the process of making). This is done as a feminist act of responding to the constructions and play of knowledge and power within and on the moving, dancing body: both my own body and those of the six dancers with whom I collaborated. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Critical Arts: A South-North Journal of Cultural & Media Studies is the property of Taylor & Francis Ltd 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: Critical Arts: A South-North Journal of Cultural & Media Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2016 holdings: @attributes: islocal: N |
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