Choreographic Methodologies

In this dialogue, we are presenting the collaborative work of Hector Palacios, Stella Blanc, and Elena Suárez. Together, they created 'YOLLOTL', a choreographic piece rooted in the Nahuatl concept of the heart-not just as an organ, but as the energy that connects all things existing within and around us. Elena, drawing from her Mexican background, explored questions of family, care, and cultural identity. Guided by Hector and Stella, the process became both structured and deeply personaltransforming movement into embodied practice. The piece unfolds in a circular space with no clear beginning or end, creating an intimate, shared experience. Through YOLLOTL, they offer a space for memory, resilience, and the understated power of carrying other voices through dance.

"Gesto, tatto, azione. Da Merce Cunningham a Virgilio Sieni"
di Monica Bucci - Postmedia Books 2025 - 170 pp. 7 ill. bn
isbn 9788874904273
...
Partendo dal connubio tra Merce Cunningham, John Cage e Robert Rauschenberg, ponendo attenzione non solo sulla commistione tra le arti (in questo caso, danza, musica e arte visiva), ma anche sul carattere effimero delle stesse in quanto performance-happening incentrate sul concetto dell'hic et nunc, si ripercorrono alcune delle tappe fondamentali della danza contemporanea in quanto Arte performativa e totalizzante. Significativi, sono stati gli "appuntamenti" che hanno inteso la danza come accadimento, disposta come un insieme di azioni di tutti e per tutti: l'Event portato da Cunningham in Piazza San Marzo a Venezia (Biennale del 1972), il lavoro della post modern dance di Steve Paxton consolidatosi nella Contact Improvisation, il notevole sviluppo della Performing art... ...

Territorios en acción. Experiencias en extensión de la Facultad de Humanidades, Ciencias Sociales y de la Salud se presenta como un compilado en el que da a conocer las prácticas extensionistas y de voluntariado universitario llevadas a cabo entre 2018 y 2021 por docentes, no docentes y estudiantes de diversas carreras de la Universidad de Santiago del Estero, con el foco puesto en territorializar la experiencia universitaria. Las actividades fueron desarrolladas con la participación de organizaciones sociales, instituciones y la comunidad. El libro se inicia con una entrevista a Humberto Tomassino, uno de los principales referentes en el campo de la extensión universitaria a nivel nacional, seguida de ocho capítulos, divididos en tres ejes temáticos: el primero de ellos aborda la prevención de la salud, el segundo está vinculado al contexto rural y el tercero sobre Derechos Humanos y Género.

In the arts, qualitative usage of the center of attention (CA) has long been successfully employed by visual artists. For dance, a center of attention was defined by Kasia Williams in a paper at the 2012 Bridges conference as a means for mathematically studying how choreographers and dancers tend to create and manipulate the CA in dance works. It is quantitatively calculated by an interpreter of video frames assigning weights to the dancers based on the choreographer’s intent as applied to dancer configurations and locations on stage as the performance proceeds. Using Excel and Mathematica, the authors have been exploring methods of calculating and displaying the CA as a trajectory along with statistical and other quantifiers from analyses of a variety of dance performances. The hope is that the center of attention might emerge as a new useful tool in understanding, classifying, and improving audience enjoyment. Once quantified, there is the possibility that other dance parameters m...

This article focuses on the notion of the archive and the repertoire as first discussed by Diana Taylor (2003) and subsequently critiqued by Rebecca Schneider (2011) in relation to issues related to the preservation of dance. Attention is drawn to Schneider’s assertion that the value of the archive lies in its possibility of an encounter with the living body and to the associated blurring of the division between the corporeal and the documentary to the extent that ‘the split between archive and repertoire … [becomes] the archive’s own division’ (Schneider 2011: 108). This collapse of a binary notion of the archive and the repertoire, in favour of one ascribing equal value to inscribed and embodied forms of knowledge transmissions, resonates with the principles underpinning the United Nations Educational, Scientific and Cultural Organization (UNESCO) Convention for the Safeguarding of the Intangible Cultural Heritage (2003).

Reference will be made to For Now (2014), one of the sixteen ‘chapters’ around which Table of Contents (2014) – a solo dance piece in which Matthias Sperling selects and performs a number of fragments of past choreographic works from Siobhan Davies Dance repertoire – is constructed. The idea of past choreographic movement material acting as ‘compost’ that fertilizes current dance practices (Davies et al. 2014: 4) will be considered in relation to change as a constitutive element in dance preservation.

The concept of dance work identity, elaborated by Frédéric Pouillaude (2017), will be brought to bear on the discussion about the perceived oxymoron between continuity in dance preservation and change, or to paraphrase Schneider, an approach to saving not concerned with ‘identicality’ (2011: 101). In this respect the safeguarding of the intangible cultural heritage will be discussed in relation to ethical issues concerning the perpetuation of derogatory, stereotyped or racist content in ballet.

This article discusses the digital dance archive Siobhan Davies RePlay to explore how the dancer's making and performance process translates to an online environment, to ask what is lost and what is gained? It will consider how the digital environment captures and transmits the material form of the 'object' and how RePlay seeks to convey something of the mutable nature of dance rather than a static, unchanging digital resource. The article will focus particularly on one aspect of RePlay, which more that any other part of the archive reveals the process of design and its role in conveying the artistic vision of the choreographer (Siobhan Davies) and the whole creative team involved in the archive development. These 'kitchens' are designed to provide users with a different experience of two dance works: Bird Song (2004) and In Plain Clothes (2006). Named 'kitchens' as a reference to a process involved in the construction of a dance work that is analogous to...

The present study proposes the use of performative elements in creative work in dance. Thus, it wants to discuss how proposals developed by the art of performance can be addressed in the training process of the dancercreator. It sees the training as a process for an acute and intimate listening of oneself where there is an overflow; it goes beyond a specific piece of art expanding out rehearsal room and time. This immersion in the process of oneself relates to a choice of a technique and a vision of the body that finds its place in the performer's deep relationship with his/her own movement. Through experimentation the performer seeks new possibilities and wants to explore risks, limits, colors, and realizes his/herself always in relation. The research proposes to the dance work possibilities of exercises-experiences that are built around performative elements such as: the autobiographical matter, authorship, the body at risk, the absence of illusion in the scene, the close relationship with the public, the explosion of space and the use of technology.

A text in two parts. A discussion of her emerging methods is presented by H’Doubler herself in Part One, “Miss H’Doubler Remembers”. Here, speaking to dance students at Wisconsin ca. 1963, she recalls how she arrived in Madison, what occurred when she discovered women’s sports, the invitation to ‘stay on’ after graduating to coach basketball and baseball, the assignment she reluctantly accepted from her supervisor to “look into dance’” while pursuing graduate studies in philosophy at Columbia University, and the new life she discovered for herself when she came back to Madison in the summer of 1917 to teach her first dance class. I’ve inserted italicized ‘sidebars’ within the text to provide additional information and context.
Part Two is a re-presentation of Miss H’Doubler’s 1925 text "The Dance and its Place in Education." Developed out of her graduate MA thesis, it considers dance in education broadly; that its instruction involved more than just the study of its forms. Without explicitly saying as much, because no one, as yet, was thinking in these terms, H’Doubler presents dance studies as if they constituted the study of a discipline.

The author considers the dialogical nature
of dance improvisation practice in performance through the lenses
of her experience with the Czech experimental discipline of Dialogical
Acting and presents her findings in a practice-based research and interviews with professional dancers-improvisors. She highlights improvisation as an embodied discipline of awareness that requires ongoing practice. The paper is part of the book Secretly Alive: embodied perspectives on dance improvisation edited by Mish Rais, Mirka Eliášová and Lizzy Le Quesne and published by NAMU (Prague) in 2024. www.namu.cz

Submit your abstract proposals (max. 300 words) by June 30, 2025. Reach out with any inquiries.

In today’s performance landscape, the image of the sleeping dancer unsettles expectations: a motionless body, fully present, yet refusing action, virtuosity, or spectacle. This voluntary stillness—detached from purpose, narrative, or linear time—evokes what Kafka called a force so powerful that “the world will freely offer itself to you.” This special issue of Mimesis Journal explores sleep not as absence, but as radical presence. In contemporary works such as Trajal Harrell’s Tickle the Sleeping Giant, Maria Hassabi’s Plastic, Boris Charmatz’s Somnole, and Cristina Kristal Rizzo’s Sonno, among others, sleep suspends time, reclaims space, and challenges capitalist logics of productivity and visibility. These performances, along with the historical examples of Sleeping Beauty and other 19th c. somnambulist ballets, as well as contemporary performative works such as Sophie Calle’s photographic series The Sleepers, ask us to reimagine sleep as somatic withdrawal or quiet protest, and to consider the potential of dream-state dramaturgies. We acknowledge in performance the resonance of interdisciplinary conceptualizations and experiences of sleep: from Heraclitus’s idea of sleeping as a division between the private sphere and the common world, to Malevich’s notion of sleep as “death of being, of the productive man,” to Lévinas’s image of our own self as a baggage we drop each night when we fall asleep.

This practice-led research project examines how combining painting and choreography can reshape artistic identities and challenge traditional dance forms. From ballet's strict structure to modern dance's liberated expression, this research project explores the possibilities, obstacles, and progression of transitioning from established techniques to more unbridled forms of artistic expression. The work aims to illuminate the transformative power of cross-disciplinary practice in broadening traditional dance aesthetics.

This paper presents a methodological choreographic framework that combines diverse, experiential, and performative methods of mediatization to create interactive elements for immersive and performative artwork. The framework was used in the development of a screendance audiovisual projection and motion tracking technologies were used to create interactive components for an immersive artwork. The inquiry is driven by an ongoing practice-as-research project that explores embodiment, creative technologies, archival art practices, identity construction, and embodied archival worldmaking. The paper discusses how embodiment and experiential choreographic methods of mediation support the creative process of embodied archival worldmaking and describes the development and integration of interactive AR components in an immersive screendance environment. The framework was applied in a collaborative research project that investigated notions of experiential continuity through an interactive audiovisual architecture for an immersive artwork.

The aim of this paper is to produce a review of the changes in choreographic notation that have taken place throughout the course of the Olympic Ceremonies. From 1896 to 1992 notation was performed by hand, and it was only from Atlanta '96 that a design program, Adobe Illustrator, began to be used to draw maps. This gave rise to the role of the chartist, which is closely linked to that of the choreographer, and is often fulfilled by the choreographer himself. A choreographic organization involving 200 to 500 people has behind it a preparation that goes beyond the creative project alone. The procedure is complex and it is necessary to use a notation system for choreographic design that not only allows the project to be transformed into movement, but also allows it to be taught to all performers and understood by all those who work to disseminate its images. The quest for ever more spectacular images has always been supported by the new technologies available in each historical period.

In order to consider a phenomenon with more useful conclusions, it is very important to define precisely the terminology, circumstances and concepts. In fact, the variables in the study are reduced to the most essential ones that allow to reason objectively, based on established conditions. In the case of the present report, we aim to specify in what environment and with what characteristics the relationship between music and dance develops in a stage work. The goal is, through choreomusicology, to observe these relationships between the score and the choreography, especially in the Bulgarian stage dance art. The scientific methods used are: descriptive, documentary and comparative. We first specify the focus on poetics and aesthetics, before considering what the stage performance covers on the Bulgarian folklore basis, after clarifying what is useful for our purposes the role of the dancer on stage. Part of the conclusions is that the explained conditions for the stage work predispose to more fruitful analyzes and can help to build more refined works.

Keywords: Choreomusicology, music, dance, score, choreography, choreomusical relationships, aesthetics, poetics, stage performance, spectacle, dancer.

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За да се разглежда едно явление с по-полезни изводи е много важно да се определи точно терминологията, обстоятелствата и понятията. В действителност, променливите в изследването се свеждат до най-съществените, които позволяват да се разсъждава обективно, на базата на установени условия. В случая на настоящия доклад, целим да  уточним в каква среда и с какви характеристики се развива връзката между музика и танц в сценично произведение. Целта е, чрез хореомузикологията да се наблюдават тези взаимоотношения между партитурата и хореографията, особено в българското сценично танцувално изкуство. Използваните научни методи са: описателен, документален и сравнителен. Първо уточняваме фокуса върху поетиката и естетиката, преди да разглеждаме какво покрива сценичното представление на българската фолклорна основа, след като изясняваме каква е полезната за нашите цели роля на танцьора на сцена. Част от изводите е, че пояснените условия за сценичното произведение предразполагат за по-плодоносни анализи и могат да спомагат за изграждане на по-съвършени творби.

Ключови думи: Хореомузикология, музика, танц, партитура, хореография, хореомузикални взаимоотношения, хореомузикални връзки, естетика, поетика, спектакъл, представление, танцьор

This essay will trace my conceptual stumbling amidst a succession of ephemeral frameworks of contact—from informal conversations to complex exhibitions—oriented through blindness. Via creative experiments, and myopic reading of William Forsythe’s choreographic objects theory, a trio of methods coalesced to texture and tension the temporalities, densities, dynamics, and choreopolitics of performative works: blundering, be-holding, and wayfinding. Blindness is not treated as darkness or nocturnalism here, but instead introduces a complexity and diversity of embodiments and relationships to perception, imagination, and consciousness, that offer an array of alternatives to the ocular standard of 20:20  vision. Blindness may destabilise performer-spectator conventions, activate attentiveness and movement improvisations, and innovate methods for sensing, archiving and conserving performative artworks. This essay will trace a few of these fledgling propositions, as I nudge blindness away f...

Institutions are never neutral; they are deeply entangled in the political and social context in which they operate and contribute to hegemonic power relations, structures, interactions, fantasies, and desires. How do art institutions navigate this environment, and what are the implications for critical practices within the institutional framework? A Cut. Cuts In The Air. delves into the curatorial concept ProtoZones 2020–2025 of the artist-run institution Shedhalle in Zurich to explore how institutions can be organized counter-hegemonic. In this thesis, Marina Vishmidt’s theory of infrastructural critique is a primary reference. Her theory expands beyond the traditions of institutional critique by highlighting the interconnected historical, socioeconomic, affective, and artistic aspects of institutions, thereby decentering them in the process. Infrastructures describe the organization of movement and relation, well-rehearsed, and repeated codes and processes. A Cut. Cuts In The Air. takes infrastructural aspects as expanded choreographies that can be disrupted and repurposed to challenge institutional norms, bridging artistic and institutional work. The analysis of the curatorial concept ProtoZone 2020–2025 shows an approach to how the conditions within an art institution can be negotiated at the level of organization and program. It examines infrapolitical scores—gestures that aim to intervene in the institution’s infrastructure, system, and organization, seeking to create alternative protocols, small cuts in the dense fabric of reality, as Vishmidt writes, opening up new perspectives and revealing mechanisms of power.

This article articulates an evolving practice methodology, developed as the writer's worlds of practice and theory have moved into alignment. Reflecting on three key facilitation experiences from her work with participants in disconnect, Nicholson uses practice memories to illustrate the depth and foundation the Laban-Bartenieff Movement System (LBMS) has provided and proposes a facilitative approach when using dance and movement in criminal justice and recovery contexts.

India is a vibrant tapestry of cultural heritage, characterized by a rich diversity of folk and traditional dance forms. From Sambalpuri to Gotipua, these dance styles encapsulate both indigenous and ceremonial traditions, often imbued with profound religious significance. Indian folk dances serve not only as sacred expressions of faith but also as celebratory activities, reflecting the simplicity and joy inherent in communal life. These performances are integral to various life events, including childbirth, festivals, and weddings, embodying timeless forms and rhythms. Characterized by minimalistic yet energetic movements, Indian folk dances evoke enthusiasm and a sense of community.

The Cloud proposes a reflection, through a choreographic approach, on the tragedy that occurred during the explosion of the Chernobyl reactor by intersecting two hyperobjects: the historical nuclear cloud left by the explosion and the contemporary cloud of machine learning.

Herstoria choreografek związanych z Teatrem Wielkim w Poznaniu rozpoczyna się od Heleny Grossówny-Cieślińskiej, tancerki i aktorki, która w sezonie 1932/1933 stanęła na czele zespołu baletowego. Nie był to dobry czas dla baletu. Kryzys ekonomiczny sprawił, że nie udało się jej zrealizować żadnej premiery. Grossówna-Cieślińska ograniczyła swoją rolę do zarządzania zespołem. Po II wojnie światowej w Operze Poznańskiej rządzili choreografowie. Dopiero w latach 60. dwudziestego wieku na afiszu pojawiło się nazwisko Stelli Pokrzywińskiej a w następnej dekadzie - Barbary Kasprowicz. W latach osiemdziesiątych kilka baletów wystawiła Teresa Kujawa. Sytuacja zaczęła się zmieniać po 1995 roku, kiedy kierownictwo baletu objęła Liliana Kowalska. Umożliwiła ona debiut takim choreografkom, jak: Beata Wrzosek, Izabela Weiss, Alina Szutarska, Barbara Gołaska...

For decades, Jacques Derrida and his works have been considered unsuitable for discussing dance, performance, or embodied matters. This article challenges this belief and re-reads Derrida’s corpus with the aim of redescribing choreography grammatologically. This theoretical elaboration takes the philosopher’s texts on dance and non-phonetic writing as a starting point and also considers the readings and criticisms that dance scholars have made regarding deconstruction and Derrida’s work. Taking into account the distinction in Of Grammatology between ‘narrow writing’ and’ ‘writing in general’, I will examine dance notation as narrow dance writing and reject the idea that it is the only way we can conceive choreography. Beyond the prejudice against choreography that arose in the 19th century and was reinforced at the turn of the 21st century, it is possible to redescribe this type of writing as spacing, closer to the conception of writing in Derrida’s texts on Antonin Artaud or the ‘arts of the visible’. Ultimately, the article will demonstrate the theoretical elaboration through a brief examination of the case of American modern dancer Loie Fuller.

López-Esteve, Oriol. 2024. “Analphabetic Writing: Choreography after Derrida” eds. Marta Segarra and Laurent Milesi. Word and Text. A Journal of Literary Studies and Linguistics XIV(What Remains Today – Jacques Derrida): 119–137.

A review of three films by Siobhan Davies, All This Can Happen (2012), The Running Tongue (2015) and Transparent (2022), and discussion of her shift from live performance to working with the still image and film. Davies’s work is described as a kind of archaeological practice with long-form choreographic projects which are underpinned by a ‘poetics of responsibility’. Offering a reservoir of images and relations and allowing for innumerable different viewing experiences, they invite audiences to see for themselves and to grasp what embodied liveness is within each instant.

Dance choreography is a system of techniques used to create new dances. The choreographer devises body movements using internal and external cues to express feelings and concepts, from the most abstract ideas to very concrete human situations in a highly creative manner. In 3D Tele-immersive Environments (3DTI) the choreographer has exponentially more options to create new body movements in the new dance since the 3DTI technology offers an array of visual stimulations, called Digital Options, which influence ...

This text finds the intimate affinity between dance and philosophy in the concept of problem and invites the reader to perceive dance and philosophy as a form of ballistics: the art of throwing. On one hand, this text is an invitation to look at dance not necessarily as an artistic practice but rather as an affirmative force that manifests itself as an expression of the power to turn any domain into a dance floor. On the other hand, this text also understands philosophy as an invitation to dance a problem, or, in other words, philosophy is a practice of choreographing the trajectories of problems.

DisPatch is the title of a dance work that was partly the outcome of research into ways in which movement in space might successfully correlate to the parameters of sound. The process of making the work in workshops, rehearsals and performance both altered our view of, and added to the background research. It became evident in this process that certain outcomes, whilst alien to musically conventional ears, were nevertheless valid and interesting sonic translations of the choreography. The performance demonstrated how issues within and between disciplines can be re-problematised through the creative and innovative use of technology. It is our contention that in this work is evidence for a disseminable "knowledge increase" that is intrinsic to "The Work", a primary assessable criteria in traditional textbased research (Biggs. 2002, Melrose. 2002). The question that is central to any assessment of intrinsic knowledge in a work of art is how the work demonstrates or explains this knowledge. And this question is examined in light of our reading of DisPatch. Extrinsic to DisPatch were a number of other contextualising influences by which spectators were able to inform their interpretation of the work. Program notes, an informal verbal explanation of some of the enabling technology, the venue and its attendant architecture, ritual, expectation and the broader cultural context of performance/concert-going.

The aversion to joining dance with technology has a distinctly sexist edge, which makes Analivia Cordeiro's M 3×3 revolutionary-politically, technically, and aesthetically. The female body is traditionally associated with maternity, nature, emotion, and purity, so the incursion of technology into that sacred domain can be seen as especially unsettling: it threatens to sully the divinely feminine source of organic life by transgendering it with the man-made, masculine, rational, mechanical surrogate. Following this (il)logic, it is more acceptable for a male choreographer to use computers to program a dance performed by women because the computer serves to maintain conventional patriarchal domination. In 1973, for Analivia Cordeiro, a nineteen-year-old female choreographer from Latin America, to program a computer by herself to score a dance performed by women, strikes me as an egregious transgression of European patriarchal ontology. M 3×3 is a revolutionary act that violates gendered and geopolitical divides: that men program machines and women dance to those cyborg dreams, and that technological (and artistic) innovation emerges in the northwest quadrant of the globe, which colonizes the rest. In M 3×3 the white, male authority is no longer in control. Instead, a teenage Latina has hijacked the computer, the supreme device of masculine rationality. On top of that, she has (mis)used it to allow other postcolonial female bodies to expressively contest the relationship between control and freedom in masculinist, technological society, to contest, in particular, an extreme form of control exacted by Brazil's military dictatorship. More than a decade before Donna Haraway's "A Cyborg Manifesto" (1985), Cordeiro saw and used the computer as a great equalizer: "It flattened the field. It put everybody at the same level." 7 M 3×3 is a monumental artistic accomplishment. It occupies a special place beside early innovations in computer dance beginning in the 1960s, including works by Beaman, Noll, and John Lansdown. Without knowing the work of these precursors, Cordeiro exceeded them in concept and artistry. Indeed, to restrict the context of M 3×3 to dance does an injustice to this highly interdisciplinary work.

Precarious Movements: Choreography and the Museum is a survey of the choreographic turn within the visual arts, mapping a new field of practice that considers dance a contemporary-art media. Featuring more than twenty expert contributions from performers, scholars, critics, choreographers and arts professionals working across archives, conservation, curation and production, this publication scopes the work of the work, the artists and institutions, and the legacy and trace of choreography in the museum today.

En este capítulo se va a exponer la importancia del desarrollo de la creatividad como elemento fundamental en el estudio de composición coreográfica, materia que suele incluirse en el marco de las enseñanzas superiores de danza. El discurso seguirá mi propia experiencia1 como docente de composición coreográfica en Gran Bretaña, Argentina y España, así como estudios relevantes realizados por diferentes autores como Valerie Preston-Dunlop, Larry Lavender, Lynne Blom y L. Tarin Chaplin, entre otros.

The Critical Path: Indigenous dramaturgy in dance
project has created space for action research in the framework of a
fully engaged and culturally grounded approach to considering and
supporting Indigenous Australian dramaturgies in dance.
It has placed the development of the program in the hands of the
Indigenous Australian choreographic community – emerging, mid-
career, established and senior dance creatives alike, all gathering
across the span of the project to consider and share perspectives on
‘What is Indigenous Dramaturgy in Dance’?
Developed through a series of Knowledge Circle conversations in Spring
2021, an event in Summer 2022 opened the activity to the wider sector
whereby Indigenous Australian dance practitioners were invited to apply
for action research residencies.
Four residencies took place in June 2022 and provided an opportunity
for exploring the concept of dramaturgy generally as well as the role of
dramaturg in dance making. Furthermore, participants assessed the ways
in which dramaturgy as a distinct methodology / application informs their
own work as Indigenous Australian dance practitioners.

Choreography is an embodied and complex creative process that often relies on ‘co-imagining’ as a strategy in generating new movement ideas. Technology has historically been used as a tool to augment creative opportunities in choreographic process, with multiple choreographic support tools designed to function as a ‘blank slate’ for choreography. However, few of these tools support creative authoring with interactive or generative components. Cochoreo is a sub-module for generating body positions as keyframes that catalyze creative movement, as part of the movement sketching tool idanceForms (idF). Cochoreo catalyzes movement sketching by using parameters from Laban Movement Analysis, an existing movement framework, to generate unique keyframes that are used as seed material for choreographic process. idF is a creativity support tool that engages with choreographers’ creative movement process by design. This paper presents the design of Cochoreo and evaluations from our pilot study ...

The interface between creative technology, dance performance, choreographic process, and place ecology is a rich area for research. In particular, the interplay between dance notation and digital drawing. This paper shares a personal exploration of the convergence between body, place, movement, choreography, and digital dance drawing as art and place ecologies. Where the inherent need to connect with nature and place coexists as the everywhen.

Thinking Brains and Bodies brought together a team of researchers spanning cognitive science (Catherine Stevens, David Kirsh), cognitive neuroscience (Mike Nicholls), dance (Kim Vincs, Elizabeth Old, Scott deLahunta)and social anthropology (James Leach)to work in close collaboration with Garry Stewart and the Australian Dance Theater to address research questions concerning embodied cognition in real-world and experimentally controlled settings. To begin the project and prepare for these studies Leach, Stevens, Vincs and deLahunta recorded four 'cognitive interviews' with Stewart, ADT's Associate Artistic Director Elizabeth Old, and the dancers working in the company at that time.

English abstract: Choreographers may exploit digital technologies to create augmented choreographies where the behavior of dancers determines the behavior of projections, lighting and other scenographic effects. The paper recalls our ongoing activity concerning the development of an end-user software framework for augmented choreography and it summarizes the state-of-the-art of choreographer-oriented notation systems and tools. Finally the paper describes our strategy for building an end-user language for augmented ...

Choreography is an embodied and complex creative process that often relies on ‘co-imagining’ as a strategy in generating new movement ideas. Technology has historically been used as a tool to augment creative opportunities in choreographic process, with multiple choreographic support tools designed to function as a ‘blank slate’ for choreography. However, few of these tools support creative authoring with interactive or generative components. Cochoreo is a sub-module for generating body positions as keyframes that catalyze creative movement, as part of the movement sketching tool idanceForms (idF). Cochoreo catalyzes movement sketching by using parameters from Laban Movement Analysis, an existing movement framework, to generate unique keyframes that are used as seed material for choreographic process. idF is a creativity support tool that engages with choreographers’ creative movement process by design. This paper presents the design of Cochoreo and evaluations from our pilot study ...

Human movement analysis is a research field pursued by different disciplines in both art and science. Approaches include the physiological study of walking, anthropological research into non-verbal communication and the practice of choreography when it involves observing, describing and representing dance. The shared aim is to break down movement into parts that can then be re-described in relationship to some whole. As a part of this process, movement analysis makes use of various instruments or tools for recording movement from the humble pencil to 3-D digital motion capture technologies.

The Tele-immersive Dance Environment (TED) is a geographically distributed, real-time 3-D virtual room where multiple participants interact independent of physical distance. TED, a highly interactive collaborative environment, offers digital options with multiple viewpoints, enhancing the creative movement composition involved with dance choreography. A symbiotic relationship for creativity and design exists between dance artists and computer scientists as the tele-immersive environment is analyzed as a creativity and learning tool. We introduce the advancements of the interactive digital options, new interface developments, user study results, and the possibility of a computational model for human creativity through Laban Movement Analysis.

Com o intuito de conhecer, compreender e documentar o processo de criação coreográfica solista composta e interpretada pela própria bailarina-coreógrafa, propus-me criar, observar, refletir sobre e descrever o processo de criação coreográfica da obra ‘Inspiração’, assumidamente tornando conscientes e documentando todas as fases, desde a conceção, composição e ensaios, até à apresentação final ao público. ‘Inspiração’, a obra solista de 45 minutos, conjuga as linguagens da Dança e do Yoga, numa aproximação à Dança Extemporânea, tendo como ponto de partida a descoberta do movimento natural do corpo da bailarina-coreógrafa que passou pelo processo coreográfico de forma autónoma e em relação privilegiada com os seus processos intuitivos. De acordo com o regime de Doutoramento em Artes (Diário da República, 2013), para além de incluir a criação artística produzida, esta dissertação apresenta uma estrutura que conjuga os quesitos da investigação universitária. De carácter eminentemente qu...

O ator, em seu processo de trabalho, recorre a técnicas corporais estilizadas para desenvolver a sua presença física, técnicas essas consolidadas por outras tradições. O nosso objetivo é o de criar um sistema de treinamento para o ator, fundamentado nas técnicas corporais da lide campeira do gaúcho. Acreditamos que as atividades da lide são manifestações vivas que contém a energia, o vigor, a eficácia e a precisão, elementos que são também encontrados nos princípios defendidos por Meyerhold, Etienne Decroux, Jacques Lecoq e Eugenio Barba no que concerne a presença física do ator/dançarino. Para alcançar esse objetivo, a equipe passou por um processo de aprendizagem nas fases: instrumentalização corporal (Mimo de Ação, Análise de Movimentos e Acrobacia); pesquisa de campo numa fazenda (observação e registro das atividades de pealar, domar, tirar o leite, fazer a lingüiça, isolar o animal no tronco, tosquiar e laçar, tendo sido as quatro últimas também executadas. Seleção e análise dessas atividades (Mimo 023 de ação, decodificação, estilização e codificação de cada atividade). Durante este processo foram criadas nove (9) partituras de movimentos que contemplam os princípios básicos que definem a presença física do ator conforme os autores já citados. A próxima etapa da pesquisa consistirá na verificação da eficácia do sistema de treinamento através de uma criação artística e da transmissão deste para um grupo de alunos selecionados.(PIBIC-CNPq/UFRGS-PROPESQ/UFRGS).

A abordagem do Sistema de movimento de Verchinina e sua dança moderno-expressionista enquanto objeto de estudo visou não somente resgatar a artista e sua inquestionável contribuição à dança brasileira e internacional, mas também rastrear a genealogia, a linhagem de um pensamento e prática sobre a arte do movimento à qual estou vinculada enquanto intérprete e criadora, no campo das artes cênicas, há aproximadamente 10 anos. Tratou-se, portanto, de pensar também em termos mais acadêmicos a minha trajetória artística bastante influenciada pelos princípios da dança moderna de Nina Verchinina e pelo teatro, e elucidar para as novas gerações o porquê de trazer para a cena, hoje, a pesquisa de Nina Verchinina. Essa perspectiva e inquietação vêm acompanhando meu trabalho mais diretamente desde o ano 2000 quando comecei a desenvolver meus próprios trabalhos cênicos solos como criadoraintérprete. Portanto, essa reflexão une teoria e prática, na busca por "novas" perspectivas para o treinamento e a criação cênica do intérprete contemporâneo, partindo das minhas próprias influências artísticas. Assim, o trabalho pretendeu recuperar a paternidade, ou melhor, a maternidade do legado da inovadora pesquisa de movimento de Nina Verchinina no Brasil e seu desdobramento para o que veio a se constituir nos anos 90 como dança contemporânea, e também revelar as

Choreography is an embodied and complex creative process that often relies on 'co-imagining' as a strategy in generating new movement ideas. Technology has historically been used as a tool to augment creative opportunities in choreographic process, with multiple choreographic support tools designed to function as a 'blank slate' for choreography. However, few of these tools support creative authoring with interactive or generative components. Cochoreo is a sub-module for generating body positions as keyframes that catalyze creative movement, as part of the movement sketching tool idanceForms (idF). Cochoreo catalyzes movement sketching by using parameters from Laban Movement Analysis, an existing movement framework, to generate unique keyframes that are used as seed material for choreographic process. idF is a creativity support tool that engages with choreographers' creative movement process by design. This paper presents the design of Cochoreo and evaluations from our pilot study with university dance students.

DisPatch is the title of a dance work that was partly the outcome of research into ways in which movement in space might successfully correlate to the parameters of sound. The process of making the work in workshops, rehearsals and performance both altered our view of, and added to the background research. It became evident in this process that certain outcomes, whilst alien to musically conventional ears, were nevertheless valid and interesting sonic translations of the choreography. The performance demonstrated how issues within and between disciplines can be re-problematised through the creative and innovative use of technology. It is our contention that in this work is evidence for a disseminable "knowledge increase" that is intrinsic to "The Work", a primary assessable criteria in traditional textbased research (Biggs. 2002, Melrose. 2002). The question that is central to any assessment of intrinsic knowledge in a work of art is how the work demonstrates or explains this knowledge. And this question is examined in light of our reading of DisPatch. Extrinsic to DisPatch were a number of other contextualising influences by which spectators were able to inform their interpretation of the work. Program notes, an informal verbal explanation of some of the enabling technology, the venue and its attendant architecture, ritual, expectation and the broader cultural context of performance/concert-going.

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AGRADECIMENTOS À Profa. Dra. Inaicyra Falcão dos Santos, que, há quatro anos, me acolheu como orientanda e me ajudou a reencontrar meu próprio mito. Ao Prof. Dr. Samuel Mendonça, que, além de me iniciar em minha trajetória no gongfu, ajudou-me a retomar meu caminho artístico-acadêmico todas as vezes que cogitei me desviar dele. À Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES), pela concessão de bolsa de estudos que viabilizou a realização desta pesquisa. Aos meus familiares: meu esposo Augusto Andraus, meu filho Caíque Andraus e meus pais, Luís Alberto Pereira Machado e Simone Maria Baruco Machado, pelo apoio que me deram nos muitos dias (e noites) em que abandonei meus afazeres cotidianos para o mergulho na escrita. A todos os professores do Departamento de Artes Corporais da UNICAMP, em especial Júlia Ziviani, Marília Vieira Soares e aos demais membros da Comissão Julgadora. A Marília de Andrade, por ter me iniciado na pesquisa acadêmica em Artes. A Daniela Gatti e Grácia Navarro, que me deram a oportunidade de aprimoramento didático e de desenvolvimento da parte prática da pesquisa mediante participação do Programa Estágio Docente,