This study investigates the roles of language in dance studies in general and in practice as/based/led research(PaR) in particular. This investigation illuminates discordance between commensurability of knowledge, upon which the academic communication is constructed, and particularity of dance experience, which is often said to be ineffable. Although traditional representational modes of modern academic communication have relied on writing, printing, and publication, dance writings around PaR seek alternative passages for communication. Three dance writings around PaR exemplify how various and conflicting conceptions of writing, language, and knowledge meet and negotiate the position of advantage. The three dance writings incorporate verbalization, measurement, visualization, or hypermedia documentation to represent dance knowledge. Suggesting that the representational medium affects the kinds of knowledge that can be communicated and commensurate, this study pays attention to the ways dance knowledge is represented and communicated. Consequently, this study excavates the epistemological grounds of academic communication of dance knowledge.
Focusing on the student demonstrations of 1968 in U.S., this study investigates the political meaning of Grand Union’s activities and works. A political analysis on the various experimental attempts and changes in dance and their significance offers an important basis of interpretation. That is why this study connects Grand Union’s works with events with a focus on sociopolitical context. Political implications will also be focused on, because although postmodern dance is of the past, it still has significance to the present.
What does “world dance” mean? Is traditional dance that has been transformed into new dance forms still valuable as world dance or does it lose its authenticity? This study takes critical approach to the subject matter and investigates the different versions of “world dance” definitions by examining literatures. It is found that the term world dance often includes an examination of such complex issues as culture and diversity, accompanying the issues of racism and equality. However, the fundamental argument in regards to the terms of “global dance,” “world dance”, and “multiculturalism” is thateducators need to see global societies with local eyes. Rather than celebrating a homogenized culture and perspective, dancers and dance educators should find a way to serve profusion of individuals' voices and at the same time to bridge the gap between the students’ cultural boundaries.
This study aims to explore Acmeism, a major literary trend in Russian modernism, in George Balanchine’s Jewels. To investigate the characteristics of Acmeism in Jewels, I begin by providing a historical overview of Russian modernism and the Acmeism movement so as to understand Russian culture in the early twentieth century. Second, I explore the artistic and cultural trends of St. Petersburg where Acmeism flourished and where Balanchine was born. Third, in order to identify the relationship between Acmeism and Balanchine’s choreographic styles and principles in Jewels, I examine the ballet performance from two perspectives: from a “yearning for cosmopolitan culture” and an “architectural mode of dealing with materials.” Research results reveal how Balanchine’s artistic vision and ideology are profoundly associated with Acmeism and Russian culture. Consequently, this study suggests another way of understanding the root of Balanchine’s neoclassic and abstract style of choreography, which he completed in the West.
Dance development in Taiwan has gone through several stages in the twentieth century. This study examines the major social changes that have affected dance development in Taiwan in the early decades of the post-martial law period. It focuses on the multi-directional development of dance due to the social transformation after the abolition of martial law. Special attention is placed on changes derived from foreign influence and government policies that have affected the function of dance afterwards. The discussions demonstrates how the habitus has changed in the dance field and why dance artists and educators exercised their agency to adjust to these changes. The purpose of this study is to illuminate ow certain aspects of dance development in Taiwan have been affected by the changes.
This article aims to reveal the interrelatedness of music and dance in dance productions through an analysis of the choreomusical relationship exhibited in Kenneth MacMillan’s Winter Dreams. It introduces various choreomusical theories in order to provide insight into current scholarly discussions on the relationship between music and dance, understood as socio-culturally interwoven forms of human expression that create new meanings through their interaction and entanglement as a composite form.
The subsequent analysis of Winter Dreams sets out to identify the moments and methods through which music and choreography, taken together as a unified form, fabricate and convey the characters’ inner emotions and intricate relationships. Winter Dreams is nominated as a key work for enriching the discussion of MacMillan’s choreomusical style, as the connotations and emotions embedded in this ballet are both visualised through the motional display of music and heard through the melodic singing of choreographed motions.