Social Orientation of Postmodern Choreographic Performance in a Post-Pandemic Society
DOI:
https://doi.org/10.18662/po/12.2/319Keywords:
postmodern choreographic performance, artistic culture, social innovations, post-pandemic society, choreographic cultureAbstract
Today, in a post-pandemic space, all types of art, comprehending, due to their figurative specificity, certain spheres of objective reality, already as a result of this, circumstances have their own, only inherent laws. Using the inexhaustible possibilities of the plasticity of the human body, choreography has refined and developed expressive dance movements for many centuries. As a result of this complex process, a system of choreographic movements arose, that is, a special artistic and expressive speech of plastics, constitutes the creative material of dance imagery. Choreographic art includes various types of arts: music, choreography itself, drama, painting. Each of them, changing in accordance with the requirements of this type of art, becomes a necessary component of choreographic figurative thinking. Each type of art is achieved thanks to its own figurative specificity, patterns and certain pictorial and expressive means. Choreographic activity dictates its own laws of reflection of reality, is based not on the correspondence of life and artistic material, but on the degree of devotion to the metaphorical reflection of life. A comprehensive study of social constituting dance art in today's post-pandemic space is a complex and versatile task, it mainly involves the study of all its components. Moreover, each of them should be considered not in isolation, but in the general system of their internal connections - in the aspect of their rhythmic and metric, that is, motor organization.
References
Antunes, R. F., & Leymarie, F. F. (2012). Generative Choreography: Animating in Real-Time Dancing Avatars. In P. Machado, J. Romero, & A. Carballal (eds.), Evolutionary and Biologically Inspired Music, Sound, Art and Design, EvoMUSART 2012. Lecture Notes in Computer Science, 7247. Springer. https://doi.org/10.1007/978-3-642-29142-5_1
Banes, S. (1997). Postmodernism, the Emotions, and the Dancing Body. In G. Hoffmann, & A. Hornung (eds. ), Emotion in Postmodernism American Studies, 74 (pp. 204-207). Universitatsverlag C. Winter.
Calvert, T. W., Welman, C., Gaudet, S., Schiphorst, T., & Lee, C. (1991). Composition of multiple figure sequences for dance and animation. The Visual Computer 7(2), 114–121. https://doi.org/10.1007/BF01901182
Carlson, K., Schiphorst, T., & Dipaola, S. (2014). Collaborative Choreography: A Critical Inquiry into Designing Creative Interactive Systems. In D. Reidsma, I. Choi, & R. Bargar (eds), Intelligent Technologies for Interactive Entertainment, 136 (pp. 46-56). Springer. https://doi.org/10.1007/978-3-319-08189-2_6
Carroll, E. A., Lottridge, D., Latulipe, C., Singh, V., & Word, M. (2012). Bodies in Critique: A Technological Intervention in the Dance Production Process. In L. Malmborg, & T. Pederson (eds.), NordiCHI '12: Proceedings of the 7th Nordic Conference on Human-Computer Interaction: Making Sense Through Design (pp. 705–714). https://doi.org/10.1145/2399016.2399078
Carter, C. & Hanna, J. (1985). The Performer-Audience Connection: Emotion to Metaphor in Dance and Society. The Journal of Aesthetics and Art Criticism, 44, 87. https://doi.org/10.2307/430546
Dai, L., Hutchinson, E, & Dai, S. (2016). Dancing and Drawing in Trisha Brown's Work: A Conversation Between Choreography and Visual Art [Unpublished thesis]. Barnard College.
Delahunta, S., & Shaw, N. Z. (2006). Constructing memories. Creation of the choreographic resource. Performance Research, 11(4), 53–62. https://doi.org/10.1080/13528160701363408
Drach, T. (2019). Forming the Related Styles With Modern of Choreography in Ukraine. Culture of Ukraine, 2(63), 144-156. http://doi.org/10.31516/2410-5325.063.13
Kirsh, D. (2011). Creative Cognition in Choreography. In D. Ventura, P. Gervás, D. Fox Harrell, M. L. Maher, A. Pease, & G. Wiggins (eds.), Proceedings of the 2nd International Conference on Computational Creativity, ICCC Proceedings of the Second International Conference on Computational Creativity (pp. 141-146). Metropolitan Autonomous University , Mexico. https://computationalcreativity.net/iccc2011/proceedings/the_cognitive/kirsh_iccc11.pdf
Lapointe, F-J. (2005). The generation of choreographic variants through genetic mutations and selection. In F. Rothlauf (ed.), Proceedings of the 2005 Workshops on Genetic and Evolutionary Computation (pp. 366–369). University of Mannheim, ACM, Washington DC. https://arxiv.org/ftp/arxiv/papers/1605/1605.06921.pdf
Leach, J. (2005). Being in between. Art-science collaborations and a technological culture. Social Analysis, 49, 141–160. https://doi.org/10.3167/015597705780996246
Leach, J. (2014). Choreographic Objects. Journal of Cultural Economy, 7(4), 458-475. https://doi.org/10.1080/17530350.2013.858058
Mullis, E. (2019). Pragmatist Methods: Experimental Inquiry, Somaesthetics, and Performance Praxis. In E. Mullis (ed.), Pragmatist Philosophy and Dance, (pp. 33-58). https://doi.org/10.1007/978-3-030-29314-7_2
Nakazawa, M., & Paezold-Ruehl, A. (2009). Dance and Choreography: An Intelligent Nondeterministic Generator. In D. Howard (ed.), The Fifth Richard Tapia Celebration of Diversity in Computing Conference: Intellect, Initiatives, Insight, and Innovations (pp. 30–34). TAPIA '09. https://dl.acm.org/doi/10.1145/1565799.1565807
Plakhotnyuk, O. A. (2016). Sovremennyy dzhazovyy tanets kak yavleniye khudozhestvennoy kul'tury [Contemporary jazz dance as a phenomenon of artistic culture] [Unpublished thesis]. State Higher Educational Institution «Vasyl Stefanyk».
Rainer, Y. (2015). Doing Nothing / Nothin’ Doin'!: Revisiting a Minimalist Approach to Performance. PAJ: A Journal of Performance and Art, 37(3), 46-49. https://doi.org/10.1162/PAJJ_a_00271
Sawyer, R. K., & De Zutter, S. (2009). Distributed creativity: How collective creations emerge from collaboration. Psychology of Aesthetics, Creativity, and the Arts, 3(2), 81–92. https://doi.org/10.1037/a0013282
Sharykov, D. I. (2010). Teoriya, istoriya i praktika sovremennoy khoreografii [Theory, History and Practice of Modern Choreography]: Genesis and Classification of Modern Choreography - Directions, Types of Styles: Monograph. Kyiv International University
Shneiderman, B. (2007). Creativity Support Tools: Accelerating Discovery and Innovation. Communications of the ACM, 50(12), 20–32. https://doi.org/10.1145/1323688.1323689
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2021 The Authors & LUMEN Publishing House
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant this journal right of first publication, with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work, with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g. post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g. in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as an earlier and greater citation of published work (See The Effect of Open Access).
Postmodern Openings Journal has an Attribution-NonCommercial-NoDerivs
CC BY-NC-ND
