Constructing Memories: Creation of the choreographic resource

deLahunta, Scott; Shaw, Norah Zuňiga

doi:10.1080/13528160701363408

Cited by 25 publications

(9 citation statements)

References 1 publication

Supporting

Mentioning

Contrasting

Order By: Relevance

“…For instance, how might working with choreographic developments in technologies of motion capture allow us to rethink and reanimate some of the diagrammatic abstractions of time geography? (see, for instance, DeLahunta and Zuniga Shaw 2006). And how might this allow us to extend the repertoire of methodological techniques available to geographers interested in researching moving bodies?…”

Section: Resultsmentioning

confidence: 99%

Geographies for Moving Bodies: Thinking, Dancing, Spaces

2008

View full text Add to dashboard Cite

The body is well established as a research focus within contemporary human geography. Yet, the matter of how and in what ways bodies are geographical remains an open question. In this article, I address this question by examining work by geographers and others about the spaces of moving bodies. My points of departure are the twin claims that bodies move in more ways than one (spatio‐temporally, kinaesthetically, affectively, collectively, politically and imaginatively) and that this movement is potentially generative of different kinds of spaces. These claims are developed through a discussion of dance. By drawing on work from a range of disciplines, I argue that research encounters with dance offer opportunities for thinking about three sets of issues: the relation between bodies and cultural geographies; the importance of affectivity in spatial experience; and the relation between the lived and the abstract. I conclude by outlining a series of pathways along which geographical research into the spaces of moving bodies might be developed further.

show abstract

Section: Resultsmentioning

confidence: 99%

Geographies for Moving Bodies: Thinking, Dancing, Spaces

2008

View full text Add to dashboard Cite

show abstract

“…It provides the user with a complete recording of the performance, rehearsal footage, and interviews with performers in a hyperlinked 'diversified documentation system' that 'attempts to examine the genesis of devised performances from multiple viewpoints' (155). The concept of documenting creative process in addition or as opposed to the performance itself is something which is gaining greater currency in the digital era, where it is recognised that the creative process may have greater resource value and certainly greater long-term stability than the performance itself (deLahunta and Shaw 2006). It also gives artists and performers greater agency in the documentation of their work and gives credence to the tangible validity of choreographic knowledge, which tends to get overlooked in view of the 'ever-vanishing' nature of dance (deLahunta and Shaw 2006).…”

Section: Fracturing Perceptions: the Subversion Of Performance And Domentioning

confidence: 99%

Depth‐charge in the archive: the documentation of performance revisited in the digital age

Allen

2010

Research in Dance Education

View full text Add to dashboard Cite

The debate surrounding the documentation of performance is principally concerned with the ephemerality of the live event, set against the stasis and 'death' that the archive is conventionally believed to represent. The advent of digital technology in live performance has complexified this still further, by altering the architecture, space and dimensionality of the live event. Time-delay, live motion capture, feedback loops, dancing avatars and images projected in and onto the space all conspire to generate a liminal zone between the virtual and the real, fracturing audience perception and subverting still further the already-contested notion that performance can in any way be repeatable or 'captured'. Telematics and immersive/interactive environments, such as virtual reality, also complicate what the performance is and where it resides: here it becomes a personal exchange, in an intimate space generated afresh between the artist/performer and each spectator/participant. As our experience of performance becomes ever more personalised it reinforces the notion that multiple truths must emerge from any performance event and validates individual memory as a site for 'documents' to reside. Digital technology here comes to the fore as a documentation medium as well as a performance device: it allows us to upload, disseminate and share personal perspectives on a performance event and to challenge the limiting linearity of bound text and film, navigating dynamically between documentobjects and playfully (re)performing the documentation each time we visit it.

show abstract

“…Digital technologies can provide a distancing mechanism, putting the maker into the shoes of the viewer. For example, Delahunta and Shaw (2006) discussed a software tool called RotoSketch which enables choreographers to play back and draw on the moving image. A dancer commented that: 'Transferring the information into a different medium allows you to see or "resee" what you've done.…”

Section: Context and Backgroundmentioning

confidence: 99%

Digital reflection: using digital technologies to enhance and embed creative processes

Kirk¹,

Pitches²

2013

Technology, Pedagogy and Education

View full text Add to dashboard Cite

This paper shares the findings of a teaching and learning project (Digitalis) that investigated ways in which digital technologies can be used by teaching staff to facilitate reflection on creative practices within performing and creative arts disciplines. Two types of reflection are considered: (i) reflection on creative practice and (ii) creative forms of reflection, with five case studies from a range of arts subjects representing a spectrum of reflective activity. Drawing on a model of cooperative enquiry, simple technological enhancements were made to the design of five existing modules, and these were evaluated through student focus groups, observation of student work, and reflective interviews with the module leaders. Through a thematic analysis of the data, the paper shares the learning from these modules, along with a suggested model of digital reflection, outlining the place of capture, documentation and organisation technologies in the reflective process. The paper concludes that there are benefits to be gained from digital reflection, given its facility to aid students to 'look again' at their own ephemeral creative processes.

show abstract

Constructing Memories: Creation of the choreographic resource

Cited by 25 publications

References 1 publication

Geographies for Moving Bodies: Thinking, Dancing, Spaces

Geographies for Moving Bodies: Thinking, Dancing, Spaces

Depth‐charge in the archive: the documentation of performance revisited in the digital age

Digital reflection: using digital technologies to enhance and embed creative processes

Contact Info

Product

Resources

About