From Improvisation to Choreography: The critical bridge

Predock-Linnell, Larry Lavender; Predock-Linnell, Jennifer

doi:10.1080/14647890120100809

Cited by 24 publications

(6 citation statements)

References 11 publications

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“…This distinction has often formed the backdrop for discussions of how these forms of craftsmanship can overlap and inform each other (e.g., Goldman 2010, ch. 1; Kloppenberg 2010; Predock-Linnell and Predock-Linnell 2001). In rethinking improvisation as related to the way the openness, which characterize any dance performance, is handled, a logical next step will be to specify the kind of openness offered even in the performance of choreographed dance pieces.…”

Section: Moving Toward Spontaneity—considerations On How Appreciationmentioning

confidence: 99%

Investigating Dance Improvisation: From Spontaneity to Agency

Ravn¹

2020

Dance Res. J.

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This article argues that the performance of a dance entails varying degrees of openness and spontaneity and that, on these terms, any dance can be considered improvised. The first part substantiates this claim, whereupon the second part deals with the contingent question as to how dancers then handle openness and spontaneity differently in improvisation practices. To answer this question, the article turns to enactive and phenomenological clarifications of agency—our capacity to perform acts—and by analyzing the improvisation of Danish performer Kitt Johnson, indicates how this clarification can help us understand the different ways agency is exercised when improvising.

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Section: Moving Toward Spontaneity—considerations On How Appreciationmentioning

confidence: 99%

Investigating Dance Improvisation: From Spontaneity to Agency

Ravn¹

2020

Dance Res. J.

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“…An overarching theme that emerged thorough our study is the need to support the gradual transition from the traditional form of learning (that follows authoritarian methods) towards a space that encourages the creation of a productive dialogue between dancers and teachers and that fosters critical reflection. The skills of self-regulation and reflection are becoming more and more important in dance education today [39] [53]. To support the challenges of adapting to a multi-level dancer expertise, supporting dancer's development goals, paying attention to tone of voice, providing timely, personalized feedback, incorporating all corrections, and understanding your own body, designers of dance educational technologies could incorporate four video cameras in studios (as exemplified in Figure 5) to be able to capture and quantify the data that dancers and teachers are emitting in class using video-tracking tools such as OpenPose [10] or Wrnch [35].…”

Section: Video Trackingmentioning

confidence: 99%

Designing for Ballet Classes

Trajkova

Cafaro

Dombrowski

2019

Proceedings of the 2019 on Designing Interactive Systems Conference

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Dancer-teacher communication in a ballet class can be challenging: ballet is one of the most complex forms of movements, and learning happens through multi-faceted interactions with studio tools (mirror, barre, and floor) and the teacher. We conducted an interview-based qualitative study with seven ballet teachers and six dancers followed by an open-coded analysis to explore the communication challenges that arise while teaching and learning in the ballet studio. We identified key communication issues, including adapting to multi-level dancer expertise, transmitting and realigning development goals, providing personalized corrections and feedback, maintaining the state of flow, and communicating how to properly use tools in the environment. We discuss design implications for crafting technological interventions aimed at mitigating these communication challenges.

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“…Considering that many creative processes do not readily lend themselves to such an inquiry, we are fortunate to have been able to trace the joint creative process involving contemporary dance choreographers and their troupes through all process phases, from idea generation to elaboration and implementation. The specific setting of contemporary dance and the three phases that constitute the creation of a contemporary dance choreography (Predock-Linnell and Predock-Linnell 2001;Butterworth 2004Butterworth , 2017Mason 2012) allow us to pose and address an additional intriguing question: What is the interplay between type and moral authenticity, across phases, during the creation of a new choreography? Addressing this question will further elaborate and deepen our understanding of the construction of authenticity during the creative process as it considers the possibility of dynamic relations between the different meanings of authenticity.…”

Section: Introductionmentioning

confidence: 99%

The Construction of Authenticity in the Creative Process: Lessons from Choreographers of Contemporary Dance

Sagiv

Simons

Drori

2020

Organization Science

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The literature on authenticity of cultural production has systematically examined the perceived authenticity of both the producer and the cultural product but not of the creative process. This study aims to address this lacuna, adopting Carroll and Wheaton’s typology of type and moral authenticity to examine how contemporary dance choreographers construct authenticity during the creation of a new choreography. Our analysis of data from 23 contemporary dance companies reveals that the two meanings of authenticity dynamically reconstitute one another in the creative process. First, choreographers construct moral authenticity through transformation of form, deconstructing established artistic dance forms and introducing new movements from a bricolage of techniques. Second, they construct type authenticity through wrapping expression, facilitating the deconstruction of the values attached to the bricolage of techniques into artistic dance aesthetics. Finally, choreographers evoke both moral and type authenticity through a creative process of reconstruction. Our noteworthy finding reveals how the construction of authenticity in the process of creating a new choreography, and the dynamics between the two meanings of authenticity, serve significantly as a means of communication among the involved actors, thereby enabling the creative process.

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From Improvisation to Choreography: The critical bridge

Cited by 24 publications

References 11 publications

Investigating Dance Improvisation: From Spontaneity to Agency

Investigating Dance Improvisation: From Spontaneity to Agency

Designing for Ballet Classes

The Construction of Authenticity in the Creative Process: Lessons from Choreographers of Contemporary Dance

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