Abstract:While research and activism associated with the "comfort women" have prompted more awareness of the Japanese system of military sexual slavery that took place during the Asia-Pacific War (1931-45), this does not erase the fact that most Korean survivors of this system had to endure four decades of silence with little public acknowledgment or support. In Hearts of Pine: Songs in the Lives of Three Korean Survivors of the Japanese "Comfort Women, " Joshua D.
“…In other words, whereas site-specific art used to mean that the tangible physical work could not exist in any other place and would risk being destroyed if moved (as in the sculptures of Richard Serra and Robert Smithson's Spiral Jetty), its definition has since shifted towards "site as predominantly an intertextually coordinated, multiply located, discursive field of operation." 18 What Kwon calls an intertextual relationship is in fact a complex, at times less visible, link to landscape. She informs us that in "art practices of the past thirty years the operative definition of the site has been transformed from a physical location-grounded, fixed, actual-to a discursive vector-ungrounded, fluid, virtual."…”
This article explores the practice of shooting on location in screendance advocating for a practice that explores the concept of material specificity in order to create grounded conceptual works. In order to metaphorically and literally ground the dancing body, this article examines the crucial dichotomy between intervention in sites and integration of sites in order to understand exactly what stance screendance takes on its settings. In other words, what do artists take from the site and what do they bring to it? I begin by examining various definitions of site-specificity. By surveying theories and practices surrounding the artistic treatments of locations, my aim is to highlight the choreographic and cinematic techniques that connect the dancing body to the environment. I argue that through the use of natural elements these films articulate a version of site-specificity deeply connected to the materiality of each location rather than to its geography or history.
“…In other words, whereas site-specific art used to mean that the tangible physical work could not exist in any other place and would risk being destroyed if moved (as in the sculptures of Richard Serra and Robert Smithson's Spiral Jetty), its definition has since shifted towards "site as predominantly an intertextually coordinated, multiply located, discursive field of operation." 18 What Kwon calls an intertextual relationship is in fact a complex, at times less visible, link to landscape. She informs us that in "art practices of the past thirty years the operative definition of the site has been transformed from a physical location-grounded, fixed, actual-to a discursive vector-ungrounded, fluid, virtual."…”
This article explores the practice of shooting on location in screendance advocating for a practice that explores the concept of material specificity in order to create grounded conceptual works. In order to metaphorically and literally ground the dancing body, this article examines the crucial dichotomy between intervention in sites and integration of sites in order to understand exactly what stance screendance takes on its settings. In other words, what do artists take from the site and what do they bring to it? I begin by examining various definitions of site-specificity. By surveying theories and practices surrounding the artistic treatments of locations, my aim is to highlight the choreographic and cinematic techniques that connect the dancing body to the environment. I argue that through the use of natural elements these films articulate a version of site-specificity deeply connected to the materiality of each location rather than to its geography or history.
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.