The Narrative Value of Dance Communication: "habitus", musicality and emotion

The richness of dance comes from the need to work with an individual body. Still, the body of the dancer belongs to plural context, crossed by artistic and social traditions, which locate the artists in a given field. We claim that role conflict is an essential component of the structure of collective artistic creativity. We address the production of discourse in a British dance company, with data that spawns from the ethnography ‘Dance and Cognition’, directed by David Kirsh at the University of California, together with WayneMcGregor-Random Dance. Our Critical Discourse Analysis is based on multiple interviews to the dancers and choreographer. Our findings show how creativity in dance seems to be empirically observable, and thus embodied and distributed shaped by the dance habitus of the particular social context.

Temporal differences across a bio-geographical boundary reveal slow response of sub-littoral benthos to climate change

The English Channel is located at the biogeographical boundary between the northern Boreal and southern Lusitanian biozones and therefore represents an important area to study the effects of global warming on marine organisms. While the consequences of climatic change in the western English Channel have been relatively well documented for fish, plankton and inter-tidal benthic communities, data highlighting the same effects on the distribution of sub-littoral benthic organisms does, to date, not exist. The present study resurveyed a subset of sites originally surveyed from 1958 to 1959 along the UK coast of the English Channel. The main aims of this resurvey were to describe the present status of benthic communities and to investigate potential temporal changes, in particular distributional changes in western stenothermal ‘cold’ water and southern Lusitanian ‘warm’ water species. The increase in water temperature observed since the historic survey was predicted to have caused a contraction in the distribution of cold water species and an extension in the distribution of warm water species. The temporal comparison did not show any clear broad-scale distributional changes in benthic communities consistent with these predictions. Nevertheless, 2 warm water species, the sting winkle Ocenebra erinacea and the introduced American slipper limpet Crepidula fornicata, did show range extensions and increased occurrence, possibly related to climatic warming. Similarly, warm water species previously not recorded by the historic survey were found. The absence of broad-scale temporal differences in sub-tidal communities in response to climatic warming has been reported for other areas and may indicate that these communities respond far more slowly to environmental changes compared to plankton, fish and inter-tidal organisms.

Temporal differences across a bio-geographical boundary reveal slow response of sub-littoral benthos to climate change

The English Channel is located at the biogeographical boundary between the northern Boreal and southern Lusitanian biozones and therefore represents an important area to study the effects of global warming on marine organisms. While the consequences of climatic change in the western English Channel have been relatively well documented for fish, plankton and inter-tidal benthic communities, data highlighting the same effects on the distribution of sub-littoral benthic organisms does, to date, not exist. The present study resurveyed a subset of sites originally surveyed from 1958 to 1959 along the UK coast of the English Channel. The main aims of this resurvey were to describe the present status of benthic communities and to investigate potential temporal changes, in particular distributional changes in western stenothermal ‘cold’ water and southern Lusitanian ‘warm’ water species. The increase in water temperature observed since the historic survey was predicted to have caused a contraction in the distribution of cold water species and an extension in the distribution of warm water species. The temporal comparison did not show any clear broad-scale distributional changes in benthic communities consistent with these predictions. Nevertheless, 2 warm water species, the sting winkle Ocenebra erinacea and the introduced American slipper limpet Crepidula fornicata, did show range extensions and increased occurrence, possibly related to climatic warming. Similarly, warm water species previously not recorded by the historic survey were found. The absence of broad-scale temporal differences in sub-tidal communities in response to climatic warming has been reported for other areas and may indicate that these communities respond far more slowly to environmental changes compared to plankton, fish and inter-tidal organisms.

Choreographies of Irish Modernity

Although movement is often viewed as forming the ‘kinetic basis’ of the modern age, the analysis of movement practices such as dance is often neglected in theories of modernity. Dance theorists such as André Lepecki (2006) and Randy Martin (1998) have argued for an awareness of how the kinaesthetic politics of modernity perform a colonization of space and bodies in their constant drive toward movement and mobility. This chapter examines how an analysis of two dance works by Irish artists, one from the early twentieth century and one from the early twenty-first century, can contribute to these discussions of modernity and dance, and how the works might illuminate connections between dance and politics in Ireland in their alternative approaches to these modernist kinaesthetic politics. Taking a brief, contextualizing look at an early dance play by William Butler Yeats, the chapter then focuses on what echoes, or afterlives, can be found from this early modernist work in a piece by contemporary dance theatre choreographer Fearghus Ó’Conchúir. In both works we see the ability of dance to create an alternative space within the pervading discourses (or movements) of a sociopolitical and cultural landscape that allows the spectator – through a visceral connection with a dancer – to experience a different perspective on the ‘idea of a nation’.

The Search for the Operatic: Bridging the Gap Between the Spectatorial and Performer Positions Through Sketch-making and Embodiment Techniques

The exhibition was of sketches and a photograph from my PhD practice research. The practice-research was comprised of observing opera singers in rehearsal and sketching them as they moved. As well as records of body position, and to some degree dynamic flow, the exhibited sketches were regarded as kinaesthetic responses in and of themselves – responses to the environment of the rehearsal, in particular responding to the sounds of the orchestra. These sketches were, in part, generated through an embodiment of the music, which was occurring in the same moment as the singer was engaged in embodying the music. These sketches were then used as tools that therefore contained kinaesthetic information which could be unlocked through a process of Butoh derived embodiment techniques alongside reference to the sketched image. This ultimately allowed me to move from a spectatorial position to a performance maker position, bringing a sense of the operatic into the non-singing body, whether that was my own or the bodies of other performers. In this way, and combined with rigorous observation of the corporeal restrictions of singing operatically, choreographies were created that employed operatic ways of moving in non-singing bodies and the operatic was extracted from opera and employed in movement based practice. The aspect of the practice-research exhibited is the correspondence between sketched documentation of the singers in rehearsal and photographic documentation of the dancer (researcher) in performance.

Contributos para a promoção da igualdade de género no contexto da aula de Técnica de Dança Contemporânea com os alunos do 6º ano da Escola de Dança do Conservatório Nacional

Relatório Final de Estágio apresentado à Escola Superior de Dança, com vista à obtenção do grau de Mestre em Ensino de Dança.

A educação física e a dança: a abordagem estética do desporto como uma possibilidade na área da composição coreográfica, com alunos do 5º vocacional da Academia de Música de Vilar do Paraíso

Relatório Final de Estágio apresentado à Escola Superior de Dança, com vista à obtenção do grau de Mestre em Ensino de Dança.

O treino pliométrico na melhoria da capacidade de salto no âmbito das aulas de técnica de dança moderna no 3º ciclo da Escola de Dança Ana Mangericão

Relatório Final de Estágio apresentado à Escola Superior de Dança, com vista à obtenção do grau de Mestre em Ensino de Dança.

Mover/se(r) a gênese do corpo entre/corpos e seus trajetos no processo coreográfico

This paper proposes a reflection on the body between/bodies, especially in contemporary dance, in their path that starts from the choreographic construction, permeating the body of the choreographer, the dancer s body and when fulfills themselves as artistic expression, the body of the spectator. Initially discusses the body in dance as a body/space for convergence, connectedness and continuity, from the thought of the Greek philosopher Epicurus of Samos, in dialogue with the thought of Maurice Merleau-Ponty, Gilles Deleuze and José Gil. Reflect about the creation of this body/space in the relationship choreographer/dancer using as connecting thread the experiences of the author in his artistic path. Finally describes the process of creating the scenic experiment (h)áporos, which constitutes the practice scene of this dissertation, having as main objective the creation of spaces of convergence and interaction between a proponent and an affluent body that, in this move, transforms itself and the space that now cohabits / is

Evaluation du stock de coquilles Saint-Jacques de la Baie de Seine et du Proche Extérieur. COMOR 32 (8-23 juillet 2002)

Scientific scallop surveys called COMOR are carried out in the bay of Seine since 1976. Results are used by fishermen’ associations and by fishing administration to lead management measures. In this report, the scientific results of the survey COMOR 32 realised in July 2002 are described. Abundance and growth indices for scallop, by age and area, are presented. During these surveys, data about most abundant benthic species are also collected since 1998. A first assessment with five years data is made here. A global descriptive analysis is undertaken about all the species present on scallops grounds. A special zoom is applied on both species whitch could be exploited (whelk Buccinum undatum and queen scallop Aequipecten opercularis) and three competitive species (starfish Asterias rubens, American slipper-limpet Crepidula fornicata and brittle star Ophiothrix fragilis)

"Berlim : Bric-à-Brac : projeto de criação/investigação

Berlim e a sua paisagem sonora suscitam emoções diversas capazes de desencadear um processo criativo. As palavras que se seguem são a expressão de um projeto que se quis catalisador de um olhar muito pessoal sobre esta cidade. Tendo como base, na criação, a estética da colagem, este projeto materializa-se numa performance final onde uma atriz, uma bailarina e um trombonista dão corpo a diversas emoções. Ainda na criação, é importante salientar o papel das técnicas de síntese na busca de novas sonoridades e o uso de tecnologias da música na composição e edição musical. Está patente, neste projeto, um clin-d’oeil ao serialismo e a corrente espectral francesa. As anotações dramatúrgicas foram também essenciais ao longo da composição musical e da encenação de toda a performance.

Combinación de métodos de trabajo escénico como medio de creación de una metodología como creadora-intérprete para la construcción de un personaje y posteriormente de escenas

En este trabajo se han utilizado fundamentalmente técnicas y conocimientos adquiridos en la carrera de Artes Escénicas impartida en la Universidad de Cuenca. De esta manera buscamos crear un personaje a partir de varias nociones y referentes del Naturalismo Teatral con el objetivo de lograr una organicidad del personaje en escena. Es por esto que empezaremos analizando el concepto de organicidad de Konstantin Stanislavski, director ruso del siglo XX. Esta noción nos servirá como introducción a la técnica de William Layton, actor, director y profesor de teatro, quien creó una técnica que ayuda al actor a lograr la organicidad en escena. Finalmente nos introduciremos al movimiento tomando la propuesta teórica de Ernesto Ortiz, profesor de Danza contemporánea en la carrera de Artes Escénicas de la Universidad de Cuenca, ya que él busca conseguir una danza contemporánea que responda a las necesidades e instintos corporales del bailarín mas no del coreógrafo o director, lo que se ha podido interpretar como una búsqueda por lograr la organicidad del bailarín en escena. Así, se emprendió un proceso de laboratorio en el que se creó un personaje, el cual fue interpretado en varias escenas.

Mover/se(r) a gênese do corpo entre/corpos e seus trajetos no processo coreográfico

This paper proposes a reflection on the body between/bodies, especially in contemporary dance, in their path that starts from the choreographic construction, permeating the body of the choreographer, the dancer s body and when fulfills themselves as artistic expression, the body of the spectator. Initially discusses the body in dance as a body/space for convergence, connectedness and continuity, from the thought of the Greek philosopher Epicurus of Samos, in dialogue with the thought of Maurice Merleau-Ponty, Gilles Deleuze and José Gil. Reflect about the creation of this body/space in the relationship choreographer/dancer using as connecting thread the experiences of the author in his artistic path. Finally describes the process of creating the scenic experiment (h)áporos, which constitutes the practice scene of this dissertation, having as main objective the creation of spaces of convergence and interaction between a proponent and an affluent body that, in this move, transforms itself and the space that now cohabits / is

The Spanish Influence on Dance in Cuba

This flyer promotes the event "The Spanish Influence on Dance in Cuba", a lecture by Irene Rodriguez, an experienced Cuban dancer and dance company owner. The lecture was held on October 20, 2015 at FIU Modesto A. Maidique Campus, Green Library 220.