The Modern Dance of Death by Peyton Rous was originally delivered as the Linacre lecture for the year 1929 at the University of Cambridge. The purpose of the lecture was to discuss the manner in which humankind's relationship to physical ailments and the attendant risks of death had altered in the four hundred years since Thomas Linacre's time. As Rous saw it, 'From the moment that the body becomes a going concern it must fight for its integrity. Its (...) Dance with Death begins long before birth and never ceases throughout the lengthening period of what we call health. Everything coming in contact with it shapes its destiny.'. (shrink)

Research has shown that both adults and children organize familiar activity into discrete units with consistent boundaries, despite the dynamic, continuous nature of everyday experiences. However, less is known about how observers segment unfamiliar event sequences. In the current study, we took advantage of the novelty that is inherent in modern dance. Modern dance features natural human motion but does not contain canonical goals—therefore, observers cannot recruit prior goal‐related knowledge to segment it. Our main aims were (...) to identify whether observers segment modern dance into the steps intended by the dancers, and what types of cues contribute to segmentation under these circumstances. Experiment 1 used a classic event segmentation task and found that adults were able to consistently identify only a few of the dancers’ intended steps. Experiment 2 tested adults in an offline labeling task. Results showed that steps which could more easily be labeled offline in Experiment 2 were more likely to be segmented online in Experiment 1. (shrink)

The art of dancing involves the motions of many body parts, particularly those that are rhythmically and musical. Modern dance is viewed as a type of nonverbal interaction that may be utilized to convey ideas, feelings, or even a narrative. Modern dances might be communal, audience-participatory, or both. Thus, following how the concept is used in the fast-expanding subject of the theory of dance, "philosophy" is understood widely here. Dance philosophy has a tone of promise, (...) in part because dance is so diverse that it may have connections to many different schools of thought. Modern dance has been practiced for a variety of goals all over civilization, including medicinal, economic, societal, cultural, and religious ones. Hence, in this paper, we review the conceptual foundations of Modern dance and how Marxist Philosophy was employed to create it. A recurrent procedures linear mixed model was developed for the study to predict a creative score and ascertain the impact of the key factors under consideration: experience and competence. The analysis of variance (ANOVA) was used to compare the average ratings of dance performance videos, and Pearson's correlation was used to investigate the relationships between the evaluations. (shrink)

The informative purpose of the research study is to describe the Applications of modern dance and creation in Chinese dance from dialectical materialist philosophy. This research study was conducted in china to measure Chinese and modern dance from materialist philosophy. Research based on primary data analysis for gathering the data developed almost 10 to 12 questions related to the variables. The Chinese dancers, department of Chinese dancers, film industries, etc., are all research study participants. For (...) measuring, the research study used smart PLS software, and run results included composite reliability, segmentations, smart PLS Algorithm, indicator correlations, and signification analysis related to the modern dance creation performance in China and the effect of dialectical materialist philosophy. Overall, the research found a positive and significant application of modern dance and creation from dialectical materialist philosophy. Modern dance and creation have a direct influence on dialectical materialist philosophy. (shrink)

The Nikolais/Louis Dance Technique provides the definite resource for understanding and practicing the influential dance technique developed by two pioneers of modern dance, Alwin Nikolais and Murray Louis. The Nikolais/Louis technique is presented in a week-to-week classroom manual, providing an indispensable tool for teachers and students of this widely studied movement practice. Theoretical background for further reading is set off from the manual for those interested in deeper study. Their philosophy and methodology span a broad readership (...) and offer an important addition to dance literature and American cultural history. (shrink)

This article exposes the role of expressive culture in the rise and spread of late twentieth-century Hindu identity politics. I examine how Hindu nationalism is fuelled by an affective attachment to the Indian classical dancer. I analyse the affective logics that have crystallised around the now iconic Indian classical dancer and have situated her gendered and athletic body as a transnational, globally circulating emblem of an authentic Hindu and Indian national identity. This embodied identity is represented by the historical South (...) Indian temple dancer and has, in the postcolonial era, been rebranded as the nationalist classical dancer—an archetype I refer to as the modern courtesan. I connect the modern courtesan to transnational forms of identity politics, heteropatriarchal marriage economies, as well as pathologies of gender violence. In so doing, I examine how the affective politics of ‘Hinduism’ have functionally weaponised the Indian dancing body. I argue that the nationalist and now transnationalist production of the classical dancer-courtesan exposes misogyny and casteism and thus requires a critical feminist dismantling. This article combines ethnographic fieldwork in classical dance studios in India and the United States with film and popular media analysis to contribute to critical transnational feminist studies, as well as South Asian gender, performance and media studies. (shrink)

This paper reports on a weekend performance event at the Tate Modern that explored how the senses of sound and movement can be used to apprehend geometrical and topological shapes and mathematical concepts. The sound sculpture Knots and Donuts spatialized sound and sonified space. It attuned the ‘mind’s ear’ and the auditory imagination to conceive of a Borromean Knot and a torus within an immersive three-dimensional sound field. Through dance movement, the choreography of Ordinal 5 actualized the specific (...) mathematical entity as understood in category theory. Both parts of the programme are considered as a performance as research experiment with an audience. Its aim was to understand how the sensory experience of the embodied mind might provide a basis of rationality in which meaning is not restricted to text and image, that is, an embodied topology. (shrink)

Dance is addressed as making significance for what Elias terms the civilizing process of early modernity through its contribution to the ennoblement of warriors and the pacification of merchants. The grounds for this are drawn from McNeill's contention that expenditure of muscular energy rhythmically in dance, as in military drill, but with different sociocultural consequences, is a fundamental human device for consolidating community feeling by facilitating cooperation by arousing a warm sense of togetherness. The significance of dance (...) as a sociocultural practice in early modernity is discussed critically through contemporary writings from the 16th and 17th centuries, with particular consideration given to the description of dance as an allegory for moral order in Elyot's manual on the education of the ruler. (shrink)

Besides the pure pleasure of watching a dance performance, dance as a whole-body movement is becoming increasingly popular for health-related interventions. However, the science-based evidence for improvements in health or well-being through dance is still ambiguous and little is known about the underlying neurophysiological mechanisms. This may be partly related to the fact that previous studies mostly examined the neurophysiological effects of imagination and observation of dance rather than the physical execution itself. The objective of this (...) pilot study was to investigate acute effects of a physically executed dance with its different components on the electrical brain activity and its functional connectivity using electroencephalographic analysis. Eleven dance-inexperienced female participants first learned a Modern Jazz Dance choreography over three weeks. Afterwards, the acute effects on the EEG brain activity were compared between four different test conditions: physically executing the MJD choreography with music, physically executing the choreography without music, imaging the choreography with music, and imaging the choreography without music. Every participant passed each test condition in a randomized order within a single day. EEG rest-measurements were conducted before and after each test condition. Considering time effects the physically executed dance without music revealed in brain activity analysis most increases in alpha frequency and in functional connectivity analysis in all frequency bands. In comparison, physically executed dance with music as well as imagined dance with music led to fewer increases and imagined dance without music provoked noteworthy brain activity and connectivity decreases at all frequency bands. Differences between the test conditions were found in alpha and beta frequency between the physically executed dance and the imagined dance without music as well as between the physically executed dance with and without music in the alpha frequency. The study highlights different effects of a physically executed dance compared to an imagined dance on many brain areas for all measured frequency bands. These findings provide first insights into the still widely unexplored field of neurological effects of dance and encourages further research in this direction. (shrink)

I argue that when we use email, text messaging, or social media websites such as Facebook to interact, rather than communicating face-to-face, we do not experience the best kind of empathy, which is most conducive to experiencing benevolence for others. My arguments rely on drawing interdisciplinary connections between sources: early modern accounts of sympathy, dance theory, philosophy of technology, and neuroscience/psychology. I reflect on theories from these disciplines which, taken together, suggest that to empathize optimally, we must see (...) or hear each other’s bodily gestures, vocal intonations, and facial expressions. (shrink)

This book examines the sensual and mental emphases of the movement research practiced by dancers of the Batsheva Dance Company and provides a comprehensive analysis of Gaga and Ohad Naharin's aesthetic approach.

The emerging field of the philosophy of dance, as suggested by Aili Bresnahan, increasingly recognizes the problem that (especially pre‐modern) dance has historically focused on bodily perfection, which privileges abled bodies as those that can best make and perform dance as art. One might expect that the philosophy of dance, given the critical and analytical powers of philosophy, might be helpful in illuminating and suggesting ameliorations for this tendency in dance. But this is particularly (...) a difficult task since the analytic philosophy of dance is too young to have achieved a comprehensive treatment of dance per se, let alone to update such a treatment in line with the demands of social justice. As a step in that direction, the present article (a) summarizes dance theorists on disabled dance (as opposed to the dance of the temporarily able‐bodied, or TAB) and then applies (b) the philosophy of art and dance to disability, (c) the philosophy of disability to dance, (d) interdisciplinary disability theory to dance, and (e) my own Figuration philosophy of dance to disability, as inspired in part by John Dewey. (shrink)

What is the meaning of Shiva dancing on a dwarf named Avidya? Why does Vishnu sleep upon an endless snake? To what did the Buddha awaken? What do we mean by soul? The practice of Yoga has become quite common and popular in the West; however, the stories of Yoga are still strange to Western ears. What do these ancient symbols mean, what are they trying to teach us, and how should we incorporate the knowledge skillfully into our Western lifestyle? (...) By looking at the myths of Yoga along with the stories that have influenced Western culture, we are presented with opportunities to select the best of both worlds, and create new maps to help guide us through the uncertainties of modern living. Stories are fun! Important stories guide us and educate us; they create mental models which work at an unconscious level to help us navigate through our modern society and govern our reactions to the ups-and-downs of life; they provide meaning and purpose for our life; and our stories entertain and entrance us. In this book, Bernie Clark looks at the spiritual stories found in the West that create a base map for our lives and then looks at the stories found in the East to see how they could improve our base maps. The stories offered are mix of light-hearted and enjoyable, and deep and profound. The importance of stories East and West are illustrated through the model proposed by the great 20th century mythologist, Joseph Campbell: myths, or stories, serve four great functions - the mystical, the cosmological, the sociological and the psychological function. The stories chosen illustrate these four functions of mythology and show how we can take these stories into ourselves to create a deeper experience of life. "You may find that, with a proper introduction, mythology will catch you." Joseph Campbell: The Power of Myth. (shrink)

In excerpts from my Dancing with the Sacred (2002), I use ideas from modern science, our world's religions, and my own experience to highlight three themes of the book. First, working within the framework of a scientific worldview, I develop a concept of the sacred (or God) as the creative activity of nature, human history, and individual life. Second, I offer a relational understanding of human nature that I call our social‐ecological selves and suggest some general considerations about what (...) it means to live meaningfully and morally in an evolutionary world. Third, I explore how we might be at home in a universe that is constantly changing and in which suffering and death are interwoven with life and new creation. (shrink)

The article introduces a new perspective on the impact of globalization on identity formation, which marks a shift from traditional understandings of fixed territorial (cultural) identities. It uses Deleuze and Guattari’s theoretical terms of Deterritorialization and Reterritorialization and establishes these as the essence of Globalization Scholte (Globalization: A Critical Introduction, Palgrave Macmillan, New York, 2005), rejecting the pessimism and fear of cultural imperialism as a by-product of globalization or a fear of standardization in multicultural work environments. It presents globalization as (...) a positive force creating new assemblages and a renewed understanding of ourselves in the contemporary society. The approach contributes to leadership and management literature, specifically in International Business and cross-cultural communication contexts, by presenting a new lens through which leaders and decision makers can view the subtle shifts brought about by the dissemination of global modernity and its impact on identity formation, allowing them to better lead a culturally diverse work force. (shrink)

In dance, there is a practice called ‘marking’. When dancers mark, they execute a dance phrase in a simplified, schematic or abstracted form. Based on our interviews with professional dancers in the classical, modern, and contemporary traditions, it is fair to assume that most dancers mark in the normal course of rehearsal and practice. When marking, dancers use their body-in-motion to represent some aspect of the full-out phrase they are thinking about. Their stated reason for marking is (...) that it saves energy, avoids strenuous movement such as jumps, and sometimes it facilitates review of specific aspects of a phrase, such as tempo, movement sequence, or intention, all without the mental and physical complexity involved in creating a phrase full-out. It facilitates real-time reflection. (shrink)

ArgumentScholars of modern Chinese publishing and book culture focus on the dramatic transformations that took place in the late nineteenth and early twentieth centuries: the new technologies that enabled “mass” printing and the development of “modern” genres of print. They often neglect the fact that xylography remained a working technology through much of the Republican period and even into the People's Republic of China. Here I examine the continued use of woodblock printing and the continuing popularity of “traditional” (...) textual genres from two perspectives. First, from a “bottom up” perspective, I examine the production and sale of woodblock texts in rural markets, often in the face of efforts by both the Republic and the People's Republic to prohibit their use. Second, from a perspective from the top, I consider the deliberate choices made by the government, some elite book collector-publishers, and Daoist and Buddhist devotees to print certain works xylographically. (shrink)

This article explores Futurist technophilia and some more or less latent technophobia, in the period after 1918. Fuelled by the economic and industrial advancements of the so-called “Giolittian age,” as well as an extensive employment of war technology in the First World War, the Futurist technological imagination remains both robust and wide-ranging in the postwar period. Resonant of nineteenth-century French and Italian literary traditions, Filippo Tommaso Marinetti's official position clusters round the powerful, if hackneyed, images of the steam train and (...) the motorcar. A number of fellow Futurists, however, explore technology in more original and, in some cases, more persuasive fashions. From the technology of flying employed first-hand by Fedele Azari to Enrico Prampolini's mechanical applications on the European stage, from Anton Giulio Bragaglia's experimental cinema to Ivo Pannaggi's and Vinicio Paladini's technological rebirth in marxian key, the Futurists' approach to technology is characterised throughout by a problematic counterpoint of modernity and tradition. If the Futurist officialdom ultimately relies on the latter, numerous alternative experiences testify to their vibrant strife towards the former. (shrink)

Chance or Dance is ideal for students and general readers interested in understanding how modern science gives evidence for the creation of nature by the God of the Bible.

Many objects in the world have functions. Typewriters are for typing. Can-openers are for opening cans. Lawnmowers are for cutting grass. That is what these things are for. Every day around the world people attribute functions to objects. Some of the objects with functions are organs or parts of living organisms. Hearts are for pumping blood. Eyes are for seeing. Countless works in biology explain the “Form, Function, and Evolution of... ” everything from bee dances to elephant tusks to pandas’ (...) ‘thumbs’. Many scientific explanations, in areas as diverse as psychology, sociology, economics, medical research, and neuroscience, rest on appeals to the function and/or malfunction of things or systems. They talk of how humans and other organisms or their parts work, what their functions are, why they are present, and how different situations will affect them and how they will react. Philosophers, going back to Aristotle, used to make generous use of functions in describing objects, organisms, their interactions, and even as the basis of ethics and metaphysics. And yet, since the Enlightenment, talk of the function of natural objects, teleological function, began to be viewed with suspicion, as the mechanical model of the world replaced the old Aristotelian model. From a religious standpoint, it used to be easy to see how objects in the natural world could have natural functions, for God was said to instill functions by design throughout Creation. But philosophers became increasingly reluctant to invoke God to solve every difficult philosophical problem, and became unwilling to indulge in such religious explanations of teleology. (shrink)

The book offers the first systematic reading of Gilles Deleuze's mature philosophy through the lens of creative practice. Six authors - two fine artists, a dancer, a creative writer, a designer and a philosopher - open multiple dialogues between contemporary creative practices and the generative philosophy of Deleuze. These conversations are focused around key aspects of production: forming, framing, experiencing, encountering and practising."-- Back cover.

In this article I will discuss the dancer’s physical potential and the sensitive knowledge (‘la connaissance sensible’) that emerges from dance practice. For this, I take Lévi-Strauss’ (2010) theory of the ‘savage mind’ as a reference. This theory is important to understand how the discipline of dance does not need to be justified through modern science (Lévi-Strauss 2010). It is understood that dance operates from sensitive knowledge, while modern science is expressed through the intelligible. I (...) will point out how the dancer operates the sensitive, or dancing, thought, stressing that this type of knowledge is created through interest in how to use it and not through interest in how it serves, or what it means. I will then explain how, through sensitive knowledge, dancers propose new challenges during their aesthetic training in order to develop new body technologies, thereby increasing their expressive potential. For this, dancers need to develop body acuity. In other words, I will discuss the processes that dancers use to transform the perception of the self and of the world through danced gestures. In this process, the dancer is always looking for new challenges; he/she constantly deals with new risks in order to discover new knowledge. I will also discuss the problem that dance faces in traditional academia, which disregards sensitive knowledge and values scientific knowledge. (shrink)

The translation of Rudolf Bode’s Rhythm and its Importance for Education and Rudolf Laban’s ‘Eurhythmy and kakorhythmy in art and education’ aims at unearthing rhythm-related discourses in the Germany of the 1920s. If for most of the English-speaking world the translation of Henri Lefebvre’s Rhythmanalysis: Space, Time and Everyday Life marks the moment in which rhythm descends into the theoretical arena, these texts, seen in their connection with other sources, express, instead, the degree to which rhythm was omnipresent in philosophical, (...) artistic, socio-economical and psychological discourses at the turn of the 20th century. Some commentators, such as Lubkoll, have recently highlighted the centrality of rhythm in Modernity, lamenting a lack of scholarship focusing on this phenomenon. This is arguably due to a lack of access to sources accentuated by the language barrier; if, indeed, the ‘rhythmanalysis’ of the turn of the century is not an exclusively Teutonic phenomenon, it is also true that a copious amount of material on rhythm of this period is written in German and remains untranslated. In this sense, then, this translation aims at contributing to the project of a cultural history of rhythm. (shrink)

Contemporary philosopher Jacques Rancière has been criticized for a conception of “politics” that is insensitive to the diminished agency of the corporeally oppressed. In a recent article, Dana Mills locates a solution to this alleged problem in Rancière most recent book translated into English, Aisthesis, in its chapter on Mallarmé’s writings on modern dancer Loïe Fuller. My first section argues that Mills’ reading exacerbates an “homonymy” (Rancière’s term) in Rancière’s use of the word “inscription,” which means for him either (...) a vicious literal carving on living bodies, or else a virtuous figurative carving on nonliving bodies. The former, I call “bodily carving,” while the latter is the “corporeal writing” that I take Mallarmé to affirm in Fuller. My second section observes that Rancière himself misses a homonymy in Mallarmé on Fuller, namely “dance,” meaning either “ballet” or dance in general (including Fuller’s). My third section concludes that Rancière’s chapter on Fuller includes another “dance” homonymy, meaning either “concert dance” or what I term a new “art of meta-movement” in Fuller. The latter art, I conclude, is equivalent to Mallarmé’s “corporeal writing,” and can be understood as a new form of dance education, in pursuit of a new utopia of worker-dancers. (shrink)

For much of the 20th century, dance writers and critics regularly bemoaned a shortage of male dancers. As one writer put it, the average American father would rather see his son dead than performing on stage in tights. This article looks at commentary about male dancing as a means of understanding popular conceptions of effeminacy. It addresses the way discourses about sport, physical prowess and hard bodies have been appropriated in attempts to validate the manliness of male dancers. Drawing (...) on works by dance educators, critics and dancers, such as Gene Kelly and American modern dancer Ted Shawn, the article looks at gendered notions of the body and movement and the way these have been shaped by the late 19th-century conflation of effeminacy and homosexuality. The athleticism and muscularity of male dancers were to have brought them mainstream respect; that they have yet to do so at all but elite levels reminds us that even the hardest bodies must be read through the limitations of the discursive contexts in which they move. (shrink)

I draw attention to how Annie Saumont’s “You Should Have Changed at Dol” provides a solution to the paradox. With appropriate background knowledge, Saumont’s story, despite its modern form, displays various convergences with Descartes’ meditations; likewise the Bisa dance may feature convergences with traditional dance.

Time is more than a line drawn from the past to the future. It is a form of life, marked by the ancient hierarchy between those who have time and those who do not. This hierarchy still governs a present which clings to the fable of historical necessity and its experts. In opposition to this, Jacques Rancière shows how the break with the hierarchical conception of time implies a completely different idea of the modern. He sees the fulfilment of (...) this in two arts of movement, cinema and dance, which at the beginning of the twentieth century abolished the opposition between free and mechanical people, and exposed the rift between the revolution of artists and that of strategists. (shrink)

The aim of this article is to explore the Irish dancing body by combining the growing social science interest in mobility with the established area of the body as a site of culture. On the basis of ethnographic observations and interviews about dance and culture in Ireland, I will discuss the Irish dancing body in relation to the construction of social memory, the embodiment of values linked to Irish national identity, mobility, dance competitions and global touring. First, I (...) will detail three distinct movement sequences from different dance forms in Ireland: competitive Irish dancing, dance theatre and Riverdance(the commercial Irish dance show). Second, I will look at how dance can be said to travel around Ireland, north and south, as well as back and forth to Ireland. The idea of the Irish dancing body offers an example of the unity of body and mind in dance, revealing also that abstract dance and movement communicate stories about their societies. In Irish dance, these stories feature displacement, longing and resistance, often steeped in the history. I conclude that this social memory connects a distinct Irish tradition with European modernity. (shrink)