PÅ SPISSEN - forskning/Dance Articulated

På Spissen/Dance Articulated digital publications include peer-reviewed research articles and selected reviews and other not peer-reviewed articles.

På Spissen/Dance Articulated aims at increasing the publications opportunities for researchers on a broad Nordic and international dance field, stimulating to the sharing of such research and contributing to new networks and new readers of dance research.

 

Special Issue Bodily Learning 2019 

Utgangspunktet for kroppslig læring som spesialtema i På Spissen forskning er en forståelse av at kroppen alltid er involvert i læring. Gjennom hele år 2019 publiserer vi vitenskapelige artikler som på ulike vis undersøker og tematiserer hvordan kroppen i kontinuerlig relasjon til verden og til andre, er omdreiningspunkt for læring.

 


Call for articles - special issue CHOREOGRAPHY NOW

På Spissen forskning / Dance Articulated invites research article submissions for open access, peer-reviewed publication in 2020, with the special topic

CHOREOGRAPHY NOW

Editors: Leena Rouhiainen (UniArts Helsinki) and Tone Pernille Østern (NTNU Norwegian University of Science and Technology)

Submission deadline: 15.09.2019

Guidelines: http://ps.noda.no/index.php/ps/about/submissions#authorGuidelines

Submit articles to: leena.rouhiainen@uniarts.fi and tone.pernille.ostern@ntnu.no

The special topic Choreography Now is motivated by the interdisciplinary developments the art of choreography has undergone during the 21st century and how this has impacted its methodology and relationship with dance. Choreography no longer simply relates to constructing determined sequences of chosen movements that are rehearsed and performed by dancers on a proscenium stage for a seated audience. Evermore often choreography deals with forms of public bodily acts, which constitute, instead of depict, reality in the actuality of performance. Choreography thus has been conceived of as an open frame or set of principles that structure movement – propositions for possible actions to be undertaken or initiated by performers and the audience members or both together. This has substantiated the scrutiny of the influences under which choreography operates and consequently furthered reflexivity and exploration of its creative potentials. Likewise, the fact that the term choreography denotes both movement and writing has once again become emphasized. As a structuring of movement that bodies and materials subject themselves to, choreography entails writing: a script, a bodily articulation or notation. In this vein, it is an apparatus for articulation that involves dynamic theorizing about what relational bodies and materials can do. Thus, choreography and dancemaking have been conceived of as experiments or open-ended research undertakings conducted together with diverse kinds of participants and objects in unconventional settings. These developments in choreography have evolved simultaneously with an apparent dissolution of boundaries in the arts. Creative processes in different artistic media are realized as performance, and choreography has become a term used across the arts. Choreographic practice has likewise been impacted by the weakening of the conception of a self-contained subject and a shift into viewing human agency as more material and contaminated than before, as among others posthumanism and new materialism argue for. An ensuing recent emphasis in contemporary dance has thus resulted in the undermining of the performing human body and highlighting of ecologically and politically informed forms of choreography that explore choreography’s potential as an agent of change.

With this special topic, we invite article submissions which critically and creatively discuss, define and give examples of choreography now, in other words, what choreography can mean, do, be, produce and contribute with in different contexts, cultures and understandings. Possible themes can be, but are not limited to:

  • Choreography as a critical practice that offers structural movement frames to different and unconventional contexts
  • Choreography as open-ended, performative and reflexive research with different participants and materials
  • Choreography as artistic practice in different contexts such as schools, businesses, hospitals, prisons, universities or political structures.
  • Choreography as an ecological and/or political agent and practice with potential in contributing to change and activism
  • Choreography impacted by and contributing to the dissolution of the self-contained subject, thus fostering de-situated philosophical understanding
  • New conceptions of choreography and its creative potential in different contexts and cultures, from different perspectives
  • Choreography as artistic boundary crosser and choreography as contributor in different arts and other cross disciplinary settings




Volum 5, No 2: Special Issue Bodily Learning 2019 (2)


1.      Gunn Engelsrud

Leder/Editorial – Dynamikken i den kroppslige læringen

 

2.      Trine Ørbæk & Gunn Engelsrud (peer-reviewed article)

Skapende dans i en skolekontekst – et forskningsfelt?

 

3.      Hilde Rustad (peer-reviewed article)

Contact Improvisation and Dance Narratives – Body Memory and Embodied Knowledge

 



 

Volum 5, No 1: Special Issue Bodily Learning 2019 (1)

 

(for flere artikler, se "Archives")