Category: Event

E5_Event based content report

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The Artistic Drive of Jean Cébron

The Artistic Drive of Jean Cébron
Dance Oral History in a Network of Change

Jean Cébron (1927-2019) was a dancer, choreographer, and dance educator.

Juan Allende-Blin 94 is a Chilean contemporary composer, scholar, and publisher.

These men were in their early twenties when they met in 1948.
Their creative collaboration started as Allende-Blin saw Cébron in Kurt Jooss’ politically charged “The Green Table” in Santiago del Chile.
Back in Germany in the 1950s, artists that were exiled during WW II like Kurt Jooss, were confronted with hostile cultural attitudes that remained in place after the Nazi regime. Against that climate, they persevered. In a recent oral history interview, Allende-Blin recounts their efforts to create art that captured and expressed contemporary sensibilities. Their drive and resilience during the 1960s paved the way to the blossoming of original forms of dance-making in Germany.

One of the challenges of documenting artistic production in connection with political and cultural change is making the network of relationships explicit. The mapping and networking of documents under open international standards is one approach to create visibility to developments over time. In this presentation,
Ricardo Viviani will propose a visual model and notation ontologies to present this study case. The goal is to leverage the power of semantic web to create Web3 applications to network knowledge in dance.

This presentation was given at the 2022 Dance Studies Conference in Vancouver, Canada.
#strategies_of_reconciliation, #transnational_activism, #queer_activism, #archive, #historiography, #semantic_web, #dance_knowledge_management

Dance Studies Association

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Non-verbals in Oral History

Abstract

In this workshop, the professional choreographer and oral-historian Ricardo Viviani together with Sarah Walker, a fellow oral-historian will explore in which ways the awareness of non-verbal communication elements influence the outcome of an interview. 

We are always communicating with our bodies. From postures to the placement of the body in space, these elements are constantly sending messages. By being aware of which non-verbal elements are important to observe, the interviewer can help the narrator feel more comfortable. A narrator that feels comfortable with the situation is freer to talk. 

Of great importance are also the signals sent by the interviewer during an interview. Appropriate clothing that respects and eases the power structures at play during an interview, postures, gestures, help to engage the narrator. The body of the interviewer is just as important as the body of the narrator.

The analysis of video interviews can also benefit from the knowledge of non-verbals. Spoken language can acquire different colors and weights according to the complex interplay of non-verbals. Most oral-historians can adjust transcripts accordingly. This workshop will help to describe how these non-verbals are at play during the interview, thus helping to articulate the reasons for adjustments.

The workshop will consist of a theoretical introduction, examples that will be played out by the workshop leaders, followed by simulating situations and analyzing them. A group exchange of experiences will round-up this session.

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Just Call Us Dancers

lectures

Just call us Dancers

Oral History in the performing arts

In the winter of 1980/81, I was awarded a scholarship to study at a dance studio located at 400 Lafayette Street in New York City. The name of this studio was Dancerschool. The studio was part of the life work of Dennis Wayne, a star dancer of the 1970s. His company was called “Dancers”, just the word “Dancers”. The simplicity of that name indicates that what they do should suffice. The art speaks for itself. 

Continue reading “Just Call Us Dancers”

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Common Dance, Uncommon Stories

Screenshot 2019 Abstract

Oral History epistemology for dance

Oral History is a methodology well suited to record the experience of active and passive agents in dance. Even though it is a relatively new tool from the historical sciences  (Charlton, Myers, and Sharpless 2007), there is a sizable body of general literature available both on the web and in print. 

Specific literature for oral history in dance is very sparse.

Beyond the biographical interview format, which is covered within the general methodology, oral history interviews have the potential to articulate aspects of dance that might require to expand from some of the best practice principles: a deeper immersion in the cultural circle of the project and possible intervention by the interviewer for example. 

In this talk I will give a brief overview of the available literature, briefly talk about knowledge and meaning in dance, and subsequently deepen in a pragmatic analysis of the agents involved in dance praxis within the context of my professional practice as an oral historian in a single choreographer’s archive.

Dance Studies Association Proceedings 2019

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A cat named Pino

Photo via Good Free Photos

There was a black cat named Pino. Pino was the companion of a friend who lived in a loft in the White Street in Tribeca, NYC. His name was Manuel Alum. A dancer, Manuel was a charismatic and hypnotic performer. He was utterly committed to his art, to a fault.
I met Manuel at the Jacob’s Pillow Dance Festival in 1980, some years later I joined his performing tribe in NYC. I call it a tribe because for many of us, dancers, performing becomes more than a profession. The dance becomes a life-long obsession to show the non-dancing world, what a transformation this art can trigger in people. We are in the tribe.
Manuel Alum had a friend nicknamed Pina. They most likely met many years before in Italy. They were both members of the tribe. I don’t know if Pina liked Pino, or if that matters at all. Exactly 30 years ago, Manuel gathered the three of us to celebrate our birthdays – hers in that evening and mine past midnight.
A curious twist of fate intertwines our tribes again. I now work creating history from the memories of other extraordinary members of her tribe – to document her legacy. She triggered transformation in many levels and for many people. This is a joy and a privilege. Happy birthday Pina Bausch.

oral history

 

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Hänsel und Gretel Musical

alt text of photo

„Ein Kind, dem nie Märchen erzählt worden sind, wird ein Stück Feld in seinem Gemüt behalten, das in späteren Jahren nicht mehr angebautwerden kann.“ Johann Gottfried von Herder, Schriftsteller, Philosoph und Theologe der Aufklärungszeit

Unermüdlich erzählen wir deshalb auf der Bühne Märchen – immer in der Verantwortung, dass tausende Kinder zum allerersten Mal den Theaterraum betreten und mit allen Sinnen dem Bühenerlebnis entgegenfiebern.

In diesem Jahr präsentieren wir ein Märchen, das zu den meist erzählten gehört – aber auch zu den meist umstrittenen: Eltern bringen aus sozialer Not ihre beiden Kinder tief in den Wald und hoffen, dass Hänsel und Gretel dort verloren gehen.
Auf ihrem Irrweg gelangen die ausgestoßenen Kinder an das Lebkuchenhaus einer Menschen fressenden Hexe. Mit List können sich beide befreien und kehren mit reichlich Schmuck und Nahrung zurück zum Elternhaus.

Entgegen der Haltung der 70er Jahre, die das Erzählen der Volksmärchen in Frage stellte, werden wir uns gemeinsam mit den jungen Gästen hinein stürzen in diese Geschichte über böse und gut, dumm und schlau, traurig und lustig, hungrig und satt, dunkel und hell, unglücklich und glücklich.

theaterhagen

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morphogenesis

lectures

Morphogenesis

How is dance generated?

dance ontology

Three approaches to observe the process of creation.
Format: Lecture/performance

In this lecture/performance, 3 theoretical models of morphogenesis are exposed and a live example is performed.

  1. What is Morphogenesis

    Morphogenesis is the process that determines how biological forms are differentiated and organized. A right or a left limb have the same genetical materials, why and how it takes one form or another is not biologically fully explained yet. Performance undergoes similar processes; the coding and rules of genetics as in the modes of communication, the materials and mechanics of genes in the instruments and scores, dance steps and the bodies, are present in the same way. The moment of decision that differentiates and piles up a cell in one way or another, and the combination of one movement next to another has been the subject of theories in the recent past. Three approaches to this issue are presented here, from biology, from quantum physics applied to Jungian Psychology and from performance studies.

    • 1.1 Chreode
      A neologism created by biologist Conrad H. Waddington in his book The Strategy of the Genes from 1957, chreode (chre – necessary und hodos – path) is explained by using an analogy that uses gravity as an easy to relate phenomenon in the physical world: a ball rolling along a path. The theory of chreode provides for self organisation, natural temporal framework and variation of form.
    • 1.2 Attractors
      In combining chaos theory with Jungian Archetypes, psychologist John R. Van Eenwyk creates a possible model that inverts causation and lends to behavior with posterior causation. The future pulls creation as opposed to being pushed from the past. Creativity is this sense, most likely, operates freed from natural time.
    • 1.3 Viscosity
      Portuguese philosopher José Gil introduces the concept of ‘viscosity’ to explain movement choices in his article “O Corpo Paradoxal” (Paradoxical Body) in his book “Movimento Total – O Corpo e a Dança” from 2001. According to his postulate, dance is channeled through paths of lower viscosity that are sensed by the dancer in the act of dancing.
  2. Observing morphogenesis in performance

    In dance the morphogenesis can be observed both in the rehearsal room by observing specific interactions of the choreographer and dancer, but also in performance by restricting some parameters and concentrating the observation on specific variables. To access the creation moment, this presentation will use a methodology developed by german dance pedagogue Rolf Gelewski. Gelewski is a disciple of Mary Wigman in the analytical genealogy of Rudolf von Laban.

    3. Rolf GelewskiRolf Gelewski was a dancer and educator born in 1930 in Berlin. Acclaimed by the press in the 50s as a new Harald Kreuzberg, he was sent by Mary Wigman to establish the first contemporary dance education program in the University of Salvador, Bahia, Brazil in the 1960s. His later pedagogical work structured a methodology to access the creative impulse in a dance yoga-like meditation system. His influence also reaches the Auroville community in India. Gelewski was killed in a car accident in 1986.

  3. Summary

    Models for explaining morphogenesis in performance transcend the natural sciences toolkit, still, it can be observed and described. This lecture/demonstration proposes three approaches to observe this phenomena.
    After exposing these theories a short dance piece will be performed to enable an observation under the aspects of morphogenesis of a moment of creation. This dance piece – “Blue Danube” – presents a frame that constrains the observable phenomenon of improvisation in three parameters: Force, Speed and Timing. An early full video of this dance can be seen here: Danube @ DanceSpace NYC 1986

”What kind of Future do we want to build?”
Ricardo Viviani presentation at ArtEZ Arnhem

 

viviani-morphogenesis.pdf

 

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