(COLLECTIF )
2019
Paris 8 Danse in Translation 2019 - Contents
Online edition, www.danse.univ-paris8.fr, 2019
Paris 8 Danse in Translation brings together writings by professors and scholars from the Danse, geste et corporéité [Dance, gesture and corporeality] research group of the Laboratoire MUSIDANSE, and work by founder-members of the dance department at the University of Paris 8 Saint-Denis. The department celebrates 30 years in 2019 and so it seemed timely to make available more widely research that has hitherto been accessible only to French-speaking readers. The English translations highlight key texts - particularly those of Michel Bernard, regularly cited in our work - as well as representative writings from each scholar's body of research. This publication is multilingual in that it also re-publishes existing texts in German, Spanish, Italian, Portuguese and Romanian, reflecting the international scope of our research exchanges on art and dance.
MICHEL BERNARD
2019
Sense and fiction: or the strange effects of three sensorial chiasms
[Online] Paris 8 Danse in Translation, www.danse.univ-paris8.fr, 2019 [2001]
Translated by Anna Pakes from « Sens et fiction ou les effets étranges de trois chiasmes sensoriels », in De la création chorégraphique, Pantin : CND, 2001, p. 95-100. Merleau-Ponty's most important and fruitful insight remains, in my view, his chiasmatic theory of the sensorium. This theory famously led him to implode the classical concept of body in favour of an entity that is enigmatic although empirically lived, and which he suggests is equivalent to the generality of the Sensible in itself. This strange medium or reversible tissue would be immersive like the natural elements of water, air, earth or fire; it would envelop beings, even all Being, both collective and individual, spiritual and material; and it is designated, in Merleau-Ponty's writings, by the ambiguous term flesh. I will attempt myself to outline how this Merleau-Pontian insight might be developed and interpreted in the field of dance, connecting his chiasmatic theory to my own conception of the utterative mechanism of the sensory act and, simultaneously, its hidden fiction-generating power - or, perhaps, its enduring but covert process of originary simulation. This attempt has no pretensions beyond stimulating as much reflection as I can on dance corporeality and, particularly, choreographic creation. Translated thanks to support from ICI - Centre chorégraphique national de Montpellier Occitanie / Direction Christian Rizzo
MICHEL BERNARD
2019
Outline of a theory of perception of choreographic performance
[Online] Paris 8 Danse in Translation, www.danse.univ-paris8.fr, 2019 [2001]
Translated by Anna Pakes from « Esquisse d'une théorie de la perception du spectacle chorégraphique », in De la création chorégraphique, Pantin : CND, 2001, p. 205-213. What is it to perceive a choreographic performance? More specifically, what particular perceptual modalities are involved in perceiving dancing bodies within a given stage space, at a given time? These bodies' constant movement, their fleeting, multiple and unpredictable appearances and their complex, artfully coded figures prevent the uninitiated spectator from circumscribing, fixing, determining, identifying, understanding and immediately interpreting the content of what he perceives, as he does with other kinds of performance. Whatever spontaneous pleasure he experiences in the moment, the dance spectator is at something of a loss, not knowing what kind of perceptual approach to take. In other words, he is unsure how to distribute and organise his looking and listening relative to the succession of strange, fleeting impressions which strike him. Attending to a dance performance seems to require a perceptual strategy appropriate to the originality and singularity not just of the dancer's corporeal act, but also of the choreographic writing which orders that act and provides its guiding thread, determining its structure and giving it unity and coherence. Translated thanks to support from ICI - Centre chorégraphique national de Montpellier Occitanie / Direction Christian Rizzo
MICHEL BERNARD
2019
Corporeality as "antibody". Or the aesthetic subversion of "body" as a traditional category
[Online] Paris 8 Danse in Translation, www.danse.univ-paris8.fr, 2019 [2001]
Translated by Marie Claire Forté from « De la corporéité comme "anticorps" ou la subversion esthétique de la catégorie traditionnelle de "corps"», in De la création chorégraphique, Pantin : CND, 2001, p. 17-24. In short, as we see, the traditional model of body is not exempt of heavily loaded presuppositions. Heir of a metaphysical-theological tradition that made it the basis for an organized ontological vision of the world, it became imbued and invaded by the scientific-technical project of a triumphant capitalism. Daily experience finds itself foremost in-formed and normalized by the social imaginary and discourse fostered and promoted by this model. As I tried to show in my book ironically entitled Le Corps [The Body], we live our relationship to ourselves, the other and the world exclusively through our collective, individual, cultural and instinctual history. Through its implications, complexity, contingency and transience, the category body governs the most banal elements of quotidian life. However, it seems that the advent of contemporary art, and more specifically, the ways in which it completely unsettled how we understand the creative process, contributed in deconstructing this model, questioning its hegemony. Inspired, stimulated and encouraged by the vision and thinking of artists such as Cézanne, Artaud, Klee, Kandinsky, Bacon or Cage, numerous different divergent thinkers such as Merleau-Ponty, Ehrenzweig or Deleuze, reveal that the creative act is not borne from the inherent power of the body as a permanent and significant organic structure. It is quite the contrary: such acts result from the work of a mobile and unstable material and energetic network, from impulses and interferences of disparate and overlapping intensities.
MICHEL BERNARD
2019
Corporeality as antibody (greek translation)
[Online] Paris 8 Danse in Translation, www.danse.univ-paris8.fr, 2019 [2001]
Translated by Myrto Katsiki from « De la corporéité comme "anticorps" ou la subversion esthétique de la catégorie traditionnelle de "corps"», in De la création chorégraphique, Pantin : CND, 2001, p. 17-24.
ISABELLE GINOT
2019
Inventing the profession
[Online] Paris 8 Danse in Translation, www.danse.univ-paris8.fr, 2019 [2014]
Translated by Jacqueline Cousineau from "Inventer le métier", Recherches en danse [En ligne], 1, 2014. Being a dance scholar takes daily invention. I keep inventing this profession out of a specific use of the « theory and practice » issues. First, it takes to consider as equally legitimate, practical and conceptual knowledge. In other words, it requires to reject the traditional hierarchies between dominant and minor knowledge. Secondly, it requires questioning the researcher's motivations (which need to be both personal and collective). And the destination of research, which is political. In my practice, research always has a precise goal of social transformation. Therefore I offer the notion of « alter-situated research » : a research that requires to create itself both inside and outside of university, both with scholars and non-scholars, and oriented towards multiple audiences. Last, this alter-situated research invites to vigilance with regards to the ever-increasing pressure of institution normativity, and offers dance studies as alternative to this normativity.
ISABELLE GINOT
2019
A common place (greek translation)
[Online] Paris 8 Danse in Translation, www.danse.univ-paris8.fr, 2019 [2003]
Translated in greek by Myrto Katsiki from : « Un lieu commun », Repères. Cahier de danse n°11, Biennale nationale de danse du Val-de-Marne, mars 2003, p. 2-9.
HUBERT GODARD
2019
The gesture and its perception (greek translation)
[Online] Paris 8 Danse. www.danse.univ-paris8.fr, 2019 [1998].
MYRTO KATSIKI / LAURENT PICHAUD
2019
Reading Deborah Hay
[Online] Paris 8 Danse : www.danse.univ-paris8.fr, 2019 [2017]
Myrto Katsiki, Laurent Pichaud, "Reading Deborah Hay", translated by Jacqueline Cousineau from the slightly revised version (with some updates from Deborah Hay) of "Lire Deborah Hay", postface to the French translation of Deborah Hay's book My Body, the Buddhist: Mon corps, ce bouddhiste, extended edition, co-translation: Laurent Pichaud and Lucie Perineau, Dijon/Lausanne, Les presses du réel/La Manufacture, coll. Nouvelles scènes, 2017.
MAHALIA LASSIBILLE
2019
"Contemporary African Dance": a choreographic paradox. An ethnography [...]
[Online] Paris 8 Danse in Translation, www.danse.univ-paris8.fr, 2019 [2016]
« "Contemporary African Dance": a choreographic paradox. An ethnography of categorization in Niger ». Translated by Simon Pleasance from « La « danse africaine contemporaine » : un paradoxe chorégraphique. Une ethnographie de la catégorisation au Niger », in C. Delaporte, L. Graser, J. Péquinot (dir.), Penser les catégories de pensée, Paris : L'Harmattan, coll. Ouverture philosophique, 2016, p. 99-113.
MAHALIA LASSIBILLE
2019
"Lift your arms" or "be possessed": the formidable transfer of the composition [...]
[Online] Paris 8 Danse in Translation, www.danse.univ-paris8.fr, 2019 [2016]
« "Lift your arms" or "be possessed": the formidable transfer of the composition of gesture. Ethno-graphy(ies) of possession amongst the Peuls WoDaaBe of Niger ». Translated by Helen Boulac from « "Lever les bras" ou "être possédé" : le redoutable transfert de l'écriture du geste. Ethno-graphie(s) de la possession chez les Peuls WoDaaBe du Niger », Corps, 2016/1, n° 14, Paris/Marseille, p. 239-248.
ISABELLE LAUNAY
2019
Modern dance "brought to heel" ?
[Online] Paris 8 Danse in Translation, www.danse.univ-paris8.fr, 2019 [1999]
Translated by Helen Boulac from « La danse moderne mise au pas' ? », Danse et utopie, Mobiles n°1, Paris : Collection Arts Paris 8, L'Harmattan, 1999, p. 73-106.
SYLVIANE PAGÈS
2019
Resurgence, transfer and travels of an expressionist gesture : A discontinuous and transnational historiography. Butô between Japan, France and Germany
[Online] Paris 8 Danse in Translation, www.danse.univ-paris8.fr, 2019 [2010]
Translated by Simon Pleasance from « Résurgence, transfert et voyages d'un geste expressionniste en France : une historiographie discontinue et transnationale. Le butô entre le Japon, la France et l'Allemagne » in Isabelle Launay, Sylviane Pagès (dir.), Mémoires et histoire en danse, Mobiles, n°2, Paris : L'Harmattan, 2010, p. 373-384.
SYLVIANE PAGÈS
2019
The Cunningham moment. The emergence of an essential dance reference in France
[Online] Paris 8 Danse in Translation, www.danse.univ-paris8.fr, 2019 [2009]
Translated by Marisa Hayes from « Le moment Cunningham. L'émergence d'une référence incontournable de la danse en France... », Repères. Cahier de danse, Biennale nationale de danse du Val-de-Marne, avril 2009, p. 3-6.
JULIE PERRIN
2019
The Cunningham costume: the unitard in-between sculpture and painting
[Online] Paris 8 Danse in Translation, www.danse.univ-paris8.fr, 2019 [2011]
Translated by Jacqueline Cousineau from : « Le costume Cunningham : l'académique pris entre sculpture et peinture », Repères. Cahier de danse, «Costumes de Danse», Biennale nationale de danse du Val-de-Marne, n° 27, avril 2011, p. 22-25. "Merce has never cared very much about costumes (...). Rarely did the dance steps get made with any thought about what the costumes might be. Anyone designing costumes for Merce had to work within very strict limitations; the nearly inflexible rule was: body unencumbered, body visible." Carolyn Brown, dancer for Cunningham from 1952 to 72, underlines here a fundamental element of the choreographer's esthetic: his pieces rest first of all on physical exploration and his number one concern is to make the moving body visible. However, what does it mean to make the body visible? If all the dynamic, visual, plastic, and sound elements of a choreographic work align to facilitate the apparition of the dancing subject, and if Cun­ningham had particularly oriented his research towards the invention of a technique leading to clarity of gesture, what role does the costume have to play in that construction? Is it so negligible that Cunningham did not care, as Carolyn Brown suggests? There is always one piece among the many created by Cunningham to contradict all affirmations concer­ning it. Because no dogmatism underlies his work, all synthesis of said work is set for failure.
JULIE PERRIN
2019
Blindly walking in the continuous city [...]
[Online] Paris 8 Danse in Translation, www.danse.univ-paris8.fr, 2019 [2017]
« Blindly walking in the continuous city. On "Walk, Hands, Eyes (a city)" by Myriam Lefkowitz ». Translated by Anna Pakes from : « Traverser la ville ininterrompue : sentir et se figurer à l'aveugle. À propos de Walk, Hands, Eyes (a city) de Myriam Lefkowitz », Ambiances. Revue internationale sur l'environnement sensible, l'architecture et l'espace urbain, [En ligne], 3 | 2017, URL : http://ambiances.revues.org/962 Dance research would have no reason to take interest in the contemporary city or public space if choreographers themselves had not already chosen to intervene there. By inscribing choreographic action in the city, these artists enter into dialogue with it: they intervene in urban reality in the distanced mode characteristic of art, a kind of distance that enables a rethinking of the contemporary world. Unlike that of the sociologist, architect or urban planner, the dance researcher's methodology is not specifically designed for urban investigation. She takes a primarily artistic perspective on the city and public space, one shaped by experience of choreographic works. And if the dance researcher is also a city dweller, she takes a particular risk in thinking the city via the prism of art. Perhaps her research approach seems too specific and limited, and the resulting discourse on the city insufficiently specialised. But this way of entering into the heart of experience allows one to grasp the issues at stake within it, and to understand what that experience might specifically contribute to conceptualising the relation to public space. In this essay I explore a case study: the piece Walk, Hands, Eyes (a city) made in 2010 by the choreogra­pher Myriam Lefkowitz. I also, ultimately, reflect on the theoretical issues raised by aesthetic experience of Lefkowitz's work. The latter takes the form of an urban walk. But walking can take a variety of forms. And so I will be concerned here with reflecting on the various modalities of movement and with understanding, on this basis, how capacity for movement and knowledge of the city are connected.
JULIE PERRIN
2019
Choreography as seen through the lens of photography [...]
[Online] Paris 8 Danse in Translation, www.danse.univ-paris8.fr, 2019 [2012]
« Choreography as seen through the lens of photography. Time in composition: Rainer, Paxton and Charmatz ». Translated by Patricia Chen from: « Le chorégraphique traversé par la photographie. À propos du temps dans la composition : Rainer, Paxton et Charmatz », Ligeia, dossier « Photographie et danse », Debat Michelle (dir.), n° 113-114-115-116, Paris : éd. Ligeia, janvier-juin 2012, p. 74-83. Amongst the different uses of photography for and by dance, what it is important to unravel each time is as much the (strategy of) capturing the body in motion through photography, as the way in which dance itself understands photography. The way in which it appropriates it, integrates it into its processes or else uses it for a specific outcome (artistic, documentary), but also very simply the way in which the dancers or choreographers conceive of it, grasp it. What do they mean by photography? What does the term pho­tography cover in their discussions and what status do they give it in their choreographic practices? We shall see that what is involved is just as much the image (a concrete photographic image, the medium or subject of creation), as an idea about photography. The issue here is thus more like what Rosalind Krauss calls the photographic that is to say, photography as a theoretical subject, from which a new horizon of interrogation (aesthetic, historical, semiotic...) opens up. When applied to the field of dance composition, photography thus becomes a pretext for a reflection on time. Indeed, the intrusion of photography and the photographic into the field of choreography results, in particular, in an investigation on the temporality of movement and its relationship to fluidity.
CHRISTINE ROQUET
2019
From movement to gesture. Thinking between music and dance
[Online] Paris 8 Danse in Translation, www.danse.univ-paris8.fr, 2019 [2016]
Translated by Helen Boulac from « Du mouvement au geste. Penser entre musique et danse », Filigrane. Musique, esthétique, sciences, société. [En ligne], n° 21 : Gestes et mouvements à l'oeuvre : une question danse-musique, XXe-XXIe siècles, déc. 2016.
ISABELLE LAUNAY
2018
Recoger para dar : de la recolecta etnográfica en tiempos de revolución [...]
La Investigación en danza, Mahali ediciones, Valencia, 2018, p. 471-476 (inédito en francés)
« Recoger para dar: de la recolecta etnográfica en tiempos de revolución... al escarbado poético en tiempos de crisis. "Los Serrenhos del Caldeirao, ejercicios de antropología ficcional" ("Os Serrenhos do Calderao, exercicios em antropologia ficcional") de Vera Mantero (2012) », traducción del francés de Fernando López Rodríguez.
JULIE PERRIN
2017
Figura, înainte de toate (Merce Cunningham, "Variations V")
in Laura Marin (ed.), Figura : Corp, Arta, Spatiu, Limbaj. Antologie de texte teoretice, CESI, Université de Bucarest, 2017, p. 213-226
Traduction en roumain du dernier chapitre de "Figures de l'attention. Cinq essais sur la spatialité en danse" (les presses du réel, 2012).
ISABELLE GINOT
2016
Sul comune pedestre
Antropologia e teatro, n°7, 2016. Traduzione dal francese a cura di Margherita De Giorgi
Online : https://antropologiaeteatro.unibo.it/article/view/6265/6044 La presenza di danzatori detti amatori cresce sulla scena europea da alcuni anni. Dietro a questo termine di amatore, si nascondono a un tempo una varietà di persone, di pratiche e una certa confusione categoriale. Questo articolo s'interessa a un genere specifico di amatori: non i danzatori non professionisti che portano avanti una pratica costante della danza, spesso modellata su un certo ideale di danzatore virtuoso, ma piuttosto i danzatori che definiamo pedestri, da una nozione presa in prestito dalla postmodern dance americana. Si tratta di quanti compaiono sulle scene professionistiche, in seguito a bandi di partecipazione, reclutamenti locali, che incarnano la finzione di un danzatore naif, intaccato da nessun allenamento, da nessuna pratica, da nessun virtuosismo e pertanto splendido, perché sfugge alle norme coreografiche dominanti. Si tratta, qui, anche di sfumare questo mito del danzatore naif, rendendo evidenti delle forme di allenamento alternative che consistono nell'improvvisazione, nelle pratiche somatiche, nella composizione istantanea; in ultima istanza, la categoria pedestre appare non esterna o opposta a quella del danzatore professionale, ma intrinsecamente legata a questo e persino come finzione prodotta dal mondo della danza contemporanea professionale.
MAHALIA LASSIBILLE
2016
Escrever a dança em antropologia: a violência da pesquisa na ponta da caneta
Art Research Journal, vol. 3, n° 2, 2016
JULIE PERRIN
2016
Simone Forti: "Thinking with the body"
Dance Research Journal, Cambridge University Press, 2016, vol. 48, n° 1, p. 164-167 (unpublished in French)
Now that researchers in dance and performance are interrogating the current development of dance in museums, a new subject, related to exhibitions, offers itself for study: the exhibition catalog. What might a catalog of a dance exhibition be like? Is there something specific to an exhibition of choreographic art that would lead to the reinvention of the nature of even the catalog of this exhibition? Review of "Simone Forti: Thinking with The Body" edited by Sabine Breitwieser for the Museum der Moderne (Salzburg). 2015. Munich: Hirmer Verlag. 304 pp., 538 illustrations, biography, bibliography, 24 × 28 cm.
JULIE PERRIN
2015
Fazer com o espaço em arte - recomposição de uma troca de cartas entre [...]
in Carmen Morais, Ana Terra (ed.), Situ (ações) - caderno de reflexões sobre a dança in situ. Lince, São Paulo, 2015, p. 17-59
Titre complet : Fazer com o espaço em arte - recomposição de uma troca de cartas entre Anne Volvey, Julie Perrin e Laurent Pichaud Version révisée et traduite en portugais par Luiza Meira de l'article avec Laurent Pichaud et Anne Volvey, « Faire avec l'espace ou faire jouer le tournant spatial en art » (in "Du périmètre scénique en art : re/penser la Skéné, Cahier n° 4", École supérieure des Beaux Arts Montpellier Agglomération, 2013). À l'invitation du groupe de recherche « Du périmètre scénique en art : re/penser la Skéné », Anne Volvey (géographe, spécialiste d'art plastique), Julie Perrin (chercheuse en danse) et Laurent Pichaud (artiste chorégraphique) proposent le 21 février 2013 une rencontre dans la galerie de l'École Supérieure des Beaux-Arts de Montpellier. Ils prolongent dans ce texte leur dialogue dans un après coup réflexif qui intègre des retours d'expérience (les leurs mais aussi ceux du public).
JULIE PERRIN
2015
Cunninghams "Event" und Ciriaco/Sonnbergers "Here whilst we walk" [...]
in Jörn Schafaff, Benjamin Wihstutz (ed.), Sowohl als auch Dazwischen: Erfahrungsraüme der Kunst, Wilhelm Fink, Paderborn, 2015, p. 131-146 (unpublished in French)
« Cunninghams "Event" und Ciriaco/Sonnbergers "Here whilst we walk": Zur räumlichen Dimension choreographischen Erlebens jenseits der Bühne »
JULIE PERRIN
2015
New York "Topologie"
in Noémie Solomon (ed.), Dance : A Catalog, Les presses du réel, New York series, New York, 2015, p. 71-88 (trad. Marie-Claire Forté) (unpublished in French)
"Almost inevitably, a French dance scholar heading to the Chocolate Factory Theater in Long Island City on May 6, 2014 to discover Annie Vigier and Franck Apertet's outdoor choreography experiences contrasting emotions. Feelings of intellectual and kinesthetic excitement are forged en route, telescoping into at least three planes of impression." "In the Plexiglas covering the map, I see my own reflection and, behind me, the street. I am in a complex space, as if I had slipped between modes of representation and superimposed myself onto different spatial realities. I am here, at the Chocolate Factory Theater, and there, in the map, moving through the red line. I am soon outside, behind myself. Because I still think that the dancers have the most beautiful role in Topologie through movement, they experiment New York otherwise and build an experience. And because I still feel like walking."
MICHEL BERNARD
2014
On the use of the concept of modernity and its perverse effects in dance
in Noémie Solomon (ed.), Danse : An Anthology, Les presses du réel, New York series, New York, 2014, p. 69-79
Tranlated from Michel Bernard, Généalogie du jugement artistique, suivi de considérations intempestives sur les dérives actuelles de quelques arts, Paris : Beauchesne, 2011.
ISABELLE GINOT
2014
Dance of the possible (Rosalind Crisp)
Bodies of Thought. Twelve Australian Choreographers, dir. Erin Branningan & Virginia Baxter, Wakefield Press, Real Time, Kent Town (Australie), 2014.
A Paris and Berlin-based Australian choreographer and performer, Rosalind Crisp has been pursuing a project named d a n s e. Although taking roots in the history of improvisation and Instant composition, it raises original questions. The article strives to delineate d a n s e not as a piece (or a series of pieces), a technique, a set of scores (as the choreographer names it), but as a field, and even a community of performers, who define themselves by their common history, the working processes involved or abandoned through time, and, most importantly, by the sets of attentional choreography that form the work of performers.
ISABELLE LAUNAY
2014
Steal, duplicate, unmask, stretch, connect, intoxicate a dance-image, from "Hexentanz" [...]
in Noémie Solomon (ed.), Danse : An Anthology, Les presses du réel, New York series, New York, 2014, p. 209-222
« Steal, duplicate, unmask, stretch, connect, intoxicate a dance-image, from "Hexentanz" ("Witch Dance") by Mary Wigman (film 1930)to "Ecran Somnanbule" by Latifa Laabissi (2012) ». Translated from « Recréer/Scripter, Mémoires et transmissions des œuvres performatives et chorégraphiques contemporaines », in Anne Bénichou (dir.), Dijon : Les Presses du Réel, 2015, p. 333-350.
JULIE PERRIN
2014
Loose association : Emmanuelle Huynh and Trisha Brown
in Noémie Solomon (eds.), Danse : An Anthology, Les presses du réel, New York series, New York, 2014, p. 187-202
Translation of an extract from « Une filiation déliée », in Emmanuelle Huynh, Denise Luccioni, Julie Perrin (eds.), "Histoire(s) et lectures : Trisha Brown / Emmanuelle Huynh", Les presses du réel, Dijon, 2012, p. 227-292.
ISABELLE GINOT
2013
A common place
in Noémie Solomon (ed.), Danse : An Anthology, Les presses du réel, New York Série, New York, 2013, p. 159-174
Translated from : « Un lieu commun », Repères. Cahier de danse n°11, Biennale nationale de danse du Val-de-Marne, mars 2003, p. 2-9. This text, commissioned in 2003 by a French festival director, Michel Caserta, reflects upon the shifts occurred in the French contemporary scene in the nineties. « To my mind, this movement is above all characterized by a twofold critical production: first, it questions the choreographic legacy of, as well as the discourses on, dance, since it is clear that aesthetic and cri­tical thoughts are closely linked, and that it is not possible to engage with one without becoming bound up with the other. It is well known that the end of the 1990s was affected by a crisis of every value that underlay the choreography of the previous decade. Today a new generation of dancers, choreographers, and performers offers an analysis of, and reaction to, the system as a whole, whose principal failing was its stifling uniformity. One of the qualities of this critical movement is that it tackles the system as a whole, showing how it operates in terms of aesthetics (which aesthetic norms are now dominant?), politics (what connections govern the relationships that exist between artists, artists and regulating bodies or curators, spectators and dancers, etc?), and economics (how the development of a market for the performing arts is indissociable from the development of an aesthetic). With the market saturated and the system hardly allowing any new names to enter, this period of theorization is being accompanied by political actions involving artists themselves taking up new spaces and modes of production. A new community of dance has therefore emerged, coexisting with the previous.
CHRISTINE ROQUET
2013
Analise do movimento e analise de obras coreograficas
in Tavares Joana, Keiserman Nara, On corpo cênico : entre a dança e o teatro, Sao Paulo, Annablume, Brasil, 2013, p. 249-255 (unpublished in French)
MARIE BARDET / ISABELLE GINOT
2012
Habit and change: discovering the present [...]
Writings on Dance, #25, Melbourne, Australia, summer 2012, p. 10-29
« Habit and change: discovering the present. An essay on the invention of time in Feldenkrais method: learning through movement, questions of temporality » By Isabelle Ginot and Marie Bardet. Translated by Sally Gardner and Frida Komesaroff. New version published in French: "Du changement à la variabilité. L'invention du temps dans la séance Feldenkrais" in Isabelle Ginot (dir.), Penser les somatiques avec Feldenkrais, Lavérune : L'Entretemps, coll. Lignes de corps, 2014, p. 59-76. This text offers a reflexion on the time model that is both engaged and invented in a Feldenkrais group lesson. It attempts to describe the specific temporal experience that one makes in such a lesson, while, reciprocally, defining what alternative time models can be deduced from this practice.
ISABELLE GINOT
2012
Body schema and body image. At the crossroad of somatics and social work.
Journal of Dance and Somatic Practices, vol. 3 issue 1&2, 2012, Intellect, Coventry (UK), p. 151-165
NB : New version published in French :  « Que faisons-nous et à quoi ça sert? Image du corps et schéma corporel dans la méthode Feldenkrais », in Isabelle Ginot (dir.), Penser les somatiques avec Feldenkrais, Lavérune : L'entretemps, coll. Lignes de corps, 2014, p. 45-57. This research began as a response to fieldwork difficulties encountered in bringing somatic practices, particularly Feldenkrais, into the field of social work. The endogenous discourses produced by the Feldenkrais community to describe and analyse the practice proved to be counterproductive in convincing social work professionals of the relevance of somatics to participation in the global support of people living in a cluster of social difficulty, including health (chronic disease), and ethnic and cultural differences (migration). The analysis of endogenous discourses has shown discrepancies within the discourses themselves, and between discourse and practice. This article presents an alternative Feldenkrais description based on Gallagher's model of body image and body schema, and the relevance of such a model to the Feldenkrais Method, but also to social work, describing the experience of social exclusion as a somatic experience.
ISABELLE LAUNAY
2012
Citational poetics in dance, "...of a Faun (Fragments)" by the Albrecht Knust [...]
Dance Research Journal, n°44/2, winter 2012, p. 49-70
« Citational poetics in dance, "... of a Faun (Fragments)" by the Albrecht Knust Quartet, before and after 2000 ». Translated by Allegra Barlow and Mark Franko from « Poétiques de la citation. "d'un faune... (éclats)" du Quatuor Albrecht Knust, avant-après 2000 », in Isabelle Launay et Sylviane Pagès (dir.), Mémoires et histoire en danse, Paris : L'Harmattan, Collection Arts 8, Mobiles n°2, 2010, p. 23-72. For Walter Benjamin, modernity has required that we find a different way of connecting with the pastone that would replace transmission with citationality. In dance, the challenge of citation to the prestige of oral person-to-person transmission of a dance has introduced this new way for contemporary artists to relate to and re-embody past works. We examine this citational poetics in dance in the piece . . . of a faun (fragments), 2000, by the Albrecht Knust Quartet, who explore three kinds of material and modes of citation of L'Après-midi d'un faune de Nijinski in a series of sequences that the montage contrasts and examines : the « murmur » and images of the legend and the orals traditions ; the choreographic material as it has been notated in the score for L'Après-midi d'un faune and interpreted by six different dancers ; the material consisting of extensive improvisations based both on the dancers' memory and lack thereof (citations and autocitations by the dancers). Far away of the modernist dogma based on the idea of possession of work, far from the classic principle of variation, this piece explore the creative work of genealogy in dance.
CHRISTINE ROQUET
2012
Ao encontro da criaçao : a analise do movimiento e o processo de criaçao coreografica
ABRACE, Da Cena Contemporanea, Porto Alegre (Brazil), 2012, p. 39-45 (unpublished in French)
ISABELLE GINOT
2010
From Shusterman's somaesthetics to a radical epistemology of somatics
Dance Research Journal, University of Illinois Press, Champaign (USA), summer 2010, p. 12-29
Translated from « Discours, techniques du corps et technocorps. À partir et non à propos, de Conscience du corps de Richard Shusterman », in Paule Gioffredi (dir.), À l(a)'(r)encontre de la danse contemporaine: porosités et résistances, Paris: L'Harmattan, coll. Le corps en question, 2009. An article discussing the rhetorics of discourses within the field of Somatics, through a case study of Shusterman's book on Feldenkrais. Cet article reprend en anglais les éléments principaux « Discours, techniques du corps et technocorps », en orientant cette fois plus directement sur les usages des pratiques somatiques par les danseurs.
ISABELLE GINOT
2010
Para uma epistemologia das técnicas de educaçao somatica
O Percevejo online, Periodico do programma de pos-graduacao e artes cênicas, vol. 2, n° 2, julho - dezembro, 2010
Consultable ici : http://www.seer.unirio.br/index.php/opercevejoonline/article/view/1446/1250 Desde os anos 1970, os métodos somáticos, ou somatics, tal como definido por Thomas Hanna (1995) vêm sendo progressivamente integrados na comunidade artística, especialmente pelos bailarinos. Essas práticas reconhecem a unidade corpo-mente e usam, simultaneamente, a observação objetiva e a interpretação subjetiva da experiência como métodos de construção do conhecimento. Isabelle Ginot analisa os princípios gerais de produção de conhecimento e de transmissão dessas práticas. O artigo identifica duas estratégias discursivas importantes nas técnicas somáticas: o aval de personalidades da comunidade científica e o uso de narrações - através de relatos de caso de pacientes e de ensinamentos do mestre. A autora conclui que a função principal da ciência, tal como empregada pelas técnicas somáticas, é a de alimentar a crença, um fator provável para a eficácia desses métodos. Cet article traduit en portugais par Joana Ribeiro da Silva Tavarez et Marito Olsson-Forsberg est une version réduite de "Discours, techniques du corps et techno corps".
HUBERT GODARD
2010
Buracos negros: uma intrevista com Hubert Godard (Patricia Kuypers)
O Percevejo online. Périodico do programma de pos-graduaçao em artes cenicas, PPGAC/UNIRIO, vol. 2, n° 2, julho-dezembro 2010
Tradução Joana Ribeiro da Silva Tavares e Marito Olsson-Forsberg: Hubert Godard, Patricia Kuypers, "Des trous noirs", Nouvelles de danse. Scientifiquement danse, n° 53, Contredanse, Bruxelles, 2006, p. 56-75. Trabalhando há mais de vinte anos entre as áreas da dança, das técnicas somáticas e da pesquisa médica, Hubert Godard é um pesquisador de referência no campo da análise do movimento humano. Nessa entrevista, ele apresenta os pontos gerais de sua pesquisa. A discussão principal trata da relação entre o corpo em movimento e o espaço ao redor dele. Segundo Godard, é a percepção do espaço que determina a possibilidade do movimento corporal. Ele descreve esse espaço subjetivo como uma construção baseada nos hábitos de percepção, que constituem nossa história pessoal. Eventos traumáticos podem causar deficiências nessa esfera de percepção - os referidos buracos negros - que vão influenciar nossa postura, nosso esquema corporal e nossos movimentos. O texto conduz à conclusão sobre as possíveis aplicações desses resultados na reeducação e na pedagogia da dança
JULIE PERRIN
2009
Against the erosion of gesture and gaze
Cairon - Revista de estudios de danza - Journal of dance studies (Fernando Quesada, Amparo Ecija dir.), Universidad de Alcalá, n° 12 Cuerpo y arquitectura /Body and Architecture, 2009, p. 272-282
"My investigations on the capture of the dancing figure by a spectator or the construction of a mode of theatrical appearance, have led me to interrogate the spatialities in dance. In other words, to analyse the complex overlapping of architectural, theatrical, sonic, choreographic, and corporeal spatialities. The building introduces the frame of representation and composes a powerful optical apparatus. Stage spatialities -the scenographic installation, but also the choreographic drawing of the pathways, their rhythm and their speed- are likely to reconfigure this first frame. Eventually, corporeal spatialities -the orientation of the interpreter, the amplitude and the direction of her movement, her relation to projection, the dynamic, rhythmic, and stabilizing nature of her gesture that colours the nature of the space, the way in which the gaze can make spaces exist...- shape the exchange with the audience (Perrin, 2005: 2). The aesthetic analysis of the choreographic work in a theatrical context touched the question of architecture and the site. A dialogue with architects was going to be the logic continuation of these investigations. The dialogue starts in 2004 with the organisation of the encounters "Dance, Body, Architecture" in the Théâtre de la Cité Internationale in Paris, where architects, choreographers, and historians of both disciplines are invited to speak. From these exchanges, two sorts of tensions arise. The first one concerns the constraint operated by architecture over the bodies: is it possible to invent a gesture that has not been assumed by the architectural order? And the answer to this can be: if gesture arises from the organisation of my perception, the most powerful frame lies less in the architecture I inhabit than in the perceptual matrix that I have constructed myself." Publié avec l'aimable autorisation de CAIRON Revista de Estudios de Danza
JULIE PERRIN
2009
Contra el deterioro de los gestos y la mirada
Cairon - Revista de estudios de danza - Journal of Dance Studies (Fernando Quesada, Amparo Ecija dir.), Universidad de Alcalá, n° 12 Cuerpo y arquitectura /Body and Architecture, 2009 p. 260-271 (trad. Carolina Martínez)
"Mis investigaciones acerca de la percepción que tiene el espectador de la figura danzante y sobre la construcción de un modo de aparición escénica, me han llevado a interrogarme sobre lo espacial en la danza. Dicho de otro modo, a analizar el complejo entramado de espacios arquitectónicos, escénicos, sonoros, coreográficos y corporales. El edificio acoge el marco de la representaci ón y constituye un dispositivo óptico potente. Los espacios escénicos (la instalación escenográfica, pero también el dibujo coreográfico de los trayectos, el ritmo y su velocidad) son susceptibles de reconfigurar este primer marco. Por último, los espacios corporales (la orientación del intérprete, la amplitud y la dirección de su movimiento, su relación con la proyección, la naturaleza dinámica, rítmica, ponderativa de su gesto que colorea la naturaleza del espacio, la manera en que la mirada puede hacer existir espacios...) modelan el intercambio con la sala (Perrin, 2005b). Los análisis estéticos de la obra coreográfica en un contexto teatral trataban la cuestión de la arquitectura y del emplazamiento. Un diálogo con los arquitectos iba a constituir la continuación lógica de estas investigaciones. Éste se inicia en 2004 con la organización de los encuentros Danza, Cuerpo, Arquitectura en el Théâtre de la Cité Internationale en París, donde se dio la palabra a arquitectos, coreógrafos e historiadores de las dos disciplinas. De estos intercambios surgieron dos tipos de tensión. La primera concierne a la imposición que la arquitectura opera en el cuerpo: ¿es posible inventar un gesto no supuesto por el orden arquitectónico? A lo que podemos responder: si el gesto nace de la organización de mi percepción, el marco más poderoso reside menos en la arquitectura como hábito que en la matriz perceptiva que yo me he construido." Publié avec l'aimable autorisation de Cairon Revista de Estudios de Danza.
JULIE PERRIN
2008
The choreographer with a camera
Cairon - Revista de estudios de danza - Journal of Dance Studies (José A. Sanchez, Isabel de Naverán dir.), Universidad de Alcalá, n° 11 Cuerpo y cinematografía / Body and Cinematography, 2008, p. 263-270 (trad. Paula Caspao)
About Olga Mesa's work with film and camera. Publié avec l'aimable autorisation de CAIRON Revista de Estudios de Danza
JULIE PERRIN
2008
La coreógrafa de la cámara
Cairon - Revista de estudios de danza (José A. Sanchez, Isabel de Naverán dir.), Universidad de Alcalá, n° 11 Cuerpo y cinematografía, 2008, p. 49-60 (trad. Carolina Martínez)
Publié avec l'aimable autorisation de CAIRON Revista de Estudios de Danza
ISABELLE GINOT
2007
Identity, the contemporary and the dancers
in Susanne Franco and Marina Nordera (dir.), Dance discourses. Keywords in dance research, Routledge, New York/London, 2007, p. 251-265
« This aside, numerous theoretical boundaries continue to operate in both choreographic practices and theoretical research, as attested in the introduction to this section regarding the anthropological perspective and in the three case-studies focused on contemporary avant-garde dance works. Take, for example, the analyses of identitarian issues in contemporary dance orienting the three studies devoted to performances and representations of identity in selected works (masculinity/femininity, Black Atlantic/European American, and so forth). But what about contemporary dance as a social environment and a place where identity is formed, beginning, for example, from a dancer's education and training? »
HUBERT GODARD
2007
El gesto y su percepción
Estudis Escènics, n° 32, Barcelona, 2007, p. 335-343
"En la película "Ziegfield Follies" de Vincente Minelli (1945), Fred Astaire y Gene Kelly ejecutan un dúo en el que realizan los mismos gestos al mismo tiempo y con precisión. Sin embargo, el efecto producido por cada bailarín es radicalmente diferente. ¿Cómo explicar esa diferencia?"
HUBERT GODARD
2007
El gest i la seva percepció
Estudis Escènics, Quaderns de l'Institut del Teatre de la Diputació de Barcelona, n° 32, Barcelona, 2007, p. 177-188
"Les estètiques particulars de Merce Cunningham i de Trisha Brown poden aclarir en aquest punt dos modes operatius diferents de les vies de la percepció per la naturalesa dels transports efectuats. Tots dos es van allunyar d'allò que podia ser un relat, de qualsevol contingut narratiu que sovint, en les danses que els precedien, proporcionava la textura orientant la impressió de la figura observada en l'espectador."
ISABELLE GINOT
2005
L'identità, il contemporaneo e i danzatori
in Susanne Franco e Marina Nordera (dir.), I discorsi della danza, Utet Libreria, Torino, 2005, p. 301-321
Tuttavia, come testimoniano la parte dell'introduzione dedicata alla prospettiva antropologica e i tre saggi incentrati su opere di danza contemporanea detta di avanguardia, sono numerose le frontiere teoriche che continuano a operare sia nelle pratiche coreografiche sia nelle ricerche teoriche. Per esempio, l'analisi delle questioni «identitarie» legate alla danza contemporanea orienta i tre studi dedicati a spettacoli e rappresentazioni di identità (maschile/femminile, nero-atlantico/europeo-americano, e così via) nelle pièce scelte: ma che ne è della danza contemporanea come ambiente sociale e come luogo di produzione identitaria, per esempio a partire dalle pratiche di formazione e di allenamento del danzatore?
ISABELLE GINOT
2003
Dis-identifying : dancing bodies and analyzing eyes at work [...]
Discourses in Dance, vol. 2, n° 1, London, 2003, p. 23-34 (unpublished in French)
"Dis-identifying : dancing bodies and analyzing eyes at work. A discussion of Vera Mantero's a mysterious Thing, said e.e. Cummings". a mysterious Thing, said e.e. cummings*, a solo by Portuguese dancer and choreographer Vera Mantero, calls into question practices of dance criticism. Although overloaded with layers of signification (of genre, race, dance, etc.) and therefore apparently calling for interpretation, the forces working within the dancer's body seem to disable the mechanics of signification. That resistance to semiotization, in turn, is calling for a mutation in the critic's work, maybe opposing to the free-trade in the markett of semiotics a new position of stasis, and offering an arrest of the flow of meaning, and the time to a reconfiguration of perception.
HUBERT GODARD
2001
Conversazione con Hubert Godard (Armando Menicacci, Emanuele Quinz)
in La scena digitale, Nuovi Media per la Danza, a cura di A. Menicacci, E. Quinz, Marsilio, Venezia, 2001, p. 371-381
Edito in francese in Quant à la danse, n°2, juin 2005. "Quando consideriamo l'esperienza della danza, dobbiamo prima di tutto distinguere due punti di vista: quello del danzatore e quello dello spettatore. Danzando, abbiamo la possibilità di immergerci, almeno in parte, in un certo tipo di esperienza del sensibile che si stacca, momentaneamente, dal rapporto alla retorica del discorso, dal linguaggio. Per questo, è sempre più difficile definire la danza in rapporto a un oggetto, a un prodotto artistico finito: la danza è più una modalità di relazione al sensibile che la produzione di un determinato oggetto. Mentre lo sport orienta la sua ricerca sul movimento verso la misurazione oggettiva dell'efficacia gestuale, la motricità messa in gioco dalla danza non è legata a una economia dell'efficacia, poiché il suo fine è soggettivo ed espressivo. L'elemento che mi sembra fondamentale per l'emittente è il fatto che, per eseguire un movimento, debba partire dall'articolazione. Vedo l'articolazione come luogo di una separazione: una parte del mio corpo resta mia, ma un'altra parte si muove in uno spazio al quale assegno un senso, un valore, nel quale proietto un'immagine del gesto, costruisco un'azione virtuale."
ISABELLE GINOT
1997
The power of inner poetics
Ballett International/Tanz Aktuel, Kultur-Medien-Ges, Köln, Février 1997, p. 20-23 (unpublished in French)
A journal article on Trisha Brown's Twelve Ton Rose and the choreographer's recent shift in working with music.
HUBERT GODARD
1996
The missing gesture
Writings on Dance, n° 15, winter 1996, Victoria (Australia), p. 38-47
Hubert Godard, Daniel Dobbels and Claude Rabant, « The missing gesture », translated by David Williams from "Le geste manquant", IO, Etats de corps, n° 5, Ramonville St. Agne, Eres, 1994.
HUBERT GODARD
1996
Singular moving geographies
Writings on Dance, n° 15, winter 1996, Victoria (Australia), p. 12-21 (unpublished in French)
Hubert Godard, Laurence Louppe, « Singular Moving Geographies », translated by David Williams.
HUBERT GODARD
1994
Reading the body in dance. A model
Rolf Lines, The Journal of the Rolf Institute, Boulder CO, USA, Dc Ida Rolf Institut, oct. 1994
Translation by Ruth Barnes and Aline Newton from : "Présentation d'un modèle de lecture du corps en danse", in M. Arguel & coll, Le corps en jeu, PUF, Paris, 1992.
HUBERT GODARD
1992
An interview with Hubert Godard
Rolf Lines. The Journal of the Rolf Institute, Boulder CO, USA, Dc Ida Rolf Institut, 48, winter 1992, p. 42-48 (unpublished in French)