The concept of the body politic comes from late medieval and early renaissance theories of state-hood. This theory posits that a country is analogous to a human body while still being made up of individuals. Similarly, my work, the body politic, is concerned with the question of the individual musician's body and their relationship to the whole ensemble. Using movement theories as set out by the choreographer and theorist Rudolf Laban and his students, this piece uses physical movement to structure the work. Drawing inspiration from historical uses of movement with music, this practice is explained as the result of social, political, and artistic forces. The exact use of movement as a structuring device is then explained in detail as it app...
The text presents a critical analysis of the roots of dance from the perspective of historical and d...
Plastique animée is a very specific, original, useful but also demanding and challenging way of work...
In this chapter I place embodiment and the corporeal body as central to examination. I argue that th...
During the 1990s, perhaps as part of several strategies aimed at slowing down the boom of the 1980s,...
La danse, sa place dans la société et le cadre de la création chorégraphique ont toujours été intime...
Body, even at its most still form, is the most violent against the acclamations of architectural spa...
This article provides a genealogical critique of the history and modernity of dance. In doing so it ...
This article provides a genealogical critique of the history and modernity of dance. In doing so it ...
The performativity of dance relies on the the power that different dance practices and choreographie...
We create music and dance with the body and perceive both through it. The performer's body is moulde...
The development of British contemporary dance practice has been dependent upon the assimilation of c...
This paper explores issues of corporeality and physicality in my approach to composition, with empha...
This essay reflects on my experimental projects in historical performance practice that explore poss...
The article discusses the training and development of the dance artist’s corporeality drawing primar...
In dance many choreographers uses neutral garments not to distract too much from the movement the ”n...
The text presents a critical analysis of the roots of dance from the perspective of historical and d...
Plastique animée is a very specific, original, useful but also demanding and challenging way of work...
In this chapter I place embodiment and the corporeal body as central to examination. I argue that th...
During the 1990s, perhaps as part of several strategies aimed at slowing down the boom of the 1980s,...
La danse, sa place dans la société et le cadre de la création chorégraphique ont toujours été intime...
Body, even at its most still form, is the most violent against the acclamations of architectural spa...
This article provides a genealogical critique of the history and modernity of dance. In doing so it ...
This article provides a genealogical critique of the history and modernity of dance. In doing so it ...
The performativity of dance relies on the the power that different dance practices and choreographie...
We create music and dance with the body and perceive both through it. The performer's body is moulde...
The development of British contemporary dance practice has been dependent upon the assimilation of c...
This paper explores issues of corporeality and physicality in my approach to composition, with empha...
This essay reflects on my experimental projects in historical performance practice that explore poss...
The article discusses the training and development of the dance artist’s corporeality drawing primar...
In dance many choreographers uses neutral garments not to distract too much from the movement the ”n...
The text presents a critical analysis of the roots of dance from the perspective of historical and d...
Plastique animée is a very specific, original, useful but also demanding and challenging way of work...
In this chapter I place embodiment and the corporeal body as central to examination. I argue that th...