Choreographic Transmission in an Expanded Field: Reflections on “Ten Artists Respond to Trisha Brown’s Locus”

2018 ◽  
Vol 62 (2) ◽  
pp. 143-150 ◽  
Author(s):  
Hope Mohr ◽  
Larry Arrington ◽  
Gerald Casel ◽  
Gregory Dawson ◽  
Peiling Kao ◽  
...  
Keyword(s):  
Bay Area ◽  
Dance Company ◽  
First Time ◽  
Trisha Brown

The Locus project commissioned 10 Bay Area artists from multiple disciplines to learn Trisha Brown’s Locus and respond by creating their own pieces. It was the first time that the Trisha Brown Dance Company (TBDC) had allowed one of Brown’s dances to be transmitted beyond the company for the explicit purpose of inspiring new works.

New Complexities in Zoogeography and Taxonomy of the Pygmy Whitefish (Prosopium coulteri)

1972 ◽  
Vol 29 (12) ◽  
pp. 1772-1775 ◽  
Author(s):  
C. C. Lindsey ◽  
W. G. Franzin
Keyword(s):  
River System ◽  
Yukon Territory ◽  
Hudson Bay ◽  
The South ◽  
Bristol Bay ◽  
River Drainage ◽  
Bay Area ◽  
First Time ◽  
Mackenzie River

Pygmy whitefish (Prosopium coulteri) are recorded for the first time from the Peel–Mackenzie river drainage (Elliott Lake, Yukon Territory) and from the Hudson Bay drainage (Waterton Lakes, Alberta, in the South Saskatchewan–Nelson river system). The morphology of specimens from both localities contradicts the previously known pattern of a southeastern "low-rakered" and a northwestern "high-rakered" form (with the two forms occurring sympatrically in some lakes of the Bristol Bay area). Specimens from Elliott Lake, the most northerly known locality, resemble the southeastern form and those from Waterton Lakes the northwestern form. Both Waterton and Elliott lakes lie close to unglaciated refugia, suggesting that the species may have survived Wisconsin glaciation and diverged in several different watersheds.

scholarly journals Three New distributional records of Pen Shells (Bivalvia: Pinnidae) from Seagrass beds of Palk Bay Area in Tamil Nadu

2015 ◽  
Vol 3 (1) ◽  
Author(s):  
Chelladurai Stella ◽  
Packiam Paul ◽  
Chelladurai Ragunathan
Keyword(s):  
Tamil Nadu ◽  
Taxonomic Status ◽  
Intertidal Area ◽  
Meristic Characters ◽  
Hard Substratum ◽  
Bay Area ◽  
The Family ◽  
Tidal Area ◽  
Palk Bay ◽  
First Time

The new occurrence of Three species of bivalves from Pinnidae family  is recorded for the first time from Palk Bay area based on a live and dead shells collected from the Intertidal area . All the three species are under the family of  Pinnidae, Pinna bicolor, Pinna deltodes and Pinna incurva . In seagrass bed of Thondi Coast, all the species of Pen shells Pinna bicolor, Pinna deltodes and Pinna incurva  were embedded in muddy sand and found associated with seagrasses at inter-tidal area. It was also found buried in hard substratum associated with living zoanthids and soft coral. The collected specimens were identified as, (1) Pinna bicolor, (2) Pinna deltodes and (3) Pinna Incurva by using both morphometric and meristic characters. The paper described the taxonomic status and the description of the three species of bivalves collected from Palk Bay areas.

Dancing in Oakland and Beyond, 1977–1993

2018 ◽  
Author(s):  
Halifu Osumare
Keyword(s):  
San Francisco ◽  
Contemporary Dance ◽  
Non Profit ◽  
Black Dance ◽  
Bay Area ◽  
Dance Company ◽  
The Arts ◽  
National Initiative ◽  
Administrative Experience ◽  
Multicultural Arts

As the longest section, chapter 6 covers sixteen years of the author’s career as dancer, choreographer, dance educator, and arts administrator. During this period, she solidified her reputation in the San Francisco-Oakland Bay Area as a leader in the growing black dance and multicultural arts movements when she founds the non-profit dance institution Everybody’s Creative Arts Center (ECAC). She assess her development as a dancer-choreographer, discussing some of her key dance works as well as the creation of the center’s resident dance company, CitiCentre Dance Theatre, which was an important contemporary dance company that operated from 1983 to 1988. She also explores her simultaneous adjunct dance position at Stanford University and several of her choreographic and directorial commissions. The chapter articulates how, in 1989, her accumulated artistic and administrative experience culminated in her founding a major national initiative in black dance: Black Choreographers Moving Toward the 21st Century. She concludes with how she eventually transitioned from the arts to academia after going to graduate school, and how dance and “writing dancing” are similar.

scholarly journals Two additions to the moss flora of the South Shetland Islands in the maritime Antarctic

2018 ◽  
Vol 87 (4) ◽  
Author(s):  
Mariusz Wierzgoń ◽  
Tomasz Suchan ◽  
Michał Ronikier
Keyword(s):  
South Shetland Islands ◽  
King George Island ◽  
Maritime Antarctic ◽  
The South ◽  
Shetland Islands ◽  
Bay Area ◽  
Leading Position ◽  
Glacial Cover ◽  
The Antarctic ◽  
First Time

<em>Tortella fragilis</em> (Drumm.) Limpr. (Pottiaceae) and <em>Bryum nivale</em> Müll. Hal. (Bryaceae) are recorded for the first time from the South Shetland Islands in the northern maritime Antarctic. They were discovered in the Admiralty Bay area on King George Island, the largest island of this archipelago. The two species are briefly characterized morphologically, their habitats are described, and their distribution in the Antarctic is mapped. Discovery of these species has increased the documented moss flora of King George Island to 67 species, strengthening it in the leading position among individual areas with the richest diversity of moss flora in Antarctica. Likewise, <em>T. fragilis</em> and <em>B. nivale</em> represent remarkable additions to the moss flora of the South Shetland Islands, which currently consists of 92 species and one variety, making this archipelago by far the richest bryofloristically amongst large geographic regions of the Antarctic. Comparison of recent (2018) and old (1985) photographs revealed a significant retreat of glacial cover and suggests that the collection site was likely opened for colonization only within the last several decades. The record of <em>T. fragilis</em> is biogeographically relevant, and constitutes an intermediate site between the species’ occurrences in the Antarctic Peninsula and southern South America. The present record of <em>B. nivale</em> is the fourth discovery of the species worldwide, which may be helpful for the future designation of the distribution of this extremely rare species.

Reminiscences and Reflections at Eighty

2004 ◽  
Vol 22 (2) ◽  
pp. 101-138
Author(s):  
Robert Cohan
Keyword(s):  
The Other ◽  
Contemporary Dance ◽  
Historical Document ◽  
Personal Account ◽  
Epistolary Novel ◽  
Dance Company ◽  
Other Hand ◽  
Definitive Statement ◽  
History Of ◽  
First Time

The memoirs which follow, resulted from three extensive interviews (on 22 and 23 May 2004 in Nîmes, France, and on 23 July 2004 in London); the transcripts were then edited and submitted to Mr Cohan for amendment and approval. The text that follows is a full encapsulation of what was said, apart from a lengthy excursus on orientalism in Miss Graham's work and a shorter one on improvisation in dance. This is a personal account, not a connected history of Mr Cohan's activities: many episodes from a long and varied life in dance were not encompassed in the interviews, notably the dance company Robert Cohan formed after he left the Graham Company for the first time and the work in Broadway musicals that he also undertook at this stage of his performing career. The commentary on the Graham repertory and that of London Contemporary Dance Theatre (LCDT) is also indicative rather than exhaustive. Robert Cohan is aware of major episodes from the Graham years – such as the first Asian Tour – that form no part of this account. Similarly, he does not seek to retrace the ground so amply covered in the history of London Contemporary Dance Theatre. On the other hand, some of the subjects that did come up, have been discussed before – usually with some differences of emphasis or detail. But it is worth recalling in this regard that memory can exercise a refining and a condensing, as well, sometimes, as a distorting influence. In establishing the ‘truth’ about any matter it is as useful to have several accounts by the same witness as it is to have one account by several witnesses – just as in an epistolary novel by Richardson, an event looked at and described by the same person several times or by a number of different people, can produce a richer version of ‘reality’ than a single ‘definitive’ statement. Although every attempt has been made to rectify errors of minor detail, the decision has been taken not to provide any scholarly notes to the text. This contribution to the journal is best received as a primary historical document. Those seeking a chronological account of the events mentioned in the text, or further guidance on matters of detail, are referred to the standard works.

Through the lens of choreographic process

2020 ◽  
Vol 10 (1) ◽  
pp. 53-64
Author(s):  
Scott deLahunta ◽  
Jordan Beth Vincent
Keyword(s):  
Creative Process ◽  
Contemporary Dance ◽  
Audience Research ◽  
Content Type ◽  
Audience Studies ◽  
Dance Studies ◽  
Dance Company ◽  
Original Contribution ◽  
Reflective Study ◽  
First Time

PurposeThis article aims to bring together and demonstrate overlaps in three different areas of reflexive research concerned variously with audiences for contemporary dance. These are: 1) artists reflecting on their own creative process and engaging other researchers in doing so, generating new insights and language as a result; 2) humanities-based dance studies and a small number of dance scholars reflecting on this “process turn” in dance; and 3) the field of empirical audience studies, drawing on a single study specifically interested in access to creative process. The goal is to propose how these areas might coexist and mutually inform each other.Design/methodology/approachThe approach develops a three-fold framework where the multiple definitions and examples of reflexive research in dance-making processes coexist. It draws systematically on a detailed example of one self-reflective study conducted by a dance company into creative process, on new scholarly writing on the “process turn” in dance research and written analysis of a unique audience research project as well as related literature.FindingsIn conclusion, the article suggests that in whatever combination of different research approaches, empirical evidence is increasingly important. This risks tipping the balance towards a more utilitarian understanding, particularly in the area of audience studies. It is possible to counterbalance this with approaches from artists and scholars interested in understanding arrived at through reflexive study of creative practice.Originality/valueThe original contribution is to bring these three areas together for the first time to expose difference and overlaps and suggest that challenges of understanding (in a non-utilitarian form) could be mitigated through more systematic dialogue between them, such as presented here.

An Obscure Performance in Life and Education

2019 ◽  
Vol 44 (3) ◽  
pp. 305-307
Author(s):  
ZEYNEP GÜNSÜR YÜCEIL
Keyword(s):  
Performing Arts ◽  
Economic Policies ◽  
Social Democrats ◽  
Coup D'etat ◽  
Dance Company ◽  
Theatre Company ◽  
And Performance ◽  
New Generation ◽  
The Military ◽  
First Time

After the military intervention of 1980, Turkey's intellectual and social democrats were devastated – imprisoned, escaped to exile, silenced, killed – in the hands of the coup d’état and all the prohibitions that came with it until the first half of the 1980s. Then the famous Turgut Özal government with its unprecedented liberal economic policies came into the picture. Towards the end of the 1980s, a new generation of theatre and performance artists started to stage their response to all this madness and became visible to older generations who had long lost hope and vitality in terms of artistic and humanitarian production. I had the chance to get involved in this artistic endeavour through some of the emerging initiatives, such as Green Grapes Dance Company, Bilsak Theatre Company, Şahika Tekand, Kumpanya, Dance Factory, DAGS (Interdisciplinary Young Artists Association), Hüseyin Katırcıoğlu and Assos Theatre Festival. The works were relentless and new. Bodies were in need of fresh air, and artistic expression in performance did not follow the traditional routes or accepted notions while fully embracing the possibility of not being seen. Actually, the emerging artists did not give a damn. Interestingly – or obviously – enough, most of them were outcasts coming from other fields such as sociology, literature, engineering, law and so on. In relation to this, the artistic and performative visions they put forward were truly interdisciplinary. The contemporary visual art scene and performing arts were in an honest conversation perhaps for the first time in Turkish art history.

scholarly journals Coming Together by Moving Apart: Contemporary Dance Scores and Communities During the Covid-19 Pandemic

2021 ◽  
Vol 12 ◽  
Author(s):  
Hetty Blades
Keyword(s):  
Contemporary Dance ◽  
Dance Company ◽  
Trisha Brown

This paper discusses Roof/Roof Piece, an adaptation of Trisha Brown's Roof Piece by Trisha Brown Dance Company and perch a dance made by Amy Voris and adapted by Voris and Katye Coe for Coe to perform in her home and online. Both these adaptations began during the Covid-19 pandemic, in contexts when the artists could not meet in person. I consider the role that the scores played in facilitating these shared practices, asking how they allowed for the development and continuation of bonds between members of dance communities during this period.

scholarly journals Spread of contemporary dance in Ukraine

2021 ◽  
Author(s):  
Natalia Fedotova
Keyword(s):  
Cultural Values ◽  
Modern Dance ◽  
Stylistic Analysis ◽  
Contemporary Dance ◽  
Modern Culture ◽  
Dance Company ◽  
The World ◽  
Dance Companies ◽  
First Time ◽  
Time Information

The purpose of the article is to discover the peculiarities of the spread of contemporary dance in Ukraine. Methodology. The research was carried out using historical-chronological and biographical methods, as well as the method of stylistic analysis. Scientific novelty. For the first time, information about contemporary dance in Ukraine has been systematized and the features of its distribution have been identified. Conclusions. Contemporary dance is today recognized all over the world as a research tool for understanding a person and expanding his consciousness, which performs not only recreational, relaxation, communicative, and other functions, but is also used to solve human problems at the physical and mental levels, as well as to form cultural values. Having originated in Europe and America, the contemporary dance spread in Ukraine, gaining significant popularity in recent years. Among the specialist choreographers who contributed to its popularization in Ukraine from the end of the twentieth century. until now – M. Lymar, O. Budnytska, L. Venedyktova, L. Mova, R. Baranov, Kh. Shyshkarova, A. Ovchinnikov, A. Safonov, O. Ruban. In Ukraine, dance companies Buchok ART Family, Total Dance Group, N'Era Dance Company and others have been created, engaged in research contemporary dance, which demonstrate performances on small stages in different cities of Ukraine and at international contemporary dance festivals. Contemporary dance festivals "Zelyonka Fest", "Dance Space" and others, held in Ukraine, also contribute to the popularization of contemporary dance. The dissemination of information about contemporary dance occurs through platforms, laboratories, residences under the guidance of Western specialists, as well as thanks to domestic choreographers who attend master classes, seminars, lectures, intensives, etc. such specialists in Ukraine and abroad, and in turn pass on experience to students. Key words: contemporary dance, Ukrainian culture, modern culture, choreograph, modern dance.

scholarly journals Macrophytobenthos of Kazach’ya Bay (Black Sea) in autumn 2017

2018 ◽  
Vol 3 (4) ◽  
pp. 3-13
Author(s):  
V. V. Alexandrov
Keyword(s):  
Coastal Development ◽  
Zostera Noltii ◽  
Environment Quality ◽  
Bay Area ◽  
Current State ◽  
Macrophyte Species ◽  
Stuckenia Pectinata ◽  
First Time ◽  
Hard Substrata

Over the last two decades Kazach’ya Bay area has been subjected to intensive coastal development resulted in deterioration of the environment quality. Considering the fact that the anthropogenic impact has already led to degradation of the key macrophythobenthos communities at many sites of Sevastopol coast, the assessment of the current state of the bottom phytocoenoses in Kazach’ya Bay is of great importance. The aim of the study was to investigate the species composition and quantitative parameters of the macrophytobenthos in Kazach’ya Bay and to analyze long-term changes in its bottom vegetation. Investigation was carried out in the western branch of the bay in September 2017 at depth of 3, 5, 6, 8 and 17 m; 41 macrophyte species were identified: 13 – Chlorophyta, 1 – Charophyta, 10 – Phaeophyceae, 13 – Rhodophyta, and 4 – Angiospermae. Such species as Chaetomorpha gracilis, Cladophora vagabunda, Lamprothamnium papulosum, Myrionema strangulans were recorded for the first time. Zostera noltii + Stuckenia pectinata phytocoenosis with biomass 905 g·m-2 was found at 3 m depth on the soft bottom, at 6 and 8 m it was replaced by monodominant Zostera noltii communities with biomass 691 and 390 g·m-2 respectively. At 5 m depth where alongside with soft sediments hard substrata occur, mosaic of patches dominated by Zostera noltii and Cystoseira crinita with mean biomass 1017 g·m-2 was found. Phyllophora crispa phytocoenosis with the biomass 290 g·m-2 was registered near the mouth of the bay at the depth of 17 m. Between 1999 and 2017 biomass of the seagrass communities decreased 2–3 times, moreover, Zostera marina phytocoenoses were replaced by the Zostera noltii dominated communities. Biomass of the Phyllophora community almost doubled over the same period.

Sign in / Sign up

Export Citation Format

Share Document