Emma Meehan - Böcker

Dialogue is often conceived of as verbal interaction between different people or groups. This Element focuses on how dialogue is manifested in dance and somatic practices, through sensory relationality and responsiveness to the environment. The attention then is less on conflict of specific 'actors' but rather dialogue as a more holistic system of embodied exchange. As a study of movement as dialogue, the authors focus on Amerta Movement, a free-from style of dance developed by Javanese dance artist Suprapto Suryodarmo (Prapto), which explores dialogue with oneself, nature, other people, and communities. They examine the work of seven performing artists in Indonesia who engage with Amerta Movement in their workshops and performances. They further consider how such movement practices can cultivate competencies for inter-religious and intercultural dialogue, while contributing to debates on social cohesion and social justice. This title is also available as Open Access on Cambridge Core.

Dialogue is often conceived of as verbal interaction between different people or groups. This Element focuses on how dialogue is manifested in dance and somatic practices, through sensory relationality and responsiveness to the environment. The attention then is less on conflict of specific 'actors' but rather dialogue as a more holistic system of embodied exchange. As a study of movement as dialogue, the authors focus on Amerta Movement, a free-from style of dance developed by Javanese dance artist Suprapto Suryodarmo (Prapto), which explores dialogue with oneself, nature, other people, and communities. They examine the work of seven performing artists in Indonesia who engage with Amerta Movement in their workshops and performances. They further consider how such movement practices can cultivate competencies for inter-religious and intercultural dialogue, while contributing to debates on social cohesion and social justice. This title is also available as Open Access on Cambridge Core.

Increasingly, choreographic process is examined, shared and discussed in a variety of academic, artistic and performative contexts. More than ever before, post-show discussions, artistic blogs, books, archives and seminars provide opportunities for choreographers to explain their particular methodologies. Performing Process: Sharing Dance and Choreographic Practice provides a unique theoretical investigation of this current trend. The chapters in this collection examine the methods, politics and philosophy of sharing choreographic process, aiming to uncover theoretical repercussions of and the implications for forms of knowledge, the appreciation of dance, education and artistic practices.

This book addresses the need for critical scholarship about contemporary dance practices in Ireland.