Dance in Dialogue – serie

This is a book about falling as a means of reconfiguring our relationship with living and dying. Dancer, choreographer, educator and therapist Emilyn Claid draws inspiration from her personal and professional experiences to explore alternative approaches to being present in the world. Contemporary movement based performers ground their practices in understanding the interplay of gravity and the body. Somatic intentional falling provides them a creative resource for developing both self and environmental support. The physical, metaphorical and psychological impact of these practices informs the theories and perspectives presented in this book. As falling can be dangerous and painful, encouraging people to do so willingly might be considered a provocative premise. Western culture generally resists falling because it provokes fear and represents failure. Out of this tension a paradox emerges: falling, we are both powerless subjects and agents of change, a dynamic distinction that enlivens discussions throughout the writing. Emilyn engages with different dance genres, live performance and therapeutic interactions to form her ideas and interlaces her arguments with issues of gender and race. She describes how surrender to gravity can transform our perceptions and facilitate ways of being that are relational and life enhancing. Woven throughout, autobiographical, poetic, philosophical, descriptive and theoretical voices combine to question the fixation of Western culture on uprightness and supremacy. A simple act of falling builds momentum through eclectic discussions, uncovering connections to shame, laughter, trauma, ageing and the thrill of release.

This is a book about falling as a means of reconfiguring our relationship with living and dying. Dancer, choreographer, educator and therapist Emilyn Claid draws inspiration from her personal and professional experiences to explore alternative approaches to being present in the world. Contemporary movement based performers ground their practices in understanding the interplay of gravity and the body. Somatic intentional falling provides them a creative resource for developing both self and environmental support. The physical, metaphorical and psychological impact of these practices informs the theories and perspectives presented in this book. As falling can be dangerous and painful, encouraging people to do so willingly might be considered a provocative premise. Western culture generally resists falling because it provokes fear and represents failure. Out of this tension a paradox emerges: falling, we are both powerless subjects and agents of change, a dynamic distinction that enlivens discussions throughout the writing. Emilyn engages with different dance genres, live performance and therapeutic interactions to form her ideas and interlaces her arguments with issues of gender and race. She describes how surrender to gravity can transform our perceptions and facilitate ways of being that are relational and life enhancing. Woven throughout, autobiographical, poetic, philosophical, descriptive and theoretical voices combine to question the fixation of Western culture on uprightness and supremacy. A simple act of falling builds momentum through eclectic discussions, uncovering connections to shame, laughter, trauma, ageing and the thrill of release.

This is a book about falling as a means of reconfiguring our relationship with living and dying. Dancer, choreographer, educator and therapist Emilyn Claid draws inspiration from her personal and professional experiences to explore alternative approaches to being present in the world. Contemporary movement based performers ground their practices in understanding the interplay of gravity and the body. Somatic intentional falling provides them a creative resource for developing both self and environmental support. The physical, metaphorical and psychological impact of these practices informs the theories and perspectives presented in this book. As falling can be dangerous and painful, encouraging people to do so willingly might be considered a provocative premise. Western culture generally resists falling because it provokes fear and represents failure. Out of this tension a paradox emerges: falling, we are both powerless subjects and agents of change, a dynamic distinction that enlivens discussions throughout the writing. Emilyn engages with different dance genres, live performance and therapeutic interactions to form her ideas and interlaces her arguments with issues of gender and race. She describes how surrender to gravity can transform our perceptions and facilitate ways of being that are relational and life enhancing. Woven throughout, autobiographical, poetic, philosophical, descriptive and theoretical voices combine to question the fixation of Western culture on uprightness and supremacy. A simple act of falling builds momentum through eclectic discussions, uncovering connections to shame, laughter, trauma, ageing and the thrill of release.

Les Ballets C de la B was founded by Alain Platel in 1984. Since then it has become a company that enjoys great success at home and abroad. Over the years, Platel has developed a unique choreographic oeuvre. His motto, ‘This dance is for the world and the world is for everyone', reveals a deep social and political commitment.Through the three topics of emotions, gestures and politics, this book unravels the choreopolitics of Platel’s Les Ballets C de la B. His choreopolitics go beyond conveying a (political) message because rather than defending one opinion, Platel is more concerned about the exposure of the complexity within the debate itself.Highly respected scholars from different fields contribute to this book to provide an interdisciplinary perspective on the intense emotions, the damaged narratives, and the precarious bodies in Platel’s choreographic oeuvre.

Les Ballets C de la B was founded by Alain Platel in 1984. Since then it has become a company that enjoys great success at home and abroad. Over the years, Platel has developed a unique choreographic oeuvre. His motto, ''This dance is for the world and the world is for everyone'', reveals a deep social and political commitment.Through the three topics of emotions, gestures and politics, this book unravels the choreopolitics of Platel''s Les Ballets C de la B. His choreopolitics go beyond conveying a (political) message because rather than defending one opinion, Platel is more concerned about the exposure of the complexity within the debate itself. Highly respected scholars from different fields contribute to this book to provide an interdisciplinary perspective on the intense emotions, the damaged narratives, and the precarious bodies in Platel''s choreographic oeuvre.

Les Ballets C de la B was founded by Alain Platel in 1984. Since then it has become a company that enjoys great success at home and abroad. Over the years, Platel has developed a unique choreographic oeuvre. His motto, ''This dance is for the world and the world is for everyone'', reveals a deep social and political commitment.Through the three topics of emotions, gestures and politics, this book unravels the choreopolitics of Platel''s Les Ballets C de la B. His choreopolitics go beyond conveying a (political) message because rather than defending one opinion, Platel is more concerned about the exposure of the complexity within the debate itself. Highly respected scholars from different fields contribute to this book to provide an interdisciplinary perspective on the intense emotions, the damaged narratives, and the precarious bodies in Platel''s choreographic oeuvre.

This book was born from a year of exchanges of movement ideas generated in cross-practice conversations and workshops with dancers, musicians, architects and engineers. Events took place at key cultural institutions such as the Royal Academy of Arts, London; and The Lowry, Salford, as well as on-site at architectural firms and on the streets of London. The author engages with dance’s offer of perspectives on being in place: how the ‘ordinary person’ is facilitated in experiencing the dance of the city, while also looking at shared cross-practice understandings in and about the body, weight and rhythm. There is a prioritizing of how embodied knowledges across dance, architecture and engineering can contribute to decolonizing the production of place – in particular, how dance and city-making cultures engage with female bodies and non-white bodies in today’s era of #MeToo and #BlackLivesMatter. Akinleye concludes in response conversations about ideas raised in the book with John Bingham-Hall, Liz Lerman, Dianne McIntyer and Richard Sennett. The book is a fascinating resource for those drawn to spatial practices from dance to design to construction.

This book was born from a year of exchanges of movement ideas generated in cross-practice conversations and workshops with dancers, musicians, architects and engineers. Events took place at key cultural institutions such as the Royal Academy of Arts, London; and The Lowry, Salford, as well as on-site at architectural firms and on the streets of London. The author engages with dance''s offer of perspectives on being in place: how the ''ordinary person'' is facilitated in experiencing the dance of the city, while also looking at shared cross-practice understandings in and about the body, weight and rhythm. There is a prioritizing of how embodied knowledges across dance, architecture and engineering can contribute to decolonizing the production of place – in particular, how dance and city-making cultures engage with female bodies and non-white bodies in today''s era of #MeToo and #BlackLivesMatter. Akinleye concludes in response conversations about ideas raised in the book with John Bingham-Hall, Liz Lerman, Dianne McIntyer and Richard Sennett. The book is a fascinating resource for those drawn to spatial practices from dance to design to construction.

This book was born from a year of exchanges of movement ideas generated in cross-practice conversations and workshops with dancers, musicians, architects and engineers. Events took place at key cultural institutions such as the Royal Academy of Arts, London; and The Lowry, Salford, as well as on-site at architectural firms and on the streets of London. The author engages with dance''s offer of perspectives on being in place: how the ''ordinary person'' is facilitated in experiencing the dance of the city, while also looking at shared cross-practice understandings in and about the body, weight and rhythm. There is a prioritizing of how embodied knowledges across dance, architecture and engineering can contribute to decolonizing the production of place – in particular, how dance and city-making cultures engage with female bodies and non-white bodies in today''s era of #MeToo and #BlackLivesMatter. Akinleye concludes in response conversations about ideas raised in the book with John Bingham-Hall, Liz Lerman, Dianne McIntyer and Richard Sennett. The book is a fascinating resource for those drawn to spatial practices from dance to design to construction.

This book was born from a year of exchanges of movement ideas generated in cross-practice conversations and workshops with dancers, musicians, architects and engineers. Events took place at key cultural institutions such as the Royal Academy of Arts, London; and The Lowry, Salford, as well as on-site at architectural firms and on the streets of London. The author engages with dance’s offer of perspectives on being in place: how the ‘ordinary person’ is facilitated in experiencing the dance of the city, while also looking at shared cross-practice understandings in and about the body, weight and rhythm. There is a prioritizing of how embodied knowledges across dance, architecture and engineering can contribute to decolonizing the production of place – in particular, how dance and city-making cultures engage with female bodies and non-white bodies in today’s era of #MeToo and #BlackLivesMatter. Akinleye concludes in response conversations about ideas raised in the book with John Bingham-Hall, Liz Lerman, Dianne McIntyer and Richard Sennett. The book is a fascinating resource for those drawn to spatial practices from dance to design to construction.

This book examines the relation between bodies and political economies at micro and macro levels. It stands in the space between ends and beginnings – some long-desired, such as the end of capitalism and racism, and others long-dreaded, such as the climate catastrophe – and reimagines what the world can be like instead. It offers an original investigation into the relation between performance, dance, and political economy, looking at the points where politics, economics, ethics, and culture intersect.Arising from live conversations and exchanges among the contributors, this book is written in an interdisciplinary and dialogical manner by leading scholars and artists in the fields of Performance Studies, Dance, Political Theory, Economics, and Social Theory: Marc Arthur, Melissa Blanco Borelli, Anita Gonzalez, Alexandrina Hemsley, Jamila Johnson-Small, Elena Loizidou, Tavia Nyong'o, Katerina Paramana, Nina Power, and Usva Seregina. Their critical and creative examinations of the relation between bodies and political economy offer insights for both imagining and materializing a world beyond the present.

This book examines the relation between bodies and political economies at micro and macro levels. It stands in the space between ends and beginnings – some long-desired, such as the end of capitalism and racism, and others long-dreaded, such as the climate catastrophe – and reimagines what the world can be like instead. It offers an original investigation into the relation between performance, dance, and political economy, looking at the points where politics, economics, ethics, and culture intersect. Arising from live conversations and exchanges among the contributors, this book is written in an interdisciplinary and dialogical manner by leading scholars and artists in the fields of Performance Studies, Dance, Political Theory, Economics, and Social Theory: Marc Arthur, Melissa Blanco Borelli, Anita Gonzalez, Alexandrina Hemsley, Jamila Johnson-Small, Elena Loizidou, Tavia Nyong''o, Katerina Paramana, Nina Power, and Usva Seregina. Their critical and creative examinations of the relation between bodies and political economy offer insights for both imagining and materializing a world beyond the present.

This book examines the relation between bodies and political economies at micro and macro levels. It stands in the space between ends and beginnings – some long-desired, such as the end of capitalism and racism, and others long-dreaded, such as the climate catastrophe – and reimagines what the world can be like instead. It offers an original investigation into the relation between performance, dance, and political economy, looking at the points where politics, economics, ethics, and culture intersect. Arising from live conversations and exchanges among the contributors, this book is written in an interdisciplinary and dialogical manner by leading scholars and artists in the fields of Performance Studies, Dance, Political Theory, Economics, and Social Theory: Marc Arthur, Melissa Blanco Borelli, Anita Gonzalez, Alexandrina Hemsley, Jamila Johnson-Small, Elena Loizidou, Tavia Nyong''o, Katerina Paramana, Nina Power, and Usva Seregina. Their critical and creative examinations of the relation between bodies and political economy offer insights for both imagining and materializing a world beyond the present.

This book examines the relation between bodies and political economies at micro and macro levels. It stands in the space between ends and beginnings – some long-desired, such as the end of capitalism and racism, and others long-dreaded, such as the climate catastrophe – and reimagines what the world can be like instead. It offers an original investigation into the relation between performance, dance, and political economy, looking at the points where politics, economics, ethics, and culture intersect.Arising from live conversations and exchanges among the contributors, this book is written in an interdisciplinary and dialogical manner by leading scholars and artists in the fields of Performance Studies, Dance, Political Theory, Economics, and Social Theory: Marc Arthur, Melissa Blanco Borelli, Anita Gonzalez, Alexandrina Hemsley, Jamila Johnson-Small, Elena Loizidou, Tavia Nyong'o, Katerina Paramana, Nina Power, and Usva Seregina. Their critical and creative examinations of the relation between bodies and political economy offer insights for both imagining and materializing a world beyond the present.

This is a book about falling as a means of reconfiguring our relationship with living and dying. Dancer, choreographer, educator and therapist Emilyn Claid draws inspiration from her personal and professional experiences to explore alternative approaches to being present in the world. Contemporary movement based performers ground their practices in understanding the interplay of gravity and the body. Somatic intentional falling provides them a creative resource for developing both self and environmental support. The physical, metaphorical and psychological impact of these practices informs the theories and perspectives presented in this book. As falling can be dangerous and painful, encouraging people to do so willingly might be considered a provocative premise. Western culture generally resists falling because it provokes fear and represents failure. Out of this tension a paradox emerges: falling, we are both powerless subjects and agents of change, a dynamic distinction that enlivens discussions throughout the writing. Emilyn engages with different dance genres, live performance and therapeutic interactions to form her ideas and interlaces her arguments with issues of gender and race. She describes how surrender to gravity can transform our perceptions and facilitate ways of being that are relational and life enhancing. Woven throughout, autobiographical, poetic, philosophical, descriptive and theoretical voices combine to question the fixation of Western culture on uprightness and supremacy. A simple act of falling builds momentum through eclectic discussions, uncovering connections to shame, laughter, trauma, ageing and the thrill of release.

Les Ballets C de la B was founded by Alain Platel in 1984. Since then it has become a company that enjoys great success at home and abroad. Over the years, Platel has developed a unique choreographic oeuvre. His motto, ‘This dance is for the world and the world is for everyone', reveals a deep social and political commitment.Through the three topics of emotions, gestures and politics, this book unravels the choreopolitics of Platel’s Les Ballets C de la B. His choreopolitics go beyond conveying a (political) message because rather than defending one opinion, Platel is more concerned about the exposure of the complexity within the debate itself.Highly respected scholars from different fields contribute to this book to provide an interdisciplinary perspective on the intense emotions, the damaged narratives, and the precarious bodies in Platel’s choreographic oeuvre.

The age of humans has gotten increasingly loud in terms of literal sound and environmental impact. Recognising silence as a disappearing ontological value, there is grief around our loss, but there is also a greater desire for opportunities to experience silence in its various diverse forms.This book explores the critical dynamics of silence within choreography, performance and composition, comprising a series of conversations with researchers and practitioners, including choreographer Rosemary Lee, architect Richard Dougherty, architectural historian Pérez-Gómez, Natural Horn player Isaac Shieh, neuroscientist Tony Steffert and drummer and aerialist Jonny Leitch.These conversations:- question what has been silenced through the immobilisation of our bodies through movement-saving technologies;- discover points of convergence through silence in seemingly separate and unrelated physical, conceptual and philosophical spaces;- examine neglected intelligence and marginalised ways of knowing of gesture and movementUltimately, we come to see how dance, embodied modes of inquiry and corporeal-based understandings within socio-cultural and ecological contexts can propose pathways in the absence of sound.

The age of humans has gotten increasingly loud in terms of literal sound and environmental impact. Recognising silence as a disappearing ontological value, there is grief around our loss, but there is also a greater desire for opportunities to experience silence in its various diverse forms. This book explores the critical dynamics of silence within choreography, performance and composition, comprising a series of conversations with researchers and practitioners, including choreographer Rosemary Lee, architect Richard Dougherty, architectural historian P rez-G mez, Natural Horn player Isaac Shieh, neuroscientist Tony Steffert and drummer and aerialist Jonny Leitch. These conversations: - question what has been silenced through the immobilisation of our bodies through movement-saving technologies; - discover points of convergence through silence in seemingly separate and unrelated physical, conceptual and philosophical spaces; - examine neglected intelligence and marginalised ways of knowing of gesture and movement Ultimately, we come to see how dance, embodied modes of inquiry and corporeal-based understandings within socio-cultural and ecological contexts can propose pathways in the absence of sound.

The age of humans has gotten increasingly loud in terms of literal sound and environmental impact. Recognising silence as a disappearing ontological value, there is grief around our loss, but there is also a greater desire for opportunities to experience silence in its various diverse forms. This book explores the critical dynamics of silence within choreography, performance and composition, comprising a series of conversations with researchers and practitioners, including choreographer Rosemary Lee, architect Richard Dougherty, architectural historian P rez-G mez, Natural Horn player Isaac Shieh, neuroscientist Tony Steffert and drummer and aerialist Jonny Leitch. These conversations: - question what has been silenced through the immobilisation of our bodies through movement-saving technologies; - discover points of convergence through silence in seemingly separate and unrelated physical, conceptual and philosophical spaces; - examine neglected intelligence and marginalised ways of knowing of gesture and movement Ultimately, we come to see how dance, embodied modes of inquiry and corporeal-based understandings within socio-cultural and ecological contexts can propose pathways in the absence of sound.