Voices of Notators: Approaches to Writing a Score--Special Issue (original) (raw)
Related papers
The perpetual 'present' of dance notation
Dance notation systems disclose information about the historically located experience of moving while at the same time necessitating that understanding of the moving body be accessed through the very particularities of the reader’s/ dancer’s own contemporary body. Practices of dance notation—graphic, iconic, symbolic documentations of dance and movement—date back to the 15th century in Europe. Most commonly their history has been conceptualized as a quest for a viable, ‘universal’ system of documentation, regardless of the intention of the inventors. I argue instead that systems of dance notation are intimately connected to the visual and physical cultures of the time and place in which they were developed. Each system provides insight into the way its inventor and users conceptualized their experiences of the moving body. However, these systems do not represent the dance in a mimetic way. In spite of my expertise as a notator, using Benesh Movement Notation and Labanotation, I cannot ‘see’ the dance when I read a dance score. Rather, the notation serves as a visual technology through which embodiment is encoded and can be re-enacted. That is to say, dance notation does not primarily visualize how the body looks—visual markers of identity are absent from the score—but instead gives graphic form to the experience of moving. This encoding does not happen in the symbols themselves but through the interplay amongst the symbols and between the score and the reader/dancer. In this paper I explore the paradoxes of past/present, text/embodiment, and objectivity/subjectivity that animate research using dance notation systems.
2018
This thesis critically compares dance notation systems and annotation practices, explaining why we might want to look more closely at their technological conditions and how we may do so by drawing from media theory. Accordingly, this thesis is concerned with the different methods of notation and annotation practices as well as with their effect on the ways we think about movement. Asking what the main differences are based on, it investigates the impact that technological conditions have on the representation of movement. Specifically, this thesis approaches dance notation and annotation practices as gestures–gestures that promptly shape modes of thinking. By addressing Vilém Flusser and Nicolas Salazar Sutil’s theories, this thesis proposes that notation systems be critically examined according to their medium specificity and, consequently, the material conditions of movement representation they provide. For the scope of this examina tion, this thesis develops a conceptualisation of the notating and annotating action as the gestures of notating and annotating. By examining the gestures of notating and annotating this thesis firstly demonstrates how the technological mediation of movement, depending on its materialisation through alphabetic or post-alphabetic signs, affects movement representation. Then, it discusses how the technological conditions of the representation of movement affect movement interpretation processes and the understanding of the temporality of movement. To this end, the case studies employed in this thesis demonstrate the diverse structures and intentions of notation and annotation processes and provide the ground for an examination of different gestures and their modes of thinking. The examination of the gesture of notating is performed by addressing four traditional dance notation systems, namely: the Renaissance Tablature Letter Systems, the Beauchamp-Feuillet, the Stepanov, and Labanotation. Finally, the gesture of annotating is explored by analysing three case studies of annotation practices, namely, Mediathread, RAM, and Piecemaker.
Moving words : five instances of dance writing
Writing has been cast as monstrous-or at least violent-in its ability to disfigure, maim and destroy the life of live arts. Yet for many dance practitioners, writing is an integral part of studio-based dance processes, a necessary form of reflection and a site for creative experimentation and planning. In recognition of this positive value of writing for dance, this study explores writing that is coextensive with dance practice, in relation to critical theory that engages with writing as performance. An interdisciplinary, practice-led methodology is drawn on to explore strategies for folding methods of performance practice and experimental documentation together, through emphasizing interconnections between disciplines such as choreographic practice, improvisation, site specific performance, somatics, performance writing, translation theory, literary criticism, artist books, sculptural installation and visual poetry. This study presents five dance projects in which specific writing practices are employed in generative relation with dance making. A discussion of how artist-writers might mobilize and disrupt a given language in order to create space for somatic and movement-based concepts augments the performance narratives. This draws upon Deleuze and Guattari's concept of the minor literature, Brian Massumi's writing on how post-structural theory might incorporate proprioception and movement and Simone Forti's practice of Logomotion, which blurs potential boundaries between writing, speaking and moving within the domain of performance improvisation. This research comprises five artist books and a thesis. The artist books continue the dance performances that initiated them, with each one illustrating a particular methodology for writing out of dance practice. The thesis outlines practice-led accounts of dance writing in order to demonstrate 1) methodologies for developing writing practices that are co-extensive with dance making and 2) philosophical implications of each specific project/artist book, within contemporary performance practice. Together these form the library of moving words, posited as a moving resource for researchers who are integrating studio-based research, performance, writing and critical theory. This study was created through collaboration with a large number of artist-researchers whose input was invaluable and is hugely appreciated. I would especially like to thank: Dr Elizabeth Dempster, for her wise, generous and insightful supervision Jeffrey Holdaway, for his practical, technical and emotional support, and his endless patience Valerie Smith, with whom I developed studio practices interweaving dance and writing over many years Emma Strapps, for our practice-sessions, our rich conversations and for making trips to Melbourne seriously worth looking forward to Brent Harris for his thought provoking and insightful collaborative input Katherine Tait, for bringing her creativity and intelligence to our practice Simone Forti for her remarkable teaching and performances and for her generosity in making time for conversation and exchange Rachelle Pedersen, for her generosity, creative inspiration and friendship Emma Cowan for sharing her extraordinary skill in book design and binding, and for her consistently good advice Greg Dyer for making the design and construction of the display drawers possible Dr Margaret Trail, for her helpful reading and encouragement Dr Ralph Buck, Dr Carol Brown and all the staff at Dance Studies, National Institute of Creative Arts and Industries, The University of Auckland, for practical support and critical exchange. Laura Giudici, for being a STAR shining on this project All of the post graduate students who I have had the pleasure to teach and supervise, and from whom I have learnt a great deal about creative practice, critical thinking and writing
Notation and Creative Practice: Introduction to the Special Issue
2021
In this Special Issue, authors present studies and essays that use variations on the Triple Code Image Somatic response Meaning Model using dance notation to create new knowledge and understanding. János Fügedi uses notation in unconventional ways to transform habits and extend traditional practices in Hungarian traditional dance. Laban Bartenieff Movement Analyst Nicole Perry engages in score writing in ways that have not been Motif notated or discussed before during Intimacy Choreography and Direction. Movement analysts Nicole Harbonnier, Geneviève Dussault, and Catherine Ferri, trained in two movement analysis systems, integrate two analysis approaches to find the power in dual-research models while exploring ground, space, and dynamics. Mara Pegeen Frazier assesses the scope of creativity that dance notation literacy provides—a desire to communicate, develop better tools, and understand culture.
World Dance Alliance 2008 Conference Proceedings
This paper begins with the question; ‘How might language crease and fold from dance practice?’ Writing is conceptualised as a form of translation that rises up and into the mobile weight of movement, offering creative and documentation strategies that directly interweave with choreographic, collaborative and improvisatory processes. Examples of and methodologies for writing that emerges out of dance will be drawn from the development and performance of the duet, The Little peeling Cottage (Longley and Smith 2007). Research draws on the dancing/ writing practices of Simone Forti (Forti 1974; 2003; 2006); Brian Massumi’s parables on transition and sensation as modalities of philosophy (Massumi 2002); and Gayatri Spivak’s writing around the politics of translation (Spivak 2000).
Fabricating Performance: Reciprocal Constructs of Dance Notation
Nexus Network Journal
The analogue and digital notational systems for documenting choreographic movement provide alternative strategies for spatial design. These strategies overlap architectural design and dance choreography to explore reciprocal exchanges regarding the body, geometry and methods of spatial notation. Analogue and digital notational systems are compared to illustrate a change where the notation is fed back to the performer and used as inspiration for further iterative performances. Whilst the use of analogue notation systems supports the criterion of fundamental design, they have limitations which are overcome with the use of flexible digital systems that more readily adapt to change and interrelate to a dancer's intentions for movement creation. Performance-driven fabrication explores the practical application of this process. Two stages of 'Performance-driven design' and 'Data-driven fabrication' are combined, resulting in a spatial design and construction system that incorporates interactivity between human and robotic performers.
Writing Dance: Reflexive Processes-at-Work Notating New Choreography
2018
The experiences of the notator-at-work are a continuous learning event based on personal discovery, reflection, and trial and error. When in the process of notating a newly created work notators often become engaged with the dance on a unique level compared to the times when they are notating works already in existence. This article examines the notator experience alongside the choreographic process of Bebe Miller, from a case study perspective. Using one instance of Miller’s choreographing Prey (2000) and the notator’s documentation of Miller’s dance, the side by side collaborative processes of the notator-at-work and choreographer-at-work are examined providing a contextual framework in which to analyze these parallel processes. The following provide a format for examining the case study: (a) holistic contexts of creating: what circumstances influenced the making and creating processes; (b) medium: the materials each professional uses while creating; and (c) temporality: how the t...
Self-Generated Notations: A Suggested Methodology of Introducing Movement Literacy
2018
The purpose of this paper is to present a method aimed at enabling the acquisition of movement literacy in a communicative-creative manner that does not require long-term expertise. The paper opens with a brief history and description of Eshkol Wachman Movement Notation (EWMN), followed by a discussion of the notion of Movement Literacy and its defined components–conceptualization, representation and kinesthetic performance, as have emerged within the EWMN system. Two additional educational ideas are also mentioned–the constructionism and the independent development of visual representations by learners. Together, these ideas establish a theoretical background for a non-formal study, in which dance-teaching students guided a process of independently developing movement symbols by their pupils, as part of their dance curriculum. Findings from these self-generated movement symbols exemplify the effective links between the conceptual, representational and practical aspects of movement ...
Movement Cognition and Dance Notation
Studia musicologica Academiae Scientiarum Hungaricae, 2003
It can be stated that dance notation was proved to be an established tool for dance research and dance education in understanding and analyzing movement. This theorem is especially valid in cases where, the structure of dance is amorphous, the units of movement sequences differ from that of the accompanying music, the tempo of the dance is high. Dance notation is used rather isolated in the field of traditional dance in Hungary, mainly in dance research. In the light of the research introduced above it is highly recommended to introduce dance notation in research, education, aesthetics and criticism in the other genres of dance.
Before, Between, and Beyond, Three Decades of Dance Writing
Narodna umjetnost: hrvatski časopis za etnologiju i folkloristiku, 2008
James Hamilton's book is the second book-length study of theater to have emerged from the Anglo-American aesthetics tradition. The first was Paul Thom's For an Audience (Temple University Press, 1993) whose last paragraph reads as follows: "Given that there can be an autonomous philosophy of the performing arts, the question is, What would such a philosophy be like? This question remains largely a matter for speculation" (p. 211). We need no longer speculate. Hamilton's contribution will hopefully be the first in a long stream of attempts to bring analytic reflection to bear on the conceptually evasive dimensions of performance. Hamilton unfolds a case for the aesthetic autonomy of performed theater. Performance, Hamilton claims, is not a mere addendum to the play, as Aristotle thought. Actors are not props through which a literary text can be vividly accessed. Theatrical performances are aesthetically independent (Part I). Hamilton believes that advocating such independence generates a problem. How does the audience identify a performance once it is dissociated from its links with a text? His reply (Part II) consists of showing how a performance can be understood without explicit or implicit ties to some text. If we are able to understand an evolving object, we can ipso facto delineate and refer to it; hence the mystery involved in identifying it is lifted. But understanding and identifying an object are conceptually distinct from responding to it as art. Hamilton accordingly turns to defend the aesthetic autonomy of performance (Part III). An aesthetic appreciation of performance involves (1) a perception of the performance against a background that determines whether the performance is an "achievement" and (2) a capacity to evaluate why the performance proceeded as it did, which in turn depends upon an imaginative reconstruction and evaluation of the choices shaping the creative process.