{"id":352,"date":"2015-02-06T16:59:44","date_gmt":"2015-02-06T16:59:44","guid":{"rendered":"http:\/\/www.hiistheory.com\/dancebodyproject\/?p=352"},"modified":"2015-04-01T03:54:10","modified_gmt":"2015-04-01T03:54:10","slug":"fwd-signposting-bodies","status":"publish","type":"post","link":"https:\/\/www.hiistheory.com\/dancebodyproject\/fwd-signposting-bodies\/","title":{"rendered":"Fwd: Signposting bodies: rethinking intentions"},"content":{"rendered":"<header class=\"entry-header\"><em><span class=\"entry-meta\"><span class=\"entry-author\">by<span class=\"Apple-converted-space\">\u00a0<\/span>Anny Mokotow<span class=\"Apple-converted-space\">\u00a0<\/span><\/span><span class=\"entry-originally-published\">originally published on<span class=\"Apple-converted-space\">\u00a0<\/span><time class=\"publication-originally-published\" datetime=\"2008-07-18\">18 July 2008<\/time><span class=\"Apple-converted-space\">\u00a0<\/span><\/span><span class=\"entry-parent-publication\">in<span class=\"Apple-converted-space\">\u00a0<\/span>Dance dialogues: Conversations across cultures, artforms and practices<span class=\"Apple-converted-space\">\u00a0<\/span><\/span><span class=\"entry-parent-article\">under<span class=\"Apple-converted-space\">\u00a0<\/span>Re-thinking the way we make dance<\/span><\/span><\/em><\/header>\n<header class=\"entry-header\"><\/header>\n<div class=\"entry-content\">\n<div id=\"section-413\" class=\"entry-content-section\" data-sectionid=\"413\" data-comment-total=\"0\">\n<p>It is from a rethinking of my own practice as a dancer that the thoughts for this paper have developed. The title of my paper, \u2018signposting bodies: rethinking intentions\u2019 refers to the way that meaning is projected onto bodies through other disciplines.<span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"ref-1-a\" class=\"ref\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#fn-1-a\">1<\/a>Contemporary modes of making performance, like the use of multi-media and cross-disciplinary practice, has displaced the primacy of the body as meaning maker in dance performance.<\/p>\n<p>Looking through the framework of postmodern dance history, I intend to argue that this displacement is problematic and reveals a power imbalance inherent to the way bodies and the art of dance is seen. To do this I suggest (after Foucault , 1977, 1984), that dancers carry an inscription born from historical and cultural phenomena regarding their own identity and the wider cultural identity of dance. Cultural inscription, combined with notions of dance as abstract, ephemeral and inferior, have led dance artists to search for ways outside of the body to communicate ideas. I call this development \u2018signposting\u2019: the use of a sign to help remind us of the ideas at hand. I will look at the signposts text, film and gesture to examine their multi-facetted nature but also to question their inevitable consequences. Does the use of signposts intercept the kinetic experience of dancer to audience and what effect does it have on the development of choreographic practice?<\/p>\n<p>Because dancers work in increasingly interdisciplinary ways and dance is seen from within an increasingly interdisciplinary perspective, the value of articulating an individual perspective may be useful but prove difficult. I am conflicted about my critique because I believe that interdisciplinary practice has led to some of the best work of the 20th century and, I don\u2019t intend to call for a return to purist dance\u2014but as a dancer myself, I feel compelled to defend the body.<\/p>\n<p>In dance performances of the 1980s and 1990s I found myself coexisting on stage with 90 chairs wired to collapse, swinging myself around hydraulically powered beds, reciting slabs of text, dancing under huge projected images of my pre-recorded self, or jumping over television screens that were recording our real-time movement in close-up. In Holland where I worked, outside of the \u2018ballet\u2019 companies, there was hardly a group that was not working with an interdisciplinary approach.<\/p>\n<p>The principles of postmodernism, emergent at that time, had exploited the mediating possibilities of cross-disciplinary arts practice. As dancers, we were anxious to develop and extend our arts practice into new areas, and shrewd as we were, we recognised that using technologies, like film and video, and theatrical devises such as text and visuals, made dance more accessible to the younger, more media savvy and literary arts public. We were striving to project our work to a wider general audience, as theatre artists like Robert Wilson, Peter Sellers or John Jesurun were doing with their cross-disciplinary work.<\/p>\n<p>As a kinetic, sensual but silent medium, contemporary dance was well placed to accelerate the destabilisation of the logo-centric nature of European theatre, a theatre tradition in which word and text have traditionally been dominant. What emerged in this period provided a new theatre dramaturgy, labelled by Hans-Thies Lehmann as &#8220;post-dramatic theatre&#8221;. Lehmann (1997) suggests that post-dramatic theatre is particularly indebted to dance and to dancers. Dancers provided trained and articulate bodies that were viscerally \u2018present\u2019 but had no \u2018identity\u2019 enabling a &#8220;bringing back into focus the de-semanticising potential of body and visuality as such&#8221;. (Lehmann, 1997, p. 60)<\/p>\n<p>The de-semanticising potential of the (dancer\u2019s) body facilitated theatre artists like Jan Lauwers, Jan Fabre, Robert Lepage, and others to use dance in order to destabilise the traditional significance of signs and subvert the prevalent semantic symbolism of conventional theatre. How did it change dance practice?<\/p>\n<p>As I experienced it, it was exciting: I learnt new disciplines\u2014speaking on stage, using film cameras, computers, and visualising ideas in other ways than through my dancing\u2014but conversely, I was hardly dancing. After years of training and hard work, dancers were regularly negative about dance performances: there was &#8220;too much dancing&#8221; and &#8220;movement for movements sake&#8221;. Quite legitimate to question your own practice, but we spent less time on our own practice. What gradually troubled me was the slow, pervasive idea, that dance could communicate better through the intervention of other media. While there was talk of too much dancing, some of us thought we were dancing less and less\u2014it seemed inevitable that divisions within the dance community would increase.<span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"ref-2-a\" class=\"ref\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#fn-2-a\">2<\/a><\/p>\n<p>Johannes Birringer, expressing the polarisation evident in dance circles, remarked in 2005 that the word dance is now often used as &#8220;an almost pejorative oxymoron applied to those artists who want to express something through the craft and composition of their dancin&#8221;\u2019 (Birringer, 2005, p. 21). Although he said this in reference to \u2018concept dance\u2019 or \u2018non-dance\u2019, among the things that interested me about his statement was that it suggested something that I had often witnessed; dancers were rejecting dance and undervaluing the body\u2019s communicative possibilities. Why was this happening?<\/p>\n<\/div>\n<div id=\"section-414\" class=\"entry-content-section\" data-sectionid=\"414\" data-comment-total=\"0\">\n<h2 class=\"toc-header\"><span id=\"toc-_gaining_new_purpose\" class=\"toc-marker\"><\/span>Gaining new purpose<\/h2>\n<p>Jeroen Cramer (2004, p. 1) has said: &#8220;It is a constant concern within the project of modernity to define dance as a means of communicating in a more direct and more natural way&#8221;. In the history surrounding the postmodern era, notions of communication crossed with artists\u2019 attempts to redefine their position as artists and their role in relation to the spectator.<\/p>\n<p>In their time, the dancers of the postmodern movement re-defined the dance from which they stemmed.<span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"ref-3-a\" class=\"ref\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#fn-3-a\">3<\/a><span class=\"Apple-converted-space\">\u00a0<\/span>They took up a resistance to a culture of passive inscription and developed strategies to define their own identity\u2014and destabilise expectations of what dance might be.<\/p>\n<p>While postmodern dance arose simultaneously (but differently), on both sides of the Atlantic, it was a consequence of, and a reaction to, restrictive forms of expression in art and dance. Dance artists were interacting with the gestalt of a broader postmodern arts thinking that related to notions of authorship and conceptual deconstruction. As Ramsay Burt (2004, p. 30) suggests, postmodern dancers were developing &#8220;a more self-conscious knowledge of the body&#8221; while opening a dialogue with other artists.<\/p>\n<p>Explorations by Yvonne Rainer, Lucinda Childs, David Gordon and others precipitated a break down of the borders between dance and other arts disciplines.<span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"ref-4-a\" class=\"ref\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#fn-4-a\">4<\/a><\/p>\n<p>In concrete terms, some of the hybrids that resulted from this permeability are tanztheatre, visual theatre, post-dramatic theatre, dance\/film and cyborg dance. From these new performance practices came diverse ways of choreographing and constructing dance by using other disciplines and media to aid in facilitating ways of interpreting and understanding the body.<\/p>\n<p>The significance of these different developments in performance practice and the manner in which they have impacted on dance illustrate the move away from dance into more theatrical, cinematic and, finally, technological manifestations of the body. More recently, the materiality of the moving body, the considerations of its absence and presence in the act of thinking and moving are once again being deconstructed by a new generation of conceptual dance artists.<span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"ref-5-a\" class=\"ref\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#fn-5-a\">5<\/a><\/p>\n<p>While postmodern dance, with its egalitarian and pluralistic approach to performance making opened many channels of communication, it also implemented new standards based on older assumptions. Namely that dance, principally the domain of physical movement, needed an intellectual and conceptual approach if it were to be considered on an intellectual par with other theatre. Since then postmodernism, philosophy, dance and feminist theory and criticism have all contributed to revoicing the dancer. Regaining agency in recognition of physical intelligence, however, remains in part compounded by differences in practice and theory.<\/p>\n<\/div>\n<div id=\"section-415\" class=\"entry-content-section\" data-sectionid=\"415\" data-comment-total=\"0\">\n<h2 class=\"toc-header\"><span id=\"toc-_inscribed_practice\" class=\"toc-marker\"><\/span>Inscribed practice<\/h2>\n<p>Conflicting requirements underpinning a dance career and inherent undervaluing of dance as an intelligent art as well as uneven power structure in the workspace contribute to the devaluing of the body. Experience of this begins early on. When I was in dance school in Amsterdam, we shared the canteen with the acting department. We thought the acting students were loud, vocal and clever; they had a way with words. We would stand around in our \u2018tracky-daks\u2019 drinking tea and quietly keeping our limbs warm. We envied their wittiness and we knew that many of them would develop star status. We might shine, but mostly within an ensemble; our power lay in the studio and on the stage. Outside of the dance space, we were often wrapped up in our bodies and kept our distance. I learnt from a few with whom I became friends later, that they saw our physicality as mysterious and intimidating.<\/p>\n<p>To clarify this anecdote, which I see as indicative of a larger issue, I will use Michel Foucault\u2019s ideas as guide. Foucault (1977, 1982, 1984) proposes that the body is a passive recipient of cultural inscription\u2014inscribed upon by the political, cultural and social factors behind our histories. He suggests that a genealogical\/historical understanding of conventions and traditions along with an understanding of psychological processes enable us to understand the manner in which, what he calls, our \u2018docile bodies\u2019, interiorise their histories. These ideas of docility and inscription are hugely relevant to the formation of a dancer\u2019s identity.<\/p>\n<p>The inscription that Foucault describes occurs on a malleable but nevertheless resistant body.<span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"ref-6-a\" class=\"ref\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#fn-6-a\">6<\/a><span class=\"Apple-converted-space\">\u00a0<\/span>The dance anthropologist Sally Ann Ness (2008) describes inscription as being carved into the body of the dancer in a number of ways. Ness uses inscription in a fairly literal sense\u2014repeated movement gestures become inscribed into the body\u2019s ligaments, bone structure, musculature and the carriage of the dancer.<\/p>\n<p>Importantly for Ness, dancers carry, to a larger or smaller degree, a bodily inscription that reflects the cultural essence of the society in which they live: culture is reflected in their carriage and bearing.<span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"ref-7-a\" class=\"ref\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#fn-7-a\">7<\/a><\/p>\n<p>I will take Ness\u2019s inscription, born from the movement and training arising out of a cultural history and add to it Foucault\u2019s inscription that arises from political and social demands, as much as through physical manipulation (Foucault, 1984). Ness uses Peircian<span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"ref-8-a\" class=\"ref\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#fn-8-a\">8<\/a><span class=\"Apple-converted-space\">\u00a0<\/span>semiotics to explain \u2018inscribed gestures\u2019, in opposition to Foucault\u2019s poststructuralist dismantling of semiotic structuralism. However, both see the body as a site for inscription through direct or indirect means.<\/p>\n<p>Historically, the body has been mistrusted, &#8220;\u2026seen as a secret, mysterious and sexual power&#8221; (Foucault, 1976, p. 179). Female dancers of the romantic period were stigmatised as loose women; on the one hand held up as a poetic beacon, on the other as whores. And the resistant dumb dancer myth, compounded by the Cartesian dichotomy that the physical is inferior to the mental, is a dogma that still pervades Western society. Today, once again, we are extremely conscious of the powerful potential of a strong and beautiful body.<span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"ref-9-a\" class=\"ref\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#fn-9-a\">9<\/a><\/p>\n<p>However, dancers continue to be aware of a stigma stemming from a cultural belief that sees docility as feminine and negative, and also, ultimately subversive. On the other hand, there is also a conflicting need for a dancer to be powerful and proactive. This dichotomy of being docile\/passive as well as powerful\/proactive remains throughout a dance career, professionally as well as culturally. Professionally, the dancer must create a powerful dance technology, be physically strong and be professionally and artistically mature. Conversely, most of a dancer\u2019s early experiences are within highly disciplined institutions in which individual will is to a certain extent sublimated. In the working world of dance and interdisciplinary practice the relationship of dancers to instructors, ballet masters, institutions, choreographers and directors informs their position within the working environment.<\/p>\n<\/div>\n<div id=\"section-416\" class=\"entry-content-section\" data-sectionid=\"416\" data-comment-total=\"0\">\n<h2 class=\"toc-header\"><span id=\"toc-_relationships_and_power\" class=\"toc-marker\"><\/span>Relationships and power<\/h2>\n<p>Culturally, dancers are revered because of their physicality, beauty and accomplishment and\u2014dance is currently in vogue. Then again, dance has been (and still is) an undervalued cultural and artistic commodity.<span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"ref-10-a\" class=\"ref\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#fn-10-a\">10<\/a><span class=\"Apple-converted-space\">\u00a0<\/span>In an attempt to articulate some of the clich\u00e9s that inhibit dance from consideration as an intelligent arts practice and dancers as intelligent artists, the philosopher Jan Flaming (in Steenbergen, 2005, p. 27) reminds us; &#8220;We live in a &#8216;knowledge society&#8217;: that says enough.&#8221;<\/p>\n<p>Knowledge, power and the word are inescapably tied together as is reflected in cultural hierarchies where the privileging of the mind has resulted in the higher status of logo-centric art forms like theatre and literature. The logocentrism of Western metaphysics has led to the belief that communication is strictly bound up with representation and meaning, while the \u2018abstract\u2019 (non-representational) nature of dance has often been given as a reason why it may be hard for audiences to connect with dance performance.<span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"ref-11-a\" class=\"ref\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#fn-11-a\">11<\/a><\/p>\n<p>Alongside this privileging, is the ubiquitous nature of visual imagery and technology. Arguably, now, film is the most popular cultural medium and, as a society, we have a huge fascination with new media and technology. These historical and current cultural hierarchies play out in the interdisciplinary workspace where dancers remain subject to the dogma that the physical is inferior to the mental.<\/p>\n<p>As Foucault (1982) states, a structure of power is inherent in all working relationships. Hierarchies within hybrid spaces are reflective of each discipline\u2019s individual genealogy and history. To contextualise this with an example: the renowned and accomplished media artist Paul Sermon was involved with a workshop on dance and technology in Germany 2002. As initiator he advocated that:<\/p>\n<blockquote><p>Dancers must put down their baggage, put aside their knowledge as dancers\u2026and begin to work with movement in the remote space&#8230;instead of with their own bodies (Sermon 2002, p. 272).<\/p><\/blockquote>\n<p>His call that dancers must speak a language that we all understand exemplifies the homogenisation of communicative possibilities (ibid).<span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"ref-12-a\" class=\"ref\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#fn-12-a\">12<\/a><\/p>\n<p>Historically, there is a tendency to disregard the power and inventiveness of the dancers\u2019 physicality and knowledge: that is, the learned and inherent physical technology of dancing. In current hybrid environments, hierarchies may not always be acknowledged but they are often an issue that requires vigilance, and certainly recognition.<\/p>\n<\/div>\n<div id=\"section-419\" class=\"entry-content-section\" data-sectionid=\"419\" data-comment-total=\"0\">\n<h2 class=\"toc-header\"><span id=\"toc-_signposts_text\" class=\"toc-marker\"><\/span>Signposts\u2014text<\/h2>\n<p>The body now shares the stage with other media. These media act as signposts, and make explicit the meaning that has otherwise been implicitly contained in the dance. I will look at three areas of signposting in particular\u2014text, gesture and film.<\/p>\n<p>Literary systems, like reading and writing, are not only metaphoric references, but they are commonly used to make dance visible, readable and understandable.<span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"ref-13-a\" class=\"ref\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#fn-13-a\">13<\/a><span class=\"Apple-converted-space\">\u00a0<\/span>In<span class=\"Apple-converted-space\">\u00a0<\/span><em>Sartori<\/em>(1989) by Blok and Steel, my role was dancer\/actor. As I hung upside down and spoke, my incongruous position worked to disassociate the words from their meaning while at the same time providing reference points to \u2018strengthen\u2019 the choreographers\u2019 intentions. The text pieces I spoke, helped make the disjointed, associative and semi-narrative production \u2018work\u2019. They offered the audience words with which to construct their own interpretation, an interpretation that was signposted by the title, the spoken text and the program notes.<\/p>\n<p>At the prime of the postmodernist\u2019s attempts to develop the contextual nature of a performance, text became an instrument with which to destabilise movement. Dancers like Trisha Brown, Yvonne Rainer, David Gordon and others, used text to develop a non-representational performance style\u2014the text became \u2018object\u2019, like a chair that you threw around instead of sitting on. The American Kenneth King considered text as an equal partner alongside dance, and the Dutch dance-theatre choreographer Wies Bloemen (in Steenbergen 2005, p. 25) says: &#8220;The text tells the story, the dance communicates the emotion.&#8221; But dance can communicate more than emotion\u2014and I question its equal partner status.<\/p>\n<p>On the one hand, the speechlessness of dance has been admired and discussed as the very issue that justifies its metaphysical capacities; on the other, the same &#8220;belief in speechlessness has come to stand for, or signify the intellectual and discursive deficiencies of dance&#8221; (Cramer, 2004, p. 1). While Cramer suggests that the union of dance and text signifies the end of the &#8220;split between bodily and linguistic expression&#8221;, he defines that intellectual practice, through language, has created new interactions between performance as self-explanatory event and speech as \u2018contextualisation\u2019 of the dancing body (ibid). I remain cautious. The essentialist desire to merit text as having prime communicative as well as conceptual value gives cause to suspect a repositioning of Cartesian value. The communicative aspect of text is at the heart of its overuse but also at the heart of its intrigue.<\/p>\n<h2 class=\"toc-header\"><span id=\"toc-_gesture\" class=\"toc-marker\"><\/span>Gesture<\/h2>\n<p>Alongside technological developments, gesture is a movement signpost developed by dancers, the use of which, I believe, has aided in explaining but also simplifying dance language. Currently, when we talk about gesture in dance, we talk about movement that has a recognisable referent, is short, autonomous and symbolic, rather than an abstract or continual dance movement phrase.<\/p>\n<p>Brecht\u2019s (1898 \u2013 1956) notion of the gesture \u2018gestus\u2019, that is larger than the movement itself, and that speaks for itself, identifies an ideology of the gesture that was popular in theatre of the last century. For Brecht, the gestus could be the text, the movement or the visual imagery that encapsulated the idea of the play within it. However, the gestured movement that relates to dance comes from a different genealogy. The more scientific development of gesture in dance was a response led by early modern choreographers Rudolph Laban (1879 \u2013 1958) and Emile Jacques-Dalcroze (1865 \u2013 1960) to undertake a physiological and scientific approach to an artistic problem. Namely, how to best communicate through body language.<\/p>\n<p>By developing on the work of Brecht, Jooss and Laban, Pina Bausch\u2019s early work in the 1960s with Tanztheater Wuppertal integrated everyday actions into a gestured language used to clarify the social content of her work. The dancer became more personalised and individual, the movement less abstract or formal. Gestures were recognisable, repetitive and the kinaesthetic impact had a direct emotional challenge. When Bausch\u2019s dancers pull down their shoulder straps, adjust their stockings or totter in their high heels, there is recognition of the manipulative effects of the coquetry, sexuality, seduction and shyness that they assume, bringing out the social content and significance behind the movement.<\/p>\n<p>Similarly, when a dancer of the company Rosas runs her fingers through her hair or self-consciously crosses her legs, there is a feminine ambiguity alongside the simplicity of the movement that offers the audience an entrance through which to understand the following and the preceding movement phrases.<\/p>\n<p>Further developed as a reaction to dancers\u2019 own critique of &#8220;excessive movement&#8221;,&#8221;movement for movement sake&#8221; and &#8220;dance that is only about itself&#8221;, gesture is a way to simplify movement to its more essential or comprehensible elements. In performances such as J\u00e9r\u00f4me Bel\u2019s<span class=\"Apple-converted-space\">\u00a0<\/span><em>The Show Must Go On<\/em><span class=\"Apple-converted-space\">\u00a0<\/span>(2004) Xavier le Roi\u2019s<span class=\"Apple-converted-space\">\u00a0<\/span><em>Sacre du Printemps<\/em><span class=\"Apple-converted-space\">\u00a0<\/span>(2007) or Herman Diephuis\u2019s<span class=\"Apple-converted-space\">\u00a0<\/span><em>D\u2019apr\u00e8s J-C<\/em><span class=\"Apple-converted-space\">\u00a0<\/span>(2006), \u2018gesture\u2019 has become synonymous for \u2018dance\u2019, as movement and the body have once again been reconfigured and deconstructed.<\/p>\n<p>In the program notes to<span class=\"Apple-converted-space\">\u00a0<\/span><em>D\u2019apr\u00e8s J-C<\/em>, an investigation into iconic and aesthetic visual referencing, Diephuis asks, &#8220;Is it only dance that can house &#8216;beautiful&#8217; movement?&#8221; (beau geste). Diephuis uses immobile postures, subtle and suspended images and pure representational gesture to reconstructs a plethora of iconic images to show us that it isn\u2019t. As a field for theatre\/dance critique these performances are exemplary, as grounds to shift the codes in the medium of dance, they provide little scope. The primarily static images relay a conceptual self-reflexivity but avoid dance\u2019s primary concern: to construct choreography\u2014&#8221;the organisation of movement in time and space&#8221; (William Forsythe in Sulcras, 2004, p. 48).<\/p>\n<\/div>\n<div id=\"section-420\" class=\"entry-content-section\" data-sectionid=\"420\" data-comment-total=\"0\">\n<h2 class=\"toc-header\"><span id=\"toc-_film\" class=\"toc-marker\"><\/span>Film<\/h2>\n<p>Both dance and film are concerned with portraying movement in space, and through time. They form a natural hybrid medium. As text, sign, words and readings mediate the live dancing body, the technologically mediated dramatises the notion of the disappearing body further as it allows for a new consignment of visual experience and interpretation; in particular, the ease with which the filmed image takes over from the live as a form of representation, and the possibilities of the cinematic image to uncover aspects of emotional and kinetic empathy that are more easily accessible to audiences.<\/p>\n<p>My own experience confronted the merging of identities in live and non-live space. Often performing with recorded images of others and myself on stage, I was aware of a \u2018friendly\u2019 rivalry between the screen and me as I could \u2018feel\u2019 that when moving images were present they drew the audience attention. My own reaction in seeing other performances where I have been drawn to the image rather than the dance validated my embodied experience.<\/p>\n<p>The dancer and media artist Robert Wechsler (in Wesemann, 1997, p. 32) from Palindrome, remarked: &#8220;Put a live event and a screen side-by-side and watch where the eyes go&#8221;. Gerald Mast describes the visual empathy that goes hand in hand with a physiological attraction in which the eye is drawn to the screen (Mast, 1977, p. 53 \u2013 60). The screen provides an easy immersion. There is, I believe, a voyeurism inherent in watching film that supersedes the spectatorship of live performance. Getting \u2018close\u2019 to the performers on stage is much more difficult without their filmed presence.<\/p>\n<p>However, Akira Mizuta Lippit points out that while the eyes (and the psyche) may be drawn to the screen image, what they see there is not a real body but &#8220;the figure of the absent figure&#8221; (Lippit, 2008, p. 116). The dancer on screen is an illusory body while the live dancer is breathing and sweating. Both draw us in.<\/p>\n<p>According to Phillip Auslander (1999), there is no difference in the immediacy of the live and the mediated; both are experienced as live performance.<span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"ref-14-a\" class=\"ref\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#fn-14-a\">14<\/a><span class=\"Apple-converted-space\">\u00a0<\/span>While I agree with Auslander that the ontological purity of an image is not necessarily concerned with its liveness, the power of the filmed image is undeniable. Whereas Mast suggests that a visual kinetic empathy is experienced between the viewer and the body on screen, using Lipitt\u2019s argument to contextualise, I would like to privilege the live as the superior medium through which to experience an empathetic kinaesthetic transfer.<\/p>\n<p>A dancer\u2019s movements are committed to memory\u2014and memory forms the basis for the act of dancing, for the moves, manipulations and directional changes. A dancer\u2019s body is &#8220;a vessel of memory&#8221; (Birringer 2002), and the act of dancing a showcase of remembering. The remembering is not an embodied experience for the dancer alone. The kinaesthetic transmission, the feeling of dancing with the dancer, the lived experience of the performance remains alive in the memory of the viewer long after the performance.<\/p>\n<p>There is a recent performance that fascinated me because it represented the use of signposting at its most fascinating and yet I think, its most troubling. It is a thoughtful piece by Rachid Ouramdane called<span class=\"Apple-converted-space\">\u00a0<\/span><em>Loin<\/em><span class=\"Apple-converted-space\">\u00a0<\/span>(2008). Ouramdane is a French-Algerian dancer, and the piece<span class=\"Apple-converted-space\">\u00a0<\/span><em>Loin<\/em><span class=\"Apple-converted-space\">\u00a0<\/span>(translated as \u2018far\u2019) is a solo about identity and displacement created through cultural upheaval. It is a poignant and insightful biography exploring his father\u2019s journey from Algeria to France and later as a member of the French Army in French Indo China (Vietnam).<\/p>\n<p>Ouramdane also draws on other people\u2019s stories to tell his tale. To do this, he uses close-up film images of his mother and other witnesses that are projected onto large screens. Their taped voices, recounting their histories and experiences, create much of the sound scape and emotional and political content of the piece. The texts are also projected on the back wall as sub-titles. Music, mostly pop tunes from the period, is set off manually and karaoked by Ouramdane as he stands on pedals connected to the wiring laid out across the stage.<\/p>\n<p>Without going into a critique or analysis of the piece, I found Loin representative of what I call &#8220;signposted dance&#8221;. Ouramdane, who is a beautiful dancer, moved only sporadically. Primarily rooted to the spot, his torso undulated with the suggestive movements of the North African belly dancer and briefly invoked the \u2018popping\u2019 and hip-hop influences of a more modern culture. Even though his movement evocatively portrayed the inner conflict of the piece and hinted at a vital (unleashed) physical propensity, text and multimedia is really at the heart of this \u2018dance\u2019 work.<\/p>\n<p>Although Ouramdane does not see himself necessarily as a choreographer, in the strict sense, Loin is classified as a dance piece. I wondered what would the dancer Ouramdane have made of this piece if he had only danced. What sort of movement vocabulary might he have created? Would there have been a dance vocabulary to suggest his intentions? I believe there would. Would I have remembered the piece so vividly without the aural and the filmed elements? I believe I would, but perhaps in a more internalised, intuitive and less descriptive way.<\/p>\n<h2 class=\"toc-header\"><span id=\"toc-_conclusion\" class=\"toc-marker\"><\/span>Conclusion<\/h2>\n<p>Signposts signal meaning and provide direction, however, their popularity had also let to formulaic and homogenous overuse. My concern has been that the body\/choreography elements of dance can be left under-explored and undervalued in the haste to develop the genre of interdisciplinary production. In an attempt to uncover how this occurred, I have looked at a number of things: the historically inscribed practices regarding the identity of dance as an arts practice and dancers as intelligent artists; the shifting power and status in interdisciplinary relationships; and, the use of signposts that have developed through the integration of other media in dance.<\/p>\n<p>A return to movement would signal a number of things; a belief in the ability of the body to communicate through movement and a reinvigoration of the choreographic process to find language (without words) to impart what is being said by other media. The use of signposts has given the audience a way \u2018in\u2019 to understanding and experiencing contemporary dance or post-dramatic theatre. They now need the opportunity to develop a deeper insight into how movement \u2018speaks\u2019 for itself through a kinetic intense \u2018post-verbal\u2019 interaction. Despite all the possibilities offered by signposting, it may be time to reinstate the specifically kinetic but silent meaning making of bodies dancing.<\/p>\n<p>&nbsp;<\/p>\n<h2 class=\"module-title\">NOTES<\/h2>\n<ul class=\"footnote-index\">\n<li class=\"footnote\"><span class=\"footnote-count\">1<\/span><span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"fn-1-a\" class=\"footnote-caret footnote-reference\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#ref-1-a\">^<span class=\"Apple-converted-space\">\u00a0<\/span><\/a>Underlying this paper is my MA research thesis: Why Dance: the impact of multi-arts practice and technology on contemporary dance: University of Melbourne 2007.<\/li>\n<li class=\"footnote\"><span class=\"footnote-count\">2<\/span><span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"fn-2-a\" class=\"footnote-caret footnote-reference\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#ref-2-a\">^<span class=\"Apple-converted-space\">\u00a0<\/span><\/a>In 1988 when the ballet choreographer Hans van Manen stated\u00a0 &#8220;dance expresses the dance, and nothing more&#8221; (dans drukt alleen dans uit en veder niets) the contemporary dance community was in an uproar as his comments suggested a negation of the explorations that were taking place. His statement is often reiterated to represent the divide in artistic circles.<\/li>\n<li class=\"footnote\"><span class=\"footnote-count\">3<\/span><span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"fn-3-a\" class=\"footnote-caret footnote-reference\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#ref-3-a\">^<span class=\"Apple-converted-space\">\u00a0<\/span><\/a>These dancers were responding to restrictions delegated by modern dance choreographers such as Martha Graham and Jose Limon. In America, the movement was spearheaded in the 1960s by artists from the Judson Church and Grand Union. In Europe, Pina Bausch, Suzanne Linke and Pauline de Groot were amongst those that extended a reaction to modernism.<\/li>\n<li class=\"footnote\"><span class=\"footnote-count\">4<\/span><span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"fn-4-a\" class=\"footnote-caret footnote-reference\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#ref-4-a\">^<span class=\"Apple-converted-space\">\u00a0<\/span><\/a>There were earlier interventions into interdisciplinary practice: Loie Fuller (Paris, 1890s), Oscar Schlemmer (Germany, 1920s), Dada and Fluxus (Europe 1920s and 60s), the Black Mountain College happenings (1950s) are just some key artists and interdisciplinary events.<\/li>\n<li class=\"footnote\"><span class=\"footnote-count\">5<\/span><span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"fn-5-a\" class=\"footnote-caret footnote-reference\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#ref-5-a\">^<span class=\"Apple-converted-space\">\u00a0<\/span><\/a>Explorations regarding the consequences and influences of the body\u2019s materiality are occurring inside and outside studio spaces in work with technology and cyborg\/virtual re-creations of the body, in neurological studies of kinaesthetic movement and in the relationship of the cognitive sciences to dance. See Scott deLahunta (2008), Claudia Jeschke (2007).<\/li>\n<li class=\"footnote\"><span class=\"footnote-count\">6<\/span><span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"fn-6-a\" class=\"footnote-caret footnote-reference\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#ref-6-a\">^<span class=\"Apple-converted-space\">\u00a0<\/span><\/a>Foucault offers a method of resistance to what he calls \u201cthe destruction of the body\u201d through the revaluation and acceptance of genealogical ethos. Such knowledge, he suggests, allows for a sense of empowerment and resistance (Foucault, 1984, p. 83).<\/li>\n<li class=\"footnote\"><span class=\"footnote-count\">7<\/span><span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"fn-7-a\" class=\"footnote-caret footnote-reference\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#ref-7-a\">^<span class=\"Apple-converted-space\">\u00a0<\/span><\/a>Ness uses examples from Balinese dance, Bharata Natyam and Ballet (Ness, 2008, p. 22). Cultural inscription in ballet may be focus, persistence perfection, in Balinese dance, refinement and balance.<\/li>\n<li class=\"footnote\"><span class=\"footnote-count\">8<\/span><span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"fn-8-a\" class=\"footnote-caret footnote-reference\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#ref-8-a\">^<span class=\"Apple-converted-space\">\u00a0<\/span><\/a>In Pierce\u2019s study of semiotics he distinguishes three types of signs: iconic, indexical and symbolic. This system of signs, which point us to signification, can be useful to understanding dance semiotics, and even to accentuate its \u2018neutral language\u2019 (Forsythe in Jackson 1999). Ness suggests that gesture in dance is iconic as it identifies a type of representation.(Ness, 2008, Pierce (1992).<\/li>\n<li class=\"footnote\"><span class=\"footnote-count\">9<\/span><span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"fn-9-a\" class=\"footnote-caret footnote-reference\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#ref-9-a\">^<span class=\"Apple-converted-space\">\u00a0<\/span><\/a>Contrary to other periods when the strong beautiful body was considered to bear witness to heightened intelligence, as in America of the 1850s or the early 1900s eugenics movement culminating in the Nazi\u2019s perverse use of the notion (see Todd, 1998, Daly 1995, Manning 1993), contemporary \u2018beautiful&#8217; bodies reflect a commoditised notion of beauty and sexuality that remains barely more than superficial. While dancers often participate in accommodating an idealized physical perfection (beauty), they are, on the other hand, increasingly aware of their choices in developing their \u2018own\u2019 intensely personal as well as intelligent bodies.<\/li>\n<li class=\"footnote\"><span class=\"footnote-count\">10<\/span><span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"fn-10-a\" class=\"footnote-caret footnote-reference\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#ref-10-a\">^<span class=\"Apple-converted-space\">\u00a0<\/span><\/a>Dance classes are now hugely popular and the number of dance companies is steadily increasing, however, dancers and their stakeholders remain concerned about the possibility of gaining and containing audiences. Grau and Jordan (2000) and Aus Council Report (2002) Vlaams Theater Instituut (2007).<\/li>\n<li class=\"footnote\"><span class=\"footnote-count\">11<\/span><span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"fn-11-a\" class=\"footnote-caret footnote-reference\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#ref-11-a\">^<span class=\"Apple-converted-space\">\u00a0<\/span><\/a>See also Franko (1995), Cooper-Albright (1997) Foster (1986) and Lepecki (2004).<\/li>\n<li class=\"footnote\"><span class=\"footnote-count\">12<\/span><span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"fn-12-a\" class=\"footnote-caret footnote-reference\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#ref-12-a\">^<span class=\"Apple-converted-space\">\u00a0<\/span><\/a>Paul Sermon was exploring the relationship of three-dimensional bodies to two-dimensional spaces. In this interview he acknowledges that his interest lies in the special components that a dancer\u2019s body provides \u2018with\u2019\/in that space. (Sermon in Leeker, 2002, p. 294).<\/li>\n<li class=\"footnote\"><span class=\"footnote-count\">13<\/span><span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"fn-13-a\" class=\"footnote-caret footnote-reference\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#ref-13-a\">^<span class=\"Apple-converted-space\">\u00a0<\/span><\/a>Equally important in the discussion is the issue of text as a &#8220;reading and writing&#8221; of dance. See Andre Lepecki, for whom dance and writing are mutually dependant, Lepecki (2004, p. 124). See also Foster (1986), Daly (1992, p. 309), Williams (2005).<\/li>\n<li class=\"footnote\"><span class=\"footnote-count\">14<\/span><span class=\"Apple-converted-space\">\u00a0<\/span><a id=\"fn-14-a\" class=\"footnote-caret footnote-reference\" href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions#ref-14-a\">^<span class=\"Apple-converted-space\">\u00a0<\/span><\/a>See Phillip Auslander (1999, 2002) for a analysis of his arguments against liveness. See also<em>Phelan<\/em><span class=\"Apple-converted-space\">\u00a0<\/span>(1993) and<span class=\"Apple-converted-space\">\u00a0<\/span><em>Reason<\/em><span class=\"Apple-converted-space\">\u00a0<\/span>(2004).<\/li>\n<\/ul>\n<\/div>\n<div id=\"section-421\" class=\"entry-content-section\" data-sectionid=\"421\" data-comment-total=\"0\">\n<h2 class=\"toc-header\"><span id=\"toc-_references\" class=\"toc-marker\"><\/span>References<\/h2>\n<ul>\n<li>Auslander, P. (1999).<span class=\"Apple-converted-space\">\u00a0<\/span><em>Liveness: Performance in a Mediatized Culture<\/em>. London, New York: Routledge.<\/li>\n<li>Auslander, P. (2002). Live from Cyberspace or, I was sitting at my computer this guy appeared he thought I was a bot.<span class=\"Apple-converted-space\">\u00a0<\/span><em>PAJ: A Journal of Performance and Art<\/em>70(24), 1, 16 \u2013 21.<\/li>\n<li>Australia Council for the Arts, (2002).<span class=\"Apple-converted-space\">\u00a0<\/span><em>Resourcing Dance: An analysis of the subsidised Australian dance sect<\/em>or.<\/li>\n<li>Birringer, J. (2002). Dance and Media Technologies: Introduction.<span class=\"Apple-converted-space\">\u00a0<\/span><em>Performing Arts Journal<\/em><span class=\"Apple-converted-space\">\u00a0<\/span>70, 84 \u2013 93.<\/li>\n<li>Birringer, J. (2005). Dance and Not Dance.<span class=\"Apple-converted-space\">\u00a0<\/span><em>PAJ: A Journal of Performance and Art 27<\/em>(2), 10 \u2013 27.<\/li>\n<li>Burt, R. (2004). Genealogy and Dance History: Foucault, Rainer, Bausch and de Keersmaeker. In A. Lepecki, (Ed.),<span class=\"Apple-converted-space\">\u00a0<\/span><em>Of the Presence of the Body<\/em><span class=\"Apple-converted-space\">\u00a0<\/span>(pp. 29 \u2013 44). Middletown, Connecticut: Wesleyan University Press.<\/li>\n<li>Cooper-Albright, A. (1997).<span class=\"Apple-converted-space\">\u00a0<\/span><em>Choreographing Difference, The Body and Identity in Contemporary Dance<\/em>. Hanover, London: University Press of New England<\/li>\n<li>Cramer, F.<span style=\"color: #000000;\"> A. (2004).<span class=\"Apple-converted-space\">\u00a0<\/span><a style=\"color: #000000;\" href=\"http:\/\/www.ballet-dance.com\/200404\/articles\/Texttans20040312.html\" target=\"_blank\">Not the Last Word: About Dance and Text<\/a>. Retrieved March 12, 2006<\/span><\/li>\n<li><span style=\"color: #000000;\">Daly, Ann. (2002).<span class=\"Apple-converted-space\">\u00a0<\/span><em>Critical Gesture: Writings on Dance and Culture<\/em>. Middletown<\/span>, Connecticut: Wesleyan University Press.<\/li>\n<li>Daly, A. (1995).<span class=\"Apple-converted-space\">\u00a0<\/span><em>Dance History and Feminist Theory: Reconsidering Isadora Duncan and the Male Gaze<\/em>. Bloomington and Indianapolis: Indianapolis University Press.<\/li>\n<li>deLahunta, S. (2008). Blurring the Boundaries: interactions between choreography, dance and new media technologies. In C. Sommerer, L Mignonneau, &amp; D. King (Eds.),<span class=\"Apple-converted-space\">\u00a0<\/span><em>Interface Cultures \u00ad Artistic Aspects of Interaction<span class=\"Apple-converted-space\">\u00a0<\/span><\/em>(pp. 225 \u2013 235). Bielefeld: transcript.<\/li>\n<li>Diephuis, H. (2006). Program Notes for D\u2019Apr\u00e8s J-C.<span class=\"Apple-converted-space\">\u00a0<\/span><em>Spectacles Vivants Agenda<\/em>, janvier-avril 2006 (p. 16). Paris: Centre Pompidou.<\/li>\n<li>Foster, S. (1986).<span class=\"Apple-converted-space\">\u00a0<\/span><em>Reading Dancing<\/em>. New York: Routledge.<\/li>\n<li>Foucault, M. (1984). Docile Bodies. In P. Rabinow (Ed.),<span class=\"Apple-converted-space\">\u00a0<\/span><em>The Foucault Reader<\/em><span class=\"Apple-converted-space\">\u00a0<\/span>(pp. 179 \u2013 187). New York: Pantheon Books.<\/li>\n<li>Foucault, M. (1977). Nietzsche, Genealogy and History. In P. Rabinow (Ed.),<em><span class=\"Apple-converted-space\">\u00a0<\/span>The Foucault Reader<span class=\"Apple-converted-space\">\u00a0<\/span><\/em>(pp. 76 \u2013 97). New York: Pantheon Books.<\/li>\n<li>Foucault, M. (1982). The Subject and Power. In H. Dreyfus &amp; P. 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Adshead-Lansdale (Ed.),<span class=\"Apple-converted-space\">\u00a0<\/span><em>Dancing Texts: Intertextuality in Interpretation<\/em><span class=\"Apple-converted-space\">\u00a0<\/span>(pp. 104 \u2013 129). London: Dance Books<\/li>\n<li>Jeschke, C. (2007). Re-Constructions: Figures of Thought and Figures of Dance. In S. Gehm, P. Husemann, &amp; K. von Wilke (Eds.),<span class=\"Apple-converted-space\">\u00a0<\/span><em>Knowledge in Motion<\/em><span class=\"Apple-converted-space\">\u00a0<\/span>(pp.173 \u2013 184). Bielefeld: transcript Verlag.<\/li>\n<li>Leeker, M. (2002). The Workshop\u2014Sequence Order and Intention: A conversation with Paul Sermon, In S. Dinkler &amp; M. Leeker (Eds.),<span class=\"Apple-converted-space\">\u00a0<\/span><em>Dance and Technology: Moving Towards Media Productions<span class=\"Apple-converted-space\">\u00a0<\/span><\/em>(pp. 268 \u2013 304). Berlin: Alexander Verlag.<\/li>\n<li>Lehmann, H-T. (1997). From Logos to Landscape: Text in Contemporary Dramaturgy.<span class=\"Apple-converted-space\">\u00a0<\/span><em>Performance Research<\/em><span class=\"Apple-converted-space\">\u00a0<\/span>2(1), 55 \u2013 60.<\/li>\n<li>Lepecki, A. (Ed.). (2004).<span class=\"Apple-converted-space\">\u00a0<\/span><em>Of the Presence of the Body: Essays on Dance and Performance Theory<\/em>. Middletown, Connecticut: Wesleyan University Press.<\/li>\n<li>Lippit, A. M. (2008). Digesture: Gesture and Inscription in Experimental Cinema, In C. Noland &amp; S. A. Ness (Eds.),<span class=\"Apple-converted-space\">\u00a0<\/span><em>Migrations of Gesture,<\/em><span class=\"Apple-converted-space\">\u00a0<\/span>(pp.113 \u2013 132). Minneapolis, London: University of Minnesota Press.<\/li>\n<li>Mast, G. (1977).<em><span class=\"Apple-converted-space\">\u00a0<\/span>Film, Cinema, Movie<\/em>. New York: Harper and Row.<\/li>\n<li>Manning, S. (1993).<span class=\"Apple-converted-space\">\u00a0<\/span><em>Ecstasy and the Daemon; Feminism and Nationalism in the Dances of Mary Wigman<\/em>. Berkeley: University of California Press.<\/li>\n<li>Ness, S. A. (2008). The Inscriptions of Gesture: Inward Migrations of Dance. In C. Noland &amp; S. A. Ness (Eds.),<span class=\"Apple-converted-space\">\u00a0<\/span><em>Migrations of Gesture<\/em><span class=\"Apple-converted-space\">\u00a0<\/span>(pp. 1 \u2013 30). Minneapolis, London: University of Minnesota Press.<\/li>\n<li>Peirce, C. S. (1992). The Essential Peirce. In N. Houser &amp; C. Kloesel (Eds.),<em>Selected Philosophical Writings, Volume 1<\/em>. Bloomington &amp; Indianapolis: Indiana University Press.<\/li>\n<li>Phelan, P. (1993).<span class=\"Apple-converted-space\">\u00a0<\/span><em>The Politics of Performance<\/em>, London: Routledge.<\/li>\n<li>Reason, M. (2004).<span style=\"color: #000000;\"><span class=\"Apple-converted-space\">\u00a0<\/span><a style=\"color: #000000;\" href=\"http:\/\/www.participations.org\/volume%201\/issue%202\/1_02_reason_article.htm\" target=\"_blank\"><em>Theatre Audiences and Perceptions of &#8216;Liveness&#8217; in Performance.<\/em><\/a><span class=\"Apple-converted-space\">\u00a0<\/span>Particip@tions 1(2). Retrieved March 2, 2006<\/span><\/li>\n<li><span style=\"color: #000000;\">Steenbergen, I. (2003). Dansers in discussie.<span class=\"Apple-converted-space\">\u00a0<\/span><em>TM (Theatremaaker)<\/em><span class=\"Apple-converted-space\">\u00a0<\/span>7(5), 27.<\/span><\/li>\n<li><span style=\"color: #000000;\">Steenbergen, I. (2005). Dans Theatre Aya.<span class=\"Apple-converted-space\">\u00a0<\/span><em>TM (Theatremaker)<span class=\"Apple-converted-space\">\u00a0<\/span><\/em>9(4), 28 \u2013 30.<\/span><\/li>\n<li><span style=\"color: #000000;\">Sulcras, R. (2004). Interview with William Forsythe.<span class=\"Apple-converted-space\">\u00a0<\/span><em>Ballet-Tanz<\/em>. Jaarbuch 04, 44 \u2013 51.<\/span><\/li>\n<li><span style=\"color: #000000;\">Todd, J. (1998).<span class=\"Apple-converted-space\">\u00a0<\/span><em>Physical Culture and the Body Beautiful: Perposive Exercise in the Lives of American Women,<span class=\"Apple-converted-space\">\u00a0<\/span><\/em>1800 \u2013 1875. Macon: Mercer University Press.<\/span><\/li>\n<li><span style=\"color: #000000;\">Vlaams Theater Instituut, (2007).<span class=\"Apple-converted-space\">\u00a0<\/span><a style=\"color: #000000;\" href=\"http:\/\/www.vti.be\/files\/kanaries_in_de_koolmijn.pdf\" target=\"_blank\">Kanaries in de koolmijn: masterplan voor dans in Vlaanderen en Brussel<\/a>. Retrieved April 17, 2008<\/span><\/li>\n<li><span style=\"color: #000000;\">Wesemann, A. (1997). Mirror Ga<\/span>mes with the New Media: The story of dance has always been the story of technology.<span class=\"Apple-converted-space\">\u00a0<\/span><em>Ballet-Tanz International Aktuell<\/em><span class=\"Apple-converted-space\">\u00a0<\/span>(English ed.), 8\/9, 37 \u2013 45.<\/li>\n<li>Williams, D. (2005).<span class=\"Apple-converted-space\">\u00a0<\/span><em>Journal for the Anthropological Study of Human Movement<\/em>. Autumn 2005.<\/li>\n<\/ul>\n<p><em>Source:<\/em><br \/>\n<em> Signposting bodies: rethinking intentions<\/em><br \/>\n<a href=\"http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions\" target=\"_blank\"><em> http:\/\/ausdance.org.au\/articles\/details\/signposting-bodies-rethinking-intentions<\/em><\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>by\u00a0Anny Mokotow\u00a0originally published on\u00a018 July 2008\u00a0in\u00a0Dance dialogues: Conversations across cultures, artforms and practices\u00a0under\u00a0Re-thinking the way we make dance It is from a rethinking of my own practice as a dancer that the thoughts for this paper have developed. The title of my paper, \u2018signposting bodies: rethinking intentions\u2019 refers&hellip; <span class=\"read-btn\"><a class=\"read-more\" href=\"https:\/\/www.hiistheory.com\/dancebodyproject\/fwd-signposting-bodies\/\">Read More<\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19],"tags":[29,20],"class_list":["post-352","post","type-post","status-publish","format-standard","hentry","category-links","tag-links","tag-share"],"_links":{"self":[{"href":"https:\/\/www.hiistheory.com\/dancebodyproject\/wp-json\/wp\/v2\/posts\/352","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hiistheory.com\/dancebodyproject\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.hiistheory.com\/dancebodyproject\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.hiistheory.com\/dancebodyproject\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.hiistheory.com\/dancebodyproject\/wp-json\/wp\/v2\/comments?post=352"}],"version-history":[{"count":0,"href":"https:\/\/www.hiistheory.com\/dancebodyproject\/wp-json\/wp\/v2\/posts\/352\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.hiistheory.com\/dancebodyproject\/wp-json\/wp\/v2\/media?parent=352"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hiistheory.com\/dancebodyproject\/wp-json\/wp\/v2\/categories?post=352"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hiistheory.com\/dancebodyproject\/wp-json\/wp\/v2\/tags?post=352"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}