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Choreography --- Modern dance --- Choreographers --- Human beings in art --- #SBIB:316.7C211 --- Humans in art --- Artists --- Interpretive dancing --- Modern dancing --- Dance --- History --- Cultuursociologie: dans

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Paxton, Steve --- Modern dance --- Improvisation in dance --- kunst --- podiumkunsten --- dans --- choreografie --- Verenigde Staten --- twintigste eeuw --- Paxton Steve --- 792.071 PAXTON --- Dance improvisation --- Dancing improvisation --- Improvisational dance --- Dance --- Interpretive dancing --- Modern dancing --- History

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Yvonne Rainer's The Mind is a Muscle (1968) stripped away the gestural conventions of dance or theatre narrative in an attempt to present the human subject on her own terms while at the same time manipulating the seductiveness of the image, increasingly being harnessed by capitalism. In 1968, toward the end of a decade that witnessed civil rights protests, the escalation of the war in Vietnam and an expanded notion of artistic practice, Yvonne Rainer presented her evening-length work, The Mind is a Muscle, a multipart performance for seven dancers interspersed with film and text. Catherine Wood examines the political and media context in which Rainer chose to use the dance-theatre situation and analyses her radical approach to image-making in live form. For Wood, The Mind is a Muscle proposed a new model of artwork that presents a dynamic tension between materiality and idea. It made manifest an agitated and contradictory relationship to the idea of 'work' in the context of affluent America, and stripped away the gestural conventions of dance or theatre narrative in an attempt to formulate new kinds of 'social scripts' while manipulating the seductiveness of the image, increasingly harnessed by capitalism

Women dancers --- Women choreographers --- Modern dance. --- Experimental films. --- Dance. --- Danseuses --- Femmes chorégraphes --- Danse moderne --- Films expérimentaux --- Danse --- Biography --- Biographies --- Rainer, Yvonne, --- Rainer, Yvonne --- kunst --- autobiografie --- Verenigde Staten --- choreografie --- dans --- film --- experimentele film --- minimalisme --- minimal art --- twintigste eeuw --- Rainer Yvonne --- 7.071 RAINER --- Femmes chorégraphes --- Films expérimentaux --- Dance --- Experimental films --- Modern dance --- Dancers --- Choreographers --- Interpretive dancing --- Modern dancing --- Avant-garde films --- Experimental videos --- Personal films --- Underground films --- Motion pictures --- Video art --- Dances --- Dancing --- Amusements --- Performing arts --- Balls (Parties) --- Eurythmics --- États-Unis

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Johann Sebastian Bach’s Cello Suites are considered a milestone in the history of Western music. The intellectual and architectural elements continue to evoke contemporary appeal, with their rhythmic vitality and melodic intricacy. Anne Teresa De Keersmaeker’s affinity with Bach was already apparent in several previous creations, and she continues to pursue a choreographic écriture that captures the essence of Bach’s musical language. In this production, Bach’s score, performed in its totality by the world-renowned cellist Jean-Guihen Queyras, is faceted, challenged, and performed through a choreography for three male and two female dancers, De Keersmaeker herself one of them. Both the individual character of the six suites and their mutual interconnections emerge from this riveting symbiosis of music and dance.

Bach, Johann Sebastian --- Ballet --- Suites --- Anne Teresa De Keersmaeker --- Modern dance --- dans --- België --- choreografie --- choreografen --- 792.071 --- De Keersmaeker Anne Teresa --- fotografie --- dansfotografie --- Rosas --- Van Aerschot, Anne --- Interpretive dancing --- Modern dancing --- Dance --- Keersmaeker, Anne Teresa de --- De Keersmaeker, Anne Teresa --- Rosas (Dance company) --- Mitten wir im Leben sind/Bach6Cellosuiten (Choreographic work : Keersmaeker) --- Modern dance. --- Keersmaeker, Anne Teresa de. --- Rosas (Dance company). --- Mitten wir im Leben sind/Bach6Cellosuiten (Choreographic work : Keersmaeker). --- Theatrical science --- dance [discipline] --- performance art --- choreography --- dances [performance events] --- dance companies --- Keersmaeker, de, Anne Teresa --- Rosas [Brussels] --- dance [performing arts genre] --- Keersmaeker, De, Anne Teresa

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Dance's galvanizing and transformative presence in art and theory over the last decade becomes part of a broader investigation of its dialogue with modernism's legacies. This collection surveys the choreographic turn in the artistic imagination from the 1950s onwards, and in doing so outlines the philosophies of movement instrumental to the development of experimental dance. By introducing and discussing the concepts of embodiment and corporeality, choreopolitics, and the notion of dance in an expanded field, Dance establishes the aesthetics and politics of dance as a major impetus in contemporary culture. It offers testimonies and writings by influential visual artists whose work has taken inspiration from dance and choreography. Dance because of its ephemerality, corporeality, precariousness, scoring, and performativity is arguably the art form that most clearly engages the politics of aesthetics in contemporary culture. Dance's ephemerality suggests the possibility of an escape from the regimes of commodification and fetishization in the arts. Its corporeality can embody critiques of representation inscribed in bodies and subjects. Its precariousness underlines the fragility of contemporary states of being. Scoring links it with conceptual art, as language becomes the articulator for possible as well as impossible modes of action. Finally, because dance always establishes a contract, or promise, between its choreographic planning and its actualization in movement, it reveals an essential performativity in its aesthetic project—a central concern for both art and critical thought in our time.

Art --- choreography --- art theory --- art [fine art] --- dances [performance events] --- Rainer, Yvonne --- Stuart, Meg --- Butcher, Rosemary --- Sehgal, Tino --- Jones, Bill T. --- Forti, Simone --- Oiticica, Hélio --- Cunningham, Merce --- Pape, Lygia --- La Ribot --- Jonas, Joan --- Halprin, Anna --- Hijikata, Tatsumi --- Fabre, Jan --- Piper, Adrian --- Plisková, Nadezda --- Paxton, Steve --- Abramovic, Marina --- Brown, Trisha --- Bausch, Pina --- Forsythe, William --- Charmatz, Boris --- Lemon, Ralph --- Le Roy, Xavier --- Cage, John --- anno 2000-2009 --- anno 1900-1999 --- Art and dance. --- Dance. --- Modern dance. --- Choreography. --- Movement, Aesthetics of. --- Art et danse --- Danse --- Danse moderne --- Chorégraphie --- Mouvement, Esthétique du --- Art and dance --- Dance --- Modern dance --- Choreography --- Movement, Aesthetics of --- Mouvement (esthétique) --- 7.049 --- Beeldende kunst ; dans in de hedendaagse kunst --- Thema's in de kunst ; dans ; choreografie --- Beeldende kunst ; 20ste en 21ste eeuw --- Aesthetics --- Movement, Psychology of --- Rhythm --- Interpretive dancing --- Modern dancing --- Dances --- Dancing --- Amusements --- Performing arts --- Balls (Parties) --- Eurythmics --- Art and dancing --- Dance and art --- Iconografie ; verschillende onderwerpen --- Chorégraphie --- Mouvement, Esthétique du --- Iconographie --- Art contemporain --- Performance --- Processus de création --- Création artistique --- Art éphemère --- Happening --- Corps, thème --- Art militant --- Art et politique --- kunst --- 130.2 --- kunst en dans --- 7.039 --- 7.01 --- 792 --- danstheorie --- economie --- cultuurfilosofie --- twintigste eeuw --- eenentwintigste eeuw --- dans --- Art et danse. --- Danse moderne. --- Chorégraphie. --- Roy, Le, Xavier --- Corps humain, thème --- Plíšková, Naděžda --- 793.01 --- Dans ; theorie, filosofie, esthetica --- art [discipline] --- Activité motrice --- Performance-art --- Arts du spectacle --- Chorégraphie. --- Mouvement (esthétique)