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Accidental Archives Of Performance Making, Sarah Whatley
Accidental Archives Of Performance Making, Sarah Whatley
Proceedings from the Document Academy
This paper introduces the online toolkit created during the AHRC-funded Resilience and Inclusion: Dancers as Agents of Change project. Although the primary aim of the toolkit is the transmission of information for training purposes, the toolkit has simultaneously created a carefully curated repository of performance documents and related materials with a film at the core out of which many of the learning materials emerge. The discussion considers how this curated library of valuable performance documents creates an "accidental archive." Notwithstanding the challenges of making materials "open," often connected to institutional gatekeeping, this short paper poses questions about the documenting of …
Reflective Documentation As A Movement Potential: Two Digital Platforms Building A Professional Learning Community, John Taylor, Defne Erdur
Reflective Documentation As A Movement Potential: Two Digital Platforms Building A Professional Learning Community, John Taylor, Defne Erdur
Proceedings from the Document Academy
Creating dance and training dancers is a collaborative and co-creative process, and teaching has a central role in the co-creative artistic processes. Yet dance teachers, whether free-lance or working in an institution, often develop and maintain their physical teaching practice in isolation. Additionally, because of the ephemeral nature of dance and the relational nature of dance education, these practices usually do not end up being recorded or documented as a body of knowledge. In the face of such a reality the online database IDOCDE.net provides a platform for the development and maintenance of an inclusive professional learning community through a …
The Life Of A Dance: Double Take Part Ii, Gregory C. Sporton
The Life Of A Dance: Double Take Part Ii, Gregory C. Sporton
Proceedings from the Document Academy
The documentation of dance regularly asserts a false concept. This is that dances can be fixed, like a text, script, painting or even a musical score. Dance academics and organizations like ballet companies and the trusts that claim to protect and preserve the heritage of specific choreographers protect this idea. Focused far more on outputs than production, they decontextualize dance by ignoring its context: the working process. Notwithstanding the problematics of this assumption about the archival form of such material, that the tokens of the types that Wollheim (1968) posits as necessary are simply too flexible to be captured as …