Dance Research Paper How To Write A Better Essay

Dancers and dance practices have generally been intertwined, with dancers implicated in the perpetuation of practices by carrying the layered histories of movement in their bodies, both as personal biography and as communal choreography.Not only skill, then, but also lineage has been important to a dancer’s overall valuation.It is only very recently that dance scholarship has been included within its embrace–so recently, in fact, that a series of summer seminars and post-doctoral fellowships inaugurated in 2012 under the banner “Dance Studies in/and the Humanities” gave scholars in dance studies reason to take stock of what has shifted across the performing arts such that some in the field would identify with the humanities rather than with the arts.Indeed, some dance scholars may legitimately wonder whether this new designation precludes their participation.The field of dance studies, as might be said of any field, is constituted through the mutual recognition of those who participate in it.It is the gravitational pull of recognition that ultimately grounds me within dance studies, even as my interests in media technologies situate me as a satellite in relation to its orbit.Arising principally from research based in physical practices, attuned to choreographic processes, and resulting primarily in artistic or hybrid aesthetic-scholastic works, its research areas tend to emphasize making dance knowledge and choreographic thinking visible through partnerships with cognitive researchers and data scientists.Due to differences in government funding structures and the presence (or absence) of dance in the academy, Western Europe, Canada, and Australia have proven more hospitable to the long-term development of dance-technology, whereas dance studies, in which I am locating emerging modes of digital research, has historically been dominated by scholars trained in the United States.

From the outset, I want to distinguish digital research in dance studies, which is an emerging area of inquiry, from the long-established field of dance-technology.Nonetheless, the tethering of physical practice to scholarly product in practice-informed research has always energized dance studies, which has made a virtue out of an institutional necessity.Dance is not like music, visual art, or literature, where colleges and universities segregate historians and cultural critics from creative practitioners, housing them in separate programs, departments, or even schools.Instead, dance scholars carry their practices with them.As a result, it is not a given that dance studies is a humanities field.Each represents different intellectual genealogies, political and philosophical investments, and motivating questions.While I think a rapprochement is on the horizon, it would be misleading to collapse the two.Though writing, film/video, and other technologies of memory have assisted in the transfer of dance knowledge across geographical distances and temporal gaps, the principal, and arguably most expedient, means of transmitting dances has always been from dancing body to dancing body.Oral traditions and notation systems of various sorts have bolstered the foundational mimetic scenario of dance education, which includes more than the simple translation of movement from one body to another: to learn a dance style or a set choreography, one needs to participate in a dancing community, which entails epistemological and ethical infrastructures.In addition, we release a first-of-its-kind open-source dataset of videos that can be legally used for training and motion transfer.As an emerging scholar, it is with some trepidation that I describe emerging or “vital” areas of research in my field; I do not have the perspective that some of my senior colleagues might possess.

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