TOTAL VIEWS: 221
This paper explores the multidimensionality of the concept of ‘freshness’ in choreography, with a particular focus on the complex relationship between body, material, and time. By using plastic film as a choreographic material, the researcher aims to reveal the fragility and resilience that humans experience in the face of ageing and passing. The article first analyses the relationship between preservation and the body, emphasizing the body's experience of the passage of time and its impact on emotion and identity. Secondly, it discusses the importance of materials in dance, in particular, how plastic film can stimulate reflection on fragility and facilitate a deeper interaction between the body and materials. In addition, the paper explores the philosophical significance of preservation, analyzing the relationship between time, death, and existence, and how deep reflection on these themes can be expressed through dance. The results of the research not only enrich the understanding of dance creation but also provide new perspectives for exploring human reflection on the nature of life. Through in-depth analyses of dance practice, this paper hopes to provide a useful contribution to theoretical studies of the art of dance, revealing how, in an ever-changing world, human beings seek the possibility of preservation and continuity through art.
Badiou, A. (2005). Handbook of Inaesthetics (A. Toscano, Trans.). Stanford University Press.
Borovica, T. (2019). Dance as a way of knowing—a creative inquiry into the embodiment of womanhood through dance. Leisure Studies, 39(4), 493-504.
Ellis, S. (2018). Some Things about Dance. Leanpub, London.
[online] available: https://leanpub.com/somethingsaboutdance/.
Fdili Alaoui, S. (2019, June). Making an interactive dance piece: tensions in integrating technology in art. In Proceedings of the 2019 on Designing Interactive Systems Conference (pp. 1195-1208).
Foster, S. L. (2011). Choreographing empathy: Kinesthesia in performance. Routledge.
Fraleigh, S. H. (1987). Dance and the lived body: A descriptive aesthetics. University of Pittsburgh Press.
Goulish, Matthew. (2017). Patience. essay in ONEEVERYONE. Ann Hamilton [online] available: https://www.hamilton-landmarks.org/goulish, accessed 17 Jan 2022.
Hamilton, Ann. (2017). ONEEVERYONE. [online] available: https://www.hamilton-landmarks.org/about, accessed 17 Jan 2022.
Harper, P. (1967). Dance in a changing society. African Arts, 10-80.
Krysa, D. (2014). Creative Block: Get Unstuck, Discover New Ideas. Advice & Projects from 50 Successful Artists. San Francisco: Chronicle Books.
Lepecki, A. (2006). Exhausting dance: Performance and the politics of movement. Routledge.
McLeod, S. (2020). Dance improvisation through Authentic Movement: A practice of discernment. Journal of Dance & Somatic Practices, 12(2), 191-205.
Merleau-Ponty, M. (1962). Phenomenology of Perception (C. Smith, Trans.). Routledge & Kegan Paul.
Pakes, A. (2012). Knowing through dance-making: choreography, practical knowledge and practice-as-research: Anna Pakes. In Contemporary Choreography (pp. 29-41). London: Routledge.
Stinson, S. W. (2006). Research as choreography. Research in Dance Education, 7(2), 201-209.
The Art of Preservation: The Continuity and Fading of Time and Life in Dance
How to cite this paper: Manfang Lv. (2024) The Art of Preservation: The Continuity and Fading of Time and Life in Dance. Journal of Humanities, Arts and Social Science, 8(10), 2240-2244.
DOI: https://dx.doi.org/10.26855/jhass.2024.10.002