doi.org/10.26112/kw.2020.111.01

doi.org/10.26112/kw.2020.111.02

This article seeks to propose a preliminary methodology of dance research to explore dance as a historically changing impulse for a physical activity that occurs in respect of the culturally defined forms collectively known as ‘dance’ (or its equivalents in other languages). Referring to Alain Badiou’s concept of event and Judith Butler’s theory of materiality, the author suggests including in historical research what he calls ‘anti-bodies’, i.e. kinetic events that ontologically precede the activity of the body formalised as dancing. If a specific dance is the formalisation of the primeval act of dancing, the body is a result of the ‘anti-body’ materialised. Such ‘anti-bodies’ reveal themselves when the dancer, either consciously or by mistake, transgresses the chosen form. In this context, the author proposes writing a story that will concentrate on the dance emergence process rather than on its form. Practice as research constitutes a vital aspect of this approach whereby a text must establish its theoretical grounds. What results is the politics of counter-hegemony with ‘anti-bodies’ challenging the rigid identities of both individuals and aesthetic forms.

Key words: the act of dancing, dance, historicity, Alain Badiou, Judith Butler

Bibliography

Agamben, Giorgio. Wspólnota, która nadchodzi. Tłum. Sławomir Królak. Warszawa: Sic!, 2008.

Badiou, Alain. Byt i zdarzenie. Tłum. Paweł Pieniążek. Kraków: Wydawnictwo UJ, 2010.

Butler, Judith. Bodies that Matter. On the Discursive Limits of „Sex”. London–New York: Routledge, 1993.

Butler, Judith. Psychiczne życie władzy. Teorie ujarzmienia. Tłum. Tomasz Kaszubski. Warszawa: Wydawnictwo Krytyki Politycznej, 2018.

Butler, Judith. Uwikłani w płeć. Feminizm i polityka tożsamości. Tłum. Karolina Krasuska. Warszawa: Wydawnictwo Krytyki Politycznej, 2008.

Chakrabarty, Dipesh. „Historie mniejszości, przeszłości podrzędne”. Tłum. Ewa Domańska. W: Teoria wiedzy o przeszłości na tle współczesnej humanistyki. Antologia, red. Ewa Domańska. Poznań: Wydawnictwo Poznańskie, 2010.

Duden, Barbara. Historia ciała. Lekarz i jego pacjentki w osiemnastowiecznym Eisenach. Tłum. i red. Justyna Górny. Warszawa: Wydawnictwo „Neriton”, 2014.

Grzybowski, Juliusz. „O podstawie i możliwości tańca”. W: Kształcenie estetyczne w ujęciu historycznym i współczesnym, red. Samanta Kowalska, Jerzy Wypych. Poznań–Kalisz: Uniwersytet im. Adama Mickiewicza, Wydział Pedagogiczno-Artystyczny, 2012.

Kant, Immanuel. Krytyka czystego rozumu. Tłum. Roman Ingarden. Kęty: Wydawnictwo „Antyk”, 2001.

Lepecki, André. Singularities. Dance in the Age of Performance. London–New York: Routledge, 2016.

Malabou, Catherine. Ontologia przypadłości. Esej o plastyczności destrukcyjnej. Tłum. Piotr Skalski. Warszawa: Fundacja Augusta hr. Cieszkowskiego, 2017.

Manning, Erin. Always More Than One. Individuation’s Dance. Durham–London: Duke University Press, 2012.

Manning, Erin. Politics of Touch. Sense, Movement, Sovereignty. Minneapolis: University of Minnesota Press, 2007.

Nandy, Ashis. Zapomniane sobowtóry historii. Tłum. Paulina Ambroży-Lis. W: Teoria wiedzy o przeszłości na tle współczesnej humanistyki. Antologia, red. Ewa Domańska. Poznań: Wydawnictwo Poznańskie, 2010.

doi.org/10.26112/kw.2020.111.03

This article discusses the relationship between choreography and improvisation, both in the context of the denotation of these two terms and the creative activities that they describe. While of key importance for the phenomenon of dance, both notions remain vague and are frequently presented as contradictory. Adopting an alternative perspective, this paper, firstly, offers an overview of the historical contexts that have shaped the contemporary forms of performance dance as well as non-European contexts. Thus, it provides the basis for exploring the extent to which the assumptions and ideas of improvisation (developed primarily in the second half of the 20th century in the United States) have been updated in contemporary practices. Secondly, the article analyses the relationship between improvisation and choreography. It is studied in terms of creative strategies employed throughout the production process, with a particular emphasis on the participants’ agency. Seeking to avoid value judgements and inaccurate labels, the author proposes a more frequent use of other terms such as a ‘dance artist’ and verbal nouns such as ‘choreographing’ and ‘improvising’.

Key words: choreography, improvisation, choreographer, attention, creative strategies

Bibliography

Belgrad, Daniel. The Culture of Spontaneity: Improvisation and the Arts in Postwar America. Chicago: University of Chicago Press, 1998.

Carter, Curtis L. „Improwizacja w tańcu”. Tłum. Weronika Szczawińska. W: Przyjdźcie, pokażemy Wam, co robimy: o improwizacji tańca, red. Sonia Nieśpiałowska-Owczarek, Katarzyna Słoboda. Łódź–Warszawa: Muzeum Sztuki w Łodzi – Instytut Muzyki i Tańca, 2013.

De Spain, Kent. „The cutting edge of awareness. Reports from the inside of improvisation”. W: Taken by Surprise: A Dance Improvisation Reader, red. Ann Cooper Albright, David Carr. Middletown: Wesleyan University Press, 2003.

Foster, Susan L. „Zawłaszczanie improwizacji / Demokracje improwizowane / Impro wizująca wspólnota”. Tłum. Weronika Szczawińska. W: Przyjdźcie, pokażemy Wam, co robimy: o improwizacji tańca, red. Sonia Nieśpiałowska-Owczarek, Katarzyna Słoboda. Łódź–Warszawa: Muzeum Sztuki w Łodzi – Instytut Muzyki i Tańca, 2013.

Frost, Anthony, Yarrow Ralph. Improvisation in Drama. London: Macmillan, 1989.

Johnstone, Keith. Impro: Improvisation and the Theatre. New York: Routledge, 1987.

Klimczyk, Wojciech. Wizjonerzy ciała: panorama współczesnego teatru tańca. Kraków: Korporacja Ha!art, 2010.

Kloppenberg, Annie. „Improvisation in process: «Post-control» choreography”. Dance Chronicle 33, 2 (2010).

Marks, Victoria. „Against improvisation: A postmodernist makes the case for choreography”. W: Taken by Surprise: A Dance Improvisation Reader, red. Ann Cooper Albright, David Carr. Middletown: Wesleyan University Press, 2003.

Merleau-Ponty, Maurice. Fenomenologia percepcji. Tłum. Małgorzata Kowalska, Jacek Migasiński. Warszawa: Wydawnictwo Aletheia, 2001.

Novack, Cynthia J. „Kilka rozważań nad improwizacją w tańcu”. Tłum. Weronika Szczawińska. W: Przyjdźcie, pokażemy Wam, co robimy: o improwizacji tańca, red. Sonia Nieśpiałowska-Owczarek, Katarzyna Słoboda. Łódź–Warszawa: Muzeum Sztuki w Łodzi – Instytut Muzyki i Tańca, 2013.

Novack, Cynthia J. Sharing the Dance: Contact Improvisation and American Culture, New Directions in Anthropological Writing. Wisconsin: University of Wisconsin Press, 1990.

Predock-Linnell, Larry L., Jennifer Predock-Linnell. „From improvisation to choreography: The critical bridge”. Research in Dance Education 2, 2 (2001).

Sheets-Johnstone, Maxine. The Phenomenology of Dance. Philadelphia: Temple University Press, 2015.

Turner, Victor W. Od rytuału do teatru: Powaga zabawy. Tłum. Małgorzata Dziekan, Jacek Dziekan. Warszawa: Volumen, 2005.

doi.org/10.26112/kw.2020.111.04

The Argentine tango, a genre that originated from migrant music and dance traditions in the port districts of Buenos Aires and Montevideo in the late 19th century, has enjoyed a revival in the last two decades. The tango is listened to, learned, and danced around the world, at local milongas, marathons, and festivals gathering even as many as hundreds of dancers. This article presents the history of the tango and discusses its present popularity through the prism of intimacy that forms between two dancers connected in the close embrace that satisfies their deep emotional needs. The author also highlights the social and cultural dimension of the tango’s popularity driven by the currently common deficit of a non-sexual touch. Intimacy in the abrazo, the tango embrace, may appear when certain technical conditions are met by the dancers (relaxed muscles, open chest, proper floor work, breathing exercises). Referring to Richard Shusterman’s somaesthetics as the primary theoretical perspective, the author conducts a phenomenological analysis of the abrazo, trying to construct the ‘somaesthetics of the embrace’.

Key words: Argentine tango, embrace, somaesthetics, intimacy, touch

Bibliography

Badiou, Alain. „Taniec jako metafora myślenia”. Tłum. Paweł Pieniążek. W: Przyjdźcie, pokażemy Wam, co robimy. O improwizacji tańca, red. Sonia Nieśpiałowska-Owczarek, Katarzyna Słoboda. Łódź–Warszawa: Muzeum Sztuki w Łodzi – Instytut Muzyki i Tańca, 2013.

Baim, Jo. Tango. Creation of a Cultural Icon. Bloomington–Indianapolis: Indiana University Press, 2007.

Denniston, Christine. The Meaning of Tango. The Story of the Argentinian Dance. London: Portorico Books, 2007.

Garramuño, Florencia. Primitive Modernities: Tango, Samba, and Nation. Tłum. Anna Kazumi Stahl. Stanford: Stanford University Press, 2011.

Kassabova, Kapka. Dwanaście minut miłości. Opowieść o tangu. Tłum. Katarzyna Bartuzi. Warszawa: Świat Książki, 2016.

Lavocah, Michael. Tango Stories. Musical Secrets. Norwich: Milonga Press, 2012.

Luker, Morgan J. The Tango Machine. Musical Culture in the Age of Expediency. Chicago–London: The University of Chicago Press, 2016.

Manning, Erin. Politics of Touch. Sense, Movement, Sovereignty. Minneapolis–London: University of Minnesota Press, 2007.

Peri, Mónika, Ignacio Lavalle Cobo. Psicotango. Danza como terapia. Buenos Aires: Corregidor, 2010.

Savigliano, Marta E. Tango and the Political Economy of Passion. Boulder–Oxford: Westview Press, 1995.

Shusterman, Richard. Świadomość ciała. Dociekania z zakresu somaestetyki. Tłum. Wojciech Małecki, Sebastian Stankiewicz. Kraków: Universitas, 2010.

Stala, Ewa. Historia tanga dla początkujących i zaawansowanych. Kraków: Universitas, 2017.

Thompson, Robert F. Tango. The Art History of Love. New York: Vintage Books, 2005.

Törnqvist, Maria. Tourism and the Globalization of Emotions. The Intimate Economy of Tango. New York–London: Routledge, 2013.

Zubarik, Sabine. „«Touch me if you can». The practice of close embrace as a facilitator of kinesthetic empathy in Argentine tango”. W: Touching and Being Touched. Kinesthesia and Empathy in Dance and Movement, red. Gabriele Brandstetter, Gerko Egert, Sabine Zubarik. Berlin–Boston: De Gruyter, 2013.

doi.org/10.26112/kw.2020.111.05

This article attempts to situate the language of Hijikata Tatsumi’s butō in a broader critical context, allowing the legacy of Hijikata to be introduced into the contemporary choreographic and performative practice. The author returns to her first encounter with the words of Hijikata, i.e. the essay Kaze Daruma (Wind Daruma), which constitutes a starting point for an in-depth reflection on Hijikata’s ankoku butō. Her discussion of this concept extends beyond a biography study, determinism, and essentialism. The author analyses the complex choreographic method of ‘notational butō’, which uses words as the key element and a trigger of choreographic processes and structures. The article also takes the reader closer to the somatic experience of Hijikata’s butō, thus being a methodological suggestion and an invitation to combine the somatic practice of butō with critical theoretical research.

Key words: Hijikata, butō-fu choreographic instructions, embodiment, transformation, body-in-crisis

Bibliography

Baird, Bruce. Butō and the Burden of History: Hijikata Tatsumi and Nihonjin [niepublikowana praca doktorska]. Philadelphia: Philadelphia University of Pennsylvania, 2005.

Baird, Bruce. Hijikata Tatsumi and Butoh: Dancing in a Pool of Gray Grits. New York: Palgrave–Macmillan, 2012.

Baird, Bruce, Rosemary Candelario, red., The Routledge Companion to Butoh Performance. London–New York: Routledge, 2019.

Hensbergen, van Rosa. „Waguri Yukio’s Butoh Kaden: Taking stock of Hijikata’s butoh notation”. W: The Routledge Companion to Butoh Performance, red. Bruce Baird, Rosemary Candelario. London–New York: Routledge, 2019.

Kurihara, Nanako. „Hijikata Tatsumi: The words of butoh”. The Drama Review 44, 1 (2000).

Kurihara, Nanako. The Most Remote Thing in the Universe: Critical Analysis of Hijikata Tatsumi’s Butoh Dance. New York: New York University, 1996.

Miyabi, Ichikawa. „Butō Josetsu (a preface to butō)”. W: Susan B. Klein. Ankoku Butō: The Premodern and Postmodern Influences on the Dance of Utter Darkness. Ithaca: Cornell University, 1988.

Morishita, Takashi. „About Hijikata Tatsumi’s method of creating butoh” [Hijikata Tatsumi no Butoh souzou no houhou o megutte]. W: Genetic Archive Engine. Tokio: Keio University Art Centre, 2000.

Morishita, Takashi. Hijikata Tatsumi no butō: Nikutai no shururearisumu, shintai no ontorojī. Tokio: Keio University Press, 2004.

Morishita, Takashi. Hijikata Tatsumi’s Notational Butoh. An Innivational Method for Butoh Creation. Tokio: Keio University Art Centre, 2015.

Nakajima, Natsu. Ankoku Butoh. Conference „Feminine Spirituality in Theatre, Opera, and Dance”. Taipei: University of Taipei, 1997. https://uwaterloo.ca/communication-arts/sites/ca.communication-arts/files/uploads/files/ankoku_butoh.pdf.

Pastuszak, Katarzyna. Ankoku butō Hijikaty Tatsumiego – teatr ciała-w-kryzysie. Kraków: Universitas, 2014.

Waguri, Yukio. Butoh Kaden. Tokyo: JustSystem, 1998.

Wurmli, Kurt. The Power of Image: Hijikata Tatsumi’s Scrapbooks and the Art of Butō. Honolulu: University of Hawaii, 2008.

doi.org/10.26112/kw.2020.111.06

In his essay The Task of the Translator, Walter Benjamin compared literary translation to fragments of a broken vessel that need to be put together. Applying Benjamin’s metaphor to the world of dance, this article proposes to look at the practice of the Japanese classical dance as a translation process that occurs at the level of the body. Kirsten Hastrup’s anthropology of experience is proposed as the methodological perspective. Basing on her own body and many years of personal experience with nihon buyō as the field of her ethnographic research, the author reflects on her dual role of a dancer and a researcher, and her double – half-Japanese and half-Polish – identity. Reconstructing her experience of learning the dance, primarily the mistakes she made at the early stage, she looks into the process of transforming the body. With the dance recognised as a kind of a language, she proposes to approach it and its practice like a form of reading. Through a detailed analysis of different positions of the body and putting the body in motion, she searches for the possible ways to understand the dance and its translation. While doing so, she highlights this long-term process as a prerequisite for such a translation to occur.

Key words: dance, nihon buyō, Japan, translation, anthropology of experience

Bibliography

Barba, Eugenio, Nicola Savarese. Sekretna sztuka aktora. Słownik antropologii teatru. Tłum. Grzegorz Godlewski. Wrocław: Ośrodek Badań Twórczości Jerzego Grotowskiego i Poszukiwań Teatralno-Kulturowych, 2005.

Benjamin, Walter. „Zadanie tłumacza”. Literatura na Świecie 5–6 (2001).

Deren, Maya. Taniec nieba i ziemi. Bogowie haitańskiego wudu. Tłum. Małgorzata Wiśniewska, Zbigniew Zagajewski. Kraków: Wydawnictwo A, 2000.

Hahn, Tomie. Sensational Knowledge. Embodying Culture through Japanese Dance. Middletown: Wesleyan University Press, 2007.

Hanayagi, Chiyo. Fundamentals of Japanese Dance. Kabuki Dance. Tłum. Leonard Pronko, Tomono Taoko. Tokyo: Kadansha Shuppan Service Center, 2008.

Hastrup, Kirsten. Droga do antropologii. Między doświadczeniem a teorią. Tłum. Ewa Klekot. Kraków: Wydawnictwo UJ, 2008.

Hattori, Yukio. Nihon no dentō geinō kōza: buyō, engeki. Tokyo: Tankosha, 2009.

Huszcza, Romuald. Honoryfikatywność. Gramatyka, pragmatyka, typologia. Warszawa: Wydawnictwo Naukowe PWN, 2006.

Klimczyk, Wojciech. Wirus mobilizacji. Taniec a kształtowanie się nowoczesności (1455–1795). T. 1. Kraków: Universitas, 2015.

Lévi-Strauss, Claude. „Jan Jakub Rousseau, twórca nauk humanistycznych”. Tłum. Leszek Kolankiewicz. Twórczość 6 (1984).

Rodowicz, Jadwiga. Aktor doskonały. Traktaty Zeamiego o sztuce nō. Gdańsk: Wydawnictwo Słowo/obraz terytoria, 2000.

Shusterman, Richard. Myślenie ciała. Eseje z zakresu somaestetyki. Tłum. Patrycja Poniatowska. Warszawa: Instytut Wydawniczy „Książka i Prasa”, 2016.

doi.org/10.26112/kw.2020.111.07

Indian classical dance is a remarkable source of knowledge about the culture of the Indian Peninsula. Admired in theatres, community centres, at festivals, and Hindu temples across the world, the current form of this dance is a product of multiple cultures and ‘bodily tools’ developed over the centuries of people’s migrations. Indian classical dance also says a lot about its performer. Does it matter who practices it? What processes take place in the body of a modern Western dancer who studies the Indian classical dance? Is her body prepared to accommodate a dance such as odissi or bharatanatyam? To what extent? Shaped by Western techniques and placed in modern reality, the body is hardly a blank slate. It needs to adapt to a new form. Can the history of ancient temple dancers be reflected in the body of a modern European dancer? This article analyses the author’s learning process of two Indian classical dances, primarily odissi and also bharatanatyam. In her study she approaches her own body as the object of research, applying Richard Shusterman’s concept of somaesthetics, or body consciousness, as the theoretical background.

Key words: body, bharatanatyam, odissi, self-awareness, mahari

Bibliography

Apffel-Marglin, Frédérique. Wives of the God-King: The Rituals of the Devadasis of Puri. Delhi–Oxford–New York: Oxford Univeristy Press, 1985.

Barba, Eugenio. Canoe z papieru. Tłum. Leszek Kolankiewicz, Dagmara Wiergowska-Janke. Wrocław: Instytut im. Jerzego Grotowskiego, 2007.

Barba, Eugenio, Nicola Savarese. Sekretna sztuka aktora. Słownik antropologii teatru. Red. wyd. pol. Leszek Kolankiewicz. Tłum. Jarosław Fret, Grzegorz Godlewski, Anna Górka, Grzegorz Janikowski, Agnieszka Jelewska-Michaś, Iwona Kurz, Marta Steiner, Grzegorz Ziółkowski. Wrocław: Ośrodek Badań Twórczości Jerzego Grotowskiego i Poszukiwań Teatralno-Kulturowych, 2005.

Burkert, Walter. Stwarzanie świętości: ślady biologii we wczesnych wierzeniach religijnych. Tłum. Lech Trzcionkowski. Kraków: Wydawnictwo „Homini”, 2006.

Divyasena S. Essence and Essentials of Dance. Chennai: Divyanjali School of Classical Dance and Music, 2006.

Gaston, Anne-Marie. Bharata Natyam. From Temple to Theatre. New Delhi: Manohar, 2005.

Hastrup, Kirsten. Droga do antropologii. Między doświadczeniem a teorią. Tłum. Ewa Klekot. Kraków: Wydawnictwo UJ, 2008.

Kersenboom-Story, Saskia. Nityasumangali: Devadasi Tradition in South India. Delhi: Motilal Banarsidass, 1987.

Klimczyk, Wojciech. Wirus mobilizacji. Taniec a kształtowanie się nowoczesności (1455–1795). T. 1: Dworskie kroki. Kraków: Universitas, 2015.

Mauss, Marcel. Sposoby posługiwania się ciałem. Tłum. Marcin Król. W: Marcel Mauss. Socjologia i antropologia. Warszawa: Państwowe Wydawnictwo Naukowe, 1973.

MisirHiralall, Sabrina D. Confronting Orientalism. A Self Study of Educating through Hindu Dance. Rotterdam: Sense Publishers, 2017.

Peterson Royce, Anya. Antropologia tańca. Tłum. Jerzy Łumiński. Warszawa: Wydawnictwa UW, 2014.

Shusterman, Richard. Świadomość ciała. Dociekania z zakresu somaestetyki. Tłum. Wojciech Małecki, Sebastian Stankiewicz. Kraków: Universitas, 2016.

Tandon, Rekha. Dance as Yoga. The Spirit and Technique of Odissi. Niyogi Books: New Delhi, 2017.

Zarrilli, Phillip B. Kalarippayatu and Kathakali. W: Indian Dance: The Ultimate Metaphor, red. Shanta Serbjeet Singh. New Delhi: Ravi Kumar Publisher, 2000.

doi.org/10.26112/kw.2020.111.08

This article examines the impact of psychoanalytical ideas on the emergence of the language for a new dance in Russia at the beginning of the 20th century. Using the archival documents concerning the works of Ella Rabeneck, Lyudmila Alexeyeva, Lev Lukin, and Alexander Rumniev, the author reconstructs the artistic methods and techniques while taking into account the historical context as well as the artists’ biographies and theoretical texts. Firstly, the analysis reveals that the new dance was placed at the centre of the Russian culture at that time, shaping a variety of artistic processes. Secondly, the reconstruction of the reception processes of psychoanalytical ideas leads to the conclusion that the artists used Sigmund Freud’s theories and applied them in a creative manner. Thirdly, the analysis shows that paying attention to subjective experiences, involuntary gestures, personal memories, and subconscious desires changed the choreographic language fundamentally, shaping the poetics of intimacy in the Russian dance. Innovations developed by the new dance choreographers were subsequently used by the reformers of the Russian theatre and the founders of the classical ballet.

Key words: new Russian dance, psychoanalysis, poetics of intimacy, desire to dance

Bibliography

Ajsedora. Gastroli v Rossii. Oprac. T.S. Kasatkinoj. Wstęp Elizaveta Â. Suric. Moskva: Artist. Režisser. Teatr, 1992.

Archiwum Aleksandra Rumniewa. Rossijskij gosudarstvennyj arhiv literatury i iskusstva (RGALI) F. 2721.

Archiwum Ludmily Aleksiejewej. Gosudarstvennyj Centralnyj Teatralnyj Muzej im. Aleksieja A. Bahrušina (GCTM) F. 741.

Archiwum Lwa Łukina. Gosudarstvennyj Centralnyj Teatralnyj Muzej im. Aleksieja A. Bahrušina (GCTM) F. 718.

Bonč-Tomaševskij, Mihail. Kniga o tango. Iskusstvo i seksual’nost’. Moskva: Valentin Portugalov, 1914.

Freud, Sigmund. Psychopatologia życia codziennego. Marzenia senne. Tłum. Ludwik Jekels, Helena Ivánka. Warszawa: Wydawnictwo Naukowe PWN, 1997.

Gavrûšin, Nikolaj. „Èros prostranstvennosti: A.G. Gabričevskij i russkaâ èstetika 1920-h gg.”. Voprosy filosofii 3 (1994).

Laplanš, Žan, Žan-Bertran Pontalis. Slovar’ po psihoanalizu. Tłum. i red. N.S. Avtonomovoj. Reprintnoe vosproizvedenie teksta izdaniâ 2010. Moskva–Sankt Peterburg: Centr gumanitarnyh iniciativ, 2017 [Laplanche, Jean, Jean-Bertrand Pontalis. Słownik psychoanalizy. Tłum. Ewa Wojciechowska, Ewa Modzelewska. Warszawa: Wydawnictwo WSiP, 1996].

Lukin, Lev. „O tance”. Teatral’noe obozrenie 4 (1922).

Sidorov, Aleksej. Sovremennyj tanec. Moskva: Pervina, 1922.

Skrâbin v tance Lukina [Tekst K., Zarisovki hudož. G.Z.]. Moskva: Institut vostokovedeniâ, 1922.

Smith, Roger. „Tanec žizni”. Tłum. Igor Gor’kov. NLO 1 (2018). https://www.nlobooks.ru/magazines/novoe_literaturnoe_obozrenie/149_nlo_1_2018/article/19445/.

Vološin, Maksimilian. „Antičnye tancy v studii E.I. Rabenek” (Knipper). http://az.lib.ru/w/woloshin_m_a/text_0400.shtml.

Vološin, Maksimilian. „O smysle tanca”. http://az.lib.ru/w/woloshin_m_a/text_0510.shtml.

Vološin, Maksimilian. „Teatr i snovidenie”. Maski 5 (1912–1913).

doi.org/10.26112/kw.2020.111.09

This article discusses creative strategies employed by artists to redefine the role of visuality in the presentation and reception of dance. By doing it, they undermine the well-established aesthetic and interpretative approaches to the art of dance, focusing on perception mechanisms and sensory experiences of the audience. Four choreographic projects/installations are discussed in which audio, visual, and audiovisual media are used: an installation that designs the choreographic environment, a choreoauratic installation, a performance installation that uses the AR technology, and an immersive VR 3D 360° installation. They emphasise the proprioceptive and haptic experiences and the kinaesthetic awareness in the processes of creation and reception, concentrating on the body as the perceiving subject rather than the perceived object. Focusing on the viewer’s corporeal experience, they do not only step beyond the conventional visuality-based approach to dance but also broaden our thinking about its possible (and by definition sightcantered) audiovisual presentation, thus acknowledging a wider spectrum of sensory experiences.

Key words: dance, choreographic strategies, dance perception, kinaesthesia

Bibliography

Artanim. http://artanim.ch/.

Braidotti, Rosi. „Between the no longer and the not yet: Nomadic variations on the body”.

Bologna International Women’s Conference 2002. http://www.women.it/cyberarchive/files/braidotti.html.

Daly, Ann. Critical Gestures. Writing on Dance and Culture. Middletown: Wesleyan University Press, 2002.

Foster, Susan L. Choreographing Empathy. Kinesthesia in Performance. New York: Rout ledge, 2011.

Ginslov, Jeannette. „P(AR)ticipate: body of experience / body of work / body as archive: An exploration of openness, otherness and porosity”. Medium, 29 stycznia 2016. https://medium.com/the-politics-practices-and-poetics-of-openness/p-ar-ticipate-body-of-experience-body-of-work-body-as-archive-b19446c9ce5d.

Jelewska, Agnieszka. Sensorium. Eseje o sztuce i technologii. Poznań: Wydawnictwo Naukowe UAM, 2012.

Kozel, Susan. „AffeXity: Performing affect with augmented reality”. The Fibreculture Journal 21 (2012).

Lycouris, Sophia. „Choreograficzne otoczenie. Nowe technologie i działania artystyczne oparte na ruchu”. Tłum. Michał Jankowski. W: Świadomość ruchu. Teksty o tańcu współczesnym. Wybór Jadwiga Majewska. Kraków: Korporacja Ha!art, 2003.

Marks, Laura U. „Haptic visuality. Touching with the eyes” W: Laura U. Marks. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Duke University Press: Durham, 2000.

VR_I. http://www.vr-i.space/vr_i/.

Wood, Becca. „Coming to our senses: Perceptual performance and fields of intensities”. Journal of Dance and Somatic Practices 3, 1–2 (2011).

doi.org/10.26112/kw.2020.111.10

Written from the perspective of performance as research, this article seeks to apply the language of critique to the field of experimental dance for children and families. The flows of the theory and practice are discussed on the example of the DOoKOŁA performance by the Holobiont collective, showing the direct influence of institutional conditions on the final form of the event. Various interdisciplinary tools (reflection in psychology, pedagogy, theatre studies, dance theory, and philosophy) are used to highlight the emancipatory potential of dance for families. The seemingly distant languages – one connected with attachment parenting (described in Poland for example by Agnieszka Stein) and another with the political nature of dance (e.g. Anna Vujanović) – appear to be related. The production process, performance construction, and adopted choreographic strategies are also discussed. The article poses a series of critical questions that were asked during the multiple presentations of the DOoKOŁA performance. The text encourages progressive research and an artistic reflection on performances addressed to families with young children, recognising the relationship between the adult carer and the child as the axis of the political.

Key words: dance, children, performance as research, Holobiont collective, the political

Bibliography

Ariés, Philippe. Historia dzieciństwa. Tłum. Maryna Ochab. Warszawa: Wydawnictwo Aletheia, 2010.

Arlander, Annette, Bruce Barton, Melanie Dreyer-Lude, Ben Spatz. Performance as Research. Knowledge, Methods, Impact. London: Routledge, 2017.

Fischer-Lichte, Erika. Estetyka performatywności. Tłum. Mateusz Borowski, Małgorzata Sugiera. Kraków: Księgarnia Akademicka, 2008.

Foucault, Michel. Nadzorować i karać. Narodziny więzienia. Tłum. Tadeusz Komendant. Warszawa: Wydawnictwo Aletheia, 2009.

Juul, Jesper. Twoje kompetentne dziecko. Dlaczego powinniśmy traktować dzieci poważniej?. Tłum. Beata Hellmann, Barbara Baczyńska. Podkowa Leśna: Wydawnictwo MiND, 2011.

Keil Marta, red., Choreografia: polityczność. Warszawa–Poznań–Lublin: Art Stations Foundation, Instytut Muzyki i Tańca, Instytut Teatralny im. Zbigniewa Raszewskiego, 2018.

Królica, Anna. Pomiędzy epokami [rozmowa z Joanną Leśnierowską]. Teatralny.pl, 2 marca 2020. http://teatralny.pl/rozmowy/pomiedzy-epokami,3004.html.

Mac Naughton, Glenda. Doing Foucault in Early Childhood Studies. Applying Poststructural Ideas. London: Routledge, 2005.

Majewska, Jadwiga, red., My, taniec. Antologia polskiej krytyki tańca po 1989 roku. Mościce: Centrum Sztuki Mościce, 2013.

Rancière, Jacques. Dzielenie postrzegalnego. Estetyka i polityka. Tłum. Maciej Kropiwnicki, Jan Sowa. Kraków: Korporacja Ha!art, 2007.

Raszewska-Kursa, Hanna. Teoria tańca w polskiej praktyce. Kraków: Universitas, 2018.

Siegmund, Gerald, Stefan Hölscher, red., Dance, Politics and Co-Immunity. Zürich–Berlin: Diaphanes, 2013.

Stein, Agnieszka. Dziecko z bliska. Zbuduj z dzieckiem szczęśliwą relację. Warszawa: Wydawnictwo Mamania, 2012.

Szczepska-Pustkowska, Maria. Od filozofii dzieciństwa do dziecięcej filozofii życia. Casus władzy (i demokracji). Kraków: Impuls, 2011.

Szumlewicz, Katarzyna. Emancypacja przez wychowanie. Czyli edukacja do wolności, równości i szczęścia. Sopot: Gdańskie Wydawnictwo Psychologiczne, 2011.

doi.org/10.26112/kw.2020.111.11

This article suggests that the already classic paradigm of research in performing arts – developed by Erika Fischer-Lichte in The Transformative Power of Performance: A New Aesthetics – needs reconsidering, with a particular focus on new dance and chorography. This proposal results from the recent hybridisation of performing arts, inclusion of discursive content in performances on a par with choreography, and the changed position of the viewer in new dance performances. An analysis is offered of Druga natura (Second Nature), a dance performance by Karolina Grzywnowicz (visual artist) and Agata Siniarska (choreographer and performer), which takes place within the space of an artistic installation. A broader perspective is adopted which includes a discussion of the institutional (production and operation) and aesthetic conditions for new dance in Poland. The characteristics of the performance’s contexts (modern dance aesthetics, Pola Nireńska’s biography, the history of the Holocaust in the dance community) are analysed alongside the viewer’s experience designed as a multi-sensory and intellectual experience.

Key words: Agata Siniarska, Karolina Grzywnowicz, Pola Nireńska, performative aesthetics, new dance

Bibliography

Bennett, Susan. Theatre Audiences. A Theory of Production and Reception. Wyd. II. London–New York: Routledge, 2006.

Fischer-Lichte, Erika. Estetyka performatywności. Tłum. Mateusz Borowski, Małgorzata Sugiera. Kraków: Księgarnia Akademicka, 2008.

Kostyrko, Weronika. Tancerka i Zagłada. Historia Poli Nireńskiej. Warszawa: Wydawnictwo Czerwone i Czarne, 2019.

Krawczak, Michał. „Globalne laboratorium i kolektywne eksperymenty. Nowe praktyki twórcze na granicy sztuki i nauki”. W: Biopolis. Cykl rezydencji artystyczno-badawczych, red. Zuzanna Berendt, Agata Kwiatkowska. Kraków: Pracownia Kuratorska, Fundacja Performat, 2019.

Małczyński, Jacek. Krajobrazy Zagłady. Perspektywa historii środowiskowej. Warszawa: Wydawnictwo Instytutu Badań Literackich, 2019.

Müller, Alicja. Sobątańczenie. Między choreografią a narracją. Kraków: Wydawnictwo UJ, 2017.

Obarska, Marcelina. Dziesięć słów o tańcu współczesnym. Culture.pl, 10 sierpnia 2019. https://culture.pl/pl/artykul/dziesiec-slow-o-tancu-wspolczesnym.

Shusterman, Richard. Świadomość ciała. Dociekania z zakresu somaestetyki. Tłum. Wojciech Małecki, Sebastian Stankiewicz. Kraków: Universitas, 2010.

doi.org/10.26112/kw.2020.111.12

What is dance? This is one of the key questions in dance research to which the relevant literature provides no definite answer. The classic approaches highlight the central role of movement, rhythm, and a slight excess of expressivity as the criteria for recognising a given practice as a dance. Seeking to deepen our understanding of the nature of dance, one should take a closer look at phenomena that escape or even contest the definitions accepted thus far. This article is an attempt at such an analysis of two historical European forms of martial arts, knightly tournaments and urban fencing competitions, in the late medieval and early modern Germany. Alongside their socio-cultural context their specific ‘kinetic sensitivity’ is also taken into account. The unfolding discussion leads to the central question: What made the viewers of contemporary knightly tournaments associate the opponents’ movements with a dance routine? In fact, the relevant literature began to describe them with terms derived from ballet de cour; however, they were never used to discuss the urban fencing competitions. In light of this, it is proposed to supplement the existing definitions of dance with the category of antagonistics defined here as a movement in which the essential criteria for the participants’ assessment and success, and therefore also the main driver of innovation, are not as much determined by aesthetic conventions as by factors not subject to social negotiations. Consequently, while easily encompassing the classically understood agonistics, the dance seems to end where antagonistics begins.

Key words: knightly tournament, fencing, agonistics, social choreography, kinesis

Bibliography

Anderson, Natalie M. The Tournament and its Role in the Court Culture of Emperor Maximilian I (1459–1519). The University of Leeds, 2017. http://etheses.whiterose.ac.uk/18205/1/Anderson_NM_History_PhD_2017.pdf.

Anglo, Sydney. „The barriers: From combat to dance (almost)”. Dance Research 25, 2 (2007).

Beardsley, Monroe C. „What is going on in a dance?”. Dance Research Journal 15, 1 (1982).

Brzustowicz, Bogdan W. Turniej rycerski w Królestwie Polskim w późnym średniowieczu i renesansie na tle europejskim. Warszawa: Wydawnictwo DiG, 2003.

Dupuis, Oliver. „A fifteenth-century fencing tournament in Strasburg”. Acta Periodica Duellatorum 3, 2 (2015).

Gajdziński, Kevin. „Mieszczański turniej szermierczy w XVI-wiecznych Niemczech”. W: Regiony – kultura – demokracja. Wybrane teksty z V Konferencji Młodych Naukowców 9–10.06.2011 r., red. Natalia Niedzielska-Burdzy. Wrocław: Studenckie Koło Naukowe Historyków im. Karola Maleczyńskiego, 2011.

Gassmann, Jürg. „Honour and fighting. Social advancement in the early Modern Age”. Acta Periodica Duellatorum 3, 1 (2015).

Hewitt, Andrew. Social Choreography. Ideology as Performance in Dance and Everyday Movement. Durham–London: Duke University Press, 2005.

Jaquet, Daniel. „Fighting in the fightschools late XVth, early XVIth century”. Acta Periodica Duellatorum 3, 2 (2015).

Jaquet, Daniel, Karin Verelst, Timothy Dawson, red., Late Medieval and Early Modern Fight Books. Leiden–Boston: Brill, 2016.

Klimczyk, Wojciech. Wirus mobilizacji. Taniec a kształtowanie się nowoczesności (1455–1795). Kraków: Universitas, 2015.

Rühl, Joachim K. „German tournament regulations of the 15th century”. Journal of Sport History 17, 2 (1990).

Tlusty, Barbara A. The Martial Ethic in Early Modern Germany: Civic Duty and the Right of Arms. New York: Springer, 2011.

doi.org/10.26112/kw.2020.111.13

This article describes the relationship between the global protection system of intangible cultural heritage and practising dance at the regional and local levels. It is analysed on the example of traditional wedding dances from the region of Wielkopolska (Greater Poland), i.e. wiwat, przodek, and chodzony (równy). The aim of this analysis is to study UNESCO’s policy and the consequences of applying the protection system of intangible cultural heritage to traditional dance. The author points out that once the traditional dance is recognised as an element of cultural heritage the process of patrimonialisation starts. Consequently, the dance is incorporated in various socio-cultural processes that affect its meaning, form, and how it is practised. By referring to the concepts of patrimonialisation, intangible cultural heritage, and ‘UNESCOisation’, the text discusses the multi-context functioning and the diversified use of the traditional dances from Wielkopolska from three ethnographic regions: Biskupizna, Szamotuły, and Region Kozła (the Goat Region). The author argues that the varied trajectories in the patrimonialisation of the traditional dance can bring both positive effects (strengthening the local identity, raising the awareness of one’s own cultural heritage and its value) and possible risks (interference of external agencies, internal conflicts, symbolic and practical changes).

Key words: patrimonialisation, intangible cultural heritage, traditional dance, UNESCO

Bibliography

Berliner, David. „Multiple nostalgias: the fabric of heritage in Luang Prabang (Lao PDR)”. The Journal of the Royal Anthropological Institute 18, 4 (2012).

Bobrowska, Mirosława, Kazimierz Budzik, Bogusław Linette, Sławomir Pawliński. Folklor taneczny zachodniej Wielkopolski. Poznań: Wojewódzka Biblioteka Publiczna i Centrum Animacji Kultury, 2014.

Browning, Barbara. Samba. Resistance in Motion. Bloomington: Indiana University Press, 1995.

Burszta, Józef. „Kultura ludowa – folkloryzm – kultura narodowa”. Kultura i Społeczeństwo 13, 4 (1969).

Bzdęga, Jan. Wesele biskupiańskie. Gostyń: Gostyńskie Towarzystwo Kulturalne, 1992.

Dąbrowska, Grażyna. Taniec w polskiej tradycji. Leksykon. Warszawa: Muza, 2007.

Glapa, Adam, Alfons Kowalski. Tańce i zabawy wielkopolskie. Wrocław: Polskie Towarzystwo Ludoznawcze, 1961.

Gusiew, Wiktor. Estetyka folkloru. Tłum. Tadeusz Zielichowski. Wrocław: Zakład Narodowy im. Ossolińskich, 1974.

Hafstein, Valdimar T. „Intangible heritage as a list: From masterpieces to representation”. W: Intangible Heritage, red. Laurajane Smith, Natsuko Akagawa. New York: Routledge, 2009.

Kealiinohomoku, Joann W. „Dance culture as a microcosm of holistic culture”. New Dimensions in Dance Research. Anthropology and Dance 6 (1974).

Klotiņš, Arnolds. „The Latvian neo-folklore movement and the political changes of the late 20th”. The World of Music 44, 3 (2002).

Mead, Margaret. Kultura i tożsamość. Studium dystansu międzypokoleniowego. Tłum. Jacek Hołówka. Warszawa: Wydawnictwo Naukowe PWN, 2000.

Peterson Royce, Anya. Antropologia tańca. Tłum. Jacek Łumiński. Instytut Muzyki i Tańca – Wydawnictwa UW, Warszawa 2014.

Schreiber, Hanna, red., Niematerialne dziedzictwo kulturowe. Doświadczenia w ochronie krajów Europy Środkowej i Wschodniej oraz Chin. 10-lecie wejścia w życie Konwencji UNESCO z 2003 roku w perspektywie zrównoważonego rozwoju. Warszawa: Narodowy Instytut Dziedzictwa, 2017.

Schreiber, Hanna. „Patrymonializacja w stosunkach międzynarodowych. Wybrane tendencje w międzynarodowej ochronie dziedzictwa kulturowego (2006–2016)”. W: Tendencje i procesy rozwojowe współczesnych stosunków międzynarodowych. Księga jubileuszowa z okazji 40-lecia Instytutu Stosunków Międzynarodowych Uniwersytetu Warszawskiego. Warszawa: Wydawnictwo Naukowe „Scholar”, 2016.

doi.org/10.26112/kw.2020.111.14

The choreographic productions of an American couple with an immigrant background are discussed here in the context of working for peace. The selected dance expressions of Keone and Mari Madrid activate the language of engagement, shedding some light on a variety of contemporary social problems related to isolation: the drama of contemporary refugees (We Are) and those suffering from the COVID-19 pandemic (Good Vibes Dance). The artistic duo’s multisensory choreographic works shift the viewers’ focus to the kinaesthetic code as well as the words and music, telling a story that is to facilitate a better understanding of social issues. Concentrating on the quality of the me–me, me–others relations, the Madrids allow us to redefine what we think about dance and recognise it as a readily available tool for building peace. The artists treat the dance as an innate language that undoes isolation.

Key words: peace, engaged dancing, refugees, dance and the pandemic

Bibliography

Banes, Sally. Terpsychora w tenisówkach. Taniec post-modern. Tłum. Jadwiga Majewska, Artur Grabowski. Kraków: Polskie Wydawnictwo Muzyczne, Instytut Muzyki i Tańca, 2013.

Bannerman, Henrietta. „Is Dance a Language? Movement, Meaning and Communication”. Dance Research: The Journal of the Society for Dance Research 32, 1 (2014).

Freedman, Robert. Martha Graham: A Dancer’s Life. New York: Clarion Books, 1998.

Humphries, Doris. The Art of Making Dances. London: Dance Books, 1959.

Kessel, Kristin. The Library of American Choreographers. Martha Graham. New York: The Rosen Publishing Group, 2006.

Madrid, Keone, Mari Madrid. We Are. https://www.youtube.com/watch?v=JSIzlwB2c98.

Oz, Amos. Jak uleczyć fanatyka. Tłum. Danuta Sękalska. Warszawa: Prószyński i Spółka, 2010.

Majewska, Jadwiga, red., Świadomość ruchu. Teksty o tańcu współczesnym. Tłum. Anna W. Brzezińska, Marzena Chojnowska, Michał Jankowski, Agnieszka Kamińska, Beata Kowalczyk, Jadwiga Majewska, Katarzyna Pastuszak, Aleksandra Ścibor, Elżbieta Tomczyk, Jarosław Wójtowicz. Kraków: Korporacja Ha!art, 2013.

Miłosz, Czesław. Szukanie ojczyzny. Kraków: Znak, 2001.

doi.org/10.26112/kw.2020.111.15

Boas, Franz. Antropologia a życie współczesne [Anthropology and Modern Life]. Tłum. Konrad Siekierski. Warszawa: Narodowe Centrum Kultury, 2019.

Key words: Franz Boas, anthropology, race, nation, eugenics