🔵 🔴 🟡 Course description

This course introduces students to modern approaches to choreographic composition and dance research as they emerge through their relationship with technology. Through a historical review from the beginning of the 20th century to the present day, the evolution and use of technology in modern and contemporary dance are placed within a social and historical context. Examples of works, artists and dance groups experimenting with the use of computers and cameras, and contemporary trends in experimentation between contemporary dance and technology are studied. Particular emphasis is placed on cases of intermedial and telematic performance. The multifaceted collaboration of dance with technology is examined in its different manifestations with references to the processes of artistic creation, the emergence of new technologies, production, presentation, recording and archiving. Examples of the use of digital technology in dance research are examined and key issues approached by new trends are studied, such as the partnership of dance and technology in approaching dance as an intangible cultural heritage. Finally, the use of technology in dance is examined in relation to concepts such as embodiment, kinesthesia, participatory and the ontology of the art of dance.

Upon completion of the course, students will be able to:

• Recognize and elaborate approaches to collaboration between contemporary choreographic composition and technology

• Demonstrate an embodied understanding of artistic approaches of the body to dance and performance

• Recognize and analyze examples of the use of technology for dance research

🔵 🔴 🟡 Theory (3 hours)

1. Introduction to the course

2. Basic principles of contemporary choreographic composition I

3. Basic principles of contemporary choreographic composition II

4. Choreographic Composition and Technology - Study of Examples

5. Corporeality and Intermedial Performance I

6. Corporeality and Intermedial Performance II

7. Telematics performance as a form of performance and pedagogical tool

8. Applications of Technology in Dance Research

9. Studying dance as an intangible cultural heritage through technology

10. Digital Archives and Chronologies in the Historical Study of Dance I

11. Human-Computer Interaction - Somatic Approaches and Design of New Technologies

12. Digital Archives and Timelines in the Historical Study of Dance II

13. Experimentation, Design and Guidance in Evaluation Projects

Review language: Greek

🔵 🔴 🟡 Evaluation method:

• Presentation / Artistic Interpretation: 100% (Note: The defined evaluation criteria are available in detail during the courses and posted on the E-class of the course.)

• Face-to-face
• Use of ICT in Teaching
• Use of ICT in Laboratory Education and Communication with Students

https://eclass.uop.gr/courses/PDA139/

🔵 🔴 🟡 Course Textbooks [Eudoxus]

• Adshead, J. (2007) The Analysis of Dance. Publications: Paschalidis

• Papalexiou, E. (2022) Creative Archives as Living Landscapes of Memory in the Digital Age, Fagotto Books

• Royce, A.P. (2005) The Anthropology of Dance. Nisos Publications

• Santorinaios, M. et al. (2015). From composite arts to hypermedia: For the digital art artist. Kallipos

Extra Bibliography

• Abram, D. (1996) The Spell of the Sensuous. New York: Vintage.

• Broadhurst, S., and Machon, J.  (2006) Performance and technology: Practices of virtual embodiment and interactivity, P. MacMillan.

• Butterworth, J. And Wildschiut, L. (2017). Contemporary Choreography: A Critical Reader, 2nd edition. London: Routledge.

• Cho, Y-S (2001) “Dance and the New Technology: Integrating Dance and the New technology for Live Performance”, The Korea Journal of Dance Documentation, pp123-140 

• De Spain, K.  (2000) Dance and technology: A pas de deux for post-humans.  Dance Research Journal. 32 (1), pp. 2-17.

• De Spain, K. (2014) Landscape of the Now: A Topography of Movement Improvisation. New York: OUP USA

• Dixon, S. (2007) Digital Performance: A History of New Media in Theatre, Dance, Performance art and Installation. The MIT Press

• Flatt, K. (2019) Choreography: Creating and Developing Dance for Performance, Crowood.

• Hunter, C. (2015). Moving Sites: Investigating site-specific dance performance. Routledge.

• Kaye, N. (2000). Site-Specific Art: Performance, Place and Documentation. Routledge.

• Kozel, S.  1994.  Spacemaking: Experience of a virtual body.  Dance Theatre Journal. 11(3): pp.12-13, 31, 46-47.

• Nelson, R. (2013). Practice as Research in Arts: Principles, Protocols, Pedagogies, Resistances. Palgrave Macmillan.

• Olsen, A. (2014) The Place of Dance: A Somatic Guide to Dancing and Dance Making.Wesleyan University Press.

• Popat, S.  (2006) Invisible Connections, Routledge.

• Reeve, S. (2011) Nine Ways of Seeing a Body. Triarchy Press.

• Tufnell, M. & Crickmay, C. (2004) A Widening Field: Journeys in Body and Imagination, Alton:Dance Books.

• Salter, C. (2010). Entangled: Technology and the Transformation of Performance. The MIT Press.