The emergence of contact improvisation in the aesthetic-political laboratory of the 60s and 70s

Authors

Keywords:

Contact Improvisation. Dance. Laboratory. Neo-Avant-Garde. Experimentation.

Abstract

ABSTRACT – The emergence of Contact Improvisation in the aesthetic-political laboratory of the 60s and 70s – This text reflects on the emergence of contact improvisation and the changes generated by postmodern dance in the American aesthetic-political context of the 60s and 70s. New modes of dance production developed by the New York neo-avant-garde of that period are addressed; the experimental attitude of the artists; and their interest in collaborative forms, among others. Based on the research results of my doctoral thesis, the literature on an emblematic discipline of postmodern dance, about which there are few publications in Spanish, is expanded. Further study may open imaginative horizons for new laboratory practices.

 

Downloads

Download data is not yet available.

Author Biography

Mariela Singer, UNIVERSIDAD DE BUENOS AIRES

Mariela Singer holds a PhD in Social Sciences from Universidad de Buenos Aires (UBA). Adjunct Professor of the Circuito de Formación Feminista de la Facultad de Ciencias Sociales (FSOC-UBA). Director and Academic Coordinator of the Postgraduate Refresher Program “Cuerpo, comunicación, estética y política. Perspectivas situadas y feministas” (FSOC-UBA). Undergraduate and graduate professor at Facultad de Arquitectura, Diseño y Urbanismo de la UBA. Coordinator of the Area Cuerpo y Comunicación (UBA). Practitioner of contact improvisation dance since 2004, she graduated from Universidad Nacional de las Artes (UNA). 

References

References

AAVV. CONTACT vs CAPITALISM. CQ Unbound. Contact Quarterly, Northampton, 2015. Disponible en: https://contactquarterly.com/cq/unbound/#year=2015. Consultado el: 29/01/21.

BANES, Sally. Terpsichore in Sneakers. Post-modern dance. Boston: Houghton Mifflin Company, 1980.

BANES, Sally. Democracy’s body: Judson Dance Theater 1962-1964. Durham and London: Duke´s University Press, 1995.

BANES, Sally. Terpsichore en zapatillas de deporte. Introducción. In: DE NAVERÁN, Isabel y ÉCIJA, Amparo. Lecturas sobre danza y coreografía. Madrid: Artea, 2013.

BROZAS, María Paz y GARCÍA, Teresa. Los comienzos de la danza ContactImprovisation en España (1980-1990), Revista Internacional de Medicina y Ciencias de la Actividad Física y del Deporte, Murcia, Universidad Católica de Murcia, v. 14, n. 53, p. 169-181, 2014.

DUBERMAN, Martin. Stonewall. El origen de una revuelta. Madrid: Ed. Imperdible, 2018.

GATTO, Ezequiel. “Introducción”, en AAVV, Nuevo activismo negro. Buenos Aires: Tinta Limón, 2016.

HOBSBAWM, Eric. Historia del siglo XX, Buenos Aires: Crítica-Grupo Editorial Planeta, 2014.

NELSON, Lisa y STARK SMITH, Nancy. Contact Improvisation Sourcebook, Northampton MA: Contact Editions, 1997.

NOVACK, Cynthia. Sharing the dance. Contact improvisation and American Culture. Madison and London: The University of Wisconsin Press,1990.

PALLANT, Cheryl. Contact Improvisation. An introduction to a Vitalising Dance Form. North Carolina: McFarland & Company Inc. Publishers, 2006.

PASTORE, María. La utopía revolucionaria de los años 60, Buenos Aires: Ediciones del Signo, 2010.

REGUILLO CRUZ, Rossana. Emergencia de culturas juveniles: Estrategia del desencanto. Buenos Aires: Grupo Editorial Norma, 2000.

STARK SMITH, Nancy. What is Contact Improvisation? In: KOTEEN, David y STARK SMITH, Nancy. Caught falling. The confluence of contact improvisation, Nancy Stark Smith and other moving ideas. Northampton, Contact Editions P. O., 2008, pp. XI-XIII.

TAMBUTTI, Susana. Teoría general de la danza – Módulo IV. Material de cátedra de la materia homónima, cátedra Susana Tambutti. Buenos Aires: Universidad Nacional de las Artes. 2009a.

TAMBUTTI, Susana. Teoría general de la danza – Módulo III. Material de cátedra de la materia homónima, cátedra Susana Tambutti. Buenos Aires: Universidad Nacional de las Artes. 2009b.

YVONNE Rainer: No Manifesto (1965). Geoff. 1000manifestos, [s.l.], 3 de março de 2011. Disponible en https://www.1000manifestos.com/yvonne-rainer-no-manifesto/ Consultado el: 29/01/21.

Downloads

Published

2022-06-28

How to Cite

Singer, M. (2022). The emergence of contact improvisation in the aesthetic-political laboratory of the 60s and 70s. Brazilian Journal on Presence Studies, 12(2), 1–26. Retrieved from https://seer.ufrgs.br/index.php/presenca/article/view/122206

Issue

Vol. 12 No. 2 (2022): Abr./Jun. 2022

Section

Contemporary topics III

License

Readers are free to transfer, print out and use the articles published in the Journal, as long as there is always explicit mention to the author(s) and to the Revista Brasileira de Estudos da Presença and as long as there is no alteration of the original work. Any other use of the texts needs to be approved by the author(s) and by the Journal. By submitting an article to the Revista Brasileira de Estudos da Presença and having it approved, the authors agree to assign, without compensation, the following rights to the Journal: the rights of first publication and the rights to redistribute the article and its metadata to the indexing and reference services that the editors deem appropriate.

Licença Creative Commons This journal use a Licença de Atribuição Creative Commons.