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I went to see the show and found it interesting. Maybe because the approach in the opening and the way the play was built up throughout was quite new to me, so I liked it. It made me feel like some abstract cartoons were happening before my eyes, a way of looking at the role of people that is different from what is usually seen. In the middle, I didn't find it very attractive. In terms of movement, it was normal, but I found the images and the way it was done quite impressive. There was a lot of technology involved.

The last part made me think a lot, not about the meaning or content but about the way of telling the story. I think the performance is not too new but with the addition of some props and the choice of movements. He is famous for being nude and this time he was nude in a different way. Daniel where the idea came from and he answered that he would explain it more clearly another time because it is a very long story

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i found a video by trisha who is a judson theater trained. her movements are minimalist, using scoring techniques, emphasizing and clarifying the exploration of the potential of a body movement. starting from 1 then 1+2, then 1+2 and beyond, endless directions that can happen for the body.

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I argued with my friend about where Merce Cunningham was in the history of dance. I eventually came to the conclusion that he was somewhere in the middle. He did not represent postmodern dance, being a student of Martha Graham in modern dance, but he laid the foundation for many dancers to pave the way for postmodern dance. I see the point Banes is making here about postmodern dance not as a single style but as a reaction and development from modern dance, driven by a desire for greater freedom of expression, exploration of process, and a more holistic and interdisciplinary approach to art making.

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In addition to talking about the challenges and the need for innovation in a choreographic work compared to old concepts, the article also mentions "process". This is also something I learned when I started my MFA. It is no longer about the final result or how it looks, but the whole process of creation is seen as a way of expressing the work. In addition, the author also mentions some technological interventions (video) and setting up the scene through props to increase recognition. This creates new interactions of the audience with the work, also highlighting the flexibility and diversity of the art of dance. Reading through it, I have a few thoughts about the choice of scene and how the scene also becomes a part of the performance, affecting and being reflected by the audience.

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Ginot’s article evokes for me a bit of a complicated thought, about formalism and contextualism. It seems that formalism, often rooted in the phenomenology of movement, better captures the dynamics of the dance experience and the construction of meaning in the moment. The “contextualist” perspective, while trying to create cultural context, can be too focused on pre-existing frameworks of understanding. So the boundaries of identity are indeed not easily defined, tending to push the viewer to impose a pre-existing understanding of that culture and limiting the audience’s engagement with the expressive potential of the work itself. That is one of the reasons why cultural fusion has become a hot research topic in recent decades.

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The article made me rethink my work. Today in class, the teacher and my classmates discussed the phrase "decadent and pathetically gallant Ballet stage". For me, it is a beautiful and elegant dance, but according to the author, because of its "inability to innovate", it is always stuck in its own historical flow, unable to express emotions or reinvent itself.

But that was the author's concept in the 19th century. Nowadays, following the flow of artistic development, contemporary ballets have been born, marking a change and making ballet more accessible and closer to the modern audience.

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I found a very interesting video. shared by a dancer with a ballet background and he has also performed contemporary dance on many big stages. There is a "constant" concept that I have to think about. Ballet needs contemporary, to develop, innovate and find itself. Contemporary needs its roots in ballet to perfect its techniques, to perform contemporary dance better. That is the issue that the article is talking about, the relationship of simultaneous presence. Besides, it also talks about the dancing aspect of an individual. highlighting the engaging of the dancer in the art they perform

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Classical Ballet or Contemporary… Which is Better?

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One of the founding concepts he put forward that may have had the greatest influence on my current research is that of a body with inner movement. The external manifestation of the body is only the manifestation of the inner self. He was also a pioneer in posing the new hypothesis, closely related to many new discoveries for the body-mind-spirit problem in modern science today, one of its applications is dance therapy.

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The article made me think a lot. Because I am a typical example of someone who clings to the word "contemporary" in today's society and almost forgets its historical meaning. There is one point of attention that I think is the key to my perception. True art is always "contemporary" to its time. It may be outdated in the following decades, but it is still contemporary to the time in which it was created. Again, speaking of the history of dance, modern dance is not synonymous with modernism. The concept of contemporaneity in dance is also not synonymous with presentism

Those who are truly contemporary to their time may become obsolete in the future. because they live and adhere to the principles, styles, perceptions of their time. do not change and represent and understand their time better than anyone else

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It makes me think about a recent exhibition of a young person in Vietnam. I am not sure about calling him an artist. Because I myself find it difficult to understand that you opened an exhibition and placed rice bags around the room. There are many mixed comments. I wonder what is art and contemporaneity in this case? I do not find it beautiful or of artistic value, I also do not understand the process by which the author created the work. But many people use contemporary to argue that that is the reason why the work becomes difficult to understand, and accept that it may be meaningless to a different individual. So in relation to the article, he may be in line with the times in encouraging the expression of the self, the voice through the work. But the artistic aspect needs to be evaluated and reconsidered. It may be is contemporaneity, but it has not been evaluated as a contemporary work of art.

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Today, many of my classmates thought that the teacher was from the West, so they refuted the idea that the East did not have contemporary art schools in the old social context of the late 19th century. Actually, I think this is just the author's point of view, because she is a Westerner, and the study of contemporary dance history also originated from the West. However, the important thing to discuss is the contemporaneity of dance, not the establishment of schools. However, it also makes me wonder about the relationship between the introduction and exchange of Eastern and Western cultures and the contemporaneity in its historical flow.

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Dance identity and identification (Grau)

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Dance identity and identification (Grau)

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I have a question and i tried to find the answer in this article. But Andrée Grau's article does not provide a simple, concrete answer to the question of how a dance retains its "identity" after multiple cultural intrusions. Instead, the article emphasizes the dynamic and relational nature of identity. Identity is not a static, fixed entity, but is constantly being formed and reconstructed through social interactions. Therefore, "cultural intrusion" does not necessarily erase the identity of a dance, but can change, enrich, or even challenge the understanding of that identity.

I found it striking in the article that the imposition of Western aesthetic standards and the marginalization of non-Western dance forms highlights power imbalances and the need for a critical perspective. Grau highlights the complexities that dancers experience when moving across cultural boundaries and multiple identities. This also concerns me in my dance practice about choosing movement vocabulary and modes of expression to maintain my identity.

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really interesting discovery that has a lot to do with my own project

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Blood Memory: Exploring Indigenous Identity Through Dance

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a music product from Vietnam, with Vietnamese influences and costumes, with a modern musical style. In addition, the lyrics also show the custom of marrying according to the parents' wishes, still in the context of old Vietnamese society, however, the exact dialogue is a Chinese sentence. That shows the influence of the years of Chinese domination in Vietnam, deeply rooted and becoming a part of Vietnamese identity, now combined with modern musical colors. Still maintaining the identity but still suggesting a new direction for Vietnamese art. This is a prime example of redoing old traditions in a subtle yet exciting way, a suitable approach to bring traditional value to the youth, of which I can really learn from.

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NHẤT BÁI THIÊN ĐỊA - The Flob (prod. CHIN) | OFFICIAL MUSIC VIDEO

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I was very impressed with this performance. It had a very distinctive Chinese color. And the teacher asked us to discuss what contributed to the identity. The costumes, materials, props, etc. And I found the interesting thing was the participation of foreign actors. They combined, even the content was a combination, with the transition from martial arts shirts to suits. But still kept the identity color. The way they told the story through movements, I think it was mostly martial artists, not exactly dancers, but they still created a dance piece, from martial arts movements. The magic of movement and the way it represents for something

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Sidi Larbi Chekaoui & Antony Gormley - Sutra

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Feminist Theory and Contemporary Dance (Ann Cooper Albright)

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Feminist Theory and Contemporary Dance (Ann Cooper Albright)

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Actually, this is not an easy article to learn. It is quite abstract for me because of its academic writing style, I had to read it a second time to get a vague idea of ​​what the author meant. However, I was impressed by the quote by Simone de Beauvoir mentioned in the book: "One is not born, but becomes a woman". And I asked my teacher in class about determining a person's gender through their appearance. I got an answer that made me think a lot about it. The teacher said that we should only judge them based on how they present themselves, male or female is a title given by society, leaning towards biological characteristics. As for how they express their ego and personality through body language, we are the audience, let's stop trying to define and label them and accept them as they are.

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The meeting with the guest today inspired me a lot. In the work "Hell door breaking" I saw the combination of Hong Kong culture with contemporary dance. is a work, as the choreographer shared, is his perspective and view on the dance of sending off the dead. He talked about the path of researching symbols and finding ways to express his work. This is also a characteristic of postmodern and contemporary dance, it is a process, not the final image on stage. He wants to express himself, speak his thoughts and express his emotions, not following the beauty standards of the stage because his movements even seem a bit strange.

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Another sharing from Terry. And since I studied multimedia, I was fascinated by the way he incorporated multimedia into his work. Art is found everywhere. From photographs, to the market scene, from there he asked what more could be done. It was exactly learning about the process. And the way he made this work with nude actors does not make us feel vulgar. It challenges our imagination and pre-existing judgment. Even the subject is about genitals, depicting human desires and longings through the eyes of the artist.

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Mo Ngaan Tai_by Terry Tsang (Hong Kong)_CN EN subtitles

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I came to know this work through Dr. Maria, she is the director. The work emphasizes the body, going through different dimensions (time, space) as an exploration. It shows the mind inside the body (hope and fear, darkness and light). That is the contemporary nature of dance, of the language of movement that I see. This is one of examples for engaging different digital technology and co-workers of various art form

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I have met Daniel in choreography class and workshop. Once again, another artist integrating digital techniques into his performance. and I learned from him the acceptance of the past, not to deny, but to work with what already exists. from there continue to build new things. that represents a flexibility and unlimited diversity of art. I did not think a work could be reworked so many times. He also shared about the great contemporary organization in Hong Kong, where cultures intersect, artists from different genres, different artforms meet and create works with high identity

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Today's guest is a director. She introduced freespace. A place that is arranged to encourage creativity and art. I see that the choice of space is also an element that makes up contemporary art. With contemporary dance forms today (and since the postmodern era has been explored) about not limiting the performance space to the stage or theater. But also outdoors, the beach, forms of communication with the audience to increase interaction with the performance. For example, sitting around the actors, being part of the performance or even lying down watching the dance. She introduced many upcoming programs of freespace. I will go see some

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I studied modern works, of course I could not ignore Martha Graham. I saw in them the characteristics of dance of that period. The innovation came from the performance costumes, the movements emphasized emotions. Expressing what was considered to be breaking the rules of previous dance. But in general, the movements she used were still considered aesthetic, the use of the body, still leaning towards technique, although it was not the traditional technique according to the rules of ballet or previous dance standards

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This video gave me a lot of tools to think further in my composition. And have an overview of what he set out to do as the premise for the later postmodern movement.

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When I first watched this video, I didn’t really understand it. Because I usually have the habit of considering the meaning of beautiful works or movements. After having a conversation with the teacher, I started to think again about the process. The way the choreographer built the work in a time when feminism was still a debate that was disadvantageous to women. The way she used school images, normal clothes, and even stopped the movements was very “feminine” in everyday life. Suddenly I saw a different perspective, and I had to go back and watch it a second time to experience it again

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This piece took me out of my thoughts about what gender this dancer was. I no longer saw the line between male and female. I just saw a strange attraction. She used the dance of Macho dancers, showing the strong charm typical of male dancers working in nightclubs. While she was female. This broke the gender boundary, and made us look at dance from the perspective of the body in motion. After the class discussion, some people liked it and some didn’t after watching the video. I think it has to do with each person’s gender and aesthetic taste, but it also made me question and be curious about the interactive relationship between the dancer, the work and the viewer. What determines that reaction?

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Macho Dancing is performed by young men in night clubs for male – as well as female – clients. Macho Dancing, with its specific movement vocabulary and physicality, is a unique phenomenon in the Philippines. An economically-motivated language of seduction that employs masculinity as body capital.
‘Macho Dancer’ is a solo work in which a woman performs macho dance. By embodying a macho dancer, she challenges our perception of sexuality and questions gender as a tool for social mobility: Through his practice, the macho dancer is relegated to a marginal and weak position in society, even though the image he simulates is that of a strong male. The woman performing a macho dance thus assimilates the role of a strong male; and by transgressing gender, the performer also appears to up her social status. Nonetheless, as she engages in a marginal practice that is macho dance, she remains vulnerable and weak, and maintains the status of an objectified woman. The performance thus generates a “gender loop” in which the performer and audience are entangled.
The very act of this woman performing a gender loop veers attention towards her body as a product. By emulating and becoming the Macho Dancer, she also disembeds the sociocultural and economic frames that ultimately expose this perfect normative body as a constructed body.
“He realizes his potential, and exercises his individual empowerment, only to return the following night. Desire and performance of social mobility, after all, are only posed in simulation. In gay bars, as in the Philippine nation, real mobility is evasive, restricted, and temporary. Yet every night, the desire and the performance of social mobility are re-enacted.”

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A performance from the contemporary, ballet, and Chinese theater departments. Where I found a wonderful intersection, and the way the choreographers tell their stories, as well as represent the identity they bring. I saw comfort, freedom, and energy in the first piece, a choreographer from the contemporary department, European-American style. In the second piece, the storytelling uses the language of ballet, but in the form of a contemporary performance, full of poetic and romantic thoughts of the choreographer from Vietnam. And in the last part, I felt the majestic, powerful but introspective atmosphere, the unique and characteristic features of Chinese philosophy and culture. Along with the arrangement of props, creating a supportive context for the perception of the work, the way the light and music are engaged with each other, it's so wonderful.

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I don't know much about Indian culture, but I know they worship close to nature. Their dance movements seem close to the divine. I know about Hanuman, Deva, Shiva etc. and when she did a workshop about changing, adding details to the choreography, playing with rhythm, I thought it could be useful in my choreography, that is, adding new layers to the movement. Besides, I saw how they bring their beliefs into the dance and make it a unique dance of Indian art.

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I was overwhelmed when I entered this space. At first, I didn't like it much, because there was too much technology, I prefer things that are more natural. But after walking around, I felt a little interested. Because technology can bring me out into nature, away from the noisy and chaotic world while I'm still here. Recreating images and moments that don't even exist in real life, brought from my imagination. And what's more interesting is not what they project there, but my experience when interacting with the images from that projector. It changes constantly, also evoking many emotions in me, playing and experimenting with many things in this space gives me a lot to think about when I go home. It is the integration and intervention of technology into art performance. Contemporaryity happens through every moment, the images don't stop, and my reaction to the images also changes continuously over time.

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when i saw this scene. i saw it like an office, i suddenly thought about my daily work and my emotions in life. i asked a question what would it be like if all of me existed in one moment. and so i tried it. after reviewing the clip i came up with many ideas. this is the first draft. i saw different squares, different time capsules and emotions, as well as my life being boxed in. there were times when the image spilled out of the frame, i wondered then my upper half, like adventuring into another world, a world of mystery, a liberation. many things appeared, if i have time i will consider and continue this project, simply i want to explore. starting from nothing. this is a small project after i took class today

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I happened to know MS. Nonie, a Gyrotonic master and Ryan, a CI dancer who studies psychology and applications in CI. Our feelings were different during the 2 days of practice, even though we interact the same partner yesterday. We rotated, practicing with different people had different feelings. In each person, I found familiarity from the previous practice but still had new things. And for each body, I saw the unique features of that body, after learning about their background, profession and story, I found that it was really a kind of body identity. For Ms. Nonie, it was the softness and gentleness of a Gyro teacher, for Ryan, it was a feeling of understanding and approachability.

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It was still confusing when I first started watching it. But after taking the class and discussing it, I started to understand more about how the artist created this piece. It was unbelievable, how they could throw and fling their bodies on the floor like that. The dance is challenging the limits of the body beyond how we see it, think about it, and use it every day. Considering the relationships. And putting some illustrations on the face like bringing the audience to another world. I felt like the glass looked like a laboratory, and yes, this is a laboratory of the body, the movements of strange creatures, alien to humans. But it is also human. What can we do with our bodies? This video opened up for me a way to explore the physical body and how the choreographer thinks, making a difference from the same material.

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The video shows the idea of ​​a free world. Freedom to live, freedom to choose your gender, career, family and learn how to become a person. For her, male or female is a biological sex, determined from the moment we are born. But gender identity is formed according to our perception and growth process. People experience life and choose what suits them, many opinions about feminism, think that feminism is demanding rights for women, or more broadly, giving equal rights in the community to disadvantaged groups in society. But she also considers how demanding equality is equality, demanding for whom, demanding for what, needs to be considered. Nowadays, more and more people in the LGBT community openly reveal their gender, demonstrating the transformation of society, and the more open definition of gender, as well as the awareness of an inherent, free self for each individual.

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Berkeley professor explains gender theory | Judith Butler

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It was when I talked about the male gaze that I really started to reconsider the films I had seen. In class we discussed how most directors were male, and how most films were shot and approached with angles that were supposed to appeal to the eye, using the female body. There was a lot of debate around this. One side felt it was glorifying and celebrating, the other felt the female body was being stereotyped as being sexually suggestive. There was more and more work about “a woman’s body” reclaiming its right to be whatever it was. I didn’t think a dancing body could have so much power as an implicit political and social voice since this lesson, just have thought about the moving body with more simple meaning around movement and emotion before