Titlebook: Dance Matters in Ireland; Contemporary Dance P Aoife McGrath,Emma Meehan Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 con

Fecundity

OVERT

The Language of Affect in Choreographic Practice: Conversations on the Making of ,cus in this paper is on the circulation of affect in the in-between of dancing and reflecting on the choreographic process. Drawing on Margaret Wetherell’s understanding of affect as a practice of ‘embodied meaning making’, she suggests that choreographic composition is a type of affective practice

ALTER

狂热语言

Dancing, Identity and Place: Balancing Subjectivity and Technique in Contemporary Dance Training by charting the author’s experience as a dance lecturer in both contexts. This includes a discussion on the impact that the absence of an institutional professional-level dance training programme in Ireland may have had on Irish contemporary and/or ballet dancers and the dance sector at large in th

WAG

(Per)forming the Triptych / Two Voices from a Work: ,brace has been particularly evident with numerous screendance artists creating works specifically for the gallery using multiscreen arrangements. ., is a collection of two essays formed from the experience of creating ., a multiscreen film that draws attention to the qualities of movement embodied b

惊惶

A Gallery of Hanging Thoughts: Reflections on a Choreographic Practice (12 Frames)years. Reflections on specific aspects of this practice give rise to broader thematic strands which are considered through engagement with theoretical perspectives selectively borrowed from a number of disciplinary fields. Rather than conducting an in-depth examination of any one of these emergent t

Synovial-Fluid

The Kenninghe Irish countryside, the second describes the use of the ancient Irish language of Ogham in a site-specific choreography, and the third is about growing up in Kent, England. The three strands compose a contemporary kenning—a way to say something poetically, which also casts a space of the unsaid/un

SMART

CHECK

Rotator-Cuff

Bodied Stories and Storied Bodies in Contemporary Irish Performanceof choreography find an expressive mode that has not been easily accessible in traditional dramatic forms. They reassemble the unsaid and unsayable through the languages of performance, keeping us alive to the stories but also to the questions of how and what stories are told, and by whom and to what end.