Flemish Features

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Flemish features Discussing Flemish contemporary dance of the eighties and nineties within a cultural framework Ninke van Herpt Ma Choreography Fontys Tilburg August 2006 Flemish features Ninke van Herpt MA Choreography – Fontys Tilburg August 2006 -0- Flemish features Discussing Flemish contemporary dance of the eighties and nineties within a cultural framework Index Introduction Chapter 1: Contemporary theatre dance as cultural aspect 1.1 Culture 1.2 Dance and culture Chapter 2: Flemish f
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  Flemish featuresNinke van HerptMA Choreography – Fontys Tilburg August 2006- 0 - Flemish featuresFlemish featuresFlemish featuresFlemish features Discussing Flemish contemporary danceDiscussing Flemish contemporary danceDiscussing Flemish contemporary danceDiscussing Flemish contemporary danceof the eighties and ninetiesof the eighties and ninetiesof the eighties and ninetiesof the eighties and ninetieswithin a cultural frameworkwithin a cultural frameworkwithin a cultural frameworkwithin a cultural frameworkNinke van HerptMa ChoreographyFontys Tilburg August 2006  Flemish featuresNinke van HerptMA Choreography – Fontys Tilburg August 2006- 1 - Flemish featuresFlemish featuresFlemish featuresFlemish featuresDiscussing Flemish contemporary danceof the eighties and ninetieswithin a cultural frameworkIndex page 1IntroductionIntroductionIntroductionIntroduction pages 2 - 3Chapter 1: Contemporary theatre dance as cultural aspectChapter 1: Contemporary theatre dance as cultural aspectChapter 1: Contemporary theatre dance as cultural aspectChapter 1: Contemporary theatre dance as cultural aspect1.1 Culture pages 4 - 71.2 Dance and culture pages 8 - 11Chapter 2:Chapter 2:Chapter 2:Chapter 2: Flemish featuresFlemish featuresFlemish featuresFlemish features2.1 Belgium and Flanders page 122.2 Belgian cultural context of contemporary dance pages 13 - 162.3 Flemish dance wave pages 17 - 20Conclusion: the emperors new clothesConclusion: the emperors new clothesConclusion: the emperors new clothesConclusion: the emperors new clothes pages 21 - 23BibliographyBibliographyBibliographyBibliography pages 24 – 27AppendicesAppendicesAppendicesAppendicesChronological list of dance productions 1980 - 1997Appendix A: Anne Teresa De Keersmaeker page 28Appendix B: Wim Vandekeybus page 29  Flemish featuresNinke van HerptMA Choreography – Fontys Tilburg August 2006- 2 - IntroductionIntroductionIntroductionIntroductionIn this essay the so-called Flemish dance wave of the 1980s and early 90s is researchedas a cultural phenomenon. The motivation for this research srcinates from my interest inculture and society as a shaping and forming mechanism and the question how dance asa performative category is influenced by culture and society.The sudden rise of choreographers of contemporary dance in the Belgian provinceFlanders in the 1980s stirred the international dance world. Choreographers such asFabre, De Keersmaeker, Vandekeybus and Platel arose within a country where thepredominant ballet tradition ruled the stages. In my Dutch dance-student eyes theinnovative approach of the 1980s and early 90s to contemporary dance shook my world.Performances such as Rosas danst Rosas (1982), the dance-video Roseland (1990) byVandekeybus and Da’un alltra faccia del tempo (1993) by Fabre formed a sharp contrastwith the stylistic, dramatic and controlled Graham and Cunningham style I was familiarwith. The uninhibited energy, the pedestrian movements, the accessible patterns, thefreedom of Belgian dance in which drive took over were a giant eye-opener to me.How could it come to be that from a small country like Belgium, specifically from the evensmaller region of Flanders, a new dance generation stood up with distinct features,movement vocabulary and aesthetics in the field of contemporary dance? What was this‘Flemish dance wave’ and is it possible to frame eventual Flemish features to a specificcultural identity or framework?Jans (1999: p. 5-6) states that despite fundamental differences in their work, DeKeersmaeker (…) and Vandekeybus are seen as the representatives of a Flemish impulsein modern dance characterised by immediacy, authenticity and physical energy.I have chosen to explore Flemish dance in general, relating to Belgian culture and society,and then exemplify my findings with work of De Keersmaeker and Vandekeybus. Bothchoreographers have continuously contributed to the international contemporary dancecircuit and changed my perception of what dance can be. The choice is made, based onboth personal preference and available texts and information, to let De Keersmaeker andVandekeybus represent the Flemish dance wave in this essay.  Flemish featuresNinke van HerptMA Choreography – Fontys Tilburg August 2006- 3 - The registration on video and DVD of both Rosas and Ultima Vez-performances and textsby Laermans, Gielen and Jans provide material on Flemish dance and sociologicalframing. Carlson’s Performance: a critical introduction (2003) and the Cultural theory and popular culture books by Storey (2006) helped frame the relation between cultureand performance. Psychological, cultural and sociological theories have been considered,to find a specific explanation of the Flemish dance wave relating to social theory. Looking at dance through the filter of culture implies that a contextual approach is chosen in thisessay. Dance is researched as (socio-)cultural means of expression.The so-called ‘Flemish dance wave’ is interesting within a cultural frame because Flemishchoreographers of the 1980s absolutely redefined dance through advocating newcultural ideas, images and frames.As Debelder (2006:p. 2) suggests, one of the important characteristics of the Flemishdance wave is that it adjusted the perception of the dancing body and dancing man inBelgium.In chapter 1 culture and dance as a cultural aspect will be examined.Chapter 2 investigates Belgian culture and how this affects Belgian contemporary dance.The second chapter researches the existence and legitimisation of the Flemish dancewave.In the conclusion an attempt is made to decide if ‘the Flemish wave’ is a culturallydefinable phenomenon.
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