Movement Research Performance Journal (46 results)
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Paperback. Condition: new. Paperback. Research rarely resolves the way one expects. In the Fall of 2022, the Movement Research Performance Journal set out to explore the concept of research, a word intrinsic to our name and our parent organizations long history of supporting process over product. Research is such an academic con…cept (less so than our initial idea of doing an issue on pedagogy), and we wanted to find a way to thread our work around the relationship dance and performance practice has to systems of higher education. We looked to contributing editors embedded in the university system, those parasitically attached to it, and those intentionally operating outside of codified educational systems. We wanted to leave room for some contributors to celebrate how performance upends the conventional hierarchy between teaching and learningand for others to lambast the way dance and performance has been curtailed to a university model. We wrote to prospective writers:Keyword: Research(n.) studious inquiry or examination, especially: investigation or experimentation aimed atthe discovery and interpretation of facts, revision of accepted theories or laws in the light ofnew facts, or practical application of such new or revised theories or laws.Prompt: Movement Research was founded in 1978 as a self-described laboratory for investigating dance and movement. In its long history, the organization has prioritized giving space to artists for rehearsing, developing, and investigatingrather than presenting and producingtheir work. The Movement Research Performance Journal can be seen as an outgrowth of this missionextending the rehearsal studio into the space of the page. In its first issue, editor Richard Elovich describes the journal as a new public space for the New York performance communitya slightly anarchic forum in which opposing ideas and aesthetics can be seriously developed and debated. How do we understand this mission of staying in the zone of research today? How are artists (re)building pedagogy, and processes of learning, into their practice? What contemporary or historical alternative schools, and approaches to schooling, might be seen in constellation with the founding of Movement Research? How are students of dance and performance confronting the possibility and failure of an educational system predicated on both their enrichment and indebtedness? Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
- Softcover
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Paperback. Condition: new. Paperback. Theories of dance dramaturgy can be found in a growing body of literature on the field (see our incomplete reading list in this issue). But for Issue #61 of the Movement Research Performance Journal the editors decided stay in the not-knowing by inviting contributions from those whose work t…ouches on dance dramaturgy with curiosity, anxiety, anarchy, as well as a conviction for the intimacy it requires and a resistance to its history of institutional/state authority. At the heart of the issue is a special section by Contributing Editor Ligia Lewis. Across Lewis works there are not only a range of dramaturgs, but the role of dramaturgy shifts and morphs in relationship to the differing works and over time. The reinvention of the dramaturg that Lewis work articulates is something that has proliferate throughout the field of contemporary dance. The rest of the issue includes a range of texts, some from practicing dramaturgs, others from to those who have reluctantly accepted this title, and still more who reject the role outright all exploring a simple question: why has there been an explosion of interest in, perhaps even desire for, dramaturgs in contemporary dance? The explosion Im thinking of is not about a growing professionalization of dance dramaturgy (though that is certainly happening). I mean simply that more dance and performance artists are including dramaturgs as part of their process, and at the same time seem to be continually reinventing what the dramaturg is meant to do. What can we make of the desire for the dramaturg as well as the desire to continually reinvent this figure and its function? Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
- Softcover
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Paperback. Condition: new. Paperback. What began as a project responding to the fiftieth anniversary of the end of the Vietnam War became a project of inhabiting the Movement Research Performance Journal (MRPJ) from within the landscape of contemporary Vietnamese performance art. The result, Issue #62, is a window onto a communi…ty of insiders who reflect a set of concerns, questions, historical trajectories, and aesthetic legacies that differ from what has more often been foregrounded in our U.S./New York City-centric publication. Like other documents of this kind, which endeavor to portray a performance scene that will be foreign to many readers, the texts from this group of intergenerational, contemporary artists demonstrate a careful navigation of the dialectics of inside and outside, self and other, performer and audience, seeing and being seen, that informs every exchange across cultural difference. The texts are also not monolithic, suggesting a range of relations to the Vietnam of the past and present, from within Vietnams national borders and among the diaspora. Especially for contributors living and working in Vietnam, writing has also been a practice of choreographing words within a political landscape where to speak publicly, in itself, is a performance of negotiated risk. Embracing the complexities of these differing positions has been the focus of our editorial processone that has asked the editorial team to embrace the limits of our own knowledge, to recognize we will not be able to recognize all valences others may discover in these texts, and not to edit these layers out of the works that follow. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
- Softcover
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- Softcover
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Paperback. Condition: new. Paperback. Read My Lips is a phrase that will be familiar to longtime readers of the Movement Research Performance Journalso familiar that the mere reference will bring to mind an image posted by the artist collective GANG, an image that lies at the heart of one of the journals most spectacular moments…. Issue #3, with its focus Gender Performance, was published in 1991 amid that eras Culture Wars, receiving almost immediately negative reception from government officials (the NEA threatened to withdraw funding from Movement Research) and many members of the dance community (who considered Issue #3 to be deliberately provoking the so-called war, intentionally taking a political position that some worried might comprise future funding of the field). In the thirty-three years since its publication, Issue #3 has developed a patina familiar to many artist-activist histories that are looked upon with romance and nostalgia, often by those for whom that history is only a fantasy (rather than a lived experience). For the current issue, Issue #60, we revisit Issue #3 attempting to move beyond this idealization by engaging critically with the original content. Under the direction of four contributing editorsAmalle Dublon, Kay Gabriel, Keioui Keijaun Thomas, and Anh Vo weve assembled a new body of work by mostly trans and queer artists reflecting on the keyword gender and its relation to contemporary performance. Their work moves across multiple genres of writing, from analytic essays to poetry to performance scripts. While gender is a central topic for some, many more of the pieces in Issue #60 approach this keyword obliquely, almost evasively. Is this because of the punitive relation one nowadays seems to expect will result from direct political speech? Then again, there are more ways to understand what might, at first glance, seem like a refusal to speak gender directly. Perhaps gender as a concept can only be approached indirectly and in relation to other ways of knowing ones body, identity, and their relation to social life. Perhaps its a way of defending against the demand to explain again and again the fallacy of gender as a biological binary, which is its own kind of political sabotage, a tactical exhaustion of momentum towards liberation through weaponized ignorance. Certainly, the need to explain how things are can get in the way of imagining how they could be. The works assembled in Issue #60 do bothexplicating a contemporary impasse while also theorizing alternatives, opening up other ways of rehearsing a relationship between gender and contemporary performance of all kinds. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
- Softcover
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- Softcover
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Paperback. Condition: new. Paperback. Issue 57 of the Movement Research Performance Journal (MRPJ) takes up the keyword work. Given that Movement Research has a history of being an organization of artists laboring for and with one another, we invited contributors to consider, revise, or push against questions like: how are thing…s working today? What is the condition of labor in the field of dance and performance? What does it mean to be or have a body that works, on which work is (or isnt) projected? How do idealizations of the laboring body and/or the ethos of collective practice relate to or obscure the lived experience of making dance works, working in dance, or balancing artistic production with the productive demands of ones so-called survival job? To work in dance (or the arts in general) is indisputably to be exploited. But the contributors to this issue both directly and obliquely take up the experience of working as both enervating and energizing (in often contradictory ways), and draw from their different experiences of working works uneven distribution across the globe, the abelism that belies works regimentation, and the on-going struggle to find solidarity among arts workers.More than thematically linked, the issues three sections also reflect a desire to address how this publication itself asks artists to work. Artist-run since 1990, the burden of administering a publication like the MRPJ was (perhaps) once outweighed by the promise of what this kind of project could do to shape the field of dance and performance. Today, that editorial and administrative labor dovetails all too well with what has become naturalized as an expectation of practicing artiststhat they write about what they are doing or want to do in grant applications, that they create content to be used both for educating and marketing to audiences, and that they develop a discourse that signifies the value of their work in relation to any number of fields other than dance.For Issue 57, the MRPJ editorial team (Josh Lubin-Levy, John Arthur Peetz, and Nicole Bradbury) gave the keyword work to three artists designated as Contributing Editors (nora chipaumire, Jerron Herman, and Alex Rodabaugh). nora, Jerron, and Alex were each invited to invite three to five other participants to join the discussion but also encouraged to pass on the administrative and editorial labor to the MPRJ staff.Issue 57 is only the beginning of thinking about how the structure of a journal on and by artists needs to adapt to an era in which content creation exists in overdrive. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
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- Softcover
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- Softcover
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- Softcover
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Published by Movement Research, 1996
- Softcover
- Manuscript / Paper Collectible
Seller: 246 Books, Seattle, WA, U.S.A.246 Books
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Add to basketPaperback. Condition: Very Good. Movement Research Performance Journal # 13 Body / Belief is a 32 page tabloid sized newspaper with works about dance and movement by 36 contributors. Some contributors are Sally Hess, Howard Moody, Janet Clancy, Dristin Stewart, Tamara Fulop and Linda Tarnay among others. Very good condition.
Published by Movement Research Inc., 1996
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Newsprint tabloid folded horizontally in half, 30 pages, no internal marks.
Language: English
- Softcover
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- Softcover
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- Softcover
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Paperback. Condition: new. Paperback. What began as a project responding to the fiftieth anniversary of the end of the Vietnam War became a project of inhabiting the Movement Research Performance Journal (MRPJ) from within the landscape of contemporary Vietnamese performance art. The result, Issue #62, is a window onto a communi…ty of insiders who reflect a set of concerns, questions, historical trajectories, and aesthetic legacies that differ from what has more often been foregrounded in our U.S./New York City-centric publication. Like other documents of this kind, which endeavor to portray a performance scene that will be foreign to many readers, the texts from this group of intergenerational, contemporary artists demonstrate a careful navigation of the dialectics of inside and outside, self and other, performer and audience, seeing and being seen, that informs every exchange across cultural difference. The texts are also not monolithic, suggesting a range of relations to the Vietnam of the past and present, from within Vietnams national borders and among the diaspora. Especially for contributors living and working in Vietnam, writing has also been a practice of choreographing words within a political landscape where to speak publicly, in itself, is a performance of negotiated risk. Embracing the complexities of these differing positions has been the focus of our editorial processone that has asked the editorial team to embrace the limits of our own knowledge, to recognize we will not be able to recognize all valences others may discover in these texts, and not to edit these layers out of the works that follow. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.
- Softcover
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Paperback. Condition: new. Paperback. Theories of dance dramaturgy can be found in a growing body of literature on the field (see our incomplete reading list in this issue). But for Issue #61 of the Movement Research Performance Journal the editors decided stay in the not-knowing by inviting contributions from those whose work t…ouches on dance dramaturgy with curiosity, anxiety, anarchy, as well as a conviction for the intimacy it requires and a resistance to its history of institutional/state authority. At the heart of the issue is a special section by Contributing Editor Ligia Lewis. Across Lewis works there are not only a range of dramaturgs, but the role of dramaturgy shifts and morphs in relationship to the differing works and over time. The reinvention of the dramaturg that Lewis work articulates is something that has proliferate throughout the field of contemporary dance. The rest of the issue includes a range of texts, some from practicing dramaturgs, others from to those who have reluctantly accepted this title, and still more who reject the role outright all exploring a simple question: why has there been an explosion of interest in, perhaps even desire for, dramaturgs in contemporary dance? The explosion Im thinking of is not about a growing professionalization of dance dramaturgy (though that is certainly happening). I mean simply that more dance and performance artists are including dramaturgs as part of their process, and at the same time seem to be continually reinventing what the dramaturg is meant to do. What can we make of the desire for the dramaturg as well as the desire to continually reinvent this figure and its function? Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
- Softcover
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Paperback. Condition: new. Paperback. Research rarely resolves the way one expects. In the Fall of 2022, the Movement Research Performance Journal set out to explore the concept of research, a word intrinsic to our name and our parent organizations long history of supporting process over product. Research is such an academic con…cept (less so than our initial idea of doing an issue on pedagogy), and we wanted to find a way to thread our work around the relationship dance and performance practice has to systems of higher education. We looked to contributing editors embedded in the university system, those parasitically attached to it, and those intentionally operating outside of codified educational systems. We wanted to leave room for some contributors to celebrate how performance upends the conventional hierarchy between teaching and learningand for others to lambast the way dance and performance has been curtailed to a university model. We wrote to prospective writers:Keyword: Research(n.) studious inquiry or examination, especially: investigation or experimentation aimed atthe discovery and interpretation of facts, revision of accepted theories or laws in the light ofnew facts, or practical application of such new or revised theories or laws.Prompt: Movement Research was founded in 1978 as a self-described laboratory for investigating dance and movement. In its long history, the organization has prioritized giving space to artists for rehearsing, developing, and investigatingrather than presenting and producingtheir work. The Movement Research Performance Journal can be seen as an outgrowth of this missionextending the rehearsal studio into the space of the page. In its first issue, editor Richard Elovich describes the journal as a new public space for the New York performance communitya slightly anarchic forum in which opposing ideas and aesthetics can be seriously developed and debated. How do we understand this mission of staying in the zone of research today? How are artists (re)building pedagogy, and processes of learning, into their practice? What contemporary or historical alternative schools, and approaches to schooling, might be seen in constellation with the founding of Movement Research? How are students of dance and performance confronting the possibility and failure of an educational system predicated on both their enrichment and indebtedness? Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
- Softcover
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Paperback. Condition: new. Paperback. What began as a project responding to the fiftieth anniversary of the end of the Vietnam War became a project of inhabiting the Movement Research Performance Journal (MRPJ) from within the landscape of contemporary Vietnamese performance art. The result, Issue #62, is a window onto a communi…ty of insiders who reflect a set of concerns, questions, historical trajectories, and aesthetic legacies that differ from what has more often been foregrounded in our U.S./New York City-centric publication. Like other documents of this kind, which endeavor to portray a performance scene that will be foreign to many readers, the texts from this group of intergenerational, contemporary artists demonstrate a careful navigation of the dialectics of inside and outside, self and other, performer and audience, seeing and being seen, that informs every exchange across cultural difference. The texts are also not monolithic, suggesting a range of relations to the Vietnam of the past and present, from within Vietnams national borders and among the diaspora. Especially for contributors living and working in Vietnam, writing has also been a practice of choreographing words within a political landscape where to speak publicly, in itself, is a performance of negotiated risk. Embracing the complexities of these differing positions has been the focus of our editorial processone that has asked the editorial team to embrace the limits of our own knowledge, to recognize we will not be able to recognize all valences others may discover in these texts, and not to edit these layers out of the works that follow. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
- Softcover
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Paperback. Condition: new. Paperback. Theories of dance dramaturgy can be found in a growing body of literature on the field (see our incomplete reading list in this issue). But for Issue #61 of the Movement Research Performance Journal the editors decided stay in the not-knowing by inviting contributions from those whose work t…ouches on dance dramaturgy with curiosity, anxiety, anarchy, as well as a conviction for the intimacy it requires and a resistance to its history of institutional/state authority. At the heart of the issue is a special section by Contributing Editor Ligia Lewis. Across Lewis works there are not only a range of dramaturgs, but the role of dramaturgy shifts and morphs in relationship to the differing works and over time. The reinvention of the dramaturg that Lewis work articulates is something that has proliferate throughout the field of contemporary dance. The rest of the issue includes a range of texts, some from practicing dramaturgs, others from to those who have reluctantly accepted this title, and still more who reject the role outright all exploring a simple question: why has there been an explosion of interest in, perhaps even desire for, dramaturgs in contemporary dance? The explosion Im thinking of is not about a growing professionalization of dance dramaturgy (though that is certainly happening). I mean simply that more dance and performance artists are including dramaturgs as part of their process, and at the same time seem to be continually reinventing what the dramaturg is meant to do. What can we make of the desire for the dramaturg as well as the desire to continually reinvent this figure and its function? Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.
- Softcover
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Paperback. Condition: new. Paperback. Read My Lips is a phrase that will be familiar to longtime readers of the Movement Research Performance Journalso familiar that the mere reference will bring to mind an image posted by the artist collective GANG, an image that lies at the heart of one of the journals most spectacular moments…. Issue #3, with its focus Gender Performance, was published in 1991 amid that eras Culture Wars, receiving almost immediately negative reception from government officials (the NEA threatened to withdraw funding from Movement Research) and many members of the dance community (who considered Issue #3 to be deliberately provoking the so-called war, intentionally taking a political position that some worried might comprise future funding of the field). In the thirty-three years since its publication, Issue #3 has developed a patina familiar to many artist-activist histories that are looked upon with romance and nostalgia, often by those for whom that history is only a fantasy (rather than a lived experience). For the current issue, Issue #60, we revisit Issue #3 attempting to move beyond this idealization by engaging critically with the original content. Under the direction of four contributing editorsAmalle Dublon, Kay Gabriel, Keioui Keijaun Thomas, and Anh Vo weve assembled a new body of work by mostly trans and queer artists reflecting on the keyword gender and its relation to contemporary performance. Their work moves across multiple genres of writing, from analytic essays to poetry to performance scripts. While gender is a central topic for some, many more of the pieces in Issue #60 approach this keyword obliquely, almost evasively. Is this because of the punitive relation one nowadays seems to expect will result from direct political speech? Then again, there are more ways to understand what might, at first glance, seem like a refusal to speak gender directly. Perhaps gender as a concept can only be approached indirectly and in relation to other ways of knowing ones body, identity, and their relation to social life. Perhaps its a way of defending against the demand to explain again and again the fallacy of gender as a biological binary, which is its own kind of political sabotage, a tactical exhaustion of momentum towards liberation through weaponized ignorance. Certainly, the need to explain how things are can get in the way of imagining how they could be. The works assembled in Issue #60 do bothexplicating a contemporary impasse while also theorizing alternatives, opening up other ways of rehearsing a relationship between gender and contemporary performance of all kinds. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
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- Softcover
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- Softcover
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Published by Movement Research Inc. New York, NY, 1991
- Softcover
Seller: Specific Object / David Platzker, New York, NY, U.S.A.Specific Object / David Platzker
Contact seller5-star seller18 pp.; 21.8 x 29.7 (folded) ; 43.4 x 29.7 (unfolded); loose leaves; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; Issue number three of Movement Research : Performance Journal, guest edited by Tom Kalin. Contents include: "Gender Performance," by Tom Kalin; "Update from Movement Research," by C…athy Edwards, Richard Elovich, and Guy Yarden; "How Dance Artists & Critics Define Dance as Political," by Jill Johnston; "May Interviews June," by Peggy Shaw and Lois Weaver; "World's Greatest Cocksucker," by Chris Martin; "Programs"; "Faculty;" "The Dawns We Shanghied in Each Other's Arms, Exhausted," project by Powers of Desire; "Vicki and Daphne," by Cheryl Clarke; "Crash Body in Three Performative Fragments," by Critical Art Ensemble; "Untitled," by Donald Woods ; "She Killed a Deer," by Peter Bowen; "Gender Dismember: An Interview with Kate Bornstein," by Caroline Palmer and "In Praise of Drag," by John Kelly. Fine. Unsent copy, folded through horizontal center as issued, clean and unmarked.
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- Softcover
Seller: AHA-BUCH GmbH, Einbeck, GermanyAHA-BUCH GmbH
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Taschenbuch. Condition: Neu. Neuware.
