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

prosperity

debris

Atlantic Afterlives in Contemporary Fiction day, citing notable developments that have effected a marked change in perceptions and attitudes surrounding choreographic practices and processes both within and beyond Ireland. Spanning over twenty years of dance culture in Ireland, the writing reflects on notable developments within formal train

整潔漂亮

Atlantic Afterlives in Contemporary Fiction 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

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An Island in the Center of Its Hinterlandbrace 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

Precursor

An Island in the Center of Its Hinterlandyears. 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

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The Perfect Storm and the Turning Pointhe 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

FLIP

AXIOM

optic-nerve

On Peregrine Collaborations—Cindy Cummings’ Choreography of ,: Woman, Disorientation, Displacementhnaill. The premise is that Cummings, as peregrine or resident alien in Ireland, brought a unique perspective to approaches of collaborative transdisciplinary creative processes that supported the three artists probe representations of women in Ireland. Applying Peggy Phelan’s thesis that the image

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Bodied Stories and Storied Bodies in Contemporary Irish Performanceries are performed in the cultural repertoire beyond the linear or literary narrative that dominates Irish performance. These companies demonstrate the suppleness and power of performance to retell devastating histories and violent proclivities in myriad forms. The attention to movement and the use