Drawing on Howard Gardner’s view of dance as “kinesthetic intelligence,” Hanna notes that choreographers draw on “musical, visual, verbal and interpersonal intelligences” to create.
This booklet, published by San Francisco performances, sketches out the basics of choreography, which is defined as “the art of ordering space, effort and rhythm.”
Gottschild’s text, which discusses the influence of the black body in dance, also explores Bill T. Jones’s movement vocabulary (which the author qualifies as “extensive”) and the concept of “black space.”
See Part 3, entitled Reflections and Extensions, for an analysis of how Bill T. Jones choreographs memory, movement, and identity. Particular attention is paid to his works 21, which features the repetition of the word “memory,”and Still/Here which Desmond describes as a “danced memoir.”
Albright discuses the role of dance and choreography in how our differences (gender, race, sexuality) are addressed before the public eye, and how cultural identities are promoted. See references to Bill T. Jones in the chapter entitled “Embodying History: Epic Narrative and Cultural Identity in African-American Dance.”
The book recounts in detail a 1983 collaboration in which Haring painted Bill T. Jones’s black body with white acrylic paint.
Earliest applications of computers to dance focused on using animation to plan choreography. Composing and editing dance notation scores soon followed, and it wasn’t long before the computer was transforming those same scores into animation. This overview examines these trends as well as the digital impact on live performance.
In chapter 17, entitled “Dancing and Cameras,” Bill T. Jones discusses the influence of 19th-century photographer Eadweard Muybridge on his work. Movement as “a series of still pictures...that could be manipulated” captured his imagination.
In this article, Ann Dils references Cunningham’s Biped and Jones’s Ghostcatching, and explores the impact of motion-capture techniques in which human bodies are replaced by electronically-created forms. As the body is left behind and aspects of dance become “ghosts in the machine,” questions inevitably arise about what it means to be human in the twenty-first century.
This site includes an MP3 of "Dink's Song," as well as lyrics and one story about the song's origin. "Dink's Song" is a the traditional folk song Bill T. Jones sings in "Ghostcatching."
RSS for user "lcinstitute: ghostcatching"
Drawing on Howard Gardner’s view of dance as “kinesthetic intelligence,” Hanna notes that choreographers draw on “musical, visual, verbal and interpersonal intelligences” to create.
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