Case Studies on Choreography
While focusing on choreographic work, choreographers cannot ignore other allied fields of research and art. Dancemakers need to be knowledgeable about uncovering resources that support their artistic work from a variety of perspectives and tackle issues and concepts that are relevant to their professional work — both directly or indirectly.
By Susan Callahan
Commissioned by the Joyce Theater (2012) and Published by The Andrew W. Mellon Foundation (2014), 109 pages
This study collected and examined a wide range of information, including data from 132 colleges, 37 written sources, 43 interviews and consultations, and four site visits. Research explored professional choreographic training opportunities currently available in the United States through college programs and from other organizations and individuals; training (or lack thereof) of select choreographers working in the United States and the factors that contributed to the development of their choreographic voices; and select training methods and practices in Europe.
CHOREOGRAPHIC LINEAGE--- AN INTERACTIVE, WEB-BSED GENEALOGICAL NETWORK
By Melanie Aceto, Director
Choreographic Lineage is an interactive, web-based genealogical network illustrating connections between dance artists, their teachers, their students, their collaborators and people who they were influenced by. The main goal is to establish a knowledge base documenting 20th and 21st century dance that is searchable and minable and that will continue to grow as new generations of artists are added. Choreographic Lineage is intended as a global resource for investigating artistic influences, career paths, choreographic connections, and complex and obscure relationships. Contribute your Lineage! Your thoughtful completion of the lineage survey regarding your dance background and major influences will be invaluable to the creation of this resource. The completion of the Choreographic Lineage survey is voluntary and can be accessed:
By Ivar Hagendoorn (2003)
Like many who attend a dance performance, Dutch choreographer, researcher and theorist Ivar Hagendoorn left the theater thrilled by what he had seen. The difference was that he became obsessed with one question: What was it about — these swaying, soaring, twirling bodies that so stirred the mind of the viewer? When his own discipline — philosophy — yielded little insight, he turned to brain science. A decade of scholarly research later, he has some hypotheses and is putting them to the test using the Frankfurt Ballet.
by Julie Van Camp
1994-95 Entertainment, Publishing and the Arts Handbook
edited by Stephen F. Breimer, Robert Thorne, and John David Viera
New York: Clark, Boardman, and Callaghan, 1994 (pp. 59-92)
Copyright Julie C. Van Camp 1994