Dance as L'intervention: Health and Aesthetics of Experience in French Contemporary Dance
This article investigates the ways in which discourses and experiences of health and healing have shaped the development of contemporary dance in France. It confronts the problem of how to situate contemporary dance in relation to other dance genres and suggests Robert Desjarlais’ concept of the ‘ae...
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| Published in | Body & society Vol. 11; no. 4; pp. 109 - 139 |
|---|---|
| Main Author | |
| Format | Journal Article |
| Language | English |
| Published |
London, Thousand Oaks and New Delhi
SAGE Publications
01.12.2005
|
| Subjects | |
| Online Access | Get full text |
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| Abstract | This article investigates the ways in which discourses and experiences of health and
healing have shaped the development of contemporary dance in France. It confronts
the problem of how to situate contemporary dance in relation to other dance genres
and suggests Robert Desjarlais’ concept of the ‘aesthetic of
experience’ as a helpful framework for understanding the ways in which
technique and virtuosity operate differently in contemporary dance than in other
dance forms. The article is ethnographic and historical and attempts to create a
dialogue between dance studies and medical anthropology. The ethnographic and
historical material has three parts. First, I offer an analysis of the cultural
idiom of illness as blocageand argue that contemporary dancers in
Aix-en-Provence experience their work as a form of healing or
dÈblocage. Next, I show how two historical and political events
in France led to the promotion of dance as a means of social reform: (1) the
Situationist art movement of the 1960s and its idea of
‘awakening’ society through public art; and (2) the renovation
of the French Ministry of Culture in 1982 and its subsequent promotion of
contemporary dance in state-funded community outreach projects in the 1980s.
Finally, drawing on rich narratives from fieldwork interviews, I define awareness,
expression and presence as the primary technical elements of contemporary dance in
Aix-en-Provence, France, in 2002, and explain their relationship to the notion of
‘dance as l'intervention’ that has grown out
of the historical context of contemporary dance in France. |
|---|---|
| AbstractList | This article investigates the ways in which discourses and experiences of health and
healing have shaped the development of contemporary dance in France. It confronts
the problem of how to situate contemporary dance in relation to other dance genres
and suggests Robert Desjarlais’ concept of the ‘aesthetic of
experience’ as a helpful framework for understanding the ways in which
technique and virtuosity operate differently in contemporary dance than in other
dance forms. The article is ethnographic and historical and attempts to create a
dialogue between dance studies and medical anthropology. The ethnographic and
historical material has three parts. First, I offer an analysis of the cultural
idiom of illness as blocageand argue that contemporary dancers in
Aix-en-Provence experience their work as a form of healing or
dÈblocage. Next, I show how two historical and political events
in France led to the promotion of dance as a means of social reform: (1) the
Situationist art movement of the 1960s and its idea of
‘awakening’ society through public art; and (2) the renovation
of the French Ministry of Culture in 1982 and its subsequent promotion of
contemporary dance in state-funded community outreach projects in the 1980s.
Finally, drawing on rich narratives from fieldwork interviews, I define awareness,
expression and presence as the primary technical elements of contemporary dance in
Aix-en-Provence, France, in 2002, and explain their relationship to the notion of
‘dance as l'intervention’ that has grown out
of the historical context of contemporary dance in France. This article investigates the ways in which discourses & experiences of health & healing have shaped the development of contemporary dance in France. It confronts the problem of how to situate contemporary dance in relation to other dance genres & suggests Robert Desjarlais' concept of the 'aesthetic of experience' as a helpful framework for understanding the ways in which technique & virtuosity operate differently in contemporary dance than in other dance forms. The article is ethnographic & historical & attempts to create a dialogue between dance studies & medical anthropology. The ethnographic & historical material has three parts. First, I offer an analysis of the cultural idiom of illness as blocage & argue that contemporary dancers in Aix-en-Provence experience their work as a form of healing or deblocage. Next, I show how two historical & political events in France led to the promotion of dance as a means of social reform: (1) the Situationist art movement of the 1960s & its idea of 'awakening' society through public art; & (2) the renovation of the French Ministry of Culture in 1982 & its subsequent promotion of contemporary dance in state-funded community outreach projects in the 1980s. Finally, drawing on rich narratives from fieldwork interviews, I define awareness, expression & presence as the primary technical elements of contemporary dance in Aix-en-Provence, France, in 2002, & explain their relationship to the notion of 'dance as l'intervention' that has grown out of the historical context of contemporary dance in France. 5 Figures, 31 References. [Reprinted by permission of Sage Publications Ltd., copyright 2005.] This article investigates the ways in which discourses and experiences of health and healing have shaped the development of contemporary dance in France. It confronts the problem of how to situate contemporary dance in relation to other dance genres and suggests Robert Desjarlais’ concept of the ‘aesthetic of experience’ as a helpful framework for understanding the ways in which technique and virtuosity operate differently in contemporary dance than in other dance forms. The article is ethnographic and historical and attempts to create a dialogue between dance studies and medical anthropology. The ethnographic and historical material has three parts. First, I offer an analysis of the cultural idiom of illness as blocageand argue that contemporary dancers in Aix-en-Provence experience their work as a form of healing or dÈblocage. Next, I show how two historical and political events in France led to the promotion of dance as a means of social reform: (1) the Situationist art movement of the 1960s and its idea of ‘awakening’ society through public art; and (2) the renovation of the French Ministry of Culture in 1982 and its subsequent promotion of contemporary dance in state-funded community outreach projects in the 1980s. Finally, drawing on rich narratives from fieldwork interviews, I define awareness, expression and presence as the primary technical elements of contemporary dance in Aix-en-Provence, France, in 2002, and explain their relationship to the notion of ‘dance as l'intervention’ that has grown out of the historical context of contemporary dance in France. This article investigates the ways in which discourses and experiences of health and healing have shaped the development of contemporary dance in France. It confronts the problems of how to situate contemporary dance in relation to other dance genres and suggests Robert Desjarlais' concept of the 'aesthetic of experience' as a helpful framework for understanding the ways in which technique and virtuosity operate differently in contemporary dance than in other dance forms. The article is ethnographic and historical and attempts to create a dialogue between dance studies and medical anthropology. The ethnographic and historical material has three parts. First, I offer an analysis of the cultural idiom of illness as blocage and argue that contemporary dancers in Aix-en-Provence experience their work as a form of healing or déblocage. Next, I show how two historical and political events in France led to the promotion of dance as a means of social reform: (1) the Simationist art movement of the 1960s and its idea of 'awakening' society through public art and (2) the renovation of the French Ministry of Culture in 1982 and its subsequent promotion of contemporary dance in state-funded community outreach projects in the 1980s. Finally, drawing on rich narratives from fieldwork interviews, I define awareness, expression and presence as the primary technical elements of contemporary dance in Aix-en-Provence, France, in 2002, and explain their relationship to the notion of 'dance as l'intervention' that has grown out of the historical context of contemporary dance in France. Reprinted by permission of Sage Publications Ltd This article investigates the ways in which discourses & experiences of health & healing have shaped the development of contemporary dance in France. It confronts the problem of how to situate contemporary dance in relation to other dance genres & suggests Robert Desjarlais' concept of the 'aesthetic of experience' as a helpful framework for understanding the ways in which technique & virtuosity operate differently in contemporary dance than in other dance forms. The article is ethnographic & historical & attempts to create a dialogue between dance studies & medical anthropology. The ethnographic & historical material has three parts. First, I offer an analysis of the cultural idiom of illness as blocage & argue that contemporary dancers in Aix-en-Provence experience their work as a form of healing or deblocage. Next, I show how two historical & political events in France led to the promotion of dance as a means of social reform: (1) the Situationist art movement of the 1960s & its idea of 'awakening' society through public art; & (2) the renovation of the French Ministry of Culture in 1982 & its subsequent promotion of contemporary dance in state-funded community outreach projects in the 1980s. Finally, drawing on rich narratives from fieldwork interviews, I define awareness, expression & presence as the primary technical elements of contemporary dance in Aix-en-Provence, France, in 2002, & explain their relationship to the notion of 'dance as l'intervention' that has grown out of the historical context of contemporary dance in France. Figures, References. [Reprinted by permission of Sage Publications Ltd., copyright 2005.] Contemporary dance is an international phenomenon that achieved critical mass in the US and Europe in the 1980s and 1990s and continues to develop in experimental theatres, studios and choreographic centers across the globe. Sometimes called 'experimental dance', 'postmodern dance' or 'New Dance', contemporary-dance is often thought of as dance's counterpart to postmodern movements in literature, cinema, theatre and visual arts. Contemporary dancers challenge traditional and modernist attachments to virtuosity, visuality and representation, and at times they question the boundaries of dance itself. In the words of dance studies scholar Anne Cooper Albright, the work of contemporary dancers 'takes on the hybridity of contemporary culture, at once deconstructionist and visionary' (1997:191). |
| Author | Wilcox, Emily E. |
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| Snippet | This article investigates the ways in which discourses and experiences of health and
healing have shaped the development of contemporary dance in France. It... This article investigates the ways in which discourses and experiences of health and healing have shaped the development of contemporary dance in France. It... Contemporary dance is an international phenomenon that achieved critical mass in the US and Europe in the 1980s and 1990s and continues to develop in... This article investigates the ways in which discourses & experiences of health & healing have shaped the development of contemporary dance in France. It... |
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| SubjectTerms | Aesthetics Artistic movements Body Cultural history Cultural studies Dance Dance therapy Discourse Ethnography Expression France Healing Health Medical anthropology Social reform |
| Title | Dance as L'intervention: Health and Aesthetics of Experience in French Contemporary Dance |
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