Mix(tap)ing: A method for sampling the past to envision the future

IF 0.2 0 DANCE

Choreographic Practices Pub Date : 2021-07-01 DOI:10.1386/chor_00027_1

Michael J. Love

引用次数: 0

Abstract

This article outlines the theoretical and aesthetic considerations of Love’s performance-as-research method for developing interdisciplinary tap dance work ‐ a method he identifies as Mix(tap)ing. By first narrating how he arrived to his current practice as a dancemaker and artistic researcher, Love is able to show the ways in which his method samples strategies, voices and traditions from the cultural past to imagine and work towards futuristic locations of liberation and possibility. Ultimately, Mix(tap)ing allows Love to layer intellectual concepts and theatrical conventions in order to design an approach to rhythm tap dance improvisation and choreography that is expressly Black and queer. This article is, in itself, a demonstration of Love’s method as it joins written analysis with a performed lecture script to evidence how Love has previously presented one of his Mix(tap)es.

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混合（敲击）：一种对过去进行采样以展望未来的方法

本文概述了Love将表演作为研究方法来开发跨学科踢踏舞作品的理论和美学考虑——他将这种方法称为Mix(踢踏舞)ing。通过首先叙述他是如何成为一名舞蹈制作人和艺术研究者的，Love能够展示他的方法是如何从过去的文化中提取策略、声音和传统，以想象和努力走向未来的解放和可能性。最终，Mix(踢踏舞)允许Love将智力概念和戏剧惯例分层，以设计一种节奏踢踏舞即兴表演和舞蹈编排的方法，这是明确的黑人和酷儿。这篇文章本身就是Love的方法的演示，因为它将书面分析与演示的演讲脚本结合起来，以证明Love之前是如何展示他的一个Mix(tap)es的。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Choreographic Practices DANCE-

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0.10

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期刊介绍： Choreographic Practices operates from the principle that dance embodies ideas and can be productively enlivened when considered as a mode of critical and creative discourse. This double-blind peer-reviewed journal provides a platform for sharing choreographic practices, critical inquiry and debate. Placing an emphasis on processes and practices over products, this journal seeks to engender dynamic relationships between theory and practice, choreographer and scholar, so that these distinctions may be shifted and traversed. Choreographic Practices will encompass a wide range of methodologies and critical perspectives such that interdisciplinary processes in performance can be understood as they intersect with other territories in the arts and beyond (for example, cultural studies, psychology, phenomenology, geography, philosophy and economics). In this way, the journal will open up the nature and scope of dance practice as research and draw together diverse bodies of knowledge and ways of knowing to illuminate an emerging and vibrant research area.