所有权、本体论与当代舞蹈公地

IF 0.6 0 HUMANITIES, MULTIDISCIPLINARY

International Journal of Cultural Property Pub Date : 2022-05-01 DOI:10.1017/S0940739122000170

H. Blades

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引用次数: 0

摘要

摘要本文认为“公地”与英国当代舞蹈的关系。我通过概述管理流通和所有权的四条隐含规则，强调了在这种背景下塑造舞蹈共享的规范和期望。我接着通过对编舞家和视觉艺术家弗洛伦斯·皮克的作品《RITE》（2018）及其与编舞家瓦斯拉夫·尼金斯基的《春天的仪式》（1913）的关系的考察，强调了舞蹈在法律结构之外的流通在一定程度上是由于其本体论。

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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Ownership, ontology, and the contemporary dance commons

Abstract This article considers the “commons” in relationship to contemporary dance in the United Kingdom. I highlight the norms and expectations that shape the sharing of dance in this context by outlining four implicit rules that govern circulation and ownership. I go on to highlight how dance’s circulation outside of legal structures is in part due to its ontology through the examination of choreographer and visual artist Florence Peake’s work RITE (2018) and its relationship to choreographer Vaslav Nijinsky’s Le Sacre du printemps (The Rite of Spring) (1913).

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来源期刊

International Journal of Cultural Property HUMANITIES, MULTIDISCIPLINARY-

CiteScore

1.30

自引率

14.30%

发文量