By Sita Popat

The first and basically publication to target dance on the net, Sita Popat’s interesting Invisible Connections examines how net and conversation applied sciences supply dance and theatre new systems for developing and appearing paintings, and the way possibilities for distant interplay and collaboration can be found on a scale by no means ahead of imaginable.

Drawing upon the work of practioners and theorists within the arts, communications and know-how theorists and , Invisible Connections makes unique connection with Popat’s sequence of Internet-based choreography initiatives from with on-line groups world wide, and explores:

* equipment during which such applied sciences can facilitate artistic collaborations among performers and viewers
* how sharing artistic strategies among on-line groups can enhance the creative palette and supply arts-based learning
* how the Cartesian duality of the mind-body break up is challenged by way of the physicality of dancing and choreography jointly online.

With its twin point process, from the writer as an artist/researcher and the appendix being written through a software program dressmaker, the ancient viewpoint on functionality on the web coupled with the writing makes this a needs to learn ebook for any scholar of functionality, dance or communique experiences.

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Additional info for Invisible Connections: Dance, Choreography and Internet Communities

Sample text

In terms of creativity, a shared knowledge and understanding of the developing artwork is what should be obtained through the online creative collaboration in order for an interesting and meaningful product or outcome to be created. The introduction explained the need for asynchronous communication to encourage reflection and to remove Hinkle-Turner’s ‘time-space continuum’ that limits the viewer’s ability to engage with the artwork. But the earlier discussion seems to be indicating the need for the presence of the artist and participant simultaneously to facilitate flexibility in the creative process.

For that reason, the process of dance devising will now be considered in detail. Chapter 7 will also consider implications for theatre and performance. Before tackling the transition of dance devising to the online setting, the process will be explored in the more traditional studio setting. 2 Although in devising methods there is always a sense in which the choreographer and dancers work together creatively, the level of involvement that the choreographer chooses to invite from the dancers may vary.

In the absence of any guidelines as to what one is trying to achieve, it is difficult to know where to start. Task-oriented work provides actors and dancers with ideas or concepts to explore, allowing them to unlock their creativity by focusing their attention and their imagination. Dance education writer Jacqueline Smith-Autard (1994, p. 87) describes how ‘rather than dampen creativity, such limitations give the imagination a start and a secure base from which to travel freely’. The boundaries or problems set by the director or facilitator serve to guide the exploration of the actors or dancers, so that they examine in depth a limited conceptual space, seeking imaginative solutions.

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