Professional Documents
Culture Documents
Looking Two Ways by 25th
Looking Two Ways by 25th
Introduction
Social cohesion
Cultural identity
Equality of opportunity and access
In many respects this paper is a life narrative in which the setting of the
protagonist has been shifted. To understand the issues that are
embedded in my practice it becomes important to place them in some
context. As Derek(2004) notes we ascribe ourselves and others as having
individual characteristics.
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‘Personal identity’ is how a person regards themselves and how they and
others relate to behave toward people in life.
There are five important dimensions of the self : It is both part of society
yet apart from it ; people are emotional as well as cognitive beings; self-
identity changes and develops over time; self-control and control over
others are essential to social interaction; the self has ‘higher’ or spiritual
potential.
(Derek , 2004, 28)
Chapter 1
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interpretive process. I seek to articulate some of the values, beliefs, and
philosophies intrinsic to these practices.
I will start with my training as a Korean traditional dancer, and the social
changes which have brought about a regeneration of the form. This is
followed by a discussion of ways that my dance practice and
choreography is socially informed and constructed.
The basis of traditional dance is the skilful use of breathing which can
lengthen or shorten the movement. The energy coming from the abdomen
circulates through the whole body, and it creates gestures and expressive
movements. The individual dancer’s breathing can be felt by other
dancers in a group as they respond to sense each other’s energy in
performance.
Traditional dancers in the past were mostly women or people with low
social status. Recognition of the poor status of traditional dancers was one
of the factors that led to the modernization of traditional dance.
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"We aim not only at reconstructing 'movement' representative of various
periods of Korean dance, but also at reflecting contemporary thought,"
she said.( Mae-Ja Kim, 2002)
She goes further to underling issues facing Korean dance in the future.
“ Firstly, Korean dance had to initiate and undergo changes to accept the
format of contemporary theatrical dance. Secondly, it had to study the
traditional elements of Korean dance culture from a more fundamental
perspective, if it was to achieve a successful renewal," (Mae-Ja Kim, 2002)
Social identity theory ( Tajfel & Turner, 1986; Turner, 1999) differentiates
between interpersonal behaviour which is determined by individual
characteristics in case of a salient personal identity and intergroup
behaviour which is determined by characteristics of the group in case of a
salient social identity. (website state- of –the
-arts 2008, accessed 11Nov 2009)
4
Confucian philosophy value
Confucian culture was seen as based on what the ancient sages had
thought people to do, and the sages’ teaching ultimately were grounded
on the four sprout.
The concept of the heart mind as consisting of the four sprouts common
to all humans that provided the foundation for moral behaviour and social
order ; the sense of compassion, shame, courtesy and right and wrong.
(Anne D, 1996, Pg55)
In theory the two are reconcilable: the inner cultivation of the self is not
only an end in itself but also a means toward ultimate self-fulfilment in the
world of action. Confucius considered knowledge and action to be
complementary. Knowledge is not only for the sake of knowledge.
Knowledge should be used to solve practical(social) problems. The
relationship between learning and practising what one learns is a close
one.
(Zhang, Bin W. 1999,56)
5
Confucius believe that different behaviours had different impacts on the
mind
It is a main feature of Confucianism that when it discusses action, it
always refers not only to its temporary consequences but also to its
possible long-term impact on the mind. Confucius held that application of
knowledge not only has social utility but also will bring pleasure to the
scholar himself.
First, People have the different expression about self confidence between
east and west.
According to Lao-tzu (604-531BC ? Chinese scholar) “People who talking a
lot because of they do not have knowledge but intellectual people does
not need to talk...”
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The cultural philosophy of eastern people understands as passive attitude
about self-confidence. In contrast to western people has active expression
about issues.
Second, how they have different composition (view) when they see some
picture.
East people see picture as whole view, but when western people see the
picture they pay attention each object in the picture.
The origin of a word ‘ATOM’ (uncut) it means that ATOM is the important
one cannot cut anymore, based on the character of each ‘ATOME’ it make
whole character. It is the example as western people believes how the
individual does is important in group. The other hand eastern people
educated always aware of group and family rather than their own being.
Shamanistic practice
*How this is present in my practice. describe the beliefs that i share with
shamanism….
*About gut,
*Gut experience as potential strengthen in the performance
The Korean shamanism tradition is based on the belief that the shaman is
able to be an intermediary between us and spirit of our ancesters.
Shamanism has had a lasting influence in asian culture and its traces are
still found in Korean society today.
Shamanism
I am still writing…
Example work..
*Tony yap –what is the shamanistic movement to him?
*Pina Bausch performed with Korean shaman in korea..
Chapter 2
Investigation of developmental perspective as my present
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growth can sometimes be attributed to the fact that the artist has been
able to successfully differentiate from the original mentor figure in whose
image she might have been formed. Their development has meant
moving from dependency as a novice to autonomy as an established
artist. (Susan. A ,1997, 235)
These attitudes are diverse in their formds. They reflect new perspectives
and thinking about the world. In dance in the end of the 20th century they
reflected interest in the ordinary, the so-called pedestrian. It manifested in
new creative procesees - some of which are concerned to look at the
detailes of action from an anatomical or even mechanical perspective.
(*Twyla Tharp, Trisha Brown, Steve Petronio – try and note their
concerns/interests briefly. Here?)
In the next few sections I examine several artists with whom I have
experienced contact.
Working with various choreographers who each have a different
perception on
movement vocabulary and aware of reveal myself as new experience in
practice.
Determining a set of such things to attend to in an improvisation and
sometimes known
as a ‘score’ can provide a frame for performance.
8
Crisp, Becky Hilton, Lucy Guerin who each have a very different
perspective on movement vocabulary, was a revelation.
This practice draws heavily on the various sciences that contribute to the
understanding of the complex phenomenon of movement by
choreographer Helen Herbertson. Focus on the physical movement evoke
by stimulation of muscles and characterized by qualitative and
quantitative positional changes of the specific skeletal parts.
The idea, the concept of movement, is the voluntary act and the sole
voluntary component of all movement .. Imaged movement is best
defined as an ideokinetic facilitator. (Lulu E, 1974, 7)
• Rib Cage- I feel more air in the body, and I feel that the dancer can
further explore the interaction between the body and the breath and
how that affects the expression of energy in the space.
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• By generating the skeletal awareness of the body and spatial
interaction I found another connection which brings the feet energy
into the floor. It is always fascinating to explore and realise again
the three interactions about space, body and floor to enjoy
discipline everyday and every moment. This exercise bring a higher
consciousness to balance of the body, grounded feet, open chest to
contain more air in the body and deep breathing as better efficiency
in movement.
I explore the feeling that is the negative and positive way of extremity to
discover
extreme body shape and concentrate on finding any other skeletal
support that refines the detail of my extreme sense.
I improvise about extremely long and short, big and small, happiness and
pain and these various imaginative states give me more possibilities to
explore my creative movement discipline.
Neck
• If I create shape such as a long extreme line using my arm and leg, I
am conscious that my neck should be in a supporting position in the
body shape. The most extreme feeling can be created with right
position of neck support.
Nose Bone
• I find that the awareness to extend the energy from the nose bone
and run that energy line relative to the body line gives a stronger
extreme feeling as a conscious energy supporting line.
• Unconsciously, other bones and muscle support movements as
voluntary act.
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Practice 2. Development of human movement
Don, in the quote, he talking about the both popular/ unpopular culture, is
it east and west culture? It was my understanding…, if not I will change
the quote..
“In my most recent written work, particularly the performance texts, I
have identified moments of interest to me, from what has been written,
spoken, or talked about in both popular and unpopular culture, and I have
‘rescued’(read plundered)these otherwise dry and serious moments from
history and experience, from other fabrics and other realities, in order to
embody them, to attend to the poetry, the wit, and sometimes the
sadness charging this material.” (Patrick. T 2008)
The foot is one of the most complex parts of the body. It consists of 38
bones connected by numerous joints, muscles, tendons and ligaments,
and is susceptible to many stresses. Foot pain is caused by a variety of
conditions, most often improper foot function or poor posture. The most
common reason for people to have foot problems is a condition called
abnormal pronation, in which the foot does not strike and/or leave the
ground as it is supposed to (Journal Acupuncture in Medicine 1996,
accessed 15 June 2009)
During the work on foot technique this week I was often thinking of the
relationship between feet and the organs of the body. I am also aware
that knowledge of acupuncture points found on the feet, along with
indications for each point, and foot conditions affecting kinaesthetic
movement may affect the quality of the movement when I keep my focus
on the feet in dance exercises.
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some that it's origin is in Egypt or India.
(Acupuncture web, accessed 15 June 2009 )
In the process of the foot exercise with the little ball I found a few points
that I felt pain and it stimulated me to maintain focus on these few special
points as my own treatment to produce more active circulation of energy
in my body.
Choreographic improvisation
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we are encouraged to do nothing, allowed to do anything, in five and ten
minute blocks with our eyes closed. Eyes closed has taken us deeper into
our awareness of the body.
I had an incredible sense of all of my cells moving when I danced and this
feeling brought me to another level of quality in movement. I know that I
can’t explain this experience, but hope to achieve this feeling more often
when I perform. My concentration on the memory of
touch, made me focus more on my body rather than thinking of physical
technique.
I think of it more as one inside the other, not as a space in between them.
I call it ‘choreographed improvisation’. She demands that every option for
movement be available at all times and her work entails a highly rigorous
approach to making dance, offering no set steps, but a recognizable
vocabulary. (Jo. P interview with Crisp , 2006, 25 )
The focus can be on extremities of limbs, the toes, the fingers, the
linkages and joints. It might be on stretching or bending articulation. By
focusing on several things in particular – such as variations of effort,
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energy, skeletal shapes and orientation to a witness.
It is only within the last fifteen to twenty years that dancers have
systematically studied the science of human motion. Prior to that,
tradition was the sole director of dance training. Therefore, it is not
surprising to find a whole galaxy of myths which thrive in dance studios
where teachers have not been trained in the science human motion.
(Fitt. S , 1988, 327)
I believe that it helps to feel the detail of the body and movement line,
this can be explore to deepen my exploration of my movement and
culture.
The creativity flows out of our unconscious then conscious mind can
discover the form that emerges from the unfolding of the creative
process. This insight into pattern of the process can then further open and
expand the avenues of unconscious expression. (Cohen. B Bainbridge,
1993, 13)
14
• Bending arm/leg joints of the body gives the movement energy a
contained feeling, reminiscent of a partner dance feeling or an
intimate movement that you share with someone present. In
oppositions stretching arm/leg joints throws the movement energy
out ward and a sense of isolation and the absence of regard from
other people like they have disappeared.
The idea for the design of the piece comes from the meaning of the words
‘Gyu Bang’ in Gyu-Bang-Ga-Sa. This means ‘small room’ (the domestic
world of women) and it is separate from the outside world. This is an
interior space and is isolated from the world of action inhabited by men.
In Confucian society conflict happens in the space if the two worlds are
brought together.
In doing this I’m interested in how identity is derived from time and space:
aware of the ways that parallel architectural affect of the body can be a
temporal and necessarily changing and dynamic part of the objects in
source. It can be understood in this way and this is a new perception or
awareness in progressive work.
Lucy Guerin
use of text to develop choreographic material. It enables the construction
and reconstruction of emotion. from text she asked us to find a mood,
find a feeling, find movement, find energy.
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Field work 2. The concept of idea ‘Stanza’
The collaboration with visual artist Naomi Ota her installation invites
audience into the scenery which gives a sense of slow-growing (growth
with stillness). Forms of objects refer slow-transformation of nature
particularly which of sea-bleached coral.
Chapter 3
Multiculturalism in Australian society
16
The emerging of arts work that I saw many performance development
here people have multinational identities with their own subjectivities in
their work like cultural multidisciplinary development.
Given the rapid demographic transformation that has occurred over the
last 50 years, there is no doubt that Australia is descriptively and
prescriptively a multicultural nation.
This diversity, and the fact that Australia’s future in increasingly being
linked with Asia and the Pacific, make it imperative that we look at where
we are going as a people.
What is the nature of the Australian national identity?
The first relates to the way in which pluralism and diversity has been
understood as ‘cultural diversity’ and that ethnic groups are to be
regarded as ‘cultural group’. Hence, the question of the culture-often
regarded as the unproblematic centrepiece of the ideology of
multiculturalism-acquires special significance. In brief, we shall argue that
the way in which the concept of culture has been used, defined, and
understood, is central to an appreciation of the meaning of difference in
the Australian context.
17
The secondly, it is suggested that the manner in which the culture
concept has been conceptualised in the multicultural discourse distorts
the true character of diversity of contemporary Australian society.
Australia has within a short space of a little more than a decade, achieved
an impressive and successful development of educational policies and
practices known as multicultural education…[while] there are neglected
area of policy and practice.. the record of development is considerable
(1987,48)
Social cohesion
Cultural identity
Equality of opportunity and access
The personal identity is how a person regards themselves and how they,
and others, relate to, or behave towards themselves.
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• The self is both social and psychological in nature, the self can only
exist within a social context.
• The self is essentially emotional in nature, people are
knowledgeable, skillful and rational, these capacities must be
understood to emotion.
• The self is a centre of awareness and control over self and others
from gentle control and influence to extreme exploitation and
coercion.
• The self is flexible and pliable in two major senses. Fist, it may
manifest itself in different aspect. Second, the self changes, evolve
and develops. In this sense it is the self-realization.
• The self has a spiritual aspect which often remains undeveloped. It
is not requires sensitivity, commitment and education. It may
develop as part of a process of self-transformation.
19
"Culture as ideology is relevant in the study of human development, but
the question is how strong and how uniform that influence is, especially in
this era of globalization when we're subject to a multitude of influences,"
said Gjerde. "Culture has a place, but it also has to be put in its place."
(Emphasis on 'culture' in psychology fuels stereotypes, scholar says, 2004
accessed 22 Nov 2009)
Conclusions
The demystification of fairy tale was a route that Bausch and Marin may
have taken in some of their work-enabling an interrogation of current
social values. It seems that the telling of the story has not been so
important as the exploration of folk traditions are being revalued as shift
between characters and universe.
20
• There is a sense or perception of a deeping self understanding. This
is reflected in my ongoing recollections of dance and perceptions of
new influences within my contemporary practice.
21
Bibliography
Reference List
22
Cohen, Bainbridge B. (1993) “Sensing, Feeling, And Action”, Contact
Editions, Northampton.
Reference by Website
Name of web mention!
http://www.ccn-roubaix.com/index.php?
option=com_content&view=article&id=144&Itemid=599&lang=en
http://www.chncpa.org/n457779/n457834/n516566/2763046.html
http://proximity.slightly.net/v_five/v5e1a2.htm
http://www.melbournestage.com.au/ms1/index.php?
option=com_content&task=view&id=106
http://www.univie.ac.at/sittax/htm/social-ident.html
http://www.ehow.com/about_5456476_theory-social-identity.html
http://www.acupunctureproducts.com/
http://blog.timesunion.com/holistichealth/acupuncture-for-the-treatment-
of-headaches-and-migraines/612/
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1 The ChangMu Dance Company, under the artistic direction of Kim Mae‐ja, was founded in
December 1976 for the dual purpose of reconstructing dance movement representative of the
various periods of Korean history and of creating new movements and formats that reflect the
thought and lifestyle of our contemporary world.
2 The gut is a shamanistic rite where the shaman offers a sacrifice to the spirits. Through
singing and dancing the shaman begs the spirits to intercede in the fortunes of the humans in
question.