Participant Spectator Meeting Places

Lucinda Coleman

Abstract


During 2013–2014, visual and performing artists from the Australian dance collective, Remnant Dance, were invited to make a contemporary dance film together with young people from a Children’s Centre in Myanmar. The experience of the Australian artists moving together with Myanmar youth enabled dialogue through expressive gestures. The dance-making was visceral, generating embodied engagement for participants who were both performers and spectators in the act of dancing together. The creation and exhibition of a dance film about places of meeting in/through dance, and as contextualized within a larger body of artistic work, illuminated how each individual might be a participant, performer, collaborator, and/or spectator. Questions concerning spectatorship were raised as the young Myanmar participants became performers and then spectators of their own work. International touring of the evolving artistic work, Meeting Places, then invited new audiences to reflect on how dance-making with others might challenge assumptions as to who the collaborators, participants, performers and/or spectators are in art-making and performance experiences.


Full Text:

PDF

References


Aung San, Suu Kyi. 2010. Freedom From Fear and other writings. London, England: Penguin Books.

Bishop, Claire, ed. 2006. Participation Documents of Contemporary Art. London: Whitechapel Gallery & The MIT Press.

Borgdorff, Henk. 2010. "The Production of Knowledge in Artistic Research." In The Routledge Companion to Research in the Arts edited by M Biggs and H Karlsson, 44-63. London: Routledge.

Carlens, Chloë 2015. Burmese artists caught in self-censorship. The Huffington Post

Chan, Michele. 2014. Censored Burmese contemporary art comes to light – in pictures. Art Radar.

Coleman, Lucinda. 2015. "Conversations on the frontlines of the body." Contemporising the past: envisaging the future Proceedings of the 2014 World Dance Alliance Global Summit 6-11 July 2014, Angers, France.

Diamond, Catherine. 2009. "A Delicate Balance: Negotiating Isolation and Globalization in the Burmese Performing Arts." TDR: The Drama Review 53 (1):93-128.

Flavell, Satima. 2014. Dance Film connects Perth Artists with Burmese Community.

Hamera, Judith. 2007. Dancing Communities Performance, Difference and Connection in the Global City. Hampshire: Palgrave Macmillan.

Koh, Jay. 2016. Art-Led Participative Processes: Dialogue & Subjectivity within Performances in the Everyday 2nd ed. Selangor, Malaysia: Strategic Information and Research Development Centre.

Lévinas, Emmanuel. 2013. Otherwise than Being or Beyond Essence. Translated by Alphonso Lingis. Pittsburgh, Pennsylvania: Duquesne University Press.

Long, Kayleigh. 2016. Myanmar: Rohingya Muslims displaced, starving amid allegations of human rights abuses by security forces. ABC News.

Meskimmon, Marsha. 2003. Women Making Art. London: Routledge.

Phillips, Maggi. 2014. "Choreographies of Thought: Dancing Time Back into Writing." In Doctoral Writing in the Creative and Performing Arts, edited by Louise Ravelli, Bruce Paltridge and Sue Starfield. Oxfordshire: Libri Publishing.

Stronach, Ian, Jo Frankham, Sajida Bibi-Nawaz, Greg Cahill, Vanessa Cui, Katy Dymoke, and Masrur Mohd Khir. 2013. "The X-Factor: Performing Reflexivity as Indeterminate Praxis." Qualitative Inquiry 19 (288):288-297. doi: 10.1177/1077800412471508.

Tin, Pe Maung, and G. H. Luce. 1960. The Glass Palace Chronicle of the Kings of Burma. Translated by Pe Maung Tin and G. H. Luce. Rangoon, Burma: Rangoon University Press.

Xuan Mai Ardia, C. A. 2015. 4 Myanmar street artists to know. Art Radar. Accessed 6 March 2015.

Žižek, Slavoj. 2002. Welcome to the Desert of the Real! London UK: Verso.


Refbacks

  • There are currently no refbacks.


Copyright (c) 2019 Lucinda Coleman

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.