[Realism Now!] [Perf Art MAIN page]Performance ENV
{Down to START} NOTE: After much consideration, i have moved "path" "journey", etc on THIS page -{Path/Walk as danse}- NOTE: All references to the PLACE(s) in which work is performed is in the file: -[Performance Space]- See also: [(art) concepts] [Art MovementsCoerced performance] -[post post-modernism]- [Performed Text] [The Performed UFO's] (and esp, etc) [Dada] [Dadaism] (an art "ism") [Performance frank: Realism Now!] [Why Bother?] [ "PARTS ONE, TWO, THREE" ] [Performed Art] [The Performed Art Act] [The Performed Art Technology] -[Performance Ceremony]- -[The performed danse]- [Performed Art: Filmed] [The Performed Performance] -[Performance Space]- [The Performed Score] -[Performance Space]- [The Performed Text] [Performed UFO's] [The Performed WEB (including programming)] [Fluxus] [Street Art] [Interventionist Art] [T.A.Z.] (Association for Ontological Anarchy) (Hakim Bey, chief janitor) [Frank's stuff]
The Performed Danse
On this page: {Intro} {Stuff} - as a vis artist how i link / xlate danse and progression TO / FROM / & BACK painting - philip glass: {Purposes of Performance (Danse)} {Elements} {Felix Begho's text on African Danse} {Walked art, journey, path, etc}
Intro
One thing to remember is that we are ARTISTS not mimes or actors or danceurs. Thus, the aesthetics of what we do will of course possibly border on those areas of art - we might even donn as costume, sing in key, use an instrument (see: [The Performed Score]), etc. But, the "what-ness" of our work should originate more from our existence as an artist rather than our performance as if we were an existant actor, singer, danseur, etc. For example, the artist knwon as "Lightening Man" often dresses as shaman (or spirit) and performs danses and song (with and without external music - usually a boombox), but as "he" is an artist his work should not and i would go so far to say MUST NOT be confused with the performance by a shaman of a tribe, etc. Even if Ligtening Man has been *ordained* as a shaman into a tribe, etc. If an actor dressed up as a cop (Constable On Patrol) then it would be just as wrong for the person to make an arrest, chase people, etc. For example, the theatre teacher Darieese Error once had her make-up class dress as monsters and/or horror/murder characters; eg, a third eye in the fore-head, "frankenstein scars", etc. And then had them (as playing straight) go and apply for summer jobs - there were job recruiters on campus in the Student Services Building. In that case, i would say that they were (formally) Acting students (ie, students of acting/theatre/make-up) who were assuming a role which was "themselves in make-up". or Artists performing "a performed act". Thus, being different from an actor (with or without make-up) performing a role/character/scene. And of course, (if they chose not to speak) different from a mime performing an act with sub-dued "mime-ness"; ie, the less than usual exagerated and high-lighted/emphasised motions, facial expressions, body language, etc. Thus, even though they were *technically* actors, in this case they were artists as well. Does the assuming of the different mantles "artist" or "actor" ("singer", etc) change the what-ness of what they were doing. I'd have to say "sort of" - but, probably yes. Unless we (as artists) have been trained as actors, it is unlikely that we will bring the same bearing of mind, style, and even *aesthetics* to the work, that we would if we were actors performing an "art performance piece". Our training, POV (point of view), and mental states are what determine what we are. In the same way mathematicians, physicists, and chemists think about problems in different ways - and are only partially capable of "seeing" from the other POV's.
Stuff
as a vis artist how i link / xlate danse and progression TO / FROM / & BACK painting - philip glass: This occured to me while *way* too sobre: philip k. glass: "DancePieces" - 1987 (i think - scrambled on my computer: the tracks are (as they are on my pc play-list) T3 - gl upper room dnas 05 - 3:25 4 08 - 4:57 5 09 - 8:11 6 gl glass pcs 1 - rubric 6:04 It's the transition between the end of "track 5" and into "track 6" - if those are the actual things -- yes, i've been "corrupted" by Koi-yah-nee-skahh-tszee take in into track 5 to about 6:30 or so, and then let it run past 7:50 -- mostly voice and such (and since it's the end *presumably* of that piece it has that "lift" at the end. but then next track is the strt of the next work (rubric) - this goes back to some stuff that zappa did - that is *specifically* the engineering of which track follows which - and not just the FIRST (grabber; eg, "peaches and regalia") and the last (exit music towards the doors - ie, rock concert "and thank you mrs. callibash wehre-ever you are).... so, this goes back to how i was approaching the painting of the *prepared* canvas's in general the parallels are (i hope/think) obvious to Nam Jun Paik's piano-concerto with "wash/rinse/repeat" as well as cage's "prepared piano - Ms. Lin tang on piano) It would be good (when???) to prepare a sound-scape of those three pieces: nam jun paik cage's prepared piano toy pianoa (1st movvment on infinite repeat / this PHYSICAL glass canyon / sound DIST needs / to be sort of large / since the TOY piano / will prob carry a glass; last movement glass; "Glass pieces lot - plinky of "upper room", dans 09 -8:11 1 - rubric 6:-04 \ last two mins on inf repeat (poss hole thing on inf loop) \ \ possiblly the "plinky" ((??track?? from the h2g2 film score) but i'm thinking take off the last few seconds of each of these (since they are UP-LIFT / FLIP-to-EXEUNT the work moving either about the canvas, or moving the canvas around to entre/leave these sound spaces.... hmmmmm Again as with immersed/happening theatre these could be stages where a person plays the music. In one of the more offensive nazi (neo, carefully "oh, no we're not that") everyone rushes onto the tennis court and the V/O (Voice/Over) says: When everyone plays, then no one wins -- sheesh talk about exclusionary. At any rate *who-ever* is playing the music must be (i don't really know that they *must* be, but anyway...) TIED INTO the over-all rhythm. This goes back to the idea (in classical music) of primary, secondary, and etc. themes (melody and harmony, etc)...Purposes of Performance (Danse)
In the section on Elements, the ideas of Felix Begho indicate one of the primary aesthetics of danse - or at least i read it that way. That is the danse performed is tied to the PURPOSE of the danse. That is, is the danse a ritual one (and then if so; which ritual), is the danse one for pure entertainment (in the manner of a competition? or of a theatrical production?). These same questions of course surround all theatre and story. Hence, my decision to move theatre under literature and danse under art. Of course, as Mihai Nadin has warned us: "When you say, EVERYTHING is art (or story), you lose the ability to say anything about it." The idea of course being that if we broaden the definition enough, then even standing at a chalk board and solving a differential equation is a form of performance art. Sitting at the piano and playing a jazz piece with variations is *merely* a performance piece. And so, these are true and strike us as being true and definitely part of the nature of danse, musical performance (in this case jazz variations - similar to the interpretive and responsive danse), and of course, that there can quite literally be a certain danse-like/theatric flow to the way that the equations are written on the board, etc. But, part of OUR purpose of as artists must always be mulit-fold. Otherwise, we HAVE sold out. Thus, 1) Art for art's sake. Part of the on-going 50_000 year old conversation called art. 2) Art for entertainment. We do art because we LIKE to, and we share that joy with others. When one reads the comic strip "Mutts" by McCormick, one can feel the joi that he feels in sharing his stories with us. But, make not mistake, he is also on the track of: 3) Art that we must do, AS artists. For we carry the unbelievably heavy burdens of our own times - its absurdities of course, but more importanly its attrocities. "Mutts" speaks in this voice most clearly when he (the THE of the art work) speaks out against fur, and for adopting pets. 4) I don't know what. I pick up the pen and touch the paper - the ink has played its part. The danseur trots, skips, jumps, or slides and the floor and feet have had their say. But, and i know this seems rather absurd. If we do not speak out at least once, then we might as well be the flooded Aswan kosh-crumbled and forgotten at the bottom of a reservoir of water. The art though, has left the building. Alas; i, digress. START AGAINlements
Elements
Felix Begho's text on African Danse
In the article by Felix Begho, he has the following diagrams... References (this section only) Asante, Kariamu Welsh (Editor) (2002). African Dance -- An Artistic, Historical, and Philosophical Enquiry. Montreal: Africa World Press, Inc. Begho, Felix (1994). Traditional African Danse in Context. in Asante, Pp. 163-182.
(i will explode these below; after all even the blind love danse) (block quote follows this explosion) Sacred Danses of the Spirits, Gods, and Goddesses Sacred Masquerade Danses (the Masquerades being personifiction of the Spirits, Gods & Goddesses) The root here is: Social function danses direct off-shoot of the Sacred Masquerade Danses * Traditiona Religions * Cult Danses * Ritual Danses * Ceremonial Danses * Entertainment * Recreational These in turn break down into Sacrd, social, ritual, masquerade, acrobatic, and juvinile/fraternal/etc. Traditional Religious Danses Sacred Danse Combined with Cult Danse can give: Sacred Danse Ritual Danses: Sacred Danses Facture of a good number of superb and socially-rooted masquerades Ceremonial Danses Sectarian Of the following: Masquerades are infrequent feature, but not completely unkown (Factional or Interest Group) Age and Sex Group Aristocratic Nuptual & Procreative Occupational Danses Communal Feature a good number of superb and socially deep-rooted masquerades: Harvest Festival Danses Heroic Danses Masquerades are rare but not unknown: Funeral Danses Coronation & Traditional Title Danses Entertinment Selected Masquerade danses Acrobatic Danses - Masquerades not un-common Medicinally Protected Danses Recreational Again, masquerades are rare, but not completely unknown. Danses in Juvenil Games & Tales Fraterna / Social Club Danses BEGIN BLOCK QUOTE END BLOCK QUOTE
Path/Walk as danse
(path, journey, walked art) See also: -[Environmental Art]- (ENV art) -[Lee Ann Harrington]- NOTE: All references to the PLACE(s) in which work is performed is in the file: -[Performance Space]- In this section: {March} One idea is that a walk can be a form of danse. When we are going down the isles of a super market and we hear a catchy tune on the over-head music, we can burst into spontaneous danse; well, at least i do quite often. Regardless, the way that we structure the "path" and of course its ENV will determine what or how we place other elements into it. For example, a nature trail (even a simulated one; see for example the "jungle adventure trail" at References: -[Lee Ann Harrington]-
