Exploring a New Realm of Choreography: a Journey of Action Creativity Driven by Emotions
Journal: Arts Studies and Criticism DOI: 10.32629/asc.v5i5.2949
Abstract
This paper delves into the realm of choreography, focusing on the pivotal role that emotions play in the creative process of dance. It posits that emotions are not merely a component of choreography but are the driving force behind the inspiration, creation, and performance of dance. The abstract begins by outlining the theoretical framework that underpins the study of choreography, emphasizing the definitions and concepts that form the basis of this art form. It then explores the intrinsic link between emotions and creativity, highlighting how emotional experiences can catalyze the choreographic process and influence the choices made by choreographers.In conclusion, the paper underscores the importance of emotional drive in choreography, arguing that it is central to the creation of meaningful and engaging dance performances. It suggests that by understanding and harnessing the power of emotions, choreographers can craft works that not only showcase technical skill but also evoke a profound emotional response from viewers. The paper calls for a deeper appreciation of the emotional dimensions of choreography, advocating for a more nuanced approach to the study and practice of dance.
Keywords
emotional drive, choreographic process, movement expression, dance performance
Full Text
PDF - Viewed/Downloaded: 0 TimesReferences
[1] Wu, Di,Zhao, Qian.Multimedia interactive creative dance choreography design integrating hybrid density network algorithms[J].International Journal of Information and Communication Technology,2024,24(08):39-51.DOI:10.1504/IJICT.2024.139863.
[2] Mattinson.Street Choreography[D].Harvard University,2022.
[3] Hardy.Finding Dance Moves[D].The University of Utah,2022.
[4] Van Goidsenhoven, Leni,Rutgeerts, Jonas,Sandahl, Carrie.Differing bodyminds: Cripping choreography[J].CHOREOGRAPHIC PRACTICES, 2022, 13(02): 197-202. DOI: 10.1386/chor_00051_7.
[5] A. Thilagavathy,T. Shivashangaran,D. Naveen Raju, et al.Ai Hologram Video Generator[C].2023:1-6.
[6] Carr, Christopher.More souls in flight: Ritual dramas of death journeys through the above realm(s) of Hopewellian and Adena societies beyond the scioto[J].Being Scioto Hopewell: Ritual Drama and Personhood in Cross-Cultural Perspective,2022,593-659. DOI: 10.1007/978-3-030-44917-9_11.
[7] Monni, Kirsi.Rethinking Conceptual Parameters of Choreography (in Social Spaces)-Actualization of Intensities in Discursive Fields[J]. ARTS,2024,13(02). DOI:10.3390/arts13020059.
[8] Zhou, Wenyao,Zhang, Jun,Wang, Xinyu, et al.Radiolabeled Tracing Techniques Illuminating Blood Pharmacokinetics in Nanomedicine[J].Nano Biomedicine and Engineering, 2024,16(01):48-63. DOI:10.26599/NBE.2024.9290048.
[9] Egert, Gerko.OPERATIONAL CHOREOGRAPHY: DANCE AND LOGISTICAL CAPITALISM[J].Performance Philosophy,2022,7(01):97-113.DOI:10.21476/PP.2022.71305.
[10] Gao, Xin,Hu, Li,Zhang, Peng, et. al.DanceMeld: Unraveling Dance Phrases with Hierarchical Latent Codes for Music-to-Dance Synthesis[J].arXiv,2023.DOI:10.48550/arXiv.2401.10242.
[11] Zhou, Junling,Wang, Pohsun.Unveiling Urban Interactions: Incorporating the Elements of Knowledge, Community, and Innovation in the Built Environment's Choreography[J].JOURNAL OF THE KNOWLEDGE ECONOMY,2023.DOI:10.1007/s13132-023-01504-5.
[2] Mattinson.Street Choreography[D].Harvard University,2022.
[3] Hardy.Finding Dance Moves[D].The University of Utah,2022.
[4] Van Goidsenhoven, Leni,Rutgeerts, Jonas,Sandahl, Carrie.Differing bodyminds: Cripping choreography[J].CHOREOGRAPHIC PRACTICES, 2022, 13(02): 197-202. DOI: 10.1386/chor_00051_7.
[5] A. Thilagavathy,T. Shivashangaran,D. Naveen Raju, et al.Ai Hologram Video Generator[C].2023:1-6.
[6] Carr, Christopher.More souls in flight: Ritual dramas of death journeys through the above realm(s) of Hopewellian and Adena societies beyond the scioto[J].Being Scioto Hopewell: Ritual Drama and Personhood in Cross-Cultural Perspective,2022,593-659. DOI: 10.1007/978-3-030-44917-9_11.
[7] Monni, Kirsi.Rethinking Conceptual Parameters of Choreography (in Social Spaces)-Actualization of Intensities in Discursive Fields[J]. ARTS,2024,13(02). DOI:10.3390/arts13020059.
[8] Zhou, Wenyao,Zhang, Jun,Wang, Xinyu, et al.Radiolabeled Tracing Techniques Illuminating Blood Pharmacokinetics in Nanomedicine[J].Nano Biomedicine and Engineering, 2024,16(01):48-63. DOI:10.26599/NBE.2024.9290048.
[9] Egert, Gerko.OPERATIONAL CHOREOGRAPHY: DANCE AND LOGISTICAL CAPITALISM[J].Performance Philosophy,2022,7(01):97-113.DOI:10.21476/PP.2022.71305.
[10] Gao, Xin,Hu, Li,Zhang, Peng, et. al.DanceMeld: Unraveling Dance Phrases with Hierarchical Latent Codes for Music-to-Dance Synthesis[J].arXiv,2023.DOI:10.48550/arXiv.2401.10242.
[11] Zhou, Junling,Wang, Pohsun.Unveiling Urban Interactions: Incorporating the Elements of Knowledge, Community, and Innovation in the Built Environment's Choreography[J].JOURNAL OF THE KNOWLEDGE ECONOMY,2023.DOI:10.1007/s13132-023-01504-5.
Copyright © 2024 Tao Long
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License