Protection of Choreographic Works: A Comparative Approach by Natalia Pérez Acevedo

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Shall we dance? Choreographing hospitality as key to interpersonal transformation by G.W. Marchinkowski

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Faire, défaire, refaire les lignes by Laura Fléty

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The Ka’ulayawaa festivals among the Wayùu. Exploring continuities and variations in forms, meanings and contexts through ethnographic sources by Alessandro Mancuso

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Decolonial Spectatorship and Performances of Contemporary Dance in South Africa:Mamela Nyamza’s Choreographies of Embodied Politics of Race and Gender in Place by Sarah DAVIES CORDOVA

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Prospects of International Cooperation in Training of Specialists in the Field of Art and Culture by E. V. Savelova

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Co-creation of Activity Spaces in an amateur dance group: interactional construction of the Teaching Space by Naomi Smart, Beatrice Szczepek Reed

“…Of special interest are moments in which a member takes up or relinquishes a teaching/choreographing role. Features given attention include bodily orientations, such as dancers’ positioning of themselves to have visual access to the choreographer; prosodic features, such as choreographers’ use of raised volume relative to surrounding interaction; and verbal contributions from the choreographer and from dancing and currently-not-dancing participants. …”
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Orchestration system architecture design and implementation of smart line service by Huiguang CHEN, Huan LI

“…In the era of SDN/NFV technology, in order to meet the goal of rapid and automatic activation of new network services, a solution about the architecture and implementation of orchestrator system was introduced.According to the characteristics of loose coupling and flexible deployment of each function, the orchestrator’s system architecture was divided into service entry, network and adapter.The choreographer workflow was divided into the business preparation workflow and the business delivery workflow.Through practicing and verifying, as the core system, the smart line basically met the initial business requirements and maintenance management requirements of the business choreographer.…”
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Un esercizio di biografia. Alicia Alanova tra danza d’arte e spettacolo commerciale (1919-1945) by Giulia Taddeo

“…Starting from the finding, at the Enrico Prampolini Archive, of documentation relating to the Ballets Alanova (1945), the essay reconstructs a part of the personal and professional biography of Alicia Alanova, a dancer and choreographer of Scottish origin who, between the 1920s and 1940s, crossed very different artistic fields: the Ballets Russes company, revues and cabarets, modern dance concerts, cinema.…”
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Traverser la ville ininterrompue : sentir et se figurer à l’aveugle. À propos de Walk, Hands, Eyes (a city) de Myriam Lefkowitz by Julie Perrin

“…In Walk, Hands, Eyes (a city), choreographer Myriam Lefkowitz invites a spectator to walk in an urban environment, in silence and with eyes closed. …”
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Antonia Baehr’s My Dog is my Piano and Abecedarium Bestiarium: Theatre of the Bestiary, Bestiaries of Theatre by Esther Köhring

“…The argument combines material from theory of the bestiary (bestiaries as figuration of theory), as well as from the cultural history of the bestiary (bestiaries as cultural form) with an analysis of the work of contemporary German choreographer and performer Antonia Baehr. Her latest solo performances are deeply informed by the current debates about the human-animal relationship and explore theatre’s role in thinking about and dealing with animals.…”
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Oltre il sinfonismo musicale čajkovskiano. Note di studio sui processi compositivi di Petipa ne “La bella addormentata” by Marta Mele

“…After having retraced the history of this ballet and after having reread the studies on Pyotr Tchaikovsky's musical symphonism, the author of the essay aims to delve deeper into the substance of the purely choreographic symphonism created by Marius Petipa. The writings of the Soviet choreographer and theorist Fyodor Lopuchov prove fundamental in this regard. …”
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Coreografie dell’“Arcipelago” (2015-2023). Estetica, archeologia, ecologia nel lavoro di Annamaria Ajmone con il luogo by Giada Cipollone

“…In 2015, dancer and choreographer Annamaria Ajmone began the open project Archipelago. …”
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«Non muovere né l’anima senza il corpo, né il corpo senza anima». Le pratiche del ritmo nel “Timeo” e nelle “Leggi” di Platone by Simona Donato

“…In Plato's thought, rhythmic activity takes on fundamental importance: it is understood by the philosopher as the ability of human beings to tune in to the rhythms of the cosmos and to participate in the cosmogonic force of the demiurge, the orderer and “choreographer” of the universe. In the Timaeus, precisely because of its kinetic and rhythmic dimension, the practice of imitating the rhythms of the stars is conceived by Plato as the main cure for the “imbalances” that the soul encounters when incarnated in a mortal body. …”
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Coordinating multiactivity transitions in dance rehearsals: spatial configurations and instructional practices by Maximilian Krug

“…The research uses multimodal conversation analysis to examine the spatial configurations and interactional practices of a professional choreographer and two nonprofessional dancers. The analysis reveals how participants create activity transitions, mobilize resources, and maintain continuity across activities, emphasizing the crucial role of spatial positioning and timing in managing transitions. …”
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“Gestures of Air and Stone”: Translating Ethan Frome into Dance in Cathy Marston’s Snowblind by Adeline Chevrier-Bosseau

“…When choreographer Cathy Marston sought to translate Ethan Frome into dance, it was the “elemental feel” of the novella that inspired her quest for finding ways of dancing “New Englandly,” to paraphrase Emily Dickinson, and to choreograph what literature feels like. …”
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Ser español en el ballet académico : estereotipo de una identidad sin escuela nacional by Patricia Bonnin-Arias et Juan Arturo Rubio Arostegui

“…Stakeholders of the Spanish choreographic field of academic ballet (masters, choreographers, performers) define distinctly a form of being, of doing and of attitude of the stereotyped Spanish dancer in comparison with the foreign. …”
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Martha Graham, ‘An American, A kosmos’: Border-crossing in Martha Graham’s early works by Adeline CHEVRIER-BOSSEAU

“…Graham pioneered a new way for women to dance, to express their femininity and their power: her works, inspired by Native American traditions, Mexican folklore, Greek mythology and literature from both sides of the Atlantic, depict strong women who are not afraid of pushing boundaries.Creating an American choreographic tradition also meant exploring its literary legacy for Martha Graham: this paper therefore also delves into the way the Whitmanian intertext emerges in Graham’s choreographic writing, in her conception of Americanness, modernity, the body and gender.…”
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Présence du futur en danse contemporaine (devenirs hybrides et rêves cybernétiques) by Anne Pellus

“…Today, rare are the dance shows that are inspired by science fiction, a phenomenon we could explain by the minoritisation of fiction on current choreographic scenes, except the classical repertoire’s great ballets. …”
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Dissection et maïeutique du corps dansant: naissance et mort textuelles de la danse by Lucas Sérol

“…The goal is to show how the material offered by these texts allows us to feel, imagine, and create a choreographic act through the act of reading, and therefore to convey some life in writings.…”
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