Tanzrecherche NRW: Classical Tradition / Modern Society by Mirjam Otten

More documents

Recommendations

Info

CONTEXT Background This research into the continued relevance of classical ballet emerged in the context of the NRW Kultursekretariat (NRWKS) programme ‘Dance Research NRW’. The NRWKS is the German Federal Country North Rhine- Westphalia's Office of Culture, a public-law initiative of theater- and orchestrabearing cities and one regional association in the state. Working closely with the Ministry of Culture, it is committed to promoting intercultural projects and cultural exchange. ‘Dance Research NRW’ is a scholarship programme that aims to enable artists and creatives in the dance sector to undertake independent research with special regional, political, cultural, social or scientific references. Mirjam Otten’s Dance Research #40, titled ‘Classical Tradition / Modern Society’ explores how the classical dance heritage can maintain continued social relevance. By learning how ballet companies, leaders and creators handle decisionmaking around the classical heritage and new impulses, it wants to gain and present insights into different ways of making the classical movement, style and stories accessible to the modern viewer. Classical Tradition // Modern Society 04
METHODOLOGY Primary data collection was preceeded by a profound review of the literature. Search terms included permutations of ‘dance’, ‘ballet’, ‘relevance’, ‘heritage’, ‘modernisation’, ‘preservation’ and ‘culture’. A large array of resources was found, 22 of which were reviewed in-depth (see Bibliography). Further resources are available (see Appendix A). In order to understand practical tools and considerations around relevance within the current dance industry, a range of interviews was then conducted with directors, choreographers, producers and leaders of the international dance scene. Although the literature often suggests that it is only the Artistic Director who holds power to determine a company’s relevance by making decisions around repertoire, casting and sometimes even choreography itself (Schnell, 2014), a decision was made to include creative staff of varying positions so as to reflect a more thorough and profound view of current industry dynamics. Interviewees were asked to participate on a voluntary basis. Out of 19 approached contacts, 11 agreed to participate and 7 of them completed the interview process. Interviews were eiter held via Microsoft Teams or in person and consisted of 9 to 12 questions (see Appendix B). Interviews lasted between 30 minutes to 1 hour and were conducted in January and February 2022. TERMINOLOGY The concept ‘relevance’ takes on different meanings in interaction with different target groups. As Dominic Antonucci pointed out in his interview, ‘something that might be relevant for arts council funding might not be relevant to the headlines of the press, which in terms might not be relevant to the audience.’ For the purpose of this research and report, ‘relevance’ will refer to the ability to connect with an audience. When talking about classical dance heritage, interviewees were encouraged to refer to all elements of this heritage, including choreographic pieces, a system of training and movement technique, as well as industry practices. Classical Tradition // Modern Society 05
Page 1 and 2: C L A S S I C A L T R A D I T I O N
Page 3 and 4: Contents SECTION I Background Intro
Page 5: SECTION I Classical Tradition // Mo
Page 9 and 10: OBJECTIVES & HOW TO USE THIS REPORT
Page 11 and 12: MAśDELEINE oNNE dominic antonucci
Page 13 and 14: Even though the ballet industry’s
Page 15 and 16: HERITAGE PRESERVATION It is impossi
Page 17 and 18: SECTION II Classical Tradition // M
Page 19 and 20: THE NATURE OF BALLET Classical Trad
Page 21 and 22: VALUE SYSTEM Peter Anastos, former
Page 23 and 24: WORKMANSHIP William Forsythe famous
Page 25 and 26: If you can play classical guitar, y
Page 27 and 28: Howw does the social standing of da
Page 29 and 30: CURRENT AFFAIRS Beyond wider social
Page 31 and 32: Through wwhich structural channels
Page 33 and 34: INTERNATIONAL EXCHANGE Intercultura
Page 35 and 36: AUDIENCE - BUILDING Audiences are n
Page 37 and 38: OUTREACH & ENGAGEMENT Engaging in d
Page 39 and 40: PARTICIPATION CASE STUDY Brecon Fes
Page 41 and 42: Howw can wwe structure an artistic
Page 43 and 44: CLASSICAL COMMISSIONS / RE-WORKING
Page 45 and 46: NEW COMMISSIONS Choreographer Chris
Page 47 and 48: Does the idea of relevance play} a
Page 49 and 50: COMMUNICATION Richard Bermange sugg
Page 51 and 52: Choreography is dialogue with livin
Page 53 and 54: PRODUCTION CHARACTERISTICS Classica
Page 55 and 56: CONTENTS The contents of a ballet p
Page 57 and 58:
STORYTELLING It is not only the con
Page 59 and 60:
MOOD The tone of a ballet greatly i
Page 61 and 62:
INTEGRATED PRODUCTION ELEMENTS Ever
Page 63 and 64:
FORMAT Andrew McNicol believes that
Page 65 and 66:
people Classical Tradition // Moder
Page 67 and 68:
COLLABORATORS Whilst it is widely a
Page 69 and 70:
ARTISTIC DIRECTORS The Artistic Dir
Page 71 and 72:
Can the dance industry} be structur
Page 73 and 74:
INSTITUTIONS CASE STUDY McNicol Bal
Page 75 and 76:
EQUALITY & DIVERSITY Relevance fund
Page 77 and 78:
CHAśLLENGES It is hoped that the a
Page 79 and 80:
In spite of many remaining challeng
Page 81 and 82:
I would like to say thank you to ev
Page 83 and 84:
Schnell, A. (2014) Ballet’s Cultu
Page 85 and 86:
APPENDIX B INTERVIEW QUESTIONS 1. I
show all

Tanzrecherche NRW: Classical Tradition / Modern Society by Mirjam Otten

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?