Floor Map
Public warm-up with Boris Charmatz
Closethe way in which dance might inhabit the museum or cohabitate with works of plastic art. The project uses the museum context to reimagine what dance might be. Charmatz’s approach—his acceptance of experience and memory as part of these twentieth-century dances, rather than strict adherence to set choreography—poses a challenge to the typical paradigm of dance presentation and performance. Dance is often theorized through a type-token framework: the type, or choreography, is an enduring dancework that can be re-performed, while dance is the token, the individual, fleeting performance of a type (see Graham McFee’s The Philosophical Aesthetics of Dance: Identity, Performance, and Understanding [Binsted, Hampshire, UK: Dance Books, 2011] for a detailed analysis of the type-token framework).
A bra-le-corps
Closethe way in which dance might inhabit the museum or cohabitate with works of plastic art. The project uses the museum context to reimagine what dance might be. Charmatz’s approach—his acceptance of experience and memory as part of these twentieth-century dances, rather than strict adherence to set choreography—poses a challenge to the typical paradigm of dance presentation and performance. Dance is often theorized through a type-token framework: the type, or choreography, is an enduring dancework that can be re-performed, while dance is the token, the individual, fleeting performance of a type (see Graham McFee’s The Philosophical Aesthetics of Dance: Identity, Performance, and Understanding [Binsted, Hampshire, UK: Dance Books, 2011] for a detailed analysis of the type-token framework).
Levee des conflits (solos, visitor’s version)
Closethe way in which dance might inhabit the museum or cohabitate with works of plastic art. The project uses the museum context to reimagine what dance might be. Charmatz’s approach—his acceptance of experience and memory as part of these twentieth-century dances, rather than strict adherence to set choreography—poses a challenge to the typical paradigm of dance presentation and performance. Dance is often theorized through a type-token framework: the type, or choreography, is an enduring dancework that can be re-performed, while dance is the token, the individual, fleeting performance of a type (see Graham McFee’s The Philosophical Aesthetics of Dance: Identity, Performance, and Understanding [Binsted, Hampshire, UK: Dance Books, 2011] for a detailed analysis of the type-token framework).
Adrenaline: a dance floor for everyone
CloseAdrénaline: A Dance Floor for Everyone, an open disco hour reminiscent of a pop-up dance club, emerged twice a day at Tate Modern’s Turbine Hall, under a shimmering giant disco ball. Led by the enticing sets of DJ Oneman and DJ Jonjo Jury, respectively, this event was undoubtedly democratic and welcoming, fulfilling the premise of a communal celebration of the act of dancing. (I write about Saturday, May 16, 2015, which featured DJ Oneman during the first Adrénaline hour [5:15 pm–6:15 pm] and DJ Jonjo Jury [6:45 pm–8:15 pm] at the second, longer section of it. On May 15, the same timetable also featured DJ Oneman’s hour first, but the later slot was DJ Nathan G. Wilkins’s set.) As arguably the least structured part of the program, it also functioned as a moment of respite for all participants, and as a reset opportunity in the midst of a variety of choreographed inter/activities.
Having participated in one day-cycle of the weekend event, and having exchanged impressions with friends in attendance, I came to the conclusion that one’s perception of If Tate Modern Was Musée de la Danse? was contingent upon one’s participation in Adrénaline. Those who stayed felt more positively toward the entire event than those who did not. In some sense, then, Adrénaline was the glue that could amalgamate the heterogeneous events programmed by Boris Charmatz. Yet, the notion of Adrénaline as a coagulator seems inherently alien to the porous nature of this dancing interval. A dialectic emerged from the ambiguity of Adrénaline’s nature as a “non-event” relative to the choreographically induced act of dancing....Read More
Roman Photo
Closethe way in which dance might inhabit the museum or cohabitate with works of plastic art. The project uses the museum context to reimagine what dance might be. Charmatz’s approach—his acceptance of experience and memory as part of these twentieth-century dances, rather than strict adherence to set choreography—poses a challenge to the typical paradigm of dance presentation and performance. Dance is often theorized through a type-token framework: the type, or choreography, is an enduring dancework that can be re-performed, while dance is the token, the individual, fleeting performance of a type (see Graham McFee’s The Philosophical Aesthetics of Dance: Identity, Performance, and Understanding [Binsted, Hampshire, UK: Dance Books, 2011] for a detailed analysis of the type-token framework).
Title here
Closethe way in which dance might inhabit the museum or cohabitate with works of plastic art. The project uses the museum context to reimagine what dance might be. Charmatz’s approach—his acceptance of experience and memory as part of these twentieth-century dances, rather than strict adherence to set choreography—poses a challenge to the typical paradigm of dance presentation and performance. Dance is often theorized through a type-token framework: the type, or choreography, is an enduring dancework that can be re-performed, while dance is the token, the individual, fleeting performance of a type (see Graham McFee’s The Philosophical Aesthetics of Dance: Identity, Performance, and Understanding [Binsted, Hampshire, UK: Dance Books, 2011] for a detailed analysis of the type-token framework).
Title Here
Closethe way in which dance might inhabit the museum or cohabitate with works of plastic art. The project uses the museum context to reimagine what dance might be. Charmatz’s approach—his acceptance of experience and memory as part of these twentieth-century dances, rather than strict adherence to set choreography—poses a challenge to the typical paradigm of dance presentation and performance. Dance is often theorized through a type-token framework: the type, or choreography, is an enduring dancework that can be re-performed, while dance is the token, the individual, fleeting performance of a type (see Graham McFee’s The Philosophical Aesthetics of Dance: Identity, Performance, and Understanding [Binsted, Hampshire, UK: Dance Books, 2011] for a detailed analysis of the type-token framework).
Title Here
Closethe way in which dance might inhabit the museum or cohabitate with works of plastic art. The project uses the museum context to reimagine what dance might be. Charmatz’s approach—his acceptance of experience and memory as part of these twentieth-century dances, rather than strict adherence to set choreography—poses a challenge to the typical paradigm of dance presentation and performance. Dance is often theorized through a type-token framework: the type, or choreography, is an enduring dancework that can be re-performed, while dance is the token, the individual, fleeting performance of a type (see Graham McFee’s The Philosophical Aesthetics of Dance: Identity, Performance, and Understanding [Binsted, Hampshire, UK: Dance Books, 2011] for a detailed analysis of the type-token framework).
Title Here
Closethe way in which dance might inhabit the museum or cohabitate with works of plastic art. The project uses the museum context to reimagine what dance might be. Charmatz’s approach—his acceptance of experience and memory as part of these twentieth-century dances, rather than strict adherence to set choreography—poses a challenge to the typical paradigm of dance presentation and performance. Dance is often theorized through a type-token framework: the type, or choreography, is an enduring dancework that can be re-performed, while dance is the token, the individual, fleeting performance of a type (see Graham McFee’s The Philosophical Aesthetics of Dance: Identity, Performance, and Understanding [Binsted, Hampshire, UK: Dance Books, 2011] for a detailed analysis of the type-token framework).
Title Here
Closethe way in which dance might inhabit the museum or cohabitate with works of plastic art. The project uses the museum context to reimagine what dance might be. Charmatz’s approach—his acceptance of experience and memory as part of these twentieth-century dances, rather than strict adherence to set choreography—poses a challenge to the typical paradigm of dance presentation and performance. Dance is often theorized through a type-token framework: the type, or choreography, is an enduring dancework that can be re-performed, while dance is the token, the individual, fleeting performance of a type (see Graham McFee’s The Philosophical Aesthetics of Dance: Identity, Performance, and Understanding [Binsted, Hampshire, UK: Dance Books, 2011] for a detailed analysis of the type-token framework).
Title Here
Closethe way in which dance might inhabit the museum or cohabitate with works of plastic art. The project uses the museum context to reimagine what dance might be. Charmatz’s approach—his acceptance of experience and memory as part of these twentieth-century dances, rather than strict adherence to set choreography—poses a challenge to the typical paradigm of dance presentation and performance. Dance is often theorized through a type-token framework: the type, or choreography, is an enduring dancework that can be re-performed, while dance is the token, the individual, fleeting performance of a type (see Graham McFee’s The Philosophical Aesthetics of Dance: Identity, Performance, and Understanding [Binsted, Hampshire, UK: Dance Books, 2011] for a detailed analysis of the type-token framework).
Title Here
Closethe way in which dance might inhabit the museum or cohabitate with works of plastic art. The project uses the museum context to reimagine what dance might be. Charmatz’s approach—his acceptance of experience and memory as part of these twentieth-century dances, rather than strict adherence to set choreography—poses a challenge to the typical paradigm of dance presentation and performance. Dance is often theorized through a type-token framework: the type, or choreography, is an enduring dancework that can be re-performed, while dance is the token, the individual, fleeting performance of a type (see Graham McFee’s The Philosophical Aesthetics of Dance: Identity, Performance, and Understanding [Binsted, Hampshire, UK: Dance Books, 2011] for a detailed analysis of the type-token framework).
Manger
Closethe way in which dance might inhabit the museum or cohabitate with works of plastic art. The project uses the museum context to reimagine what dance might be. Charmatz’s approach—his acceptance of experience and memory as part of these twentieth-century dances, rather than strict adherence to set choreography—poses a challenge to the typical paradigm of dance presentation and performance. Dance is often theorized through a type-token framework: the type, or choreography, is an enduring dancework that can be re-performed, while dance is the token, the individual, fleeting performance of a type (see Graham McFee’s The Philosophical Aesthetics of Dance: Identity, Performance, and Understanding [Binsted, Hampshire, UK: Dance Books, 2011] for a detailed analysis of the type-token framework).