Contemporary Dance

Asking ‘where are we now?’ this paper charts the choreographic process of four contemporary dance artists creating new work in relation to the theme of 21st Century identities. Case studies of work by UK and EU-based artists Avatâra Ayuso, Roberto Olivan, and Máté Mészáros & Nóra Horváth are examined in relation to historical influences, devising processes and directorial choices taken in an intensive rehearsal period with third year Bachelors of Dance Studies students at the University of Malta’s School of Performing Arts for an international tour in Malta and the UK.

Building on sociologist Rudi Laermans’ (2015) suggestion that contemporary dance is itself a collective activity characterized by works in which artistic cooperation leads to performance product, the study asks how intensive short-term artistic projects can illustrate small but noteworthy shifts in perceptions of selfhood for performers, choreographers and audience. It investigates how choreographing can become a strategic vehicle for discovering possible actions and interactions via  ‘management of possibilities’ (Foucault 2002: 341) within dancers’ identity, and as such becomes an exercise of power (Laermans 2008) to varying degrees.

The study invites reflection on three key elements: first, the approaches of these early and mid-career choreographers in relation to their histories and experiences working with established European artists Shobana Jeyasingh, Anne Teresa de Keersmaker and Wim Vandekeybus. Secondly, it analyses the impact of the working process in relation to the sense of identity experienced by the dancers as performers-in-training; and a third aspect addresses audience response to the works. Studio-based observation and notation within the creation period, semi-structured interviews with choreographers and dancers, and post-performance discussions offer opportunities for data collection.  In short, the paper seeks to critically illuminate what is ‘really beautiful’ about dancing for a key sample of people who continue to follow, perform and shape contemporary dance in the 21st Century.

Da Calore a Sciame fino ai più recenti Bacon e Hallo Kitty! la danza e il teatro di Enzo Cosimi, protagonista della scena coreografica d'autore di oggi, interpreta da sempre un compattimento invisibile: quello tra la lingua del desiderio e l'affermazione dell'animalità dell'umano.

and Keywords Dance and music appear to belong together: Conventional definitions of dance often con ceive it as a rhythmical activity in which a series of steps is performed to musical accom paniment. Indeed, dance and music share many similarities such as rhythm and may have co-evolved as a form of nonverbal communication between groups of people. Despite a rich history of composers and choreographers exploring the aesthetic relationship be tween dance and music, only a few scientific studies have systematically explored how the visual aesthetics of dance interact with the auditory aesthetics of sound and music. In this chapter we will focus on such interactions; we will explore the common evolutionary origins of dance and music and review existing research on how dance and music influ ence each other to produce an audiovisual aesthetics of sound and movement. The chap ter will explore interactions in both directions: music influences dance perception by al tering movement expressiveness, orienting visual attention, and by modulating memory. At the same time music perception strongly depends on groove and danceability and is shaped by the listener's dance experience. The chapter closes with a review of method ological challenges to studying the audiovisual aesthetics of dance and music and sug gestions for future research in this field.

The article explores the tendency of inviting non-professional artists to contemporary theatre and dance performances. From the examples of the Rimini Protokoll, Jérôme Bel, Nicole Seiler, Tatyana Gordeeva, Vsevolod Lisovsky and Dmitry Volkostrelov performances it is shown how the participation of “ordinary” people serves aesthetic and ethical purposes of the stage directors and choreographers. Ordinary bodies, gestures and voices in contemporary theatre are valued as manifesting the extra-institutional identity of the participants, namely, a professional or social one, with which the spectators could easily identify themselves. The non-virtuosity of movements and speech, making mistakes and even fatigue, become specially constructed “signs of naturalness”. Participatory projects in which the main action is expected to be performed by the audience can be seen also as a performance with non-professional artists. The borders between artistic and non-artistic in such projects are blurred. Likewise, the community creation, the attention paid to other people and the inclusion of “everyday” life becomes its main aesthetic feature.

Der Beitrag gibt einen historischen Überblick über die unterschiedlichen Möglichkeiten, die Flüchtigkeit von Tanzbewegung mit der Transitorik von Blumen zu verschränken. So wird im Bühnentanz das Auf- und Verblühen von Blumen verkörpert, etwa im Romantischen Ballett (»Théa, ou La Fée aux Fleurs«, 1847) oder in diversen Blumenchoreographien des Ausdruckstanzes. Umgekehrt erfahren Blumen trotz ihrer Sessilität eine kulturelle Zuschreibung von Tanzbewegungen, etwa bei William Wordsworth (»I wandered lonely as a cloud«, 1807) oder Hans Christian Andersen (»Die Blumen der kleinen Ida«, 1835), und fast immer wird auch hier die besondere Vergänglichkeit von Blumen mithilfe der Metapher des flüchtigen Tanzes reflektiert.

My book on the development of the contemporary dance aesthetics since 90. in Europe. You will find here the multiple examples of perfromances and artists from last few decades. The analysis is made through the notion of "corps dansant" - "dancing body". Unfortunately it is only in Polish.

https://www.critical-stages.org/23/black-privilege-in-the-black-box-mamela-nyamzas-choreographic-resistance/
This essay examines Mamela Nyamza’s choreography and performance of Black Privilege at the South African National Arts Festival of 2018 in the wake of the #RhodesMustFall decolonial movement. Nyamza is an award-winning independent choreographer, performing and teaching internationally as well as at home. When she uses her own body to enact images and gestures of her own making, she crafts a counter-narrative to the exploited exhibited South African female body theorized by scholars such as Saidiya Hartman. Rather than try to perform a world without Black women’s objectification, Black Privilege makes it hyper-visible. I use Mishuauna Goeman’s theory of (re)mapping to explain how Nyamza carves a space for the recognition of both opulence and objectification simultaneously. Black Privilege exudes power through subtle yet potent poses and movements, re-membering the privilege and burden of Black womanhood as a spectacular non-spectacle. Nyamza’s choreographic and performative strategies induce an active form of witnessing that contributes to her ongoing process of becoming in the witness of others. Undermining tropes around the spectacle of Black flesh through re-membering and (re)mapping, Black Privilege contributes to the decolonization of performance in South Africa and worldwide.
Keywords: Black performance, decolonize, feminist performance, choreography, contemporary dance

עמ' 21
היחסים בין דימוי לתנועה ביצירה "לילא", להקת ורטיגו (2020).
כוריאוגרפיה: נועה ורטהיים
מאת: צפירה שטרן

המאמר הנוכחי מנתח את היצירה לילא, של להקת ורטיגו, כוריאוגרפיה: נועה ורטהיים. מוסיקה: רן בנגו. ביצירה רוקדים 10 רקדנים: 5 גברים ו-5 נשים. נצפתה בהופעה ב 23.1.20 בתיאטרון ירושלים (ומספר רב של פעמים בווידאו). הניתוח מתבסס על כתביו של פנחס נוי, בספרו  הפסיכואנליזה של האמנות והיצירתיות, משנת 1999. כמו כן אשלב במאמר ציטוטים מיתוך ראיון שקיימתי עם נועה ורטהיים, בסטודיו בקיבוץ הל"ה בתאריך 28.1.20.

e question of how performance, and particularly dance, might o er a means of resistance to our current neoliberal culture is frequently discussed in academic and artistic circles. Many dance artists and scholars believe that their practices can provide an antidote to the individualism, violence, and consumption of neoliberalism. However, in-depth interrogations of the potential of dance to undermine, undo, and provoke contemporary capitalism are relatively rare. André Lepecki's latest book, Singularities: Dance in the Age of Performance, o ers a serious, detailed response to the topic. Lepecki's central premise is that dance's potential to produce "singularities" a ords it a unique capacity to disrupt normative modes of perception and experience, which in turn can draw attention to and challenge the conditions of neoliberalism.

This paper will contain a comparative contextual study that aims to consider and evaluate the shifts in political relations of the choreographer Lloyd Newson. The comparison will take the form of two case studies of the DV8 pieces; Strange Fish (1992) and The Cost of Living (2004). These will then be placed in the historical and contextual framework of the choreographer, company, and their changing relations to dance politics as well as broader socio-political issues of the time and location in which the work was created and received. The analytic framework that will be applied to each of the case studies has been developed through the consideration of a broad range of political theories that include; modes of knowledge, gender and sexuality, and identity politics and psychoanalytical frameworks.

The article is dedicated to the genre of lecture-performance. The case analysed is Stopping by Woods on a Snowy Evening at the Moscow Meyer-hold Centre. Created and performed by the playwright Ekaterina Bondarenko and the professional dancer and choreographer Tatiana Gordeeva, it explores the perception of space through the body and of a woman in public space. The combination of physical and verbal means, interactive and non-interactive ways of communication with the public and  academic and artistic dimensions - all of those contribute to the new poetics of non-virtuosic, casual body that can at the same time be the object and the subject of narration, dance and research. By getting naked while making an academic report, the performers test the audiences’ ability to look at a female body in a non-voyeristic way.

Filosofie www.mimesisedizioni.it filosofiE MiMEsis John CagE Una rivolUzionE lUnga CEnt'anni a CuRa dI gIaCoMo FRonzI Con un'InteRvIsta InedIta gIaCoMo FRonzI (a CuRa dI) John CagE la rivoluzione resta la nostra preoccupazione. Ma invece di pianificarla, o di smettere quello che stiamo facendo per farla, potrebbe essere che noi vi siamo già dentro in ogni momento John Cage 1912-2012. Il centenario della nascita di John Cage può essere un buon pretesto per rileggere e approfondire la figura e l'opera di uno dei personaggi più bizzarri, geniali e rivoluzionari della storia della cultura e della musica internazionali. Il volume propone un percorso che si dirama tra sentieri filosofici, estetologici, musicologici e sociologico-politici, senza trascurare l'intenso dialogo del compositore con il pensiero orientale, con il continente delle neoavanguardie musicali ed artistiche (statunitensi ed europee), e con il mondo della danza. Questo libro celebra un compositore dalle idee innovative, un uomo dalle accese passioni, dai molti amori musicali, letterari e intellettuali, e intende farlo "cageanamente", ripercorrendone la vita, l'attività e le linee di pensiero senza barriere interdisciplinari. Contributi di emanuele arciuli, alessandro Bertinetto, Franco degrassi, Roberto doati, giacomo Fronzi, enrico Fubini, Marco gatto, alessandro giovannucci, elio grazioli, elisa guzzo vaccarino, erberto Lo Bue, Roberto Masotti, Heinz-Klaus Metzger, stephen Piccolo, emanuele Quinz, Fiorella sassanelli; con un'intervista di stephen Montague a John Cage, per la prima volta pubblicata integralmente in traduzione italiana. giacomo fronzi (1981), laureato in Filosofia (università di Lecce) e in Musicologia (università "Ca' Foscari" di venezia), è dottore di ricerca in etica e antropologia filosofica all'università del salento, dove collabora e svolge attività di ricerca presso la cattedra di estetica. si è diplomato in pianoforte presso il Conservatorio "t. schipa" di Lecce. si interessa prevalentemente di estetica contemporanea, estetica musicale e filosofia della musica. oltre ad articoli e saggi su riviste nazionali ed internazionali, ha pubblicato i volumi Etica ed estetica della relazione (Milano 2009), Contaminazioni. Esperienze estetiche nella contemporaneità (Milano 2010), Theodor W. Adorno. Pensiero critico e musica (Milano 2011). È di prossima uscita Electrosound. Storia ed estetica della musica elettronica (torino 2013). © 2012 -MIMESIS EDIZIONI (Milano -Udine)

This text finds the intimate affinity between dance and philosophy in the concept of problem and invites the reader to perceive dance and philosophy as a form of ballistics: the art of throwing. On one hand, this text is an invitation to look at dance not necessarily as an artistic practice but rather as an affirmative force that manifests itself as an expression of the power to turn any domain into a dance floor. On the other hand, this text also understands philosophy as an invitation to dance a problem, or, in other words, philosophy is a practice of choreographing the trajectories of problems.

Os processos de criação em dança partem do princípio da ordenação de ideias de um criador. No ato da criação, o artista mergulha em um estado de atenção, "vigília constante", que o impulsiona a observar o mundo a sua volta. Nesta reflexão sobre os processos de criação observamos os fatores das diversas etapas, ou fases, nas quais o criador desenvolve o projeto coreográfico. O pesquisador em Arte busca entender os meios que levam à construção da obra; para isso perscruta os meandros do pensamento do artista por meio do levantamento de dados, objetos, anotações, notas e desenhos, mapas, rascunhos de textos, além das referências elencadas pelo próprio criador. Um processo de criação abrange toda a complexidade de elementos que comporão o resultado final, ou a obra artística; tais elementos reúnem, além do criador e intérpretes, componentes da equipe de produção, cenografia, iluminação, marketing, figurinista, etc. Tudo deve ser considerado em relação ao produto final. Também, não devemos esquecer a relação da obra e seu público, ou seja, mesmo finalizada os
resultados obtidos em decorrência do processo criação dependem também do olhar, da apreciação e fruição do público. Mesmo que a obra seja de difícil entendimento, ou que o público seja hipotético, ao criar sua obra o artista deposita a fé de que alguém, após uma atenta observação, conseguirá entender sua criação; sem esse ato de fé, a obra não se consolida e nem tem sentido algum para o artista.
Palavras-chave: Processo de Criação, Dança Contemporânea, Estética.

THE PROCESSES OF CREATION IN CONTEMPORARY DANCE
Abstract
The process of creation in dance part from the principle the ordering of ideas of a creator. In the act of creation, the artist dips into a state of attention, "constant vigilance", which propels to observe the world around them. In this reflection on the processes of creation, we found the factors of the various stages or phases in which the creator develops a choreographic project. The researcher in Art aims at understanding
the means that lead to construction of the artwork; for that scrutinizes the meanders of the mind of the artist through the survey data, objects, annotations, notes and drawings,maps, draft texts, besides the references listed by the creator. A creation process covers all the complexity of elements that compose the final result, or the artwork; these elements together, as well the creator and performers, production team members, set design, lighting, marketing, costume designer, etc. Everything must consider in relation to the final product. Also, we must not forget the relationship of the work and his audience, or even finalized the results obtained as a result of the creation process also
depends on the look of appreciation and fruition of the audience. Even if the work is hard to understand, or that the audience is hypothetical, while creating his work the artist puts faith that someone, after a careful observation, be able to understand his creation; without this act of faith, the artwork is not consolidated and not make any sense for the artist.
Keywords: Creation Process, Contemporary Dance, Aesthetics.

In diesem Text werde ich der Frage nachgehen, warum Tanz seit der frühen Tanzmoderne bis hin zum zeitgenössischen Tanz in signifikanten Wellen mit Attributen des Rituellen, des Ritus und des Rituals verbunden wird – und warum dies in systematisch-ästhetischer Hinsicht zumindest fragwürdig, wenn nicht falsch und bisweilen hochproblematisch ist.

felt that my body was asked to move choreographically. Formed by two huge curved walls covered with metal plates painted with both geometric and organic figures in shades of green and gray, the work reconfigures itself, depending on the incidence of light, which incites the viewer to walk near, far or laterally, bend and straighten the knees, rise on middle toes or lean. Glued to the large glass windows that show a remnant piece of forest, the metal walls artificially reflect the trees and end where the forest begins — framed by modernist architecture. Body, design, space and trees take part in a choreography in which everything moves according to the displacement of the viewer. Although I have been involved, both as artist and teacher, in dance and the visual arts fields for about ten years, this was the first time I consciously felt that my body was guided beyond the playful involvement common to art installations, which often simplifies the body to a state of infantile regression. I realized that my relationship with Tautorama was not only different from what I had consciously felt before, but I could also name it as a choreographic experience: a dance of intimate order, not spectacular, which takes place between visitor and visited, the work of art and the viewer's body. This awareness made me recall the feeling I had when appreciating the work Fort Part Motet (2001), by the Canadian artist Janet Cardiff, a sound installation in forty channels lasting fourteen minutes, sung by the choir of Salisbury Cathedral (England), exhibited at Inhotim Institute in the outskirts of the city of Brumadinho, in Minas Gerais State, in Brazil. Arranged in a circle at the height of our faces, each speaker plays the voice of only one of the choir members, so that, as we approach one of them, we hear the voice in an unthinkable level of intimacy, as if we were centimetres from the mouth of the interpreter, who sometimes only breathes. We can move clockwise or counterclockwise, place ourselves in the centre of the room to listen to the voices blended, cross from one speaker to another and so forth. I felt that the sound and I choreographed a duet, sometimes restricted by the bodies of other spectators who forced breaks, expectations, accelerations and decelerations. The tension

“Being Ma” lives at the nexus of ma and the lived body. (1) Of Shinto Zen origin, 'ma' concept of spacetime permeates traditional forms of Japanese Fine Arts. (2) The essence of 'ma' reappears in the contemporary Butoh dance philosophy, and has migrated as spatial-temporal perspective in a number of movement art practices outer-borders of Japan. “Being Ma” attempts at describing a porous, fluid, indescribable concept as experienced in its relationship along and between the artistic intents of a moving body in spacetime.
'Ma' is a contributing rather than a limiting principle. The study follows a flow leading to ma-body-as-event. The study of 'ma' contributes to the phenomenal, cultural, and embodied knowledge production of Dance & Performance scholarship, and beyond, extending to fields of research mandating embodied inquiries. Having chosen to study a Japanese phenomenological concept through the practical framework (in some cases) of North American movement art practitioners, I come across issues of embodied translation and issues of movement approaches – or, stylistic codes and forms of ‘trans-action’. Aided by the artistic expressions of the lived body paradigm, this paper addresses the experience of movement: Shinto Zen rites, Nihon Buyo (Traditional Japanese Dance), Butoh practice, Somatic practice, dancing dream state, and Durational Performance Art. These forms call for movement awareness, which makes them ideal pilots for observation, description, analysis, and interpretation.

Contemporary dance is usually defined and characterised by different dance techniques, ranging from traditional to modern. A contemporary dance choreographer is therefore often saddled with the right choreographic approach in achieving his or her dance composition. Unlike the traditional dance choreographer, whose task may not be to actually invent new dance-steps, but to simply coordinate existing traditional or indigenous dance patterns, the contemporary choreographer's sources is open-ended, thereby making him somewhat confused on what to do in order to compose dance. Although, there are no definitive methods of composing contemporary dance, however, this paper offers suggestive approaches through which contemporary dance can be successfully choreographed or composed by observing certain basic and simple principles. The crux of these principles is for the choreographer to make the dance patterns endearing to the dancers as well as the spectators.

Today, dramaturgy is more than ever a vibrant artistic field, on the one hand constantly expanding and on the other, populated with various discourses and practices coming from other social and cultural spheres. Therefore, simultaneously with following how it spilled out of the drama play, theater stage, black box and even the performance in broadest artistic sense, we can follow how present day media, cinema, internet, management of labor, educational system, popular music, life styles, organization of perception and attention, as well as the financial crisis, protests, assemblies and self-organized communities that have appeared in Europe in the recent years have influenced dramaturgy. In this present article – whose scope doesn't allow me to analyze both processes in detail – I will focus on a point where these two streams intersect. There, where dramaturgy in performing arts reverberates with the surrounding context and by the same stroke invites us to think that context by observing performances, I see a tendency on contemporary European dance and performance scene(s) that I name 'landscape dramaturgy'.

Relocated from the ‘black box’ of experimental theatre to the gallery ideal of the ‘white cube,’ dance in the museum brings about new forms of performance (the dance exhibition) and new protocols of audience behaviour (in which smartphone photography is permitted, even encouraged). This is the ‘grey zone’ of recent performance, which is both a symptom of, and compensation for, the virtual character of contemporary attention.

Scena savremenog plesa u Srbiji se uspostavlja tokom 2000ih godina. To ne znači da ranije u Srbiji nije postojao ples, pa ni da nije postojao ples koji teži da bude savremen svom trenutku i kontekstu. Međutim, termin "savremeni ples“ ulazi u upotrebu naročito krajem 1990ih i početkom 2000ih godina, isto kada počinje da se formira i onaj kompleksni umetničko-teorijsko-organizacioni sistem koji nazivamo "scenom"...

Beginning with the example of Beyoncé's music video for her song "Countdown," which copied movements from Anna Teresa De Keers-maeker's early choreographic work, this article explores the role of plagiarism, reconstruction, and recreation in contemporary dance. With regard to theories of repetition (such as those of Søren Kierkegaard and Giorgio Agamben), a particular focus is placed on the ephemerality and corporeality of movement, arguing for the convergence of copying and repetition in dance. While, due to the restrictions of human anatomy and the responding characteristics of movement, dancing is always already interwoven with the process of copying, it is, however, the inevitable inexactitude of these copies that guarantees the non-iterability of dance, as well as its alteration and innovation.

This essay accounts for a distinctive kind of thought, born in and through European dance since the mid-1990s, which has thoroughly transformed choreography and performance by reinventing performed relations between the body, movement, and time under the theme of " problems. " The practice of this thought is rooted in the problematization of specific concerns within contemporary theater dance, such as the body-movement bind with respect to expression and form, improvisation and processuality, or spectatorship. Most importantly and in a nutshell, its forte lies in introducing a method of creation by way of problem-posing, which merits philosophical attention.

... are created by artists coming from different cultures and countries, with sometimes conflictingaesthetic agendas, antagonistic ... the field of dance spectatorship by making stillness and sweatan ex-plicit agent of meaning. ... Mantero's shock wave is an underground tectonic shift. ...

The essay documents the diachronic developments of contemporary dance in Malaysia since its independence in 1957, arguing that the search for its identity necessitates the incorporation of indigenous cultures and traditions. The essay outlines various factors that have contributed to its growth, indentifying key figures who have championed this vision through dance.

This research delineates choreography as a new aesthetics, the one of change. Through the development a series of new choreographic methodologies manifested in eight choreographic works and appropriate theoretical contextualization, this research extends traditional definitions of choreography. The integration of ideas introduced by system theory and cybernetics, especially as developed by Gregory Bateson, has informed a number of paradigm shifts in the field of choreography, as proposed by this research. Choreography is presented as an emerging, autonomous aesthetics concerned with the workings and governance of patterns, dynamics and ecologies. The research indicates that if the world is perceived as a reality constructed of interactions, relationships, constellations and proportionalities, choreography can assume the creative practice of setting such relations, or set the conditions for such relations, to emerge. The thesis suggests that choreographic knowledge harvested from perceived patterns in nature forms the basis for wider acts of human creation and ordering, and examines the immanent and prevalent political dimension of the choreographic act by inquiring how order emerges on living systems. In light of the findings, this thesis finally re-negotiates the relationship between the fields of dance and choreography, offering a complimentary vision for dance as a 'figure of thought'.

Значение синтеза аутентичных и современных форм танца для развития искусства танца, в целом, для стремительно развивающегося мира трудно переоценить. Многие современные хореографы соединяют в своих произведениях различные танцевальные техники, включая доступные им интерпретации аутентичных форм танца.

Bugg J. Drawing with the Body and Cloth in Embodied Performance: Design, Process, and Narrative Anne Reilly, Wibke Leister and Susan Zoubir-Shaw, Inter-Disciplinary Press. 2015

Abstract
This chapter focuses on the development of a practice led research project that extends my ongoing exploration of design methods for clothing in performance at the intersection of fashion and performance practices. It responds to the fact that costume design and specifically costume design for contemporary dance is often applied to a specific choreography as opposed to being central to the development of the performance and communication itself.
By investigating the relationship between visuality and physicality in fashion and dance it points towards developed experiential and embodied methods of designing clothing for dance. The research focus on the idea of symbiotic development of clothing design and choreography in response to interpreted meaning drawn from a painting A Detail from The Tempest by Peder Balke, about 1862 in the National Gallery London. The methodology explores the idea of drawing and sketching physically with the body and cloth to inform the design and production of clothing centered physical performance and a short film.

This practice led design process simultaneously develops design and movement in a responsive dialogue between designer and dancer within the gallery and in response to the painting’s inherent themes, emotional and visual narratives. The work addresses the role of narrative in design and performance, seeking to extend a dynamic, felt and experiential engagement with clothing as opposed to a particular visual or linear narrative. Through the designer and dancers experiential understanding of the body and clothing in and through movement, it exposes how clothing can be implicit in the conceptualisation, development and communication process.

Being Ma lives at the nexus of ma and the lived body.1 Ma concept of space-time permeates traditional forms of Japanese Fine Arts.2 The essence of ma reappeared in the contemporary Butoh dance philosophy, and through it migrated as a spatial temporal perspective adopted by a number of movement art practitioners outside of Japan. Being Ma aims to describe a conceptual space-time as experienced in its relationship with the artistic intent of a moving body.
Having chosen to study a Japanese concept through the practice of North American movement art practitioners, I come across issues of translation and issues of movement approaches – or, stylistic forms of action. Of the many artistic expressions using the lived body paradigm, this paper addresses the experience of movement through the cases studies of Butoh dance-theatre, Somatic practice, and Durational Performance Art. These forms necessitate awareness of movement, which makes them great pilots for observation, description and analysis. Therefore, Being Ma looks at the experiential phenomenon of embodied translation in the action of dancing/performing a movement. In this paper,
I will define the term trans-acting, describe how ma trans-acts the dancing body, and illustrate its implication in movement performance art.
The process approach is fundamental in following the logical flow leading to the body-as-event qualifying the ma principle discussed in this paper. Ma is a contributory rather than a known or a delimiting principle. The study of ma augments the study of the philosophy of dance/movement as agent of cultural knowledge production.