movingonline-hetty-blades

MOVING ONLINE- Hetty Blades

Sharing, protecting and reusing movement in the digital sphere

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The Digital Catapult

The project is being undertaken in collaboration with the Digital Catapult, as part of its Researcher in Residence scheme. Check out the Digital Catapult’s website to find out more about what they are up to: https://www.digitalcatapultcentre.org.uk/about/

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The data sharing ideology

The data sharing ideology promotes sharing and access, but what does this mean for dance? Throughout the research process so far key questions continually emerge around how much, and what type of content should/can be shared.

This research has discovered a range of attitudes towards copyright within the dance community. On the one hand, some participants take a postmodernist view, suggesting that there’s nothing original and their work is a reconstitution of existing ideas and movements, meaning that they are happy for the work to circulate, be copied and be used. On the other hand, some organisations and individuals express concern about sharing full-length recordings of works. Indeed, although there is a wide range of dance content available online, full-length recordings or specially made dance films are relatively rare, with excerpts and trailers more commonly available.

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What is dance ‘data’ and who owns it?

The prevalence of technology in our daily lives means that most people in the western world generate and use data in multiple different ways every day. Every time we use a computer to send an email, or stream a film on our televisions data is gathered.

But what about when we dance? Can movement be captured and catalogued in this way? These questions have been explored in some depth in some areas of dance research through motion capture, dance analysis, and digital projects such as Synchronous Objects (http://synchronousobjects.osu.edu/), however, they also have resonance in out daily lives. For instance, as we move around cities data about our movements are captured on CCTV. The way we move is part of our identity, and explicitly or implicitly expresses things about our feelings, so should movement data be considered ‘personal’?
 
*full post here.

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Re-Dance: Examples

 examples of ways that dance is circulated, reused, sold, exchanged and remixed online.

Re:Rosas: http://www.rosasdanstrosas.be/en/

Choreographic Coding Labs: http://choreographiccoding.org/ 

Dance Studio Pro: https://dancestudio-pro.com/the-choreography-store/ 

Steal this Dance: http://stealthisdance.com/

‘Singing in the Rain’ Volkswagen advert: https://www.youtube.com/watch?v=gs_T_cEoX6In 

Undo, Redo and Repeat: http://www.undo-redo-repeat.de/aspekte-der-weitergabe/notation.html

Les Ballets Trockadero de Monte Carlo: http://trockadero.org/ 

New Adventures/Matthew Bourne: http://new-adventures.net/matthew-bourne

Choreographic Lineage: http://www.choreographiclineage.buffalo.edu/ 

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Beyoncé and De Keersmaeker

One of the most high-profile debates about the ‘referencing’ of dance occurred in 2011 when Beyoncé used sequences from Belgian choreographer Anne Teresa De Keersmaeker’s works Rosas dasnt Rosas (1983) and Achterland (1990), for her company Rosas, in her video for Countdown. De Keersmaeker claimed that Knowles had plagiarized her work, and threatened legal action (Yeoh 2013). However, Adria Petty, the co-director of the music video strongly denied this claim, explaining how she showed Knowles multiple videos as inspiration (McKinley Jr 2011). Indeed, the Countdown video is made up almost entirely of ‘references’ to other cultural icons and dance routines. See https://www.youtube.com/watch?v=PDT0m514TMw 

*See full post here.

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