'The Crafted Body': Thoughts on Dancing, Viewing and Remembering

Research output: Chapter in Book/Report/Conference proceedingChapter

Abstract

In this chapter, I draw on her choreographic practice-as-research project in the Ashmolean Museum (UK) to propose the ways in which live dance in the archaeology museum interrogates received notions of how we view and remember history. The choreographic practice develops from feminist classical scholarship focussing on the gaze, and on the gaze’s relationship to mobility and stillness. It posits ‘stillness-that-is-not-quite stillness’ as a strategy that allows dance to step out of the linear temporality of representation and into a different economy of time and presence.
Original languageEnglish
Title of host publicationA World of Muscle, Bone & Organs: Research and Scholarship in Dance
EditorsSimon Ellis, Hetty Blades, Charlotte Waelde
Place of PublicationCoventry
PublisherC-DaRE at Coventry University
Pages59-75
ISBN (Electronic)9781846000836
Publication statusPublished - 2018

Fingerprint

Dancing
Remembering
Stillness
Dance
Practice as Research
Economy
Archaeology
Classical Scholarship
Research Projects
History
Temporality
Ashmolean Museum

Cite this

Crawley, M-L. C. (2018). 'The Crafted Body': Thoughts on Dancing, Viewing and Remembering. In S. Ellis, H. Blades, & C. Waelde (Eds.), A World of Muscle, Bone & Organs: Research and Scholarship in Dance (pp. 59-75). Coventry: C-DaRE at Coventry University.

'The Crafted Body': Thoughts on Dancing, Viewing and Remembering. / Crawley, Marie-Louise Clare.

A World of Muscle, Bone & Organs: Research and Scholarship in Dance. ed. / Simon Ellis; Hetty Blades; Charlotte Waelde. Coventry : C-DaRE at Coventry University, 2018. p. 59-75.

Research output: Chapter in Book/Report/Conference proceedingChapter

Crawley, M-LC 2018, 'The Crafted Body': Thoughts on Dancing, Viewing and Remembering. in S Ellis, H Blades & C Waelde (eds), A World of Muscle, Bone & Organs: Research and Scholarship in Dance. C-DaRE at Coventry University, Coventry, pp. 59-75.
Crawley M-LC. 'The Crafted Body': Thoughts on Dancing, Viewing and Remembering. In Ellis S, Blades H, Waelde C, editors, A World of Muscle, Bone & Organs: Research and Scholarship in Dance. Coventry: C-DaRE at Coventry University. 2018. p. 59-75
Crawley, Marie-Louise Clare. / 'The Crafted Body': Thoughts on Dancing, Viewing and Remembering. A World of Muscle, Bone & Organs: Research and Scholarship in Dance. editor / Simon Ellis ; Hetty Blades ; Charlotte Waelde. Coventry : C-DaRE at Coventry University, 2018. pp. 59-75
@inbook{8935d76f87514e018b91a52fc53eee38,
title = "'The Crafted Body': Thoughts on Dancing, Viewing and Remembering",
abstract = "In this chapter, I draw on her choreographic practice-as-research project in the Ashmolean Museum (UK) to propose the ways in which live dance in the archaeology museum interrogates received notions of how we view and remember history. The choreographic practice develops from feminist classical scholarship focussing on the gaze, and on the gaze’s relationship to mobility and stillness. It posits ‘stillness-that-is-not-quite stillness’ as a strategy that allows dance to step out of the linear temporality of representation and into a different economy of time and presence.",
author = "Crawley, {Marie-Louise Clare}",
year = "2018",
language = "English",
pages = "59--75",
editor = "Simon Ellis and Hetty Blades and Charlotte Waelde",
booktitle = "A World of Muscle, Bone & Organs: Research and Scholarship in Dance",
publisher = "C-DaRE at Coventry University",

}

TY - CHAP

T1 - 'The Crafted Body': Thoughts on Dancing, Viewing and Remembering

AU - Crawley, Marie-Louise Clare

PY - 2018

Y1 - 2018

N2 - In this chapter, I draw on her choreographic practice-as-research project in the Ashmolean Museum (UK) to propose the ways in which live dance in the archaeology museum interrogates received notions of how we view and remember history. The choreographic practice develops from feminist classical scholarship focussing on the gaze, and on the gaze’s relationship to mobility and stillness. It posits ‘stillness-that-is-not-quite stillness’ as a strategy that allows dance to step out of the linear temporality of representation and into a different economy of time and presence.

AB - In this chapter, I draw on her choreographic practice-as-research project in the Ashmolean Museum (UK) to propose the ways in which live dance in the archaeology museum interrogates received notions of how we view and remember history. The choreographic practice develops from feminist classical scholarship focussing on the gaze, and on the gaze’s relationship to mobility and stillness. It posits ‘stillness-that-is-not-quite stillness’ as a strategy that allows dance to step out of the linear temporality of representation and into a different economy of time and presence.

M3 - Chapter

SP - 59

EP - 75

BT - A World of Muscle, Bone & Organs: Research and Scholarship in Dance

A2 - Ellis, Simon

A2 - Blades, Hetty

A2 - Waelde, Charlotte

PB - C-DaRE at Coventry University

CY - Coventry

ER -