In the contexts of European performance arts in particular, choreography as a term and as a field of activity has shifted radically since the 1990s. Stable and historical definitions of choreography, as inscriptions of movement characterized through compositional approaches to bodily movement in time and space, have moved towards choreographic approaches that question such normative relationships between movement, composition and the production of dance, and expand the notion of choreography as an art that includes a wider range of conceptual tools, materials and strategies. A shift towards the conceptualization of choreography in terms other than or additional to the arrangement of bodily movement has produced a range of performance work that suggests that choreography is a field of contemporary arts practice that provides not only vectors for new forms of trans-disciplinary arts research but also a locus for questioning the orthodoxies of contemporary art work and practice. Through this work choreography can now be seen to invoke, recuperate and incorporate other forms of cultural practice (both historical and contemporary).<\/p>\n
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Editorial: On Choreography
\nRic Allsopp, Andr\u00e9 Lepecki
\npp. 1 – 6
\nDance in General or Choreographing the Public, Making Assemblages
\nRudi Laermans
\npp. 7 – 14
\nThe Makings of \u2026 Production and Practice of the Self in Choreography: The Case of Vera Mantero and Guests
\nBojana Bauer
\npp. 15 – 22
\nThe Choreography of the Pedestrian
\nElizabeth Dempster
\npp. 23 – 28
\nWhere is the Space of Choreography? [artist\u2019s pages]
\nEleanor Bowen
\npp. 29 – 34
\nThe Movement of Embodied Thought The Representational Game of the Stage Zero of Signification in J\u00e9r\u00f4me Bel
\nUna Bauer
\npp. 35 – 41
\nJ\u00e9r\u00f4me Bel : An Interview
\nUna Bauer
\npp. 42 – 48
\nHow Do You Want to Say Goodbye? A Choreography for a Last Performance
\nLin Hixson
\npp. 49 – 54
\nNotes on Choreography
\nSally Gardner
\npp. 55 – 60
\nPetrified? Some Thoughts on Practical Research and Dance Historiography
\nKate Elswit
\npp. 61 – 69
\nMy Private Bio-Politics: A Performance on a Paper Floor
\nSa\u0161a Asentic, Ana Vujanovi\u0107
\npp. 70 – 78
\nPrivacy in accordance with BADco\u2019s Memories are made of this \u2026
\nM\u00e5rten Sp\u00e5ngberg
\npp. 79 – 84
\nThis Side of the Gathering The Movement of Acting Collectively: Ligna\u2019s Radioballett
\nKai Van Eikels
\npp. 85 – 98
\nFrau Fiber and the Synchronized Sewing Squad : Political Theory and Choreographing Labour
\nMyron M. Beasley
\npp. 99 – 104
\nInfinite Field: Dance Drawing [artist\u2019s pages]
\nBarbara Neri
\npp. 105 – 108
\nTroika Ranch : Making New Connections A Deleuzian Approach to Performance and Technology
\nSusan Broadhurst
\npp. 109 – 117
\nAfter Choreography
\nJohannes Birringer
\npp. 118 – 122
\nThe Choreography of Singularity and Difference And Then by Eszter Salamon
\nAna Vujanovi\u0107
\npp. 123 – 130
\nChoreographic Resources Agents, Archives, Scores and Installations
\nScott deLahunta, Norah Zuniga Shaw
\npp. 131 – 133
\nReview Essay: The Wooster Group: Hamlet, or the Tragic of the Surface
\nKatia Arfara
\npp. 134 – 137
\nBook Reviews
\nFiona Wilkie, Christopher T. Matsos
\npp. 138 – 140
\nNotes on Contributors
\npp. 141 – 142<\/p>\n\n\n