Антропологические аспекты современного танца. Беседы с Акрамом Кханом о судьбе, истоках вдохновения и сценическом повествовании : DOI: 10.33876/2311-0546/2021-54-2/157-176
Pourquoi ce travail est dans la base
Une base qui oublie comment elle a trouvé un travail ne peut pas être vérifiée. Voici les voies qui ont admis celui-ci.
Notice bibliographique
Résumé
Contemporary dance is a global phenomenon, but national and ethnic aspects are regularly manifested both in the content and in the form of performances, and in artists’ life-stories. Akram Khan is one of the most famous dancers and choreographers of our time. Member of the Order of the British Empire for Dance Merit since 2005, he is the creator of numerous ballets performed by various troupes and the author and performer of solo programs. Each of his performances is an event that offers a new vision of both the form and the content of contemporary dance. This essay is based on personal conversations of Svetlana Ryzhakova with Akram Khan in 2017 and 2019, as well as observations and analysis of his family history, career and artistic activity. Akram Khan was born and raised in England, but his parents are migrants from Bangladesh, a Muslim, although a very Westernized family. Problems of ethnic and cultural identity, personal attitudes towards language and the body, historical memory, social tension, “friends and foes”, homeland, as well as how modernity can and should be reflected on stage formed the basis of our conversations and reasoning of Akram Khan. For Citation: Ryzhakova, S. 2021. Anthropological aspects of contemporary dance. Conversations with Akram Khan on fate, inspiration and stage narration. Herald of Anthropology (Vestnik Antropologii) 2: 157–176. References Banes, Sally. 2021. Terpsikhora v krossovkakh. Tanets postmodern [Terpsichore in sneakers. Postmodern dance]. Moscow: OOO “Art Guide” (Artguide Editions)]. Grem, Marta. 2020. Pamyat' krovi. Avtobiografiya [Memory of blood. Autobiography]. Moscow: OOO “Art Guide” (Artguide Editions). Kanningem, Mers. 2019. «Gladkiy, potomu chto nerovnyy…» [“Smooth because uneven ...”], edited by Jacqueline Leshev. Moscow: Guide, Garage Museum of Contemporary Art. Klimenkhaga, Royd. 2021. Pina Baush. Obnazheniye telesnogo prisutstviya [Pina Bausch. Exposure of bodily presence]. Moscow: OOO Art Guide (Artguide Editions). Ryzhakova S.I. 2020. Akram Kkhan: o zhizni, tantse i istoriyakh [Akram Khan: about life, dance and stories]. Screen and stage 18, September 29. Adshead-Lansdale, J. (ed.) 1999. Dancing Texts: Intertextuality in Interpretation. London: Dance Books. Bohm-Duchen, Ben. 2018. Home was in my Body https://www.akramkhancompany.net/explore-archive/home-was-in-my-body/ (access: 12.04.2021). Devidayal, Namita. 2018. The Six String of Vilayat Khan. Chennai: Context, Westland Publication Private Limited. Foster, Susan Leigh, (ed.). 2009. Worlding Dance. Basingstoke, UK: Palgrave Macmillan. 209 p. Hind, John. Akram Khan: “My father hated my waitering – how I’d prance around”. 17.09.2017. https://www.theguardian.com/lifeandstyle/2017/sep/17/akram-khan-dancer-choreographer-life-on-a-plate (access: 12.04.2021). Kealiinohomoku, Joann. 1983. An anthropologist looks at ballet as a form of ethnic dance (1970). Copeland, Robert and Marshall, Cohen. What is Dance? Readings in Theory and Criticism, 533–549. Oxford University: Oxford University Press. Partsch-Bergsohn I., Bergsohn H. 2003. The Makers of Modern Dance in Germany: Rudolf Laban, Mary Wigman, Kurt Jooss. Highstown, N.J.: Princeton Book Company. Prickett, Stacey. 2011. Akram Khan. Fifty Contemporary Choreographers. 2 ed., edited by Marth Bremser and Lorna Sanders. N.Y.: Routledge. Sanders, L. 2003. Choreographers Today: Akram Khan. Dancing Times. May, 17–23. Sanders, L. 2004. Akram Khan’s Rush: Creative Insights. Alton: Dance Books. Sanders, L. 2008. Akram Khan’s ma (2004): An Essay in Hybridisation and Productive Ambiguity, Lansdale J. (eds). Decentring Dancing Texts. Palgrave Macmillan, London. Sparshott, F. 1995. A Measured Pace: Toward a Philosophical Understanding of the Arts of Dance. Toronto, Buffalo and London: University of Toronto Press. Swaminathnan, Chitra. 2015. Dancer-choreographer Akram Khan on movement, his muse. The Hindu. 23.09.2015. Vasudewan, Preeti with Akram Khan. 2002. Clarity within Chaos. Dance Theatre Journal 18 (1).
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,002 | 0,002 |
| Méta-épidémiologie (sens strict) | 0,004 | 0,004 |
| Méta-épidémiologie (sens large) | 0,006 | 0,003 |
| Bibliométrie | 0,002 | 0,004 |
| Études des sciences et des technologies | 0,002 | 0,009 |
| Communication savante | 0,001 | 0,002 |
| Science ouverte | 0,005 | 0,003 |
| Intégrité de la recherche | 0,005 | 0,005 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,316 | 0,026 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découle