Project Trans(m)it: creating dance collaboratively via technology – a best practices overview
Rebecca Weber, Megan Mizanty, Lora Allen
Abstract
Rebecca Weber, Megan Mizanty, Lora Allen
Abstract
Project Trans(m)it is a collaborative research project among a cohort of intercontinental artists exploring dance creation via technological platforms. This paper seeks to disseminate our practice-led research findings on ‘best practices’ for transferring embodied information via technology, as well as posit how technology will shape and impact global dance education into the twenty-first century. Over the past two years, Project Trans(m)it has delved into the creation, production, and transference of movement between vast geological spaces in the production of a shared work, ‘Phase Two.’ Rehearsing weekly, the group rotated between various technological platforms, including but not limited to: Facebook Messenger, Gmail, Skype, Google Hangouts, Snapchat, and Rabbit. This collaborative interdisciplinary practice and knowledge exchange is a novel one stemming from the ‘global dance community,’ which is now an attainable and real phenomenon, shaped by the technologies allowing it to occur.
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Project Trans(m)it is a collaborative research project among a cohort of intercontinental artists exploring dance creation via technological platforms. This paper seeks to disseminate our practice-led research findings on ‘best practices’ for transferring embodied information via technology, as well as posit how technology will shape and impact global dance education into the twenty-first century. Over the past two years, Project Trans(m)it has delved into the creation, production, and transference of movement between vast geological spaces in the production of a shared work, ‘Phase Two.’ Rehearsing weekly, the group rotated between various technological platforms, including but not limited to: Facebook Messenger, Gmail, Skype, Google Hangouts, Snapchat, and Rabbit. This collaborative interdisciplinary practice and knowledge exchange is a novel one stemming from the ‘global dance community,’ which is now an attainable and real phenomenon, shaped by the technologies allowing it to occur.
Key concepts: Rehearsing, Dance, Embodied cognition, Dissemination, Co-creation, Sociology, Community of practice, Public relations