Abstract
This chapter explores the integration of audience feedback via a digitally mediated platform during the creative process of three new pieces of dance. It considers how attempts to forge empathetic relationships between artists and audiences through digitally mediated interactions intersect with the dance-making process. These themes are explored through analysis of data gathered during the development of Respond (February 2014–15), a digital adaptation of Liz Lerman’s Critical Response Process (2002). The Respond platform mediates interaction between audience and artist, taking them on a structured journey of critical enquiry to deepen their insights into the development of creative and artistic projects. The chapter articulates Respond’s role in innovating digitally-mediated modes of audience engagement and empathy towards the dance work, whilst also benefitting the creative process.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
Artist Interviews:
Robbie Synge, Saturday 6 December 2014. Yorkshire Dance, Leeds.
Hagit Yakira, Saturday 6 December 2014. Yorkshire Dance, Leeds.
Lucy Suggate, Monday 14 September 2015. Yorkshire Dance, Leeds.
References
Bermudez, Bertha, and deLahunta, Scott. 2010. [NOTATION] rtrsrch 2 (2). Accessed 7 November. http://insidemovementknowledge.net/reference/reading/.
Bishop, Claire. 2004. Antagonism and Relational Aesthetics. October 110: 51–79.
Bleeker, Maaike. 2010.What If This Were an Archive? [NOTATION] rtrsrch 2 (2). Accessed 7 November 2015. http://insidemovementknowledge.net/reference/reading/.
Boorsma, Miranda. 2006. A Strategic Logic for Arts Marketing: Integrating Customer Value and Artistic Objectives. The International Journal of Cultural Policy 12 (1): 73–92.
Borstel, John. 2003. Liz Lerman Dance Exchange: An Aesthetic of Inquiry, an Ethos of Dialogue. Animating Democracy. Accessed 30 October 2015. http://animatingdemocracy.org/sites/default/files/documents/labs/dance_exchange_case_study.pdf.
Brown, Alan S., and Jennifer L. Novak. 2007. Assessing the Intrinsic Impacts of a Live Performance. San Francisco, CA: WolfBrown.
Conner, L. 2013. Audience Engagement and the Role of Arts Talk in the Digital Era. New York: Palgrave Macmillan.
Department for Culture Media and Sport. 2007. Culture on Demand: Ways to Engage a Broader Audience. London: Department for Culture, Media and Sport.
Foster, Susan Leigh. 2011. Choreographing Empathy: Kinesthesia in Performance. Oxon: Routledge.
Grönroos, Christian. 2011. Value Co-creation in Service Logic: A Critical Analysis. Marketing Theory 11 (3): 279–301.
deLahunta, Scott, and Norah Zuniga Shaw. 2006. Constructing Memory: Creation of the Choreographic Resource. Performance Research 11 (4): 53–62.
Lerman, Liz, and John Borstel. 2003. Liz Lerman’s Critical Response Process: A Method for Getting Useful Feedback on Anything You Make, from Dance to Dessert. Takoma Park, MD: Liz Lerman Dance Exchange.
Martin, John. 1939. Introduction to the Dance. New York: Dance Horizons.
Melrose, Susan. 2007. Not Yet, and Already No Longer: Loitering with Intent Between the Expert Practitioner at Work, and the Archive. Accessed 16 October 2015. http://www.sfmelrose.org.uk.
Meyer, Eric T., and Isis Hjorth. 2013. Digitally Scratching New Theatre. London’s Battersea Arts Centre Engaging Via the Web. London: Nesta.
Popat, Sita. 2006. Invisible Connections: Dance, Choreography and Internet Communities. London: Routledge.
Reason, Matthew, and Dee Reynolds. 2010. Kinesthesia, Empathy, and Related Pleasures: An Inquiry into Audience Experiences of Watching Dance. Dance Research Journal 42 (2): 49–75.
Reynolds, Dee, and Matthew Reason, eds. 2012. Kinesthetic Empathy in Creative and Cultural Practices. Bristol: Intellect Ltd.
Scratchr. n.d.. http://www.scratchr.net. Accessed 15 October 2015.
Walmsley, Ben. 2013. Co-creating Theatre: Authentic Engagement or Inter-legitimation? Cultural Trends 22 (2): 108–118.
Whatley, Sarah. 2012. The Poetics of Motion Capture and Visualization Techniques: The Differences Between Watching Real and Virtual Dancing Bodies. In Kinesthetic Empathy in Creative and Cultural Practices, ed. D. Reynolds and M. Reason. Bristol: Intellect Ltd.
Whatley, Sarah, and Ross Varney. 2010. Siobhan Davies Dance Online: The Digital Archive and Documenting the Dance Making Process. In Capturing the Essence of Performance, ed. N. Leclercq, L. Rossion, and A. Jones. Brussels: Peter Lang.
Author information
Authors and Affiliations
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2018 The Author(s)
About this chapter
Cite this chapter
Griffiths, L., Walmsley, B. (2018). Considering the Relationship Between Digitally Mediated Audience Engagement and the Dance-Making Process. In: Whatley, S., Cisneros, R., Sabiescu, A. (eds) Digital Echoes. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-73817-8_2
Download citation
DOI: https://doi.org/10.1007/978-3-319-73817-8_2
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-319-73816-1
Online ISBN: 978-3-319-73817-8
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)