![]() Ma is a contributory rather than a known or a delimiting principle. The process approach is fundamental in following the logical flow leading to the body-as-event qualifying the ma principle discussed in this paper. In this paper, I will define the term trans-acting, describe how ma trans-acts the dancing body, and illustrate its implication in movement performance art. Therefore, Being Ma looks at the experiential phenomenon of embodied translation in the action of dancing/performing a movement. These forms necessitate awareness of movement, which makes them great pilots for observation, description and analysis. Of the many artistic expressions using the lived body paradigm, this paper addresses the experience of movement through the cases studies of Butoh dance-theatre, Somatic practice, and Durational Performance Art. Having chosen to study a Japanese concept through the practice of North American movement art practitioners, I come across issues of translation and issues of movement approaches – or, stylistic forms of action. ![]() Being Ma aims to describe a conceptual space-time as experienced in its relationship with the artistic intent of a moving body. ![]() Being Ma lives at the nexus of ma and the lived body.1 Ma concept of space-time permeates traditional forms of Japanese Fine Arts.2 The essence of ma reappeared in the contemporary Butoh dance philosophy, and through it migrated as a spatial temporal perspective adopted by a number of movement art practitioners outside of Japan.
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