'Disco or Not Disco-- the choreographic objects of Disco'

TY - CONF

T1 - 'Disco or Not Disco-- the choreographic objects of Disco'

AU - Tomic-Vajagic, Tamara

PY - 2018/6/22

Y1 - 2018/6/22

N2 - When dance philosopher Erin Mannning writes ‘[t]he dance floor moves the dancers’ (2009, 21) she visualises dance parlours of incipient Argentine tango. Her image also reminds of Saturday Night Fever’s (1978) rainbow-lit dance floor, later translated into an irresistible draw of Dance Dance Revolution (DDR)-type of arcade games. If discotheque spatial metaphors are extended further, we may note similarly clever visual analogies. For instance, TATE Modern’s staged museum takeover by dance used a giant disco ball suspended over the Turbine Hall as a choreographic object (Forsythe, 2011) which marked the pop-up event ‘Adrénaline: a dance floor for everyone’ by the choreographer Boris Charmatz (If TATE was Musee de la danse?, May 2015).How much these visuals may act as powerful ontological metaphors for ‘disco’ becomes clear if one types the word into a Tumblr search, and receives a myriad of ‘poor’ images (Steyerl, 2009) of disco balls, many Photoshopped into various colourful settings. If spatial elements of discotheque thus are its choreographic objects which both invite to dance and mark its ontological parameters, what happens to ‘disco' if its glittery elements are removed? This paper looks into the gestures of abstraction that still refer to the genre, and explore the remaining ’ingredients’ that imply the constituent elements of ‘disco’ present and absent as seen in the music video ‘Pluie Fine’ by Corine (Polo&Pan remix) (2018). Disco! An Interdisciplinary Conference, University of Sussex 21/06/18 → 23/06/18 Brighton, United Kingdom

AB - When dance philosopher Erin Mannning writes ‘[t]he dance floor moves the dancers’ (2009, 21) she visualises dance parlours of incipient Argentine tango. Her image also reminds of Saturday Night Fever’s (1978) rainbow-lit dance floor, later translated into an irresistible draw of Dance Dance Revolution (DDR)-type of arcade games. If discotheque spatial metaphors are extended further, we may note similarly clever visual analogies. For instance, TATE Modern’s staged museum takeover by dance used a giant disco ball suspended over the Turbine Hall as a choreographic object (Forsythe, 2011) which marked the pop-up event ‘Adrénaline: a dance floor for everyone’ by the choreographer Boris Charmatz (If TATE was Musee de la danse?, May 2015).How much these visuals may act as powerful ontological metaphors for ‘disco’ becomes clear if one types the word into a Tumblr search, and receives a myriad of ‘poor’ images (Steyerl, 2009) of disco balls, many Photoshopped into various colourful settings. If spatial elements of discotheque thus are its choreographic objects which both invite to dance and mark its ontological parameters, what happens to ‘disco' if its glittery elements are removed? This paper looks into the gestures of abstraction that still refer to the genre, and explore the remaining ’ingredients’ that imply the constituent elements of ‘disco’ present and absent as seen in the music video ‘Pluie Fine’ by Corine (Polo&Pan remix) (2018). Disco! An Interdisciplinary Conference, University of Sussex 21/06/18 → 23/06/18 Brighton, United Kingdom

M3 - Paper

T2 - Disco! An Interdisciplinary Conference

Y2 - 21 June 2018 through 23 June 2018

ER -