The question “Why now?” is also profound. Answers include the pragmatic: blockbuster performance-art shows like Marina Abramovic’s retrospective at MoMA in 2010 invigorated museums just as a new generation of curators was becoming seduced by the tradition of body-based work. There are also more sweeping theories linking the rise of live art with the shift from an industrial economy (in which objects are privileged) to one centered around interaction and experience.
... Though dance has long been in museums, events have often been haphazardly organized under the purview of public programming rather than as curatorial offerings on par with exhibitions. This marketing ploy has engendered a skepticism among many in the performance world about the latest round of interest.From this point I went down a little rabbit-hole about dance notation. It is awesome. It is my new abstraction crush (lining up with cricket scoring). I mean, look at Rudolf Laban, and the system of notation he and a group of colleagues worked on, which evolved into Labanotation / Kinetography Laban.
No, seriously. Look at him:
|Rudolf Laban. Rozpravy Aventina, volume 4/1928-1929, issue 36, page 358. Digitised by Czech Academy of Sciences.|
|Labanotation for a ballet passage|
|Kazimir Malevich, 'Suprematist Composition: Airplane Flying', 1915. Museum of Modern Art, New York.|
|Example of Beauchamp-Feuillet notation|
|Alexander Calder, 'Glassy Insect', 1953. Museum of Modern Art, New York.|