The processes of gaining and transmitting embodied knowledge and forming the movement archive in Contact Improvisation technique practices.

I would like to share my paper, which examines the process of gaining and transmitting embodied knowledge and forming the movement archive in Contact Improvisation technique practices. Hope it might be useful for someone's further research.

Я хотела бы поделиться своей работой, в которой я исследую процесс получения и передачи телесного знания и формирования архива движения через практики контактной импровизации. Надеюсь, моя работа может быть полезной для будущих исследований на эту тему. 

 

"The processes of gaining and transmitting embodied knowledge and forming the movement archive in Contact Improvisation technique practices", 2012. Unpublished.

Author: Ahai (Darya Siarheichyk)

Introduction

'The disappearance of the object is fundamental to performance' ¹. I believe that improvisation, perhaps, is the most vulnerable practice in this regards. Nevertheless, art practitioners consider the importance of the produced and gone moments of pure improvisation explorations as something charged with an important constituent which we would refer to as 'knowledge'. The choice and meanings of this and other important for this paper terms are explained in the chapter 'The case study and the main terms'.

There are different approaches for capturing, saving and transmitting the knowledge. This paper will deal with Contact Improvisation dance technique and, consequently, peculiar practices/approaches for dealing with embodied knowledge. They are presented in the chapter 'Contact Improvisation practices'. In the performance context Contact Improvisation (“Contact” or “CI”) is used either as a dance practice end-to-itself (jams) or as performative dance technique, or as a dance research method for enriching new choreographic routines. Consequently, I will concentrate on analyzing these specific practices particularly in relation to the concepts of "repertoire" and "archive" of Diana Taylor. So, I will explore each of the practices in connection with the specific system of transferring the embodied knowledge. I assume, that the systems are highly interrelated. I would try to point out these connections and explore how the materials of Contact Improvisation repertoire are being preserved and transformed into the 'choreographic archive'; how the archive participate in production and reproduction CI embodied knowledge; and what's the role of the 'digital memory' in building choreography based on live Contact Improvisation explorations.

The very nature of improvisation offers “ephemerality” as an embracing notion for this research. So, I will mainly work acknowledging the texts which explore this topic, such as 'Homo Ludens. A study of the play element of culture' by Huizinga and 'Unmarked: The Politics of Performance' by Peggy Phelan, as well as with the texts of Diana Taylor 'The archive and the repertoire. Performing cultural memory in the Americas' and 'Save as' which consist the main guidelines for analyzing Contact Improvisation practices in connection with the theory on various systems of knowledge transmission. Besides, some of reflections on the dancers' bodily experiences are based on 'The phenomenology of perception' of Maurice Merleau-Ponty. As a specific point of reference I've chose one of the most prominent books written on Contact Improvisation dance technique: 'Contact Improvisation: An Introduction to a Vitalizing Dance Form' by Cheryl Pallant.

The case study and the main terms

The main purpose of this chapter is to introduce Contact Improvisation itself and the main theoretical terms I base my research on.

'Contact Improvisation speaks for the belief that the realm of the organic movement is limitless and rich in the possibilities of one's self, one's being'.

Danny Lepkoff

‘Contact Improvisation is an evolving system of movement initiated in 1972 by American choreographer Steve Paxton. The improvised dance form is based on the communication between two moving bodies that are in physical contact and their combined relationship to the physical laws that govern their motion—gravity, momentum, inertia. <…> Contact improvisations are spontaneous physical dialogues that range from stillness to highly energetic exchanges’².

'Aiming for a consistent but not closed form, Paxton described CI in a Drama Review article in 1975 as a work in progress which contained six essential elements: attitude; sensing time; orientation to space; orientation to partner, expanding peripheral vision; and muscular development'.³ These elements are highly important in Contact Improvisation practice. While exploring it, dancers are working mainly with “point of contact”, weight, balance, touch, following physical laws, etc. They use each other to explore these elements and build spontaneous bodily dialog. So, it is almost impossible to learn contact improvisation technique by other means then participating in this shared experience. That is why there are relatively not so many archival and educational material on it. The very experience is most important as it is a process of learning by doing.

As I have already mentioned, in this context it is important to understand the ephemeral nature of our object of analysis.

Following Peggy Phelan, who is an American scholar, one of the founders of Performance Studies International and was chair of New York University's Department of Performance Studies: 'performance cannot be saved, recorded, documented, or otherwise participate in the circulation of representations of representation....Performance's being like the ontology of subjectivity proposed here, becomes itself through disappearance'⁴. Of course, this nature is not a unique category of Contact Improvisation but is essential to performance art itself. But what is interesting in this relation is the whole massive industry, build around Contact Improvisation, which provide special training for producing ephemeral something; the existence of different levels of professionalism in producing ephemeral and the ways the very this ephemeral something treated as highly important and is being captured by the different means and practices.

So, what is actually being learned under the name CI technique? It is undoubtedly very important but in the framework of this paper I will rather explore the question of how something is being learned. So I will reduce the first question to the wide notion of 'embodied knowledge', as the format of the paper does not let me dive deeper in this aspect.

So, basically, this ('embodied knowledge') and the other main notions I refer to is taken from the vocabulary provided by Professor of Performance Studies, important theorist and Director of the Hemispheric Institute on Performance and Politics Diana Taylor. Following her, 'embodied and performed acs generate, record, and transmit knowledge'⁵; 'embodied practice, along with and bound up with other cultural practices, offers a way of knowing'.⁶

Despite the aforementioned emphasize on the live experience and knowing through embodiment, there are still some:

• books with exercises (for instance 'Contact Improvisation & Body Mind Centering; A manual for Teaching and Learning Movement' by Annie Brook or 'Dance Improvisations' by Joyce Morganroth);
• video lessons (like this one⁷, which consist the explanation on lifting and exercises for practice in order to make the lift happening);
• videos made during workshops, festivals and jams (free dancing sessions; 2 examples from Italy and Poland are provided below⁸).
• performances which are incorporating some of the aspects of CI into the staged choreography or presenting improvisation as a performance directly (this practice have emerged from the very beginning of CI, for instance the performance work Magnesium (1972) which was performed by Steve Paxton and dance students at Oberlin College at Warner Main in Warner Center. One of the contemporary pieces is, for example, "Words become stones become light and back again", also performed at Oberlin College in the Spring Back Dance Concert 2009. Created in that very moment by David Brown and Kai Evans⁹).

Of course, it is not a full closed classification, but it can provide an understanding of various ways of transmitting the Contact Improvisation knowledge which are more profoundly explored a bit later in this text. The specific features of these practices are analyzed with the main reference to the theory of the archive/repertoire modes or means of storing and transmitting knowledge presented by Diana Taylor in 2003.

'The rift, I submit, does not lie between the written and spoken word, but between the archive of supposedly enduring materials (i.e., texts, documents, buildings, bones) and the so-called ephemeral repertoire of embodied practice/knowledge (i.e. spoken language, dance, sports, ritual)'¹⁰.

The repertoire (etymologically 'a treasury, an inventory')¹¹.

'The repertoire <...> enacts embodied memory: performances, gestures, orality, movement, dance, singing - in short, all those acts usually thought of as ephemeral, no reproducible knowledge. <...> The repertoire requires presence: people participate in the production and reproduction of knowledge by "being there", being a part of the transmission'¹². 'The repertoire, whether in terms of verbal or nonverbal expression, transmits live, embodied actions. As such, traditions are stored in the body, through various mnemonic methods, and transmitted " live" in the here and now to a live audience'¹³.

Following Taylor, nowadays such nonverbal practices as dance, ritual, and cooking which are served to preserve a sense of communal identity and memory, are considered valid forms of knowledge. Contact Improvisation knowledge in turn is successfully being sold worldwide by developing the traditions and the network of CI festivals and workshops. Besides, the knowledge is being transmitted by performing CI and jamming (chapter 'Contact Improvisation practices. A. Jams, workshops, performances').

The archive (as 'a place where records are kept'¹⁴.

'"Archival" memory exists as documents, maps, literary texts, letters, archaeological remains, bones, videos, films, CDs, all those items supposedly resistant to change' <...> Archival memory works across distance, over time and space; investigators can go back to reexamine an ancient manuscript...'¹⁵

'<...> archival memory succeeds in separating the source of "knowledge" from the knower - in time and/or space <...>. What changes over time is the value, relevance, or meaning of the archive, how the items is contains get interpreted, even embodied'¹⁶.

The pure archive of Contact Improvisation knowledge I see in texts, which can be a research-oriented, or personal notes and journals of observations, which are the common thing, as well as other personal text/visual documentation of each CI practitioner. How this archive is being embodied I would describe in chapter 'Contact Improvisation practices. B. Texts/visual archive).

Besides, as I have already mentioned in the beginning, I want to explore this tension between the archive and the repertoire which produce some practices, which hold them inseparable in relation to each other.

'The archive and repertoire have always been important sources of information, both exceeding the limitations of the other, in literate and semiliterate societies. They usually work in tandem and they work alongside other systems of transmission - the digital and the visual, to name two'¹⁷.

In the connection with the archive and the repertoire it is also important to explore the role of digital memory incorporated in such practices as building choreography based on CI, or collecting the archive of passed jams and studio explorations. From this perspective I will point out the main questions around the practices on traces which are connecting the CI archive and repertoire.

Contact Improvisation practices

A. Jams, workshops, performances

The direct transmission of Contact Improvisation repertoire is happening through the practices of the very proximate corporeal interchange. The most common are jams, workshops and performances.

I would start by looking at jams.

‘Contact Improvisation jams are leaderless practice environments in which dancers practice the dance form. <…> Some jams take place in a studio for a few hours once a week. Longer retreat jams might last several days’¹⁸.

Jam spaces are more often closed. So, there are no spectators, but the dancers are both participants and spectators. Jam structure is fluid. It is an open space, so potentially anything can happen there.'Since its inception in early '70s, the dance has spread into a worldwide phenomenon practiced by professional dancers and enthusiasts alike'¹⁹. 'Jam typically include a warm-up and dancers rotating in duets, trios, quartets and so forth, sometimes in a slightly more formal structure, a round robin, where alternating partners dance in the center of the room while others look on from the periphery and await their turn to dance. Jams, more participatory than performance driven, some with musical accompaniment, are peopled by anywhere from a handful to several dozen novice and highly skilled dancers'²⁰

In other words, jam is a 'deepen movement exploration through informal gatherings'²¹; is the specific open environment for the free flow of movement explorations, sharing and practicing.

So, usually, dancing with more experienced dancers, person can better catch the specific nature of this dance experience and new features of it’s technique. So, I assume, that jam space and its practices can be seen as an platform for an ephemeral process of transmitting CI technique knowledge. Moreover, people product and reproduce the knowledge by keeping and transforming the embodied meaning. What I found the most important in this particular jam practice is the understanding that the very important part of repertoire can be gained only through the feeling of the body of other which is practicing during the jam. Only improvising with other with the special attitude towards the moment, the space and the body the one can open up the corporeal and almost spiritual domain which distinguish CI from any other dance practices. It is the mutual training which is happening between the bodies. The format, or the environment of jam is so important in this relation because the complexity and multilayerness of the embodied knowledge is dependent and produced by communicating between different bodies, their internal states in the very particular moment, etc. As far as the Contact Improvisation technique was explored and born in similar conditions, so it's life and transmitting of its knowledge requires experiencing the same practice. Jam's environment and it's internal arrangement is absolutely providing the conditions for this practice of dealing with embodied knowledge. It is interesting also to point out the fact that my own experience of speaking with the couples who are CI dancers. They often complaining about the limits and establishment of habitual movement patterns while practicing CI with the same body all the time. So, one of the important features of transmitting CI repertoire is that it depends on the diversity of CI partners. So, the technique propose the experience of the own body and physical contact with the other, instead of the consciousness in choosing the right movement. So, conscious reducing control of the body and the movement is one of the main principles. In this regard, while trying to control movement, the dancer loses the dance itself. Contact Improvisation dance is a dance-research, but it arises from the internal state of the dancer and it is not connected with his conscious choices. That is why the experimentations within Contact technique have a unique nature. It is not controlled by habitual movement dictionary or cultural schemes. Moreover, usually dance is happening between two (or more) bodies. It is always a unique combination or interplay of internal states of two bodies. The most fascinating is not only the ephemerality or the impossibility of the same experience, but this apparatus of spontaneous interaction which is capable to produce unique combinations of movement.

Then we are moving forward to the Contact Improvisation workshop.

Together with jam it is the most popular Contact Improvisation activity. There are a lot of workshop formats. Sometimes they are included in more complexed educational/entertainment programs, such as CI festivals. Sometimes several workshops are organized according to the particular direction or topic, as well as it can be the very specific small workshop leaded by one teacher who is presenting his own approach to teaching CI. Often workshops take part during several days (if it is 1day it will be probably called 'class'). There are some of the standard names of CI workshops: 'Exploration and collaboration together', 'Playing composition', 'Breath and fly', 'Balance and details of torso', 'Being centered', etc. Of course different teachers are leading workshops in a different way. But the basic structure of the classes itself remains the same.

The most common approach for transmitting knowledge by workshop training is to explore the potential of one particular topic (as we can see on the examples of the workshops' names provided above). It is about isolating one already explored aspect, and making it precisely understandable by inventing the exercises, which are then being showed to other dances and practiced with different people. As we can read in the Taylor's text, 'the repertoire, like the archive, is mediated. the process of selection, memorization or internalization, and transmission takes place within (and in turn helps constitute) specific systems of re-presentation. Multiple forms of embodied acts are always present, though in a constant state of againness. They reconstitute themselves, transmitting communal memories, histories, and values from one group/generation to the next.Embodied and performed acts generate, record, and transmit knowledge'²². In Contact Improvisation workshop practice we can see the process transforming or reducing an ephemeral experience which has already happened with somebody into the stable carcass of the particular possibility or the movement pattern which then can be explained or remembered by the body of the other and deciphered into the next ephemeral experience. It is also interesting that the jam component is almost always included into the workshop structure, so as I have already explained above, the newly learned pattern should be explored in collaboration with the different bodies (and not separately, but included and enriching dance by practicing in combination with the previously gained knowledge).

I have already included the act of performing Contact Improvisation into the chapter which is dealing with direct body to body transmission of knowledge. On the first glance the process of learning seems to be not so obvious. But we can also look at the performance as a domain of storing the knowledge, which can be to some extend learned by the viewer. To explain how this process is working we would rather turn to the theories of neurology, somatosensory reception and kinesthetic empathy. I am not so familiar with this area, but it is very interesting and relevant in this case that our brain activity acts in relation to the observing movement. So we are able to physically react while watching the movement of the other. But, as we all know from our own experience, we are not able to learn how to dance just watching other bodies dancing. So, Merleau-Ponty, as I believe, can be helpful in this respect.

Following some of his thoughts in 'The Phenomenology of Perception', the human can not experience the consciousness of the other. But the phenomenal body is able to experience another body to some extend. This means that the body of the dancer who watch the tape of the other people dancing CI receives the intentions in the own body and perceives the dancing body together with the own body. Through this experience the viewer finds the intentions of the dancing body in his own one. In the other words, the dancing body and the body of the viewer can be understood as the organic whole. The viewer's body assigns potential part of the dancer's bodily experience as the container of the ongoing mediation.

But at the same time, according to Merleau-Ponty, we are not able to fully experience the consciousness of the other. While the other experiences the situations - for us they are merely the situations of appresentation.

"My consciousness, being co-extensive with what can exist for me, and corresponding to the whole system of experience, cannot encounter, in that system, another consciousness capable of bringing immediately to light in the world of background, unknown to me, of it's own phenomena".²³

For the human being any external action remains only its modality or particular case of insuperable universality of existence. While experiencing the external a human adds its sensory functions. All the experienced is assigned to the framework of his experience. The perceived body does not become the body of the viewer because the consciousness of the viewer merely constitutes it. the body of the human exists to be experienced by the other. But as we can see the object of the reflection contains an irreflexive something that can not be experiences from without the outside.

So, this mode of transmitting CI knowledge can be partly related to the aforementioned workshop and jam practices. Despite the visible absence of any outside audience, we could say that the dancer is playing both roles while being in the CI dance space. It is always the possibility of watching other people dancing. So, the process of learning in this environment is almost unstoppable for CI dancer.

B. Texts/visual archive

As I’ve already mentioned, the ‘pure’ archive of CI knowledge is constituted in texts/books which are vary from the instructions/practical guides alike to the academic texts which are relatively rare. Of course, it is also other written material, as well as photo and video archives. But I am intended to look at the video archives more closely in the last chapter.

'Materials from the archive shape embodied practice in innumerable ways, yet never totally dictate embodiment'²⁴.

I would argue that archive of such bodily-oriented technique has nowadays almost dead existence. By now I can not see any specific features which will distinguish Contact Improvisation technique’s archive and the archive of any other dance form. While being not able to capture the specific nature of CI it consists of information which can not embrace the whole phenomenon.

‘Archiving memory succeeds in separating the source of “knowledge” from the knower’²⁵ as Taylor mentioned. But I have found the practices which are reveal the archive. And I believe that the dominance of repertoire practices over archival should be revised. The archive can be a living element of culture, and it’s state is not nesseserally isolated. In particularly in the relation to the Contact Improvisation there are some practices which are uderpin this statement.

C. Mixed practices

In this small chapter I present some of the practices which I can see as mixed, or on the traces which are connecting CI archive and repertoire. In particularly, it is the practices of building choreography which is based on CI (by using digital technologies) and the practices of collecting the video archive of passed jams and studio explorations.

As we know, Contact Improvisation is a free movement technique but not a closed dance form. But very well rehearsed CI can be recognized in the routines of contemporary choreographers. Some of the choreographers explore the choreographic possibilities of CI and then incorporate it in their choreography. As we know from the text Peggy Phelan, 'performance honors the idea that a limited number of people in a specific time/space frame can have an experience of value which leaves no visible trace afterward'²⁶. And, partially because the ephemeral nature and impossibility to capture it in particular way, this studio CI explorations sometimes being 'saved' by the means of video recording. So, two of the aforementioned mixed practices are arise from this act.

'The archive and the repertoire exist in a constant state of interaction' ²⁷. Following Taylor, the relationship between the archive and the repertoire is not sequential or binary. She says that 'other systems of transmission - like the digital - complicate any simple binary formulation'²⁸. Following Taylor, 'digital technologies constitute yet another system of transmission that is rapidly complicating Western systems of knowledge, raising new issues around presence, temporality, space, embodiment, sociability, and memory (usually associated the repertoire) and those of copyright, authority, history, and preservation (linked to the archive)'²⁹.

The live performance can never be captured or transmitted through the archive. A video of performance is not a performance, though it often comes to replace the performance as a thing in itself (the video is part of the archive; what it represents is part of repertoire). Embodied memory, because it is live, exceed the archive's ability to capture it'³⁰. But, in the same time, video is able to capture 'a sense of the kinetic and aural dimensions of the event/work, the physical and facial expressions of participants, the choreographies of meaning'³¹.

Of course, this system of transmitting the knowledge is much more complicated and full of different angles and issues which can be explored much more further. One of the questions regarding digital technologies proposed by Taylor is 'whether they extend what we do in embodied culture into cyberspace, or whether they constitute heir very own system of transmission, that share some of the features we are used to while moving us into a very different system of knowledge and subjectivity'³². But in this particular context, as I assume, the experience of transmitting the embodied knowledge by watching digital body dancing can be to some extend related to the experience of watching dancer performing on stage. That means that dancers (through the embodiment of other peoples' movement) are able to produce new (for their dance vocabulary) type of movement even though it will never be the same as the movement on tape. And in this relation we have just other type of mediation of movement transmission which, of course, cause the distortion. By now this is my assumption on this issue. But, of course, the case require further examination.

So, Contact Improvisation feeds not only self-repertoire, but the repertoire of other dance techniques (as some of the important findings are then being incorporating into the choreographic routines of other genres of dance as well). In this respect we can see the archive not as a dead repository, but as a living thing which are capable to feed the repertoire. As Diana Taylor mentiones, 'whereas reception changes in both the live and the media performance, only in the live does the act itself change'³³. Nevertheless, as our reception is also ephemeral and unstable, dancers and choreographers are often collection their improvisational studio explorations filmed and stored as a point of reference for the future creative practice.

Conclusion

Of course within the framework of the format of this paper, it is impossible to dive deeply in the ongoing problematics. But, nevertheless, I've tried to point out some important ideas and observations, which, undoubtedly, can be explored further. Nevertheless, I can mention several important observations which were made above.

Firstly, I have classificated different the practices of transferring Contact Improvisation embodied knowledge. I have tried to point out some connections between the archive and repertoire and explore how the materials of Contact Improvisation repertoire are being preserved and transformed into the 'choreographic archive' and how the archive participate in production and reproduction CI embodied knowledge. In the last chapter I have pointed out the participation of the 'digital memory' in building choreography based on live Contact Improvisation explorations.

The most important points are:

• the complexity and multilayerness of the embodied knowledge is dependent and produced by communicating between different bodies (Contact Improvisation repertoire depends on the diversity of CI partners);
• the most common approach for transmitting knowledge by workshop training is to explore the potential of one particular topic;
• in Contact Improvisation workshop practice we can see the process transforming or reducing an ephemeral experience which has already to the movement pattern which then can be explained or remembered by the body of the other and deciphered into the next ephemeral experience;
• the performance is a domain of storing the embodied knowledge, which can be to some extend learned by the viewer;
• the experience of transmitting the embodied knowledge by watching digital body dancing can be to some extend related to the experience of watching dancer performing on stage;
• archive is not able to capture the specific nature of CI and it consist of information which can not embrace the whole CI phenomenon;
• Contact Improvisation feeds not only self-repertoire, but the repertoire of other dance techniques.

Main bibliography

1. Huizinga, Johan. Homo Ludens. A study of the play element of culture. London: Routledge & Kegan Paul, 1949

2. Merleau-Ponty, Maurice.The phenomenology of Perception, trans. Colin Smith, New York: Routledge, 1994.

3. Pallant, Cheryl. Contact Improvisation: An Introduction to a Vitalizing Dance Form. McFarland & Company, 2006

4. Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993

5. Roger Dean, Hazel Smith. Improvisation Hypermedia and the Arts since1945, Routledge, 1997

6. Taylor, Diana. Save As...Knowledge and Transmission in the Age of Digital Technologies, 2010

7. Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Duke University Press, 2003

1 Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993, p.147

2 early definition by Steve Paxton and others, 1970s, from CQ Vol. 5:1, Fall 1979

3 Pallant, Cheryl. Contact Improvisation: An Introduction to a Vitalizing Dance Form. McFarland & Company, 2006, p.12

4 Peggy Phelan, Unmarked: The politics of Performance. London: Routledge, 1993, p. 146

5 Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Duke University Press, 2003, p. 21

6 Ibid., p.3

7 http://www.youtube.com/watch?v=Bhg6ElWe2Ko&feature=youtube_gdata_player

8 http://www.youtube.com/watch?v=AwdEHUR3Wws&feature=youtube_gdata_player; http://www.youtube.com/watch?v=yyaHk7KN9bY&feature=youtube_gdata_player

9 http://www.youtube.com/watch?v=uLi-vqVpxFQ&feature=youtube_gdata_player

10 Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Duke University Press, 2003, p.19

11 Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Duke University Press, 2003, p.20

12 Ibid., p.20

13 Ibid., p.24

14 Walter W. Skeat, A Concise. Etymological Dictionary of the English Language, New York: perigee, 1980, p. 24

15 Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Duke University Press, 2003, p.19

16 Ibid., p.19

17 Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Duke University Press, 2003, p.21

18 www.contactquarterly.com (Selected text in About Contact Immprovisation was adapted from Caught Falling, by David Koteen and Nancy Stark Smith)

19 Pallant, Cheryl. Contact Improvisation: An Introduction to a Vitalizing Dance Form. McFarland & Company, 2006, p.3

20 Pallant, Cheryl. Contact Improvisation: An Introduction to a Vitalizing Dance Form. McFarland & Company, 2006, p. 14

21 Pallant, Cheryl. Contact Improvisation: An Introduction to a Vitalizing Dance Form. McFarland & Company, 2006, p.3

22 Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Duke University Press, 2003, p.21

23 Merleau-Ponty, Maurice. The phenomenology of Perception, trans. Colin Smith, New York: Routledge, 1994, p. 407

24 Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Duke University Press, 2003, p.21

25 Ibid., p.19

26 Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993, p.149

27 Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Duke University Press, 2003, p.21

28 Ibid., p.22

29 Taylor, Diana. Save As...Knowledge and Transmission in the Age of Digital Technologies, 2010, p. 5

30 Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Duke University Press, 2003, p.20

31 Taylor, Diana. Save As...Knowledge and Transmission in the Age of Digital Technologies, 2010, p.8

32 Ibid., p. 8

33 Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Duke University Press, 2003, p.3