Ersöz A.

International Journal of Innovative Science and Research Technology , vol.5, no.8, pp.1480-1488, 2020 (Refereed Journals of Other Institutions)

  • Publication Type: Article / Article
  • Volume: 5 Issue: 8
  • Publication Date: 2020
  • Doi Number: 10.38124/ijisrt20aug817
  • Title of Journal : International Journal of Innovative Science and Research Technology
  • Page Numbers: pp.1480-1488


It is possible to simplify the essential components used in the creative production of contemporary dance as time, space, and body. In this context, it is known that the component of time is directly associated with the art of music. Since the beginning of historical evolution and organic association of dance with music, it has become especially problematic as of the second half of the 20th century. It is known that in the 20th century, artistic disciplines determined their boundaries with artistic essentialism; and within those boundaries, they built their aesthetic forms as self-constructing elements. This essentialist distinction made it possible for every discipline to determine their components in an abstract fashion, and thus search for commonalities among the founding principles of each discipline in interdisciplinary relations. These commonalities enabled interdisciplinary dialog and a non-hierarchical, horizontal structuring of artworks. Each work of art thus created existed in the visibility of its own discipline’s boundaries. In this article, the interdisciplinary dialog is involved in the creation and performance of dance and music. The article focuses on the transformations during the interdisciplinary dialog of dance and music, which merge in a historically ontological foundation, and which are created outside their traditional orientation. As the structural transformations that interconnect the here-and-now experience of dance and music in a shared space are studied, the focus is on the ‘synchronicity’ method of interdisciplinary modes of production in dance and music. In order to study the synchronous production of dance and music through examples, Atrophy 1 House of Names, Antigone Divided, and Sar have been chosen. They were produced in Turkey after the 2000s. In this context, how the interdisciplinary and synchronous production mode of dance and music is associated with improvisation will be presented through a choreographic analysis of the works as well as the semi-defined interviews with the artists. Keywords:- contemporary dance, music, discipline, interdisciplinary, interdisciplinary dialog, choreographic analysis, Atrophy 1 House of Names, Antigone Divided, Sar, Turkey