To browse Academia. T hird, we should note that over those eight years the situation of contemporary dance in the local and other regional environments has changed significantly. During the s, from an initially small number of individual authors and works, entire scenes of contemporary dance have emerged in the regional context, with their own specific organisational and artistic entities, collaboration networks, systems of financing, and increasing numbers of choreographers and dancers.
Besides, the geopolitical positions of the participants on the regional scenes have partly changed, too; they are now beginning to participate on the international dance scene, from residence programmes, via festivals, to co-productions. The dissertation is an empirical investigation of the development of a contemporary dance art world as a distinct field of cultural production at a transnational level.
I argue that this art world came to being organized around the recasting of dance as a field of knowledge production. I contend that the aesthetic transformations within the artistic realm became successful due to the confluence of wider political and organizational factors.
I analyze the impact of EU programs on dance networks for the dissemination of the aesthetics and production models of dance throughout Europe. In other words, I investigate the process through which contemporary dance made in Europe became European contemporary dance. At a time when artists are questioning twenty-first-century dance for its contemporary-ness, this writing exposes a tension that plays across differing choreographic processes-a tension that suggests a widening rift between letting go into collaborative uncertainty and the creation of single authored productions of spectacle.
I suggest that a move away from spectacle in the United Kingdom is exacerbated by various wider themes such as practice as research, somatics, digital technology and neo-liberalism, all of which have deeply affected artists' performance processes. Particular emphasis is given to how shifts in institutionally driven dance training and education are affecting performance, and the writing draws attention to what artists might have in common across the divide-a passionate engagement with how we communicate what we do with others.
