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An introduction is presented in which the editor discusses various articles within the issue on topics including dance and literature, choreography, and origins of dance form Kathakali.

The beginnings of ballet as theatrical dance coincide with the beginnings of recording movement, at first in the form of notational systems, which reach their peak at the turn of the nineteenth and twentieth centuries, when it is becoming increasingly evident that dance notation systematization is a utopian task. Each recording of movement proves to be a unique analytical system allowing insights both in movement representations of a certain time and at the same time in the problematic of movement as such. The recording of contemporary dance outside the ballet institution is thus defined primarily with the particularity of own (auto)biographical writing and with education and the establishment of dance schools that see to the preservation of dance languages. Both these moments are important for the development of Slovene contemporary dance; whereas the present recording of dance is entirely subjected to particular patterns of seeing and intellectualisation of the seen. [ABSTRACT FROM AUTHOR]

The article discusses a version of the play "The Seagull," by Anton Chekhov, choreographed and adapted by John Neumeier, the artistic director and chief choreographer at the Hamburg Ballet in Germany. It examines narrative ballet as multimedial art, reflecting on intersections of dance, music, and literature. The author comments on the distinct dance styles of the various characters. Other topics explored by the author include Neumeier's use of audiovisual irony, echo characters, and seagull imagery.

This article presents multiple perspectives of petit battement sur le cou de pied. These perspectives include historical, biomechanical, and pedagogic points of view. The article offers useful information for ballet specialists and applied research studies aimed at ballet pedagogy. [ABSTRACT FROM AUTHOR]

This article tries to rethink the ways in which the bundle of audio-video documentation and written material entitled A Choreographer's Score approaches the early dance and choreographic practice of Anne Teresa De Keersmaeker and her contemporary dance group Rosas. As I wish to propose, this hybrid bundle, which came about as a dialogical meeting between the aforementioned choreographer and the theoretician Bojana Cvejić, remains 'faithful' to the materiality of dance by not inscribing it in normative registers of writing on dance and dance-writing, but by attempting the rethinking of the contextual redefinitions of both - and other - dance-specific concepts precisely through the practice of writing on dance. [ABSTRACT FROM AUTHOR]