CHOREOGRAPHIC PROCESS IN GYMNASTICS FOR ALL

To transcend the idea of objectifying the body and its movements in gymnastics and its technique-based sessions and/or classes, we propose some reflection on   the artistic and aesthetic aspects of gymnastics for the Gymnastics for All (GfA) program. Officially guided by FIG (Féderation Internation...

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Bibliographic Details
Main Authors: Michele Viviene Carbinatto (Author), Lorena Nabanete Reis Furtado (Author)
Format: Book
Published: University of Ljubljana Press (Založba Univerze v Ljubljani), 2019-10-01T00:00:00Z.
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100 1 0 |a Michele Viviene Carbinatto   |e author 
700 1 0 |a Lorena Nabanete Reis Furtado  |e author 
245 0 0 |a CHOREOGRAPHIC PROCESS IN GYMNASTICS FOR ALL 
260 |b University of Ljubljana Press (Založba Univerze v Ljubljani),   |c 2019-10-01T00:00:00Z. 
500 |a 10.52165/sgj.11.3.343-353 
500 |a 1855-7171 
520 |a To transcend the idea of objectifying the body and its movements in gymnastics and its technique-based sessions and/or classes, we propose some reflection on   the artistic and aesthetic aspects of gymnastics for the Gymnastics for All (GfA) program. Officially guided by FIG (Féderation Internationale de Gymnastique), it is common that GfA composition includes group performances in festivals, whether they are competitive or not. This article describes the journeys of two GfA teams that developed practitioner-centered, not coach-centered choreographies supported by the stages of creativity proposed by Kneller (1973).More than learning/doing or even learning/memorizing coded, standard sequences, it is essential to explore possibilities of dialogue between the individual and the various elements that surround him/her, by establishing a parallel between GfA features and the creative, collaborative choreographic process in the Arts (Dance and Theatre). The coach's egocentrism is redefined, and he/she is stripped of the choreographer's role e. The choreography should be considered a sketch and should inspire constant change. It will be influenced by what spectators thinks of it, how it can inspire other artists, and how participants will feel fulfilled by it. There should be endless opportunities. Shaping movement and connecting actions gradually reveal the proposed theme and give rise to technique and aesthetics: that is the major challenge of the choreographic process. 
546 |a EN 
690 |a Gymnastics for All 
690 |a collaborative choreographic process 
690 |a creative process 
690 |a Sports 
690 |a GV557-1198.995 
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786 0 |n Science of Gymnastics Journal, Vol 11, Iss 3 (2019) 
787 0 |n https://journals.uni-lj.si/sgj/article/view/12046 
787 0 |n https://doaj.org/toc/1855-7171 
856 4 1 |u https://doaj.org/article/05c1567c7d0a4795a335e5bc6bf58413  |z Connect to this object online.