Ballet in a Box: Iso-Ballet, Lockdown, and the Reconstruction of the Domestic Space

In the first wave of the Covid-19 pandemic, the principal mitigation strategies were physical distancing and the dramatic restriction of socializing with others. The absence of live performances meant arts institutions had to reconsider their relationship with audiences and thoroughly rethink what they do. While many institutions uploaded videos of past performances, some dance companies created new performances specifically for online media that have provided an opportunity for dancers to remain active and visible during the COVID lockdowns. We borrow the term iso-dance to collectively refer to these performances, a term that succinctly invokes both the medium (dance) and the conditions under which the performance is conducted (isolation). We examine how performances of ballet dancers from professional companies were informed by the home environment. We propose the examination of iso-ballet helps us understand relationships between video, bodily movement and the particular affordances of the home, as well as invite us to question the ways we inhabit and constitute places through creative, bodily practices. (English) [ FROM AUTHOR] Durante la primera oleada de la pandemia del COVID-19, las principales estrategias de mitigación fueron el distanciamiento físico y la dramática restricción de socializar con los demás. La ausencia de actuaciones escénicas en directo significó que las instituciones de arte tuvieran que reconsiderar lo que hacían. Si bien muchas de las instituciones subieron videos de actuaciones anteriores, algunas compañías de baile montaron nuevas actuaciones destinadas específicamente a los medios en línea, que han proporcionado a los bailarines la oportunidad de continuar activos y visibles durante los encierros por el COVID. Tomamos en préstamo la expresión iso-danza para referirnos colectivamente a estas representaciones, una expresión que de modo sucinto invoca tanto al medio (la danza) como las condiciones bajo las cuales se conduce la actuación (aislamiento). Examinamos cómo el entorno hogareño pudo influir en las actuaciones de los bailarines de ballet de las compañías profesionales. Proponemos que el examen del iso-ballet nos ayude a entender las relaciones entre vídeo, el movimiento corporal y las posibilidades particulares del hogar, igual que nos invite a cuestionar las formas como habitamos y construimos lugares por medio de prácticas creativas y corpóreas. (Spanish) [ FROM AUTHOR] COVID-19初期的主要应对措施, 是保持距离和尽量限制社交。现场演出的禁止, 意味着艺术团体必须重新考虑与观众的关系、彻底重新思考其工作。许多艺术团体上传了之前的演出视频, 一些舞蹈公司还在网络媒体创作了新的演出, 为舞者在COVID-19封锁期间保持活跃度和关注度提供了机会。我们将这些演出统称为"隔离舞蹈”, 以简洁地涵盖媒介（舞蹈）和演出条件（隔离）。我们研究了住宅环境如何影响专业公司芭蕾舞演员的演出。我们认为, 对"隔离芭蕾舞”的研究, 有助于理解视频、身体活动和住宅条件之间的关系, 并通过创造性身体行为去质疑我们占据和构建场所的方式。 (Chinese) [ FROM AUTHOR] Copyright of GeoHumanities is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full . (Copyright applies to all s.)

Future trajectories of festival research

In their editorial for the first issue of Tourist Studies, Adrian Franklin and Mike Crang made us aware that tourism research had shifted to an exploration of the extraordinary everyday where ?more or less everyone now lives in a world rendered or reconfigured as interesting, entertaining and attractive ? for tourists?. From our standpoint 20?years later, we suggest this particular departure point has important insights to offer our understanding of a quintessential tourism event, that of the festival, which now intervenes in daily life in all manner of ways. In this commentary, we present a reflective commentary on recent scholarship that advocates for more rigour in festival studies, with greater theory development and testing within the festival context, and how this work is suggestive of future directions for festival research. We present several areas that are ripe for further research, particularly given the tumultuous nature of the world we are living in, such as the challenges of climate change and how we might socialise in a post-Covid world. Much has changed in the 20?years since the inception of Tourist Studies, but festivals remain resilient ? they will re-emerge in future, perhaps not unscathed but with a renewed sense of purpose.