ABSTRACT
This chapter describes the concept of scenography in relation to choreographing the museum. In terms of dance in the museum, there has been a rising interest, partly in response to the dancer and choreographer Boris Charmatz’s impactful delivery in 2009 of his “Manifesto for a Dancing Museum”. Claire Bishop identifies the contemporary fascination for the topic as representing a third wave of increased interest in dance in the museum, the previous two waves originating in the late 1930s and the late 1960s, respectively. Extrapolating Lepecki’s analysis to Charmatz’s idea that dance is much broader than the choreographic, it may be that Charmatz draws on a rather restrictive ontology of dance, and/or choreography. Fashioning Embodiment occupied two separate spaces: the exhibition space where the fashion design artifacts of Reflection of Time were located, and the adjacent reception and corridor spaces of the museum.
