Oriental Martial Arts such as Taijiquan-Tuishou and Aikido represent some of the Asian influences on western culture resulting from immigration from China and Japan to the United States of America during the middle of the 20th century. Contact Improvisation, a style of post-modern dance performed in pairs, is one of the manifestations enriched by this oriental influence. The purpose of this manuscript is to document which dynamic, proprioceptive and somatic elements were transferred to the choreographic language of Contact Improvisation from these martial arts. In the case of Contact Improvisation, the most important technical components highlighted include: center of gravity, weight sharing, point of contact, sphericity, rolling, the embryonic relationship of axial axis and limbs, ki and proprioceptive communication. Although an evolution in the interpretation of the meanings and uses of this particular dance form may exist, we can nonetheless establish some kinesthetic communication codes and strategies derived directly from its original sources. These sources belong to martial arts such as Aikido and Tuishou or Taijiquan and are essential to the intercultural communication component of the Contact Improvisation duo since they involve the learning of fundamentals and principles of non-verbal interaction considered as specific for the mastery of intercorporeality. This is discussed in light of the work of Mark Young, a Contact Improvisation choreographer who maintains Paxton's legacy of roll technique documented in “Material for the Spine” by perfecting the execution and technical variations of helix rolls in a constructed system of spirals. This concurrence of strategies adopted from Aikido and Taijiquan and the usefulness of these elements in terms of performing this partner dance would appear to be key in the understanding of Contact Improvisation.

Since their first appearance in Olympic ceremonies, mass choreographies have played a significant role that has grown steadily over the years in terms of variety of images and organizational complexity. The use of choreographic language within them evolved in line with the aesthetic and social currents manifested in the major sporting events. Therefore, growth also occurred according to an internal logic of mutual influences between choreographers specializing in this type of mass movement. Mass choreography, which requires interdisciplinary study, has not yet been analyzed from the perspective of the history of sport, let alone with regard to the interrelationship between choreographers. The starting point for focusing on the evolution of this artistic element is the analysis of two choreographies by Doug Jack from the opening ceremony of the 2006 winter Olympics in Turin. The example of Turin is considered an important element in the search for a continuity of style with the past, as well as an influence on the productions that were presented in subsequent Olympic ceremonies.

Dentro de las posibilidades comunicativas de la gráfica, nos centramos en el desafío que propone la notación coreográfica. Esta práctica combina lo técnico, lo artístico y lo semiótico en un intento de conservar la volatilidad del gesto. Para abordar esta relación coreo-gráfica, estudiamos piezas de arte público que se apoyan en el lenguaje gráfico para llegar a los usuarios del espacio urbano. Éstas nos permiten identificar qué elementos, comunes en el contexto de la ciudad, son recuperados desde una visión coreográfica para activar la reflexión y la atención de los ciudadanos y proponerles nuevos usos para los espacios que transitan. En las últimas décadas, la danza y el movimiento han ganado un lugar en el espacio público a través de la mediación institucional. En respuesta a esta realidad, buscamos entender cómo la gráfica se ofrece como lenguaje mediador entre los espacios culturales y los habitantes de la ciudad.

El Sistema de Observación de Categorías de Imágenes en Deportes de Adversario (SOCIDA) ha sido desarrollado para analizar los estereotipos corporales y de