RHYTHM and EMOTION

Abstract：Fabrics are the basis of the design of the fashion industry.The vertical development of different processes and their mutual integration have created an endless creative space.With the continuous blending of design fields，fabrics have not only been used in the field of clothing，but also exhibit unique decorative features and memory points by colliding with different materials.In this paper，Tao Dance Theater is as the design development element，through the relevant case analysis and substantive experiment and creation，the innovative application and expression of fabric in the development of modern design are explored.

Key words：decorative art；surface；rhythm；emotion；fabric

The “Body”，as far as traditional dancers are concerned，is a tool for confessing and expressing.However，for Tao Dance Theatre，the body itself becomes an ultimate research object.From the pure expression from the limbs，the emotion is peeled back and shown to the outside world，the meaning given to it is abandoned，and the body releases vitality in the course of repeated and limited movements.The unique aesthetics from the dance and training system can be refined.The works of the Tao Dance Theatre are named after the figures and the seven completed series of works， trying to establish a strict logical order of creation in both concept and body language.

The feeling of most viewers for modern dance is that they do not understand the meaning behind it although，they could feel the music or rhythm of the body.Today，if dancers want to be understood，the performance needs to be simplistic.The space in the theater has been filled with too many voices and ways of expression，for example the stage is colourful enough， What Tao wants to present on the stage is the kind of colour itself，which is the tone of the body.When the audience looks at Tao’s work，they are always wondering what Tao really wants to express.At the end，all the results are understood，that the possibility of a physical body which is good direction，can make the audience approach the essence of dance.Tao wants to present the physical plasticity and possibility.In fact，each work will approach different movements of the body.In fact，the value of contemporary art lies in the fact that after a work is completed，there is a large amount of text，pictures，and experiences behind to pave it，allowing the audience to understand what Tao wants to express.Which is that，all their processes are of movements not just moments，Tao wants to show a complete process that restores an essential feeling for the audience.

The “texture” of dancing can surface through a detailed and honing process，so similar to the “texture” of design.In my collection，I combined PVC and weaving，materials that could show the idea of Minimalism and ultra-complex mentioned by Ye Tao.PVC，the transparent material，making itself own the characteristics of pure and non-privacy，while weaving is detailed and rich，having a different texture from PVC.Along with weaving，there is a freedom of creation which is able to interpret the movement itself well.Weaving could allow a large range of materials to be used unlike the wool mandated by knitting.Material for weaving can also include whole pieces of fabric，not just threads.At the same time，the conversion of colours can be realized relatively easily in various forms such as connection between threads or superposition weaving.At the same time，regarding the expression of my design theme “movement，” weaving does not dictate a specific pattern.The freedom of expression of weaving meets my needs perfectly.

References

[1]Tamotsu，A.Miyake Issei ten： Miyake Issei no shigoto[J].Tokyo：Kyuryudo Art Publishing Co.，Ltd，2016.

[2]Aneta，G.Accessory design[J].New York：Fairchild，2012.

[3]Ruth，L.Contemporary knitting for textile artists[J].London：Batsford，2007.

[4]Jenny，D.Surface works[J].Bowral，N.S.W.：Sally Milner，2008.

作者簡(jiǎn)介

周珂（1994—），女，漢族，湖南省邵陽(yáng)人，碩士，南京藝術(shù)學(xué)院藝術(shù)設(shè)計(jì)專(zhuān)業(yè)，研究方向：裝飾圖案與紋飾。