DANCE CHRONICLE最新文献_第10页

Conjuring Lines of Flight in a World of Black Social Death 在黑人社会死亡的世界里招魂

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2023-01-02 DOI: 10.1080/01472526.2022.2120314

O. Ricks

{"title":"Conjuring Lines of Flight in a World of Black Social Death","authors":"O. Ricks","doi":"10.1080/01472526.2022.2120314","DOIUrl":"https://doi.org/10.1080/01472526.2022.2120314","url":null,"abstract":"It is not often that an academic text takes you on a journey. fahima ife’s book of essays and poetry, Maroon Choreography, invites us to theorize not by defining and analyzing but rather by inhabiting an undocumented past of escape from slavery that links to present-day escapes from slavery’s afterlife. In this process of imagining, the text engages with an important conversation within Black studies, critical theory, and performance studies. Maroon Choreography “attempts to move outside the blackness-asenslavement narrative, to move inside a collective Black interior by way of breathing” (p. xii). The author’s poetic description of their own present-day flight into the bayou leads us into a kind of subjunctive past world—a world that might have been, a world of seven Black Indigenous escapees who (might have) refused the choreographies pressed on them by the increasingly mechanized plantation economies of the 17th century North American colonies. Many elements of the text bring us back to this theme of escape—imagined flight that we nonetheless know must have happened, whether in big or small events, because Black and Indigenous people have survived the long and ongoing terror of enslavement and genocide that is baked into the very structure of the modern world. In a sense, that flight, that moving “outside the blackness-as-enslavement narrative” and “inside a collective Black interior,” while never strictly defined, looks like many things in this text. In the chapter “recrudescence,” for example, it looks like the author having “a single encounter—a conversation and an erotic mo(ve)ment i shared with a friend” (p. 83) in which they “slipped inside the wild open secret of the marsh” (p. 86) and “... blackness/glistens and slips inside/night’s moist opening/listens to night/call light to life memory” (p. 5). Elsewhere, ife names some of the means of flight found repeatedly in Black life across multiple times and spaces within modernity: “the backwoods fugue, the juke joint, the hush","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"46 1","pages":"78 - 81"},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48124313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Resituating Noverre within Enlightenment Encyclopedias 在启蒙运动百科全书中重新定位诺维尔

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2023-01-02 DOI: 10.1080/01472526.2022.2133908

Michelle Lavigne

{"title":"Resituating Noverre within Enlightenment Encyclopedias","authors":"Michelle Lavigne","doi":"10.1080/01472526.2022.2133908","DOIUrl":"https://doi.org/10.1080/01472526.2022.2133908","url":null,"abstract":"How do ideas, theories, and definitions move across time? How do words attain social and cultural traction? How are practices learned or passed along? Some kinds of knowledge are often taken for granted, as if they have always been around. Take, for example, Jean-Georges Noverre. Generally, Noverre is credited with ushering in ballet as a lauded eighteenth century art form and practice with the publication of his ballet theories and training methods in Les Lettres sur la danse et sur les ballets (1760). In Theories of Ballet in the Age of Encyclop edie, Olivia Sabee disrupts the standard narrative around Noverre’s status as the bearer of eighteenth century ballet. She does so by tracing Noverre’s writings on ballet within “enlightenment encyclopedia editors’ attempts to define ballet and dance” and situates ballet “within Enlightenment encyclopedia publishing in Francophone Europe’’ (p. 3). Sabee narrates the historical shift of ballet from being a popular object of inquiry to a “less compelling object of inquiry for intellectuals” (p. 4) during the eighteenth century. By doing so, Noverre’s work is seen not as a singular event, but as a movement of ideation that involves other writers and editors. The book is a technical feat in locating how knowledge of ballet and definitions change within texts and across contexts. Sabee accomplishes this feat by highlighting the work of referencing, citing, and borrowing, and offers insights for readers interested in Noverre’s writings, early ballet history, and Enlightenment encyclopedia publishing. Sabee analyzes the circulation of Noverre’s ideas and the consequences of such circulation, making Theories of Ballet in the Age of Encyclop edie a valuable resource for scholars focused on dance, documentation, and communication.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"46 1","pages":"70 - 73"},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41723851","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Choreographing Queer Social Bodies: Chinese Choreographer Hu Shenyuan’s Cross-Stage Practices 中国编舞家胡慎远的跨舞台实践

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2023-01-02 DOI: 10.1080/01472526.2022.2146953

Yujie Chen

引用次数: 0

“La Nijinska: Revealing and Constructing Legacy” “拉尼金斯卡：遗产的揭示与建构”

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2022-12-08 DOI: 10.1080/01472526.2022.2121567

M. Mandradjieff

{"title":"“La Nijinska: Revealing and Constructing Legacy”","authors":"M. Mandradjieff","doi":"10.1080/01472526.2022.2121567","DOIUrl":"https://doi.org/10.1080/01472526.2022.2121567","url":null,"abstract":"“I don’t want the conventions of ‘proper’ and ‘improper’ to exist for the female dancer. Every movement, if it’s new, is a find” (Nijinska, in Garafola, p. 54). Taken from Bronislava Nijinska’s 1918 treatise, this quote epitomizes her outlook, on ballet and life. Over the years, scholars have given us rich snippets of Nijinska’s career, but the entirety of her work has not been fully analyzed. Lynn Garafola’s La Nijinska: Choreographer of the Modern does more than fill this gap; it provides an incredibly thorough account of Nijinska’s artistic interventions from the time she trained with the Imperial Ballet School in St. Petersburg to her developing the School of Movement in Kiev to creating more than sixty original works with nearly twenty different companies. Detailed and dense, La Nijinska functions as a reference for ballet historians, and sparks larger discussions around the influence and role of dance critics, what it means to be a single working mother in the performing arts, and the power structures that shape legacies. Nijinska’s biological family had much to do with her own legacy as an artist. Her older brother Vaslav Nijinsky inspired her approaches to dance and opened professional doors for her, but Garafola does not allow Nijinsky’s success to overshadow Nijinska’s accomplishments. The text refreshingly spends little time on their relationship; the stories that do arise paint a complicated sibling dynamic. Nijinska followed Nijinsky as he resigned from the Imperial Theater and started working with the Ballets Russes. There he choreographed on her, including major roles such as the Chosen Maiden from The Rite of Spring (1913). However, after she married Alexander Kochetovsky and became pregnant with her daughter Irina, Nijinsky became enraged and pulled her out of the piece. Garafola notes that “taking her out of ballets to which she had contributed so much was yet another instance of the cruelty that appears time and again in Nijinsky’s behavior toward his sister . . . he seemed to be punishing her female body . . . chastising her . . . for wanting a love life of her own, for","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"46 1","pages":"74 - 77"},"PeriodicalIF":0.4,"publicationDate":"2022-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46684878","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Ballet Pedagogy and a “Hard Re-Set”: Perspectives on Equitable and Inclusive Teaching Practices 芭蕾舞教学法与“硬重置”:对公平和包容性教学实践的看法

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2022-12-07 DOI: 10.1080/01472526.2022.2156747

K. Mattingly, Keesha Beckford, Zena Bibler, P. Cunningham, Iyun Ashani Harrison, Jehbreal Muhammad Jackson

引用次数: 0

“My Walking is My Dancing”: The Relationship between Dance and Music in Anne Teresa De Keersmaeker’s Work “我的走路就是我的舞蹈”:安妮·特蕾莎·德·基尔斯梅克作品中舞蹈与音乐的关系

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2022-09-02 DOI: 10.1080/01472526.2022.2108278

Jonas Rutgeerts

引用次数: 0

Status and Salary: Hiring a Ballet Troupe for the Opera Il Farnaspe (Siena, 1750) 地位和薪水：为歌剧院雇佣芭蕾舞团（锡耶纳，1750年）

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2022-09-02 DOI: 10.1080/01472526.2022.2110635

Colleen Reardon

引用次数: 0

Accounting and Accountability: How the NEA Funded Dance 会计与问责:NEA如何资助舞蹈

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2022-09-02 DOI: 10.1080/01472526.2022.2110633

Colleen Hooper

{"title":"Accounting and Accountability: How the NEA Funded Dance","authors":"Colleen Hooper","doi":"10.1080/01472526.2022.2110633","DOIUrl":"https://doi.org/10.1080/01472526.2022.2110633","url":null,"abstract":"Funding Bodies by Sarah Wilbur does the important work of unpacking how dance funding flowed from the National Endowment for the Arts (NEA) between 1965 and 2016. Wilbur explicates the behind-the-scenes functioning of the NEA to reveal the human negotiations and the affective dimensions of distributing funding on behalf of the federal government. Meticulously researched, this book is a carefully constructed narrative of how the NEA supported concert dance as “an endowed professional ideal” (p. 29). While documenting fifty years of NEA history, Wilbur engages with current debates about establishing meaningful cultural equity in the performing arts. Wilbur unveils the past machinations of the NEA and invites readers to reimagine what the NEA could represent moving forward. Throughout this book, Wilbur reconstructs the NEA’s dance funding paradigm on the basis of extensive archival analysis and insights from her anonymized informants. She reveals how the NEA’s institutional support incorporated racial, class-based, and regional biases. She eloquently describes the NEA’s initial 1965 “distribution system” that prioritized ballet and modern dance forms and favored white, urban, and wealthy grantees (p. 32). She further expounds upon attempts to make the NEA more equitable, highlighting the efforts of Vantile Whitfield, the founding director of Expansion Arts. Wilbur describes Whitfield’s advocacy for artists of color, emphasizing that “African, Latin, Asian, and Native American arts organizers had long been delivering cultural excellence through organizational logics that simply didn’t fit the existing paradigm” (p. 75). The regional bias present in NEA funding is discussed at length, and the disproportionate representation of grantees from New York City is illustrated through quantitative and qualitative evidence and a colloquial description of the “New York dance Mafia” that often dominated NEA panel reviews (p. 130). The mechanisms that supported dance touring were","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"250 - 253"},"PeriodicalIF":0.4,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44891318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Dance and the Twilight of Capitalism 舞蹈与资本主义的黄昏

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2022-09-02 DOI: 10.1080/01472526.2022.2105086

F. Mami

{"title":"Dance and the Twilight of Capitalism","authors":"F. Mami","doi":"10.1080/01472526.2022.2105086","DOIUrl":"https://doi.org/10.1080/01472526.2022.2105086","url":null,"abstract":"Performance, Dance and Political Economy: Bodies at the End of the World, a new collection edited by Katerina Paramana and Anita Gonzalez, addresses how dance and movement provide a means for our bodies to claim back the world and reject the commodified relations of capitalism. Framing the volume as a whole, Tavia Nyong’o’s forward to the book draws attention to how capitalism has been resculpting the human body and how dancers can use movement to undo or outdo the constraints of capitalism. After initial provocations from both editors, the book smartly progresses through six dialogues, each between two contributors. The form recalls the Socratic method. In a group conversation at the end, contributors have the chance to raise remarks in response to the co-contributor whose essay the editors paired with theirs. Until the group conversation, only the editors knew whose essay had been paired with whose and why. The dialogic form is innovative and facilitates an exchange of ideas about the key themes orienting the collection. The contributors come from a range of disciplinary backgrounds. They include dancers and artists like Alexandrina Hemsley and Jamila JohnsonSmall. Nina Power is principally a feminist theorist, Elena Loizidou, a law scholar, and Melissa Blanco Borelli, a dance scholar. Others—including Marc Arthur, Usva Seregina, and the two editors—occupy the space between scholarship and artistic practice. In “Dialogue 1: Control of Bodies,” Nina Power elucidates how capitalism regulates bodily movements and how alternative ways of approaching ordinary movements can facilitate escaping the state’s radar and its economy of control. Marc Arthur foregrounds rage as a way of resisting the violent forces of state manipulation. Dance, according to Arthur, can make rage contagious and channel it toward the common good. Power starts “Dialogue 2: Commodification of Bodies” with her second contribution that explores how the capitalist mode of production acts upon","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"263 - 266"},"PeriodicalIF":0.4,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42418117","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Universalizing the Specific: Janet Collins’s Spirituals and Genesis 普遍化具体：简·柯林斯的精神与创世纪

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2022-09-02 DOI: 10.1080/01472526.2022.2106098

Jessica L. Friedman

引用次数: 0