DANCE CHRONICLE最新文献

{"title":"Broken Promises: Developing a Practice of Listening and Attuning to Feminists in Breaking","authors":"Jason “J-Sun” Noer","doi":"10.1080/01472526.2023.2248846","DOIUrl":"https://doi.org/10.1080/01472526.2023.2248846","url":null,"abstract":"Breaking prioritizes the value of respect, which is connected to the physical movements of the dance practice. However, despite promoting this value, Breaking faces a threat from within: unaddresse...","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"68 10","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50167143","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}

{"title":"How “modern” has German Modern Dance Remained?—The Case with the 2022 UNESCO Inscription","authors":"Filip Petkovski","doi":"10.1080/01472526.2023.2248851","DOIUrl":"https://doi.org/10.1080/01472526.2023.2248851","url":null,"abstract":"This research focuses on the process of heritagization and how it functions to both legitimize a dance practice and generate a new set of values for the practice. More specifically, I explore how t...","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"3 2","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71435397","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}

{"title":"The Fate of <i>La Feste</i> : An Affective Reading of Maximilien Gardel’s Mirsa Ballets","authors":"Amanda Danielle Moehlenpah","doi":"10.1080/01472526.2023.2251364","DOIUrl":"https://doi.org/10.1080/01472526.2023.2251364","url":null,"abstract":"AbstractIn 1781, ballet master Maximilien Gardel presented La Feste de Mirsa, a sequel to his 1779 ballet en action Mirza. Given the latter’s success, Opéra audiences anticipated another evening of praiseworthy entertainment, but the La Feste proved a total failure, disappearing after one performance. Critics denounced the ballet for its disappointing lack of finesse, but a close reading of the two ballets and their reviews uncovers more aesthetic and narrative similarities than differences. What does distinguish them is the role of affect: Mirza inspiring sympathetic connections to imperial hegemony and white masculinity, La Feste to diversity, femininity, and human equality.Key words: AffectballetMirzaFrancerace AcknowledgmentsThe author would like to thank Olivia Sabee and the anonymous reviewers for their insightful comments on initial versions of this article and the New York Public Library (Grant ID: 2431) for their support and assistance in the research process.Notes1 “Spectacles: Opéra,” Journal de Paris, February 23, 1781, 217, Gallica.2 “Spectacles: Académie royale de musique,” Mercure de France, March 3, 1781, 84, Google Books.3 “Spectacles,” Mercure, March 3, 1781, 84.4 “Spectacles,” Mercure, March 3, 1781, 29.5 “Spectacles,” Mercure, March 3, 1781, 29.6 Joseph Harris, Inventing the Spectator: Subjectivity and the Theatrical Experience in Early Modern France (Oxford, New York: Oxford University Press, 2014), 137.7 Harris, Inventing, 137.8 “Spectacles,” Mercure, March 3, 1781, 30.9 Charles Altieri, The Particulars of Rapture: An Aesthetics of the Affects (Ithaca, London: Cornell University Press, 2003), 120.10 Altieri, Particulars, 125-26.11 Altieri, Particulars, 223.12 Altieri, Particulars, 228.13 Altieri, “Interpreting Emotions,” chap. 3 in Particulars, 72-108; Altieri, Particulars, 109-11.14 “Spectacles: Académie royale de musique,” Mercure de France, November 27, 1779, 177, Google Books.15 “Spectacles,” Mercure, November 27, 1779, 181.16 “Spectacles,” Mercure, November 27, 1779, 182.17 “Spectacles,” Mercure, November 27, 1779, 182.18 “Spectacles,” Mercure, November 27, 1779, 182.19 “Spectacles,” Mercure, November 27, 1779, 182.20 “Spectacles,” Mercure, November 27, 1779, 182.21 Maximilien Gardel, Mirza, ballet en action, de la Composition de M. Gardel l’aîné, Maître des Dallets du Roi, en survivance, Représenté devant Leurs Majestés, à Versailles en Mars 1779, score by François-Joseph Gossec, Paris, 1779, 6, *MGTZ-Res. (Mirsa), Cia Fornaroli Collection, Performing Arts Research Collections-Dance, New York Public Library.22 Gardel, Mirza, 6.23 Gardel, Mirza, 8.24 Gardel, Mirza, 8-9.25 “Spectacles,” Mercure, November 27, 1779, 181.26 “Spectacles,” Mercure, March 3, 1781, 31.27 Louis Petit de Bachaumont, Mémoires secrets pour servir à l’histoire de la république des lettres en France depuis MDCCLXII jusquà nos jours; ou, Journal d’un observateur (London, 1784), 17:69, Google Books.28 “Spectacles,” Mercure, March 3, 1781, 30.29 “Specta","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134968402","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}

{"title":"Unlocking the Beauty of Screendance: A Journey through History, Curatorial Practice, and Personal Reflections <i>Screendance from Film to Festival: Celebration and Curatorial Practice</i> By Cara Hagan. 207pp. Illustrated. North Carolina: McFarland &amp; Company, Inc, 2022. $39.95 softcover, $23.99 e-book. ISBN 9781476669847, ISBN 9781476645452.","authors":"Jennifer Petuch","doi":"10.1080/01472526.2023.2254554","DOIUrl":"https://doi.org/10.1080/01472526.2023.2254554","url":null,"abstract":"Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsJennifer PetuchJENNIFER AKALINA PETUCH is a dancer, digital choreographer, multimedia artist, and an Instructional Assistant Professor of Dance at Texas A&M University in the School of Performance, Visualization, and Fine Arts. She graduated from Florida State University’s School of Dance Program with her Master of Fine Arts in Choreography and Performance with a focus in Dance Technology. Her MFA thesis resulted in a two-year collaboration with FSU Computer Science faculty and students creating and publishing an original interactive Augmented Reality software for the stage called ViFlow. Petuch served for four years as Adjunct Faculty and Staff at FSU’s School of Dance teaching tech classes ranging from Dance on Camera and Projection Design. Petuch has created numerous dance films and was Co-Director with Annali Rose on their underwater dance film, Liminality, which has received national and international recognition and been screened in over 55 film festivals since 2020.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134969664","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}

{"title":"Reimagining Byzantine Dance <i>XOPÓΣ: The Dance of Adam. The Making of Byzantine Chorography, The Anthropology of the Choir of Dance</i> <i>in</i> <i>Byzantium</i> By Nicoletta Isar. 448 pp. Illustrated. Leiden: Alexandros Press, 2011. €250 paper. ISBN: 78-94-90387-04-4 paper. <b> <i>Elemental Chorology: Vignettes Imaginales</i> </b> <b>By</b> Nicoletta Isar. 448 pp. Illustrated. Leiden: Alexandros Press, 2020. €250 paper. ISBN: 978-90-80 64760-2 paper.","authors":"Kathryn Dickason","doi":"10.1080/01472526.2023.2208486","DOIUrl":"https://doi.org/10.1080/01472526.2023.2208486","url":null,"abstract":"Click to increase image sizeClick to decrease image size Notes* Isar borrows the term chorology from John Sallis, who applied it to his study of the archaic and enigmatic making of the cosmos in Plato’s Timaeus, see Sallis, Chorology: On Beginning in Plato’s Timaeus (Bloomington: Indiana University Press, 1999).1 Nicoletta Isar, “The Dance of Adam: Reconstructing the Byzantine Chorós,” Byzantinoslavica 61 (2003): 179–204.2 Alexei Lidov, “Hierotopy: The Creation of Sacred Spaces as a Form of Creativity and Subject of Cultural History,” in Hierotopy: Creation of Sacred Spaces in Byzantium and Medieval Russia, edited by Alexei Lidov (Moscow: Progress-Tradition, 2006), 32–58.3 Lidov, “Hierotopy,” 36.4 Mircea Eliade, The Sacred and the Profane: The Nature of Religion, translated by Willard Trask (New York: Harcourt, Brace, and World, Inc., 1957), 20–29.5 Nicoletta Isar, “Chorography (Chȏra, Chorós) – A Performative Paradigm of Creation of Sacred Space in Byzantium,” in Hierotopy: Creation of Sacred Spaces in Byzantium and Medieval Russia, edited by Alexei Lidov (Moscow: Progress-Tradition, 2006), 59–90.6 Julia Kristeva, Revolution in Poetic Language, translated by Margaret Waller (New York: Columbia University Press, 1984 [1974]).7 Bissera Pentcheva, The Sensual Icon: Space, Ritual, and the Senses in Byzantium (University Park: Pennsylvania State University Press, 2010), 155–82.8 Kimerer LaMothe, Why We Dance: A Philosophy of Bodily Becoming (New York: Columbia University Press, 2015).9 Robert Farris Thompson, African Art in Motion: Icon and Act (Berkeley: University of California Press, 1974); Thompson, “An Aesthetic of the Cool: West African Dance,” African Forum 2, no. 2 (1966): 85–102.10 Alfred Gell, Art and Agency: An Anthropological Theory (Oxford: Clarendon Press, 2013 [1998]).Additional informationNotes on contributorsKathryn DickasonKATHRYN DICKASON is a Public Relations Specialist at Simmons University in Boston. She has a PhD in Religious Studies from Stanford University and has published widely on Western medieval dance, iconography, literature, and sign theory. Her first book, Ringleaders of Redemption: How Medieval Dance Became Sacred, was published in 2021 by Oxford University Press. Currently, she is guest editing a special issue of postmedieval: A Journal of Medieval Cultural Studies on the legacies of medieval dance and is writing her second book on Western medieval dance iconography.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134969693","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}

{"title":"Connections and Missed Connections: Russian Emigrés Bring Ballet to An American City (Chicago, 1924)","authors":"K. Eliot","doi":"10.1080/01472526.2023.2184629","DOIUrl":"https://doi.org/10.1080/01472526.2023.2184629","url":null,"abstract":"Abstract At the turn of the twentieth century, many Russian dancers cast aside careers in the highly regarded Imperial Ballet for unknown futures in the West. Emigrating for a variety of personal and artistic reasons, some decided to remain abroad during the revolution and after the Tsar’s assassination. This microhistory explores one moment in the Russian exile movement when former Imperial Ballet dancers Adolph Bolm, Anna Pavlova, and Tamara Karsavina connected, or just missed connecting, in 1924 Chicago. Their reasons for being there diverged but all believed they had a mission to spread the gifts of Russian ballet.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"46 1","pages":"171 - 199"},"PeriodicalIF":0.4,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45649541","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}

{"title":"Becoming A Frame","authors":"M. Nicely","doi":"10.1080/01472526.2022.2147362","DOIUrl":"https://doi.org/10.1080/01472526.2022.2147362","url":null,"abstract":"The title of Michael Sakamoto’s theory-rich, butoh-informed auto-ethnography An Empty Room refers to the cyclical relationship between form and emptiness found in Zen Buddhism. This seemingly paradoxical perception, where form is emptiness and emptiness form, describes the transformative relation between identity and potential that Sakamoto convincingly asserts can be accessed through butoh-based theory-in-practice (p. 106). An empty room—understood as a bodily space created in the process of performance—is “an ambivalent space with no clearly attainable state of being on which to hold or depend, but one that is also potentialized” (p. 116). Butoh founder Hijikata Tatsumi explored this space as a collision of socio-cultural forces, individual experience, and historical memory, which activates creative agency in self-formation. Sakamoto writes toward this self with knowledge and humility, placing his life experiences and lines of artistic inquiry into dialogue with Hijikata’s principles. The text digs deeply into butohbased philosophy and its application to bodily research, an approach largely absent from other English-language butoh scholarship. Despite its increasingly global presence, butoh remains something of an enigma to Westerners. Developed in Japan throughout the 1960s and ‘70s by Hijikata, Ashikawa Yoko, Ohno Kazuo, and Kasai Akira, this art form centers paradox and ambiguity as strategies for negotiating frictional dualities like East and West, self and other, and nature and culture. Integrating these dualities into embodied actions manifests compelling images that became familiar to Western audiences in the 1980s through the touring of Ohno Kazuo and Sankai Juku, and the circulation of several photo books. Sakamoto, a practitioner-scholar and photographer, marks his early affective encounter with butoh through the impact of such imagery (p. 17). He develops this encounter using Roland Barthes’s notion of the punctum: “that accident which pricks me (but also bruises me, is poignant to me)”","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"46 1","pages":"154 - 158"},"PeriodicalIF":0.4,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46240653","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}

{"title":"Around the Mirror Ball: The Globalization and Glocalization of Disco","authors":"E. Bergman","doi":"10.1080/01472526.2022.2147363","DOIUrl":"https://doi.org/10.1080/01472526.2022.2147363","url":null,"abstract":"The anthology Global Dance Cultures in the 1970s and 1980s: Disco Heterotopias, co-edited by Flora Pitrolo and Marko Zubak, offers an interdisciplinary examination of the global spread and local interpretations of disco music and disco culture within a historical period shaped by social change, political conflict, and the globalization of mass media industries. With rigorously researched contributions by scholars, DJs, and musical experts representing different fields, scenes, and national locales, the anthology achieves its stated purpose of examining “how disco acquired different forms, meanings and functions as it was adopted and re-imagined” across distinct social, cultural, political, economic, and industrial contexts (p. 1). Most significantly, the anthology expands scholarship on disco’s routes and cultural meanings beyond extant studies of the rise and fall of disco in the U.S. context. Bringing together ideas from popular music, cultural studies, and media studies, the contributors, many of whom write from non-U.S. or U.K. positions, collectively offer generative theoretical frameworks and methods to envision and comprehend the globalizing and glocalizing of pop culture. While the focus on moving bodies is uneven across chapters, dance and performance scholars invested in embodied flows of popular, mediated culture stand to benefit from the wealth of perspectives and historical information included in the volume’s exploration of global dance music cultures. The introduction, co-written by Pitrolo and Zubak, provides two epistemological frames for considering diverse iterations of disco during the 1970s and ‘80s and configuring new disco historiographies. First is Michel Foucault’s notion of heterotopia, “a term rooted in the spatial and able to account for a simultaneous participation in different geographical and imaginary regimes” which is invoked via disco’s most iconic symbol, the mirror ball (p. 5). The glittering mirror ball, with its ability to refract, scatter, and multiply a single light and transform an environment into a real yet unreal space, points to how each disco culture “draws into itself the disco paradigm as imaginary cipher","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"46 1","pages":"146 - 149"},"PeriodicalIF":0.4,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42966706","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}

{"title":"Right to Refusal: Consent and Rejection in Social Swing Dancing","authors":"H. Standiford","doi":"10.1080/01472526.2023.2173941","DOIUrl":"https://doi.org/10.1080/01472526.2023.2173941","url":null,"abstract":"Abstract How has a small swing dance community navigated shifts in etiquette surrounding consent and refusal in social dancing? This research focuses on Pittsburgh’s swing dance community and the changes that have occurred between the 1990s and 2022. To illustrate shifts in requesting consent for dances, accepting or declining dances, and expressing discomfort during dances, this study draws from interviews with dancers and participant observation. By recasting “no” as an acceptable response, the Pittsburgh swing dance community creates more opportunities for participants to set boundaries and opens a spectrum of possible responses that fall between a “yes” or a “no.”","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"46 1","pages":"118 - 139"},"PeriodicalIF":0.4,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47633016","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}

{"title":"Journeying Toward Center with the late Nancy Topf","authors":"Kristin Marrs","doi":"10.1080/01472526.2023.2173943","DOIUrl":"https://doi.org/10.1080/01472526.2023.2173943","url":null,"abstract":"I recently expressed to a friend my desire to “stay centered” during a challenging situation. Although my friend and I both intuitively understood the meaning of this common phrase, my own understanding of “center” was challenged and enriched while reading the late Nancy Topf’s newly published book, aptly subtitled The Anatomy of Center. Topf developed and founded Topf Technique/Dynamic AnatomyVR , a somatic practice in the Ideokinetic lineage of Mabel Todd and Barbara Clark. A dancer who came to somatic work for the same reason so many do—a desire to move with freedom and without pain—Topf’s life and the documentation of her life’s research were tragically cut short by a plane crash in 1998. Her longtime student Hetty King took on the task of editing and publishing Topf’s manuscript. In doing so, King has provided somatic practitioners, dancers, dance educators, and those seeking strategies for embodied living with an invaluable resource. King has clearly divided Topf’s writing into digestible chapters describing distinct anatomical regions of the body—such as mouth, the feet and hands, and the crucial psoas at the center of it all. The reader is guided along a non-linear but logical path through the body, as each chapter offers visualizations, images, and philosophical ideas about anatomy. The chapters can be approached independently and yet are interdependent, creating a web-like understanding of the body through overlapping experiences and concepts. The book is a workbook, and the reader is explicitly instructed to take time with the offered images and exercises. I couldn’t ignore this instruction; Topf’s thoughtful writing and attention to detail inspired me to read the text with care. I consumed small chunks of each chapter over many weeks, and Topf’s movement explorations and visualizations immediately made their way into my dancing and teaching practices. Although a newcomer to this technique, I heard Topf’s voice permeating the book, and I felt intimately guided by her kindness, patience, and humor. A sense of whimsy pervades the text; each exploration is relayed","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"46 1","pages":"150 - 153"},"PeriodicalIF":0.4,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47668946","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}