DANCE CHRONICLE最新文献_第7页

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

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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

Rooted Jazz Dance: A Path Forward 扎根爵士舞:前进之路

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2022-09-02 DOI: 10.1080/01472526.2022.2110634

E. Keller

引用次数: 0

Social Ghosts and Collective Bodies in Rosemarie Roberts’ Baring Unbearable Sensualities: Hip Hop Dance, Bodies, Race, and Power 罗斯玛丽·罗伯茨的《难以忍受的性感:嘻哈舞、身体、种族和权力》中的社会幽灵和集体

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2022-09-02 DOI: 10.1080/01472526.2022.2110632

Grace Jun

{"title":"Social Ghosts and Collective Bodies in Rosemarie Roberts’ Baring Unbearable Sensualities: Hip Hop Dance, Bodies, Race, and Power","authors":"Grace Jun","doi":"10.1080/01472526.2022.2110632","DOIUrl":"https://doi.org/10.1080/01472526.2022.2110632","url":null,"abstract":"Baring Unbearable Sensualities: Hip Hop Dance, Bodies, Race, and Power offers a profoundly insightful and necessary contribution to the growing scholarship of Hip Hop dance and performance. This first book by Rosemarie Roberts extends key points in her previous research on embodied pedagogies, dancing with social ghosts, and Black and Brown bodies as sites of knowledge. Through an interdisciplinary approach of social psychology, anthropology, and dance studies, Roberts analyzes dance and movement to problematize the ways in which the body is seen and written. In particular, her work challenges how the fields ranging from dance to anthropology have set limitations on the power of the body, in particular on collective bodies, and more specifically on Black and Brown bodies. Roberts draws from the works of dance and performance studies scholars Randy Martin, Deidre Sklar, Thomas DeFrantz, and Imani Kai Johnson, among others, and centers her ethnographic research on The School at Jacob’s Pillow’s 2009 Hip Hop Continuum which featured Hip Hop dance practitioners Rennie Harris, Moncell Durden, Mr. Wiggles, Marjory Smarth, Ynot, and West African dance practitioner Cachet Ivey. The strengths of Roberts’ book are her critique of the objectifying white gaze and her expanded sensorial approach that (re)contextualizes Black and Brown bodies. In Hip Hop dance, as in other Afro-diasporic dance forms, Black and Brown bodies carry their racialized histories and sensualities that can be “seen” by moving beyond an ocularcentric approach, that is, an approach that privileges the sense of sight.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"254 - 258"},"PeriodicalIF":0.4,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45965112","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