DANCE CHRONICLE最新文献

{"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}

{"title":"Reconsidering Isadora Duncan’s Global Legacy: The Reception of Duncan’s Writing and Dance in China","authors":"Huafei Chen","doi":"10.1080/01472526.2023.2188872","DOIUrl":"https://doi.org/10.1080/01472526.2023.2188872","url":null,"abstract":"Abstract This article reevaluates the reception of Isadora Duncan among Chinese intelligentsia, literati, and dancers in the first half of the twentieth century. Contextualizing Duncan’s autobiography My Life (1927) and choreography within global cultural production, I focus on the transculturation and hybridity generated through the artist’s transnational circulation to China. Far more than just a pioneer of modern dance, Duncan was a cultural icon that Chinese intellectuals, women writers, and dancers appropriated for their own political and cultural purposes.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"46 1","pages":"87 - 101"},"PeriodicalIF":0.4,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49195207","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":"Usable for whom? Reflections on public, political art","authors":"Holly Bass","doi":"10.1080/01472526.2023.2189406","DOIUrl":"https://doi.org/10.1080/01472526.2023.2189406","url":null,"abstract":"Drawn from Larne Gogarty’s doctoral dissertation, Usable Pasts: Social Practice and State Formation in American Art offers a concise comparative history of New Deal political theater, dance, and photography juxtaposed with more recent works from the 1990s to 2000s. What results is a wellresearched, albeit limited, exploration of how large-scale, social justice-oriented art has evolved in the United States. Gogarty’s title references a concept that gained traction during the Depression, as politicians and community organizers sought to draw on the past as a galvanizing force to create a cohesive sense of community in a time of widespread hardship. That is to say, the past must be artfully reframed in order to make it “usable” toward other aims, whether that be galvanizing workers to join a labor union post-WWI or gathering community members in an economically divested Southern neighborhood in the early 2000s. While the book doesn’t necessarily make a convincing argument about art’s role in state formation, it does provide an engaging history of public, political art. Early in the book’s introduction, Gogarty defines the range of terminology used to describe artists who work with social relations as a source or medium, often artists who create work with “non-artists” (p. 9) from a particular social group or identity. Gogarty notes, “Some of the labels devised for this work include participatory art, collaborative art, socially engaged art, dialogical art, new genre public art, relational aesthetics, littoral art, collective artistic praxis and social practice” (p. 8). Choosing the term “social practice,” Gogarty explains this selection based on its wide acceptance with few attachments to particular scholars, artists, or curators. As a multidisciplinary, community-engaged artist, I have long held a healthy skepticism of these terms, especially the ways they come in and out of fashion, and their own usable past as a conduit for art market speculators to commodify what would generally be considered community activism with some level of aesthetic appeal. For instance, if the Black Panther","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"46 1","pages":"140 - 145"},"PeriodicalIF":0.4,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46974882","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":"Muslim Youth in K-pop Dance Practices: Performative Responses against Islamic Norms in Malaysia","authors":"Sanghee Ha","doi":"10.1080/01472526.2023.2188030","DOIUrl":"https://doi.org/10.1080/01472526.2023.2188030","url":null,"abstract":"Abstract This article offers an ethnography of Malaysian youth who perform cross-gender K-pop dance. In the context of Malaysia’s hegemonic masculinity, I explore the wider cultural space within K-pop dance for nonnormative gender expression, which is usually stigmatized. Drawing on Judith Butler’s work on gender performativity, Kareem Khubchandani’s approach to Asian drag, and Erving Goffman’s stigma theory, I analyze the challenges of male Malay K-pop performers to Islamic norms and hegemonic masculinity. I argue that Muslim Malay K-pop dancers make use of performance as a context to traverse religious and gendered norms.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"46 1","pages":"102 - 117"},"PeriodicalIF":0.4,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47070870","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":"Global Dance Histories and Contemporary Pedagogies: Alternative Routes","authors":"M. Shaffer","doi":"10.1080/01472526.2023.2178792","DOIUrl":"https://doi.org/10.1080/01472526.2023.2178792","url":null,"abstract":"When teaching dance history in the twenty-first century undergraduate classroom, how are dominant elisions within the Euro-American historical canon addressed? How might instructors integrate the choreographic voices, movement styles, and geographic regions that normative North American dance instruction—with its emphasis on ballet and modern dance, and (white) choreographers in the Global North—typically exclude? These questions frame Milestones in Dance History, edited by Dana Tai Soon Burgess, a textbook that insists on often-marginalized artistic lineages as essential to the dance historical field. Included within Routledge’s Milestones series, “a range of accessible textbooks, breaking down need-toknow moments in the social, political, cultural, and artistic development of foundational subject areas” (p. i), Milestones in Dance History provides a necessary response to ongoing critiques of university-level dance instruction in the United States. Eurocentric thinking, in addition to Euro-American dance styles, are dominant in post-secondary curricula, which obscures the multiplicity of global dance histories and their continued resonances. The book attempts to resolve these erasures by inviting students to, first, encounter dance practices that are typically excluded from canonical syllabi, and, second, interpret their respective histories as connected to each other, rather than geographically and culturally discrete. A “milestone” references moments of importance, denoting significant change or development. On a literal level, it evokes markings on a road or map, often indicating where progress has been made. Milestones in Dance History engages this concept as a primary structuring principle: each of the book’s ten chapters centers a milestone that “has shaped the different forms and genres of dance that we experience today” (p. xi). The chapters, which are “designed for weekly use” (p. i) in dance history courses, also cohere around the theme of “migration and political conflict” (p. x). Each author therefore prioritizes specific historical events, contextualizing their chosen","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"46 1","pages":"164 - 167"},"PeriodicalIF":0.4,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46227129","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}