DANCE CHRONICLE最新文献

{"title":"Falling Again and Again","authors":"Lisa Jayne Wilson","doi":"10.1080/01472526.2022.2108637","DOIUrl":"https://doi.org/10.1080/01472526.2022.2108637","url":null,"abstract":"Falling through Life and Dance aims to discuss falling “as a reassuring, creative and life-enhancing force” (p. 2) and to engage with gravity’s many possibilities in all its unexpectedness. It invites readers to join the author in an investigation of falling with a spirit of curiosity, intent, and reverence, while challenging the Western assumption that falling is a negative experience. In so doing, Emilyn Claid, the acclaimed experimental choreographer, academic, director, and psychotherapist, delivers a diverse range of ideas linked through the theme of falling. Her ethnographic approach draws together multiple voices. Claid has gathered experiences from dancers, artists, and writers that surprise, invigorate, upset, and inspire the reader’s understanding of falling. The perspectives in this book are so diverse that the book is difficult to describe. The book itself exemplifies the fact that there is no one way to think about falling. Reading Falling through Dance and Life is like falling again and again— physically, emotionally, and conceptually. The book treats subjects such as identity and risk as physical, social, and emotional falling. Claid analyzes the performance work My Sex, Our Dance (1986) created by Lloyd Newson and Nigel Charnock, alongside interviews with Lloyd Newson in the section titled “Sex in Crisis” (pp. 127–31). The book also covers ideas related to falling and accidental death in performance in the section “Sholiba” (p. 105). In the section “April 2020,” Claid describes the political changes in the UK, including COVID 19, in what begins to feel like a free fall into precarity (p. 96). Due to the broad range of topics and approaches to thinking and feeling falling, this book will appeal to students, researchers, and artists interested in movement, falling, and engagement with gravity. I found comfort in the familiar dance language in the book; however, Claid draws on the vast experience she has in performance to widen the accessibility of this book beyond dance. The language and tone move beyond Western theatrical","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"267 - 271"},"PeriodicalIF":0.4,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46953192","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":"Dancing with the Stars and Stripes: Sensation as Spectatorial Choreography in Pope.L’s Trinket","authors":"J. Dellecave","doi":"10.1080/01472526.2022.2064697","DOIUrl":"https://doi.org/10.1080/01472526.2022.2064697","url":null,"abstract":"abstract Pope.L’s art exhibition Trinket (2015) featured an installation of an oversized US flag blown by high-powered wind machines. The artwork generated a choreography among viewers who inadvertently danced with the US flag, reversing fraught dynamics surrounding visibility and spectatorship for work by Black artists. Trinket called upon spectators to feel into sensation, rather than adopt a mode of distanced, disembodied interpretation. Informed by embodied racial justice activist Resmaa Menakem, I argue that Pope.L’s Trinket connected viewers with somatic experience, enabling them to grapple with ongoing structural racism in the United States.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"117 - 130"},"PeriodicalIF":0.4,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46441970","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":"Dance as Radical Action: A Riveting Journey through Dance, Activism, and Global Politics","authors":"Maria-Adriana Deiana","doi":"10.1080/01472526.2022.2063010","DOIUrl":"https://doi.org/10.1080/01472526.2022.2063010","url":null,"abstract":"Dana Mills’s latest book, Dance and Activism: A Century of Radical Dance Across the World, makes an important contribution to ongoing conversations within the field of dance studies about the political nature of dance. The book explores the mobilization of dance as a language and method for activism and radical hope, extending and refining the intimate relationship between dance and politics outlined in Mills’s previous work. With this book, Mills takes us a step further by interrogating dance as an artistic language that galvanizes, and is driven by, radical action. As stated in the preface, the book investigates “what it means to be radical in dance; how do our new forms of activism relate to those that occurred in the course of the twentieth century, and what is the responsibility and the mission of the twentieth century dancer-activist?” (p. x). Mills’s research is informed by “the many spectres [that] are haunting the world. Violence, sexism, racism, white supremacy” (p. 166). Motivated by these political urgencies, she reflects upon the role of the arts, and dance specifically, as a tool for activism and solidarity in turbulent times of rising tensions and divisions (p. x). Drawing from a century of radical dance, Mills curates a set of case studies spanning from 1920 to 2020. Moving beyond the traditional centralization of the Anglo-American world in both dance studies and international politics, Mills’s analysis maps dance works ranging from New York City’s Lower East Side in the 1920s to the 2014 war on Gaza, from the Syrian war to reproductive justice protests across the world. Throughout the chapters, Mills foregrounds how dancer-activists and activist-dancers have responded powerfully and creatively to issues that have been at the forefront of global politics since the beginning of the twentieth century and continue in our current moment. The book’s reach is truly interdisciplinary. Mills has a clear grounding in dance studies through the rich analysis of dance performances; the critical reflection on genres, canons, and dance institutions; and the tributes to key","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"177 - 181"},"PeriodicalIF":0.4,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45550986","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":"Queer Shadows of Balanchine’s Orpheus (1948)","authors":"Steven Ha","doi":"10.1080/01472526.2022.2065868","DOIUrl":"https://doi.org/10.1080/01472526.2022.2065868","url":null,"abstract":"Abstract This article examines the ballet Orpheus (1948), choreographed by George Balanchine, and the cultural milieu of queerness surrounding the ballet’s creation. Although Orpheus is known for helping to formally establish the New York City Ballet, the undercurrents of homosexuality in the ballet’s development have received less attention in the historical narrative. Additionally, the dancer Nicholas Magallanes, a gay Mexican American immigrant who starred in the title role, is similarly overlooked. Thus, through choreographic analysis and archival research, I elucidate the collective influence of a constellation of queer men to assert that the significance of Orpheus lies in its queer past.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"131 - 154"},"PeriodicalIF":0.4,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47240711","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":"Why Don’t Choreographers Copyright Their Works?","authors":"Francis Yeoh","doi":"10.1080/01472526.2022.2064162","DOIUrl":"https://doi.org/10.1080/01472526.2022.2064162","url":null,"abstract":"abstract The paucity of reported case law on dance copyright indicates that choreographers have not been as active as other authors, such as composers or writers, in seeking the powers bestowed through copyright ownership. I examine the historical context of choreographers’ inability or reluctance to resort to litigation to establish their copyrights in light of the socio-economic and political factors that dominate the choreographers’ professional lives. I conclude that choreographers’ attitudes to copyright are changing as their awareness grows regarding the dangers of losing control of the bundle of rights bestowed on choreographers by the US and UK copyright laws.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"155 - 172"},"PeriodicalIF":0.4,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48361476","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":"Theater Dance’s Material Underneath","authors":"Rebecca Chaleff","doi":"10.1080/01472526.2022.2059303","DOIUrl":"https://doi.org/10.1080/01472526.2022.2059303","url":null,"abstract":"Arabella Stanger’s first monograph, Dancing on Violent Ground: Utopia as Dispossession in Euro-American Theater Dance, is a brilliant study of the spatial philosophies, practices, and politics underpinning histories of dance as a theatrical art form. For this project, Stanger has built a thorough theoretical apparatus that scaffolds significant contributions to the fields of dance and performance studies through an interdisciplinary approach drawing primarily from critical race theory and Native studies. Employing a materialist attention to both staged and social choreographies of space, Stanger analyzes how theater dance—which she describes as “a nexus of corporeal, discursive, and institutional practices” (p. 4)—enacts and extends violent processes of racialization and dispossession. Dancing on Violent Ground contends that dance “can model harmonic or freeing experiences for dancers and audiences while masking and legitimizing imperial, colonial, and white supremacist practices of space” (p. 4). Stanger makes this argument elegantly and compellingly through her engagement with carefully selected objects of analysis, including the choreographies, drawings, and philosophies of Marius Petipa, Martha Graham, George Balanchine, Rudolf von Laban, Oskar Schlemmer, Merce Cunningham, and Boris Charmatz. Stanger’s theoretical turn to choreographies of space is enriched by a vast archive of historical material that spans multiple continents and several centuries. These examples from ballet, modern, and contemporary dance both prove and further complicate her pertinent critiques of how choreographic cultures uphold the supremacy of whiteness. Despite the temporal and geographic breadth of her research, Stanger’s attention to the pervasive imperial and settler colonial ideologies that pulse throughout the history of Euro-American theater dance provides strong connections among her objects of study. Stanger achieves a clear intervention in the field of dance studies by shifting her analytical attention toward the ways that bodies and","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"173 - 176"},"PeriodicalIF":0.4,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49163655","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":"From Harming to Healing: Multifaceted Perspectives on Ballet","authors":"K. Mattingly","doi":"10.1080/01472526.2022.2063618","DOIUrl":"https://doi.org/10.1080/01472526.2022.2063618","url":null,"abstract":"(Re:)Claiming Ballet, an anthology edited by Adesola Akinleye, an assistant professor at Texas Women’s University, offers seventeen chapters divided into four sections—Histories, Knowledges, Resiliences, and Consciousnesses— plus two forwards, one by Katy Pyle and the other by Virginia Johnson. The moments of overlap and conversation between authors make this collection a terrific resource. The anthology demonstrates the vital work being done to dismantle inequities in ballet while implicitly pointing to ongoing issues that need reform. Ballet, as a technique and art form, has privileged illusions of effortless grace that can mask tremendous pain, strain, and oppression, empowering an entitled few to make decisions that deleteriously impact the many. The need for greater transparency and recognition of biases exists in studios, programming, funding, cultural policy, historical research, and criticism. This collection explores all of these topics, and Akinleye’s curation enables readers to draw their own conclusions about what constitute “progressive,” “traumatic,” and “somatic” approaches to ballet. The variety in writing styles contributes to the book’s aspiration of amplifying different views. Methodologies range from autoethnography— used in the fantastic chapter by dancer and teacher Theara J. Ward—to archival research—seen in a terrific chapter by scholar Sandie Bourne that examines (mis)representation of communities of color in ballet productions. The volume’s authors range from educators and consultants to school directors and administrators; nine are white, eleven are Black. All identify as female, except one. I include these demographics because I think they reflect where the labor and investment to “reclaim” ballet is situated. A compelling chapter by Akinleye and scholar/practitioner Tia-Monique Uzor illuminates the perspectives of Black British ballet dancers. Interviewees describe “the particular trauma that has been felt in being able to see the whole dance field but not necessarily being able to be seen within it” (p. 267). Dancer Christopher Hurley poignantly reflects on the","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"182 - 185"},"PeriodicalIF":0.4,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45903021","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":"Dance Education from Different Perspectives","authors":"Brigitte Moody","doi":"10.1080/01472526.2021.2022406","DOIUrl":"https://doi.org/10.1080/01472526.2021.2022406","url":null,"abstract":"Dance Education: A Redefinition is an investigation of dance education written by the experienced dance educator Susan R. Koff, with contributions from Ann Kipling Brown, John-Mario Sevilla, Alfdaniels Mabingo, and William S. Huntington. Koff presents and debates the hierarchical nature of dance education where dance curricula in public schools and the private dance education sector dominate the history, philosophy, and pedagogical development of dance education. The book echoes what many dance educators experience, that the confusion about what constitutes dance education has at times frustrated efforts to establish legitimate recognition of the importance of dance in any given setting. The book seeks to reframe what dance education might be, while acknowledging that definitions are restrictive, ambiguous, and influenced by many things. However, Koff sums up a core principle that informs many of the debates about definition:","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"113 - 117"},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48615015","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":"Making the Museum Dance: Simone Forti’s Huddle (1961) and its Acquisition by the Museum of Modern Art","authors":"M. Metcalf","doi":"10.1080/01472526.2021.2024724","DOIUrl":"https://doi.org/10.1080/01472526.2021.2024724","url":null,"abstract":"Abstract In 2015, Simone Forti’s Dance Constructions, a group of understated, equipment-based performances from 1960–1961, entered the permanent collection of the Museum of Modern Art in New York (MoMA) as the museum’s first acquisition of historical dance works. This essay details Forti’s arrangements with MoMA for the Dance Construction Huddle, which complicated the already complicated proposition of how to collect and care for dances in a visual art institution. Examined closely, the acquisition process reveals both how the museum transformed Forti’s work and how Huddle—and dance more generally—presses back on the institution and its investments in objecthood, singular authorship, and private property.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"30 - 56"},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41676737","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":"Medieval Dance: Transmissions and Traces","authors":"Kathryn Dickason","doi":"10.1080/01472526.2021.2024027","DOIUrl":"https://doi.org/10.1080/01472526.2021.2024027","url":null,"abstract":"In recent years, medieval studies scholars have reassessed the relationship between dance and religion. Scholars have examined the Church’s disapproval of dance and also uncovered how dance worked in the service of religion. Teeming with tension, dance was always a controversial subject in medieval Europe. The Cursed Carolers in Context, a collection of ten interdisciplinary essays edited by Lynneth Miller Renberg and Bradley Phillis, uses a story that has circulated since the eleventh century as a central narrative to explore the significance of dance for medieval society. In their introduction to the volume, Renberg and Phillis summarize the cursed carolers story, outline its major transmissions, and situate their book within recent medieval dance scholarship. In brief, the cursed carolers story is a tale of a group of rowdy dancers in a village in Saxony who skip Christmas mass and instead dance in the churchyard, after which they become cursed and must dance for a whole year. As Renberg and Phillis indicate, the earliest texts pertaining to the cursed carolers were composed in Latin and may date from around 1021. The story was soon translated into several languages, including Anglo-Norman (a variant of Old French), Middle English, and German vernaculars. It also migrated to Scandinavia. By the early modern period, the story was replaced by tales of dance epidemics, yet it remained relevant in many cultures well into modernity. According to Renberg and Phillis, “by analyzing the story in specific historical contexts, the chapters show how the story of the cursed carolers became a space in which medieval readers, writers, and listeners could debate the meaning and significance of a surprising variety of questions, including ecclesiastical authority, gender roles, pastoral responsibility, and even the conduct of the crusades” (p. 2). This book is one of the first attempts in medieval studies scholarship to bring together an “array of voices and disciplinary perspectives on medieval dance,” and all of the","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"109 - 112"},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42728461","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}