DANCE CHRONICLE最新文献_第9页

Right to Refusal: Consent and Rejection in Social Swing Dancing 拒绝的权利:社交摇摆舞中的同意与拒绝

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2023-05-04 DOI: 10.1080/01472526.2023.2173941

H. Standiford

引用次数: 0

Journeying Toward Center with the late Nancy Topf 与已故的南希·托普夫一起走向中心

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2023-05-04 DOI: 10.1080/01472526.2023.2173943

Kristin Marrs

{"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}

引用次数: 0

Reconsidering Isadora Duncan’s Global Legacy: The Reception of Duncan’s Writing and Dance in China 重新思考伊莎多拉·邓肯的全球遗产:邓肯的写作和舞蹈在中国的接受

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2023-05-04 DOI: 10.1080/01472526.2023.2188872

Huafei Chen

引用次数: 0

Usable for whom? Reflections on public, political art 对谁有用?对公共、政治艺术的反思

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2023-05-04 DOI: 10.1080/01472526.2023.2189406

Holly Bass

{"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}

引用次数: 0

Muslim Youth in K-pop Dance Practices: Performative Responses against Islamic Norms in Malaysia K-pop舞蹈实践中的穆斯林青年：对马来西亚伊斯兰规范的表演回应

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2023-05-04 DOI: 10.1080/01472526.2023.2188030

Sanghee Ha

引用次数: 0

Global Dance Histories and Contemporary Pedagogies: Alternative Routes 全球舞蹈历史与当代教学法:另类路线

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2023-05-04 DOI: 10.1080/01472526.2023.2178792

M. Shaffer

{"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}

引用次数: 0

Existence as Insistence: Dance Theatre of Harlem Chronicles an Organization’s Prescience 作为坚持的存在：哈莱姆舞蹈剧院记录一个组织的先验

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2023-05-04 DOI: 10.1080/01472526.2023.2177079

K. Mattingly

{"title":"Existence as Insistence: Dance Theatre of Harlem Chronicles an Organization’s Prescience","authors":"K. Mattingly","doi":"10.1080/01472526.2023.2177079","DOIUrl":"https://doi.org/10.1080/01472526.2023.2177079","url":null,"abstract":"With the publication of Dance Theatre of Harlem, authors Judy Tyrus and Paul Novosel offer the first book to document the history of the company. Established in 1969 by Arthur Mitchell and Karel Shook, Dance Theatre of Harlem (DTH) is now led by Virginia Johnson, a former principal dancer. In addition to celebrating the legacy of DTH, Tyrus and Novosel illuminate the interwoven histories of ballet, dance education, civil rights movements, and social change. Tyrus was a member of DTH from 1977 to 1999, and Novosel is a musician, playwright, and composer. Their diverse backgrounds enrich the writing, shedding light on musical compositions and interdisciplinary collaborations. They have collected historical details, stories, and images that vivify the company’s accomplishments as well as setbacks. The book is a testament to the prescience of founders Mitchell and Shook and to the beauty and creativity of DTH. Photographs of dancers during performances, rehearsals, open houses, and touring engagements accompany nearly every page. Presenting DTH’s fifty years in chronological order, Tyrus and Novosel divide these five decades into three sections: History, Movement, and Celebration. The book’s organization deepens awareness of how DTH’s ideas and priorities have shifted and developed over time. Part 1, “History,” focuses on Mitchell’s family, upbringing, training, and career with New York City Ballet (NYCB), setting the stage for his establishment of DTH. Mitchell had to choose between attending Bennington College or the School of American Ballet (SAB), as both offered him a scholarship. He chose SAB. In 1960, George Balanchine asked Mitchell “to find a black girl with whom he could dance a pas de deux as the representatives of Africa. He called Mary Hinkson” (p. 16). Hinkson was the first Black woman to dance with NYCB. A chapter on Shook lays the groundwork for the pedagogical principles DTH developed and is followed by","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"46 1","pages":"159 - 163"},"PeriodicalIF":0.4,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44065681","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

Encounters, Exchanges, and Ruptures: An Exhibition Catalog of Global Artists 相遇、交流与断裂:全球艺术家展览目录

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2023-01-02 DOI: 10.1080/01472526.2022.2127612

Mitsu Salmon

{"title":"Encounters, Exchanges, and Ruptures: An Exhibition Catalog of Global Artists","authors":"Mitsu Salmon","doi":"10.1080/01472526.2022.2127612","DOIUrl":"https://doi.org/10.1080/01472526.2022.2127612","url":null,"abstract":"Global Groove: Art, Dance, Performance & Protest is the title of both an exhibition that took place at the Museum Folkwang in 2021, and its catalog, which includes fourteen essays that examine a century of interdisciplinary exchange among dance, performance, and the visual arts. The catalog vividly chronicles expansive encounters between Europe, Asia, and North America, and its images take center stage. Through lush layouts and gorgeous photos of striking artworks, this wide book gives these images space to breathe, with singular works occupying multiple pages. This design vivifies the artists’ projects, and speaks to one of the most valuable contributions of this book: its inquiries into the role of documentation in histories of dance and performance. A closing essay by Walter Moser considers questions of documentation through archival records of Japanese post-World War II dance and performance groups, such as the Hi Red Center collaboration with Tokuji Murai, and Butoh dancer Tatsumi Hijikata with Eikoh Hosoe. Moser examines a well-known photo book collaboration between Hijikata and Hosoe called Kamaitachi, and the images that helped create a mythology around Hijikata and cement his legacy. In both form and content, the catalog provokes important questions about how performances are documented, and for whom these images are created. The exhibition, which took place in Germany, and the catalog, which is printed in German and English, includes very few Asian, Eurasian, or Asian American writers. Perhaps including more of those voices could have strengthened the analysis of “exchange” between “East” and “West,” which seems to be a throughline of the publication. I use quotes around these terms because they imply a particular dichotomy, homogenization, and static center. The essays primarily present an encyclopedic archive of varying art and performance movements between Asia, Europe, and North America, as well as notable meetings and collaborations among artists. What seems to","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"46 1","pages":"82 - 85"},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41918743","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

Ruth Page: An American Original Gets Her Due 露丝·佩奇:一个美国原创者得到了她应得的

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2023-01-02 DOI: 10.1080/01472526.2022.2123693

E. Chenoweth

引用次数: 0

The Unreconciled Dichotomy: Preservation and (Re)Creation of Dance Heritage in South Korea 不可调和的二元对立：韩国舞蹈遗产的保护与（再）创造

IF 0.4 3区艺术学

DANCE CHRONICLE Pub Date : 2023-01-02 DOI: 10.1080/01472526.2022.2154504

Sue-in Kim

引用次数: 0