DANCE CHRONICLE最新文献

{"title":"Dressage Performances as Infrastructural Critique: Mike Kelley and Yvonne Rainer’s Dancing Horses","authors":"Lisa Moravec","doi":"10.1080/01472526.2022.2027182","DOIUrl":"https://doi.org/10.1080/01472526.2022.2027182","url":null,"abstract":"Abstract Incorporating both animal studies and Marxist analysis, this article examines artistic works by Yvonne Rainer and Mike Kelley (in collaboration with choreographer Kate Foley) that stage humans performing as horses. Building on the rich history of how the Marxist tradition has characterized dressage, I trace the relationships between social conditioning, artistic training, and performance. While moving within what I call the dressage mechanisms of the contemporary art world, I read Rainer and Kelley’s performances as critiques of societal dressage, a process that capitalism subjects human and animal actors to, albeit to different degrees.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"57 - 78"},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45216441","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 Dance Work in West Africa: Women Artists in a Shifting Landscape of Institutional Patronage","authors":"L. A. Dodge","doi":"10.1080/01472526.2021.2024736","DOIUrl":"https://doi.org/10.1080/01472526.2021.2024736","url":null,"abstract":"Abstract This article considers the stakes articulated by French-speaking West African women who claim dance as work opens up critical perspectives on the global political economy of concert dance. African states encouraged creative dance work following independence, but in the era of structural adjustment, French state-affiliated institutions took the lead as foreign patrons for African contemporary dance. Juxtaposing these women’s reflections on their trajectories as dance artists with an account of the institutional politics surrounding patronage in the region, I argue that these women reenvision the value of cultural labor as a substantive contribution to their societies and economies in West Africa.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"7 - 29"},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45455564","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":"Interdisciplinary Rewards and Challenges","authors":"J. Barlow","doi":"10.1080/01472526.2022.2026695","DOIUrl":"https://doi.org/10.1080/01472526.2022.2026695","url":null,"abstract":"The editors of Musicology and Dance: Historical and Critical Perspectives desire to encourage a “dance-attentive musicology” that explores “how physical expression might inform musical expression—as well as how music might inscribe new meanings onto the moving body” (pp. 8–9). This volume of ten wide-ranging essays is divided into three parts: “Conceptual Studies,” “Case Histories,” and “Critical Readings.” Within each part, the essays offer contrast with respect to subject matter, critical methodology, and perspective; in so doing, they demonstrate the potential for growth within this neglected area of interdisciplinary engagement. Part 1 opens with “J. S. Bach and the Dance of Humankind,” in which Bach scholar and conductor John Butt reveals how the composer’s music embodies the physicality of dances from the period, not only in pieces with dance titles, but also, to give just two of his examples, in the saraband-based final choruses of the St. John and St. Matthew Passions and the third, gigue-like movement of the fourth Brandenburg Concerto. He writes that “most commentators tend to gravitate towards the notion of music as disembodied thought when contemplating Bach’s achievements” but that “we also share a sense of physicality with our ancestors that is arguably just as important, if not more so, than the mental process” (p. 21). Butt cautions, however, that perception of these relationships in Bach “presupposes that the physical allusions and memories are somehow felt in the body of the listener rather than merely intellectualized” and that “such an experiential framework . . . may or may not complement the range of experiences the listener draws from [the music]” (p. 46). The next chapter—and the only one not to focus on a particular composer, choreographer, dancer, musical work, dance type, or genre—is Suzanne Aspden’s “Dance as ‘Other’: Contrasting Modes of Musical Representation.” In her introductory paragraph, Aspden quotes anthropologist Ruth Finnegan’s observation that “popular and ‘other’ music, in the","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"101 - 107"},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48791835","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":"More than Meets the Eye: Towards Critical Institutional Research in Dance Studies","authors":"Olive Demar","doi":"10.1080/01472526.2021.2024026","DOIUrl":"https://doi.org/10.1080/01472526.2021.2024026","url":null,"abstract":"This special issue returns to a set of themes explored in Dance Chronicle twenty years ago. “There is more to dance than meets the eye,” Sally Banes begins the introduction to a sequence of articles within a 2002 issue of the journal titled, “Where They Danced: Patrons, Institutions, Spaces,” featuring work by Banes, Lynn Garafola, Janice Ross, and Purnima Shah. Banes notes that this collection of articles explores what she calls “critical institutional studies,” or research that considers the institutions and patrons that form the conditions of possibility for concert dance. Banes cites the influence of institutional critique in the visual arts, the rise of museum studies, as well as “a long tradition of left-wing art criticism—especially Marxist criticism,” on emerging inquiries in dance studies. Two decades later, we pick up the questions that Banes poses and reflect on how dance studies has developed frameworks for analyzing the institutional contexts surrounding dance. I encountered this issue in 2018, prior to joining Dance Chronicle as an editor, when I was working on a literature review for an article I was writing about dance patronage and its connection to real estate development. I was drawn to Banes’s interdisciplinary connections and explicit invocation of Marxist analysis—a rare sight in a dance publication. When stepping into an editorial role following Joellen Meglin’s invitation, I decided to pick up particular threads within the journal that had been generative for me as a researcher. This special issue builds on recent scholarship in the field that has contributed critical accounts of the institutional structures and material relations that undergird dance practices. In addition to work within dance and performance studies, a rich set of inquires in other fields has developed sharp and illuminating accounts of institutions—their politics, dynamics, and functions. In the visual arts, critics and historians have debated the function and consequences of artworks that foreground their relationship to funders and presenting institutions. A number of groups within the cultural sector have taken up workers’ inquiry methodologies—a mode of studying organizations from the perspective of labor rather than management—providing insight into labor struggles within arts organizations. Marxists in both art history and literary studies have continued to hone and sharpen frameworks for understanding the political economic role of art and culture in a capitalist","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"1 - 6"},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45033100","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":"Forced Secularization and Postmodern Discourses within Contemporary Performance: Weaponizing Multicultural Rhetoric to Ratify Asymmetries among Dance Practitioners","authors":"Jorge Poveda Yánez, Beatriz Herrera Corado, M. Mendizábal","doi":"10.1080/01472526.2022.2025738","DOIUrl":"https://doi.org/10.1080/01472526.2022.2025738","url":null,"abstract":"Abstract In the context of the multicultural and postmodern rhetoric of contemporary art festivals, we examine a case study in which the Hungarian choreographer Eszter Salamon appropriates Mapuche practices—the kawell tayil and the choike purrún—in her piece Monument 0.6: Landing (A Ritual of Empathy) (2017). We analyze the discursive and embodied dimensions of this borrowing and its harmful consequences for indigenous communities. We show how the postmodern values of secular art institutions and the legal limitations to protect indigenous ritual expressions contribute to these dynamics. Adopting an optimistic stance, we outline criteria for curatorial practices that could prevent further misuses of indigenous culture.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"79 - 100"},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42125325","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":"Sufi Dance, Trance, and Psychophysical Performance: Transcultural Elements in Jerzy Grotowski’s Theater","authors":"Serap Erincin","doi":"10.1080/01472526.2021.1982330","DOIUrl":"https://doi.org/10.1080/01472526.2021.1982330","url":null,"abstract":"Abstract Jerzy Grotowski, a Western theatrical practitioner who incorporated psychophysical methods to help sustain the immediacy of the body and power of presence in performance, acknowledged the influence of non-Western embodied spiritual practices, such as Sufism and Mevlevi dance. In this article, I propose that the whirling dance of the dervish was a transformational influence on Grotowski and facilitated the development of his psychophysical program of actor training and rehearsing. This influence is under-acknowledged in scholarship on Grotowski, indicating possible anxiety in Western theatrical traditions about the incorporation of spiritual practices, especially those associated with Islam.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"44 1","pages":"207 - 222"},"PeriodicalIF":0.4,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46608094","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":"Beth Dean: Aspects of the Work of an Australian “Ethnic Dancer”","authors":"Jeanette Mollenhauer","doi":"10.1080/01472526.2021.1976703","DOIUrl":"https://doi.org/10.1080/01472526.2021.1976703","url":null,"abstract":"ABSTRACT Australian dancer Beth Dean was classically trained but belonged to the “ethnic dance” tradition in which performers interpreted the dances of “primitive” others for the concert stage; her career reflected the trends in dance scholarship and practice of her era. This article compares her textual and performative works with other writers and practitioners in Australia and the rest of the world. It identifies Dean’s belief in an evolution of dance from primitive to classical, her positioning of classical ballet at the pinnacle of an imaginary hierarchy of dance, and her affirmation of universalist notions about dance.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"44 1","pages":"246 - 283"},"PeriodicalIF":0.4,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42028328","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":"Mondays with Merce: A Mercist Project of Space, Time, and Screen","authors":"Fenella Kennedy","doi":"10.1080/01472526.2021.1978827","DOIUrl":"https://doi.org/10.1080/01472526.2021.1978827","url":null,"abstract":"Abstract In the Mondays with Merce video series, Nancy Dalva curates interviews with Merce Cunningham and his community filmed in the two years before his death. In editing the interviews for presentation, Dalva creates a “Mercist” archive—a collection of materials that mirrors Cunningham’s own artistic priorities of process, multi-vocality, and audience agency. Exploring how the series creates this Mercist perspective, I show that Dalva’s choices, and Cunningham’s, create a legacy that remains radically human, even as it draws new audiences to Cunningham’s life and work.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"44 1","pages":"223 - 245"},"PeriodicalIF":0.4,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48209543","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 Blackness Informs Global Filipino Corporeality: The Embodied and Racial Politics of Afro-Filipino Hip-Hop Dance","authors":"M. L. Lay","doi":"10.1080/01472526.2021.1971019","DOIUrl":"https://doi.org/10.1080/01472526.2021.1971019","url":null,"abstract":"In his first book titled Choreographing in Color, J. Lorenzo Perillo examines the complex embodied and racial politics of Afro-Filipino hip-hop dance. He uses hip-hop dance as a lens to investigate the social, cultural, political, and economic contexts surrounding Afro-Filipino culture. He does this by taking his readers on a journey through continents, hip-hop events, labor migrations, and viral digital media. Using critical race theory as an interpretative framework, the book showcases how the different nuances of hiphop dance can exemplify dynamics surrounding the transnational circulation of Filipino identities. Through a multi-sited, bilingual ethnography and choreographic analysis, Perillo aims to “uncover how and why Filipino dancers have made such a tremendous impact on the global popularization of hip-hop and street dance since the late twentieth century” (p. 2). Perillo explains throughout the book how Filipinoness is linked to Blackness in beautiful and violent ways. He goes back in time to show how the colonial past informs the Filipino hip-hop dance innovations of the present. Perillo argues that “Filipinos engage hip-hop and street dancing in ways that work with and against empire, neoliberalism, and state-sanctioned violence, thus creating a space where their participation in hip-hop through dance can be regarded as something beyond cooptation, mimicry, or, even still, appropriation” (p. 2). In other words, by offering nuanced analyses about the connections between Black and Filipino cultures and identities, Perillo helps us see other possible kinds of relatedness between Blackness and Filipinoness. Therefore, his work contributes to conversations about cultural appropriation in hip-hop and beyond. Perillo’s theoretical framework draws from scholarship on Black performance, performativity, and Southeast Asian American studies. His work is notably influenced by Black embodied","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"44 1","pages":"284 - 288"},"PeriodicalIF":0.4,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41906504","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":"More Than We Think: A New Approach to Medieval Religious Dance","authors":"Zofia Załęska","doi":"10.1080/01472526.2021.1976704","DOIUrl":"https://doi.org/10.1080/01472526.2021.1976704","url":null,"abstract":"Dance in the European Middle Ages is often studied in binary terms: sinful or holy, devil’s dance or dance of the cosmic harmony, Salome’s sacrilegious dance or King David’s doxological dance. But it can be understood in many different ways—and this is what Kathryn Dickason demonstrates with her latest book. Through compelling analyses of different manifestations of dance in religious contexts in the High and Late Middle Ages, Ringleaders of Redemption: How Medieval Dance Became Sacred shows how dance became a form of Christian piety. Dickason is a scholar interested in Western medieval Christianity. Her research explores topics connected to performance, embodiment, gender, and dance. However, Ringleaders of Redemption: How Medieval Dance Became Sacred is her first book that encompasses all these topics. While the topic of dance as a part of religious practice has been studied before, Dickason provides many more contexts and a new approach: analyzing dance as ritual. The main goal of the book is to prove that dance (understood in different ways) used to be an integral part of medieval religious life. Dickason starts from the statement that modern Christianity is “one of the few religions that excludes dancing from any integral part of its devotional program” (p. 2), then asks when and why this happened. In the introduction, Dickason briefly summarizes the current state of research on medieval dance, medieval music, performance, and body studies. She also enumerates various methodological approaches used in researching medieval dance and points out that, even using written sources of different kinds, we are not able to fully understand numerous forms of dance as artistic expression, nor, because of a lack of choreographic sources, can we reconstruct the dance (p. 4). Dickason emphasizes that modern definitions of dance are limited, and that they cannot capture the richness of pre-modern performative contexts.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"44 1","pages":"296 - 299"},"PeriodicalIF":0.4,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42170429","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}