DANCE RESEARCH JOURNAL最新文献

Ralph Lemon’s Trickster Historiographies: Unsettling Nostalgia in Postmodern Dance through the Soul Train Line 拉尔夫·莱蒙的《骗子史学：穿越灵魂列车线的后现代舞蹈中令人不安的怀旧》

IF 0.6 2区艺术学

DANCE RESEARCH JOURNAL Pub Date : 2026-10-26 DOI: 10.1017/s0149767726100941

Marisa Plasencia

引用次数: 0

Dancing Refractions, Dancing Disjunctions: Indian Devadāsī s in Marius Petipa’s La Bayadère (1877) 舞动的折射，舞动的断裂：马略·佩蒂帕的《bayad<e:1>》（1877）中的印度Devadāsī

IF 0.6 2区艺术学

DANCE RESEARCH JOURNAL Pub Date : 2026-10-26 DOI: 10.1017/s014976772610093x

Afreen Sen Chatterji

引用次数: 0

Embodied Hauntings: Monstrosity and Dance as Sites of Historical Reckoning and Agency in Suspiria (2018) and Midsommar (2019) 具体化的幽灵：作为历史清算和代理场所的怪物和舞蹈在Suspiria（2018）和Midsommar （2019）

IF 0.6 2区艺术学

DANCE RESEARCH JOURNAL Pub Date : 2026-10-26 DOI: 10.1017/s0149767726100862

Natalie Zervou

{"title":"Embodied Hauntings: Monstrosity and Dance as Sites of Historical Reckoning and Agency in Suspiria (2018) and Midsommar (2019)","authors":"Natalie Zervou","doi":"10.1017/s0149767726100862","DOIUrl":"https://doi.org/10.1017/s0149767726100862","url":null,"abstract":"In the closing scenes of Suspiria 1 , a group of women of varying ages, dressed in loose, wavy clothing, sit on short stools, forming a semicircle in the dark basement of a Tanzakademie in 1970s Berlin. A summoning ritual is underway, and the camera pans out to reveal two more female bodies arranged in a star shape; their faces are obscured by their long, wavy hair, hanging in front of them like veils. One dancer’s knees are turned inward, resting against the bare ribs of another body. The dancer’s limp wrists are held up by a woman with long grey curls covering her exposed breasts. She is mouthing the word “geboren” (German for “being born”). The camera frame keeps expanding to reveal a line of naked female dancers standing in front of them. They rise and fall to the floor as if already possessed by the entity they seek to summon. They start on their knees, jerk their torsos abruptly, and open their chests to the ceiling. They soon contract again, curling their spines and resting their heads on the floor, before they repeat the sequence. On the sidelines, a monstrously deformed female figure, with sagging flesh full of glistening blisters and poorly healed wounds, watches them gleefully. She is anticipating her rebirth, which, if successful, would signal a return to dark historical times.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"19 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2026-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149251249","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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

Intermedial Dance and Acéphalic Butoh: Damien Jalet’s and Nawa Kōhei’s Vessel (2016) 《中间舞蹈》和《acacphalic Butoh: Damien Jalet和Nawa Kōhei的Vessel（2016）》

IF 0.6 2区艺术学

DANCE RESEARCH JOURNAL Pub Date : 2026-03-18 DOI: 10.1017/s0149767725100636

Jonathan W. Marshall

引用次数: 0

Vulnerable Relations: Redefining Lead and Follow in Asian American Dancesport 脆弱的关系：重新定义亚裔美国人体育舞蹈中的主导和追随

IF 0.6 2区艺术学

DANCE RESEARCH JOURNAL Pub Date : 2026-03-18 DOI: 10.1017/s0149767725100648

Crystal Song

{"title":"Vulnerable Relations: Redefining Lead and Follow in Asian American Dancesport","authors":"Crystal Song","doi":"10.1017/s0149767725100648","DOIUrl":"https://doi.org/10.1017/s0149767725100648","url":null,"abstract":"This essay seeks to limn the vulnerabilities of partnering in competitive ballroom dancing. It argues that for racialized and gendered subjects who fall beyond dancesport’s normative range of aesthetic legibility, lead and follow becomes an especially fraught—yet potentially reparative—mode of relation. It brings sustained ethnographic focus to the Asian American amateur dancesport community in New York City, which not only represents a growing presence in a predominantly white industry, but unsettles its racially charged conventions of skill, prestige, beauty, and belonging. From this position, it maps a field of vulnerable relations: between Asian American amateurs and the dancesport industry, in which they remain largely marginal and illegible figures, but also between Asian American male leads and female follows. Building on partner dance scholarship that complicates assumptions about lead and follow as a one-way flow of power, it treats the embodied mechanics of dancesport partnering as a dialogic practice of mutual vulnerability, in which both dancers effectively lead and follow each other. It also attends to the aesthetic, pedagogical, and social rules that put pressure on competitive couples—demanding resilience, even detachment, at the expense of that mutual vulnerability. In parsing what is contradictory, even compromising, about Asian American dancesport practice, this essay theorizes lead and follow as a mode of relation that involves opening ourselves up, and remaining open, to risk—but also, to the possibility of exquisite moments that can only be co-created.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"11 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2026-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147478376","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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

We Walk Until the Deaths Stop: Sentiment and Corporeality on the Migrant Trail 我们一直走到死亡停止：移民路上的情感与肉体

IF 0.6 2区艺术学

DANCE RESEARCH JOURNAL Pub Date : 2026-03-18 DOI: 10.1017/s0149767725100715

Janet O’Shea

{"title":"We Walk Until the Deaths Stop: Sentiment and Corporeality on the Migrant Trail","authors":"Janet O’Shea","doi":"10.1017/s0149767725100715","DOIUrl":"https://doi.org/10.1017/s0149767725100715","url":null,"abstract":"Every year, beginning on Memorial Day, a group of 35 to 85 1 activists walk from Sásabe, Mexico to Tucson, Arizona, USA over eight days, through the arid, rugged terrain of the Sonoran Desert. They walk through soaring desert temperatures, along dirt roads and highways, enduring hot spots, blisters, and leg cramps, as shade gradually disappears with little to block the rising sun. At night, walkers sleep in tents or on tarps. Participants carry small white crosses emblazoned with the names and ages at death of migrants who perished while trying to complete a perilous journey undetected. Some are labeled “Deconocido/a” (Unknown) to memorialize someone whose remains have not yet been identified. Periodically, over the course of each day’s journey, participants conduct a role call in honor of the dead, with each walker reciting the name of the person they commemorate as the group responds with the word “¡Presente!” to “indicate that the life and death of the migrant whose name was read is recognized and witnessed” (Mankel 2021: 104). Participants undertake this journey to highlight the scale of death in the desert and its individual ramifications. 2","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"111 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2026-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147478246","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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

Spectacular Suffering: Holocaust Representation in Competition Dance 壮观的苦难：竞赛舞蹈中的大屠杀表现

IF 0.6 2区艺术学

DANCE RESEARCH JOURNAL Pub Date : 2025-09-02 DOI: 10.1017/s0149767724000135

Rebecca Rossen

{"title":"Spectacular Suffering: Holocaust Representation in Competition Dance","authors":"Rebecca Rossen","doi":"10.1017/s0149767724000135","DOIUrl":"https://doi.org/10.1017/s0149767724000135","url":null,"abstract":"In November 2016, Tatiana Navka—former Olympic champion and wife of Dmitry Peskov, Vladimir Putin’s press secretary—and her skating partner, actor Andrey Burkovsky, performed a Holocaust-themed ice dance on Ice Age, a Russian competition show similar to Dancing with the Stars.1 Sporting concentration camp uniforms emblazoned with Jewish stars, their mouths frozen into grins, the pair skated a routine inspired by Roberto Benigni’s 1997 Holocaust film Life Is Beautiful. Although well-received in Russia, the performance caused an international uproar. There were dozens of stories in mainstream Western news sources, Jewish and Israeli newspapers, and ironic commentary from Jewish comedians including Sarah Silverman (“Oh those wacky Holocaust victims”), Michael Ian Black (“This might be offensive if they didn’t take such care to recreate all the wonderful ice dancing going on at Aushwitz [sic],” and the Daily Show’s Adam Lowitz (“Judges can’t give Holocaust victims bad scores, they’ve been through enough”). There was also swift condemnation from Holocaust and Jewish studies scholars on twitter and a pointed response from Miri Regev, then Israel’s Culture Minister, who proclaimed that Holocaust themes are “not for dance and not for reality,” adding, “Not one of the six million danced.”2","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"19 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2025-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144927827","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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

Queer/Tango/Theory: Gendered Semiosis, Dancing the Binary, and Dancing on Out 酷儿/探戈/理论：性别符号学，二元之舞，外出之舞

IF 0.6 2区艺术学

DANCE RESEARCH JOURNAL Pub Date : 2025-09-02 DOI: 10.1017/s0149767724000184

Luna Beller-Tadiar

引用次数: 0

Why Were New Dances in the Early 20th Century So Often Described as Plastique? 为什么20世纪早期的新舞蹈经常被描述为“可塑性”？

IF 0.6 2区艺术学

DANCE RESEARCH JOURNAL Pub Date : 2025-09-02 DOI: 10.1017/s0149767724000147

Akiko Yuzurihara, Machiko Sato

引用次数: 0

Self-Reflexivity of a Dance Scholar: The Place of Structured Improvisation, Care, and Debate 舞蹈学者的自我反思：结构化即兴表演、关怀与辩论的场所