DANCE RESEARCH JOURNAL最新文献

{"title":"Choreographing Deportation in David Herrera's TOUCH","authors":"Juan Manuel Aldape Muñoz","doi":"10.1017/s0149767724000123","DOIUrl":"https://doi.org/10.1017/s0149767724000123","url":null,"abstract":"<p>Deportations and the threat of removal are choreographic strategies of the nation-state's ever-growing monopoly of movement through border securitization and immigration enforcement, which persists into the twenty-first century. While literature and the visual arts have received critical and popular attention by considering forced family separations, dance remains overlooked. Analyzing dance performances that relate directly to deportation teaches us not only about the painful impact of forced removal: it instructs us to decode, move and maintain relationships as aliens and citizens amid the increasing control of motion in the United States and the cruel joke offered by a nation of immigrants.</p>","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"163 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2025-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143258351","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}

{"title":"Cuban-style Salsa: Intersections of Tourism-led Entrepreneurship and Dancing Personal Development","authors":"Ruxandra Ana","doi":"10.1017/s0149767724000019","DOIUrl":"https://doi.org/10.1017/s0149767724000019","url":null,"abstract":"<p>This article is an anthropological exploration of the role of dance in tourism-led entrepreneurship and tourism-led mobilities in Cuba. Based on ethnographic research and employing an autoethnographic lens, the article examines the imaginaries and gendered performances of Cubanness that play out in touristic settings as part of dance trips organized on the island for international tourists. Women are the main target audience for these dance programs, which oftentimes reveal the reproduction of racial stereotypes that contributed to the growing popularity of Cuba as a tourist destination. Dance teachers come to establish a broad spectrum of relations that are influenced by inequalities of resources and unequal access to mobility, since it is the (usually) white European and North American dancing tourists who take up space as central dancing figures, co-creating the cultural script that fetishizes Cuban Black bodies, especially in settings such as salsa schools or popular dance venues.</p>","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"79 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2025-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143258423","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}

{"title":"Leading the Other: Gender and Colonialism in Partner Dancing's Long Century","authors":"David Kaminsky","doi":"10.1017/s0149767723000311","DOIUrl":"https://doi.org/10.1017/s0149767723000311","url":null,"abstract":"<p>In the 1840s, the polka craze established lead/follow partner dancing as the normative social dance structure in the Atlantic world. In the process, it imposed a choreographed performance of bourgeois heteropatriarchy (originally developed with the waltz) on Europe's colonies and post-colonies. However, a central mechanism of the lead/follow system in social partner dance is the woman's body attitude, and as the nature of that attitude changes, so do the associated dances. In the Americas, women acculturated to African-rooted principles of polycentricity disrupted the equilibrium of the lead/follow dynamic, catalyzing the creation of new partner dance forms and techniques. On the one hand, this resulted in an intensification of the lead/follow system such that men could now control and shape the dissociated parts of their partners’ bodies. On the other hand, it also seeded the fissioning and eventual dissolution of the dance partnership itself.</p>","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"46 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2024-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140890457","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}

{"title":"Tidalectic Un/mapping and the Performance of African Diasporic Imagination in the Repertory of Katherine Dunham","authors":"Tia-Monique Uzor","doi":"10.1017/s0149767723000359","DOIUrl":"https://doi.org/10.1017/s0149767723000359","url":null,"abstract":"<p>This article foregrounds imagination to consider how African diasporic conditions converge with choreographic expression. The analysis “un/maps” dominant understandings of the choreographic process of mid-twentieth-century African American choreographer-anthropologist Katherine Dunham by expanding Kamau E. Brathwaite's (1993) concept of Tidalectics beyond the Caribbean to the wider African diaspora and a distinctly Caribbean comprehension of diasporic imagination. Utilizing datasets and visualizations created by the project, Dunham's Data: Katherine Dunham and Digital Methods for Dance Historical Inquiry, this article traces how the concept of Brazil is imagined and reimagined within Dunham's archive from 1937 to 1962. In doing so, it considers the complex positionality of Dunham as both a pioneering minoritized woman navigating the politics of race, gender, and financial precarity, and someone who yielded their imperial privilege as a US citizen through their career to bring nuance to Dunham's narrative as a canonical dance figure.</p>","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"166 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2024-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140890418","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}

{"title":"Is Mademoiselle Mercédès Always Julienne Mathieu? The Challenges of Using a Stage Name to Reconstruct the Career of a Parisian Belle Époque Music Hall Dancer","authors":"Mercedes Alvarez San Román","doi":"10.1017/s0149767723000372","DOIUrl":"https://doi.org/10.1017/s0149767723000372","url":null,"abstract":"<p>The dancer Mademoiselle Mercédès performed in the most important music halls of the Parisian Belle Époque, such as the Folies-Bergère and the Olympia. Her exotic pseudonym reflects the Hispanophilia of this period in France, but she was neither a Spanish dancer nor a native imitator. On the contrary, she displayed great versatility as a dancer and actively participated in the transition to modernity with the dancer Loïe Fuller and the choreographer Madame Mariquita. However, who is behind this artist's name? This research reveals that at least three women used this nickname and only one of them has been previously identified: Julienne Mathieu (1874–1943), who, after her stage career, became one of the most prolific actresses in early cinema. This case study explores the implications of using a pseudonym by a secondary figure in the dance world in fin-de-siècle Paris.</p>","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"16 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2024-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140890430","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}

{"title":"A “Tick and Flick” Exercise: Movement and Form in Australian Parliamentary Human Rights Scrutiny","authors":"Sean Mulcahy, Kate Seear","doi":"10.1017/s0149767723000360","DOIUrl":"https://doi.org/10.1017/s0149767723000360","url":null,"abstract":"Human rights scrutiny processes in some Australian parliaments require consideration of whether rights-limiting legislation is reasonable, justifiable, and proportionate. The Queensland Human Rights commissioner has raised concerns of this becoming a “perfunctory ‘tick and flick’ exercise” in which decision-makers perform the “dance steps to [rights] derogation”—a concern emulated by others. Taking this notion of “tick and flick” and “dance steps” literally, this article explores movement and form in the composition of parliamentary human rights scrutiny reports. Drawing from Marie Jacob and Anna Macdonald's notion of legal documents as material, somatic, and metaphorical forms, this article analyzes the choreographic and calligraphic forms in these reports. Through exploring the forms themselves alongside interview data about parliamentary human rights scrutiny practices, this article speculates on whether form has bearing on the process of parliamentary human rights scrutiny, and how form shapes the substance of both the reports and human rights themselves.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"156 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2024-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139644183","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}

{"title":"Cognitive status is associated with performance of manual wheelchair skills in hospitalized older adults.","authors":"Nurit Krayn-Deckel, Katya Presaizen, Alon Kalron","doi":"10.1080/17483107.2022.2060353","DOIUrl":"10.1080/17483107.2022.2060353","url":null,"abstract":"<p><strong>Purpose: </strong>To examine the relationship between manual wheelchair skills and cognitive function in hospitalized older adults.</p><p><strong>Methods: </strong>The observational study included older adults who used a manual wheelchair following hip/knee surgery. Participants underwent a series of tests to evaluate manual wheelchair skills and cognitive performance. Four items appearing on the Wheelchair Skills Test: brake handling (locking/unlocking), a 10-metre forward roll, a 2-metre backward roll and rotating in place, were used to evaluate manual wheelchair skills. Cognitive function was evaluated by the Montreal Cognitive Assessment (MoCA), Trail Making Test (TMT), the Clock Drawing Test, and the Loewenstein Occupational Therapy Cognitive Assessment. The relationship between wheelchair skills and cognitive scores was assessed by a series of univariate linear regression analyses.</p><p><strong>Results: </strong>Fifty older adults, aged 65-85, participated in the study. The MoCA-7 (orientation) explained 19.3% of the variance related to the turn in place wheelchair skill, 18.8% of the variance related to the two-metre backwards roll and 31.9% of the variance related to the 10-metre forward roll. The addition of gender (to the MoCA-7) increased the explained variance related to the 10-metre forward roll and turn in place skills to 38.5% and 28.5%, respectively. As for the brakes handling skill test, gender explained 18.3% of the variance. The addition of the CDT (to gender) increased the explained variance for the brakes handling skill to 31.4%.</p><p><strong>Conclusions: </strong>Because cognitive impairments negatively affect the performance of wheelchair skills, rehabilitation therapists may need to adjust wheelchair mobility training methods for cognitively impaired older adults.Implication for rehabilitationGiven the prevalence of older adults with cognitive impairments who use manual wheelchairs, it is critical to better understand the relationship between cognition and wheelchair skills.Poor results reported on the cognitive tests, specifically, visual attention and orientation, were found to be associated with poor performance of four manual wheelchair skills.Rehabilitation therapists should consider the cognitive status of older adults when teaching manual wheelchair skills, specifically in new users. Future studies should examine whether a customized preparation program, enhancing visuospatial orientation, can benefit manual wheelchair control in older adults.</p>","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"45 1","pages":"24-29"},"PeriodicalIF":2.2,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79048583","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}

{"title":"Curtain Calls in Dance: Negotiating the Terms of Disengagement","authors":"Caroline Sutton Clark","doi":"10.1017/s014976772300030x","DOIUrl":"https://doi.org/10.1017/s014976772300030x","url":null,"abstract":"Through curtain calls in Eurocentric theatrical dance forms, dance artists, audience members, and staff coordinate how dance concerts end and participants disperse. Nevertheless, despite the widespread use of such practices, the rituals of bows and applause have largely eluded critical inquiry. This article offers dance practitioners choices toward thoughtfully negotiating the processes of engagement and disengagement in groups contingently assembled for dance events. A brief historical inquiry introduces how such behaviors may enact deeply embedded, power-laden agendas of relationship. Then, curtain calls are revealed as complex spaces of intersubjective negotiations, iterative of numerous possible functions at work.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":" 763","pages":""},"PeriodicalIF":0.6,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138475748","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}

{"title":"The “Ring Shout”: A Corporeal Conjuring of Black-Togetherness","authors":"yaTande Whitney V. Hunter","doi":"10.1017/s0149767723000268","DOIUrl":"https://doi.org/10.1017/s0149767723000268","url":null,"abstract":"This article explores the Ring Shout as a corporeal conjuring of Black-togetherness. Theoretically, I embrace the notion of assembly in ways that offer new comprehension around both implicit and explicit modes of embodiment in constant play within Black cultural modes. I turn to the research of Katrina Hazzard-Donald, Dr. Yvonne Daniel, and M. Jacqui Alexander for theoretical grounding regarding diasporic Afro-spiritualities, while artists such as Talley Beatty, Reggie Wilson, and Chief Xian aTunde Adjuah (formerly Christian Scott) provide landmarks for the artistic and aesthetic discourse of the text. I introduce a concept, AfrOist, as a navigation through and toward a recontextualization of centralized Africanist tendencies. With this shift, cultural inheritances are remembered and claimed.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":" 762","pages":""},"PeriodicalIF":0.6,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138475749","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}

{"title":"The Superfluid Curation of Darkness","authors":"Sarah Conn","doi":"10.1017/s0149767723000244","DOIUrl":"https://doi.org/10.1017/s0149767723000244","url":null,"abstract":"Contemporary interdisciplinary collaboration practices offer visions of new modes of assembly. This article traces a curatorial model of interdisciplinary collaboration, exploring how artists activate curation as a methodology of creation. I refer specifically to the creative practice of the award-winning Queer trans/mogrifying multidisciplinary artist and futurist Sage Ni'Ja Whitson, and their series <jats:italic>The Unarrival Experiments</jats:italic>. I reflect on Whitson's curatorial practice as a sacred methodology rooted in Yorùbá cosmologies, theatrical jazz aesthetic, and concepts of dark matter, superfluidity, and unarrival. I trace how Whitson's use of curatorial frameworks supports ease in the impossible, builds layers of multiplicity and simultaneity, resists institutional hegemony and power structures, and crafts systems of queer kinship and care for communities, ancestors, and futures. I outline the criteria of coexistence through which they imbue curatorial practices into their collaborations, generating what I describe as a “third space.” For Whitson, this fertile space of sustained difference is a portal to an alternate institution of darkness, interdependent sovereignty, and superfluidity. I conclude by unfolding the possibilities of Whitson's third space as a forward-facing methodology of how to move through the impossible together and envision new collective futures.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":" 764","pages":""},"PeriodicalIF":0.6,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138475747","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}