Pub Date : 2023-05-04DOI: 10.1080/01472526.2023.2188872
Huafei Chen
Abstract This article reevaluates the reception of Isadora Duncan among Chinese intelligentsia, literati, and dancers in the first half of the twentieth century. Contextualizing Duncan’s autobiography My Life (1927) and choreography within global cultural production, I focus on the transculturation and hybridity generated through the artist’s transnational circulation to China. Far more than just a pioneer of modern dance, Duncan was a cultural icon that Chinese intellectuals, women writers, and dancers appropriated for their own political and cultural purposes.
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Pub Date : 2023-05-04DOI: 10.1080/01472526.2023.2189406
Holly Bass
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
{"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}
Pub Date : 2023-05-04DOI: 10.1080/01472526.2023.2188030
Sanghee Ha
Abstract This article offers an ethnography of Malaysian youth who perform cross-gender K-pop dance. In the context of Malaysia’s hegemonic masculinity, I explore the wider cultural space within K-pop dance for nonnormative gender expression, which is usually stigmatized. Drawing on Judith Butler’s work on gender performativity, Kareem Khubchandani’s approach to Asian drag, and Erving Goffman’s stigma theory, I analyze the challenges of male Malay K-pop performers to Islamic norms and hegemonic masculinity. I argue that Muslim Malay K-pop dancers make use of performance as a context to traverse religious and gendered norms.
{"title":"Muslim Youth in K-pop Dance Practices: Performative Responses against Islamic Norms in Malaysia","authors":"Sanghee Ha","doi":"10.1080/01472526.2023.2188030","DOIUrl":"https://doi.org/10.1080/01472526.2023.2188030","url":null,"abstract":"Abstract This article offers an ethnography of Malaysian youth who perform cross-gender K-pop dance. In the context of Malaysia’s hegemonic masculinity, I explore the wider cultural space within K-pop dance for nonnormative gender expression, which is usually stigmatized. Drawing on Judith Butler’s work on gender performativity, Kareem Khubchandani’s approach to Asian drag, and Erving Goffman’s stigma theory, I analyze the challenges of male Malay K-pop performers to Islamic norms and hegemonic masculinity. I argue that Muslim Malay K-pop dancers make use of performance as a context to traverse religious and gendered norms.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"46 1","pages":"102 - 117"},"PeriodicalIF":0.4,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47070870","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}
Pub Date : 2023-05-04DOI: 10.1080/01472526.2023.2178792
M. Shaffer
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
当在21世纪的本科课堂上教授舞蹈历史时，如何处理欧美历史经典中的主要遗漏?教师如何整合舞蹈编排的声音、动作风格和地理区域，这些都是规范的北美舞蹈教学——强调芭蕾和现代舞，而全球北方的(白人)舞蹈编导通常会排除的?这些问题构成了Dana Tai Soon Burgess编辑的《舞蹈历史里程碑》(Milestones in Dance History)的框架，这本教科书坚持认为，经常被边缘化的艺术谱系对舞蹈历史领域至关重要。包含在劳特利奇的里程碑系列中，“一系列可访问的教科书，分解了基础学科领域的社会，政治，文化和艺术发展中需要知道的时刻”(第i页)，舞蹈历史的里程碑提供了对美国大学水平舞蹈教学的持续批评的必要回应。欧洲中心思想，以及欧美舞蹈风格，在高等教育课程中占主导地位，这掩盖了全球舞蹈历史的多样性及其持续的共鸣。这本书试图通过邀请学生，首先，遇到通常被排除在正规教学大纲之外的舞蹈练习，其次，解释他们各自的历史是相互联系的，而不是地理上和文化上的分离，来解决这些擦除问题。“里程碑”指的是重要的时刻，表示重大的变化或发展。从字面上看，它让人联想到道路或地图上的标记，通常表示已经取得进展的地方。《舞蹈史上的里程碑》将这一概念作为主要的结构原则:本书的十个章节中的每一个都以一个里程碑为中心，“塑造了我们今天所经历的不同形式和类型的舞蹈”(第xi页)。这些章节在舞蹈历史课程中“设计用于每周使用”(第i页)，也围绕“移民和政治冲突”的主题(第x页)。因此，每个作者都优先考虑特定的历史事件，将他们所选择的背景化
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Pub Date : 2023-05-04DOI: 10.1080/01472526.2023.2177079
K. Mattingly
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
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Pub Date : 2023-01-02DOI: 10.1080/01472526.2022.2127612
Mitsu Salmon
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
《全球凹槽：艺术、舞蹈、表演与抗议》是2021年在Folkwang博物馆举办的一个展览的标题，也是其目录的标题，其中包括14篇文章，探讨了一个世纪以来舞蹈、表演和视觉艺术之间的跨学科交流。该目录生动地记录了欧洲、亚洲和北美之间的广泛接触，其图像占据了中心舞台。通过华丽的布局和引人注目的艺术品的华丽照片，这本宽阔的书给了这些图像喘息的空间，奇异的作品占据了多页。这一设计生动地展示了艺术家的项目，并说明了这本书最有价值的贡献之一：它探讨了文献在舞蹈和表演史中的作用。Walter Moser的一篇闭幕文章通过日本二战后舞蹈和表演团体的档案记录考虑了文件问题，例如与村井德吉合作的Hi Red Center，以及与细江英子合作的布图舞者Hijikata Tatsumi。Moser研究了Hijikata和Hosoe合作的一本名为Kamaitachi的著名摄影书，以及帮助创造了Hijikata神话并巩固其遗产的图像。在形式和内容上，目录引发了关于如何记录表演以及为谁创建这些图像的重要问题。展览在德国举行，目录用德语和英语印刷，很少有亚裔、欧亚裔或亚裔美国作家参加。也许包括更多这样的声音可以加强对“东方”和“西方”之间“交流”的分析，这似乎是该出版物的一条主线。我在这些术语周围使用引号，因为它们暗示了一种特殊的二分法、同质化和静态中心。这些文章主要展示了亚洲、欧洲和北美之间各种艺术和表演运动的百科全书式档案，以及艺术家之间的著名会议和合作。看起来
{"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}
Pub Date : 2023-01-02DOI: 10.1080/01472526.2022.2123693
E. Chenoweth
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Pub Date : 2023-01-02DOI: 10.1080/01472526.2022.2154504
Sue-in Kim
abstract This study explores controversies surrounding the application of intangible cultural heritage (ICH) policies to Korean traditional dance. In grappling with the emergent debates about ICH, I focus on how Korean dancers conceive of their own practices. Informed by the perspectives of practitioners, I argue that conflicts surrounding the Korean ICH system stem from the contrasting legal frameworks of collective ownership and intellectual property rights. The tensions within the ICH framework put Korean traditional dance professionals in the challenging role of negotiating between cultural preservation and artistic innovation.
{"title":"The Unreconciled Dichotomy: Preservation and (Re)Creation of Dance Heritage in South Korea","authors":"Sue-in Kim","doi":"10.1080/01472526.2022.2154504","DOIUrl":"https://doi.org/10.1080/01472526.2022.2154504","url":null,"abstract":"abstract This study explores controversies surrounding the application of intangible cultural heritage (ICH) policies to Korean traditional dance. In grappling with the emergent debates about ICH, I focus on how Korean dancers conceive of their own practices. Informed by the perspectives of practitioners, I argue that conflicts surrounding the Korean ICH system stem from the contrasting legal frameworks of collective ownership and intellectual property rights. The tensions within the ICH framework put Korean traditional dance professionals in the challenging role of negotiating between cultural preservation and artistic innovation.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"46 1","pages":"20 - 39"},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49447188","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}
Pub Date : 2023-01-02DOI: 10.1080/01472526.2022.2120314
O. Ricks
It is not often that an academic text takes you on a journey. fahima ife’s book of essays and poetry, Maroon Choreography, invites us to theorize not by defining and analyzing but rather by inhabiting an undocumented past of escape from slavery that links to present-day escapes from slavery’s afterlife. In this process of imagining, the text engages with an important conversation within Black studies, critical theory, and performance studies. Maroon Choreography “attempts to move outside the blackness-asenslavement narrative, to move inside a collective Black interior by way of breathing” (p. xii). The author’s poetic description of their own present-day flight into the bayou leads us into a kind of subjunctive past world—a world that might have been, a world of seven Black Indigenous escapees who (might have) refused the choreographies pressed on them by the increasingly mechanized plantation economies of the 17th century North American colonies. Many elements of the text bring us back to this theme of escape—imagined flight that we nonetheless know must have happened, whether in big or small events, because Black and Indigenous people have survived the long and ongoing terror of enslavement and genocide that is baked into the very structure of the modern world. In a sense, that flight, that moving “outside the blackness-as-enslavement narrative” and “inside a collective Black interior,” while never strictly defined, looks like many things in this text. In the chapter “recrudescence,” for example, it looks like the author having “a single encounter—a conversation and an erotic mo(ve)ment i shared with a friend” (p. 83) in which they “slipped inside the wild open secret of the marsh” (p. 86) and “... blackness/glistens and slips inside/night’s moist opening/listens to night/call light to life memory” (p. 5). Elsewhere, ife names some of the means of flight found repeatedly in Black life across multiple times and spaces within modernity: “the backwoods fugue, the juke joint, the hush
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Pub Date : 2023-01-02DOI: 10.1080/01472526.2022.2133908
Michelle Lavigne
How do ideas, theories, and definitions move across time? How do words attain social and cultural traction? How are practices learned or passed along? Some kinds of knowledge are often taken for granted, as if they have always been around. Take, for example, Jean-Georges Noverre. Generally, Noverre is credited with ushering in ballet as a lauded eighteenth century art form and practice with the publication of his ballet theories and training methods in Les Lettres sur la danse et sur les ballets (1760). In Theories of Ballet in the Age of Encyclop edie, Olivia Sabee disrupts the standard narrative around Noverre’s status as the bearer of eighteenth century ballet. She does so by tracing Noverre’s writings on ballet within “enlightenment encyclopedia editors’ attempts to define ballet and dance” and situates ballet “within Enlightenment encyclopedia publishing in Francophone Europe’’ (p. 3). Sabee narrates the historical shift of ballet from being a popular object of inquiry to a “less compelling object of inquiry for intellectuals” (p. 4) during the eighteenth century. By doing so, Noverre’s work is seen not as a singular event, but as a movement of ideation that involves other writers and editors. The book is a technical feat in locating how knowledge of ballet and definitions change within texts and across contexts. Sabee accomplishes this feat by highlighting the work of referencing, citing, and borrowing, and offers insights for readers interested in Noverre’s writings, early ballet history, and Enlightenment encyclopedia publishing. Sabee analyzes the circulation of Noverre’s ideas and the consequences of such circulation, making Theories of Ballet in the Age of Encyclop edie a valuable resource for scholars focused on dance, documentation, and communication.
思想、理论和定义是如何随时间变化的?词语是如何获得社会和文化吸引力的?实践是如何学习或传递的?有些知识常常被认为是理所当然的，好像它们一直存在似的。以让-乔治·诺维尔为例。一般来说，诺维雷被认为是18世纪芭蕾舞作为一种受人称赞的艺术形式和实践的先驱，他在1760年出版的《Les Lettres sur la danse et sur Les ballet》中发表了芭蕾舞理论和训练方法。在《百科全书时代的芭蕾理论》一书中，奥利维亚·萨比打破了围绕诺维尔作为18世纪芭蕾承载者的地位的标准叙述。她通过在“启蒙运动百科全书编辑试图定义芭蕾和舞蹈”中追溯诺维尔关于芭蕾的著作，并将芭蕾置于“启蒙运动百科全书在法语欧洲的出版”(第3页)。Sabee叙述了芭蕾在18世纪从一个受欢迎的研究对象到一个“知识分子不那么引人注目的研究对象”(第4页)的历史转变。这样一来，诺维雷的作品就不被视为一个单独的事件，而是被视为一场涉及其他作家和编辑的思想运动。这本书是一个技术壮举，在定位芭蕾舞的知识和定义如何在文本和跨上下文变化。Sabee通过突出引用，引用和借用的工作完成了这一壮举，并为对诺维雷的作品，早期芭蕾舞史和启蒙百科全书出版感兴趣的读者提供了见解。Sabee分析了Noverre思想的流通和这种流通的后果，使《百科全书时代的芭蕾理论》成为关注舞蹈、文献和交流的学者的宝贵资源。
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