Pub Date : 2023-01-02DOI: 10.1080/01472526.2022.2146953
Yujie Chen
Abstract Mainland Chinese society heavily stigmatizes nonnormative sexuality, and the government imposes strict censorship on media representations of homosexuality. It seems improbable that choreographer Hu Shenyuan, whose dances do not hide homosexual themes, would be so successful as a performer and artist in the Chinese context, which signifies a tension between state control and audience demand. This article reads Hu’s choreography and its reception as queer texts. While queer identities might seem virtually invisible and unspeakable in China, I argue that Hu’s choreography makes visible a culturally unrepresentable queerness and incubates collective reflection about nonnormative identities.
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Pub Date : 2022-12-08DOI: 10.1080/01472526.2022.2121567
M. Mandradjieff
“I don’t want the conventions of ‘proper’ and ‘improper’ to exist for the female dancer. Every movement, if it’s new, is a find” (Nijinska, in Garafola, p. 54). Taken from Bronislava Nijinska’s 1918 treatise, this quote epitomizes her outlook, on ballet and life. Over the years, scholars have given us rich snippets of Nijinska’s career, but the entirety of her work has not been fully analyzed. Lynn Garafola’s La Nijinska: Choreographer of the Modern does more than fill this gap; it provides an incredibly thorough account of Nijinska’s artistic interventions from the time she trained with the Imperial Ballet School in St. Petersburg to her developing the School of Movement in Kiev to creating more than sixty original works with nearly twenty different companies. Detailed and dense, La Nijinska functions as a reference for ballet historians, and sparks larger discussions around the influence and role of dance critics, what it means to be a single working mother in the performing arts, and the power structures that shape legacies. Nijinska’s biological family had much to do with her own legacy as an artist. Her older brother Vaslav Nijinsky inspired her approaches to dance and opened professional doors for her, but Garafola does not allow Nijinsky’s success to overshadow Nijinska’s accomplishments. The text refreshingly spends little time on their relationship; the stories that do arise paint a complicated sibling dynamic. Nijinska followed Nijinsky as he resigned from the Imperial Theater and started working with the Ballets Russes. There he choreographed on her, including major roles such as the Chosen Maiden from The Rite of Spring (1913). However, after she married Alexander Kochetovsky and became pregnant with her daughter Irina, Nijinsky became enraged and pulled her out of the piece. Garafola notes that “taking her out of ballets to which she had contributed so much was yet another instance of the cruelty that appears time and again in Nijinsky’s behavior toward his sister . . . he seemed to be punishing her female body . . . chastising her . . . for wanting a love life of her own, for
“我不希望对女舞者来说存在‘合适’和‘不合适’的传统。每一个动作，如果是新的，都是一个发现”(Nijinska, in Garafola，第54页)。这句话摘自Bronislava Nijinska 1918年的论文，概括了她对芭蕾舞和生活的看法。多年来，学者们为我们提供了Nijinska职业生涯的丰富片段，但她的全部工作尚未得到充分分析。Lynn Garafola的《La Nijinska:现代舞蹈编导》不仅填补了这一空白;从她在圣彼得堡的帝国芭蕾舞学校接受训练到她在基辅发展运动学校，再到她与近20个不同的公司创作了60多部原创作品，这本书提供了一个令人难以置信的全面的艺术干预的描述。《尼金斯卡》内容详尽、内容密集，是芭蕾舞历史学家的参考，并引发了围绕舞蹈评论家的影响和作用、在表演艺术中成为单身职业母亲意味着什么，以及塑造遗产的权力结构等更广泛的讨论。Nijinska的亲生家庭与她作为艺术家的遗产有很大关系。她的哥哥瓦斯拉夫·尼金斯基(Vaslav Nijinsky)启发了她学习舞蹈的方法，并为她打开了职业生涯的大门，但加拉福拉不允许尼金斯基的成功掩盖了尼金斯基的成就。文中几乎没有花时间描写他们的关系，令人耳目一新;确实出现的故事描绘了一个复杂的兄弟姐妹动态。尼金斯基从帝国剧院辞职，开始与俄罗斯芭蕾舞团合作。在那里，他为她编舞，包括《春之祭》(1913)中被选中的少女等主要角色。然而，在她嫁给亚历山大·科切托夫斯基并怀上女儿伊琳娜后，尼金斯基勃然大怒，把她从作品中拉了出来。加拉福拉指出，“把她从她贡献良多的芭蕾舞剧中剔除，是尼金斯基对他妹妹反复出现的残忍行为的另一个例子……”他似乎在惩罚她的女性身体…惩罚她……因为她想要自己的爱情生活，因为
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Pub Date : 2022-12-07DOI: 10.1080/01472526.2022.2156747
K. Mattingly, Keesha Beckford, Zena Bibler, P. Cunningham, Iyun Ashani Harrison, Jehbreal Muhammad Jackson
Abstract In her scholarship on pedagogy, Gloria Ladson-Billings describes COVID-19 as a call to re-set education using a more culturally relevant pedagogy. As ballet teachers and researchers working in higher education and pre-professional settings, we teach a form of dance often associated with the characteristics of white supremacy. Through this collaborative institutional ethnography, we generated methods for posing questions, critiquing choices, and imagining alternatives to create more equitable educational settings. We connect the process of addressing and challenging systemic exclusions in ballet with tangible steps toward creating more inclusive classes and performances that value the joy and pleasure in moving.
{"title":"Ballet Pedagogy and a “Hard Re-Set”: Perspectives on Equitable and Inclusive Teaching Practices","authors":"K. Mattingly, Keesha Beckford, Zena Bibler, P. Cunningham, Iyun Ashani Harrison, Jehbreal Muhammad Jackson","doi":"10.1080/01472526.2022.2156747","DOIUrl":"https://doi.org/10.1080/01472526.2022.2156747","url":null,"abstract":"Abstract In her scholarship on pedagogy, Gloria Ladson-Billings describes COVID-19 as a call to re-set education using a more culturally relevant pedagogy. As ballet teachers and researchers working in higher education and pre-professional settings, we teach a form of dance often associated with the characteristics of white supremacy. Through this collaborative institutional ethnography, we generated methods for posing questions, critiquing choices, and imagining alternatives to create more equitable educational settings. We connect the process of addressing and challenging systemic exclusions in ballet with tangible steps toward creating more inclusive classes and performances that value the joy and pleasure in moving.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"46 1","pages":"40 - 65"},"PeriodicalIF":0.4,"publicationDate":"2022-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48525923","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 : 2022-09-02DOI: 10.1080/01472526.2022.2108278
Jonas Rutgeerts
Abstract Throughout her career the Belgian choreographer Anne Teresa De Keersmaeker has created different techniques to engage in an intimate relationship with musical compositions, using these compositions to drive the development of her choreographic oeuvre. I argue that walking can be defined as one of the main choreographic devices used in De Keersmaeker’s late works. In analyzing En Atendant (2010) and Cesena (2011), I explore how De Keersmaeker uses walking to inscribe the bodies of the dancers into the music.
摘要在她的整个职业生涯中，比利时编舞家Anne Teresa De Keersmaeker创造了不同的技巧来与音乐作品建立亲密关系，并利用这些作品来推动她的编舞作品的发展。我认为步行可以被定义为德·克尔斯梅克晚期作品中使用的主要舞蹈设备之一。在分析En Atendant（2010）和Cesena（2011）时，我探讨了De Keersmaeker如何利用步行将舞者的身体刻进音乐中。
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Pub Date : 2022-09-02DOI: 10.1080/01472526.2022.2110635
Colleen Reardon
Abstract This article mines newly discovered letters from a Sienese family archive to give insight into the artistic, economic, and psychological parameters that influenced the hiring of freelance ballerini to form a ballet troupe for an operatic production in Siena (Italy) in 1750, a period for which such information is scarce. By focusing on the contract negotiations and bargaining tactics between dancers and agents, the article confirms the importance of family and professional connections and reveals the ways in which dancers viewed themselves in relation to their peers by laying bare the hierarchies of the mid-eighteenth-century Tuscan professional dance environment.
{"title":"Status and Salary: Hiring a Ballet Troupe for the Opera Il Farnaspe (Siena, 1750)","authors":"Colleen Reardon","doi":"10.1080/01472526.2022.2110635","DOIUrl":"https://doi.org/10.1080/01472526.2022.2110635","url":null,"abstract":"Abstract This article mines newly discovered letters from a Sienese family archive to give insight into the artistic, economic, and psychological parameters that influenced the hiring of freelance ballerini to form a ballet troupe for an operatic production in Siena (Italy) in 1750, a period for which such information is scarce. By focusing on the contract negotiations and bargaining tactics between dancers and agents, the article confirms the importance of family and professional connections and reveals the ways in which dancers viewed themselves in relation to their peers by laying bare the hierarchies of the mid-eighteenth-century Tuscan professional dance environment.","PeriodicalId":42141,"journal":{"name":"DANCE CHRONICLE","volume":"45 1","pages":"207 - 208"},"PeriodicalIF":0.4,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48861894","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 : 2022-09-02DOI: 10.1080/01472526.2022.2110633
Colleen Hooper
Funding Bodies by Sarah Wilbur does the important work of unpacking how dance funding flowed from the National Endowment for the Arts (NEA) between 1965 and 2016. Wilbur explicates the behind-the-scenes functioning of the NEA to reveal the human negotiations and the affective dimensions of distributing funding on behalf of the federal government. Meticulously researched, this book is a carefully constructed narrative of how the NEA supported concert dance as “an endowed professional ideal” (p. 29). While documenting fifty years of NEA history, Wilbur engages with current debates about establishing meaningful cultural equity in the performing arts. Wilbur unveils the past machinations of the NEA and invites readers to reimagine what the NEA could represent moving forward. Throughout this book, Wilbur reconstructs the NEA’s dance funding paradigm on the basis of extensive archival analysis and insights from her anonymized informants. She reveals how the NEA’s institutional support incorporated racial, class-based, and regional biases. She eloquently describes the NEA’s initial 1965 “distribution system” that prioritized ballet and modern dance forms and favored white, urban, and wealthy grantees (p. 32). She further expounds upon attempts to make the NEA more equitable, highlighting the efforts of Vantile Whitfield, the founding director of Expansion Arts. Wilbur describes Whitfield’s advocacy for artists of color, emphasizing that “African, Latin, Asian, and Native American arts organizers had long been delivering cultural excellence through organizational logics that simply didn’t fit the existing paradigm” (p. 75). The regional bias present in NEA funding is discussed at length, and the disproportionate representation of grantees from New York City is illustrated through quantitative and qualitative evidence and a colloquial description of the “New York dance Mafia” that often dominated NEA panel reviews (p. 130). The mechanisms that supported dance touring were
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Pub Date : 2022-09-02DOI: 10.1080/01472526.2022.2105086
F. Mami
Performance, Dance and Political Economy: Bodies at the End of the World, a new collection edited by Katerina Paramana and Anita Gonzalez, addresses how dance and movement provide a means for our bodies to claim back the world and reject the commodified relations of capitalism. Framing the volume as a whole, Tavia Nyong’o’s forward to the book draws attention to how capitalism has been resculpting the human body and how dancers can use movement to undo or outdo the constraints of capitalism. After initial provocations from both editors, the book smartly progresses through six dialogues, each between two contributors. The form recalls the Socratic method. In a group conversation at the end, contributors have the chance to raise remarks in response to the co-contributor whose essay the editors paired with theirs. Until the group conversation, only the editors knew whose essay had been paired with whose and why. The dialogic form is innovative and facilitates an exchange of ideas about the key themes orienting the collection. The contributors come from a range of disciplinary backgrounds. They include dancers and artists like Alexandrina Hemsley and Jamila JohnsonSmall. Nina Power is principally a feminist theorist, Elena Loizidou, a law scholar, and Melissa Blanco Borelli, a dance scholar. Others—including Marc Arthur, Usva Seregina, and the two editors—occupy the space between scholarship and artistic practice. In “Dialogue 1: Control of Bodies,” Nina Power elucidates how capitalism regulates bodily movements and how alternative ways of approaching ordinary movements can facilitate escaping the state’s radar and its economy of control. Marc Arthur foregrounds rage as a way of resisting the violent forces of state manipulation. Dance, according to Arthur, can make rage contagious and channel it toward the common good. Power starts “Dialogue 2: Commodification of Bodies” with her second contribution that explores how the capitalist mode of production acts upon
《表演、舞蹈和政治经济:世界尽头的身体》是由卡特琳娜·帕拉马娜和安妮塔·冈萨雷斯编辑的一本新文集，讲述了舞蹈和运动如何为我们的身体提供了一种夺回世界的手段，并拒绝了资本主义的商品化关系。塔维亚·尼永奥(Tavia Nyong 'o)的序言将全书作为一个整体，将人们的注意力吸引到资本主义是如何重塑人体的，以及舞者如何利用动作来解除或超越资本主义的约束。在两位编辑最初的挑衅之后，这本书巧妙地通过六次对话展开，每一次对话都是两位作者之间的对话。这种形式让人想起了苏格拉底的方法。在最后的小组对话中，投稿人有机会提出评论，以回应编辑将其文章配对的共同投稿人。在小组讨论之前，只有编辑知道谁的文章和谁的文章配对，以及为什么配对。对话形式是创新的，促进了关于关键主题的思想交流。贡献者来自不同的学科背景。他们包括舞者和艺术家，如亚历山德丽娜·海姆斯利和贾米拉·约翰逊·斯莫尔。Nina Power主要是女性主义理论家，Elena Loizidou是法律学者，Melissa Blanco Borelli是舞蹈学者。其他人——包括Marc Arthur, Usva Seregina和两位编辑——占据了学术和艺术实践之间的空间。在《对话1:对身体的控制》(Dialogue 1: Control of Bodies)一书中，尼娜·鲍尔(Nina Power)阐述了资本主义是如何调节身体运动的，以及接近普通运动的其他方式如何有助于逃避国家的雷达和控制经济。马克·阿瑟(Marc Arthur)认为愤怒是抵抗国家操纵的暴力力量的一种方式。根据亚瑟的说法，舞蹈可以使愤怒具有传染性，并将其引向共同的利益。《对话2:身体的商品化》以她的第二篇文章开始，探讨了资本主义生产方式如何作用于
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Pub Date : 2022-09-02DOI: 10.1080/01472526.2022.2106098
Jessica L. Friedman
Abstract African American modern dancer and ballerina Janet Collins challenged conventions for representing race, gender, and religion in her Spirituals suite (1947) and Genesis (1965), works that brought together Jewish and African American spiritualities. Countering the assumption that only white dancers access the privilege to present themselves in universalizing ways, I argue that Collins used a process of self-universalization. This article shows how Collins employed dance techniques and thematic content usually coded as white to highlight the spiritual experiences of Black women and to circumvent assignations of “Negro dance” that would have failed to encompass her technical range and subject position.
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Pub Date : 2022-09-02DOI: 10.1080/01472526.2022.2110634
E. Keller
a philosophy that prioritizes an historically informed and culturally responsible way of teaching, choreographing, and performing jazz … [Rooted jazz] is a promise to honor the African American experience and essence of jazz in every way possible. Working in a way that is rooted is explicitly antiracist, evident through movement and music choices, language and pedagogy used in the classroom, and shaping of curriculum. qualities of and they are dance way like a brand but any of deep ties the commodification of sex and racism
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Pub Date : 2022-09-02DOI: 10.1080/01472526.2022.2110632
Grace Jun
Baring Unbearable Sensualities: Hip Hop Dance, Bodies, Race, and Power offers a profoundly insightful and necessary contribution to the growing scholarship of Hip Hop dance and performance. This first book by Rosemarie Roberts extends key points in her previous research on embodied pedagogies, dancing with social ghosts, and Black and Brown bodies as sites of knowledge. Through an interdisciplinary approach of social psychology, anthropology, and dance studies, Roberts analyzes dance and movement to problematize the ways in which the body is seen and written. In particular, her work challenges how the fields ranging from dance to anthropology have set limitations on the power of the body, in particular on collective bodies, and more specifically on Black and Brown bodies. Roberts draws from the works of dance and performance studies scholars Randy Martin, Deidre Sklar, Thomas DeFrantz, and Imani Kai Johnson, among others, and centers her ethnographic research on The School at Jacob’s Pillow’s 2009 Hip Hop Continuum which featured Hip Hop dance practitioners Rennie Harris, Moncell Durden, Mr. Wiggles, Marjory Smarth, Ynot, and West African dance practitioner Cachet Ivey. The strengths of Roberts’ book are her critique of the objectifying white gaze and her expanded sensorial approach that (re)contextualizes Black and Brown bodies. In Hip Hop dance, as in other Afro-diasporic dance forms, Black and Brown bodies carry their racialized histories and sensualities that can be “seen” by moving beyond an ocularcentric approach, that is, an approach that privileges the sense of sight.
《难以忍受的性感:嘻哈舞蹈、身体、种族和力量》一书对嘻哈舞蹈和表演的学术研究做出了深刻而必要的贡献。这是罗斯玛丽·罗伯茨的第一本著作，她在之前的研究中扩展了具体教学法、与社会幽灵共舞、黑人和棕色人的身体作为知识场所等方面的重点。通过社会心理学、人类学和舞蹈研究的跨学科方法，罗伯茨分析了舞蹈和运动，以质疑人们看待和书写身体的方式。特别是，她的作品挑战了从舞蹈到人类学等领域对身体力量的限制，特别是对集体身体的限制，更具体地说是对黑人和棕色人种的限制。Roberts从舞蹈和表演研究学者Randy Martin, Deidre Sklar, Thomas DeFrantz和Imani Kai Johnson等人的作品中汲取灵感，并将她的人种学研究集中在Jacob 's Pillow的2009年Hip Hop Continuum学校，其中包括嘻哈舞蹈从业者Rennie Harris, Moncell Durden, Mr. Wiggles, Marjory Smarth, Ynot和西非舞蹈从业者Cachet Ivey。罗伯茨这本书的优势在于她对白人目光物化的批判，以及她将黑人和棕色人种的身体重新置于语境中的扩展的感官方法。在嘻哈舞蹈中，就像在其他非洲移民舞蹈形式中一样，黑人和棕色人种的身体携带着他们种族化的历史和性感，可以通过超越以眼睛为中心的方法来“看到”，也就是说，一种特权视觉的方法。
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