The ample attention the archivisation of dance has received in recent years primarily focused on new archival formats that often rely on digital technologies or which relocate the archive into choreography and the dancing body. Even though these more experimental approaches are vital in broaching new avenues for dance archivisation, this article takes a step back by considering how existing archival structures can be expanded in order to increase both the accessibility and legibility of archive materials. Interweaving a personal account of doing archival research with a discussion of recent debates within both dance studies and archival science, the aim is to set up an interdisciplinary dialogue between two domains that have been operating in a remarkably isolated manner despite their mutual interests. Taking my cue from how the notion of ‘participatory archives’ is gaining prominence in archival practice and scholarship, I argue that enlarging the input of archival information may lead to a greater output with regard to both archival research and community outreach.
{"title":"Expanding Dance Archives: Access, Legibility, and Archival Participation","authors":"T. D. Laet","doi":"10.3366/drs.2020.0309","DOIUrl":"https://doi.org/10.3366/drs.2020.0309","url":null,"abstract":"The ample attention the archivisation of dance has received in recent years primarily focused on new archival formats that often rely on digital technologies or which relocate the archive into choreography and the dancing body. Even though these more experimental approaches are vital in broaching new avenues for dance archivisation, this article takes a step back by considering how existing archival structures can be expanded in order to increase both the accessibility and legibility of archive materials. Interweaving a personal account of doing archival research with a discussion of recent debates within both dance studies and archival science, the aim is to set up an interdisciplinary dialogue between two domains that have been operating in a remarkably isolated manner despite their mutual interests. Taking my cue from how the notion of ‘participatory archives’ is gaining prominence in archival practice and scholarship, I argue that enlarging the input of archival information may lead to a greater output with regard to both archival research and community outreach.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49586980","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}
This work presents a brief conspectus of the existing dance archives in Brazil and the historical circumstances of their development. A brief introduction to the history of dance is provided, with guidance on practical ways of using available dance archival resources.
{"title":"Dance Archives in Brazil: A Brief Introduction","authors":"Rafael Guarato","doi":"10.3366/drs.2020.0308","DOIUrl":"https://doi.org/10.3366/drs.2020.0308","url":null,"abstract":"This work presents a brief conspectus of the existing dance archives in Brazil and the historical circumstances of their development. A brief introduction to the history of dance is provided, with guidance on practical ways of using available dance archival resources.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44373248","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}
Dance archives were instrumental in the development of the first performance databases produced in the UK. This article examines the conceptual frameworks and practical components of the performance databases created by two of them: the Rambert Archive and Royal Opera House Collections, which holds the archives of the Royal Ballet and Birmingham Royal Ballet (up to 1997). It outlines their work-based data models (contrasting these with event-based data models), the contents and cataloguing rules of their ‘work’ and ‘performance’ records, and their online presentation of the data.
{"title":"Performance History Revealed: The Performance Databases of Rambert and the Royal Ballet","authors":"Chris Jones","doi":"10.3366/drs.2020.0304","DOIUrl":"https://doi.org/10.3366/drs.2020.0304","url":null,"abstract":"Dance archives were instrumental in the development of the first performance databases produced in the UK. This article examines the conceptual frameworks and practical components of the performance databases created by two of them: the Rambert Archive and Royal Opera House Collections, which holds the archives of the Royal Ballet and Birmingham Royal Ballet (up to 1997). It outlines their work-based data models (contrasting these with event-based data models), the contents and cataloguing rules of their ‘work’ and ‘performance’ records, and their online presentation of the data.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41989640","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}
Dance historians have long relied on institutional archives when reconstructing the past. Yet archives are notoriously incomplete and biased, promoting certain voices and leaving others out. This article offers a case study of what is lost when we look only at official archives. My focus is on turn-of-the-twentieth-century Paris, a time and place long thought to have been devoid of creative ballet choreography. I begin with a brief inventory of the state archives and compare those records to information recovered from the press, then demonstrate how different historical narratives can be constructed when comparing these two documentary sources. I conclude with an example of how fragmentary archives can skew history through a case study of Madame Mariquita, a once celebrated choreographer who has been left out of canonic history.
{"title":"The Limitations of the Archive: Lost Ballet Histories and the Case of Madame Mariquita","authors":"Sarah Gutsche-Miller","doi":"10.3366/drs.2020.0315","DOIUrl":"https://doi.org/10.3366/drs.2020.0315","url":null,"abstract":"Dance historians have long relied on institutional archives when reconstructing the past. Yet archives are notoriously incomplete and biased, promoting certain voices and leaving others out. This article offers a case study of what is lost when we look only at official archives. My focus is on turn-of-the-twentieth-century Paris, a time and place long thought to have been devoid of creative ballet choreography. I begin with a brief inventory of the state archives and compare those records to information recovered from the press, then demonstrate how different historical narratives can be constructed when comparing these two documentary sources. I conclude with an example of how fragmentary archives can skew history through a case study of Madame Mariquita, a once celebrated choreographer who has been left out of canonic history.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48836629","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}
The article discusses the Batsheva Dance Company Archive Project, conducted by a team I headed in the years 2012–2015. 1 The analysis of this project will assist in understanding both its significance as an archival act of documenting the past, and its influence on the company's present and on Israeli dance. The method of analysis will include a description of the different practices involved in constructing a dance archive; a contextual discussion of archival practices; and a theoretical discussion, principally in the context of changes in current archiving practices and developments in critical thinking about dance as a discipline. The description of the course of events in this article mainly relies on my personal experience and involvement as director of the Batsheva Dance Company Archive Project. The different proceedings, goals, considerations and decisions were documented in monthly reports and in the project's concluding document, and so assisted in tracing the chronicle and details of events. 2
{"title":"The Batsheva Dance Company Archive Project","authors":"Iris Lana","doi":"10.3366/drs.2020.0306","DOIUrl":"https://doi.org/10.3366/drs.2020.0306","url":null,"abstract":"The article discusses the Batsheva Dance Company Archive Project, conducted by a team I headed in the years 2012–2015. 1 The analysis of this project will assist in understanding both its significance as an archival act of documenting the past, and its influence on the company's present and on Israeli dance. The method of analysis will include a description of the different practices involved in constructing a dance archive; a contextual discussion of archival practices; and a theoretical discussion, principally in the context of changes in current archiving practices and developments in critical thinking about dance as a discipline. The description of the course of events in this article mainly relies on my personal experience and involvement as director of the Batsheva Dance Company Archive Project. The different proceedings, goals, considerations and decisions were documented in monthly reports and in the project's concluding document, and so assisted in tracing the chronicle and details of events. 2","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42999335","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}
While pain is generally considered unpleasant, pain associated with exercise and physical activity is sometimes classed as good. Good pain is usually associated with training, while bad pain is associated with injury. However, the boundary between good and bad pain is a narrow one. We examine this boundary, using interviews with 205 dancers, dance students and related professionals. A cultural phenomenological approach is adopted to understand dancers’ embodied experiences and how they describe physical sensations. We highlight the variety of their descriptions of different kinds of pain and its association with injury, as well as how they conceptualise its role within their careers. The three primary dimensions to dancers’ distinctions between good and bad pain, also have a moral dimension in relation to the concern to be seen as hard-working and committed. We suggest that the process of distinguishing between good and bad pain is as much a process of not to hear as it is of learning to listen to the body.
{"title":"Good Pain, Bad Pain: Dancers, Injury, and Listening to the Body","authors":"Jen Tarr, H. Thomas","doi":"10.3366/drs.2020.0301","DOIUrl":"https://doi.org/10.3366/drs.2020.0301","url":null,"abstract":"While pain is generally considered unpleasant, pain associated with exercise and physical activity is sometimes classed as good. Good pain is usually associated with training, while bad pain is associated with injury. However, the boundary between good and bad pain is a narrow one. We examine this boundary, using interviews with 205 dancers, dance students and related professionals. A cultural phenomenological approach is adopted to understand dancers’ embodied experiences and how they describe physical sensations. We highlight the variety of their descriptions of different kinds of pain and its association with injury, as well as how they conceptualise its role within their careers. The three primary dimensions to dancers’ distinctions between good and bad pain, also have a moral dimension in relation to the concern to be seen as hard-working and committed. We suggest that the process of distinguishing between good and bad pain is as much a process of not to hear as it is of learning to listen to the body.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3366/drs.2020.0301","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47818436","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}
This empirical study investigates how expert choreographers structure their dance pieces and vary their dance designs. Specifically, the methods choreographers apply for selecting, ordering, and re...
{"title":"Thinking Strategically about Dance Making: An Analysis of the Structuring Stage and the Strategies Choreographers Use for Varying Dance Works","authors":"Maya Gavish, C. Stevens","doi":"10.3366/drs.2020.0290","DOIUrl":"https://doi.org/10.3366/drs.2020.0290","url":null,"abstract":"This empirical study investigates how expert choreographers structure their dance pieces and vary their dance designs. Specifically, the methods choreographers apply for selecting, ordering, and re...","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42387456","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}
This article presents Richard Alston's re-visioning of Chopin's music through two works: Such Longing (in two versions, 2005/2015), and Mazur (2015). Alston rescues the composer from dance associat...
{"title":"Chopin's Alston and Alston's Chopin","authors":"S. Jordan","doi":"10.3366/DRS.2020.0292","DOIUrl":"https://doi.org/10.3366/DRS.2020.0292","url":null,"abstract":"This article presents Richard Alston's re-visioning of Chopin's music through two works: Such Longing (in two versions, 2005/2015), and Mazur (2015). Alston rescues the composer from dance associat...","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46809637","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":"Richard Emerson, Rhythm and Colour: Hélène Vanel, Loïs Hutton and Margaret Morris","authors":"Larraine Nicholas","doi":"10.3366/drs.2020.0293","DOIUrl":"https://doi.org/10.3366/drs.2020.0293","url":null,"abstract":"","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43018426","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}
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