{"title":"Rebecca L. Farinas and Julie Van Camp (eds.), The Bloomsbury Handbook of Dance and Philosophy","authors":"P. Rothfield","doi":"10.3366/drs.2022.0383","DOIUrl":"https://doi.org/10.3366/drs.2022.0383","url":null,"abstract":"","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44912753","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":"Margaret as Dance Scholar and Friend","authors":"J. Nevile","doi":"10.3366/drs.2022.0372","DOIUrl":"https://doi.org/10.3366/drs.2022.0372","url":null,"abstract":"","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48276586","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}
And I am most fortunate in having to hand a photograph taken only five days after Margaret and I first met. It is a pity that Jacquot, who did so much to establish Renaissance court festivals as an extraordinarily rich field of scholarly enquiry, does not appear in the photo, but there are compensations for those with a taste for the history of scholarship. Margaret McGowan with her husband Sydney Anglo after receiving her CBE in 1998. [Extracted from the article]
{"title":"A Personal Tribute from Margaret’s Husband","authors":"Sydney Anglo","doi":"10.3366/drs.2022.0371","DOIUrl":"https://doi.org/10.3366/drs.2022.0371","url":null,"abstract":"And I am most fortunate in having to hand a photograph taken only five days after Margaret and I first met. It is a pity that Jacquot, who did so much to establish Renaissance court festivals as an extraordinarily rich field of scholarly enquiry, does not appear in the photo, but there are compensations for those with a taste for the history of scholarship. Margaret McGowan with her husband Sydney Anglo after receiving her CBE in 1998. [Extracted from the article]","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47163505","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":"Margaret’s Living Legacy for Dance","authors":"Mark Franko","doi":"10.3366/drs.2022.0373","DOIUrl":"https://doi.org/10.3366/drs.2022.0373","url":null,"abstract":"","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42639829","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}
When People Dancing’s 2013 ‘11 Million Reasons’ (11MR) project was first advertised, the vision for the photography exhibition was to ‘recreate iconic dance moments in film’. 1 When the 2016 follow-on project ‘11 Million Reasons to Dance’ (11MRTD) was conceptualised, the exhibition’s premise was described as commissioning ‘images of iconic dance moments from film, all reimagined by Deaf, sight impaired and disabled dancers’. 2 This shift from ‘recreated’ to ‘reimagined’, as well as the decision to use a RE approach at all for an intervention, was intriguing. This article explores the meaning, purpose and use of the RE prefix, evaluating its use in dance contexts, its impact when used within disability contexts and its use for the 11MRTD project, as well as considering questions raised by the project regarding the recreation of popular dance scenes in relation to the viewing of non-normative bodies by public audiences.
{"title":"Exhibiting Images of Disabled Dancers: Comparison, Reconstruction or Disruption?","authors":"Kathryn Stamp","doi":"10.3366/drs.2022.0357","DOIUrl":"https://doi.org/10.3366/drs.2022.0357","url":null,"abstract":"When People Dancing’s 2013 ‘11 Million Reasons’ (11MR) project was first advertised, the vision for the photography exhibition was to ‘recreate iconic dance moments in film’. 1 When the 2016 follow-on project ‘11 Million Reasons to Dance’ (11MRTD) was conceptualised, the exhibition’s premise was described as commissioning ‘images of iconic dance moments from film, all reimagined by Deaf, sight impaired and disabled dancers’. 2 This shift from ‘recreated’ to ‘reimagined’, as well as the decision to use a RE approach at all for an intervention, was intriguing. This article explores the meaning, purpose and use of the RE prefix, evaluating its use in dance contexts, its impact when used within disability contexts and its use for the 11MRTD project, as well as considering questions raised by the project regarding the recreation of popular dance scenes in relation to the viewing of non-normative bodies by public audiences.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45812286","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 Beijing Dance School was founded in 1954 by China's Ministry of Culture to develop the dance arts through professional training in Chinese classical dance, the folk dances of the ethnic minorities and Han Chinese, and ballet and character dance. Ol'ga Aleksandrovna Il'ina's report, filed with the USSR Ministry of Culture, is the only known Soviet account, covering both the intense preparations for the school and the complexities of its first year of operation. Aspects of her report provide insights into 1) the Soviet model of dance propagation and the nuts and bolts of how it produced the ballet-inflected Chinese dance genres, 2) the convergence of the military dance performance system with the professionalization of civilian dance training, and 3) China's role in the dance history of the Cold War, specifically the tours of Moiseyev Dance Company and Stanislavsky and Nemirovich-Danchenko Musical Theatre. This article translates Il'ina's report and provides an introduction and notes.
{"title":"Archives of the Dance (27), The Establishment of Beijing Dance School in the First-Hand Report of Soviet Specialist O. A. Il'ina: Introduction, Translation, Notes","authors":"Eva Shan Chou, Lee G.K. Singh","doi":"10.3366/drs.2022.0356","DOIUrl":"https://doi.org/10.3366/drs.2022.0356","url":null,"abstract":"The Beijing Dance School was founded in 1954 by China's Ministry of Culture to develop the dance arts through professional training in Chinese classical dance, the folk dances of the ethnic minorities and Han Chinese, and ballet and character dance. Ol'ga Aleksandrovna Il'ina's report, filed with the USSR Ministry of Culture, is the only known Soviet account, covering both the intense preparations for the school and the complexities of its first year of operation. Aspects of her report provide insights into 1) the Soviet model of dance propagation and the nuts and bolts of how it produced the ballet-inflected Chinese dance genres, 2) the convergence of the military dance performance system with the professionalization of civilian dance training, and 3) China's role in the dance history of the Cold War, specifically the tours of Moiseyev Dance Company and Stanislavsky and Nemirovich-Danchenko Musical Theatre. This article translates Il'ina's report and provides an introduction and notes.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47514955","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}
In 1738, Leach Glover (1697–1763) was appointed as a dancing master to Britain’s royal family. He had been a leading dancer in John Rich’s company for some twenty years, first at Lincoln’s Inn Fields and then at Covent Garden, and would retire from the stage in 1741. This article focusses on Glover’s work as a teacher of dancing, beginning with his training by the French dancer and member of the Paris Académie Royal de Danse Romain Dumirail, and revealing Glover’s later close relationship with him. The article investigates the role of a royal dancing master and discusses the context for Glover’s own appointment. As part of his duties, Glover created the ballroom dance The Princess of Hesse for the marriage of Princess Mary in 1740. The dance was published in notation and is analysed here as a late example of a surviving choreography to celebrate a royal occasion. Glover’s later life and his family connections are also considered for what they can tell us about his status within the society of his time.
{"title":"Leach Glover, ‘Dancing Master to the Royal Family’, Part Two: Teachers of Dancing","authors":"Moira Goff","doi":"10.3366/drs.2022.0360","DOIUrl":"https://doi.org/10.3366/drs.2022.0360","url":null,"abstract":"In 1738, Leach Glover (1697–1763) was appointed as a dancing master to Britain’s royal family. He had been a leading dancer in John Rich’s company for some twenty years, first at Lincoln’s Inn Fields and then at Covent Garden, and would retire from the stage in 1741. This article focusses on Glover’s work as a teacher of dancing, beginning with his training by the French dancer and member of the Paris Académie Royal de Danse Romain Dumirail, and revealing Glover’s later close relationship with him. The article investigates the role of a royal dancing master and discusses the context for Glover’s own appointment. As part of his duties, Glover created the ballroom dance The Princess of Hesse for the marriage of Princess Mary in 1740. The dance was published in notation and is analysed here as a late example of a surviving choreography to celebrate a royal occasion. Glover’s later life and his family connections are also considered for what they can tell us about his status within the society of his time.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47379321","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 reflective essay traces a pathway through dance, beginning with the early influences in dance training and scholarship, through to building a University dance programme and research centre. With reference to the many scholars and artists who have been so important to this journey, the essay seeks to offer a glimpse into how a career in dance research often twists and turns through teaching, practice, writing and collaboration.
{"title":"Approaches to Dance (4): Moving, Teaching, Thinking, Writing: A Minor Excavation","authors":"Sarah Whatley","doi":"10.3366/drs.2022.0355","DOIUrl":"https://doi.org/10.3366/drs.2022.0355","url":null,"abstract":"This reflective essay traces a pathway through dance, beginning with the early influences in dance training and scholarship, through to building a University dance programme and research centre. With reference to the many scholars and artists who have been so important to this journey, the essay seeks to offer a glimpse into how a career in dance research often twists and turns through teaching, practice, writing and collaboration.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47377187","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 paper presents the argument that inherent musicality in human movement is near-universal. I examine data and empirical evidence which suggest that dance, music, speech, and bipedalism are interrelated characteristics, rooted in the earliest moments of our history. The combination of proto-musical, rhythmic, tonal vocalisation and explanatory gesture has been suggested as the seminal beginning, both of dance and of language. This topic has been vigorously debated, indeed some twentieth-century studies dispute the universality of human musicality. Recent technological advances have, however, revealed data which support the case for innate, universal human musicality. I discuss possible reasons for adaptations for music, dance, and speech, and offer examples from neuroscience of our innate beat perception and entrainment ability, with consequent implications for dance as therapy and rehabilitation.
{"title":"‘How can we know the dancer from the dance?’ Perspectives on Musicality in Human Movement","authors":"J. Leslie-Spinks","doi":"10.3366/drs.2022.0359","DOIUrl":"https://doi.org/10.3366/drs.2022.0359","url":null,"abstract":"This paper presents the argument that inherent musicality in human movement is near-universal. I examine data and empirical evidence which suggest that dance, music, speech, and bipedalism are interrelated characteristics, rooted in the earliest moments of our history. The combination of proto-musical, rhythmic, tonal vocalisation and explanatory gesture has been suggested as the seminal beginning, both of dance and of language. This topic has been vigorously debated, indeed some twentieth-century studies dispute the universality of human musicality. Recent technological advances have, however, revealed data which support the case for innate, universal human musicality. I discuss possible reasons for adaptations for music, dance, and speech, and offer examples from neuroscience of our innate beat perception and entrainment ability, with consequent implications for dance as therapy and rehabilitation.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44507041","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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