Matisse's early dance paintings Joy of Life, Dance (I), and Dance (II) appear in countless art books in which their public receptions are repeatedly treated in a superficial manner. The fame of these works needs to be understood in a fuller context for students of dance and art. Matisse's early dance paintings are carefully examined in terms of their historical influences. His exposure to Isadora Duncan, Loïe Fuller, and the Ballets Russes is considered. The frequent citation of specific folk dances Matisse saw at the time he created these works is challenged. What becomes significant is how poetically Matisse transformed the many sources he absorbed into his own reductive style. Matisse's decades-long interest in dance is demonstrated by select examples from his dance oeuvre. Even as an invalid, Matisse continued to work with dance themes. His joy in watching dance and making dance works, including those for ballet, reflected his passion for colour, motion, and expression of the liveliness he saw in dance. It is hoped that this article can lead to more interdisciplinary scholarship and teaching between dance studies and art history.
{"title":"Poetic Transformations in Matisse's Earliest Dance Images","authors":"Carol Salus","doi":"10.3366/drs.2021.0320","DOIUrl":"https://doi.org/10.3366/drs.2021.0320","url":null,"abstract":"Matisse's early dance paintings Joy of Life, Dance (I), and Dance (II) appear in countless art books in which their public receptions are repeatedly treated in a superficial manner. The fame of these works needs to be understood in a fuller context for students of dance and art. Matisse's early dance paintings are carefully examined in terms of their historical influences. His exposure to Isadora Duncan, Loïe Fuller, and the Ballets Russes is considered. The frequent citation of specific folk dances Matisse saw at the time he created these works is challenged. What becomes significant is how poetically Matisse transformed the many sources he absorbed into his own reductive style. Matisse's decades-long interest in dance is demonstrated by select examples from his dance oeuvre. Even as an invalid, Matisse continued to work with dance themes. His joy in watching dance and making dance works, including those for ballet, reflected his passion for colour, motion, and expression of the liveliness he saw in dance. It is hoped that this article can lead to more interdisciplinary scholarship and teaching between dance studies and art history.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45475754","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 genres sometimes require categorisation and this article addresses a collective for which no universally-accepted terminology has been located. Using the example of the author's doctoral rese...
{"title":"‘What's in a Name?’ Taxonomic Choices in the Field of Dance Studies","authors":"Jeanette Mollenhauer","doi":"10.3366/DRS.2021.0322","DOIUrl":"https://doi.org/10.3366/DRS.2021.0322","url":null,"abstract":"Dance genres sometimes require categorisation and this article addresses a collective for which no universally-accepted terminology has been located. Using the example of the author's doctoral rese...","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49424092","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":"Mark Franko, Choreographing Discourses: A Mark Franko Reader, edited by Mark Franko with Alessandra Nicifero","authors":"Marion Kant","doi":"10.3366/drs.2021.0330","DOIUrl":"https://doi.org/10.3366/drs.2021.0330","url":null,"abstract":"","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42745439","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":"Isabelle Choinière, Enrico Pitozzi and Andrea Davidson, Through the Prism of the Senses: Mediation and New Realities of the Body in Contemporary Performance. Technology, Cognition and Emergent Research-Creation Methodologies","authors":"H. Blades","doi":"10.3366/DRS.2021.0326","DOIUrl":"https://doi.org/10.3366/DRS.2021.0326","url":null,"abstract":"","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44356134","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":"Beth Genné, Dance Me a Song: Astaire, Balanchine, Kelly, and the American Film Musical","authors":"Renate Bräuninger","doi":"10.3366/DRS.2021.0334","DOIUrl":"https://doi.org/10.3366/DRS.2021.0334","url":null,"abstract":"","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42345555","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}
Sri Lanka's long civil war (1983–2009) resulted in large-scale personal, physical and social trauma and a high number of deaths. Furthermore, many people became disabled due to the war. Disabled people in Sri Lanka have often been marginalized and excluded from the public sphere. Whilst there are initiatives to support disabled people from both the State and Non-Governmental Organisations, support often adopts a charity-based approach which has been criticised for contributing to marginalisation and the dependency of disabled people on others. Performing Empowerment (2016–18) was a research project that responded to this context by seeking to examine whether combining dance workshops with human rights education might lead to greater legal empowerment for disabled people in Sri Lanka. In this paper, I reflect on the experiences of five Tamil women who took part in the project, outlining how they gained confidence and rights awareness which enabled them to self-advocate and make changes to their everyday lives, demonstrating increased legal empowerment. I argue that this change arose in part through different forms of performance that they experienced within the workshops, which enabled a series of transportations from their daily lives.
{"title":"Dancing Right(s): Dance, Disability and Legal Empowerment in Post-War Sri Lanka","authors":"H. Blades","doi":"10.3366/drs.2020.0319","DOIUrl":"https://doi.org/10.3366/drs.2020.0319","url":null,"abstract":"Sri Lanka's long civil war (1983–2009) resulted in large-scale personal, physical and social trauma and a high number of deaths. Furthermore, many people became disabled due to the war. Disabled people in Sri Lanka have often been marginalized and excluded from the public sphere. Whilst there are initiatives to support disabled people from both the State and Non-Governmental Organisations, support often adopts a charity-based approach which has been criticised for contributing to marginalisation and the dependency of disabled people on others. Performing Empowerment (2016–18) was a research project that responded to this context by seeking to examine whether combining dance workshops with human rights education might lead to greater legal empowerment for disabled people in Sri Lanka. In this paper, I reflect on the experiences of five Tamil women who took part in the project, outlining how they gained confidence and rights awareness which enabled them to self-advocate and make changes to their everyday lives, demonstrating increased legal empowerment. I argue that this change arose in part through different forms of performance that they experienced within the workshops, which enabled a series of transportations from their daily lives.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45477533","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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