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Crossover and Commercial Dance: Race, Class and Capitalism on The Jacksons Variety Show
IF 0.6 2区 艺术学 0 DANCE Pub Date : 2025-02-07 DOI: 10.1017/s0149767724000068
Elizabeth June Bergman

This article argues that “crossover”– a recording artist's movement across the racialized boundaries of commercial music genres and the attainment of a broader consumer base– is central to the history and production logic of the U.S. commercial dance industry. By framing the televised variety show The Jacksons (1976–1977) as a formative production experience for Michael and Janet Jackson and situating it within a genealogy of popular dance on commercial television, I examine how racial and class signifiers were used to appeal to different demographics, highlighting the historical lineages and capitalist foundations of the U.S. commercial dance industry.

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引用次数: 0
Contemporary Dance on Native Land: Indigenous Solidarity in the Choreography of Ananya Dance Theatre
IF 0.6 2区 艺术学 0 DANCE Pub Date : 2025-02-07 DOI: 10.1017/s014976772400007x
Alessandra Lebea Williams

Ananya Dance Theatre generates a framework for “contemporary dance” as choreography which enacts its solidarity with the land of Native peoples. Artistic director Ananya Chatterjea mobilizes her contemporary aesthetic, “Yorchhā,” through the company's alliance with Indigenous peoples’ worldviews on land and water protection, especially through their relations with Dakota and Anishinaabe persons. Dance analysis of the pieces “Moreechika: Season of Mirage” (2012), “Shaatranga: Women Weaving Worlds” (2018), and “Shyamali: Sprouting Words” (2017) shapes contemporary dance through its engagement with Native persons’ caretaking labor for the environment and the position of these relations in the choreography. A practice of humility emerges as the cornerstone of solidarity in contemporary dance due to the necessity for longstanding Native invitation and engagement, Indigenous narratives and embodiment in the dance pieces, and lessons learned from the pitfalls in intersecting techniques such as Ananya Dance Theatre's with Native people's lifeways and knowledges.

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引用次数: 0
Choreographing Deportation in David Herrera's TOUCH
IF 0.6 2区 艺术学 0 DANCE Pub Date : 2025-02-07 DOI: 10.1017/s0149767724000123
Juan Manuel Aldape Muñoz

Deportations and the threat of removal are choreographic strategies of the nation-state's ever-growing monopoly of movement through border securitization and immigration enforcement, which persists into the twenty-first century. While literature and the visual arts have received critical and popular attention by considering forced family separations, dance remains overlooked. Analyzing dance performances that relate directly to deportation teaches us not only about the painful impact of forced removal: it instructs us to decode, move and maintain relationships as aliens and citizens amid the increasing control of motion in the United States and the cruel joke offered by a nation of immigrants.

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引用次数: 0
Cuban-style Salsa: Intersections of Tourism-led Entrepreneurship and Dancing Personal Development
IF 0.6 2区 艺术学 0 DANCE Pub Date : 2025-02-07 DOI: 10.1017/s0149767724000019
Ruxandra Ana

This article is an anthropological exploration of the role of dance in tourism-led entrepreneurship and tourism-led mobilities in Cuba. Based on ethnographic research and employing an autoethnographic lens, the article examines the imaginaries and gendered performances of Cubanness that play out in touristic settings as part of dance trips organized on the island for international tourists. Women are the main target audience for these dance programs, which oftentimes reveal the reproduction of racial stereotypes that contributed to the growing popularity of Cuba as a tourist destination. Dance teachers come to establish a broad spectrum of relations that are influenced by inequalities of resources and unequal access to mobility, since it is the (usually) white European and North American dancing tourists who take up space as central dancing figures, co-creating the cultural script that fetishizes Cuban Black bodies, especially in settings such as salsa schools or popular dance venues.

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引用次数: 0
Leading the Other: Gender and Colonialism in Partner Dancing's Long Century 引领他人:舞伴舞漫长世纪中的性别与殖民主义
IF 0.6 2区 艺术学 0 DANCE Pub Date : 2024-05-08 DOI: 10.1017/s0149767723000311
David Kaminsky

In the 1840s, the polka craze established lead/follow partner dancing as the normative social dance structure in the Atlantic world. In the process, it imposed a choreographed performance of bourgeois heteropatriarchy (originally developed with the waltz) on Europe's colonies and post-colonies. However, a central mechanism of the lead/follow system in social partner dance is the woman's body attitude, and as the nature of that attitude changes, so do the associated dances. In the Americas, women acculturated to African-rooted principles of polycentricity disrupted the equilibrium of the lead/follow dynamic, catalyzing the creation of new partner dance forms and techniques. On the one hand, this resulted in an intensification of the lead/follow system such that men could now control and shape the dissociated parts of their partners’ bodies. On the other hand, it also seeded the fissioning and eventual dissolution of the dance partnership itself.

19 世纪 40 年代,波尔卡舞热潮确立了领舞/跟舞伴舞作为大西洋世界规范社交舞蹈结构的地位。在这一过程中,它将资产阶级异族父权制(最初由华尔兹发展而来)的编排表演强加给了欧洲的殖民地和后殖民地。然而,社交舞伴舞蹈中领舞/跟舞系统的核心机制是女性的身体姿态,随着姿态性质的变化,相关舞蹈也会发生变化。在美洲,接受非洲多中心原则文化熏陶的妇女打破了 "领舞/跟舞 "动态平衡,催生了新的舞伴舞蹈形式和技巧。一方面,这导致了领舞/跟舞系统的强化,男子现在可以控制和塑造舞伴身体的分离部分。另一方面,这也导致了舞伴关系本身的分裂和最终解体。
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引用次数: 0
Tidalectic Un/mapping and the Performance of African Diasporic Imagination in the Repertory of Katherine Dunham 凯瑟琳-邓纳姆剧作中的潮汐分离与非洲散居者想象力的表现
IF 0.6 2区 艺术学 0 DANCE Pub Date : 2024-05-08 DOI: 10.1017/s0149767723000359
Tia-Monique Uzor

This article foregrounds imagination to consider how African diasporic conditions converge with choreographic expression. The analysis “un/maps” dominant understandings of the choreographic process of mid-twentieth-century African American choreographer-anthropologist Katherine Dunham by expanding Kamau E. Brathwaite's (1993) concept of Tidalectics beyond the Caribbean to the wider African diaspora and a distinctly Caribbean comprehension of diasporic imagination. Utilizing datasets and visualizations created by the project, Dunham's Data: Katherine Dunham and Digital Methods for Dance Historical Inquiry, this article traces how the concept of Brazil is imagined and reimagined within Dunham's archive from 1937 to 1962. In doing so, it considers the complex positionality of Dunham as both a pioneering minoritized woman navigating the politics of race, gender, and financial precarity, and someone who yielded their imperial privilege as a US citizen through their career to bring nuance to Dunham's narrative as a canonical dance figure.

本文以想象力为基础,思考非洲散居地的状况如何与舞蹈表达相融合。该分析通过将 Kamau E. Brathwaite(1993 年)的 "Tidalectics "概念从加勒比海地区扩展到更广泛的非洲散居地,以及加勒比海地区对散居地想象力的独特理解,"解除/映射 "了对二十世纪中期非裔美国人编舞家、人类学家凯瑟琳-邓纳姆编舞过程的主流理解。利用由该项目创建的数据集和可视化,Dunham's Data:凯瑟琳-德纳姆与舞蹈历史研究的数字方法》项目创建的数据集和可视化,本文追溯了德纳姆档案中从 1937 年到 1962 年如何想象和重新想象巴西的概念。在此过程中,文章考虑了邓纳姆的复杂地位,她既是一位在种族、性别和经济不稳定性政治中游刃有余的少数民族女性先锋,也是一位在其职业生涯中屈服于其作为美国公民的帝国特权的人,从而为邓纳姆作为经典舞蹈人物的叙事带来了细微差别。
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引用次数: 0
Is Mademoiselle Mercédès Always Julienne Mathieu? The Challenges of Using a Stage Name to Reconstruct the Career of a Parisian Belle Époque Music Hall Dancer 梅塞德斯小姐总是朱莉安娜-马修吗?使用艺名重塑巴黎美好年代音乐厅舞者生涯的挑战
IF 0.6 2区 艺术学 0 DANCE Pub Date : 2024-05-08 DOI: 10.1017/s0149767723000372
Mercedes Alvarez San Román

The dancer Mademoiselle Mercédès performed in the most important music halls of the Parisian Belle Époque, such as the Folies-Bergère and the Olympia. Her exotic pseudonym reflects the Hispanophilia of this period in France, but she was neither a Spanish dancer nor a native imitator. On the contrary, she displayed great versatility as a dancer and actively participated in the transition to modernity with the dancer Loïe Fuller and the choreographer Madame Mariquita. However, who is behind this artist's name? This research reveals that at least three women used this nickname and only one of them has been previously identified: Julienne Mathieu (1874–1943), who, after her stage career, became one of the most prolific actresses in early cinema. This case study explores the implications of using a pseudonym by a secondary figure in the dance world in fin-de-siècle Paris.

舞蹈家梅塞德斯小姐曾在巴黎 "美好年代 "最重要的音乐厅(如贝尔盖尔剧院和奥林匹亚剧院)表演。她充满异国情调的假名反映了这一时期法国的西班牙情结,但她既不是西班牙舞者,也不是本地人的模仿者。相反,她作为一名舞者展现了多才多艺的一面,并与舞者 Loïe Fuller 和编舞 Mariquita 夫人一起积极参与了向现代性的过渡。然而,这位艺术家的名字背后究竟是谁呢?这项研究发现,至少有三位女性使用过这个绰号,而其中只有一位曾被确认过:朱莉安娜-马蒂厄(Julienne Mathieu,1874-1943 年),在她的舞台生涯之后,成为早期电影中最多产的女演员之一。本案例研究探讨了一位在上世纪巴黎舞蹈界处于次要地位的人物使用笔名的意义。
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引用次数: 0
A “Tick and Flick” Exercise: Movement and Form in Australian Parliamentary Human Rights Scrutiny 点击和弹动 "练习:澳大利亚议会人权审查中的动作与形式
IF 0.6 2区 艺术学 0 DANCE Pub Date : 2024-01-30 DOI: 10.1017/s0149767723000360
Sean Mulcahy, Kate Seear
Human rights scrutiny processes in some Australian parliaments require consideration of whether rights-limiting legislation is reasonable, justifiable, and proportionate. The Queensland Human Rights commissioner has raised concerns of this becoming a “perfunctory ‘tick and flick’ exercise” in which decision-makers perform the “dance steps to [rights] derogation”—a concern emulated by others. Taking this notion of “tick and flick” and “dance steps” literally, this article explores movement and form in the composition of parliamentary human rights scrutiny reports. Drawing from Marie Jacob and Anna Macdonald's notion of legal documents as material, somatic, and metaphorical forms, this article analyzes the choreographic and calligraphic forms in these reports. Through exploring the forms themselves alongside interview data about parliamentary human rights scrutiny practices, this article speculates on whether form has bearing on the process of parliamentary human rights scrutiny, and how form shapes the substance of both the reports and human rights themselves.
澳大利亚一些议会的人权审查程序要求审议限制权利的立法是否合理、正当和相称。昆士兰州人权专员对这一程序成为 "敷衍了事的'打勾和弹指'工作 "表示担忧,在这一程序中,决策者们表演着"(权利)减损的舞步"--其他一些人也在效仿这种担忧。本文从 "打勾、弹指 "和 "舞步 "的字面意思出发,探讨了议会人权审查报告中的动作和形式。本文借鉴玛丽-雅各布(Marie Jacob)和安娜-麦克唐纳(Anna Macdonald)关于法律文件作为物质、躯体和隐喻形式的概念,分析了这些报告中的舞蹈和书法形式。通过探讨这些形式本身以及有关议会人权审查实践的访谈数据,本文推测形式是否与议会人权审查过程有关,以及形式如何塑造报告和人权本身的实质内容。
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引用次数: 0
Cognitive status is associated with performance of manual wheelchair skills in hospitalized older adults. 认知状况与住院老年人手动操作轮椅的能力有关。
IF 2.2 2区 艺术学 0 DANCE Pub Date : 2024-01-01 Epub Date: 2022-04-09 DOI: 10.1080/17483107.2022.2060353
Nurit Krayn-Deckel, Katya Presaizen, Alon Kalron

Purpose: To examine the relationship between manual wheelchair skills and cognitive function in hospitalized older adults.

Methods: The observational study included older adults who used a manual wheelchair following hip/knee surgery. Participants underwent a series of tests to evaluate manual wheelchair skills and cognitive performance. Four items appearing on the Wheelchair Skills Test: brake handling (locking/unlocking), a 10-metre forward roll, a 2-metre backward roll and rotating in place, were used to evaluate manual wheelchair skills. Cognitive function was evaluated by the Montreal Cognitive Assessment (MoCA), Trail Making Test (TMT), the Clock Drawing Test, and the Loewenstein Occupational Therapy Cognitive Assessment. The relationship between wheelchair skills and cognitive scores was assessed by a series of univariate linear regression analyses.

Results: Fifty older adults, aged 65-85, participated in the study. The MoCA-7 (orientation) explained 19.3% of the variance related to the turn in place wheelchair skill, 18.8% of the variance related to the two-metre backwards roll and 31.9% of the variance related to the 10-metre forward roll. The addition of gender (to the MoCA-7) increased the explained variance related to the 10-metre forward roll and turn in place skills to 38.5% and 28.5%, respectively. As for the brakes handling skill test, gender explained 18.3% of the variance. The addition of the CDT (to gender) increased the explained variance for the brakes handling skill to 31.4%.

Conclusions: Because cognitive impairments negatively affect the performance of wheelchair skills, rehabilitation therapists may need to adjust wheelchair mobility training methods for cognitively impaired older adults.Implication for rehabilitationGiven the prevalence of older adults with cognitive impairments who use manual wheelchairs, it is critical to better understand the relationship between cognition and wheelchair skills.Poor results reported on the cognitive tests, specifically, visual attention and orientation, were found to be associated with poor performance of four manual wheelchair skills.Rehabilitation therapists should consider the cognitive status of older adults when teaching manual wheelchair skills, specifically in new users. Future studies should examine whether a customized preparation program, enhancing visuospatial orientation, can benefit manual wheelchair control in older adults.

目的:研究住院老年人手动轮椅技能与认知功能之间的关系:观察研究的对象包括髋关节/膝关节手术后使用手动轮椅的老年人。参与者接受了一系列测试,以评估手动轮椅技能和认知表现。轮椅技能测试中的四个项目:制动操作(锁定/解锁)、10米前滚、2米后滚和原地旋转,用于评估手动轮椅技能。认知功能通过蒙特利尔认知评估(MoCA)、路径制作测试(TMT)、时钟绘图测试和卢温斯坦职业治疗认知评估进行评估。通过一系列单变量线性回归分析评估了轮椅技能与认知评分之间的关系:50名年龄在65-85岁之间的老年人参与了研究。MoCA-7(定向)解释了与原地转圈轮椅技能有关的19.3%的方差,与两米后滚动有关的18.8%的方差,以及与10米前滚动有关的31.9%的方差。在 MoCA-7 中加入性别因素后,与 10 米前滚翻和原地转圈技能有关的解释方差分别增加到 38.5%和 28.5%。至于刹车操作技能测试,性别解释了 18.3% 的方差。加入 CDT(性别)后,刹车操作技能的解释方差增加到 31.4%:由于认知障碍会对轮椅技能的表现产生负面影响,因此康复治疗师可能需要针对有认知障碍的老年人调整轮椅移动训练方法。对康复的意义鉴于有认知障碍的老年人使用手动轮椅的情况很普遍,因此更好地了解认知与轮椅技能之间的关系至关重要。未来的研究应考察定制的准备计划是否能提高视觉空间定向能力,从而有利于老年人手动轮椅的控制。
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引用次数: 1
Curtain Calls in Dance: Negotiating the Terms of Disengagement 舞蹈中的谢幕:谈判脱离的条款
IF 0.6 2区 艺术学 0 DANCE Pub Date : 2023-12-01 DOI: 10.1017/s014976772300030x
Caroline Sutton Clark
Through curtain calls in Eurocentric theatrical dance forms, dance artists, audience members, and staff coordinate how dance concerts end and participants disperse. Nevertheless, despite the widespread use of such practices, the rituals of bows and applause have largely eluded critical inquiry. This article offers dance practitioners choices toward thoughtfully negotiating the processes of engagement and disengagement in groups contingently assembled for dance events. A brief historical inquiry introduces how such behaviors may enact deeply embedded, power-laden agendas of relationship. Then, curtain calls are revealed as complex spaces of intersubjective negotiations, iterative of numerous possible functions at work.
通过以欧洲为中心的戏剧舞蹈形式的谢幕,舞蹈艺术家、观众和工作人员协调舞蹈音乐会的结束和参与者的分散。然而,尽管这种做法被广泛使用,鞠躬和鼓掌的仪式在很大程度上避开了批判性的调查。这篇文章为舞蹈从业者提供了一些选择,让他们在为舞蹈活动而偶然聚集的群体中,深思熟虑地协商参与和脱离的过程。一个简短的历史调查介绍了这些行为是如何制定深植的、充满权力的关系议程的。然后,谢幕被揭示为主体间谈判的复杂空间,在工作中迭代了许多可能的功能。
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引用次数: 0
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DANCE RESEARCH JOURNAL
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