Pub Date : 2023-08-01DOI: 10.1017/S0149767723000232
Cindy García
{"title":"STAGING BRAZIL: CHOREOGRAPHIES OF CAPOEIRA by Ana Paula Höfling. 2019. Middletown, CT: Wesleyan University Press. 225 pp., 40 illustrations. $8.25 paper, ISBN: 9780819578815","authors":"Cindy García","doi":"10.1017/S0149767723000232","DOIUrl":"https://doi.org/10.1017/S0149767723000232","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139352878","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.1017/s0149767723000323
{"title":"DRJ volume 55 issue 2 Cover and Front matter","authors":"","doi":"10.1017/s0149767723000323","DOIUrl":"https://doi.org/10.1017/s0149767723000323","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139352217","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.1017/S0149767723000207
Raquel Monroe
{"title":"FEELS RIGHT: BLACK QUEER WOMEN AND THE POLITICS OF PARTYING IN CHICAGO by Kemi Adeyemi. 2022. Durham, NC: Duke University Press. 176 pp.","authors":"Raquel Monroe","doi":"10.1017/S0149767723000207","DOIUrl":"https://doi.org/10.1017/S0149767723000207","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139352403","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.1017/s0149767723000335
{"title":"DRJ volume 55 issue 2 Cover and Back matter","authors":"","doi":"10.1017/s0149767723000335","DOIUrl":"https://doi.org/10.1017/s0149767723000335","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139352707","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-17DOI: 10.1017/s0149767723000189
Daphna Ben-Shaul
This article explores the cultural figure of the ropedancer and focuses on the influential performance of Philippe Petit in two of his walks. The high-wire walker plays a significant role discussed within three frameworks: a philosophical and urban discussion offering interwoven perspectives; the iconic walk at the World Trade Center in New York in 1974; and Petit's high-wire crossing performed in Jerusalem's geopolitical context in 1987. Ropedancing is an “abyssal choreography”—a movement at a high altitude above the depth with maximum control on the verge of losing balance. As related to specific walks, this movement embodies a dialectic agency. It transcends local narratives but empowers and critically exposes them. It requires meticulous discipline and unbounded creativity, and it is linked to oppositional positions between which the ropedancer can unsettlingly fluctuate. This movement activates danger or crisis while moving over the abyss as a vector connecting places, times, and events.
{"title":"Abyssal Choreography: The Ropedancer's Unsettling Agency and Philippe Petit's Walks","authors":"Daphna Ben-Shaul","doi":"10.1017/s0149767723000189","DOIUrl":"https://doi.org/10.1017/s0149767723000189","url":null,"abstract":"This article explores the cultural figure of the ropedancer and focuses on the influential performance of Philippe Petit in two of his walks. The high-wire walker plays a significant role discussed within three frameworks: a philosophical and urban discussion offering interwoven perspectives; the iconic walk at the World Trade Center in New York in 1974; and Petit's high-wire crossing performed in Jerusalem's geopolitical context in 1987. Ropedancing is an “abyssal choreography”—a movement at a high altitude above the depth with maximum control on the verge of losing balance. As related to specific walks, this movement embodies a dialectic agency. It transcends local narratives but empowers and critically exposes them. It requires meticulous discipline and unbounded creativity, and it is linked to oppositional positions between which the ropedancer can unsettlingly fluctuate. This movement activates danger or crisis while moving over the abyss as a vector connecting places, times, and events.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50167145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Introduction 1. The Invention of Modern Dance 2. Bodies of Radical Will 3. Emotivist Movement and Histories of Modernism: The Case of Martha Graham 4. Expressivism and Chance Procedure: The Future of an Emotion 5. Where He Danced Appendix: Left-Wing Dance Theory: Articles on dance from New Theatre, New Masses, and Daily Worker Notes Bibliography Index
{"title":"Dancing Modernism / Performing Politics","authors":"Mark Franko","doi":"10.2307/1478243","DOIUrl":"https://doi.org/10.2307/1478243","url":null,"abstract":"Introduction 1. The Invention of Modern Dance 2. Bodies of Radical Will 3. Emotivist Movement and Histories of Modernism: The Case of Martha Graham 4. Expressivism and Chance Procedure: The Future of an Emotion 5. Where He Danced Appendix: Left-Wing Dance Theory: Articles on dance from New Theatre, New Masses, and Daily Worker Notes Bibliography Index","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1478243","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46873648","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.1017/s0149767723000104
R. Fensham
This interview with Eleo Pomare focuses on his role as the choreographer of mature creative works that intermingle with his formation as a Black artist and activist after he returned from Europe to live and work in New York in the mid-1960s. It begins with discussion of his creative work in the community during the period of the Vietnam War and the movement for civil rights. Pomare reflects upon his early training and choreographic experiments as well as describes the construction of some of his best-known performance works. He ends with some thoughts on political advocacy and his influence on dance policy and dance criticism, and throughout the conversation Pomare shares insights about his philosophy as a Black dance artist.
{"title":"An Artist Speaks “The intellect travels in many different directions”: Talkin’ with Eleo Pomare (1937–2008)","authors":"R. Fensham","doi":"10.1017/s0149767723000104","DOIUrl":"https://doi.org/10.1017/s0149767723000104","url":null,"abstract":"This interview with Eleo Pomare focuses on his role as the choreographer of mature creative works that intermingle with his formation as a Black artist and activist after he returned from Europe to live and work in New York in the mid-1960s. It begins with discussion of his creative work in the community during the period of the Vietnam War and the movement for civil rights. Pomare reflects upon his early training and choreographic experiments as well as describes the construction of some of his best-known performance works. He ends with some thoughts on political advocacy and his influence on dance policy and dance criticism, and throughout the conversation Pomare shares insights about his philosophy as a Black dance artist.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44774104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.1017/s0149767723000116
{"title":"DRJ volume 55 issue 1 Cover and Front matter","authors":"","doi":"10.1017/s0149767723000116","DOIUrl":"https://doi.org/10.1017/s0149767723000116","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44852351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.1017/S0149767723000086
Linden J. Hill
performance of an Aboriginal war dance on the football field and subsequent calling out of racism, is a further expression of Indigenous embodied sovereignty that unsettles the colonial occupier. In chapter 7, Rothfield reveals how SJ Norman and Goodes command that white Australia take stock of their position as “colonizing other” (200). Their counter-narratives, as embodied innovations, created an atmosphere of disequilibrium making possible something other than the mere repetition of colonial narratives. Rothfield offers a conception of the body as midway between the intellect and the chaotic multiplicity of impulses. In concluding, she notes it is impossible to abandon entirely the plane of the subject. The uncanny is but a “glimmer,” an invitation to move otherwise beyond habits of practice and the acquired codes of dances that are learned. Great dancing can be construed as the “informed manipulation of divergent forces” (140). Embracing this plurality can be the marker of skillful and great dancing. In her conclusion, Rothfield quotes Deleuze: “in a book, there is nothing to understand, but much to make use of” (228). Dance and the Corporeal Uncanny is a conceptual book offering tools for thinking with and through dance in the studio, on the stage, in the stalls, and importantly on the side of and beside dance. At the time of writing, dancers’ desire for velocity, amplitude, attunement, and reach has been frustrated by an extended health crisis, which saw a shift to online classes and restrictions on the proximity, palpability and scale of dance. New habits formed and the perceptual thresholds dancers are accustomed to were transformed within this new kinesthetic milieu. In navigating radical changes to the dance landscape, Rothfield’s book is timely in its offering of thinking tools that can be applied to a range of dance contexts including educational, choreographic and scholarly. These tools privilege somatic attention, corporeal diversity, the elasticity of time and movement innovation toward a kinesthetic literacy that deepens understanding of dance’s ontology beyond aesthetic categories. As a contribution to Dance Studies, Performance Studies and Philosophy it is an invitation to form new corporeal-conceptual relations, reconfiguring what it means to move dance thinking and perceive dancing in ethical ways through a reconsideration of the experience of what dancing does.
{"title":"DANCE & COSTUMES: A HISTORY OF DRESSING MOVEMENT By Elna Matamoros, 2021. Berlin: Alexander Verlag. 468 pp., 170 illustrations. $48.55 hardcover, ISBN: 9783895815478.","authors":"Linden J. Hill","doi":"10.1017/S0149767723000086","DOIUrl":"https://doi.org/10.1017/S0149767723000086","url":null,"abstract":"performance of an Aboriginal war dance on the football field and subsequent calling out of racism, is a further expression of Indigenous embodied sovereignty that unsettles the colonial occupier. In chapter 7, Rothfield reveals how SJ Norman and Goodes command that white Australia take stock of their position as “colonizing other” (200). Their counter-narratives, as embodied innovations, created an atmosphere of disequilibrium making possible something other than the mere repetition of colonial narratives. Rothfield offers a conception of the body as midway between the intellect and the chaotic multiplicity of impulses. In concluding, she notes it is impossible to abandon entirely the plane of the subject. The uncanny is but a “glimmer,” an invitation to move otherwise beyond habits of practice and the acquired codes of dances that are learned. Great dancing can be construed as the “informed manipulation of divergent forces” (140). Embracing this plurality can be the marker of skillful and great dancing. In her conclusion, Rothfield quotes Deleuze: “in a book, there is nothing to understand, but much to make use of” (228). Dance and the Corporeal Uncanny is a conceptual book offering tools for thinking with and through dance in the studio, on the stage, in the stalls, and importantly on the side of and beside dance. At the time of writing, dancers’ desire for velocity, amplitude, attunement, and reach has been frustrated by an extended health crisis, which saw a shift to online classes and restrictions on the proximity, palpability and scale of dance. New habits formed and the perceptual thresholds dancers are accustomed to were transformed within this new kinesthetic milieu. In navigating radical changes to the dance landscape, Rothfield’s book is timely in its offering of thinking tools that can be applied to a range of dance contexts including educational, choreographic and scholarly. These tools privilege somatic attention, corporeal diversity, the elasticity of time and movement innovation toward a kinesthetic literacy that deepens understanding of dance’s ontology beyond aesthetic categories. As a contribution to Dance Studies, Performance Studies and Philosophy it is an invitation to form new corporeal-conceptual relations, reconfiguring what it means to move dance thinking and perceive dancing in ethical ways through a reconsideration of the experience of what dancing does.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48758530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.1017/S0149767723000025
Anna Leon
Countering the historiographic under-representation of Greek modern dance, this article focuses on early twentieth-century dance artist Vassos Kanellos. Combining Western/European choreographic inputs and local, often traditional, elements, Kanellos rearticulated the inscription of Greek dance in historical time—beyond a sole focus on antiquity—and anchored it in a nationally marked space and in the specificity of a posited Greek “race.” Informed by new modernist studies, this article reads Kanellos's practice as a reflection of the country's process of constructing a hegemonic national identity against a background in which Greece constituted both Europe's subaltern periphery and the foundation of its genealogical narrative.
{"title":"Choreographing Proximity and Difference: Vassos Kanellos's Performance of Greekness as an Embodied Negotiation with Western Dance Modernity","authors":"Anna Leon","doi":"10.1017/S0149767723000025","DOIUrl":"https://doi.org/10.1017/S0149767723000025","url":null,"abstract":"Countering the historiographic under-representation of Greek modern dance, this article focuses on early twentieth-century dance artist Vassos Kanellos. Combining Western/European choreographic inputs and local, often traditional, elements, Kanellos rearticulated the inscription of Greek dance in historical time—beyond a sole focus on antiquity—and anchored it in a nationally marked space and in the specificity of a posited Greek “race.” Informed by new modernist studies, this article reads Kanellos's practice as a reflection of the country's process of constructing a hegemonic national identity against a background in which Greece constituted both Europe's subaltern periphery and the foundation of its genealogical narrative.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45817931","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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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