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":"29 1","pages":"85 - 88"},"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":"55 1","pages":"68 - 80"},"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":"55 1","pages":"f1 - f5"},"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":"55 1","pages":"123 - 126"},"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.
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Pub Date : 2023-04-01DOI: 10.1017/S0149767723000062
A. Nikulina
This article is dedicated to analyzing existing cultural tensions between nationalism and neo-imperialism through the prism of oral narratives of ballet training in post-Soviet Ukraine. I present and reflect on the results of a three-month-long ethnographic field study, which took place at a primary state-sponsored ballet school in Ukraine—the Kyiv State Choreographic School. My article seeks to investigate the role and position of Ukrainian state-sponsored ballet at a crossroads of political and cultural crisis, when a new identity may rise from the ruins of a previously constructed cultural monolith of Soviet ballet. I explore the complex history and present condition of classical ballet training in Kyiv, Ukraine, and reveal it as both a contested cultural space and an important barrier to political radicalization. I show that ballet training centers of Ukraine successfully resist co-optation by both neo-imperial and nationalist ideologies, forming robust and inclusive dancing communities that in many ways mirror structures of modern Ukrainian society.
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Pub Date : 2023-04-01DOI: 10.1017/S0149767723000177
Wesley Lim
Director Luca Guadagnino's film Suspiria (2018) depicts the dancer Susie Bannion joining a dance academy secretly run by a coven of witches in Berlin during the German Autumn of 1977. This article analyzes how Mary Wigman's Hexentanz II, contemporary dance, and horror film practices inform Susie's neo-expressionist movement form, which is also steeped in the discourse surrounding the RAF (Red Army Faction), the West German far-left militant organization, and fascism. I argue that “historical breathing”—breaths and sighs—takes on a sensorial mode by surveying the past and current situation of the dance school. By inhaling, Susie embodies the dance Volk (1948) and can feel its vexed choreographic history—its occult origins and Ausdruckstanz practices. Furthermore, her dance futilely attempts to comes to terms with the Nazi past but inevitably replicates the violence of the RAF.
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Pub Date : 2023-04-01DOI: 10.1017/S0149767723000190
Nadine George-Graves
This issue of Dance Research Journal has us examining dance in Ukraine, Greece, Israel, the United States (by way of Australia), Germany, and the Yugoslav region. In these pages, the very definition of “Western” dance is thrown open for debate, along with many of our investments in the value of geographic, national, and classed artistic labels in dance studies. In this conversation, we will look at ballet, arguably the most “Western” dance form, differently in the context of the current war in Ukraine as one school navigates their relationship to the past while the country is in the midst of current turmoil. We will consider the argument that “the West” neglects contemporary Greece (while romanticizing ancient Greek culture as Western) thereby leaving this culture under-theorized. We’ll look at the symbolic attempt to connect a fractured Jerusalem by choreographically rising above. We’ll reconsider the choreopolitics of a post-modern African American icon. Film studies provides a means of interrogating ways of reckoning with Germany’s terrorist past through embodied conjuring. And we will look at the impact and uses of choreographic traditions of local and national belonging in a changing post-Yugoslav region. Our notions of “high art,” spectacle, and embodied identity are troubled in each essay, particularly around “Western” dance definitions of “concert” vs. “folk” dance. All of the pieces take on the ways in which broader political forces shape our senses of national belonging through dance (dance for the people, dance for the elite, and dance for the state), especially at times of profound national shifts and crisis.
{"title":"Editor's Note","authors":"Nadine George-Graves","doi":"10.1017/S0149767723000190","DOIUrl":"https://doi.org/10.1017/S0149767723000190","url":null,"abstract":"This issue of Dance Research Journal has us examining dance in Ukraine, Greece, Israel, the United States (by way of Australia), Germany, and the Yugoslav region. In these pages, the very definition of “Western” dance is thrown open for debate, along with many of our investments in the value of geographic, national, and classed artistic labels in dance studies. In this conversation, we will look at ballet, arguably the most “Western” dance form, differently in the context of the current war in Ukraine as one school navigates their relationship to the past while the country is in the midst of current turmoil. We will consider the argument that “the West” neglects contemporary Greece (while romanticizing ancient Greek culture as Western) thereby leaving this culture under-theorized. We’ll look at the symbolic attempt to connect a fractured Jerusalem by choreographically rising above. We’ll reconsider the choreopolitics of a post-modern African American icon. Film studies provides a means of interrogating ways of reckoning with Germany’s terrorist past through embodied conjuring. And we will look at the impact and uses of choreographic traditions of local and national belonging in a changing post-Yugoslav region. Our notions of “high art,” spectacle, and embodied identity are troubled in each essay, particularly around “Western” dance definitions of “concert” vs. “folk” dance. All of the pieces take on the ways in which broader political forces shape our senses of national belonging through dance (dance for the people, dance for the elite, and dance for the state), especially at times of profound national shifts and crisis.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"55 1","pages":"1 - 4"},"PeriodicalIF":0.6,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43444687","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/s0149767723000128
{"title":"DRJ volume 55 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s0149767723000128","DOIUrl":"https://doi.org/10.1017/s0149767723000128","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"55 1","pages":"b1 - b2"},"PeriodicalIF":0.6,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49251588","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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