Pub Date : 2023-04-01DOI: 10.1017/S0149767723000098
D. Ross
{"title":"INFINITE REPERTOIRE: ON DANCE AND URBAN POSSIBILITY IN POSTSOCIALIST GUINEA by Adrienne J. Cohen. 2021. Chicago: University of Chicago Press. 216 pp., 42 illustrations. $105.00 hardcover, ISBN: 9780226762845. $35.00 paper, ISBN: 9780226781020. $34.99 PDF, ISBN: 978022678167","authors":"D. Ross","doi":"10.1017/S0149767723000098","DOIUrl":"https://doi.org/10.1017/S0149767723000098","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"55 1","pages":"126 - 129"},"PeriodicalIF":0.6,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44990749","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/S0149767723000013
Filip Petkovski
In this article I discuss the process of choreographing “traditional” and “folk” dances in the former Yugoslavia, aligned with Yugoslav socialist ideologies that glorified the collective cultural authorship of the people, which allowed for these dances to adopt a new dimension as they took the form of a choreographed spectacle. I explain how Yugoslav choreographers utilized archival research to create a repertoire of choreographic representations of Yugoslav identity in constructing what I theorize as heritage choreography. Reflecting on how ideology moved the collective body of the Yugoslav people through choreographed works deemed as heritage, I broaden the understanding of choreographing that differs from Western concert dance practices. Furthermore, I provide alternative examples of dance making that are rooted in local understandings of spectacle, thereby enriching the conversation about what the act of choreographing entails.
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Pub Date : 2022-12-01DOI: 10.1017/S014976772200033X
Idoia Murga Castro
This article examines Antonia Mercé La Argentina's stay in Manila in 1929 and the creation of her solo La Cariñosa as a case study to analyze the place of Spanish dance as both colonizing and colonized on the basis of the cultural legacies since Romanticism, when Spanish dance was an exoticized and racialized “Other dance” in relation to the canon and hierarchies of Western dance. La Argentina's supposed homage to the Filipino people in the creation of a solo that stylized their national dance performed for Western audiences continued the exercise of colonial power. The result of those processes of appropriation would be the creation of a repertoire of “Hispanic essences” of that constructed postcolonial “community”; a catalogue equivalent to the rock-hard monumentality of a Hispanidad—the commemoration through Columbus statues and colonial architecture—now celebrated from the body, its performativity, its symbolism, and its gesture.
本文考察了1929年安东尼娅·梅塞雷·拉·阿根廷(Antonia merc La Argentina)在马尼拉的生活和她的独舞La Cariñosa的创作，作为一个案例研究，以浪漫主义以来的文化遗产为基础，分析西班牙舞蹈作为殖民地和殖民地的地位，当时西班牙舞蹈是一种异国情调和种族化的“他者舞蹈”，与西方舞蹈的经典和等级制度有关。La Argentina为西方观众创作了一段程式化的菲律宾民族舞蹈独舞，以此向菲律宾人民致敬，继续行使殖民权力。这些挪用过程的结果将是创造一种“西班牙精髓”的保留曲目，构建后殖民“社区”;这是一份相当于西班牙岛坚如磐石的纪念性的目录——通过哥伦布雕像和殖民建筑来纪念——现在从身体、表演、象征和姿态来庆祝。
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Pub Date : 2022-12-01DOI: 10.1017/s0149767722000407
{"title":"DRJ volume 54 issue 3 Cover and Back matter","authors":"","doi":"10.1017/s0149767722000407","DOIUrl":"https://doi.org/10.1017/s0149767722000407","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":" ","pages":"b1 - b2"},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43074382","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 : 2022-12-01DOI: 10.1017/s0149767722000390
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Pub Date : 2022-12-01DOI: 10.1017/S0149767722000353
Maya J. Berry
in Mandate Palestine in the 1920s and 1930s (27–29, 39), because so many Jewish choreographers were influenced by German body culture, I desired amore critical engagement with the implications of understanding this corporeality, especially because Eshel discusses the Holocaust and the turning-inward of Jewish dance in Mandate Palestine during World War II (36–45). Another conversation that deserves more space is about Palestinian and non-Jewish Arab dancers (324– 332). The majority of the Arab dancers Eshel discusses are based in Israel, not the West Bank or Gaza; readers would benefit from contextualization of the social conditions for Christian and Muslim Arab choreographers who are citizens of Israel. Lastly,Esheleffectivelyaddressesqueerpresences in Israeli dance fromthe1990s to thepresent. Her study would be well-served by a companion conversation about queerness, however closeted, among the dance figures she discusses in the early and mid-twentieth century. Dance Spreads Its Wings significantly documents established and emerging histories of Israeli concert dance from a local perspective. Its compendium focus expands the scope of established narratives available in English and brings lesser-known dancers into the discourse. The book provides important reference material for students and researchers seeking to understand the scope of Israeli concert dance history and scholarship. Within field-level approaches to localize dance studies, having Eshel’s work translated into English importantly enables conversations about Israeli concert dance in both local and global contexts.
{"title":"DANCING WITH THE REVOLUTION: POWER, POLITICS, AND PRIVILEGE IN CUBA By Elizabeth B. Schwall. 2021. Chapel Hill: University of North Carolina Press. 320pp., 21 halftones. $34.95 paper. ISBN: 978-1-4696-6297-8. $95.00 hardcover. ISBN: 978-1-4696-6296-1. $27.99 e-book. ISBN: 978-1-4696-6298-5.","authors":"Maya J. Berry","doi":"10.1017/S0149767722000353","DOIUrl":"https://doi.org/10.1017/S0149767722000353","url":null,"abstract":"in Mandate Palestine in the 1920s and 1930s (27–29, 39), because so many Jewish choreographers were influenced by German body culture, I desired amore critical engagement with the implications of understanding this corporeality, especially because Eshel discusses the Holocaust and the turning-inward of Jewish dance in Mandate Palestine during World War II (36–45). Another conversation that deserves more space is about Palestinian and non-Jewish Arab dancers (324– 332). The majority of the Arab dancers Eshel discusses are based in Israel, not the West Bank or Gaza; readers would benefit from contextualization of the social conditions for Christian and Muslim Arab choreographers who are citizens of Israel. Lastly,Esheleffectivelyaddressesqueerpresences in Israeli dance fromthe1990s to thepresent. Her study would be well-served by a companion conversation about queerness, however closeted, among the dance figures she discusses in the early and mid-twentieth century. Dance Spreads Its Wings significantly documents established and emerging histories of Israeli concert dance from a local perspective. Its compendium focus expands the scope of established narratives available in English and brings lesser-known dancers into the discourse. The book provides important reference material for students and researchers seeking to understand the scope of Israeli concert dance history and scholarship. Within field-level approaches to localize dance studies, having Eshel’s work translated into English importantly enables conversations about Israeli concert dance in both local and global contexts.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"54 1","pages":"110 - 113"},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42254966","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 : 2022-12-01DOI: 10.1017/S0149767722000328
Casey Avaunt
This article examines notions of “sisterhood” by focusing on an all-women's lion dance company called Gund Kwok, based in Boston's Chinatown. Gund Kwok, which limits membership to those who identify as female and Asian American, provides a space for women to perform this traditional male-only dance style. Company members have created a community of “sisters” to address layers of gendered and racial oppression. Despite concerns that scholars have raised about how community formations, such as sisterhoods, can be overly idealistic and potentially harmful, this study highlights the role of sisterhood in Gund Kwok and the important functions it serves for the group. It argues that Gund Kwok is a diverse community that draws from the ideology of sisterhood as a way of articulating Asian American cultural identity outside the scope of Western cultural frameworks and the dance's patriarchal tradition.
{"title":"Sisterhood in the City: Creating Community through Lion Dance","authors":"Casey Avaunt","doi":"10.1017/S0149767722000328","DOIUrl":"https://doi.org/10.1017/S0149767722000328","url":null,"abstract":"This article examines notions of “sisterhood” by focusing on an all-women's lion dance company called Gund Kwok, based in Boston's Chinatown. Gund Kwok, which limits membership to those who identify as female and Asian American, provides a space for women to perform this traditional male-only dance style. Company members have created a community of “sisters” to address layers of gendered and racial oppression. Despite concerns that scholars have raised about how community formations, such as sisterhoods, can be overly idealistic and potentially harmful, this study highlights the role of sisterhood in Gund Kwok and the important functions it serves for the group. It argues that Gund Kwok is a diverse community that draws from the ideology of sisterhood as a way of articulating Asian American cultural identity outside the scope of Western cultural frameworks and the dance's patriarchal tradition.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"54 1","pages":"91 - 106"},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45709299","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 : 2022-12-01DOI: 10.1017/S0149767722000304
Rainy Demerson
This article presents a polycentric Africanist reading of Dada Masilo's Giselle, which debuted in South Africa in 2017. Although ballet was used as a tool of colonization in South Africa, establishing cultural and aesthetic norms from a European paradigm, while undermining Indigenous arts and excluding non-white artists, I argue that Dada Masilo's choreographic choices employ the narrative of Giselle to decolonize through ballet. Masilo's choreography indigenizes the ballet, transforming local and global practices through an Indigenous lens. Dada Masilo's Giselle embodies African philosophies such as ancestorism, as well as gender fluidity and complementarity. It mobilizes techniques such as signifyin(g), comedic resistance, code-switching, battling, shouting, and critically reappropriating Tswana and diasporic movements in order to convey a distinctly South African version of the European ballet. This work transcends the romantic love of Giselle in order to convey a decolonial love by centering South African ways of knowing and being in the world.
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