Pub Date : 2022-12-01DOI: 10.1017/s0149767722000390
{"title":"DRJ volume 54 issue 3 Cover and Front matter","authors":"","doi":"10.1017/s0149767722000390","DOIUrl":"https://doi.org/10.1017/s0149767722000390","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47987754","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":null,"pages":null},"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/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":null,"pages":null},"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/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.
{"title":"Dada Masilo's Giselle: A Decolonial Love Story","authors":"Rainy Demerson","doi":"10.1017/S0149767722000304","DOIUrl":"https://doi.org/10.1017/S0149767722000304","url":null,"abstract":"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.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46809693","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/S0149767722000377
Rebecca Fitton
{"title":"FUNDING BODIES: FIVE DECADES OF DANCE MAKING AT THE NATIONAL ENDOWMENT FOR THE ARTS by Sarah Wilbur. 2021. Middletown: CT: Wesleyan University Press. 296 pp., 18 photos. $26.95 paper. ISBN: 9780819580528. $95.00 hardcover. ISBN: 9780819580511.","authors":"Rebecca Fitton","doi":"10.1017/S0149767722000377","DOIUrl":"https://doi.org/10.1017/S0149767722000377","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48638696","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/S0149767722000365
Tria Blu Wakpa
US-) American modern dance history. Forced to contend with precarious institutional support, ever contingent upon competing geo-political interests, innovative cultural/knowledgeproduction in andaboutCuba is accompanied by many frustrations and disappointment. In a sense, Schwall’s offering exemplifies what artists/ scholars on both sides of the Florida Strait continue to struggle for: space to push forward the kinds of conversations across difference that are not openly had in othermediums. At the same time, the struggles with state partnerships chronicled therein might incitemore curiosity aboutdancing communities outside its scope. Particularly, those dance makers whose innovations can be credited to the extent that they have remained circumspect about the state as a reliable partner. General dance studies readers and Latin American dance studies readers, specifically,will certainly gain adeeper appreciation for the art of continuing todancewith statepartners as they change over time, andwhat careful comparisons can glean about the unequal footings within revolution.
{"title":"DANCING ON VIOLENT GROUND: UTOPIA AS DISPOSSESSION IN EURO-AMERICAN THEATER DANCE by Arabella Stanger. 2021. Evanston: Northwestern University Press. 248 pp., 12 b-w images. $34.95 paper. ISBN 9780810144088 $99.95 hardcover. ISBN 9780810144095.","authors":"Tria Blu Wakpa","doi":"10.1017/S0149767722000365","DOIUrl":"https://doi.org/10.1017/S0149767722000365","url":null,"abstract":"US-) American modern dance history. Forced to contend with precarious institutional support, ever contingent upon competing geo-political interests, innovative cultural/knowledgeproduction in andaboutCuba is accompanied by many frustrations and disappointment. In a sense, Schwall’s offering exemplifies what artists/ scholars on both sides of the Florida Strait continue to struggle for: space to push forward the kinds of conversations across difference that are not openly had in othermediums. At the same time, the struggles with state partnerships chronicled therein might incitemore curiosity aboutdancing communities outside its scope. Particularly, those dance makers whose innovations can be credited to the extent that they have remained circumspect about the state as a reliable partner. General dance studies readers and Latin American dance studies readers, specifically,will certainly gain adeeper appreciation for the art of continuing todancewith statepartners as they change over time, andwhat careful comparisons can glean about the unequal footings within revolution.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47199977","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/S0149767722000274
Maho A. Ishiguro
This article examines contrasting strategies that the practitioners of Acehnese dance in two Indonesian cities, Yogyakarta and Banda Aceh, sagely create to legitimize their participation in the arts in today's increasingly conservative religious climate in Indonesia. Islam in Yogyakarta has drifted away from a historically syncretic, localized form and toward a more conservative form. This shift has impacted Yogyakarta's Muslim dancers’ views on which kind of arts they deem appropriate to take part in. In particular, as they seek to maintain their religious identity and practice religious principles in order to be connected to a modern, globalized Islam, they choose to leave a local dance tradition for Acehnese dance, a tradition that originated in a province three thousand kilometers away. In Banda Aceh, the post-tsunami period (2004–present) sees religious leaders’ contestations toward the performing arts becoming part of the province's administrative system under sharia law, posing new challenges and risks.
{"title":"Dance as Cultural Practice vs. Religious Piety: Acehnese Dance in Banda Aceh and Yogyakarta","authors":"Maho A. Ishiguro","doi":"10.1017/S0149767722000274","DOIUrl":"https://doi.org/10.1017/S0149767722000274","url":null,"abstract":"This article examines contrasting strategies that the practitioners of Acehnese dance in two Indonesian cities, Yogyakarta and Banda Aceh, sagely create to legitimize their participation in the arts in today's increasingly conservative religious climate in Indonesia. Islam in Yogyakarta has drifted away from a historically syncretic, localized form and toward a more conservative form. This shift has impacted Yogyakarta's Muslim dancers’ views on which kind of arts they deem appropriate to take part in. In particular, as they seek to maintain their religious identity and practice religious principles in order to be connected to a modern, globalized Islam, they choose to leave a local dance tradition for Acehnese dance, a tradition that originated in a province three thousand kilometers away. In Banda Aceh, the post-tsunami period (2004–present) sees religious leaders’ contestations toward the performing arts becoming part of the province's administrative system under sharia law, posing new challenges and risks.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47227965","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/S0149767722000389
R. Monteiro
{"title":"THE BODY IN CRISIS: NEW PATHWAYS AND SHORT CIRCUITS IN REPRESENTATION by Christine Greiner. 2021. Translation by Christopher Larkosh and Grace Holleran. Ann Arbor: University of Michigan Press. 140 pp. $29.95 paper. ISBN: 0472038664, ISBN-10: 978-0472038664. doi: 10.3998/mpub.11883180.","authors":"R. Monteiro","doi":"10.1017/S0149767722000389","DOIUrl":"https://doi.org/10.1017/S0149767722000389","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47645727","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/S0149767722000316
Elizabeth Schwall
This article examines how and why Cuban modern dancers and their scholars cite several white US dancers as forebearers in their nationalistic, anti-imperialistic, and anti-racist dance tradition. I use “contamination” to analyze this complicated topic, which threatens to unfairly center US dancers at Cubans’ expense or to romantically caricature Cubans defying US imperialism with a nationalist hybrid. Multidirectional, indeterminate contamination moves us away from narratives about US culture as a homogenizing force or a vanquished one. Contamination also importantly connotes stink, given that it is a product of imperialism and capitalism bringing far-flung people into close encounters. US contamination in Cuban modern dance histories, then, pushes attention to the shadowy reaches of the unseemly and incongruous—stylistic impurity, structural racism, historiographic neglect, revolutionary disaffection, and failure. Seeing the regrettable provides a fuller picture of the past, including the often-overlooked reality of shared damage and destructibility.
{"title":"Contamination in Cuban Modern Dance Histories","authors":"Elizabeth Schwall","doi":"10.1017/S0149767722000316","DOIUrl":"https://doi.org/10.1017/S0149767722000316","url":null,"abstract":"This article examines how and why Cuban modern dancers and their scholars cite several white US dancers as forebearers in their nationalistic, anti-imperialistic, and anti-racist dance tradition. I use “contamination” to analyze this complicated topic, which threatens to unfairly center US dancers at Cubans’ expense or to romantically caricature Cubans defying US imperialism with a nationalist hybrid. Multidirectional, indeterminate contamination moves us away from narratives about US culture as a homogenizing force or a vanquished one. Contamination also importantly connotes stink, given that it is a product of imperialism and capitalism bringing far-flung people into close encounters. US contamination in Cuban modern dance histories, then, pushes attention to the shadowy reaches of the unseemly and incongruous—stylistic impurity, structural racism, historiographic neglect, revolutionary disaffection, and failure. Seeing the regrettable provides a fuller picture of the past, including the often-overlooked reality of shared damage and destructibility.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46540554","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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