Pub Date : 2022-08-01DOI: 10.1017/S0149767722000201
Alexander H. Schwan
Abstract The work of the homosexual Israeli dance pioneer and choreographer Baruch Agadati (1895–1976) queered Jewish dance. His project of Hebrew Dance was a queer take on traditional Jewish dance material mixed with a seemingly queer shift of the antisemitic distortions of this material. Throughout his approach to Jewish dance traditions from a perspective as a nonobservant, secular Jew, Agadati transcended boundaries of religion, secularity, and nation to a complex questioning of how Jewishness could be expressed through modern dance.
{"title":"Queering Jewish Dance: Baruch Agadati","authors":"Alexander H. Schwan","doi":"10.1017/S0149767722000201","DOIUrl":"https://doi.org/10.1017/S0149767722000201","url":null,"abstract":"Abstract The work of the homosexual Israeli dance pioneer and choreographer Baruch Agadati (1895–1976) queered Jewish dance. His project of Hebrew Dance was a queer take on traditional Jewish dance material mixed with a seemingly queer shift of the antisemitic distortions of this material. Throughout his approach to Jewish dance traditions from a perspective as a nonobservant, secular Jew, Agadati transcended boundaries of religion, secularity, and nation to a complex questioning of how Jewishness could be expressed through modern dance.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42184404","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 : 2022-08-01DOI: 10.1017/S0149767722000183
S. Chatterjee, Franz Anton Cramer, Nicole Haitzinger
In this article, the three co-authors collaboratively address practices of queering in relation to the Parisian choreographer of color Nyota Inyoka (1896–1971), whose biography and identity remain mysterious even after extensive research. Writing from three different research perspectives and relating to three different aspects of her life and work, the co-authors analyze Nyota Inyoka and practices of Queering the Archive, her staging of Shiva as a performance of (culturally) “queer possibility,” and the act of remembering Nyota Inyoka in a contemporary context in terms of queering ethnicity and “cultural belonging.” Juxtaposing and interweaving notions and practices of queering and créolité/creolizing over the course of the article, the co-authors attempt to respect Nyota Inyoka's “right to opacity” (Glissant [1996] 2020, 45) and remember her on her own terms.
{"title":"Remembering Nyota Inyoka: Queering Narratives of Dance, Archive, and Biography","authors":"S. Chatterjee, Franz Anton Cramer, Nicole Haitzinger","doi":"10.1017/S0149767722000183","DOIUrl":"https://doi.org/10.1017/S0149767722000183","url":null,"abstract":"In this article, the three co-authors collaboratively address practices of queering in relation to the Parisian choreographer of color Nyota Inyoka (1896–1971), whose biography and identity remain mysterious even after extensive research. Writing from three different research perspectives and relating to three different aspects of her life and work, the co-authors analyze Nyota Inyoka and practices of Queering the Archive, her staging of Shiva as a performance of (culturally) “queer possibility,” and the act of remembering Nyota Inyoka in a contemporary context in terms of queering ethnicity and “cultural belonging.” Juxtaposing and interweaving notions and practices of queering and créolité/creolizing over the course of the article, the co-authors attempt to respect Nyota Inyoka's “right to opacity” (Glissant [1996] 2020, 45) and remember her on her own terms.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48150988","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 : 2022-08-01DOI: 10.1017/S0149767722000262
Fenella Kennedy
{"title":"HORIZONTAL TOGETHER: ART, DANCE, AND QUEER EMBODIMENT IN 1960s NEW YORK by Paisid Aramphongphan. 2021. Manchester: Manchester University Press. 192 pp., 56 illustrations. $130.00 hardcover. ISBN-10:1526148439, ISBN-13: 978-1526148438.","authors":"Fenella Kennedy","doi":"10.1017/S0149767722000262","DOIUrl":"https://doi.org/10.1017/S0149767722000262","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43245383","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 : 2022-08-01DOI: 10.1017/S0149767722000171
Hannah Kosstrin
Abstract During the height of the 1980s AIDS epidemic in the United States, LGBTQ+ Jewish choreographers agitated for gay rights by using Holocaust allusions to address the AIDS crisis. Modernist practices in their work generate a long modernist midcentury that reframes established historical binaries between modernist and postmodernist concert dance modalities. This article argues that choreographers who drew upon Holocaust memory to address the AIDS crisis engendered a queer Jewish imaginary by engaging Jewishness from ethnic Ashkenazi (European) Jewish American lineages of modernist dance as social justice, Jewish cyclical temporal logics, and histories of being scapegoated for societal ills. It demonstrates how Meredith Monk's Book of Days (1988), David Dorfman's Sleep Story (1987), and Arnie Zane's The Gift/No God Logic (1987) fostered Jewish queerness in modernist artistic practices during a time that LGBTQ+ American Jews developed a queer Jewish consciousness. These choreographers’ works connect queer Jewish modernisms to varied temporalities of global modernity.
{"title":"Modernist Continuities: Queer Jewish Dances, the Holocaust, and the AIDS Crisis","authors":"Hannah Kosstrin","doi":"10.1017/S0149767722000171","DOIUrl":"https://doi.org/10.1017/S0149767722000171","url":null,"abstract":"Abstract During the height of the 1980s AIDS epidemic in the United States, LGBTQ+ Jewish choreographers agitated for gay rights by using Holocaust allusions to address the AIDS crisis. Modernist practices in their work generate a long modernist midcentury that reframes established historical binaries between modernist and postmodernist concert dance modalities. This article argues that choreographers who drew upon Holocaust memory to address the AIDS crisis engendered a queer Jewish imaginary by engaging Jewishness from ethnic Ashkenazi (European) Jewish American lineages of modernist dance as social justice, Jewish cyclical temporal logics, and histories of being scapegoated for societal ills. It demonstrates how Meredith Monk's Book of Days (1988), David Dorfman's Sleep Story (1987), and Arnie Zane's The Gift/No God Logic (1987) fostered Jewish queerness in modernist artistic practices during a time that LGBTQ+ American Jews developed a queer Jewish consciousness. These choreographers’ works connect queer Jewish modernisms to varied temporalities of global modernity.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49196936","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 : 2022-08-01DOI: 10.1017/S0149767722000249
Katja Vaghi
López’s work on muxe, third gender Zapotec performances in “Muxes Have Crossed the Border;” Enzo E. Vasquez Toral’s “From the Club to the Fiesta,” in which we are beckoned to dance in ways that gestures and nurtures futurity; and Gregory Mitchell’s examination of puta street fashion that expands the terrain of their sociality by reminding us that catwalks and clothes are aesthetics of/for queer(ed) belonging in “From Streetwalking to the Catwalk” (196). “Show” teaches us that queer spectacles are more than what we go out to see, asking us to reflect on how we want to see and be seen. Finally, after a night of anticipating, waiting, framing, and shaking, we open the door to “After.” We walk into the world with the residual lessons and effects from after-hours worldmaking, meditating about how we preserve them when the only presence left of our night are memories used for re-membering. “After” provokes thought around the lingering effects of sites and situations now gone, but that had previously held queer community and life. In particular, we confront the effects of gentrification on queer Black and Brown communities. Juana Maria Rodriguez’s examination of Xandra Ibarra’s “The Hookup/ Displacement/Barhopping/Drama Tour” frames how queer bodies and performance catalyze a call to what came before, engaging pleasure as political mourning and as a practice for re-inscription into spaces lost to capitalist greed. DJ Sedrick’s words in E. Patrick Johnson’s “Remember the Time: Black Queer Nightlife in the South” ring true in their forewarning: “Look around you. Somebody that was here last year ain’t here tonight” (232). These words evoke the memories of spaces and bodies invisibilized, departed, and removed, prompting us to think through connections we have lost to illness, to hate crimes, and to gentrification, and how Black and Brown folx carry on through erasure. Perhaps, as the final pages of the book point out in Jih-Fei Cheng’s “Keeping It on the Download,” this answer lies in the intangible, in the virtual and affective landscapes of queer belonging, and how queer subjects can live on through queer interfacing. Ultimately, Adeyemi, Khubchandani, and Rivera-Servera’s anthology asks us to ponder our own messy entanglement in queer nightlife: Who are we and how do we perform at every stage of the night? How can we more carefully commingle? What privileges, powers, and lineages do we hold? How do we activate queerness, and what role does performance and the body play in these processes as we make our way through the “not yet” (as noted by José Esteban Muñoz in Cruising Utopia: The Then and There of Queer Futurity) of utopic queer belonging? The pages of the book, rumpled by the wind, tickle my fingers as the sun sets. I think through my own “after,” sorting through recollections from my own queer congregations. The taste of tequila, glitter, and sweat are on the tip of my tongue. The night is beginning. Perhaps, I’ll go infiltrate space at the local d
López关于穆克斯的作品，第三性别萨波特克人在“穆克斯越过边界”中的表演;恩佐·e·巴斯克斯·托拉尔的“从俱乐部到嘉年华”，我们被召唤以手势和培养未来的方式跳舞;格里高利·米切尔(Gregory Mitchell)在《从街走到t台》(From streetwalk to the Catwalk)一书中，通过提醒我们t台和服装是属于酷儿(ed)的美学，扩展了他们的社交领域，从而审视了puta街头时尚。《秀》告诉我们，酷儿眼镜不仅仅是我们出去看的东西，它要求我们反思我们想要如何看到和被看到。经过一整晚的期待、等待、定格和动摇，我们终于打开了“之后”的大门。我们带着下班后创造世界的残余教训和影响走进这个世界，思考如何保存它们，当夜晚只剩下用来回忆的记忆时。《之后》激发了人们对那些已经消失的场所和情境的挥之不去的影响的思考，这些场所和情境曾经维系着酷儿社区和生活。特别地，我们要面对的是中产阶级化对黑人和棕色人种酷儿社区的影响。胡安娜·玛丽亚·罗德里格斯(Juana Maria Rodriguez)对赞德拉·伊巴拉(Xandra Ibarra)的《联系/位移/酒吧/戏剧之旅》(The Hookup/ Displacement/ bar - hopping/Drama Tour)的研究，描绘了同性恋的身体和表演如何激发对过去的呼唤，将快乐作为政治哀悼，作为一种重新进入资本主义贪婪所失去的空间的实践。DJ塞德里克在e·帕特里克·约翰逊(E. Patrick Johnson)的《铭记时光:南方黑人酷儿夜生活》(Remember the Time: Black Queer Nightlife in South)中说的话在他们的警告中听起来很真实:“看看你的周围。去年在这里的人今晚不在这里”(232)。这些文字唤起了人们对那些被看不见的、离开的、被移除的空间和身体的记忆，促使我们思考我们与疾病、仇恨犯罪和士绅化失去的联系，以及黑人和棕色人是如何通过抹除而继续生活的。或许，正如本书最后几页程继飞在《继续下载》中所指出的那样，这个答案存在于无形的、虚拟的、情感的酷儿归属景观中，以及酷儿主体如何通过酷儿互动而活下去。最终，Adeyemi, Khubchandani和Rivera-Servera的选集让我们思考自己在酷儿夜生活中的混乱纠缠:我们是谁，我们在夜晚的每个阶段如何表现?我们怎样才能更细致地融合?我们拥有什么特权、权力和血统?我们如何激活酷儿身份?当我们穿越乌托邦的“尚未”(如jos Esteban Muñoz在《巡航乌托邦:酷儿未来的当时和那里》中所指出的)时，表演和身体在这些过程中扮演了什么角色?夕阳西下时，被风吹皱的书页挠得我的手指发痒。我通过我自己的“事后”来思考，整理我自己的同性恋会众的回忆。龙舌兰酒、闪光和汗水的味道在我的舌尖上。夜幕降临了。也许，我今晚会潜入当地的变装秀，926 Bar & Grill的“impossible - tea”，上演一个新的“之前”，夺回在“之后”失去的东西。
{"title":"DANCERS, ARTISTS, LOVERS: BALLETS SUÉDOIS 1920–1925 edited by Erik Mattsson. 2020. Stockholm: Arvinius+Orfeus Publishing. 320 pp. €45 hardcover. ISBN: 978-91-87543-81-4, ISBN-10: 9187543818, ISBN-13: 978-91-87543-81-4.","authors":"Katja Vaghi","doi":"10.1017/S0149767722000249","DOIUrl":"https://doi.org/10.1017/S0149767722000249","url":null,"abstract":"López’s work on muxe, third gender Zapotec performances in “Muxes Have Crossed the Border;” Enzo E. Vasquez Toral’s “From the Club to the Fiesta,” in which we are beckoned to dance in ways that gestures and nurtures futurity; and Gregory Mitchell’s examination of puta street fashion that expands the terrain of their sociality by reminding us that catwalks and clothes are aesthetics of/for queer(ed) belonging in “From Streetwalking to the Catwalk” (196). “Show” teaches us that queer spectacles are more than what we go out to see, asking us to reflect on how we want to see and be seen. Finally, after a night of anticipating, waiting, framing, and shaking, we open the door to “After.” We walk into the world with the residual lessons and effects from after-hours worldmaking, meditating about how we preserve them when the only presence left of our night are memories used for re-membering. “After” provokes thought around the lingering effects of sites and situations now gone, but that had previously held queer community and life. In particular, we confront the effects of gentrification on queer Black and Brown communities. Juana Maria Rodriguez’s examination of Xandra Ibarra’s “The Hookup/ Displacement/Barhopping/Drama Tour” frames how queer bodies and performance catalyze a call to what came before, engaging pleasure as political mourning and as a practice for re-inscription into spaces lost to capitalist greed. DJ Sedrick’s words in E. Patrick Johnson’s “Remember the Time: Black Queer Nightlife in the South” ring true in their forewarning: “Look around you. Somebody that was here last year ain’t here tonight” (232). These words evoke the memories of spaces and bodies invisibilized, departed, and removed, prompting us to think through connections we have lost to illness, to hate crimes, and to gentrification, and how Black and Brown folx carry on through erasure. Perhaps, as the final pages of the book point out in Jih-Fei Cheng’s “Keeping It on the Download,” this answer lies in the intangible, in the virtual and affective landscapes of queer belonging, and how queer subjects can live on through queer interfacing. Ultimately, Adeyemi, Khubchandani, and Rivera-Servera’s anthology asks us to ponder our own messy entanglement in queer nightlife: Who are we and how do we perform at every stage of the night? How can we more carefully commingle? What privileges, powers, and lineages do we hold? How do we activate queerness, and what role does performance and the body play in these processes as we make our way through the “not yet” (as noted by José Esteban Muñoz in Cruising Utopia: The Then and There of Queer Futurity) of utopic queer belonging? The pages of the book, rumpled by the wind, tickle my fingers as the sun sets. I think through my own “after,” sorting through recollections from my own queer congregations. The taste of tequila, glitter, and sweat are on the tip of my tongue. The night is beginning. Perhaps, I’ll go infiltrate space at the local d","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44270425","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 : 2022-08-01DOI: 10.1017/S0149767722000250
Irvin Manuel Gonzalez
{"title":"QUEER NIGHTLIFE edited by Kemi Adeyemi, Kareem Khubchandani, and Ramón H. Rivera-Servera. 2021. Ann Arbor: University of Michigan Press. 306 pp., 21 illustrations. $39.95 paper. ISBN: 9780472054787, ISBN-10: 0472054783. doi: 10.3998/mpub.11700274","authors":"Irvin Manuel Gonzalez","doi":"10.1017/S0149767722000250","DOIUrl":"https://doi.org/10.1017/S0149767722000250","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41882564","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 : 2022-08-01DOI: 10.1017/s0149767722000286
{"title":"DRJ volume 54 issue 2 Cover and Front matter","authors":"","doi":"10.1017/s0149767722000286","DOIUrl":"https://doi.org/10.1017/s0149767722000286","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41264288","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 : 2022-08-01DOI: 10.1017/s0149767722000298
{"title":"DRJ volume 54 issue 2 Cover and Back matter","authors":"","doi":"10.1017/s0149767722000298","DOIUrl":"https://doi.org/10.1017/s0149767722000298","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45835717","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 : 2022-08-01DOI: 10.1017/S0149767722000195
J. Ross
This article explores the role a human skeleton played in the queering and shaping of dance modernism. In the early decades of the twentieth century, an important intervention propelling dance toward a modernist aesthetic while disrupting the regulatory norms of gender construction, began in a women's college gymnasium via a skeleton. Two impulses generate this archival-based inquiry: one that traces the history and symbolic formulations of nationalism, race, and gender that followed skeletons into the university as they anchored conceptualizations of the modernist dancing body; and another that locates the intervention of a queer body in dance through this skeleton.
{"title":"Queering the Skeleton in Dance's Closet","authors":"J. Ross","doi":"10.1017/S0149767722000195","DOIUrl":"https://doi.org/10.1017/S0149767722000195","url":null,"abstract":"This article explores the role a human skeleton played in the queering and shaping of dance modernism. In the early decades of the twentieth century, an important intervention propelling dance toward a modernist aesthetic while disrupting the regulatory norms of gender construction, began in a women's college gymnasium via a skeleton. Two impulses generate this archival-based inquiry: one that traces the history and symbolic formulations of nationalism, race, and gender that followed skeletons into the university as they anchored conceptualizations of the modernist dancing body; and another that locates the intervention of a queer body in dance through this skeleton.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44579048","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 : 2022-08-01DOI: 10.1017/S0149767722000213
Mariam Diagne, Lucia Ruprecht, Eike Wittrock
In our editors’ note to this special issue of Dance Research Journal, we invoke the spirit of a person whom we have encountered as Betty Baaron Samoa in the archival records, yet we do not know if this was the name she would like to be invoked by. Her likeness has been with us, but we did not notice her for a long time. She appears in a series of photographs of Rudolf Laban’s dance workshops on the Monte Verità, Ascona. Laban had commissioned the photographer Johann Adam Meisenbach to document his early experiments in free dance in the summer of 1914, shortly before the outbreak of a war that would change the face of Europe. There she is, sometimes eerily smiling at us, sometimes coyly looking away, alone or with others, dressed and in the nude, framed by the mountains and trees of the Ticino region. Betty Baaron Samoa has always been with us. Laban scholars noticed her, but did not write her into their research. We encountered her many times in Meisenbach’s pictures, for instance in the second edition of Hans Brandenburg’s seminal volume Der Moderne Tanz (Modern Dance) whose appendix of black-and-white photographs constitutes the core visual repository of early dance modernism in Germany. She appears in the second edition of this volume (ca. 1917), but not in the third edition that was published in 1921.1 The black-and-white reproductions hardly distinguish the tone of her skin from that of the other dancers (see photo 1). This changed when new color prints of the original autochrome plates started to circulate after the death of Laban associate Suzanne Perrottet, whose estate was donated to Kunsthaus Zürich (Schwab 2003; Prange 2014) (see cover image). Betty Baaron Samoa was a woman of color.
{"title":"Editors' Note: Speculations on the Queerness of Dance Modernism","authors":"Mariam Diagne, Lucia Ruprecht, Eike Wittrock","doi":"10.1017/S0149767722000213","DOIUrl":"https://doi.org/10.1017/S0149767722000213","url":null,"abstract":"In our editors’ note to this special issue of Dance Research Journal, we invoke the spirit of a person whom we have encountered as Betty Baaron Samoa in the archival records, yet we do not know if this was the name she would like to be invoked by. Her likeness has been with us, but we did not notice her for a long time. She appears in a series of photographs of Rudolf Laban’s dance workshops on the Monte Verità, Ascona. Laban had commissioned the photographer Johann Adam Meisenbach to document his early experiments in free dance in the summer of 1914, shortly before the outbreak of a war that would change the face of Europe. There she is, sometimes eerily smiling at us, sometimes coyly looking away, alone or with others, dressed and in the nude, framed by the mountains and trees of the Ticino region. Betty Baaron Samoa has always been with us. Laban scholars noticed her, but did not write her into their research. We encountered her many times in Meisenbach’s pictures, for instance in the second edition of Hans Brandenburg’s seminal volume Der Moderne Tanz (Modern Dance) whose appendix of black-and-white photographs constitutes the core visual repository of early dance modernism in Germany. She appears in the second edition of this volume (ca. 1917), but not in the third edition that was published in 1921.1 The black-and-white reproductions hardly distinguish the tone of her skin from that of the other dancers (see photo 1). This changed when new color prints of the original autochrome plates started to circulate after the death of Laban associate Suzanne Perrottet, whose estate was donated to Kunsthaus Zürich (Schwab 2003; Prange 2014) (see cover image). Betty Baaron Samoa was a woman of color.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45910347","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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