Pub Date : 2022-08-01DOI: 10.1017/S0149767722000237
A. Stover
and the A-Men,” Aramphongphan examines the “how” of this relationship, drawing attention to Fred Herko’s performances in both spaces, and the interplay between efficiency and inefficiency that underpins some of the aesthetics of the time. In the last chapter, however, Aramphongphan turns toward historiography, asking why the austere and reductive elements of Judson—the “No Manifesto” Judson—have eclipsed acknowledgements of the balletic, vaudevillian, and queer sides of the group’s work. One of the reasons, Aramphongphan claims, was the presence of Robert Rauschenberg, whose ascendence in the art world afforded him greater status than other Judson artists. In addition to his iconic status, Rauschenberg and the elite circle around him—a circle that included Yvonne Rainer and Robert Morris—were more ready than other Judson Church artists to write about their work, thus consolidating a minimalist narrative from a pluralistic whole. Homophobia also played a role in shaping this art history. While Rauschenberg and Steve Paxton openly lived together, they maintained a public façade of asexuality or heterosexuality. Jill Johnston, who collaborated with the balletic Fred Herko and who also documented Judson concerts in her bold, experimental writing, found herself the subject of hostility for her relationship with Lucinda Childs: “To find a favored party of their group in bed with the critic, who was moreover of the wrong sex, was a territorial affront” (144). Historically, Childs has been described as a Rauschenbergian disciple, a partial truth that does not encompass her other work with James Waring’s company of ballet, vaudeville, Warhol, and camp. These and other “straightening devices” (153), which, as evidenced in this book, include censorship, miscategorization, erasure, dismissal, and outright bigotry, combined with the flattening of historical discourse as a whole as it is streamlined for scholarly audiences, has resulted in losses from our understanding of dance and art. Placing queerness back into the narrative, Aramphongphan also connects the Ballets Russes into this canon, allowing for a discussion of Orientalism, effeminacy, and excess in the work’s closing pages. This in turn leads to a discussion of “imaginative possibilities,” or how today’s artists might reclaim postmodern art spaces for artists of color, and others who have been excluded from the history of fine art and dance. Overall, Horizontal Together is a hopeful work that offers new insight and critique in the service of a more inclusive historical practice. I recommend it to students and scholars interested in reclaiming dance/art history, and for those working with queerness and interdisciplinary scholarship. Aramphongphan makes a persuasive case for a “semiotics of kinesthetics” (8) illustrating throughout the text that bodies and the way they move can create a significant impact on how a community expresses itself. Through dance, and art, bodies in the 1960s used the semiotic
{"title":"NEO-BURLESQUE: STRIPTEASE AS TRANSFORMATION by Lynn Sally. 2021. New Brunswick: Rutgers University Press. 288 pp., 50 illustrations. $26.95 paper. ISBN: 9781978828087.","authors":"A. Stover","doi":"10.1017/S0149767722000237","DOIUrl":"https://doi.org/10.1017/S0149767722000237","url":null,"abstract":"and the A-Men,” Aramphongphan examines the “how” of this relationship, drawing attention to Fred Herko’s performances in both spaces, and the interplay between efficiency and inefficiency that underpins some of the aesthetics of the time. In the last chapter, however, Aramphongphan turns toward historiography, asking why the austere and reductive elements of Judson—the “No Manifesto” Judson—have eclipsed acknowledgements of the balletic, vaudevillian, and queer sides of the group’s work. One of the reasons, Aramphongphan claims, was the presence of Robert Rauschenberg, whose ascendence in the art world afforded him greater status than other Judson artists. In addition to his iconic status, Rauschenberg and the elite circle around him—a circle that included Yvonne Rainer and Robert Morris—were more ready than other Judson Church artists to write about their work, thus consolidating a minimalist narrative from a pluralistic whole. Homophobia also played a role in shaping this art history. While Rauschenberg and Steve Paxton openly lived together, they maintained a public façade of asexuality or heterosexuality. Jill Johnston, who collaborated with the balletic Fred Herko and who also documented Judson concerts in her bold, experimental writing, found herself the subject of hostility for her relationship with Lucinda Childs: “To find a favored party of their group in bed with the critic, who was moreover of the wrong sex, was a territorial affront” (144). Historically, Childs has been described as a Rauschenbergian disciple, a partial truth that does not encompass her other work with James Waring’s company of ballet, vaudeville, Warhol, and camp. These and other “straightening devices” (153), which, as evidenced in this book, include censorship, miscategorization, erasure, dismissal, and outright bigotry, combined with the flattening of historical discourse as a whole as it is streamlined for scholarly audiences, has resulted in losses from our understanding of dance and art. Placing queerness back into the narrative, Aramphongphan also connects the Ballets Russes into this canon, allowing for a discussion of Orientalism, effeminacy, and excess in the work’s closing pages. This in turn leads to a discussion of “imaginative possibilities,” or how today’s artists might reclaim postmodern art spaces for artists of color, and others who have been excluded from the history of fine art and dance. Overall, Horizontal Together is a hopeful work that offers new insight and critique in the service of a more inclusive historical practice. I recommend it to students and scholars interested in reclaiming dance/art history, and for those working with queerness and interdisciplinary scholarship. Aramphongphan makes a persuasive case for a “semiotics of kinesthetics” (8) illustrating throughout the text that bodies and the way they move can create a significant impact on how a community expresses itself. Through dance, and art, bodies in the 1960s used the semiotic","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":"44920193","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 : 2022-04-01DOI: 10.1017/S014976772200002X
Andrea Harris
Abstract This article examines Film Studies of the Dance, a dance film created in 1935 by Blanche Evan, Lionel Berman, and David Wolff. The film premiered Evan's new system of dance training, Functional Technique, to the 1930s New York revolutionary dance community. I analyze the film and Functional Technique inside of the debates over technique and content that preoccupied left-wing modern dancers in this period. Ultimately, Film Studies of the Dance emerges as a collaborative attempt by Evan, Berman, and Wolff to create new approaches to dance and film that would unify form and content to further socially conscious art making.
{"title":"Blanche Evan's Film Studies of the Dance: The “Technique Problem” and the Creation of New Forms in 1930s Revolutionary Dance","authors":"Andrea Harris","doi":"10.1017/S014976772200002X","DOIUrl":"https://doi.org/10.1017/S014976772200002X","url":null,"abstract":"Abstract This article examines Film Studies of the Dance, a dance film created in 1935 by Blanche Evan, Lionel Berman, and David Wolff. The film premiered Evan's new system of dance training, Functional Technique, to the 1930s New York revolutionary dance community. I analyze the film and Functional Technique inside of the debates over technique and content that preoccupied left-wing modern dancers in this period. Ultimately, Film Studies of the Dance emerges as a collaborative attempt by Evan, Berman, and Wolff to create new approaches to dance and film that would unify form and content to further socially conscious art making.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41493338","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 : 2022-04-01DOI: 10.1017/S0149767722000092
Colleen T. Dunagan
Eric Mullis provides a rigorous demonstration of interdisciplinary scholarship, merging performance theory with theology, philosophy, and autoethnographic and historical research methodologies. Mullis’s Pragmatist Philosophy and Dance: Interdisciplinary Dance Research in the American South addresses the value of combining research modalities and drawing on embodied research as part of a process model of dance philosophy. Mullis examines ecstatic states within Appalachian charismatic Pentecostal churches and the ethics of researching and representing these traditions through performance. His work differs from recent publications on dance and philosophy in its emphasis on pragmatism and somaesthetics. For example, The Bloomsbury Handbook of Dance and Philosophy (Farinas and Van Camp 2021) and Midwest Studies in Philosophy’s December 2019 issue dedicated to dance philosophy feature a wide range of philosophical topics, theories, and methodologies, including Mullis’s discussion of political dance and Richard Shusterman’s somaesthetic perspectives. Mullis’s monograph brings a renewed focus on pragmatism, which has been overwhelmed in the American context by phenomenological, analytic, and continental philosophical approaches. However, Pragmatist Philosophy shares a focus on philosophical approaches to dance and religion with Kimerer LaMothe’s Between Dancing and Writing: The Practice of Religious Studies (2004) and an emphasis on relationships between dance and religion with Sam Gill’s Dancing Culture Religion (2012). Simultaneously, Mullis draws attention to autoethnographic methodologies in the dance field, aligning with work such as the edited collection Fields in Motion: Ethnography in the Worlds of Dance (Davida 2011), Karen Schupp’s (2017) autoethnographic studies of dance competition culture, and Lliane Loots’s (2016) “The Autoethnographic Act of Choreography,” to name but a few. Pragmatist Philosophy and Dance’s interdisciplinarity governs its structure, offering a journey that feels, at times, segmented by research modalities and disciplinary methodologies, while drawing varied methodologies into dialogue with one another across eight chapters. Pentecostalism and charismatic states link autoethnographic field notes to philosophy, choreographic analysis, and religious history. Chapter 1 performatively enacts a historical and pragmatist justification for autobiography as a valid form of philosophical inquiry, while also conveying Mullis’s positionality within his ethnographic research of Southern Pentecostal churches. Beginning with an autoethnography of Mullis’s journey to choreographing Later Rain and its development into formal sections that also function as standalone performances (Paw Creek, This Falls to Us, and The Land of Nod), he provides theoretical, religious historical, and methodological background before closing with a standard outline of chapters. Mullis frames the book’s remaining structure around issues arising from his creatio
埃里克·穆利斯（Eric Mullis）提供了跨学科学术的严格证明，将表演理论与神学、哲学、民族志和历史研究方法相结合。穆利斯的《实用主义哲学与舞蹈：美国南方的跨学科舞蹈研究》阐述了将研究模式相结合并借鉴具体研究作为舞蹈哲学过程模型的一部分的价值。穆利斯考察了阿巴拉契亚魅力超凡的五旬节教堂内的狂喜状态，以及通过表演研究和代表这些传统的伦理道德。他的作品与最近关于舞蹈和哲学的出版物的不同之处在于，它强调实用主义和身体美学。例如，《布鲁姆斯伯里舞蹈与哲学手册》（Farinas and Van Camp 2021）和《中西部哲学研究》2019年12月号专门讨论舞蹈哲学，其中包括广泛的哲学主题、理论和方法论，包括穆利斯对政治舞蹈的讨论和理查德·舒斯特曼的身体美学观点。穆利斯的专著重新聚焦实用主义，实用主义在美国被现象学、分析学和大陆哲学方法所淹没。然而，实用主义哲学与Kimerer LaMothe的《舞蹈与写作之间：宗教研究的实践》（2004）一样关注舞蹈与宗教的哲学方法，与Sam Gill的《舞蹈文化与宗教》（2012）一样强调舞蹈与宗教之间的关系。同时，Mullis提请人们注意舞蹈领域的民族志方法论，并与编辑过的作品集《运动中的田野：舞蹈世界中的民族志》（Davida 2011）、Karen Schupp（2017）的舞蹈竞赛文化民族志研究和Lliane Loots（2016）的《编排的民族志行为》等保持一致。实用主义哲学与舞蹈的跨学科性决定了它的结构，提供了一个有时会被研究模式和学科方法分割的旅程，同时在八章中将各种方法相互对话。五旬节主义和魅力国家将民族志田野笔记与哲学、舞蹈分析和宗教历史联系起来。第一章表演性地为自传作为一种有效的哲学探究形式提供了历史和实用主义的理由，同时也传达了穆利斯在他对南方五旬节教会的民族志研究中的立场。从穆利斯编排《后来的雨》之旅的民族志开始，并将其发展成正式的部分，也作为独立的表演（《Paw Creek》、《This Falls to Us》和《Nod之地》），他提供了理论、宗教历史和方法论背景，然后以标准的章节大纲结束。穆利斯围绕他创作的《后来的雨》及其独立章节中出现的问题，构建了这本书的剩余结构，
{"title":"PRAGMATIST PHILOSOPHY AND DANCE: INTERDISCIPLINARY DANCE RESEARCH IN THE AMERICAN SOUTH by Eric Mullis. 2019. Cham, CH: Palgrave Macmillan. 247 pp. $89.99 hardcover. ISBN: 9783030293130. $59.99 paper. ISBN: 9783030293154. $44.99 e-book. ISBN: 9783030293147. doi: 10.1007/978-3-030-29314-7","authors":"Colleen T. Dunagan","doi":"10.1017/S0149767722000092","DOIUrl":"https://doi.org/10.1017/S0149767722000092","url":null,"abstract":"Eric Mullis provides a rigorous demonstration of interdisciplinary scholarship, merging performance theory with theology, philosophy, and autoethnographic and historical research methodologies. Mullis’s Pragmatist Philosophy and Dance: Interdisciplinary Dance Research in the American South addresses the value of combining research modalities and drawing on embodied research as part of a process model of dance philosophy. Mullis examines ecstatic states within Appalachian charismatic Pentecostal churches and the ethics of researching and representing these traditions through performance. His work differs from recent publications on dance and philosophy in its emphasis on pragmatism and somaesthetics. For example, The Bloomsbury Handbook of Dance and Philosophy (Farinas and Van Camp 2021) and Midwest Studies in Philosophy’s December 2019 issue dedicated to dance philosophy feature a wide range of philosophical topics, theories, and methodologies, including Mullis’s discussion of political dance and Richard Shusterman’s somaesthetic perspectives. Mullis’s monograph brings a renewed focus on pragmatism, which has been overwhelmed in the American context by phenomenological, analytic, and continental philosophical approaches. However, Pragmatist Philosophy shares a focus on philosophical approaches to dance and religion with Kimerer LaMothe’s Between Dancing and Writing: The Practice of Religious Studies (2004) and an emphasis on relationships between dance and religion with Sam Gill’s Dancing Culture Religion (2012). Simultaneously, Mullis draws attention to autoethnographic methodologies in the dance field, aligning with work such as the edited collection Fields in Motion: Ethnography in the Worlds of Dance (Davida 2011), Karen Schupp’s (2017) autoethnographic studies of dance competition culture, and Lliane Loots’s (2016) “The Autoethnographic Act of Choreography,” to name but a few. Pragmatist Philosophy and Dance’s interdisciplinarity governs its structure, offering a journey that feels, at times, segmented by research modalities and disciplinary methodologies, while drawing varied methodologies into dialogue with one another across eight chapters. Pentecostalism and charismatic states link autoethnographic field notes to philosophy, choreographic analysis, and religious history. Chapter 1 performatively enacts a historical and pragmatist justification for autobiography as a valid form of philosophical inquiry, while also conveying Mullis’s positionality within his ethnographic research of Southern Pentecostal churches. Beginning with an autoethnography of Mullis’s journey to choreographing Later Rain and its development into formal sections that also function as standalone performances (Paw Creek, This Falls to Us, and The Land of Nod), he provides theoretical, religious historical, and methodological background before closing with a standard outline of chapters. Mullis frames the book’s remaining structure around issues arising from his creatio","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49276256","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 : 2022-04-01DOI: 10.1017/S0149767722000109
Menghang Wu
to Christian religious practices. Notably, Mullis’s analysis of dance/theater works portraying Shaker culture forms the framework for a discussion of performative strategies that support his choreographic treatments of ecstatic Protestantism. Focusing on ethics and efficacy, Mullis argues for dialogic engagements with theology that avoid reducing religious embodiment to a set of aesthetic principles aligning with modernism. This examination of historical works concludes with an analysis of Mullis’s own The Land of Nod, which he uses to demonstrate (1) strategies for performatively engaging with theologies that allow for critical reflection and (2) ethical concerns arising from working with a living religion. Calling attention to how theatrical representations of the Shakers live at a historical distance from the sect, Mullis demonstrates how this leads to idealized representations and a focus on decontextualized material culture that “mythologizes” religion (112). Further positioning his examples, Mullis argues that his treatment of charismatic Pentecostalism in Later Rain faces different ethical concerns because it could offend existing practitioners, and focuses on theatrically presenting ecstatic movement, rather than a specific religion or religious community. Instead, Later Rain and The Land of Nod offer a model for how dance might critically and ethically engage with religious praxis. Overall, discussions of his performance works and choreographies either begin or end chapters, and are sometimes quite brief. This aspect of the text reflects the overall organization, which shifts between perspectives and methodologies. Eric Mullis’s Pragmatist Philosophy and Dance offers a rich treatment of pragmatism, theology, and somaesthetics, placing these bodies of thought in relationship to one another and dancerly embodiment in significant and fruitful ways.
{"title":"FINAL BOW FOR YELLOWFACE: DANCING BETWEEN INTENTION AND IMPACT by Phil Chan. 2020. With Michele Chase. New York: Yellow Peril Press. 238 pp., 12 photographs. $24.99 paper. ISBN: 9781734732481.","authors":"Menghang Wu","doi":"10.1017/S0149767722000109","DOIUrl":"https://doi.org/10.1017/S0149767722000109","url":null,"abstract":"to Christian religious practices. Notably, Mullis’s analysis of dance/theater works portraying Shaker culture forms the framework for a discussion of performative strategies that support his choreographic treatments of ecstatic Protestantism. Focusing on ethics and efficacy, Mullis argues for dialogic engagements with theology that avoid reducing religious embodiment to a set of aesthetic principles aligning with modernism. This examination of historical works concludes with an analysis of Mullis’s own The Land of Nod, which he uses to demonstrate (1) strategies for performatively engaging with theologies that allow for critical reflection and (2) ethical concerns arising from working with a living religion. Calling attention to how theatrical representations of the Shakers live at a historical distance from the sect, Mullis demonstrates how this leads to idealized representations and a focus on decontextualized material culture that “mythologizes” religion (112). Further positioning his examples, Mullis argues that his treatment of charismatic Pentecostalism in Later Rain faces different ethical concerns because it could offend existing practitioners, and focuses on theatrically presenting ecstatic movement, rather than a specific religion or religious community. Instead, Later Rain and The Land of Nod offer a model for how dance might critically and ethically engage with religious praxis. Overall, discussions of his performance works and choreographies either begin or end chapters, and are sometimes quite brief. This aspect of the text reflects the overall organization, which shifts between perspectives and methodologies. Eric Mullis’s Pragmatist Philosophy and Dance offers a rich treatment of pragmatism, theology, and somaesthetics, placing these bodies of thought in relationship to one another and dancerly embodiment in significant and fruitful ways.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42286336","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 : 2022-04-01DOI: 10.1017/S0149767722000043
Lindsey Drury
This article questions how the historically revisionist history of “the West,” as initiated by Thomas Hanna, informs systems of inclusion, exclusion, and power within the field of “somatics.” Hanna, who coined the term somatics, sought in so doing to root the burgeoning field in a “Western” tradition of philosophy and science that he fundamentally misconstrued. Meanwhile, Hanna's work to formulate a historically and philosophically Western basis of a somatic field continues to provide cover for white somatic practitioners whose institutionally minted somatic forms extract philosophical and practical knowledge from non-white body-mind practices internationally. Subsequent accounts of somatics consequently articulate both the Western history of somatics and its “non-Western influences” on false grounds. This article theorizes the colonial and Western supremacist holdovers within a somatic field that nonetheless gives lip service to postcolonial discourse. Finally, by rebuilding an approach to the “deep time” history relating sōma and somatics, this article proposes how the field of somatics could reground its understanding of the “first-person experience of the body,” informed by Afropessimism, Black Accelerationism, and Afrofuturist thought.
{"title":"What's in a Name? Somatics and the Historical Revisionism of Thomas Hanna","authors":"Lindsey Drury","doi":"10.1017/S0149767722000043","DOIUrl":"https://doi.org/10.1017/S0149767722000043","url":null,"abstract":"This article questions how the historically revisionist history of “the West,” as initiated by Thomas Hanna, informs systems of inclusion, exclusion, and power within the field of “somatics.” Hanna, who coined the term somatics, sought in so doing to root the burgeoning field in a “Western” tradition of philosophy and science that he fundamentally misconstrued. Meanwhile, Hanna's work to formulate a historically and philosophically Western basis of a somatic field continues to provide cover for white somatic practitioners whose institutionally minted somatic forms extract philosophical and practical knowledge from non-white body-mind practices internationally. Subsequent accounts of somatics consequently articulate both the Western history of somatics and its “non-Western influences” on false grounds. This article theorizes the colonial and Western supremacist holdovers within a somatic field that nonetheless gives lip service to postcolonial discourse. Finally, by rebuilding an approach to the “deep time” history relating sōma and somatics, this article proposes how the field of somatics could reground its understanding of the “first-person experience of the body,” informed by Afropessimism, Black Accelerationism, and Afrofuturist thought.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42137455","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 : 2022-04-01DOI: 10.1017/s0149767722000122
H. Ketu, J. Pather
{"title":"Books Received","authors":"H. Ketu, J. Pather","doi":"10.1017/s0149767722000122","DOIUrl":"https://doi.org/10.1017/s0149767722000122","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45447572","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 : 2022-04-01DOI: 10.1017/s0149767722000158
{"title":"DRJ volume 54 issue 1 Cover and Front matter","authors":"","doi":"10.1017/s0149767722000158","DOIUrl":"https://doi.org/10.1017/s0149767722000158","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46909720","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 : 2022-04-01DOI: 10.1017/s014976772200016x
{"title":"DRJ volume 54 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s014976772200016x","DOIUrl":"https://doi.org/10.1017/s014976772200016x","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42825298","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 : 2022-04-01DOI: 10.1017/S0149767722000134
Annelies Van Assche
Abstract In my ethnographic fieldwork in the contemporary dance scene in Brussels, I followed closely which struggles Moya Michael had to overcome as a South African maker in the European contemporary dance sector trying to sell her work. As a female artist of color, she cannot escape the fetishistic gaze emphasizing her exoticized body, a body imagined as exotic vis-à-vis institutional whiteness. This article examines how the work environment in the continental European contemporary dance sector forms a breeding ground for the fetishization of Afrodiasporic artists. After unpacking the general issues related to identity in the European contemporary dance sector, this article continues to discuss the dance solo Khoiswan, which Michael created in 2018 as the first part of an ongoing series called Coloured Swans. In this choreographic work, Michael centers and explores her multilayered identity on her own terms.
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