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":"54 1","pages":"6 - 29"},"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/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":"54 1","pages":"f1 - f6"},"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/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.
{"title":"Coloured Swan: Moya Michael's Prowess in the Face of Fetishization in European Dance","authors":"Annelies Van Assche","doi":"10.1017/S0149767722000134","DOIUrl":"https://doi.org/10.1017/S0149767722000134","url":null,"abstract":"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.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"54 1","pages":"92 - 111"},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57054048","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":"54 1","pages":"b1 - b2"},"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/S0149767722000146
Nadine George-Graves
A few years ago, I participated in an eighteenth-month leadership training program for professors considering moving into administration. One of the many presentations for the group was titled “Mindfulness: Waking Up to the Leader You Really Are!” I was excited for what I thought would be a combination of my scholarly field and potential managerial aspirations. The bulk of the presentation consisted of detailing the “evidence-based research on the effectiveness of mindfulness” by a white woman PhD in the College of Medicine. The presenter often used the phrase “we finally have the scientific evidence for ________ [insert effective Eastern body-based practice here].” She then provided anecdotes from a seemingly unexpected place to convince us that mindfulness and practices like yoga actually work. We watched a short video of an avuncular white man talking about the power of yoga, which ended with a footnote from Gandhi. We were to be impressed that American construction workers found yoga helpful, as if they didn’t use and understand their bodies far better than academics. By the end of the session, I was more than a bit uncomfortable, and when we went around the table for comments, I simply said, “You had me at thousands of years of Indian spiritual healing practices.” I don’t mean to sound flip or to disparage this work, for, no doubt, there were some in the room that needed to see the composite data points and hear testimonies from white Americans. It was neither the time nor place for me to suggest unpacking the false progressivist assumptions that Eastern healing practices have been waiting around for validation from the scientific method, or the implied coopting of this body of knowledge from a people not represented in the room into packages more palatable for those in the room, allowing them to be more comfortable and open to this type of embodied knowledge.
{"title":"Editor's Note","authors":"Nadine George-Graves","doi":"10.1017/S0149767722000146","DOIUrl":"https://doi.org/10.1017/S0149767722000146","url":null,"abstract":"A few years ago, I participated in an eighteenth-month leadership training program for professors considering moving into administration. One of the many presentations for the group was titled “Mindfulness: Waking Up to the Leader You Really Are!” I was excited for what I thought would be a combination of my scholarly field and potential managerial aspirations. The bulk of the presentation consisted of detailing the “evidence-based research on the effectiveness of mindfulness” by a white woman PhD in the College of Medicine. The presenter often used the phrase “we finally have the scientific evidence for ________ [insert effective Eastern body-based practice here].” She then provided anecdotes from a seemingly unexpected place to convince us that mindfulness and practices like yoga actually work. We watched a short video of an avuncular white man talking about the power of yoga, which ended with a footnote from Gandhi. We were to be impressed that American construction workers found yoga helpful, as if they didn’t use and understand their bodies far better than academics. By the end of the session, I was more than a bit uncomfortable, and when we went around the table for comments, I simply said, “You had me at thousands of years of Indian spiritual healing practices.” I don’t mean to sound flip or to disparage this work, for, no doubt, there were some in the room that needed to see the composite data points and hear testimonies from white Americans. It was neither the time nor place for me to suggest unpacking the false progressivist assumptions that Eastern healing practices have been waiting around for validation from the scientific method, or the implied coopting of this body of knowledge from a people not represented in the room into packages more palatable for those in the room, allowing them to be more comfortable and open to this type of embodied knowledge.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"54 1","pages":"1 - 4"},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41990860","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/S0149767722000110
Fangfei Miao
Abstract This article examines a pivoting moment in Chinese modern dance history—a four-year US-China dance exchange project known as the Guangdong Modern Dance Experimental Program that occurred as part of China's Reform Era cultural policies. Based on my intertwined positions of outside insider and artist-scholar, this article examines the interaction between competing kinesthetic values, pedagogical approaches, and conceptions of the modern crystallized in the Guangdong program, an inquiry that defies conventional narratives of Chinese modern dance. I propose the concept of “mis-step” as an aperture to rethink corporeal encounter and dance circulation in global spaces. “Mis-” indicates contingency beyond expectations; “-step” suggests productivity of that contingency. “Mis-step” thus highlights the rich potential of indeterminacy and proposes to theorize transnational dance history beyond “right” or “wrong.” Through mis-step, this article submits a sensual experience of global encounter that centers on perplexity. This awkward yet meaningful experience constructs a crucial component of globalization reality.
{"title":"Mis-step as Global Encounter: The American Dance Festival in Reform Era China","authors":"Fangfei Miao","doi":"10.1017/S0149767722000110","DOIUrl":"https://doi.org/10.1017/S0149767722000110","url":null,"abstract":"Abstract This article examines a pivoting moment in Chinese modern dance history—a four-year US-China dance exchange project known as the Guangdong Modern Dance Experimental Program that occurred as part of China's Reform Era cultural policies. Based on my intertwined positions of outside insider and artist-scholar, this article examines the interaction between competing kinesthetic values, pedagogical approaches, and conceptions of the modern crystallized in the Guangdong program, an inquiry that defies conventional narratives of Chinese modern dance. I propose the concept of “mis-step” as an aperture to rethink corporeal encounter and dance circulation in global spaces. “Mis-” indicates contingency beyond expectations; “-step” suggests productivity of that contingency. “Mis-step” thus highlights the rich potential of indeterminacy and proposes to theorize transnational dance history beyond “right” or “wrong.” Through mis-step, this article submits a sensual experience of global encounter that centers on perplexity. This awkward yet meaningful experience constructs a crucial component of globalization reality.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"54 1","pages":"50 - 69"},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47459761","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/S0149767722000055
Zena Bibler
Abstract This article examines how mayfield brooks uses spatial, discursive, and vestibular disorientations to intervene within anti-Black regimes of perception in their Improvising While Black (IWB) workshops, which draw from their ongoing life/art project by the same name. Drawing from insights gathered through my participation in IWB workshops as well as through conversations with brooks and other workshop participants, I examine what brooks's guided disorientations do, that is, what they produce kinetically, perceptually, and relationally among participants. I show how brooks's disorientations expand on Sachi Sekimoto and Christopher Brown's conceptualization of racialized regimes of perception by revealing a set of choreographic tropes that undergird those regimes. These include perceiving from a vertical posture, leading movement from the head, navigating based on visual cues while inhibiting responsivity to other senses, turning away from cultural and ancestral context, and relating to self and others as individuals. Drawing on examinations of disorientation within contemporary dance practice and critical race theory, I argue that brooks guides participants into disorienting improvisations that draw attention to, refuse participation within, and generate otherwise possibilities to this choreography.
{"title":"Disorientation as Critical Practice: Confronting Anti-Black Perceptual Regimes and Activating the Otherwise in mayfield brooks's Improvising While Black Pedagogy","authors":"Zena Bibler","doi":"10.1017/S0149767722000055","DOIUrl":"https://doi.org/10.1017/S0149767722000055","url":null,"abstract":"Abstract This article examines how mayfield brooks uses spatial, discursive, and vestibular disorientations to intervene within anti-Black regimes of perception in their Improvising While Black (IWB) workshops, which draw from their ongoing life/art project by the same name. Drawing from insights gathered through my participation in IWB workshops as well as through conversations with brooks and other workshop participants, I examine what brooks's guided disorientations do, that is, what they produce kinetically, perceptually, and relationally among participants. I show how brooks's disorientations expand on Sachi Sekimoto and Christopher Brown's conceptualization of racialized regimes of perception by revealing a set of choreographic tropes that undergird those regimes. These include perceiving from a vertical posture, leading movement from the head, navigating based on visual cues while inhibiting responsivity to other senses, turning away from cultural and ancestral context, and relating to self and others as individuals. Drawing on examinations of disorientation within contemporary dance practice and critical race theory, I argue that brooks guides participants into disorienting improvisations that draw attention to, refuse participation within, and generate otherwise possibilities to this choreography.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"54 1","pages":"30 - 49"},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48884414","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/S0149767722000079
Adrienne Gibbons Oehlers
{"title":"RENEGADES: DIGITAL DANCE CULTURES FROM DUBSMASH TO TIKTOK by Trevor Boffone. 2021. New York: Oxford University Press. 167 pp., 11 halftones. $29.95 paper. ISBN: 9780197577684.","authors":"Adrienne Gibbons Oehlers","doi":"10.1017/S0149767722000079","DOIUrl":"https://doi.org/10.1017/S0149767722000079","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"54 1","pages":"115 - 117"},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42263742","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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