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":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":"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":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":"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":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":"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":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":"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}
Pub Date : 2022-04-01DOI: 10.1017/S0149767722000067
Sinjini Chatterjee
{"title":"DANCING WOMEN: CHOREOGRAPHING CORPOREAL HISTORIES OF HINDI CINEMA by Usha Iyer. 2020. New York: Oxford University Press. 269 pp. $35.99 paper. ISBN: 9780190938741. $125.00 hardcover. ISBN: 9780190938734.","authors":"Sinjini Chatterjee","doi":"10.1017/S0149767722000067","DOIUrl":"https://doi.org/10.1017/S0149767722000067","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":"43153892","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 : 2021-12-01DOI: 10.1017/S014976772100036X
Sarah Gutsche-Miller
Abstract This article seeks to correct prevailing narratives of French ballet modernism, which exclude one of its earliest and most significant choreographers, Madame Mariquita. Although long overshadowed by the Diaghilev enterprise and by dancers such as Isadora Duncan, Mariquita's experiments with creating dances that drew on ancient Greek imagery while ballet mistress at the Paris Opéra-Comique in the early 1900s were central to ballet culture in France at a pivotal moment in dance history. This article discusses Mariquita's nascent ballet modernism through her choreography of Greek dances as well as her engagement with early twentieth-century French dance and broader cultural trends.
{"title":"Madame Mariquita, Greek Dance, and French Ballet Modernism","authors":"Sarah Gutsche-Miller","doi":"10.1017/S014976772100036X","DOIUrl":"https://doi.org/10.1017/S014976772100036X","url":null,"abstract":"Abstract This article seeks to correct prevailing narratives of French ballet modernism, which exclude one of its earliest and most significant choreographers, Madame Mariquita. Although long overshadowed by the Diaghilev enterprise and by dancers such as Isadora Duncan, Mariquita's experiments with creating dances that drew on ancient Greek imagery while ballet mistress at the Paris Opéra-Comique in the early 1900s were central to ballet culture in France at a pivotal moment in dance history. This article discusses Mariquita's nascent ballet modernism through her choreography of Greek dances as well as her engagement with early twentieth-century French dance and broader cultural trends.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49294663","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 : 2021-12-01DOI: 10.1017/s0149767721000449
{"title":"DRJ volume 53 issue 3 Cover and Back matter","authors":"","doi":"10.1017/s0149767721000449","DOIUrl":"https://doi.org/10.1017/s0149767721000449","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47095286","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 : 2021-12-01DOI: 10.1017/s0149767721000395
Heather Harrington
more about the experiences and needs of their constituencies. As I read, I found myself substituting “dance artists” for “PhD students and adjuncts,” drawing parallels between the dance field and the conditions of academic life. Her discussion of dance artists’ willingness to selfexploit provoked reflection about my own experiences and motivations: Why exactly did I agree to write this (unpaid) review? Why have I been teaching as an adjunct for five years? In what ways do I neglect forms of collective struggle and cave to the gravitational pull of individualist careerism? Van Assche’s exploration of precarity can help us attune to the ways that selfexploitation and smarm show up within concert dance, academia, and our lives more broadly.
{"title":"SIDI LARBI CHERKAOUI: DRAMATURGY AND ENGAGED SPECTATORSHIP by Lise Uytterhoeven. 2019. London: Palgrave Macmillan. 271 pp., 16 illustrations. £64.99 hardcover. ISBN: 9783030278151. £44.99 paper. £34.99 e-book. ISBN: 9783030278168.","authors":"Heather Harrington","doi":"10.1017/s0149767721000395","DOIUrl":"https://doi.org/10.1017/s0149767721000395","url":null,"abstract":"more about the experiences and needs of their constituencies. As I read, I found myself substituting “dance artists” for “PhD students and adjuncts,” drawing parallels between the dance field and the conditions of academic life. Her discussion of dance artists’ willingness to selfexploit provoked reflection about my own experiences and motivations: Why exactly did I agree to write this (unpaid) review? Why have I been teaching as an adjunct for five years? In what ways do I neglect forms of collective struggle and cave to the gravitational pull of individualist careerism? Van Assche’s exploration of precarity can help us attune to the ways that selfexploitation and smarm show up within concert dance, academia, and our lives more broadly.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47178858","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 : 2021-12-01DOI: 10.1017/S0149767721000371
Eugenia Cadús
{"title":"MOVING OTHERWISE: DANCE, VIOLENCE, AND MEMORY IN BUENOS AIRES by Victoria Fortuna. 2019. New York: Oxford University Press. 280 pp., 26 illustrations. $36.95 paper. ISBN: 9780190627027.","authors":"Eugenia Cadús","doi":"10.1017/S0149767721000371","DOIUrl":"https://doi.org/10.1017/S0149767721000371","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41961264","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：