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":"54 1","pages":"113 - 115"},"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/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":"53 1","pages":"92 - 94"},"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":"53 1","pages":"88 - 90"},"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}
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":"53 1","pages":"b1 - b3"},"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/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":"53 1","pages":"46 - 68"},"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/s0149767721000383
Olive Mckeon
{"title":"LABOR AND AESTHETICS IN EUROPEAN CONTEMPORARY DANCE: DANCING PRECARITY by Annelies Van Assche. 2020. Cham, CH: Palgave Macmillian. 293 pp. 7 b/w illustrations, 5 color illustrations. $109.99 e-book. ISBN: 978-3-030-40693-6.","authors":"Olive Mckeon","doi":"10.1017/s0149767721000383","DOIUrl":"https://doi.org/10.1017/s0149767721000383","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"90 - 92"},"PeriodicalIF":0.6,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43637350","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/S0149767721000413
M. Mandradjieff
symbol and excavate connections on a micro and macro level to reveal all facets of the work. In Myth, an unstable image of the cross —from crutches, to a weapon, to a crucifix— emphasizes the overarching theme that nothing is fixed. Cherkaoui’s productions offer fertile ground, porous enough to inject one’s own subjectivity into the meaning-making process, shifting between viewing and research. Those who have not seen his work may be inspired to see it live, and Uytterhoeven’s book may prompt a re-examination by those who have seen his productions. The reader is encouraged to contemplate the act of performance: What lives in the moment and what lives outside the body in mnemonic devices? How do they inform one another? Athough Uytterhoeven does not speak often about her visceral experiences of watching, she reflected: “I realised that I had no means of accounting for the strong affective, physical responses I felt to the powerful sections of the performance” (114). Is there a power in live performance that resides in the body and cannot be translated? Both writer and choreographer are utopian in their visions. For Uytterhoeven, the continued dramaturgy that happens after performance leads to cross-cultural conversations and possible shifts in perspective, engaging with Marianne Van Kerkhoeven’s “Grote Dramaturgie” (69), whereas Cherkaoui perceives movement as a universal language that possesses the ability to bring people together literally and figuratively. Uytterhoeven perceives movement as embedded in a cultural point of view (147). Chapter 3 elucidates problems with the idea of the universality of movement and transculturality in zero degrees and Sutra (2008). In both pieces Cherkaoui choreographs the physicalization of difference even as he tries to dance like the “Other.” In Babel (co-choreographed with Damien Jalet in 2010), spoken languages separate people, while movement unites them. Uytterhoeven explains, “For Cherkaoui and Jalet, people from diverse cultures can be connected through dance and bodywork as a transcultural act, which they propose are an antidote to conflict and misunderstanding as a result of language confusion” (203). The reader is left to ponder the properties of movement through different perspectives. Uytterhoeven focuses on one choreographer, but her scholarship expands outward into a myriad of directions. Her book inspires continued engagement, just as Cherkaoui’s work does. Can individual or social change be ignited after watching a performance? What ignites: the moment of watching or the analysis after viewing the performance? What are the tools of an artist in the twenty-first century? Cherkaoui’s large-scale theatrical productions, with sets and numerous performers and collaborators from all over the world, raise the question: What kind of work is possible, based on the financial support available? Not everyone will immerse themselves in the kind of in-depth, engaged spectatorship that Uytterhoeven advocates, bu
符号和挖掘微观和宏观层面的联系，揭示作品的各个方面。在《神话》中，一个不稳定的十字架形象——从拐杖到武器，再到十字架——强调了没有什么是固定不变的主题。Cherkaoui的作品提供了肥沃的土壤，足够多孔，可以将自己的主观性注入到意义创造过程中，在观看和研究之间转换。那些没有看过他作品的人可能会受到启发，去现场看看他的作品，而那些看过他作品的人可能会重新审视他的书。读者被鼓励去思考表演的行为:什么存在于当下，什么存在于身体之外的记忆装置中?他们是如何互相通知的?尽管Uytterhoeven不经常谈论她观看时的内心体验，但她反思道:“我意识到我无法解释我对表演中强有力的部分所感受到的强烈情感和身体反应”(114)。在现场表演中，是否有一种力量存在于身体中，无法被翻译?作家和编舞都是乌托邦式的。对于维特霍芬来说，表演之后持续的戏剧会导致跨文化对话和视角的可能转变，与玛丽安·范·克霍芬(Marianne Van Kerkhoeven)的“Grote Dramaturgie”(69)相结合，而切尔考伊则认为运动是一种通用语言，具有将人们从字面上和比喻上聚集在一起的能力。uytterhoh甚至认为运动植根于文化观点(147)。第三章阐述了《零度与经》(2008)中关于运动普遍性和跨文化性的问题。在这两部作品中，切尔考维都将差异物质化，尽管他试图像“他者”一样跳舞。在《通天塔》(2010年与达米安·贾莱特共同编舞)中，语言将人们分开，而运动将他们团结在一起。Uytterhoeven解释说:“对于Cherkaoui和Jalet来说，来自不同文化的人们可以通过舞蹈和身体作为一种跨文化行为联系在一起，他们提出这是一种解药，可以消除由于语言混乱而产生的冲突和误解”(203)。读者可以从不同的角度来思考运动的特性。乌特霍甚至专注于一位编舞家，但她的研究向外扩展到无数个方向。她的书激发了持续的参与，就像Cherkaoui的作品一样。个人或社会的改变能在观看表演后被点燃吗?是什么点燃了:观看的瞬间还是观看后的分析?21世纪艺术家的工具是什么?Cherkaoui的大型戏剧作品，有来自世界各地的布景和众多表演者和合作者，提出了一个问题:在现有的财政支持下，什么样的作品是可能的?并不是每个人都能像乌特霍芬所倡导的那样，沉浸在深入的、投入的观看中，但她的策略可以激励观众更深入地观看。她的分析方法不适用于编舞，因为它不是跨学科的，与语言联系在一起，或者倾向于探索“身份、文化、民族、宗教和语言”的领域(27)。不同的学科将通过不同的视角——编舞家、舞蹈家、人类学家或舞蹈研究学者的视角——来看待她的学术成就。Uytterhoeven的跨学科努力混合了不同的观察和感知方式，反映了Cherkaoui的创造力。许多对话和探究线正在诞生。读她的书可能会带你走上一条你没有预见到的新道路。
{"title":"TANDEM DANCES: CHOREOGRAPHING IMMERSIVE PERFORMANCE by Julia M. Ritter. 2020. New York: Oxford University Press. 288 pp. 41 Illustrations. $35.00 paperback. ISBN: 9780190051310. $125.00 hardcover. ISBN: 9780190051303.","authors":"M. Mandradjieff","doi":"10.1017/S0149767721000413","DOIUrl":"https://doi.org/10.1017/S0149767721000413","url":null,"abstract":"symbol and excavate connections on a micro and macro level to reveal all facets of the work. In Myth, an unstable image of the cross —from crutches, to a weapon, to a crucifix— emphasizes the overarching theme that nothing is fixed. Cherkaoui’s productions offer fertile ground, porous enough to inject one’s own subjectivity into the meaning-making process, shifting between viewing and research. Those who have not seen his work may be inspired to see it live, and Uytterhoeven’s book may prompt a re-examination by those who have seen his productions. The reader is encouraged to contemplate the act of performance: What lives in the moment and what lives outside the body in mnemonic devices? How do they inform one another? Athough Uytterhoeven does not speak often about her visceral experiences of watching, she reflected: “I realised that I had no means of accounting for the strong affective, physical responses I felt to the powerful sections of the performance” (114). Is there a power in live performance that resides in the body and cannot be translated? Both writer and choreographer are utopian in their visions. For Uytterhoeven, the continued dramaturgy that happens after performance leads to cross-cultural conversations and possible shifts in perspective, engaging with Marianne Van Kerkhoeven’s “Grote Dramaturgie” (69), whereas Cherkaoui perceives movement as a universal language that possesses the ability to bring people together literally and figuratively. Uytterhoeven perceives movement as embedded in a cultural point of view (147). Chapter 3 elucidates problems with the idea of the universality of movement and transculturality in zero degrees and Sutra (2008). In both pieces Cherkaoui choreographs the physicalization of difference even as he tries to dance like the “Other.” In Babel (co-choreographed with Damien Jalet in 2010), spoken languages separate people, while movement unites them. Uytterhoeven explains, “For Cherkaoui and Jalet, people from diverse cultures can be connected through dance and bodywork as a transcultural act, which they propose are an antidote to conflict and misunderstanding as a result of language confusion” (203). The reader is left to ponder the properties of movement through different perspectives. Uytterhoeven focuses on one choreographer, but her scholarship expands outward into a myriad of directions. Her book inspires continued engagement, just as Cherkaoui’s work does. Can individual or social change be ignited after watching a performance? What ignites: the moment of watching or the analysis after viewing the performance? What are the tools of an artist in the twenty-first century? Cherkaoui’s large-scale theatrical productions, with sets and numerous performers and collaborators from all over the world, raise the question: What kind of work is possible, based on the financial support available? Not everyone will immerse themselves in the kind of in-depth, engaged spectatorship that Uytterhoeven advocates, bu","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"94 - 97"},"PeriodicalIF":0.6,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42971983","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/S0149767721000346
Alison D'amato
Abstract This article approaches dance through the lens of new materialist theories (speculative realism, object-oriented ontology, thing theory, posthumanism, etc.), considering the possibility that objecthood need not align with inertness and movement need not be excluded from the realm of the substantive. Deploying a practice-based methodology informed by participation in works by Simone Forti and Maria Hassabi, as well her own movement investigation, the author considers theoretical positions that counter the persistent association of dance with ephemerality while also broadly questioning the relationship between dance and theory.
{"title":"Movement as Matter: A Practice-Based Inquiry into the Substance of Dancing","authors":"Alison D'amato","doi":"10.1017/S0149767721000346","DOIUrl":"https://doi.org/10.1017/S0149767721000346","url":null,"abstract":"Abstract This article approaches dance through the lens of new materialist theories (speculative realism, object-oriented ontology, thing theory, posthumanism, etc.), considering the possibility that objecthood need not align with inertness and movement need not be excluded from the realm of the substantive. Deploying a practice-based methodology informed by participation in works by Simone Forti and Maria Hassabi, as well her own movement investigation, the author considers theoretical positions that counter the persistent association of dance with ephemerality while also broadly questioning the relationship between dance and theory.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"69 - 86"},"PeriodicalIF":0.6,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46808603","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/S0149767721000401
Hodel Ophir
Abstract As a woman Palestinian dancer and choreographer in Israel, Sahar Damoni performs within multiple contexts of cultural, gendered, and political oppression, employing her bodily art to challenge these structures, most poignantly through dances that express and evoke pleasure and sensual joy. Offering a detailed ethnography of three of Damoni's performances within one year in Israel/Palestine, I argue that an examination of her artistry provides unique insight into the intricate workings—and transgressions—of gender, ethnic, and national boundaries through the movement of the body in dance.
{"title":"Dancing to Transgress: Palestinian Dancer Sahar Damoni's Politics of Pleasure","authors":"Hodel Ophir","doi":"10.1017/S0149767721000401","DOIUrl":"https://doi.org/10.1017/S0149767721000401","url":null,"abstract":"Abstract As a woman Palestinian dancer and choreographer in Israel, Sahar Damoni performs within multiple contexts of cultural, gendered, and political oppression, employing her bodily art to challenge these structures, most poignantly through dances that express and evoke pleasure and sensual joy. Offering a detailed ethnography of three of Damoni's performances within one year in Israel/Palestine, I argue that an examination of her artistry provides unique insight into the intricate workings—and transgressions—of gender, ethnic, and national boundaries through the movement of the body in dance.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"25 - 45"},"PeriodicalIF":0.6,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44950549","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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