Pub Date : 2021-12-01DOI: 10.1017/s0149767721000437
{"title":"DRJ volume 53 issue 3 Cover and Front matter","authors":"","doi":"10.1017/s0149767721000437","DOIUrl":"https://doi.org/10.1017/s0149767721000437","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"f1 - f5"},"PeriodicalIF":0.6,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45715796","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/S0149767721000358
Royona Mitra
Abstract This article interrogates “contact,” understood by Global North contemporary dance discourse as choreography that is mobilized by shifting points of physical touch between two or more bodies, by attending to inherent, and often ignored, power asymmetries that are foundational to such choreographic practices. This “unmaking of contact” is undertaken by deploying the lenses of race, caste, and gender in order to argue for an intersectional, intercultural and inter-epistemic understanding of “choreographic touch” that may or may not involve tactility. It starts by examining contact improvisation (CI), and its now ubiquitous choreographic manifestation of partnering, as an aesthetic that can work in colonizing ways on South Asian dancers who train in primarily solo classical dance forms. The article then moves on to place South Asian bodies, philosophies, and discourses at the heart of its interrogation of choreographic touch, and foregrounds the culturally specific politics and powers that govern them.
{"title":"Unmaking Contact: Choreographic Touch at the Intersections of Race, Caste, and Gender","authors":"Royona Mitra","doi":"10.1017/S0149767721000358","DOIUrl":"https://doi.org/10.1017/S0149767721000358","url":null,"abstract":"Abstract This article interrogates “contact,” understood by Global North contemporary dance discourse as choreography that is mobilized by shifting points of physical touch between two or more bodies, by attending to inherent, and often ignored, power asymmetries that are foundational to such choreographic practices. This “unmaking of contact” is undertaken by deploying the lenses of race, caste, and gender in order to argue for an intersectional, intercultural and inter-epistemic understanding of “choreographic touch” that may or may not involve tactility. It starts by examining contact improvisation (CI), and its now ubiquitous choreographic manifestation of partnering, as an aesthetic that can work in colonizing ways on South Asian dancers who train in primarily solo classical dance forms. The article then moves on to place South Asian bodies, philosophies, and discourses at the heart of its interrogation of choreographic touch, and foregrounds the culturally specific politics and powers that govern them.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"6 - 24"},"PeriodicalIF":0.6,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42036002","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 : 2021-10-25DOI: 10.1017/s0149767721000152
Ni'Ja Whitson
“Super Fluid/Super Black: Translations and Teachings in Transembodied Metaphysics” was originally commissioned as a keynote lecture for the 2020 Collegium for African Diaspora Dance (CAAD) conference, Fluid Black::Dance Back. It is a hybrid text that centralizes Black Transgender and Nonbinary experiences in a conversation of futurity in African Diasporic spirituality, dance traditions, and performativities. Furthermore, “Super Fluid/Super Black” interrogates beingness through an exploration of astrophysics and global attempts at Black erasure in an attempt to uncover new strategies of collectivizing under dance that dismantle cisheteronormativity at their core.
{"title":"Super Fluid/Super Black: Translations and Teachings in Transembodied Metaphysics","authors":"Ni'Ja Whitson","doi":"10.1017/s0149767721000152","DOIUrl":"https://doi.org/10.1017/s0149767721000152","url":null,"abstract":"“Super Fluid/Super Black: Translations and Teachings in Transembodied Metaphysics” was originally commissioned as a keynote lecture for the 2020 Collegium for African Diaspora Dance (CAAD) conference, Fluid Black::Dance Back. It is a hybrid text that centralizes Black Transgender and Nonbinary experiences in a conversation of futurity in African Diasporic spirituality, dance traditions, and performativities. Furthermore, “Super Fluid/Super Black” interrogates beingness through an exploration of astrophysics and global attempts at Black erasure in an attempt to uncover new strategies of collectivizing under dance that dismantle cisheteronormativity at their core.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"45 23","pages":""},"PeriodicalIF":0.6,"publicationDate":"2021-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50167958","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 : 2021-08-01DOI: 10.1017/S0149767721000292
Gianina K.L. Strother
{"title":"HOT FEET AND SOCIAL CHANGE: AFRICAN DANCE AND DIASPORA COMMUNITIES Edited by Kariamu Welsh, Esailama G. A. Diouf, and Yvonne Daniel. 2019. Urbana, Chicago, and Springfield: University of Illinois Press. 309 pp. $30.00 paper. ISBN: 978-0252084775.","authors":"Gianina K.L. Strother","doi":"10.1017/S0149767721000292","DOIUrl":"https://doi.org/10.1017/S0149767721000292","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"182 - 184"},"PeriodicalIF":0.6,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43799343","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 : 2021-08-01DOI: 10.1017/S014976772100022X
Charmian Wells
Abstract This article examines Joan Miller's use of choreographic citation in her solos, Pass Fe White (1970) and Homestretch (1973). The solos “read” the desire to embody idealized, feminine whiteness in a critique of institutions for accessing national belonging—celebrity, education, and marriage—satirically exposing the gendered and racialized exclusions of the figure of the abstract “human” as “proper” citizen. Miller's work performs queer, Black feminist, diasporic desires for a world beyond Black and white nationalist logics, refusing to be “properly” placed in national hierarchies of female objecthood, while affirming the capacity to desire differently by proposing alternative terms for belonging in the world.
{"title":"Pass Fe White and Homestretch: Joan Miller's Satirical “Reads,” Refusals, and Affirmations","authors":"Charmian Wells","doi":"10.1017/S014976772100022X","DOIUrl":"https://doi.org/10.1017/S014976772100022X","url":null,"abstract":"Abstract This article examines Joan Miller's use of choreographic citation in her solos, Pass Fe White (1970) and Homestretch (1973). The solos “read” the desire to embody idealized, feminine whiteness in a critique of institutions for accessing national belonging—celebrity, education, and marriage—satirically exposing the gendered and racialized exclusions of the figure of the abstract “human” as “proper” citizen. Miller's work performs queer, Black feminist, diasporic desires for a world beyond Black and white nationalist logics, refusing to be “properly” placed in national hierarchies of female objecthood, while affirming the capacity to desire differently by proposing alternative terms for belonging in the world.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"98 - 123"},"PeriodicalIF":0.6,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48144404","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 : 2021-08-01DOI: 10.1017/S0149767721000267
Luciane Ramos Silva
Abstract This Keynote offers a brief overview of an artistic and activist editorial project based in São Paulo City, the magazine O Menelick 2° Ato, as well as presents a portrait of some Black contemporary women artists, some of them interdisciplinary, and articulates modes of interrogating political and symbolic violence and subjugation from Brazilian colonially, creating an artistic presence rooted in the search for self-determination, autonomy, and modes of existence ignited by Black diasporas’ ways of self-writing. Their creative work also disrupts hegemonic epistemologies and calls us to look at what is going on in the Black South America.
{"title":"Black Brazilians on the Move","authors":"Luciane Ramos Silva","doi":"10.1017/S0149767721000267","DOIUrl":"https://doi.org/10.1017/S0149767721000267","url":null,"abstract":"Abstract This Keynote offers a brief overview of an artistic and activist editorial project based in São Paulo City, the magazine O Menelick 2° Ato, as well as presents a portrait of some Black contemporary women artists, some of them interdisciplinary, and articulates modes of interrogating political and symbolic violence and subjugation from Brazilian colonially, creating an artistic presence rooted in the search for self-determination, autonomy, and modes of existence ignited by Black diasporas’ ways of self-writing. Their creative work also disrupts hegemonic epistemologies and calls us to look at what is going on in the Black South America.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"124 - 129"},"PeriodicalIF":0.6,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48547756","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 : 2021-08-01DOI: 10.1017/S0149767721000255
D. Chapman, Mario LaMothe
Abstract This conversation emerges from the Afro-Feminist Performance Routes's biennial gatherings at Duke University that have taken place since 2016. Hinging on the work of Lēnablou (Guadeloupe), Rujeko Dumbutshena (Zimbabwe, United States), Sephora Germain (Haiti), Yanique Hume (Jamaica, Cuba, Barbados), Jessi Knight (United States), Halifu Osumare (United States), Luciane Ramos-Silva (Brazil), and Jade Power Sotomayor (Puerto Rico, United States), the focused residency has nurtured embodied dialogues centered on African-derived dance practices and gender, femininity, womanhood, femme, and feminisms. What follows is a scripted simulation of conversations generated in roundtables, workshops, performances, and interviews, as well as around dinner tables and during late-night chats. We've woven together the artists’ statements under two umbrella themes—embodied philosophies and contours of diaspora—in order to highlight the relationship between creative practice and lived experience, between singularity and collective, between precarity and the everyday, between AfroFem and becoming.
这一对话来自于2016年以来在杜克大学举行的非洲女权主义表演路线两年一次的聚会。以Lēnablou(瓜德罗普岛)、Rujeko Dumbutshena(津巴布韦，美国)、丝芙兰·杰曼(海地)、Yanique Hume(牙买加、古巴、巴巴多斯)、Jessi Knight(美国)、Halifu Osumare(美国)、Luciane Ramos-Silva(巴西)和Jade Power Sotomayor(波多黎各，美国)的作品为基础，重点培养了以非洲舞蹈实践和性别、女性气质、女性、女性和女权主义为中心的具体对话。接下来是对圆桌会议、研讨会、表演和采访、餐桌周围和深夜聊天中产生的对话的脚本模拟。我们将艺术家们的陈述编织在两个主题之下——体现的哲学和流散的轮廓——以突出创作实践与生活经验之间的关系，奇点与集体之间的关系，不稳定与日常之间的关系，AfroFem与成为之间的关系。
{"title":"Afro-Feminist Performance Routes: Documenting Embodied Dialogue and AfroFem Articulations","authors":"D. Chapman, Mario LaMothe","doi":"10.1017/S0149767721000255","DOIUrl":"https://doi.org/10.1017/S0149767721000255","url":null,"abstract":"Abstract This conversation emerges from the Afro-Feminist Performance Routes's biennial gatherings at Duke University that have taken place since 2016. Hinging on the work of Lēnablou (Guadeloupe), Rujeko Dumbutshena (Zimbabwe, United States), Sephora Germain (Haiti), Yanique Hume (Jamaica, Cuba, Barbados), Jessi Knight (United States), Halifu Osumare (United States), Luciane Ramos-Silva (Brazil), and Jade Power Sotomayor (Puerto Rico, United States), the focused residency has nurtured embodied dialogues centered on African-derived dance practices and gender, femininity, womanhood, femme, and feminisms. What follows is a scripted simulation of conversations generated in roundtables, workshops, performances, and interviews, as well as around dinner tables and during late-night chats. We've woven together the artists’ statements under two umbrella themes—embodied philosophies and contours of diaspora—in order to highlight the relationship between creative practice and lived experience, between singularity and collective, between precarity and the everyday, between AfroFem and becoming.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"8 - 26"},"PeriodicalIF":0.6,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47741734","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 : 2021-08-01DOI: 10.1017/S0149767721000206
Layla Zami
ABSTRACT This essay explores the intersection of concert dance, cultural memory, Black womanhood, and non-linear spacetime from an Afro-European perspective. Inspired by Black feminist methodologies, the text interweaves performance analysis, historical context, interdisciplinary theory including my own concept of perforMemory, and auto-ethnographic experience gained through participant observation. My writing moves along three lines of inquiry tuned in the key of C: contextualizing, conjuring and contemplating. The article offers a case study of I Step on Air, a contemporary dance piece created by Nigerian-German dancer-choreographer Oxana Chi (Berlin/New York) and dedicated to Ghanian-German poet and activist May Ayim. By including an interlude with the choreographer's own creative writing about the piece, the article also provides the reader with the precious perspective of Oxana Chi on her process. The article is a reflection on/of the resonances between movement, writing, and activism. Let's celebrate the power of Black women to resistDance, step by step, move by move, breath by breath…
{"title":"Dancing After Life: Flexible Spacetimes of Black Female ResistDance","authors":"Layla Zami","doi":"10.1017/S0149767721000206","DOIUrl":"https://doi.org/10.1017/S0149767721000206","url":null,"abstract":"ABSTRACT This essay explores the intersection of concert dance, cultural memory, Black womanhood, and non-linear spacetime from an Afro-European perspective. Inspired by Black feminist methodologies, the text interweaves performance analysis, historical context, interdisciplinary theory including my own concept of perforMemory, and auto-ethnographic experience gained through participant observation. My writing moves along three lines of inquiry tuned in the key of C: contextualizing, conjuring and contemplating. The article offers a case study of I Step on Air, a contemporary dance piece created by Nigerian-German dancer-choreographer Oxana Chi (Berlin/New York) and dedicated to Ghanian-German poet and activist May Ayim. By including an interlude with the choreographer's own creative writing about the piece, the article also provides the reader with the precious perspective of Oxana Chi on her process. The article is a reflection on/of the resonances between movement, writing, and activism. Let's celebrate the power of Black women to resistDance, step by step, move by move, breath by breath…","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"67 - 87"},"PeriodicalIF":0.6,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46255905","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：