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This book contains readings of American, British and European postmodern dances informed by feminist, postcolonialist, queer and poststructuralist theories. It explores the roles dance and space play in constructing subjectivity. By focusing on site-specific dance, the mutual construction of bodies and spaces, body-space interfaces and 'in-between spaces', the dances and dance films are read 'against the grain' to reveal their potential for troubling conventional notions of subjectivity associated with a white, Western, heterosexual able-bodied, male norm.
A unique and authoritative guide to the lives and work of prominent living contemporary choreographers. Representing a wide range of dance genres, each entry locates the individual in the context of modern dance theatre and explores their impact. Those studied include: Jerome Bel Richard Alston Doug Varone William Forsythe Phillippe Decoufle Jawole Willa Jo Zollar Ohad Naharin Itzik Gallili Twyla Tharp Wim Vandekeybus With a new, updated introduction by Deborah Jowitt and further reading and references throughout, this text is an invaluable resource for all students and critics of dance, and all those interested in the fascinating world of choreography.
Preconceived ideas attached to space limit the ways in which the concept can be envisioned. This edited collection explores many different types of space, including exile, which prohibits one's ability to return home; transnationalism, which encourages movement between national borders typically due to dual citizenship; the borderlands, which implies legal and illegal crossings; and finally, the open road as metaphor for normative, heterosexual masculinity. At issue in all of these representations is the role of freedom to self-define and travel freely across barriers that exist to deter entry.
This collection explores the emergence of new spatialities and subjectivities in Brazilian films produced from the 1990s onwards, a period that became known as the retomada, but especially in the cinema of the new millennium. The chapters take spatiality as a powerful tool that can reveal aesthetic, political, social, and historical meanings of the cinematographic image instead of considering space as just a formal element of a film. From the rich cross-fertilization of different theories and disciplines, this edited collection engages with the connection between space and subjectivity in Brazilian cinema while raising new questions concerning spatiality and subjectivity in cinema and providing new models and tools for film analysis.
If we imagine multiple ways of being together, how might that shift choreographic practices and help us imagine ways groups assemble in more varied ways than just pairing another man with another woman? How might dancing queerly ask us to imagine futures through something other than heterosexuality and reproduction? How does challenging gender binaries always mean thinking about race, thinking about the postcolonial, about ableism? What are the arbitrary rules structuring dance in all its arenas, whether concert and social or commercial and competition, and how do we see those invisible structures and work to disrupt them? Queer Dance brings together artists and scholars in a multi-platformed project-book, accompanying website, and live performance series to ask, "How does dancing queerly progressively challenge us?" The artists and scholars whose writing appears in the book and whose performances and filmed interviews appear online stage a range of genders and sexualities that challenge and destabilize social norms. Engaging with dance making, dance scholarship, queer studies, and other fields, Queer Dance asks how identities, communities, and artmaking and scholarly practices might consider what queer work the body does and can do. There is great power in claiming queerness in the press of bodies touching or in the exceeding of the body best measured in sweat and exhaustion. How does queerness exist in the realm of affect and touch, and what then might we explore about queerness through these pleasurable and complex bodily ways of knowing?
The politics of theater dance is commonly theorized in relation to bodily freedom, resistance, agitation, or repair. This book questions those utopian imaginaries, arguing that the visions and sensations of canonical Euro-American choreographies carry hidden forms of racial violence, not in the sense of the physical or psychological traumas arising in the practice of these arts but through the histories of social domination that materially underwrite them. Developing a new theory of choreographic space, Arabella Stanger shows how embodied forms of hope promised in ballet and progressive dance modernisms conceal and depend on spatial operations of imperial, colonial, and racial subjection. Stanger unearths dance’s violent ground by interrogating the expansionist fantasies of Marius Petipa’s imperial ballet, settler colonial and corporate land practices in the modern dance of Martha Graham and George Balanchine, reactionary discourses of the human in Rudolf von Laban’s and Oskar Schlemmer’s movement geometries; Merce Cunningham’s experimentalism as a white settler fantasy of the land of the free, and the imperial amnesia of Boris Charmatz’s interventions into metropolitan museums. Drawing on materialist thought, critical race theory, and indigenous studies, Stanger ultimately advocates for dance studies to adopt a position of “critical negativity,” an analytical attitude attuned to how dance’s exuberant modeling of certain forms of life might provide cover for life-negating practices. Bold in its arguments and rigorous in its critique, Dancing on Violent Ground asks how performance scholars can develop a practice of thinking hopefully, without expunging history from their site of analysis.
Honest Bodies: Revolutionary Modernism in the Dances of Anna Sokolow illustrates the ways in which Sokolow's choreography circulated American modernism among Jewish and communist channels of the international Left from the 1930s-1960s in the United States, Mexico, and Israel. Drawing upon extensive archival materials, interviews, and theories from dance, Jewish, and gender studies, this book illuminates Sokolow's statements for workers' rights, anti-racism, and the human condition through her choreography for social change alongside her dancing and teaching for Martha Graham. Tracing a catalog of dances with her companies Dance Unit, La Paloma Azul, Lyric Theatre, and Anna Sokolow Dance Company, along with presenters and companies the Negro Cultural Committee, New York State Committee for the Communist Party, Federal Theatre Project, Nuevo Grupo Mexicano de Clásicas y Modernas, and Inbal Dance Theater, this book highlights Sokolow's work in conjunction with developments in ethnic definitions, diaspora, and nationalism in the US, Mexico, and Israel.
In Post-Deconstructive Subjectivity and History, Aniruddha Chowdhury argues that deconstruction is not only not a dissolution of subject, as it is often opined, but an affirmation of the singular (ethical) subject and singular history, singularity conceived as alterity, difference and non-identity. Part of the emphasis of the singular history is to conceive the historical relation as figural and as one of repletion with difference. One of the distinctive aspects of the book is that it not only focuses on the tradition of phenomenology, but also extends deconstruction to critical theory, and postcolonial theory. Through his intimate reading of the canonical texts of the Continental philosophical tradition (phenomenology and critical theory), and postcolonial thought Chowdhury illuminates pertinent issues in Continental thought, and postcolonial theory.
This interdisciplinary book brings together essays that consider how the body enacts social and cultural rituals in relation to objects, spaces, and the everyday, and how these are questioned, explored, and problematised through, and translated into dance, art, and performance. The chapters are written by significant artists and scholars and consider practices from various locations, including Central and Western Europe, Mexico, and the United States. The authors build on dialogues between, for example, philosophy and museum studies, and memory studies and post-humanism, and engage with a wide range of theory from phenomenology to relational aesthetics to New Materialism. Thus this book represents a unique collection that together considers the continuum between everyday and cultural life, and how rituals and memories are inscribed onto our being. It will be of interest to scholars and practitioners, students and teachers, and particularly those who are curious about the intersections between arts disciplines.
Moving Sites explores site-specific dance practice through a combination of analytical essays and practitioner accounts of their working processes. In offering this joint effort of theory and practice, it aims to provide dance academics, students and practitioners with a series of discussions that shed light both on approaches to making this type of dance practice, and evaluating and reflecting on it. The edited volume combines critical thinking from a range of perspectives including commentary and observation from the fields of dance studies, human geography and spatial theory in order to present interdisciplinary discourse and a range of critical and practice-led lenses through which this type of work can be considered and explored. In so doing, this book addresses the following questions: · How do choreographers make site-specific dance performance? · What occurs when a moving body engages with site, place and environment? · How might we interpret, analyse and evaluate this type of dance practice through a range of theoretical lenses? · How can this type of practice inform wider discussions of embodiment, site, space, place and environment? This innovative and exciting book seeks to move beyond description and discussion of site-specific dance as a spectacle or novelty and considers site-dance as a valid and vital form of contemporary dance practice that explores, reflects, disrupts, contests and develops understandings and practices of inhabiting and engaging with a range of sites and environments. Dr Victoria Hunter is Senior Lecturer in Dance at the University of Chichester.