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The Oxford Handbook of Dance and Reenactment brings together a cross-section of artists and scholars engaged with the phenomenon of reenactment in dance from a practical and theoretical standpoint. Synthesizing myriad views on danced reenactment and the manner in which this branch of choreographic performance intersects with important cultural concerns around appropriation this Handbook addresses originality, plagiarism, historicity, and spatiality as it relates to cultural geography. Others topics treated include transmission as a heuristic device, the notion of the archive as it relates to dance and as it is frequently contrasted with embodied cultural memory, pedagogy, theory of history, reconstruction as a methodology, testimony and witnessing, theories of history as narrative and the impact of dance on modernist literature, and relations of reenactment to historical knowledge and new media.
New German Dance Studies offers fresh histories and theoretical inquiries that resonate across fields of the humanities. Sixteen essays range from eighteenth-century theater dance to popular contemporary dances in global circulation. In an exquisite trans-Atlantic dialogue that demonstrates the complexity and multilayered history of German dance, American and European scholars and artists elaborate on definitive performers and choreography, focusing on three major thematic areas: Weimar culture and its afterlife, the German Democratic Republic, and recent conceptual trends in theater dance. Contributors are Maaike Bleeker, Franz Anton Cramer, Kate Elswit, Susanne Franco, Susan Funkenstein, Jens Richard Giersdorf, Yvonne Hardt, Sabine Huschka, Claudia Jeschke, Marion Kant, Gabriele Klein, Karen Mozingo, Tresa Randall, Gerald Siegmund, and Christina Thurner.
Both the identity of dance and that of theory are at risk as soon as the two intertwine. This anthology collects observations by choreographers and scholars, dancers, dramaturges and dance theorists in an effort to trace the multiple ways in which dance and theory correlate and redefine each other: What is the nature of their relationship? How can we outline a theory of dance from our particular historical perspective which will cover dance both as a practice and as an academic concept? The contributions examine which concepts, interdependencies and discontinuities of dance and theory are relevant today and promise to engage us in the future. They address crucial topics of the current debate in dance and performance studies such as artistic research, aesthetics, politics, visuality, archives, and the »next generation«.
Focusing on politics, gender, and identities, a group of international dance scholars provide a broad overview of new methodological approaches – with specific case studies – and how they can be applied to the study of ballet and modern dance. With an introduction exploring the history of dance studies and the development of central themes and areas of concerns in the field, the book is then divided into three parts: politics explores 'Ausdruckstanz' – an expressive dance tradition first formulated in the 1920s by dancer Mary Wigman and carried forward in the work of Pina Bausch and others gender examines eighteenth century theatrical dance – a time when elaborate sets, costumes, and plots examined racial and sexual stereotypes identity is concerned with modern dance. Exploring contemporary analytical approaches to understanding performance traditions, Dance Discourses' pedagogical structure makes it ideal for courses in performing arts and humanities.
Anna Halprin is a world-famous theatre artist and early pioneer in the expressive arts healing movement. This book explores her personal growth as a dancer and choreographer and the development of her therapeutic and pedagogical approach. The authors, who each trained with Halprin, introduce her creative work and the 'Life/Art Process®' she developed, an approach that takes life experiences as a source for artistic expression. They also examine the wider impact of Halprin's work on the fields of art, education, therapy and political action and discuss how she crossed the conventionally defined boundaries between them. Exploring Halprin's belief that dance can be a powerful force for transformation, healing, education, and making our lives whole, this book is a tribute to an exceptional body of artistic and therapeutic work and will be of interest to expressive arts therapists, dance movement psychotherapists, dancers, performance and community artists, and anyone with an interest in contemporary dance.
As the 20th century dawned, authors, artists, and filmmakers flocked to cities like Paris and Berlin for a chance to experience a bustling urban life and engage with other artists and intellectuals. Among them were German-speaking authors and filmmakers such as Harry Graf Kessler, Rainer Maria Rilke, August Endell, Alfred Döblin, Else Lasker-Schüler, Segundo de Chomón, and the brothers Max and Emil Skladanowsky. In their writing and artistic work from that period, they depicted the perpetual influx of stimuli caused by urban life—including hordes of pedestrians, bustling traffic, and a barrage of advertisements—as well as how these encounters repeatedly paralleled their experiences of watching early twentieth-century dance performances by Loïe Fuller, Ruth St. Denis, and Vaslav Nijinsky. The convergence these writers and filmmakers saw between the unexpected encounters during their urban strolls and experimental dance performances led to writings that interwove the two motifs. Drawing on cultural, literary, dance, performance, and queer studies, Dancing with the Modernist City analyzes an array of material from 1896 to 1914—essays, novels, short stories, poetry, newspaper articles, photographs, posters, drawings, and early film. It argues that these writers and artists created a genre called the metropolitan dance text, which depicts dancing figures not on a traditional stage, but with the streets, advertising pillars, theaters, cafes, squares, and even hospitals of an urban setting. Breaking away from the historically male, heteronormative view, this posthumanist mode of writing highlights the visual and episodic unexpectedness of urban encounters. These literary depictions question traditional conceptualizations of space and performance by making the protagonist and the reader feel like they embody the dancer and the movement. In doing so, they upset the conventional depictions of performance and urban spaces in ways paralleling modern dance.
These essays by leading figures from academia, architecture and the arts consider how cultures of memory are constructed for and in contemporary cities. They take Berlin as a key case of a historically burdened metropolis, but also extend to other global cities: Jerusalem, Buenos Aires, Cape Town and New York.
Choreographing Discourses brings together essays originally published by Mark Franko between 1996 and the contemporary moment. Assembling these essays from international, sometimes untranslated sources and curating their relationship to a rapidly changing field, this Reader offers an important resource in the dynamic scholarly fields of Dance and Performance Studies. What makes this volume especially appropriate for undergraduate and graduate teaching is its critical focus on twentieth- and twenty-first-century dance artists and choreographers – among these, Oskar Schlemmer, Merce Cunningham, Kazuo Ohno, William Forsythe, Bill T. Jones, and Pina Bausch, some of the most high-profile European, American, and Japanese artists of the past century. The volume’s constellation of topics delves into controversies that are essential turning points in the field (notably, Still/Here and Paris is Burning), which illuminate the spine of the field while interlinking dance scholarship with performance theory, film, visual, and public art. The volume contains the first critical assessments of Franko’s contribution to the field by André Lepecki and Gay Morris, and an interview incorporating a biographical dimension to the development of Franko’s work and its relation to his dance and choreography. Ultimately, this Reader encourages a wide scope of conversation and engagement, opening up core questions in ethics, embodiment, and performativity.
The Body of the People is the first comprehensive study of dance and choreography in East Germany. More than twenty years after the fall of the Berlin Wall, Jens Richard Giersdorf investigates a national dance history in the German Democratic Republic, from its founding as a Communist state that supplanted the Soviet zone of occupation in 1949 through the aftermath of its collapse forty years later, examining complex themes of nationhood, ideology, resistance, and diaspora through an innovative mix of archival research, critical theory, personal narrative, and performance analysis. Giersdorf looks closely at uniquely East German dance forms—including mass exercise events, national folk dances, Marxist-Leninist visions staged by the dance ensemble of the armed forces, the vast amateur dance culture, East Germany’s version of Tanztheater, and socialist alternatives to rock ‘n’ roll—to demonstrate how dance was used both as a form of corporeal utopia and of embodied socialist propaganda and indoctrination. The Body of the People also explores the artists working in the shadow of official culture who used dance and movement to critique and resist state power, notably Charlotte von Mahlsdorf, Arila Siegert, and Fine Kwiatkowski. Giersdorf considers a myriad of embodied responses to the Communist state even after reunification, analyzing the embodiment of the fall of the Berlin Wall in the works of Jo Fabian and Sasha Waltz, and the diasporic traces of East German culture abroad, exemplified by the Chilean choreographer Patricio Bunster.