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Books on the topic 'Choreographic analysis'
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1
Harris, Sarah. Diction: Study pack : a choreographic analysis. Guildford: National Resource Centre for Dance, 1994.
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Harris, Sarah. Diction: study pack: A choreographic analysis. Guildford: Department of Dance Studies, University of Surrey, Guildford, Surrey, GU2 5XH., 1994.
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Harris, Sarah. Diction: Study pack : a choreographic analysis. Guildford: Dept. of Dance Studies, University of Surrey, 1994.
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Moore, Carol-Lynne. Beyond words: Movement observation and analysis. New York: Gordon and Breach., 1988.
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Dancing off the page: Integrating performance, choreography, analysis and notation/documentation. Alton, Hampshire: Dance Books, 2007.
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Abdokov, I︠U︡riĭ. Muzykalʹnai︠a︡ poėtika khoreografii: Plasticheskai︠a︡ interpretat︠s︡ii︠a︡ muzyki v khoreograficheskom iskusstve : vzgli︠a︡d kompozitora. Moskva: GITIS, 2009.
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Abdokov, I︠U︡riĭ. Muzykalʹnai︠a︡ poėtika khoreografii: Plasticheskai︠a︡ interpretat︠s︡ii︠a︡ muzyki v khoreograficheskom iskusstve : vzgli︠a︡d kompozitora. Moskva: GITIS, 2009.
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Relationships between score and choreography in twentieth-century dance: Music, movement, and metaphor. Lewiston, N.Y: E. Mellen Press, 1992.
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Moore, Carol-Lynne. Beyond words: Movement observation and analysis. New York: Gordon and Breach., 1988.
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Kaoru, Yamamoto, ed. Beyond words: Movement observation and analysis. 2nd ed. Milton Park, Abingdon, Oxon: Routledge, 2011.
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Ritter, Julia M. Tandem Dances. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051303.001.0001.
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Tandem Dances: Choreographing Immersive Performance proposes dance and choreography as frames through which to examine immersive theatre, more broadly known as immersive performance. The idea of tandemness—suggesting motion that is achieved by two bodies working together and acting in conjunction with one another—is critical throughout the book. Author Julia M. Ritter persuasively argues that practitioners of immersive productions deploy choreography as a structural mechanism to mobilize the bodies of cast and audience members to perform together. Furthermore, choreography is contextualized as an effective tool for facilitating audience participation towards immersion as an affect. Ritter’s close choreographic analysis of immersive productions, along with unique insights from choreographers, directors, performers, and spectators enlivens discourse across dramaturgy, kinesthesia, affect, and co-authorship. By foregrounding the choreographic in order to examine its specific impact on the evolution of immersive theater, Tandem Dances explores choreography as a discursive domain that is fundamentally related to creative practice, agendas of power and control, and concomitant issues of freedom and agency.
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Harris, Andrea. Making Ballet 1. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199342235.003.0003.
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Making Ballet 1 provides a choreographic analysis of the ballet Billy the Kid, produced by Ballet Caravan in 1938 with choreography by Eugene Loring, music by Aaron Copland, design by Jared French, and libretto by Lincoln Kirstein. This analysis challenges previous readings of the ballet as patriotic or conservative Americana. Instead, it places Billy the Kid within the internationalism and antifascism of the cultural wing of the Popular Front, in which its creative team was deeply enmeshed. Given those origins, the ballet exemplifies the cultural front’s initiative to critique the nation’s past and re-imagine its future. Drawing on archival sources and movement analysis, this interchapter argues that Billy the Kid was an attempt to infuse American ballet with international modernist theories of how to intensify the social relevance of the theatre.
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Perillo, J. Lorenzo. Choreographing in Color. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190054274.001.0001.
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In Choreographing in Color, J. Lorenzo Perillo investigates the development of Filipino popular dance and performance since the late 20th century. Drawing from nearly two decades of ethnography, choreographic analysis, and community engagement with artists, choreographers, and organizers, Perillo asserts the importance in shifting attention away from the predominant Philippine neoliberal and US imperialist emphasis on Filipinos as superb mimics, heroic migrants, model minorities, and natural dancers, and instead asks: what does it mean for Filipinos to navigate the violent forces of empire and neoliberalism with street dance and hip-hop? Employing critical race, feminist, and performance studies, Perillo analyzes the conditions of possibility that gave rise to Filipino dance phenomena across viral, migrant, theatrical, competitive, and diplomatic performance in the Philippines and diaspora. Advocating for serious engagements with the dancing body, Perillo rethinks a staple of hip-hop’s regulation, the “euphemism,” as a mode of social critique for understanding how folks have engaged with both racial histories of colonialism and gendered labor migration. Figures of euphemism—the zombie, hero, robot, and judge—constitute a way of seeing Filipino hip-hop as contiguous with a multi-racial repertoire of imperial crossing, thus uncovering the ways Black dance intersects Filipino racialization and reframing the ongoing, contested underdog relationship between Filipinos and US global power.
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Harris, Andrea. Making Ballet 2. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199342235.003.0005.
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Making Ballet 2 provides a choreographic analysis of the ballet Rodeo, produced by Sergei J. Denham’s Ballet Russe de Monte Carlo in 1942 with choreography and libretto by Agnes de Mille, music by Aaron Copland, and design by Oliver Smith. Drawing on archival sources and movement analysis, it argues that Rodeo narrates a jubilant portrayal of the resolution of social dissatisfactions into a unified nation during wartime. At the same time, however, new archival information is mobilized to argue that embedded in Rodeo’s production history is a political silencing of the socially conscious aesthetic of the 1930s. This phenomenon has not been acknowledged previously in scholarship on Rodeo. This interchapter contributes a more complicated understanding of this iconic American ballet that takes into account the deeper conflicts created by pressures of wartime unity and consensus, particularly for women, that lie beneath its lighthearted, comic surface.
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Harris, Andrea. Making Ballet 3. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199342235.003.0007.
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Making Ballet 3 provides a choreographic analysis of the ballet Western Symphony, produced by the New York City Ballet in 1954 with choreography by George Balanchine, music by Hershy Kay, scenery by John Boyt, and costumes by Karinska. It brings to light the multitude of intertextual allusions that occur throughout the ballet, playfully intermingling references of “America” with an entire lineage of nineteenth-century European classicism. Although Western Symphony has no story line, it crafts a deliberate message: a long, transatlantic genealogy of Western classicism that, in the twentieth century, has come to rest in America. Drawing on archival sources and movement analysis, this interchapter argues that Western Symphony incorporates parody to present a revisionist ballet history in which the high cultural lineages of Europe and America are intimately entwined. Ultimately, this message reinforced the Atlanticist politics of private and state anticommunist groups in the cultural Cold War, the historical setting for its production and performance.
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Pakes, Anna. Choreography Invisible. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199988211.001.0001.
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Focusing on Western theatre dance, Choreography Invisible explores the metaphysics of dances and choreographic works. It draws on a range of resources from analytic philosophy of art to develop the argument that dances are repeatable structures of action. The book also analyses the idea of the dance work in long-term historical perspective. Tracing different ways in which dances have been conceptualised across time, the book considers changing notions of authorship, fixity, persistence, and autonomy from the fifteenth century to the present day. The modern work-concept is interrogated, its relativity and contested status (particularly within contemporary dance practice) acknowledged. As the dance work disappears from contemporary discourse, what can be said about the kind of thing it is? Choreography Invisible considers the materials of dance making and the nature (and limits) of choreographic authorship. It explores issues of identity and persistence, including why distinct (and sometimes quite various) performances are still treated as performances of the same work. The book examines how dances survive through time and what it means for a dance work to be lost, considering the extent to which practices of dance reconstruction and reenactment can recuperate or reconstitute lost choreography. The focus here is dance, but the book addresses issues with wider implications for the metaphysics of art, including how the historical relativity of art practices should inflect analytic arguments about the nature of art works, and what place such works have within a broader ontology of human and natural worlds.
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Ruprecht, Lucia. Gestural Imaginaries. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190659370.001.0001.
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Gestural Imaginaries: Dance and Cultural Theory in the Early Twentieth Century offers a new interpretation of European modernist dance by addressing it as guiding medium in a vibrant field of gestural culture that ranges across art and philosophy. Taking further Cornelius Castoriadis’s concept of the social imaginary, it explores this imaginary’s embodied forms. Close readings of dances, photographs, and literary texts are juxtaposed with discussions of gestural theory by thinkers including Walter Benjamin, Sigmund Freud, and Aby Warburg. Choreographic gesture is defined as a force of intermittency that creates a new theoretical status of dance. The book shows how this also bears on contemporary theory. It shifts emphasis from Giorgio Agamben’s preoccupation with gestural mediality to Jacques Rancière’s multiplicity of proliferating, singular gestures, arguing for their ethical and political relevance. Mobilizing dance history and movement analysis, it highlights the critical impact of works by choreographers such as Vaslav Nijinsky, Jo Mihaly, and Alexander and Clotilde Sakharoff. It also offers choreographic readings of Franz Kafka and Alfred Döblin. Gestural Imaginaries proposes that modernist dance conducts a gestural revolution that enacts but also exceeds the insights of past and present cultural theory. It makes a case for archive-based, cross-medial, and critically informed dance studies, transnational German studies, and the theoretical potential of performance itself.
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Kosstrin, Hannah. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199396924.003.0001.
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The Introduction establishes Anna Sokolow’s choreography among revolutionary spectatorial currents of the 1930s international Left as it aligned with Jewish peoplehood and shows how these values remained present through Sokolow’s career. It positions Sokolow’s choreography within leftist transnationalism; it methodologically renders her dancing body from archival evidence through discourse analysis to ground the book’s discussion; and it defines Jewish cultural and aesthetic elements in Sokolow’s work to explain how her dances’ Jewish signifiers engendered their meaning-making processes. Arguing that Ashkenazi Jewishness undergirds Sokolow’s choreography, the Introduction shows how communism, revolutionary modernism, gender presentation, and social action in Sokolow’s dances were part of Sokolow’s milieu as a member of the “second generation” of American Ashkenazi Jews. Sokolow’s professional arc from Martha Graham dancer and proletarian choreographer to established midcentury modernist dancemaker reflects the assimilation of her generation from the marginalized working class to the American mainstream.
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Dunagan, Colleen T. Consuming Dance. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190491369.001.0001.
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Consuming Dance examines dance in television and online advertising as both cultural product and cultural meaning-maker. The text interweaves semiotics, choreographic analysis, cultural studies, media studies, and critical theory to place contemporary dance-in-advertising in dialogue with other dance media. Grounding contemporary advertising within media and cultural history, the work both analyzes examples from early television and performs semiotic readings of historical references within later ads. Analysis of individual commercials and campaigns reveals how commercials act as rhizomatic assemblages of cultural history as traditional advertising positioning strategies engage with content, conventions, and discourses from other disciplines and cultural forms. The text explores the power of dance in advertising, examining how it generates affect and spectacle in service of both brand identity and the construction of the commodity-sign. This analysis of dance’s power, in turn, reveals advertising’s intertextuality and its contributions to social identity and the construction of the neoliberal subject. Ultimately, the text highlights advertising’s contradictions, exposing how its appropriation of dance functions as a response simultaneously to marketing needs, shifting ideologies, and growing cultural diversity all while continuing to serve the needs of neoliberal capitalism.
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Duerden, Rachel. Choreo-Musical Relationships in Mark Morris’s (2003). Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.41.
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Choreographer Mark Morris is generally regarded as a supremely musical choreographer, and his respect for the musical score and his preference for working very closely with it are well known. A close reading of his works leads one to examine the nature of the relationship between what is seen and what is heard in the context of art, and in relation to one’s embodied existence. In this study ofAll Fours(2003), choreographed to Bartok’sFourth String Quartet, structural comparative analysis allows for an examination of the temporal dimension of the relationship and changes in and through time—meter, pulse, rhythm, pitch and harmony, dynamic shaping, and instrumentation. Through this, layers of complexity in the choreomusical relationships are revealed that stimulate questions concerning the interface of aural and kinetic in art, and which reveal how Morris’s work resonates with a deeply affirmative and holistic philosophy of life.
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Ahlgren, Angela K. A New Taiko Folk Dance. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199374014.003.0002.
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One of the first groups in the United States, San Jose Taiko has influenced North American taiko significantly through its performances, leadership, and philosophies. This chapter interrogates the group’s movements on two levels: by examining its connections to the Asian American movement and by analyzing its musical and choreographic repertoires. To that end, the chapter provides an analysis of P. J. Hirabayashi’s participatory taiko folk dance “Ei Ja Nai Ka?” in a variety of performance contexts and its implications for re-membering pre-internment Japanese American histories and honoring immigrant labor. It further demonstrates how the group navigates the sometimes Orientalist strategies that agents and presenters use to market the group, despite its efforts to emphasize its identity as an Asian American group.
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Iyer, Usha. Dancing Women. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938734.001.0001.
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Dancing Women: Choreographing Corporeal Histories of Hindi Cinema, an ambitious study of two of South Asia’s most popular cultural forms—cinema and dance—historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic and extra-diegetic narratives woven around their dancing bodies, the book considers the “women’s question” via new mobilities corpo-realized by dancing women. Some of the central figures animating this corporeal history are Azurie, Sadhona Bose, Vyjayanthimala, Helen, Waheeda Rehman, Madhuri Dixit, and Saroj Khan, whose performance histories fold and intersect with those of other dancing women, including devadasis and tawaifs, Eurasian actresses, oriental dancers, vamps, choreographers, and backup dancers. Through a material history of the labor of producing on-screen dance, theoretical frameworks that emphasize collaboration, such as the “choreomusicking body” and “dance musicalization,” aesthetic approaches to embodiment drawing on treatises like the Natya Sastra and the Abhinaya Darpana, and formal analyses of cine-choreographic “techno-spectacles,” Dancing Women offers a variegated, textured history of cinema, dance, and music. Tracing the gestural genealogies of film dance produces a very different narrative of Bombay cinema, and indeed of South Asian cultural modernities, by way of a corporeal history co-choreographed by a network of remarkable dancing women.
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Chalfa Ruyter, Nancy Lee. La Meri and Her Life in Dance. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9780813066097.001.0001.
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La Meri (Russell Meriwether Hughes, 1899–1988) was a performing artist, choreographer, teacher, and writer who built her career on ethnologic dance from many parts of the world. In the 1920s and 1930s, under the management of her agent-husband Guido Carreras, she toured in Latin America, Europe, Asia, the Pacific, and the United States. Despite the heavy schedule of travel and performances, she was able to obtain instruction in local dance genres, purchase costumes, and obtain recordings of the music in many of the countries. The new material would then be added to her concert programs. In late 1939, touring was no longer possible because of World War II, so La Meri and Carreras settled in New York City. There, she established a school, the Ethnologic Dance Center, and dance companies. She continued performing in New York and on tour in the United States, and, in addition to teaching and concert work, created original choreographies using techniques such as those of India and Spain. In 1960, she moved to Cape Cod, Massachusetts, where she continued her work until 1984, when she returned to San Antonio. In addition to her practical work in dance, La Meri also published writings that set forth her conceptions, understandings, goals and methodologies. This book is both a biography of La Meri and an analysis of the significance of her theory and practice, with attention to her own performance, choreography, writings, and teaching.
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Monroe, Raquel. “The White Girl in the Middle”. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.013.
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This chapter illustrates how the narratives of hip-hop dance films have historically used white female dancers to introduce mainstream white audiences to hip-hop dance forms. In Step Up 2: The Streets, however, the white female protagonist is not an outsider introduced to hip-hop dance forms, instead she is from the very streets where hip-hop originates. Yet her success as a white female hip-hop dancer weighs on her ability to perform “black” corporeality equal to or better than her black counterparts. Using choreographic analysis and critical race and gender theories, the chapter argues that hip-hop dance forms render whiteness hyper-visible, but the white performance of black performativity becomes the selling point for films like Step Up 2: The Streets, where black performers are cast as ancillary characters to authenticate the white protagonists.
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Wilcox, Emily E. Women Dancing Otherwise. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199377329.003.0004.
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In twenty-first-century urban Chinese contemporary dance, gender and female sexuality are often constructed in ways that reinforce patriarchal and heterosexual social norms. Although “queer dance” as a named category does not exist in China, it is possible to identify queer feminist perspectives in recent dance works. This essay offers a reading of representations of gender and female sexuality in two works of contemporary dance by Beijing-based female Chinese choreographers: Wang Mei’s 2002 Thunder and Rain and Gu Jiani’s 2014 Right & Left. Through choreographic analysis informed by ethnographic research in Beijing’s contemporary dance world, this essay argues that Thunder and Rain reinforces patriarchal and heterosexual social norms common in Chinese contemporary dance, while Right & Left disrupts such norms. Through its staging of unconventional female-female duets and its queering of nationally marked movement forms, Right & Left offers a queer feminist approach to the presentation of women on the Chinese stage.
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Winkler, Kevin. Big Deal. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.001.0001.
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Bob Fosse’s work continues to be the most recognizable of the great choreographers of Broadway’s post–World War II golden age. This book offers deep analysis of Fosse’s development as a choreographer, including the various dance influences he absorbed as a young performer. It examines key Fosse dances and contextualizes them across his career. It looks at how he influenced changes in the musical theater, particularly as a director, and how early mentors George Abbott and Jerome Robbins shaped his theatrical outlook. It compares his work to that of peers like Robbins, Gower Champion, Michael Bennett, and others. The book also examines his choreography for film and looks at how his film experiences influenced his stage work. It also considers the impact of his three marriages—all to dancers—on his career. Finally, the book investigates how Fosse’s evolution as both artist and individual mirrored the social and political climate of his era and allowed him to comfortably ride a wave of cultural changes.
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Borelli, Melissa Blanco, ed. The Oxford Handbook of Dance and the Popular Screen. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.001.0001.
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This anthology offers contemporary perspectives on dance in the context of the popular screen. It analyzes the role played by the dancing body in popular culture and its multi-layered meanings in film, television, music videos, video games, commercials, and Internet sites such as YouTube. It explores how dance and choreography function within the filmic apparatus, and how the narrative, dancing bodies, and/or dance style set in motion multiple choreographies of identity such as race, gender, sexuality, class, and nation. It also considers the types of bodies that are associated with specific dances and their relation to power, access, and agency, as well as the role(s) of a specific film in the genealogy of Hollywood dance films. The book is divided into five sections that examine dance in films such asMoulin Rouge!, Dance Girl Dance, Dirty Dancing, and Save the Last Dance; the different aspects of commercial dance films in the context of identity politics, technology, commercialism, and the politics of moving bodies; how dance and its practice are constructed in films as a form of self-discovery and individual expression; the impact of music videos on popular dance and its dissemination; and how dance video games such as Dance Central influence concepts of choreography, embodiment, and dance pedagogy.
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Balanchine's Serenade and Humphrey's Passacaglia: An analysis of two new directions in American choreography. 1988.
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Balanchine's Serenade and Humphrey's Passacaglia: An analysis of two new directions in American choreography. 1988.
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Balanchine's Serenade and Humphrey's Passacaglia: An analysis of two new directions in American choreography. 1988.
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Balanchine's Serenade and Humphrey's Passacaglia: An analysis of two new directions in American choreography. 1987.
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Lepecki, André. The Politics of Speculative Imagination in Contemporary Choreography. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.35.
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Through a close analysis of recent works by experimental choreographers from Brazil, the United States, and Europe, this chapter discusses the uses of speculation and imagination as choreopolitical tools used to bypass the introjection of censorship typical of contemporary societies of control. The kinetic expression of such introjection is defined as an act of choreopolicing. By proposing that the refusal to give something to view must be taken as a fully affirmative gesture in experimental choreography, the chapter further proposes that imagination has become the realm through which one may resist the “creative impetus” characteristic of cognitive and affective capitalism.
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Pouillaude, Frédéric. To the Letter. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.37.
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This chapter is devoted to a piece by Olivia Granville, Le Cabaret discrépant, created in 2011. This piece interrogates and reenacts a largely forgotten moment in the history of the choreographic avant-gardes: the choreographic initiatives of the Lettrist Group (in the first place of its founder Isidore Isou, but also of his disciple Maurice Lemaître) in the 1950s and 1960s. After exposing the main ideas of the Lettrist theory of dance and choreographic history, the chapter analyzes the structure and the meaning of the piece by Granville. It emphasizes the specific use of citation and the powers of literality in order to present a nonlinear and nonteleological vision of art history.
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Systems research in the arts: Music, environmental design, and the choreography of space. Windsor, Ont: International Institute for Advanced Studies in Systems Research and Cybernetics, 2000.
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Demin, Lieve. Rebel and master-magician: Jan Fabre as choreographer : an analysis of selected works 1976-1993. 1993.
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Kedhar, Anusha. Flexible Bodies. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190840136.001.0001.
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Flexible Bodies charts the emergence of British South Asian dance as a distinctive dance genre. Analyzing dance works, dance films, rehearsals, workshops, and touring alongside immigration policy, arts funding initiatives, citizenship discourse, and global economic conditions, author Anusha Kedhar traces shifts in British South Asian dance from 1990s Cool Britannia multiculturalism to fractious race relations in the wake of the July 7, 2005, terrorist attacks to economic fallout from the 2008 global financial crisis, and, finally, to anti-immigrant rhetoric leading up to the Brexit referendum in 2016. Drawing on more than a decade of ethnographic fieldwork and interviews with dancers, in-depth choreographic analysis of major dance works, and the author’s own lived experiences as a professional dancer in London, Flexible Bodies tells the story of British South Asian dancers and the creative ways in which they negotiate the demands of neoliberal, multicultural dance markets through an array of flexible bodily practices, including agility, versatility, mobility, speed, and risk-taking. Attending to pain, injury, and other restrictions on movement, it also reveals the bodily limits of flexibility. Theorizing flexibility as material and metaphor, the book argues that flexibility is both a tool of labor exploitation and a bodily tactic that British South Asian dancers exploit to navigate volatile economic and political conditions. With its unique focus on the everyday aspects of dancing and dance-making Flexible Bodies honors the lives and labor of dancers and their contributions to a distinct and dynamic sector of British dance.
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Harris, Andrea. Making Ballet American. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199342235.001.0001.
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George Balanchine’s arrival in the United States in 1933, it is widely thought, changed the course of ballet history by creating a bold and original neoclassical style that is celebrated as the first successful “American” manifestation of the art form. Making Ballet American: Modernism Before and Beyond Balanchine intervenes in the prevailing historical narrative and rebalances Balanchine’s role in dance history by revealing the social, cultural, and political forces that actually shaped the Americanization of neoclassical ballet. Situating American ballet within a larger context of literary, musical, art, and dance modernism, Harris examines a series of critical efforts, most prominently by Lincoln Kirstein and Edwin Denby, to craft new, modernist ideas about the relevance of classical dancing for American society. The book’s unique structure interweaves chapters focused on cultural and intellectual histories of ballet criticism and production with close examinations of three American ballets in the Depression, World War II, and Cold War eras: Eugene Loring’s Billy the Kid (1938), Agnes de Mille’s Rodeo (1942), and Balanchine’s Western Symphony (1954). Through this blend of cultural and choreographic analysis, Making Ballet American illustrates the evolution of modernist ballet theory and practice during a turbulent historical period. Ultimately, Making Ballet American argues that the Americanization of Balanchine’s neoclassicism was not the inevitable outcome of his immigration or his creative genius, but rather a far more complicated process that spanned several authors and continents, always pivoting on the question of modern ballet’s relationship to America and the larger world.
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Barnard, Philip, and Scott deLahunta. Intersecting shapes in music and in dance. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0025.
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The concept of shape figures widely in discourse about both dance and music. This chapter discusses the shape using two analytic lenses explored over ten years of cumulative, interdisciplinary collaboration within R-Research, a team working alongside the contemporary dance company Wayne McGregor | Random Dance. These two lenses help locate issues, clarify problems and situate what we can learn from choreographic practice and empirical studies of dance. The first lens is a framework for describing what goes on in the making of an artwork or in design processes generally. The second lens is that of mental architecture, applied here to examine how the multiple components of the human mind work together in creative and performance contexts. Each of these can provide some insight into the multiple facets of choreomusical relationships and, in doing so, can offer some modest augmentations to choreographic practice.
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Huschka, Sabine. Dance in Search of Its Own History. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.46.
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This chapter explores the methods of appropriating and reactivating past knowledge of European dance practices, focusing on contemporary choreographic approaches funded by the German national program Tanzfonds Erbe (Kulturstiftung des Bundes). Eyeing three distinct productions—Jochen Roller’s The Source Code (2012), Christina Ciupke and Anna Till’s undo, redo and repeat (2013), and Henrietta Horn’s rendition of Mary Wigman’s Le Sacre du Printemps (2013)—the inquiry focuses on the reflective possibilities disclosed by reenactment. To seek the remains of dance historicity across bodies, “witnesses,” notes, and digital media, the chapter analyzes the different approaches to actualizing choreographic knowledge of the past in the modes of occupying vacancies—reaching into an open wound of loss (death). Since every act of remembering is placed between the past and the present, the logic of reenactment constitutes in dance a staged act of activated memory continually carrying out the work of its own self-assertion.
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Borelli, Melissa Blanco. Introduction. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.004.
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In addition to providing an overview of the chapters that comprise the volume, this chapter uses a music video by George Michael as an example of how to engage students in dance studies analysis of bodies on the popular screen. It also provides an overview to students on how they might engage with the bodies and the choreographies they see on the screen.
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Burrill, Derek A., and Melissa Blanco Borelli. Dancing with Myself. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.027.
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This chapter acts as a video game battle or interaction between the two authors. It discusses how dance video games construct corporeality. It provides an overview of Microsoft Xbox 360Dance Central’srelationship to choreography, choreographers, and dance analysis. It also theorizes how bodies and corporeality function in a virtual world. Finally, the chapter considers how avatar bodies provide new ways of thinking about the relationship between technology and the body.
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Zbikowski, Lawrence. Music and Dance in the Ancien Régime. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.006.
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This chapter explores the contribution French noble dance made to the topical universe available to composers in the latter half of the eighteenth century. The chapter reviews the culture of dance in theancien régimeand offers a detailed analysis of the relationship between music and dance in a bourrée; the choreography for this bourrée was preserved in dance notation and published in 1700. This analysis suggests that topical references to French dance types had the potential to summon knowledge of a sort that was deeply embodied. The chapter concludes with a discussion of different ways dance music was employed by composers of instrumental and theatrical music during the eighteenth century.
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Franko, Mark. Epilogue to an Epilogue. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.43.
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This chapter provides a historical context for reenactment in contemporary dance in experiments in the 1980s with the reconstruction and reinvention of dance modernism and baroque dance, as well as offshoots of the baroque. It posits the importance of the artist’s dual emplacement in multiple senses: between past and present, between intellectual and artistic production, between memory and forgetting. Through an analysis of Martin Nachbar’s reenactment of the solo cycle Affectos Humanos by Dore Hoyer, it then proceeds to elaborate a poetics of the archive and the notion of choreography itself as an “order of places” necessary to memory itself.
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Kuppers, Petra. Dancing Disabled. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.55.
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This chapter provides ways of linking phenomenology, feminist analysis, embodiment in dance, and corporeal representational politics. It engages Iris Marion Young’s argument about “Throwing Like a Girl,” addressing the pervasive structure at the heart of the meaning of femininity: the “disabling” object/subject bind that throws woman out of agency, and into the image. Using Young, Simone de Beauvoir, and Maurice Merleau Ponty as historical touchstones, the chapter shows how this agency/object bracket is at work in disability representation, and how examples of contemporary dance practice can fruitfully destabilize this scene. Dancers discussed include Gerda Koenig, a German dance artist and choreographer of DIN A 13, and Bill Shannon, a US dance artist.
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Chatterjea, Ananya. Of Corporeal Rewritings, Translations, and the Politics of Difference in Dancing. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.41.
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This chapter begins with the premise that embodied practices and works move across different contexts, and proposes that such migrations provide crucial insight into registers of power. While dance and embodied practices generally invite in audiences and/or participants, these journeys almost always are about access, which resonates differently in different contexts. It analyzes choreographic strategies and the “micropolitics of technique” in specific works by Rennie Harris, Nora Chipaumire, Rosy Simas, and Rulan Tangen in order to explore the different ways in which choreographers reimagine classical “masterpieces” and meta-narratives of “otherness,” thus upsetting traditional relations of power. It also tracks the contrasting journeys in the broad spread of the movement forms of ballet and yoga, where difference comes to be snuffed out through acts of “translation,” consolidating existing hierarchies.
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Dunagan, Colleen T. Dance-in-Advertising, Affect, and Contagious Movement. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190491369.003.0002.
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Chapter One introduces the concept of affect and its production through dance in advertising. Affect plays a key role in advertising’s ability to engage consumers in the production of cultural meaning. To this end, I argue that the marketing value of dance lies in the ability of the dancing body to produce affect through kinesthetic empathy and correspondingly to create the appearance of relational meaning and agency. By placing affect theory into dialogue with theories of cognition and kinesthetic empathy, I articulate how and why the moving body in advertising requires its own analysis. In these ads, choreographed movement holds the key to fully understanding the production of affect, affect’s contagion, and its role in the production of social relations and cultural meaning.
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Williams, Tami. Dulac’s Aesthetic Matures. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0004.
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This chapter illustrates Dulac's gradual shift from scenic naturalism and pictorial symbolism to the use of film-specific technical effects, and a choreography and montage-based notion of “rhythm within and between the images” in her feminist classic La Souriante Madame Beudet (1923), her subversive short L'Invitation au voyage (1927), and in a new restoration of her first surrealist film La Coquille et le clergyman (1927). The chapter also analyzes Dulac's lesser known La Folie des vaillants (1925), which among her narrative films comes closest to fulfilling her ideals of a “visual symphony” and a “pure cinema” free from the conventions of literature and theater.
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Image of the Singing Air: Presence and Conscience in Dance and Music Collaboration. University Press of America, 2004.
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Kraut, Anthea. Reenactment as Racialized Scandal. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.3.
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This chapter considers the 2011 controversy surrounding African-American pop music star Beyoncé’s music video “Countdown,” in which she “borrowed” portions of two works by Belgian avant-garde choreographer Anne Teresa De Keersmaeker, as an example of what Rebecca Schneider refers to as the “scandal of unrestricted circulation and exchange.” Approached as reenactment, Beyoncé’s alleged plagiarism of De Keersmaeker brings to the fore certain issues that have been less discussed in other analyses of “reperformance,” particularly questions of how race structures the anxieties and gaps that reenactment produces. The chapter argues that even as Beyoncé’s unauthorized reproduction of De Keersmaeker inverts the deeply entrenched pattern of white modern and postmodern artists taking from non-white movement practices, the response to “Countdown” demonstrates the persistence of racially tinged anxieties about who is authorized to reenact what.
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Kolb, Alexandra. Dance and Politics in China. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.57.
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This chapter contextualizes stage dance developments in China in the twentieth and twenty-first centuries (through Republican, Maoist, and reformist periods) against the backdrop of the country’s changing sociopolitical conditions and relationships with the Western world. It explores, in historical terms, the interface between Chinese dance and politics to suggest that Westernizing impulses lay behind many of China’s attempts at modernization, leading to hybrid performance practices that are quite unique. The chapter then focuses on the intercultural ArtsCross initiative (2009–2013), a series of projects between the Beijing Dance Academy, Middlesex University London, and Taipei National University of the Arts, which exemplifies the quest for a more equitable form of East-West exchange in the context of globalization and China’s reformist ideological agenda. This section includes a comparative reading of Chinese and Western training and devising processes, as witnessed in these projects, and analysis of Guo Lei’s hybrid choreography Mask.