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Books on the topic 'Choreography. Gender identity in dance'

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Published: 4 June 2021
Last updated: 18 February 2022

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1

Hanna, Judith Lynne. Dance, sex and gender: Signs of identity, dominance, defiance, and desire. Chicago: University of Chicago Press, 1988.

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2

Stigma and perseverance in the lives of boys who dance: An empirical study of male identities in western theatrical dance training. Lewiston, N.Y: Edwin Mellen Press, 2009.

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3

Gard, Michael. Men who dance: Aesthetics, athletics and the art of masculinity. New York: Peter Lang, 2005.

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4

Ageing, gender, embodiment and dance: Finding a balance. Houndmills, Basingstoke, Hampshire, UK: Palgrave Macmillan, 2012.

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5

Saikin, Magali. Tango y género: Identidades y roles sexuales en el tango argentino. Stuttgart: Abrazos Books, 2004.

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6

Tortajada, Margarita. Danza y género. Culiacán Rosales, Sinaloa [Mexico]: Colegio de Bachilleres del Estado de Sinaloa, 2001.

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7

Wong, Yutian. Choreographing Asian America: Club o'noodles and other mis-acts. Middletown, Conn: Wesleyan University Press, 2010.

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8

Wong, Yutian. Choreographing Asian America. Middletown, Conn: Wesleyan University Press, 2010.

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9

Embodied performances: Sexuality, gender, bodies. New York, NY: Palgrave Macmillan, 2011.

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10

Dance of the sexes: Art and gender in the fiction of Alice Munro. Edmonton, Alta., Canada: University of Alberta Press, 1990.

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11

Yes? no! maybe--: Seductive ambiguity in dance. Milton Park, Abingdon, Oxon: Routledge, 2006.

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12

Art, dance and the body in the French culture of the ancien régime. Cambridge: Cambridge University Press, 2000.

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13

Choreographing Asian America. Middletown, Conn: Wesleyan University Press, 2010.

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14

Dance and Gender (Choreography & Dance Studies). Routledge, 1998.

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15

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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16

1949-, Fisher Jennifer, and Shay Anthony 1936-, eds. When men dance: Choreographing masculinities across borders. Oxford: Oxford University Press, 2009.

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17

Risner, Doug, and Julie Kerr-Berry. Sexuality, Gender and Identity: Critical Issues in Dance Education. Taylor & Francis Group, 2017.

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18

Risner, Doug, and Julie Kerr-Berry. Sexuality, Gender and Identity: Critical Issues in Dance Education. Taylor & Francis Group, 2018.

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19

Risner, Doug, and Julie Kerr-Berry. Sexuality, Gender and Identity: Critical Issues in Dance Education. Taylor & Francis Group, 2018.

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20

Risner, Doug, and Julie Kerr-Berry. Sexuality, Gender and Identity: Critical Issues in Dance Education. Taylor & Francis Group, 2018.

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21

Risner, Doug, and Julie Kerr-Berry. Sexuality, Gender and Identity: Critical Issues in Dance Education. Taylor & Francis Group, 2018.

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22

Sexuality, Gender and Identity: Critical Issues in Dance Education. Taylor & Francis Group, 2015.

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23

Dance and Gender: NfA Collection of Empirical Research. University Press of Florida, 2017.

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24

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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25

Kraut, Anthea. Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance. Oxford University Press, Incorporated, 2016.

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26

Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance. Oxford University Press, Incorporated, 2016.

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27

Men Who Dance: Aesthetics, Athletics And The Art Of Masculinity. Peter Lang Publishing, 2006.

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28

Meftahi, Ida. Gender and Dance in Modern Iran: Biopolitics on Stage. Taylor & Francis Group, 2017.

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29

Pouillaude, Frédéric. Unworking Choreography. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199314645.001.0001.

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There is no archive or museum of human movement where choreographies can be collected and conserved in pristine form. The central consequence of this is the incapacity of philosophy and aesthetics to think of dance as a positive and empirical art. In the eyes of philosophers, dance refers to a space other than art, considered both more frivolous and more fundamental than the artwork without ever quite attaining the status of a work. This book develops this idea and postulates a désoeuvrement (unworking) as evidenced by a conspicuous absence of references to actual choreographic works within philosophical accounts of dance; the late development and partial dominance of the notion of the work in dance in contrast to other art forms such as painting, music, and theatre; the difficulties in identifying dance works (and developing a philosophical theory of dance identity) given a lack of scores and an apparent resistance within the art form to the possibility of notation; and the questioning of “ends” of dance in contemporary practice and the relativization of the very idea that dance artistic or choreographic processes aim at work production.
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30

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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31

Bingham, Margot. Saturday church. 2018.

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32

Dancing the Feminine: Gender & Identity Performances by Indonesian Migrant Women. Sussex Academic Press, 2016.

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33

Winarnita, Monika Swasti. Dancing the Feminine: Gender & Identity Performances by Indonesian Migrant Women. Sussex Academic Press, 2016.

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34

Sorry I Dont Dance. Oxford University Press Inc, 2013.

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35

Gender Dance: Ironic Subversion in C. S. Lewis's Cosmic Trilogy. Lang Publishing, Incorporated, Peter, 2013.

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36

Multiplicity, Embodiment and the Contemporary Dancer: Moving Identities. Palgrave Macmillan, 2015.

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37

Roche, J. Multiplicity, Embodiment and the Contemporary Dancer: Moving Identities. Palgrave Macmillan, 2015.

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38

Dancing Desires: Choreographing Sexualities on and Off the Stage (Studies in Dance History). University of Wisconsin Press, 2001.

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39

Dancing Desires: Choreographing Sexualities on and Off the Stage (Studies in Dance History). University of Wisconsin Press, 2001.

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40

The gods of tango. Alfred A. Knopf, 2015.

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41

Stepping Queerly?: Discourses in Dance Education for Boys in the Late Twentieth-century Finland. Peter Lang Publishing, 2005.

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42

Stepping Queerly?: Discourses in Dance Education for Boys in the Late Twentieth-century Finland. Peter Lang Publishing, 2005.

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43

Carola, Dertnig, and Seibold Stefanie 1967-, eds. Let's twist again: Was man nicht denken kann, das soll man tanzen : Performance in Wien von 1960 bis heute : eine psychogeographische Skizze = if you can't think it, dance it : performance in Vienna from 1960 until today : a psychogeographical map. Gumpoldskirchen: D.E.A. Buch- und Kunstverlag, 2006.

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44

Sunardi, Christina. Constructing Gender and Tradition through Senses of History. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038952.003.0004.

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This chapter looks at how performers constructed senses of gender—including boundaries of femaleness and maleness—as they established what comprised tradition through their senses of history. It emphasizes that the ways performers connected femaleness, the female style dance Beskalan Putri, the past, spiritual power, and Malang indicates ways of thinking that in effect maintain cultural space for the magnetic power of femaleness and connect female power to Malangan identity. The senses of femaleness and its power that performers associated with Beskalan Putri were so strong that they shaped the ways performers understood and talked about the histories of other dances discussed in this chapter, including Ngremo Lanang, Ngremo Putri, and Beskalan Lanang, as well as the expression of gender in these dances. These perceptions also provide deeper insight into what has concerned performers about the performance of Ngremo Tayub and Ngremo Putri since the 1990s.
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45

Kosstrin, Hannah. Honest Bodies. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199396924.001.0001.

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Honest Bodies: Revolutionary Modernism in the Dances of Anna Sokolow argues that Sokolow’s choreography circulated American modernism among Jewish and communist channels of the international Left from the 1930s to the 1960s in the United States, Mexico, and Israel. Integrating archival materials, interviews, and theories from dance, Jewish, and gender studies, this book illuminates Sokolow’s choreography for social change alongside her teaching of Martha Graham’s technique. Tracing dances with her companies Dance Unit, La Paloma Azul, Lyric Theatre, and Anna Sokolow Dance Company, along with presenters and companies including the Negro Cultural Committee, the New York State Committee for the Communist Party, Nuevo Grupo Mexicano de Clásicas y Modernas, and Inbal Dance Theater, this book highlights Sokolow’s work among developments in ethnic definitions, diaspora, and nationalism in the United States, Mexico, and Israel. Critical reception documented Sokolow’s career from a leading proletarian choreographer to one of modernist alienation, and reflected the assimilation of her generation of Jews, children of Eastern European immigrants, from the marginalized working class to the American middle-class mainstream. Equally affected by the Holocaust and the Second Red Scare, Sokolow’s choreography evidences her political–aesthetic statements that resonate as clearly in today’s political climate as they did then. Sokolow’s kinesthetic imprints circulated American corporeality through modern dance training, as her students in New York, Mexico City, and Tel Aviv fit their bodies into Graham’s codified shapes. Honest Bodies details how cultural ideologies circulate internationally through choreography and dancers’ physicalities and how American modernism influenced and was influenced by this circulation’s physical residue.
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46

Jeschke, Claudia. Lola Montez and Spanish Dance in the 19th Century. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036767.003.0003.

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This chapter narrates the career of Lola Montez (c. 1820–1861), a performer who trafficked in staging the Spanish dancer as a figure of otherness on the stages of nineteenth-century Europe. It addresses both performative qualities and written discourse, in particular Montez's own writings, as strategies for self-fashioning. Here, discourse itself gains a performative potential, pronouncing into being a successful persona that relied on a variety of marketing tactics. The chapter casts new light on dance history by exploring how a dilettante female performer used constructions of gender and alterity to forge a star identity for herself. It argues that Montez was uniquely aware of the discourses surrounding the profession of dance in the nineteenth century, and manipulated them to her own advantage.
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47

Giersdorf, Jens. (In)Distinct Positions. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.33.

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Investigating two mutually exclusive approaches to the theorization of dance, which are labeled for the purposes of illustration German philosophical conceptualization and US identity politics, this chapter examines the differences between these two theorizing models in terms of their politics. Caused by incompatible methodologies, international communication within the field of dance studies often takes place only at the level of information—excluding critical engagement with the opposing position. Such inability to critically engage reinforces local academic norms in national models of dance studies. Using the example of Trajel Harrell’s unique reenactment of historical choreographic material and the physicalization of dance theoretical positions in his choreography Antigone Sr./Twenty Looks or Paris Is Burning at The Judson Church (L), the author proposes a productive model of in-between-ness that not only engages with the opposed approaches to dance studies, but also provides a critical reenactment of them.
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48

Candelario, Rosemary. “Shine Your Light on the World”. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.024.

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In 2004, comedian Dave Chappelle brought residents of Yellow Springs, Ohio, and New York City together in Bedford-Stuyvesant, Brooklyn, for a hip-hop block party featuring a roster of socially engaged rap and neo-soul artists. This chapter argues that the 2006 film of the concert,Dave Chappelle’s Block Party, directed by Michel Gondry, endeavors to construct a utopian community centered on the birthplace of hip-hop. Employing dance studies methodologies to examine a non-dance event, this article attends to the choreography of the block, the party attendees and performers, and their spontaneous solo and group gestures and movements at the block party. Such an approach emphasizes the corporeality of the concert performers and attendees and allows an examination of their bodily signification in terms of race, gender, ideology, power, and ultimately the nation.
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49

Phelan, Peggy. Planning for Death’s Surprise. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.13.

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The temporal conjunctions of the deaths of Pina Bausch and Merce Cunningham provide an opportunity to think carefully about the afterlife of choreography. While Cunningham died with a formal legacy plan in place and Bausch did not, issues of obligation to art and to living dancers also have bearing on dance legacy. The chapter considers transformations in the proliferation and ease of documentary records, the pressure to make room for the new, gender and sexuality, and postwar consciousness as important factors in the legacy issues of Bausch and Cunningham. Moving between specific details about each choreographer’s death and more abstract structures of death, the surprise of death’s uneven temporal arrival in the living significantly informs the afterlife of Cunningham and Bausch.
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50

Rosenberg, Douglas, ed. The Oxford Handbook of Screendance Studies. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199981601.001.0001.

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The Oxford Handbook of Screendance Studies is the first publication to offer a scholarly overview of the histories, practices, and critical and theoretical foundations of the rapidly changing landscape of screendance. Drawing on their practices, technologies, theories, and philosophies, scholars from the fields of dance, performance, visual art, cinema, and media arts articulate the practice of screendance as an interdisciplinary, hybrid form that has yet to be correctly sited as an academic field worthy of critical investigation. Each essay discusses and reframes current issues, as a means of promoting and enriching dialogue within the wider community of dance and the moving image. Topics addressed include politics of the body; agency, race, and gender in screendance; the relationship of choreography to image; constructs of space and time; dance and interactive and digital technology; representation and effacement; production and curatorial practice; and other areas of intersecting disciplines, such as kinesthetic explorations. The Oxford Handbook of Screendance Studies features newly commissioned and original scholarship that will be essential reading for all those interested in the intersection of dance and the moving image, including film and videomakers, choreographers and dancers, screendance and videodance artists, academics and writers, producers, composers, as well as the wider public. It will become an invaluable resource for researchers and professionals in the field and is intended as the first classroom text for screendance courses.
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