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Journal articles on the topic 'Dance company'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

Franko, Mark. "Approaches to Dance (1): Influences." Dance Research 28, no. 1 (May 2010): 1–5. http://dx.doi.org/10.3366/drs.2010.0001.

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This is an autobiographical account of the intellectual and artistic influences on the work of Mark Franko. It touches on his professional dance career with the Paul Sanasardo Dance Company and his choreographic career with his own company NovAntiqua, his graduate education at Columbia University, and the development of an interdisciplinary approach to theory and practice that blends the activities of the dance scholar with those of the dancer-choreographer.

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2

BRUCHER, KATHERINE. "Assembly Lines and Contra Dance Lines: The Ford Motor Company Music Department and Leisure Reform." Journal of the Society for American Music 10, no. 4 (October 27, 2016): 470–95. http://dx.doi.org/10.1017/s1752196316000365.

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AbstractThe automaker Henry Ford founded the Ford Motor Company Music Department in 1924 with the goal of reviving what he called “old-fashioned dancing and early American music.” Ford's interest in the Anglo-American social dances of his youth quickly grew from dances hosted by the Fords for company executives to a nationwide dance education program. This article traces the history of the Music Department's dance education program and examines the parallels between it and the company's earlier efforts in social engineering—namely the Ford Profit Sharing Plan (better known as the “Five Dollar Day”) and the Ford English School. The Music Department's activities offer an opportunity to explore how industry sought to shape music and dance through Americanization efforts and leisure reform as Detroit rapidly urbanized during the first decades of the twentieth century. Supporters of Ford's revival viewed the restrained musical accompaniment and dance movements as an antidote to jazz music and dances, but more importantly, music and dance served as an object lesson in the physical discipline necessary for assembly line labor. Ford's dance education campaign reveals the degree to which industry was once entwined with leisure reform in southeast Michigan.

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3

Fiskvik, Anne Margrete. "Tracing the Achievements of Augusta Johannesén, 1880–1895." Nordic Journal of Dance 5, no. 2 (December 1, 2014): 4–21. http://dx.doi.org/10.2478/njd-2014-0007.

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Abstract Dancer, choreographer and teacher Augusta Johannesén was an important figure in several capacities for Nordic theatrical dance. She danced, taught and choreographed in Sweden, Finland as well as in Russia. Between 1860-1878 she was a member of the so-called Johannensénske Balletselskab, which toured extensively in the Nordic countries. The Johannesénske family settled in the Norwegian capital Kristiania in 1880, and Augusta Johannesén slowly established herself as a professional dance artist at the most important theatres in Kristiania. Over the years she became a dancer, choreographer and teacher of great significance, and her contribution to the development of Norwegian theatre dance cannot be overestimated. She was active as dancer well into the 1910’s and “arranger of dance” up until she died in 1926. As a ballet teacher, she trained hundreds of dancers, including several of those who later went on to play a role in the Norwegian dance- and theatre scene. In many ways, Augusta Johannesén is representative of a versatile dancer that can be found on many European stages, the versatile ballet dancer that was also typical of the Nordic dance scene around the “fin de siècle”. She typically also struggled with stereotypical notion of the “ballerina”. This article focuses on only a part of her career, her first fifteen years in Norway. Between 1880 and 1895 she established herself in Kristiania, dancing at the Christiania Theater and later at the Eldorado. The article also forefront an especially important event in Norwegian Nordic dance history instigated by Johannesén: The establishment of a “Ny Norsk Ballet” (“New Norwegian Ballet”) at the Eldorado theatre in Kristiania in 1892. This is probably the very first attempt at creating a professional ballet company in Norway, and Augusta Johannesén’s contribution is only one of many ways she made a difference to professional theatre dance in Norway.

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4

Thompson, Jayne. "Moving Memory Dance Theatre Company." Performance Research 24, no. 3 (April 3, 2019): 115–21. http://dx.doi.org/10.1080/13528165.2019.1583983.

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5

Pritchard, Jane. "Archives of the Dance: The Rambert Dance Company Archive." Dance Research: The Journal of the Society for Dance Research 6, no. 1 (1988): 59. http://dx.doi.org/10.2307/1290748.

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6

Leich, Debra L. "Dance for Social Chance Full House Children's Dance Company." Journal of Physical Education, Recreation & Dance 65, no. 5 (May 1994): 39–43. http://dx.doi.org/10.1080/07303084.1994.10606916.

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7

Aldor, Gaby. "The Borders of Contemporary Israeli Dance: “Invisible Unless in Final Pain”." Dance Research Journal 35, no. 1 (2003): 81–97. http://dx.doi.org/10.1017/s0149767700008780.

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When Vertigo, an Israeli dance company, performed in collaboration with the English Ricochet dancers, there was one dance on the stage—one choreography—but the audience saw two different modes of movement. The English dancers were learned, elegant, arms and feet drawing long lines in space, the feet articulate. The Israelis danced with a powerful thrust, extremities loose, with total commitment and daring, their movements leaving in space traces of explosions too fast to recollect rather than spirals of continuity. How did this mode of movement develop? What is “Israeli” about Israeli dance?In this essay I offer a brief history of concert dance in Israel, then a largely descriptive account of choreographic and motional themes that distinguish contemporary Israeli dance. My descriptions of works by contemporary Israeli choreographers Jasmine Goder, Ronit Ziv, Anat Danielli, Shlomi Bitton, and Noa Dar are drawn mostly from observation of performances held during yearly Curtain Up festivals at the Suzanne Dellal Center for Dance and Theater in Tel Aviv. I also discuss works by Inbal Pinto, Rami Be'er, Nir Ben-Gal and Liât Dror, and finally, Ohad Naharin, artistic director and choreographer of the Batsheva Dance Company.

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8

Lana, Iris. "The Batsheva Dance Company Archive Project." Dance Research 38, no. 2 (November 2020): 168–86. http://dx.doi.org/10.3366/drs.2020.0306.

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The article discusses the Batsheva Dance Company Archive Project, conducted by a team I headed in the years 2012–2015. 1 The analysis of this project will assist in understanding both its significance as an archival act of documenting the past, and its influence on the company's present and on Israeli dance. The method of analysis will include a description of the different practices involved in constructing a dance archive; a contextual discussion of archival practices; and a theoretical discussion, principally in the context of changes in current archiving practices and developments in critical thinking about dance as a discipline. The description of the course of events in this article mainly relies on my personal experience and involvement as director of the Batsheva Dance Company Archive Project. The different proceedings, goals, considerations and decisions were documented in monthly reports and in the project's concluding document, and so assisted in tracing the chronicle and details of events. 2

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9

Mohr, Hope, Larry Arrington, Gerald Casel, Gregory Dawson, Peiling Kao, Xandra Ibarra, and Margo Moritz. "Choreographic Transmission in an Expanded Field: Reflections on “Ten Artists Respond to Trisha Brown’s Locus”." TDR/The Drama Review 62, no. 2 (June 2018): 143–50. http://dx.doi.org/10.1162/dram_a_00754.

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The Locus project commissioned 10 Bay Area artists from multiple disciplines to learn Trisha Brown’s Locus and respond by creating their own pieces. It was the first time that the Trisha Brown Dance Company (TBDC) had allowed one of Brown’s dances to be transmitted beyond the company for the explicit purpose of inspiring new works.

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10

TEMEL,Sernaz DEMİREL TEMEL, Tan. "Modern dance in Turkey with Geyvan McMillen “Yıldız Technical University Dance Program, Cemal Reşit Rey Dance Theater Company and Istanbul Dance Theater Company”." Journal for the Interdisciplinary Art and Education 2, no. 1 (2021): 75–103. http://dx.doi.org/10.29228/jiae.16.

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11

Marcus, Kenneth H. "Dance Moves." Pacific Historical Review 83, no. 3 (November 2012): 487–527. http://dx.doi.org/10.1525/phr.2014.83.3.487.

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This article argues that a group of young African Americans in the 1940s and 1950s used ballet as a means of crossing racial and class barriers of an art form in which few blacks had until then participated. Founded in 1946 by white choreographer Joseph Rickard (1918–1994), the First Negro Classic Ballet was one of the first African American ballet companies in the country's history and the first black ballet company known to last over a decade. With the goal of multiethnic cooperation in the arts, the company created a series of original “dance-dramas,” several with musical scores by resident composer Claudius Wilson, to perform for white and black audiences in venues throughout Southern and Northern California during the postwar era.

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12

Sibila, Iva Nerina. "Searching for context – 1984." Maska 32, no. 183 (June 1, 2017): 111–26. http://dx.doi.org/10.1386/maska.32.183-184.111_1.

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An overview of the pivotal personalities on the Zagreb dance scene as related to the programming of the first Dance Week Festival in 1984. These are the School of Rhythmics and Dance, Contemporary Dance Studio, Free Dance Chamber Company and Zagreb Dance Company. By making a note on the progress of these entities, aesthetic orientations and positions in the social environment and reviewing the performances, a dynamics of the scene of the period is delineated.

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13

Reichmann, Karl. "Press RETURN: The Palindrome Dance Company." Computer Music Journal 19, no. 4 (1995): 93. http://dx.doi.org/10.2307/3680994.

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14

Bronner, Shaw, Sheyi Ojofeitimi, and Donald Rose. "Injuries in a Modern Dance Company." American Journal of Sports Medicine 31, no. 3 (March 2003): 365–73. http://dx.doi.org/10.1177/03635465030310030701.

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Background Professional dancers experience high rates of musculoskeletal injuries. Objective To analyze the effect of comprehensive management (case management and intervention) on injury incidence, time loss, and patterns of musculoskeletal injury in a modern dance organization. Study Design Retrospective/prospective cohort study. Methods Injury data were analyzed over a 5-year period, 2 years without intervention and 3 years with intervention, in a modern dance organization (42 dancers). The number of workers’ compensation cases and number of dance days missed because of injury were compared across a 5-year period in a factorial design. Results Comprehensive management significantly reduced the annual number of new workers’ compensation cases from a high of 81% to a low of 17% and decreased the number of days lost from work by 60%. The majority of new injuries occurred in younger dancers before the implementation of this program. Most injuries involved overuse of the lower extremity, similar to patterns reported in ballet companies. Benefits of comprehensive management included early and effective management of overuse problems before they became serious injuries and triage to prevent overutilization of medical services. Conclusions This comprehensive management program effectively decreased the incidence of new cases and lost time. Both dancers and management strongly support its continuance.

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15

East, Ali. "Marianne Schultz, Limbs Dance Company: Dance for all People 1977–1989." Dance Research 36, no. 2 (November 2018): 275–77. http://dx.doi.org/10.3366/drs.2018.0246.

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16

Østern, Tone Pernille. "Teaching Dance Spaciously." Nordic Journal of Dance 1, no. 1 (December 1, 2010): 46–57. http://dx.doi.org/10.2478/njd-2010-0007.

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Abstract This article focuses on and discusses the concept of space as a theoretical tool in connection with dance pedagogy. The author suggests that to look at the dance class as spacious contributes to the dance teacher’s awareness of the fact that she operates in, and also creates, many different spaces as she teaches. This awareness might support the teacher in broadening the dance space in order to embrace differences among dancers, thereby providing the word spacious with a second meaning: generous. The author’s interest in the concept of space as a theoretical device to help understand what goes on in a dance class was born during the analysis of the video material collected for her PhD in dance (Østern, 2009). The practical investigation of the study dealt with formulating an approach to dance pedagogy with a group of mixed-ability dancers based on an understanding of the meaning-making processes among the different dancers in the project. Dialoguing with scholars like Maurice Merleau-Ponty (1962/2002), Valerie Briginshaw (2001), Shaun Gallagher, Dan Zahavi (2008) and Leena Rouhiainen (2007), the author distinguished different spaces in the dance improvisation classes she was teaching, video recording and analysing. Through this process, she developed a theory on the fact that in a dance improvisation class with differently bodied dancers meaning was made in different ways, touching on and producing different spaces. The author concludes that one main advantage of regarding a dance class as spacious is that it allows for an understanding that in class meaning-making can happen in different ways, within different spaces. Together with the dancers, the dance teacher moves in and out of these spaces as she teaches. Tone Pernille Østern (Doctor of Arts in dance) is a dance artist, teacher and researcher based in Trondheim, Norway. She is the artistic leader of the Inclusive Dance Company (www.dance-company.no) which is a small independent contemporary dance company. She has developed the Dance Laboratory (www.danselaboratoriet.no) which is a performing group with differently bodied dancers. The Dance Laboratory also formed the basis of her field work in relation to her PhD in Dance at the Theatre Academy in Helsinki (Østern, 2009). Østern is also the leader of the MultiPlié Dance and Diversity Festival, a biennial in Trondheim since 2004. The festival tries to stretch and discuss ideas about what dancing is and who can be a dancer. From 2009 she also takes up the position as assistant professor at the Program for Teacher Education at the NTNU University where she teaches and carries out research. E-mail: inclusive@dance-company.no / tone.pernille.ostern@plu.ntnu.no

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17

Bergström, Anna. "Teacher training intensive with Candoco Dance Company." Theatre, Dance and Performance Training 2, no. 2 (September 2011): 274–75. http://dx.doi.org/10.1080/19443927.2011.615564.

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18

Levy, Jo‐Anne. "Contextualizing conversation analysis of a dance company." Research on Language and Social Interaction 20, no. 1-4 (January 1987): 243–69. http://dx.doi.org/10.1080/08351818709389280.

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19

Ames, Margaret. "Learning disability dance: an example of resilience with Speckled Egg Dance Company." Research in Drama Education: The Journal of Applied Theatre and Performance 26, no. 1 (January 2, 2021): 105–20. http://dx.doi.org/10.1080/13569783.2020.1851180.

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20

Kim, Da-Yea, and Han-Joo Lee. "Analysis of Dance Works Performed by National Dance Company: Big Data Analysis." Journal of Sport and Leisure Studies 83 (January 31, 2021): 171–83. http://dx.doi.org/10.51979/kssls.2021.01.83.171.

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21

Robinson, Anne. "Penelope Spencer (1901–93) Dancer and Choreographer: A Chronicle." Dance Research 28, no. 1 (May 2010): 36–89. http://dx.doi.org/10.3366/drs.2010.0004.

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The career of the English dancer, choreographer, teacher and dance writer, Penelope Spencer (1901–93), primarily spanned the twenty-year period between the First and Second World Wars (1919–39). Spencer's versatile dance training and career encompassed diverse British theatre genres of the period, including ballet, drama, mime, modern dance, musical comedy, opera, pantomime and revue. It was common practice during the inter-war period for English dancers to disguise their British origins by ‘Russianising’ their names. Spencer, however, maintained her English name throughout her career. She practised consecutively both as a freelance artiste and also under the auspices of important cultural institutions, including the British National Opera Company [BNOC], the Camargo Society, the Cremorne Company, the Dancer's Circle Dinners, the Glastonbury Festival, the Imperial Society for Teachers of Dancing [ISTD], the League of Arts, the London Opera Syndicate Limited, the Margaret Morris Movement, the One Hundred Club, the Royal Academy of Dancing [RAD], the Royal Academy of Dramatic Art [RADA], the Royal College of Music [RCM], and the Sunshine Matinées. Spencer's significant contribution to British theatre dance and wider cultural heritage, is largely forgotten. Since no major study of her work has been published, 1 and because not one of her creations survives in performance, the importance of her wide-ranging, and often pioneering achievements, is not fully recognised.

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22

Riggs Leyva, Rachael. "Texts, Bodies, Multimodality: Dance Literacy in Context." Congress on Research in Dance Conference Proceedings 2015 (2015): 89–94. http://dx.doi.org/10.1017/cor.2015.16.

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Crossing between texts, bodies, and the senses, dance literacies bring fresh perspectives on how new literacies can function, especially non-alphabetic or non-text-based literacies. Reading and writing in an expanded understanding of literacy are interpretive means of interacting with texts, of embedding and discerning meaning, of making sense of movement or choreographic information, of composing and performing, and of creating documentation and archive. Makers and viewers of dances act as readers, and writers, and authors. These roles are permeable in dance literacy, shifting with the context of the dance phenomenon or artistic practice. This paper engages with the dance practices of two dance companies to explore issues of shared-authorship, documentation, multimodality, body-text relationships, and reader-writer permeability: the Bebe Miller Company during their creation of A History and RikudNetto, who composes through Eshkol-Wachman Movement Notation. What literacy events and practices are present in the studio? What range of written literacies are used and how? Where and how were these literacies learned? In what ways might they cross the so-called literacy-orality divide? Drawing from questions and frameworks of the New Literacy Studies, this paper invites a critical look at dance literacy in context.

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Collins, Aletta. "A Choreographer's Approach to Opera." Dance Research 33, no. 2 (November 2015): 269–72. http://dx.doi.org/10.3366/drs.2015.0141.

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My first professional commission as a choreographer was not for a dance company but for an opera company, for the Bregenz Festival in Austria. In 1988, while I was still a student at London Contemporary Dance School, I was approached to choreograph Camille Saint-Saëns's Samson et Dalila; the commission also included giving ‘movement’ to the chorus (a group of 120 singers) and directing the dancers when they were not dancing. The dancers were a classical company from Sofia, Bulgaria, a company of thirty none of whom spoke English.

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Hopper, Luke S., Nick Allen, Matthew Wyon, Jacqueline A. Alderson, Bruce C. Elliott, and Timothy R. Ackland. "Dance floor mechanical properties and dancer injuries in a touring professional ballet company." Journal of Science and Medicine in Sport 17, no. 1 (January 2014): 29–33. http://dx.doi.org/10.1016/j.jsams.2013.04.013.

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25

Hyunjung Kim. "The M eanings of Disability Dance in the Works of Candoco Dance Company." Korean Journal of Dance Studies 57, no. 6 (November 2015): 1–18. http://dx.doi.org/10.16877/kjds.57.6.201511.1.

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26

Šimunić, Katja. "Literary dance: A personal reflection about two dancers in Zagreb in the eighties." Maska 32, no. 183 (June 1, 2017): 127–33. http://dx.doi.org/10.1386/maska.32.183-184.127_1.

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A personal account of one segment of the Zagreb dance scene of the 1980s, on the example of a choreographic collaboration between Blaženka Kovač Carić and Snježana Abramović Milković, iconic dancers from the 1980s Zagreb dance scene, on the pieces Attic (1984) and Angel Hair (1986), produced by Zagreb Dance Company.

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WHATLEY, SARAH. "Archives of the Dance (21): Siobhan Davies Dance Online." Dance Research 26, no. 2 (October 2008): 244–57. http://dx.doi.org/10.3366/e0264287508000212.

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In 2006, an Arts and Humanities Research Council (AHRC) grant was awarded to researchers at Coventry University to create a digital archive of the work of Siobhan Davies Dance. The award is significant in acknowledging the limited resources readily available to dance scholars as well as to dance audiences in general. The archive, Siobhan Davies Dance Online, 1 will be the first digital dance archive in the UK. Mid-way through the project, Sarah Whatley, who is leading the project, reflects on some of the challenges in bringing together the collection, the range of materials that is going to be available within the archive and what benefits the archive should bring to the research community, the company itself and to dance in general.

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28

Feldman, Heidi Carolyn. "Staging Public Blackness in Mid-Twentieth-Century Peru: The Repertoires of Pancho Fierro and Cumanana." Theatre Survey 61, no. 2 (April 8, 2020): 203–30. http://dx.doi.org/10.1017/s004055742000006x.

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In 1951, Victoria (1922–2014) and Nicomedes Santa Cruz (1925–92) attended a performance at Lima's Teatro Municipal (Municipal Theatre) by the Katherine Dunham Dance Company. Dunham (1909–2006), an African American choreographer and anthropologist, pioneered a “research-to-performance” method to study African-derived dances in the Caribbean and stage them in stylized choreographies. Elite Lima patrons walked out of the theatre during the danced African fertility rite in Dunham's “Rites de Passage,” but the performance left a lasting impression on the Santa Cruzes. Nicomedes Santa Cruz later described the event as the first positive staged demonstration of blackness in Peru—and Victoria Santa Cruz stated that, when they saw Katherine Dunham's production, they knew they had to do something similar. The Santa Cruzes went on to lead a revival of Afro-Peruvian arts in the 1960s and 1970s.

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29

Fernandez, Michael Oladipupo. "Dance pedagogy and entrepreneurship: a study of Footprints Arts Ambassadors, Lagos." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 447–59. http://dx.doi.org/10.4314/ejotmas.v7i1-2.30.

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This work examines the pedagogy of dance and entrepreneurship in the society. In other words, it seeks to engender dynamic essence between theory and practice, dance scholar and choreographer, and their impact on students/dancers with respect to teaching dance as a career for profit making against art for art sake. The teaching approaches provide for managing dance establishments as well as the art and act of dancing. In doing this, we adopted the managerial system of the Footprints Arts Ambassadors in Lagos, Nigeria as a prototype. We apply some fundamental tools of entrepreneurship that determine efficiency and effectiveness of a particular approach to business to empower the trainees. In the deductive method, we carefully derived some assertions and information that would later become helpful for this study through the structured one-on-one interview held with the director of Footprints Arts Ambassadors. In analytical method, we did cursory analysis of dance pedagogy and entrepreneurial study as well as review related literatures, magazines and journals. We identified some pedagogical yardsticks and entrepreneurial approaches which have been used in successfully managing the fledging dance company. We also discovered some considerable factors to establishing a successful arts entrepreneurial company in Nigeria.We found that economic and social trend, as well as some personal entrepreneurial attributesplay key role in an entrepreneur’s approach to arts and theatre management. Therefore, we conclude that, whatever approach, style or operation mode a dance/theatre entrepreneur chooses; his aim should be for the success and development of both individuals and company. Thus, we recommend that dance scholars and practitioners update their teaching approach to making dance pedagogy a viable and self-reliant endeavour, rather than being a tool for entertainment, body therapy and cultural propagation alone.This will undoubtedlyposition dance on the same pedestrian with other art forms globally making wave in the entertainment industrytoday. Keywords: Dance pedagogy, Entrepreneurship, Trainees, Footprints Arts Ambassadors, Management

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30

Choi, Eun Yong, and Jong Jin Choi. "The Effects of Job Satisfaction and Organizational Commitment on Skill Development Effort and Dance Performance of Professional Dance Company Dancer`s." Journal of Sport and Leisure Studies 30 (September 30, 2007): 371–81. http://dx.doi.org/10.51979/kssls.2007.09.30.371.

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31

Torzillo, Miriam. "Trust and Witnessing: Lessons for Dance Education / Professional Development in Community." LEARNing Landscapes 9, no. 1 (September 1, 2015): 249–65. http://dx.doi.org/10.36510/learnland.v9i1.756.

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Dance education is rarely taught in Australian primary schools. A National Arts curriculum was published online in 2014, and ready for implementation the following year. Therefore schools and teachers will be looking for models and frameworks that will help them implement the arts, including dance. The author experienced the work of the community-based dance company Dance Exchange during a summer institute in 2013. For a teacher of dance in a relatively isolated regional town, taking part in the summer institute was a rare opportunity to nourish creative inspiration and a reminder of the importance of the collaborative creative process and the embodied experience within Dance Education.

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32

Stolberg, Tonie L. "Communicating Science through the Language of Dance: A Journey of Education and Reflection." Leonardo 39, no. 5 (October 2006): 426–32. http://dx.doi.org/10.1162/leon.2006.39.5.426.

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Bharatanatyam, the classical dance style of South India, is adept at conveying complex, multilayered narratives. This paper documents and reflects upon the interactions between the author, a scientist and educator, and a professional dance company as they strive to develop and produce a dance-drama about the carbon cycle. The author examines the process by which scientific ideas are shared with the artists and the way a scientific narrative becomes one with an artistic meaning. The paper also examines areas for possible future science-dance collaborations and explores the necessary features for a collaborative science-dance pedagogy.

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33

Gore, Georgiana. "Dance in Nigeria: The Case for a National Company." Dance Research: The Journal of the Society for Dance Research 4, no. 2 (1986): 54. http://dx.doi.org/10.2307/1290726.

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34

Pritchard, Jane, and Sanjoy Roy. "White Man Sleeps Siobhan Davies Dance Company: Creative Insights." Dance Research: The Journal of the Society for Dance Research 19, no. 1 (2001): 118. http://dx.doi.org/10.2307/1290862.

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35

Rottenberg, Henia. "Batsheva Dance Company: Learning and Dancing the Graham Repertory." Dance Chronicle 41, no. 1 (January 2, 2018): 51–77. http://dx.doi.org/10.1080/01472526.2018.1416518.

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36

Abouaf, J. ""Biped": a dance with virtual and company dancers. 1." IEEE Multimedia 6, no. 3 (1999): 4–7. http://dx.doi.org/10.1109/93.790605.

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Abouaf, J. ""Biped": a dance with virtual and company dancers. 2." IEEE Multimedia 6, no. 4 (1999): 5–7. http://dx.doi.org/10.1109/93.809227.

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38

Steichen, James. "The American Ballet's Caravan." Dance Research Journal 47, no. 1 (April 2015): 69–94. http://dx.doi.org/10.1017/s0149767715000066.

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This article chronicles the formation and first season of the dance company Ballet Caravan (1936–1940) with a special focus on the role of Lincoln Kirstein in the troupe's founding. This account of the Caravan's early history draws upon an array of primary sources to offer new perspectives on the company's relationship to modern dance circles and its parent organizations (the American Ballet and School of American Ballet, co-founded by Kirstein and George Balanchine in 1934). It traces Ballet Caravan's touring activities during 1936 (including its debut at Bennington College) and details ballets created for the company by Lew Christensen, Eugene Loring, and William Dollar, as well as previously unknown early choreographic work by Erick Hawkins. This account reveals that Ballet Caravan was initially conceived of neither as a dancer-driven initiative nor a deliberate attempt by Kirstein to pursue an American artistic agenda (as it has been previously understood by scholars), but rather was a practical response to institutional crises in the larger Balanchine–Kirstein ballet enterprise. The American Ballet and Ballet Caravan thus reveal themselves in 1936 as more contiguous than distinct, sharing personnel and aesthetic values, as well as the involvement of Balanchine himself.

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39

DeGrasse-Johnson, Nicholeen, and Christopher A. Walker. "Roots to Routes." Cultural and Pedagogical Inquiry 11, no. 3 (December 13, 2019): 13–30. http://dx.doi.org/10.18733/cpi29500.

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Presented as a retrospective dialogue between the two co-authors, this essay highlights the history of the National Dance Theatre Company (NDTC), and the Visual and Performing Arts School of Dance, Edna Manley College (EMCVPA). The essay traces the post-independence evolution of modern dance in Jamaica. Furthermore, it examines the intersections, the respective roles, functions and contributions of the two major institutions which have shaped Jamaica’s distinctive, modern dance teaching and public performances. By concentrating on their lived experiences, the co-authors explore themes of identity, educational modern dance’s history and philosophies, and Jamaican dance’s cultural and aesthetic dimensions. Finally, the essay invites a reimagining of the Caribbean contemporary dance which values folk, traditional and popular dance as sources for art and scholarship.

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Kudełko, Kaja. "Efficiency and Effectiveness of Marketing Communication Tools on the Dance Schools Market Based on the Example of the Elita Dance Center in Kraków." Przedsiębiorczość - Edukacja 13 (December 16, 2017): 216–27. http://dx.doi.org/10.24917/20833296.13.16.

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In recent years sport and physical activities in any form, including dance, are becoming more and more popular. As a result, there are many dance schools on the market. To stay on the market and acquire customers, dance schools use a variety of marketing communication tools. The aim of this article is to analyse the efficiency and effectiveness of marketing communication instruments applied by one of Kraków dance schools – the Elita Dance Center. The methods implemented in this paper included case study, quantitative analysis of the data and interview. The data used in this article include the data on the activities of the dance school Elita Dance Center, as well as the results of research conducted by interview among the customers of this school. The Elita Dance Center is an efficient company. With each season it acquires more and more customers. However, the activities of marketing communication are not very productive. Promotion costs are increasing faster than the number of clients and income from the dance classes.

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Scialom, Melina, Aguinaldo Gonçalves, and Carlos Roberto Padovani. "Work and Injuries in Dancers: Survey of a Professional Dance Company in Brazil." Medical Problems of Performing Artists 21, no. 1 (March 1, 2006): 29–33. http://dx.doi.org/10.21091/mppa.2006.1006.

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This study examined the daily life and most important physical injuries suffered and reported by the dancers of a professional (contemporary) dance company in São Paulo, Brazil. Through an observational, cross-sectional, retrospective procedure using a questionnaire that collected qualitative and quantitative data, we were able to gather information on 30 dancers who collaborated with the survey. We determined that the injuries considered as most important by dancers were those that prevented dance activity during some months. These injuries occurred mainly during rehearsals (which is the activity occupying the most time on the schedule). Articular injuries were the most frequent and mainly involved the knee and ankle. They were related to classical technique, in which most of the company’s artists started their dance careers. Medical care usually was sought within 1 day, and the prescribed treatment resolved the problem, but the injury cause was not identified in all cases.

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Pritchard, Jane. "Archives of the Dance (24): The Alhambra Moul Collection at the Victoria and Albert Museum." Dance Research 32, no. 2 (November 2014): 233–57. http://dx.doi.org/10.3366/drs.2014.0108.

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This article in the ‘Archives of the Dance’ series looks at one specific collection held in the Theatre & Performance Collections of the Victoria and Albert Museum, London. At first glance, the Alfred Moul Collection (THM/75) appears a small collection filling only half a dozen archive boxes plus some photographs and press cuttings books. Nevertheless its content is very revealing about the management of the Alhambra Palace of Variety, Leicester Square, during the years 1901–1914, and the ballets created there. It is not exclusively a dance archive but places the work of the theatre's ballet company in the context of variety theatre and the full range of turns presented there. The collection focuses on the final decade of the fifty years from 1864 in which the Alhambra dominated the ballet-scene in London. This final period was a time of decline and competition for the ballet company. The collection reveals the management's awareness of competition and the consequent need to embrace a wide range of genres; the word ballet was used to cover all forms of theatre dance and, as the collection reveals, the wide search for new dance stars for productions; it enhances our knowledge of dance and dancers from France, Russia, America and Denmark as well as our knowledge of dance in Britain immediately before the full impact of the Russian ballet was felt.

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Jones, Kim. "American Modernism: Reimagining Martha Graham's Lost Imperial Gesture (1935)." Dance Research Journal 47, no. 3 (December 2015): 51–69. http://dx.doi.org/10.1017/s0149767715000352.

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This article explores the process of reimagining Martha Graham's 1935 “lost” work, Imperial Gesture, into a complete work for performance. The solo was last performed by Graham in 1938 and constitutes the first political solo of her career. With no musical score, no notation score, and scant archival evidence, Graham dancer, régisseur, and contemporary choreographer Kim Jones pieced together the fragments left behind. Beginning in 2011, Jones assembled a team of artists in order to reimagine Imperial Gesture for the Martha Graham Dance Company. This article discusses how Jones found primary and secondary sources including thirty-two, unpublished, photographic images by Barbara Morgan; a space diagram by set designer Arch Lauterer; a poem, “Imperial Gesture for Martha Graham,” by John Malcolm Brinnin; and numerous critical reviews from the 1930s. Jones was inspired to imagine and express Graham's sense of activism and social justice within this “lost” work. The dance is a portrait of the undoing of an arrogant despot. Although mainstream critics had little to say about Imperial Gesture, arts critics for Communist and Leftist publications reviewed Imperial Gesture as an example of politically charged art that argued against fascism. The process of reimagining opens up the possibility for a deeper investigation of Graham's work as both publicly and personally political. Additionally, the creative act of reimagining her lost work adds new repertory to the Martha Graham Dance Company for a new generation of Graham dancers and new audiences. In so doing, it also opens a path for a new historiography of Graham's work and legacy.

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Weinert, Adam H. "The Reaccession of Ted Shawn: A Study in Virtual Permanence." PAJ: A Journal of Performance and Art 38, no. 2 (May 2016): 69–79. http://dx.doi.org/10.1162/pajj_a_00319.

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In the spring of 2013, I was invited to represent the modernist choreographer Ted Shawn at the Museum of Modern Art as part of the exhibition 20 Dancers of the XXth Century, curated by Boris Charmatz. The exhibit proposed the both radical and rudimentary notion that the main museal space for dance is the human body. In many ways, this is in keeping with how dance has historically been preserved—passing down from generation to generation as an oral and kinesthetic tradition without the benefit of a comprehensive or standardized notation system. With this tradition in mind, I endeavored to become a living archive of Shawn's work. In determining how to approach this task, particularly in the absence of any living company members or company apparatus, I had to ask both practical and theoretical questions about the archive and dance re-performance.

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AMES, MARGARET, DAVE CALVERT, VIBEKE GLØRSTAD, KATE MAGUIRE-ROSIER, TONY MCCAFFREY, and YVONNE SCHMIDT. "Responding to Per.Art'sDis_Sylphide: Six Voices from IFTR's Performance and Disability Working Group." Theatre Research International 44, no. 1 (March 2019): 82–101. http://dx.doi.org/10.1017/s0307883318000846.

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This submission by IFTR's Performance and Disability working group features responses by six participants – voices projected from Canada, New Zealand, Norway, Wales, England and Australia – to Per.Art's productionDis_Sylphide, which was presented on 7 July 2018 at the Cultural Institution Vuk Karadžić as part of IFTR's conference in Belgrade at the invitation of the Performance and Disability working group. Per.Art is an independent theatre company founded in 1999 in Novi Sad, Serbia, by the internationally recognized choreographer and performer Saša Asentić, the company's artistic director. The company brings together people with learning disabilities, artists (theatre, dance and visual arts), special educators, representatives of cultural institutions, philosophers, architects and students to make work. This co-authored submission examines how the production responds to three important dance works of the twentieth century – Mary Wigman'sHexentanz(1928), Pina Bausch'sKontakthof(1978) and Xavier Le Roy'sSelf Unfinished(1998) – to explore normalizing and normative body concepts in dance theatre and in society, and how they have been migrating over the course of dance histories. The shared experience of witnessing the performance provoked discussion on the migration of dance forms across time and cultures, as well issues of access and (im)mobility, which are especially pertinent to a disability studies context.

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Järvinen, Hanna. "Modernism on Stage: The Ballets Russes and the Parisian Avant-Garde." Dance Research Journal 46, no. 1 (April 2014): 96–103. http://dx.doi.org/10.1017/s0149767714000084.

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From the outset, I have to admit I am partial to new scholarship on the Ballets Russes, particularly interdisciplinary scholarship that offers new perspectives on staged dance as an art form. Hence, two recent books on a company famous for striving for the total work of art effect sounded like an absolute feast. I may have set my expectations high, but these books actually exemplify how easily dance becomes secondary to music and set design in discussions of past performance, and how “interdisciplinary” studies often are anything but. In both books, the analyses offered of dance are, for a dance scholar, implausible, specious, even outright incomprehensible, and the dance-related topic emerges as servile to agendas of other disciplines, namely those of music and art history.

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Hiscock, Andrew. "Moving Shakespeare: La danse narrative and adapting to the Bard." Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (March 30, 2020): 18–37. http://dx.doi.org/10.1177/0184767820914513.

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This article considers the expectations of narrative that frequently surround Shakespearean dance adaptation. Reviewing responses to two contemporary productions ( Le Songe by Les Ballets de Monte Carlo and Golden Hours (As You Like It) by the Rosas company), discussion pays particular attention to critical and audience appetites when attending to performances of Shakespeare on the dance stage. Highlighting contemporary debates in dance studies, the discussion draws to a close examining the challenges of transposing (often well-known) Shakespearean texts into bodily gesture and movement.

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Chakraborty, Aishika. "Book review: Anna Morcom, Illicit Worlds of Indian Dance: Cultures of Exclusion." Indian Journal of Gender Studies 27, no. 2 (June 2020): 333–38. http://dx.doi.org/10.1177/0971521520910971.

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Scott, Ariel Osterweis. "Performing Acupuncture on a Necropolitical Body: Choreographer Faustin Linyekula's Studios Kabako in Kisangani, Democratic Republic of Congo." Dance Research Journal 42, no. 2 (2010): 13–27. http://dx.doi.org/10.1017/s0149767700001017.

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Faustin Linyekula stages what I shall call “geo-choreography” in the Democratic Republic of Congo (DRC). What is choreography if not an embodied practice that demands a continual reordering of space? Geo-choreography reorders the urban landscape choreographically without colonizing it. Instead, it establishes a network of architectural sites within that landscape whose effect I shall endeavor to describe in this essay. In 1993 Congolese choreographer Linyekula went into exile for eight years, during which time he attended university in Kenya and studied theater in London, only to be pressured by the British government to return to Kenya, where he was introduced to dance theater. In 2001 Linyekula returned to the DRC, where he founded his contemporary dance company, Studios Kabako, in Kinshasa, the country's capital. Working out of both Kinshasa and Paris, Linyekula established an international career as an experimental dance maker. After five years (in 2006) he transferred his company from Kinshasa to his hometown, Kisangani. Located in the northeastern DRC, this haunted urban terrain has been devastated by political violence, including that of the Second Congo War (1998–2003) and its aftermath. In trying to rediscover a sense of belonging for himself and for others, Linyekula is presently designing a network of studios for emerging artists throughout Kisangani. Linyekula's dance company and network of studios taken together, and housed under the same name of Studios Kabako, encourage a fluid movement between the social and the artistic.

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Tamler, Cory. "Commitment in social choreography: Excavating the Martha Graham Dance Company." Studies in Musical Theatre 11, no. 3 (December 1, 2017): 295–302. http://dx.doi.org/10.1386/smt.11.3.295_1.

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