Showing papers on "Modern dance published in 1998"
Book•
20 Oct 1998
TL;DR: In "Critical Moves" as discussed by the authors, Martin sets in motion an inquiry into the relationship between dance, politics, and cultural theory and demonstrates how a critical reflection on dance helps promote fluency in the language of mobilisation that political theory alludes to yet rarely speaks.
Abstract: In "Critical Moves" Randy Martin sets in motion an inquiry into the relationship between dance, politics, and cultural theory. Drawing on his own experiences as a dancer as well as his observations as a cultural critic and social theorist, Martin illustrates how the study and practice of dance can reanimate arrested prospects for progressive politics and social change. From experimental and concert dance to more popular expressions, Martin engages a range of performances and demonstrates how a critical reflection on dance helps promote fluency in the language of mobilisation that political theory alludes to yet rarely speaks. He explores how Bill T. Jones' "Last Supper at Uncle Tom's Cabin/The Promised Land" defies attempts to separate social ideas from aesthetic concerns and celebrates multiculturalism in the face of a singular national culture; he studies the choreography in rapper Ice Cube's video "Wicked", which confronts radicalised depictions of violent crime; and he discusses how racial difference is negotiated by analysing a hip hop aerobics class in a non-black environment. Revealing how mastery of modern dance technique teaches an individual body to express cultural difference and display its intrinsic diversity, "Critical Moves" concludes with a reflection on the contribution dance studies can make to other fields within cultural studies and social sciences. As such it becomes an occasion to rethink the terms of history and agency, multiculturalism and nationalism, identity and political economy. This book will appeal not only to scholars and practitioners of dance, but also to a wide cross-section of people concerned with the study of political theory and the history of social movements.
248 citations
Book•
1 Jan 1998
TL;DR: In this paper, the authors present a list of illustrative works of the Russian Imperial Ballet, early modern dance, and modern dance envoi, with a focus on the Romantic Ballet.
Abstract: Acknowledgements. List of Illustrations. Introduction. 1. The Romantic Ballet 2. The Russian Imperial Ballet 3. Early Modern Dance 4. Early Modern Ballet 5. Modern Dance 6. Modern Ballet Envoi.
181 citations
Book•
26 Mar 1998
TL;DR: In this article, Wigman describes the choreography of modern dance in the new spaces of modernity, including the Chorus Line and the Efficiency Engineers, the Mass Ornament, and the Dancing Across the Atlantic.
Abstract: List of Figures. Acknowledgements. Introduction. 1. Choreographing the Disturbing New Spaces of Modernity 2. 'Savage' Dancer: Tout Paris Goes to See Josephine Baker 3. The Chorus Line and the Efficiency Engineers 4. Totalitarianism and the Mass Ornament 5. Dancing Across the Atlantic 6. American Moderns 7. Primitivism, Modernism and the Ritual in the Works of Mary Wigman, Katherine Dunham and Martha Graham Conclusion. Notes. Bibliography. Index.
153 citations
Book•
19 Nov 1998TL;DR: Carol Lee as mentioned in this paper presents a comprehensive presentation of the evolution and development of classical dance, from antiquity to the present, with the insight of one who has spent a lifetime dancing herself.
Abstract: Dance literature is enriched with the publication of this comprehensive presentation of the evolution and development of classical dance. With 'Ballet in Western culture', Carol Lee has distilled and integrated an enormous and diverse amount of historical, biographical, and artistic information with precision and clarity. The fascinating story of ballet is told anew with the insight of one who has spent a lifetime dancing herself. The author illuminates the many periods of dance, each in its historical setting, eloquently linking the ages from antiquity to present. Her colorful treatment of medieval and Renaissance dancing as expressions of society and politics is both informative and factual." -- P. ix. Comprend une bibliographie. Comprend un index. Comprend un glossaire et une chronologie.
50 citations
Book•
1 Jan 1998
TL;DR: In this paper, a continuation introductory/fundamental contemporary dance technique concepts and practice is presented, which will reflect the eclectic nature of my own contemporary training with influences ranging from the classic moderns (Graham, Horton, Limon, Cunningham, Nikolais, etc.), post-modern/release technique (Brown, Klein-Mahler, Viola Farber, etc.).
Abstract: This class is a continuation introductory/fundamental contemporary dance technique concepts and practice. Class work and progression will reflect the eclectic nature of my own contemporary training with influences ranging from the classic moderns (Graham, Horton, Limon, Cunningham, Nikolais, etc.), post-modern/release technique (Brown, Klein-Mahler, Viola Farber, etc.), and various somatic forms (Laban Movement Analysis, Alexander Technique, Feldenkrais). The deepening and development of technique will be the vehicle for also encouraging you to perceive your mind/awareness and body as distinct but inevitably linked functions of your whole self.
31 citations
TL;DR: The construction of the classical dance in India is studied in this article, where the authors discuss the role of dance in the construction of India's identity and its cultural heritage, including its history.
Abstract: (1998). Hegemony, dance and nation: The construction of the classical dance in India. South Asia: Journal of South Asian Studies: Vol. 21, No. 2, pp. 107-120.
29 citations
TL;DR: In this article, modern dance meets the "crisis of representation" by abandoning the idea of unity and reconfiguring the body, and the body is reconfigurable and reconfigured.
Abstract: How does modern dance meet the “crisis of representation” by abandoning the idea of unity and reconfiguring the body?
19 citations
TL;DR: The study of audiences is rarely at the forefront of dance scholarship as discussed by the authors, and when the social composition of an audience is studied, it is usually market research material to be used by the development staff of a dance company for audience-building.
Abstract: The study of audiences is rarely at the forefront of dance scholarship. When the social composition of an audience is studied, it is usually market research—material to be used by the development staff of a dance company for audience-building.Such studies are indeed indispensable for audience-building, but quantitative and qualitative studies of audiences are also indispensable for dance scholars. It is not necessary to argue here that the dance and the audience shape each other.A superb example of a qualitative audience study, though not of dance audiences, is Joseph Horowitz's Wagner Nights: An American History. In his postlude he writes:Wagnerism's residual reach, into the early twentieth century, was subtle and complex. One area that deserves study is its relationship to modern dance. Most American Wagnerites were women. Some…were New Women. Wagner addressed buried emotional needs [in these women.] Brunnhilde and Isolde were influences en route to liberation. After 1900, Ruth St. Denis and Isadora, Duncan, …self-created solo dancers, consummated this opportunity.
11 citations
TL;DR: In Finland, the 1980s can be considered a golden age in the field of dance education as discussed by the authors, which was the decade that at long last saw the start of university level and vocational dance education in the country.
Abstract: Different dance forms attract different people. Dancers involved in folk dance, ballroom dance, ballet, and modern dance differ in both their background and participation profiles (Nieminen 1997) and in their reasons for participating in dance (Nieminen 1998). In Finland, the 1980s can be considered a golden age in the field of dance education. It was the decade that at long last saw the start of university-level and vocational dance education in the country. At the same time students of physical education were given the opportunity to specialize in dance pedagogy. The new Finnish Opera House in Helsinki also generated a great deal of publicity for dance in general. All this gave impetus to a demand for qualified dance teachers and increased the number of people involved in art dance. Since the 1970s, folk dance has also become more popular than in previous years and today there are many innovative folk dance choreographers who want to see folk dance not only as the transmission of tradition but also as a theater-art form. The latest changes to take place in the field of folk and ballroom dance are partly due to the new four-year program for folk and ballroom dance instructors offered by the Oulu Conservatory of Music.
11 citations
TL;DR: The late Robert Ellis Dunn (1928-1996) made a vital contribution to the maturation of modern dance in the twentieth century as a master teacher of improvisation and choreography as discussed by the authors.
Abstract: The late Robert Ellis Dunn (1928–1996) made a vital contribution to the maturation of modern dance in the twentieth century as a master teacher of improvisation and choreography. His pedagogy in both the professional and academic milieux reinforced interdisciplinary associations between dance and related disciplines in the arts and humanities, and helped situate dance as a science within a theoretical framework worthy of scholarly study. The following article is a study of the principles and pedagogy that Dunn engaged in as a master teacher of improvisation and choreography for nearly forty years.I first met Dunn in 1981 at the Laban Institute of Movement Studies in New York and in 1982, I worked as his teaching assistant at the Dance Notation Bureau in New York and at the University of California Summer School of Dance in Long Beach. During the six-week summer dance intensive in California, I assisted and performed in two events directed by Dunn: Top, a structured improvisation for nine dancers, and Pivot/Delay, a choreographic process for twenty-two dancers (1).
Book•
1 Jan 1998
TL;DR: In this article, Garafola presents a detailed account of the coming of age of a dancer and choreographer, including a complete list of Limon's works, richly informative notes, rare photographs, and a detailed bibliography.
Abstract: Both as a dancer and a choreographer, Jose Limon electrified audiences from the1930s to the 1960s. With his striking looks and charismatic presence, he was American modern dance's first male star. Born in Culiacan, Mexico, in 1908, the eldest of twelve children, he came to the United States when he was seven. In 1928, after a year at UCLA as an art major, he left for New York. Here, he attended his first modern dance concert and discovered his destiny. He spent the 1930s with the Humphrey-Weidman group. Then, in the 1940s, after a stint in the army, and with Doris Humphrey as artistic advisor, he formed one of the outstanding modern dance companies of the postwar era. His greatest works -- The Moor's Pavane, La Malinche, The Traitor, A Choreographic Offering, There is a Time, Missa Brevis -- extolled a humanism that endeared them to audiences the world over. Although Limon died in 1972, all these dances remain in the LimOn Dance Company's active repertory. This memoir was commissioned by Wesleyan University Press in the late 1960s. Left unfinished at the time of Limon's death, it stands on its own as a Joycean account of the coming of age of an unusually perceptive dance artist. Limon writes with eloquence of his Mexican childhood. And of the numerous figures he memorializes, from Martha Graham to Jose Covarrubias, none is more luminously evoked than Doris Humphrey, the "goddess," "nymph," and "caryatid" of his life. Sensitively edited by Lynn Garafola, the book includes a complete list of LimOn's works, richly informative notes, rare photographs, and a detailed bibliography. This is the single most important book on LimOn and a riveting memoir of modern dance during its golden age"
1 Jan 1998
TL;DR: In this paper, the authors discuss the artistic, aesthetic and philosophical grounds of the works of the three pioncers in American modern dance, Isadora Duncan, Ruth St. Denis and Loie Fuller and the artistic dance movements in the United States in the 20-h century.
Abstract: Neste artigo a autora traca relacoes diretas entre os processos criativos, esteticos e filosoficos de tres pioneiras da danca moderna americana, Isadora Duncan, Ruth St. Denis e Loie Fuller, e os movimentos artisticos dos Estados Unidos no seculo XX. Atraves de retrospectiva historica, a autora discute nao somente as influencias, mas as rupturas e inovacoes artisticas provenientes destes trabalhos e suas contribuicoes para o desenvolvimento da danca moderna americana. Nas figuras de Martha Graham, Doris Humphrey, Jose Limon, Merce Cunningham, Alvin Nikolais, Trisha Brown, Steve Paxton, Yvonne Rainer, entre outros, a autora esboca uma visao interdependente da danca moderna americana.Abstract: In this article the author relates the artistic, aesthetic and philosophical grounds of the works of the three pioncers in American modern dance, Isadora Duncan, Ruth St. Denis and Loie Fuller and the artistic dance movements in the United States in the 20,h century. Travelling through dance history not only does the author discuss the influences, but also ruptures and innovations that carne from the works of thc three dancers and their contributions for the development of American modern dance. Emphasis is given on the works of Martha Graham, Doris Humphrey, Jose Limon, Merce Cunningham, Alvin Nikolais, Trisha Brown, Steve Paxton, Yvonne Rainer among others.Descriptors: History. Modern dance. Representation. Formalism
TL;DR: In this paper, Lyrical Jazz Dance Defined is defined, and the definition of the dance form is discussed in the context of physical education, recreation, and dance education.
Abstract: (1998). Lyrical Jazz Dance Defined. Journal of Physical Education, Recreation & Dance: Vol. 69, No. 5, pp. 7-8.
1 Jan 1998
TL;DR: In this paper, the authors present a "Dedication p.p." Acknowledgements p.V Dedication p., p.VI and p.v.p.
Abstract: p." Acknowledgements p.V Dedication p.VI
TL;DR: Conner and Theodores as mentioned in this paper discuss spreading the Gospel of Modern Dance: Newspaper Dance Criticism in the United States, 1850-1934, and present their book First We Take Manhattan: Four American Women and the New York School of Dance Critic.
Abstract: Spreading the Gospel of Modern Dance: Newspaper Dance Criticism in the United States, 1850–1934. By Lynne Conner. ix + 177 pp. Pittsburgh: University of Pittsburgh Press, 1997. Cloth $35, ISBN 0–8229–3963–0; paper $17.95, ISBN 0–8229–5617–9. First We Take Manhattan: Four American Women and the New York School of Dance Criticism. By Diana Theodores. xiv + 180 pp. Illustrated. Amsterdam: Harwood Academic Publishers, 1996. Cloth $78, ISBN 3–7186–5876–3; paper $30, ISBN 3–7186–5886–0.
TL;DR: Birringer's Lovers Fragments as discussed by the authors is a dance-theater film work, created by Johannes Birringer in collaboration with composer Andre Marguetti and an international ensemble of performers.
Abstract: investment from people using creative, spiritual and existential approaches to movement and bodily experience that depart from the technique-based rigors of ballet and modern dance training and that appear to be antagonistic to the technological imperatives imposed by media culture and hypertheories of cyberspace and virtual reality. Such theories can seem especially alienating and distorting from the point of view of dancers, who need to work with and rely on intimate knowledge of the body. My own role in the workshop was a paradoxical one since I work with both dance and technology. I am a choreographer and video/filmmaker (with Fig. 1. AlienNation Co., Lovers Fragments, dance-theater film work, 1995. Shown here are Hilary Cooperman, Mariko Ventura, Margaret Werry and John Cook (on film projected on screen behind dancers). This work, created byJohannes Birringer in collaboration with composer Andre Marguetti and an international ensemble of performers, premiered at Northwestern University's Barber Theatre. (Photo: ? Mary Hanlon)
TL;DR: Adversaries of Dance: From the Puritans to the Present as discussed by the authors, by Ann Wagner. 442 pp. Urbana and Chicago: University of Illinois Press, 1997.
Abstract: Adversaries of Dance: From the Puritans to the Present. By Ann Wagner. 442 pp. Urbana and Chicago: University of Illinois Press, 1997. Cloth $39.95, ISBN 0–252–02274–2; paper $19.95, ISBN 0–252–06590–5.
TL;DR: The 92nd Street Young Men's and Young Women's Hebrew Association (YMHA) as mentioned in this paper became a major home for dance in New York, with classes in technique, choreography, and appreciation and an extensive performance series featuring both prominent and lesser-known dancers.
Abstract: The Ninety-Second Street Young Men's and Young Women's Hebrew Association (familiarly referred to as the 92nd St. Y, or simply, the Y), which stands at the corner of 92nd Street and Lexington Avenue in New York City, marks the intersection of two historical trajectories: it is a symbol of the accomplishments of American Jewry and it is a reminder of the great achievements of modern dance. Initially a community-oriented institution that catered to a local membership, in the mid1930s and 1940s the Y became a major home for dance in New York. Beginning in 1936 the Y ran an active Dance Center, with classes in technique, choreography, and appreciation, and an extensive performance series featuring both prominent and lesser-known dancers.2 Among the important works premiered on the Y stage are Anna Sokolow's Rooms (1955), and Alvin Ailey's Revelations (1960). In 1945
TL;DR: In this paper, the author describes the "vaginal cry" from a woman who is forced by the blind prophet Tiresias to relive the most significant and thus painful moments of her life.
Abstract: Now Jocasta kneels on the floor at the foot of the bed and then she rises with her leg close to her breast and to her head, and her foot way beyond her head, her body open in a deep contraction. I call this the vaginal cry; it is the cry from her vagina. It is either the cry for her lover, her husband, or the cry for her children. The dance proceeds but there are small intimacies that I have never revealed in words. All of these things mean a tremendous amount to me. I don't talk about them much because people might think I'm a little cuckoo. But as other people took over the dance it seemed necessary to explain the certain small mysteries that animate the instant in the reliving of the tale. (Graham 1991, 214)Martha Graham wrote this passage about the opening of Night Journey (1947) in her autobiography Blood Memory (1991). Night Journey tells the story of Jocasta who at the end of her life is reluctantly forced by the blind prophet Tiresias to relive the most significant and thus painful moments of her life. Graham too, at the end of her own life, seems almost to have been forced, perhaps by time or perhaps by the obligation to fulfil a publisher's contract, to write her autobiography (1). There is a nice symmetry here.
Book•
1 Jan 1998
TL;DR: Denby as mentioned in this paper includes his reactions to choreography ranging from Martha Graham to the Rockettes, as well as his reflections on general topics including dance in film, dance criticism and meaning in dance.
Abstract: This collection of writings by the American dance critic and poet, Edwin Denby, includes his reactions to choreography ranging from Martha Graham to the Rockettes, as well as his reflections on general topics including dance in film, dance criticism and meaning in dance