Abstract: Ann Daly ranks among the most insightful, articulate dance critics and scholars writing today Spanning the divide between journalism and scholarship, this collection offers a double-sighted view of dance in America from 1986 to the present, documenting the shift in experimental dance from formal to social concerns, and recording the expansion of dance studies in the academy from historical documentation to cultural criticism Daly examines performance art and visual art as they relate to and influence dance, with a look at the intersection of dance and history Gender is the subject of the final section of the book More than 80 reviews, features, essays, interviews and scholarly articles including extended considerations of Pina Bausch, Deborah Hay, Bill T Jones and Ralph Lemon were originally published in venues ranging from High Performance to The New York Times to TDR: A Journal of Performance Studies"

Abstract: As the 19th century gave way to the 20th, a short-lived but extraordinary cultural phenomenon spread throughout Europe and the United States - "Salomania". The term was coined when biblical bad girl Salome was resurrected from the Old Testament and reborn on the modern stage in Oscar Wilde's 1893 play "Salome" and in Richard Strauss's 1905 opera based on it. Salome quickly came to embody the turn-of-the-century concept of the "femme fatale". She and the striptease Wilde created for her, "The Dance of the Seven Veils", soon captivated the popular imagination in performances on stages high and low, from the Metropolitan Opera to the Ziegfeld Follies. This text details for the first time the Salomania craze and four remarkable women who personified Salome and performed her seductive dance: Maud Allan, a Canadian modern dancer; Mata Hari, a Dutch spy; Ida Rubinstein, a Russian heiress; and French novelist Colette. Toni Bentley weaves the stories of these women together, showing how each embraced the persona of the femme fatale and transformed the misogynist idea of a dangerously sexual woman into a form of personal liberation. Bentley explores how Salome became a pop icon in Europe and America, how the real women who played her influenced the beginnings of modern dance, and how her striptease became in the 20th century an act of glamorous empowerment and unlikely feminism.

Abstract: INTRODUCTION 1. THE RISE OF THE GRAMOPHONE AND THE DEVELOPMENT OF THE BRITISH GRAMOPHONE INDUSTRY 2. The Role of the Gramophone in Daily Life in Interwar Britain and its Effect on Musical Culture 3. Radio, Cinema, and Popular Music in Interwar Britain 4. DEVELOPMENTS IN LIVE MUSIC 1918 TO 1939: FROM PERFORMERS TO LISTENERS 5. Live Music: Dance Bands, Dance Music, and Dance Musicians 6. The Expansion and Development of the Dance Hall Industry 7. The Experience of Dancing, Dance Halls, and the Dance Culture 1918-1939 8. TASTES IN POPULAR MUSIC 1918-1939 Conclusion

Abstract: Throughout the better part of the twentieth century, and in performance halls, classrooms, and communities throughout the world, the wellspring of Katherine Dunham's remarkable career can be traced to the intersection of dance, culture, and society. More than a recounting of Dunham's accomplishments as a dancer and choreographer, this biography is the first to thoroughly examine her pioneering contributions to dance anthropology and her commitment to humanizing society through the arts. Founder of the first self-supporting African American dance company, Dunham relied on her fieldwork as an anthropologist to fundamentally change modern dance. She shaped new dance techniques and introduced other cultures to U.S. and European audiences by fusing Caribbean and African-based movement with ballet and modern dance. Her revolutionary approaches to dance and its greater connection to the world have influenced a generation of dancers, theatrical performers, and scholars. She believes that dance involves the development of an entire person and the rituals and traditions of dance are integral to the study of culture. Throughout her career she has been a living model of the socially responsible artist working to whet cultural appetites and combat social injustice. Joyce Aschenbrenner's multifaceted portrait blends personal observations based on her own interactions with Dunham, archival documents, and interviews with Dunham's colleagues, students, and members of the Katherine Dunham Dance Company. Integrating these sources, Aschenbrenner characterizes the social, familial, and cultural environment of Dunham's upbringing and the intellectual and artistic community she embraced at the University of Chicago that laid the groundwork for her development as a dancer, anthropologist, and humanitarian. The book vividly depicts Dunham's and her dancers' touring experiences and includes detailed descriptions of her community cultural and educational programs in East St. Louis.

Abstract: Egyptian-born composer Halim El-Dabh has studied with the giants of 20th-century musical composition and conducting, including Leopold Stokowski, Irving Fine, and Leonard Bernstein. In the late 1950s El-Dabh worked with electronic music pioneers Otto Luening and Vladimir Ussachevsky at the Columbia-Princeton Electronic Music Center. He was commissioned by choreographer and modern dance innovator Martha Graham to write the music for "Clytemnestra" and "Lucifer". Although this biography focuses on his career from his arrival in the US in 1950 to his retirement from the faculty of Kent State University in 1991, his life in Egypt, its influence on him musically, and his creative life after retirement is also covered. In March 2002 El-Dabh presented a concert of his electronic and electro-acoustic works and three concerts of his orchestral chamber music in collaboration with the Bibliotheca Alexandrina String Orchestra at the Bibliotheca Alexandrina (the famous Library of Alexandria of antiquity). The accompanying CD features excerpts of this programme.

Abstract: in 1992, found studio accompaniment quite intolerable. In 1939 he wrote to Lou Harrison: "I have the possibility of a job in Taos this summer.... I wouldn't get paid very much if at all; but it would be a step away from [dance] accompaniment-drudgery which I hate."' (It is tempting to speculate that Cage's impatience with studio work contributed in some measure to the composition method he ultimately worked out with Merce Cunningham in which sound and movement components were developed independently.) There was also a stigma associated with the label "dance composer." In 1940 Harrison wrote to Henry Cowell: "I never imagined this damned dance-curse

Abstract: "Appreciating Dance", written for the dance novice, is a concise, thorough, and accurate history and current picture of all forms of dance. It gives a brief biography of many of the notable dancers and choreographers who have contributed to each form of dance, and provides, in a nutshell, the information needed to expand the enjoyment of performance. It also details the development of dance from its earliest beginnings, and covers the intersection of dance and religion, social dance, ballet, modern dance, tap, jazz, film and theatrical dance, and contemporary dance. The chapters include: Origins and Definitions; Dance and Religion; Ballet: From the Royal Courts to Theatrical Dance; Modern Dance: New Voices, New Ideas; Tap, Jazz, Musical and Film Dance: The American Originals; and, Contemporary Dance: Intertwining Threads, Careers in Dance and Current Issues.

Abstract: It is customary to think of dance in academia and dance on the stage as being very separate. In many respects, however, the imprint of the university on modern dance in America has been both extens...

Abstract: In the mid- to late-1920s, Martha Graham began to elaborate techniques which would have a long-term impact on the evolution of modern dance. She developed new ways of using energy in movement, which liberated her dancers (exclusively female until 1938) from the constraints on corporeal expression she associated with 'the puritanical concept of life' (Graham 1980, 46). Graham's techniques were focussed on empowerment, and can be described metaphorically in terms of 'economy', not simply because of her espousal of the typically modernist aesthetic of paring down and reducing to essentials, but also because of the importance to her technique of 'economics' in the sense of regulating the distribution, restraint and expenditure of energy in movement. As French movement researcher Hubert Godard has argued, 'dance brings into play a body-vector which does not define itself in terms of its structure, but in terms of the ways in which it organises intensity and intentionality'.' In what follows, I shall argue for the central role of economies of energy and their relevance to empowerment in Graham's early technique and training, seen in the context of American modernism and its gendering. I shall then discuss Rudolf Laban's analysis of 'effort' and later concepts of 'effort-shape', and will draw on these ideas in examining three early works (Heretic, 1929, Lamentation, 1930, and Primitive Mysteries, 1931). Finally, I shall assess the usefulness for dance analysis of Pierre Bourdieu's theories of 'habitus' and 'field', referring here to Gay Morris's recent discussion in these pages of 'Bourdieu, the Body, and Graham's Post-War Dance' (Morris 2001), and arguing that Graham's early work transforms embodied subjectivity and establishes a corporeal 'philosophy of the dance'. Having studied at the Denishawn School for six years,2 and subsequently performed in The Greenwich Village Follies from

Abstract: When investigating the relationship between dance and political movements in the twentieth century a paradox emerges: How could modernist art coexist and indeed thrive in companionship with totalitarian ideologies? Emphatic individualism has come to define the modem American age and the modem artist. Yet such autonomy stands in direct conflict with the Fascist and Communist waves that crashed over Europe and rolled through Depression-era New York in the first half of the twentieth century. This paper traces a lineage of movement ideas that traveled to the United States from Germany during that time. I will briefly consider the choric principle of the German dance pioneers and how ideas of monumental mass movement emigrated to and were assimilated into the dance world of 1930s New York. The coexistence of two trends, the mass dance and modem concert dance, offer a way to trace the dissemination of movement ideas that organized in tandem with emerging political movements on both sides of the Atlantic. I will examine how the leftist New Dance Group grew out of the New York Wigman School under the direction of Hanya Holm. The Group used Holm's methods of movement improvisation to encourage amateur dance within the labor union revolution, while simultaneously supporting the development of professionals in the field. Over time, the Group had a lasting impact on American modem dance, encouraging collaboration among artists and racial equality for dancers. Three choreographers and their dance works will be considered as primary to this discussion: Mary Wigman's Totenmal (1930), Hanya Holm's Trend (1937), and Eve Gentry's solo Tenant of the Street, which was choreographed in 1938, the year after Gentry performed as a soloist in Trend. Gentry choreographed Tenant while she was simultaneously a member of Holm's company and the New Dance Group. Using these works as benchmarks, my hope is to acknowledge Holm's profound contribution to American dance-a contribution long underestimated-and to deepen discussion of the Americanization of Ausdruckstanz in the context of the struggle between the mass and the individual, the amateur and the professional. If the human body in motion is considered a corporeal repository of human experience encoded within the structures of bones, muscles and cells are messages of physical response

Abstract: In writings that have been untouched by tvventieth century anthropology, the interpretation of dances and dancing as 'ritual' has long provided misapprehensions about the status of dancing as the most ancient of artistic activities. Indeed, dances performed as 'calendar traditions' in modern Europe have frequently been held up as Tylorian "cultural survivals" which are thought to provide evidence of earlier stages of human development. Often tied to a pre-industrial calendar, these customary enactments of particular dances at a specific point in the year are construed as pre-modem relics of former pagan rituals.

Abstract: Representing dancers, scholars, admirers, and critics, "I See America Dancing" is a diverse collection of primary documents and articles about the place and shape of dance in the United States from colonial times to the present This volume offers a lively counterpoint between observers of the dance and dancers' views of what they do when they dance Dance traditions represented include the Native American pow-wow; tribal music and dance activities on Sunday afternoons in New Orlean's Congo Square; the colonial Playford Balls and their modern offspring, country line dancing; and the Buddhist-inspired Japanese Bon dances in Hawaii Anti-dance perspectives include government injunctions against Native American dancing and essays from a range of speakers who have declared the waltz, the twist, or the senior prom to be a careless quick-step away from hell or the brothel "I See America Dancing" examines the styles that have marked theatrical dance in America, from French ballet to minstrel shows, and presents the views of influential dancers, choreographers, and the pioneers of early modern dance in America Specific pieces examined include George Ballanchine's ballet Stars and Stripes, Yvonne Rainer's protest piece "Flag Dance, 1970," and Sonj Mayo's "Naked in America" Covering historical social attitudes toward the dance as well as the performers and their works, "I See America Dancing" is a comprehensive, scholarly sourcebook that captures the energy and passion of this vital artform

Abstract: During times of changing mores, dance, with its power to arouse, has subversive potential, which leaves it open to negative interpretation regardless of actual intent. The human body is a significant metaphor, and dance may reflect what is and suggest what might be (Douglas 1970, 64; Hanna 1987; Hanna 1988). That the instrument used for both dance and sex is the human body has long made dance suspect or immoral in some people’s eyes. Religious and political leaders worldwide often seek to bridle sexuality in various forms lest it undermine the status quo. Indeed, history attests to periodic bans on dancing as an attempt to guard vigilantly against its “evils” (Davies 1984; Wagner 1997). Baptist, Assemblies of God, and Church of Christ congregations are among the groups that have forbidden all forms of dance. In this article I call attention to the threat to all dance that comes from various forms of censorship, whether the target is the National Endowment for the Arts (NEA) or the often stigmatized “exotic” dance, variously referred to as erotic, topless, strip, striptease, show bar, sports bar (with dancers and TV screens), nude, barroom, table, couch, lap, go-go, and gentlemen’s club dance. It should be noted that some “shocking” dances that created public outrage in the past have become classics and influenced the development of dance. Had there been censorship of those dances, our current repertoire would be less vibrant and enriching. The art of dance develops with inspiration from many sources, even those that are sexual and shocking. My continuing research and testimony as an expert court witness on exotic dance was a censorship alert that catalyzed my realization that attacks on publicly funded “high art” dance by the NEA and privately funded “low art/entertainment” exotic dance reflected the same impulse to prohibit that which some people deemed “obscene.” 1

Abstract: This paper examines the working relationship of composers and choreographers in modern dance with attention to basic processes, barriers, and opportunities that characterize their collaborations. The paper draws its conclusions from a series of informal interviews and group discussions with musicians, choreographers, producers, presenters, and critics held at the 2000 Bates Dance Festival, as well as from the author's own experience as a composer. By outlining a brief history of music in modern dance and dance education, along with identifying the ways in which projects combining the two genres are initiated, the author identifies the historical and institutional contexts for the experiences of his informants. Basic scenarios for collaboration are defined and the opinions of participants examined regarding the perceived advantages and disadvantages of each type. Finally, the author suggests ways to overcome some of the existing barriers between composer and choreographer, music and dance, exploring how the structure of the world of modern dance influences artistic production.

Abstract: Many believe that dance is a democratizing force in academia. Modern dance history is replete with feminist, homosexual, and racial liberation ideologies transcribed through body language. Experiences in planning cross-discipline courses suggest that, without dance, important aesthetic and sociopolitical ideas most fully revealed in nonverbal and physical ways may be neglected. When planning an interdisciplinary course, "Searching for Truth and Beauty: Perceptions of Reality in Western Arts and Sciences," one professor observed that the course outline, which spanned the history of western civilization, featured only two women, and both were dancers. Dance reinforces the value of imagery, symbol, metaphor and myth, types of knowledge underrated in U.S. culture. Dance should be included in discussions of technology as well as science, because it depends heavily on both education and theater technology, while simultaneously resisting their potentially dehumanizing tendencies. As modern college students ask new questions about racial, cultural, and gender identity, dance provides a link to family, ritual, history, and tradition while displaying tolerance for experimental and alternative approaches to lifestyle, personality, and artistic boundaries. Dancers are aware of the inextricable links between scientific, social, and artistic reality, making them powerful agents for democratic change within interdisciplinary contexts in higher education. (SM) Reproductions supplied by EDRS are the best that can be made from the original document. THE LEGACY OF DANCE AS A DEMOCRATIZING FORCE IN HIGHER EDUCATION PERMISSION TO REPRODUCE AND DISSEMINATE THIS MATERIAL HAS BEEN GRANTED BY by Melissa Nunn Associate Professor School of Music and Dance San Diego State University San Diego, CA 92182 619-594-6827 858-675-0065 nunn@mail.sdsu.edu U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) This document has been reproduced as received from the person or organization originating it. Minor changes have been made to improve reproduction quality. TO THE EDUCATIONAL RESOURCES Points of view or opinions stated in this INFORMATION CENTER (ERIC) document do not necessarily represent 1 official OERI position or policy. 2 3721' co O v3 r ti AVAIIIIABEE THE LEGACY OF DANCE AS A DEMOCRATIZING FORCE IN HIGHER EDUCATION

Abstract: Aesthetics at the Ballet : Looking at "National " Style, Body and Clothing in the London Dance World

Abstract: Thinking Dance with Deleuze Deleuze's thought is consonant with contemporary dance, not so much because he at times evokes dance explicitly as because his thought strives to reflect the way the effort of movement takes shape within and through bodies. The connections appear clearly through different aspects of his works, when confronted with the work of modern dance theoreticians such as Rudolf Laban.

Abstract: On the panorama of the twentieth century, occasionally a red glow emanated from a city electrified by the culture of the left: red Vienna of the 1920s and 1930s; Moscow, after the Revolution; Weimar Berlin; Paris '68. Midcentury New York, with its Broadway musicals, liberal Democratic leaders, and commercialized mass culture, seems a world apart. "Cultural Capital of the World," some dubbed it, not for its radicalism, but for its embrace of depoliticized modernism—abstract painting, modern dance, jazz, International-style architecture. Yet in its own way, New York in the 1940s and early 1950s had a tangle of left culture as dense as any in the history of the United States.This article can also be found at the Monthly Review website, where most recent articles are published in full.Click here to purchase a PDF version of this article at the Monthly Review website.

Abstract: The story of Henning Kronstam, one of the greatest dancers of 20th-century ballet, is a testament of professional achievement and personal victory. Overcoming illness, family disapproval and his own private torments, Kronstam dominated one of the world's most renowned companies, the Royal Danish Ballet, for nearly 30 years - beginning in 1956 when he created the role of Romeo at the age of 20 in Frederick Ashton's "Romeo and Juliet", until a new generation, trained by him, took the stage. In 1979, Kronstam organized and directed the Bournonville Fesival, introducing the world to the rarely performed works of August Bournonville, the Danes' master choreographer. Alexandra Tomalonis has documented Kronstam's major roles as recounted in his own workds, revealing the man behind the dancer. Kronstam's range streched from classical ballet to modern dance; his greatest roles included Bournonville's James; Balanchine's Apollo; Petit's Cyrano; and the Old Clown in Murray Louis's "Hoopla". His refusal to substitute "flash" for style won him the admiration of his peers, and to many he remains a beacon of artistic integrity. In the writing of this book, the author conducted 200 hours of interviews with Kronstam and talked to over 100 dancers and choreographers, including many who worked with him. She observed classes and rehearsals at the Royal Danish Ballet over a ten-year period and, as such provides the story of the dance company in addition to a biography of the man. The photographs showcase Kronstam's refined classical technique and dramatic range and the theatrical traditions of the Royal Danish Ballet.

Abstract: .......................................................................................5 Introduction ....................................................... 6 Profile of Jacob's Pillow Dance Festival ................................................ 7-23 History ...............................................................................7 Management Structure ............................................................. 8 Funding ................................................................................ 9 Goals 10 Programs .................................................................. 10 Problems .............................................................................. 12 Intern Description .............................................................................. 12 Responsibilities ..................................................................... 13 Tasks 13 Other Duties and Departments ................................................... 15 Analysis .............................................................................. 17 Management Challenges " 18 Discussion and Problems 19 Short and Long Range Effects 19 Recommended Changes, Steps for Improvement .................................21 Results 23 Profile of the National Museum of Dance 23-38 History .............................................................................. 23 Management Structure ............................................................ 24 5'J8 9-1-'7 ( Earl K. l:..ona t:A~rart ~ 01 New Orlellrl4

Abstract: Though black women played a pivotal role in the development of modern choreography, dance scholars have largely ignored their contributions.3 Yet the evidence is unequivocal: black women contributed significantly to the origins of modern dance. The Charleston, turkey trot, Texas Tommy, fox trot, and shimmy emerged in black communities and made their way into the world of white middle-class dance halls. In addition to inventing new forms of social dancing, black women choreographed “classical” modern dance during the early twentieth century. Their choreography represented an act of empowerment; despite the exploitatively sexual overtones of dancing at the time, many black women fought against stereotyping, attempting to maintain their creativity and self-expression. Black women dancers were forced to maneuver through narrowly prescribed paths, yet despite restrictions, some still managed to carve out innovative careers.4 No doubt African American women choreographers experienced many of the same conditions that affected all dancers at the time; black dancers sought ways of creating a style that reflected modern society and trends. However, without downplaying the significance of social trends, black women faced unique issues that influenced their choreography.