Abstract: Lynn Garafola has written some of the most influential historical studies and criticism in the field of dance. Legacies of Twentieth-Century Dance is a selection of her essays and reviews that together document the extraordinary transformation of dance, especially ballet, since the early 20th century. Part I, "The Ballet Russes and Beyond," explores the relatively uncharted landscape of French ballet and European art dance in the early 1900s. Part II, "Reconfiguring the Sexes," focuses on women, such as choreographer Bronislava Nijinkska and dancer Ida Rubinstein, as well as phenomena that invite a feminist interpretation, such as the feminization of 19th-century ballet and the invisibility of women choreographers in ballet. Part III, "Dance in New York," examines the period when New York became not only the U.S. dance capital but also, by the 1960s, the dance capital of the world. Finally, Part IV, "Staging the Past," deals with issues of memory, reconstruction, and historical neglect. The book includes a generous selection of photographs.

Abstract: The marriage of dance and interactive image has been a persistent dream over the past decades, but reality has fallen far short of potential for both technical and conceptual reasons. This thesis proposes a new approach to the problem and lays out the theoretical, technical and aesthetic framework for the innovative art form of digitally augmented human movement. I will use as example works a series of installations, digital projections and compositions each of which contains a choreographic component---either through collaboration with a choreographer directly or by the creation of artworks that automatically organize and understand purely virtual movement. These works lead up to two unprecedented collaborations with two of the greatest choreographers working today; new pieces that combine dance and interactive projected light using real-time motion capture live on stage. The existing field of "dance technology" is one with many problems. This is a domain with many practitioners, few techniques and almost no theory; a field that is generating "experimental" productions with every passing week, has literally hundreds of citable pieces and no canonical works; a field that is oddly disconnected from modern dance's history, pulled between the practical realities of the body and those of computer art, and has no influence on the prevailing digital art paradigms that it consumes. This thesis will seek to address each of these problems: by providing techniques and a basis for "practical theory"; by building artworks with resources and people that have never previously been brought together, in theaters and in front of audiences previously inaccessible to the field; and by proving through demonstration that a profitable and important dialogue between digital art and the pioneers of modern dance can in fact occur. The methodological perspective of this thesis is that of biologically inspired, agent-based artificial intelligence, taken to a high degree of technical depth. The representations, algorithms and techniques behind such agent architectures are extended and pushed into new territory for both interactive art and artificial intelligence. In particular, this thesis will focus on the control structures and the rendering of the extended agents bodies, the tools for creating complex agent-based artworks in intense collaborative situations, and the creation of agent structures that can span live image and interactive sound production. Each of these parts becomes an element of what it means to "choreograph" an extended agent for live performance. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)

Abstract: Ballet Caravan, the short-lived chamber company founded by Lincoln Kirstein1 in 1936, is mostly remembered as a high-minded but misguided experiment in presenting ballets by Americans on American subjects. With the exception of Billy the Kid (1938), which teamed Eugene Loring with composer Aaron Copland on the first of the latter's Americana classics, and to a lesser extent the Lew ChristensenVirgil Thomson-Paul Cadmus collaboration, Filling Station (1937), the repertoire did not outlast the company's five-year existence. To be sure, aspects of the enterprise proved more lasting. The 'seasoning' of a generation of young American dancers, the discovery of a generation of new American choreographers, and the tapping in New York and on the road of an educated, sophisticated audience all contributed to the ballet 'boom' of the 1940s and the strong American presence in companies such as Ballet Theatre, Ballet International, and the Ballet Russe de Monte Carlo. Ballet Caravan survived in part because of Kirstein's willingness to associate the company with institutions and practices peripheral to ballet. The first of these was modern dance, which helped establish the company's American identity. Ballet Caravan made its debut at the Bennington College Summer School of the Dance,2 performed at the 92nd Street Y,3 Washington Irving High School (in the Student Dance Recitals series),4 Dance International,5 and the New School for Social Research (in its lecture-demonstration series 'The Dance in the Social Scene')6 all venues closely associated with modern dance. It shared a booking agent (Frances Hawkins) with Martha Graham, a season in 1939 at the St. James Theatre that all but coincided with the debut of Ballet Theatre,7 and something of a common thrust if not a common technique: Billy the Kid and Graham's American Document the greatest American-themed works of the late 1930s premiered within two months of each other. By 1937-1938 Kirstein had become a frequent contributor to Louis Horst's Dance Observer, the house organ, so to speak, of mainstream modern dance, and photographs of Ballet Caravan dancers appeared several times on the journal's cover.8 Perhaps not unexpectedly, Kirstein's Blast at Ballet, which savaged ballet directors and ballet patrons, while insisting on the need for an American style' in ballet, was applauded in modern dance circles. Assessing what went wrong with Ballet

Abstract: "Kaiso," a term of praise that is the calypso equivalent of "bravo," is a fitting title for this definitive and celebratory collection of writings by and about Katherine Dunham, the legendary African American dancer, choreographer, anthropologist, and social activist. Originally produced in the 1970s, this is a newly revised and much expanded edition that includes recent scholarly articles, Dunham's essays on dance and anthropology, press reviews, interviews, and chapters from Dunham's unpublished volume of memoirs, "Minefields". With nearly a hundred selections by dozens of authors, "Kaiso!" provides invaluable insight into the life and work of this pioneering anthropologist and performer and is certain to become an essential resource for scholars and general readers interested in social anthropology, dance history, African American studies, or Katherine Dunham herself. Katherine Dunham numbers among the most influential dance artists and scholars of the twentieth century. Trained as an anthropologist at the University of Chicago, Dunham combined her interest in dance and anthropology by linking the form and function of Caribbean dance and ritual to their African sources. Her research provided the core for what would become known as the Katherine Dunham Technique of Dance, which integrated African and Caribbean styles of movement with ballet and modern dance. Her career as a dancer and choreographer encompassed Broadway reviews, appearances in several films, and choreography for the New York Metropolitan Opera. Also a recognized social activist, Dunham staged several highly publicized hunger strikes, and often incorporated speeches against discrimination into her stage performances.

Abstract: In the first decades of the twentieth century, F.T. Marinetti’s futurist cheer, “Hurrah for motors,” collided against Victorian invocations of spirituality—or so the period divide is often oversimplified.1 Performers and artists during the period, however, did not adhere to assumed antagonisms between spirituality and materiality, human culture and the machine age, or the soul and the motor. “I must place a motor in my soul,” declares the American-born dancer, Isadora Duncan (1877–1927) in her 1927 autobiography, and she consistently positions her choreography at the juncture of motorized movement and soulful expression. Her efforts to reimagine spirit through machine processes are shared by many key figures of modernism, including the Russian director Constantin Stanislavski and even Marinetti. Although Duncan is credited with the invention of the performance form now called “modern dance,” her influence on modernist performance has not been recognized. Her theories are dismissed as “romantic grandiloquence,”2 primarily due to her use of terms associated with Victorianism (“soul,” “inner self,” and “human spirit”).3 Even the best critical studies argue that Duncan “never completed the leap” from “late-nineteenth-century-romanticism”

Abstract: May O'Donnell (1906-2004) was one of the Martha Graham Contemporary Dance Company's most successful soloists during its pioneer days. Because of her strong presence and equally strong technique, Graham entrusted O'Donnell to create her own roles in such notable Graham works as Appalachian Spring and Heriodiade. As a choreographer, O'Donnell was the first American to create dances of musical abstraction (before such a word was used in the world of dance), freeing the modern dancer from themes, storylines, and dramatic passion. She was also a sought-after teacher, and her famous students include Robert Joffrey, Ben Vereen, Gerald Arpino, Dudley Williams, and many others. Today, more than 50 of her documented works are performed and her technique is taught throughout Europe and the United States. Based on extensive interviews with O'Donnell herself, Marian Horosko brings the story of this extraordinary yet unheralded 60-year career to light for the first time. O'Donnell's personal memories - from her early training in California, to tours with Jose Limon, to the creation of her signature work, Suspension, to her collaborations with composer-husband Ray Green - and unpublished photographs from the artist's personal archive provide a first-hand account of American modern dance coming into its own during the crucial period of the 1920s through the 1980s. Horosko has also included the first available syllabus of O'Donnell's technique as an intermediate class.

Abstract: about the British ballet dancer Alicia Markova, celebrating her 90th birthday. The presenter of the programme, dance critic Clive Barnes, told the audience in an admiring tone that Markova had lived the life of a nun. Markova herself confirmed his statement later in the programme and added that a dance career like hers would not have been possible in any other way. For her, marriage or motherhood would have meant the end of her dancing and she could not image it otherwise. A true dancer lives for her art and nothing else.

Abstract: This essay examines a historical process in which a ritual dance event is staged out of its ritual context. It tells the story of an individual folk artist, Durmus Genc, who singled out the dance aspect (namely the semah ) of the Alevi cem ritual. Gene was a member of the Alevi community, an unorthodox Islamic sect in Turkey widely dispersed throughout Anatolia. Employed at Bogazici University in the late 1960S, he was exposed to the urban folk dance tradition in its heyday through the members of the University Folklore Club. The exchange between Gene and the members of the Folklore Club led the Alevi semahs to be staged for the first time by non-Alevi performers, and as part of a "Turkish folk dance" repertoire. The essay shows how an individual artist had a significant impact on the nationalization of a ritual dance and also examines his responses to the issue of "style" in dance.

Abstract: This article investigates the ways in which discourses and experiences of health and healing have shaped the development of contemporary dance in France. It confronts the problem of how to situate contemporary dance in relation to other dance genres and suggests Robert Desjarlais’ concept of the ‘aesthetic of experience’ as a helpful framework for understanding the ways in which technique and virtuosity operate differently in contemporary dance than in other dance forms. The article is ethnographic and historical and attempts to create a dialogue between dance studies and medical anthropology. The ethnographic and historical material has three parts. First, I offer an analysis of the cultural idiom of illness as blocageand argue that contemporary dancers in Aix-en-Provence experience their work as a form of healing or dEblocage. Next, I show how two historical and political events in France led to the promotion of dance as a means of social reform: (1) the Situationist art movement of the 1960s and its id...

Abstract: This article engages the dancing and writing of the American modern dance pioneer, Isadora Duncan (1877-1927), and the phenomenology of religion and dance authored by the Dutch phenomenologist, theologian, and historian of religion, Gerardus van der Leeuw (1890-1950), in order to argue that "dance" is a valuable resource for developing theories and methods in the study of religion that move beyond belief-centered, text-driven approaches. By setting the work of Duncan and van der Leeuw in the context of the emergence of the field of religious studies, this article not only offers conceptual tools for appreciating dance as a medium of religious experience and expression, it also plots a trajectory for the development of a theory of religion as practice and performance. Such a theory will benefit scholars eager to attend more closely to the role of bodily being in the life of "religion."

Abstract: In Danser Sa Vie, the cultural critic Roger Garaudy comments that the United States has philosophers whom it has not recognized—the pioneers and founders of modern dance. These dancers, by his account, do their most important philosophical work when they generate kinetic images of bodily being as a medium for religious experience and expression. Isadora Duncan (1877–1927) was one of those dancers. While my intent in this article is not to argue that Duncan was a theologian or philosopher of religion, I take up Garaudy’s challenge by interpreting Duncan’s dancing, and her writing about dance, as representing her critical participation in Friedrich Nietzsche’s project of revaluing Christian values concerning “the body.” To accounts of Nietzsche’s project as involving a double movement—a reversing and displacing of

Abstract: *Incluant «the unique gesture» Comprend DVD *Contenu : Introduction -- Basic dance -- Vision of a new technique -- Decentralization -- Grain -- Density -- Gravity and verticality -- The psyche -- Stasis -- Dynamics -- Sensory perception -- Movement range -- Three conditions of energy -- Defining improvisation -- Gestalt -- Nature and art -- Language of criticism -- Composition *Presentation de l'editeur : " The Nikolais/Louis Dance Technique provides the definite resource for understanding and practicing the influential dance technique developed by two pioneers of modern dance, Alwin Nikolais and Murray Louis The Nikolais/Louis technique is presented in a week-to-week classroom manual, providing an indispensable tool for teachers and students of this widely studied movement practice Theoretical background for further reading is set off from the manual for those interested in deeper study Their philosophy and methodology span a broad readership and offer an important addition to dance literature and American cultural history"

Abstract: Significantly informed by Foucault's (1966) notion of synchronicity in the construction of knowledge, the research for this article disrupts conventional diachronic accounts of performance history. By slicing across rather than through time it reveals not only the artistic but also the cultural 'conditions of possibility' which gave rise to stylistically diverse but socially congruent events which all occurred during one single year. It offers, therefore, a model for new ways of researching, teaching and learning the performing arts, or any field where genre and chronology are key organising concepts. The cross-genre approach prohibited a single-track or specialist trajectory. Modern Dance, ballet and dance in popular culture such as pantomime were juxtaposed and all were informed by research in to the social history of the period.

Abstract: Relations between dance and language are complex. Yet dance is not pre- or a-discursive; technique—the grammar and vocabulary that make dance go—also organizes interpersonal conversations that support pedagogical and performance communities. Citational solidarity with nonacademic texts, particularly Jorie Graham's poetry, enlarges these conversations, making them available to audiences beyond technique's outsiders. This essay explores the theoretical underpinnings and mechanics of such citational solidarity, as well as the rhetorical utility of the lyric, as these emerge in writing about bodies, sociality, and language.

Abstract: It has been widely acknowledged that Doris Humphrey and Martha Graham were the two most influential exponents of American modern dance. Graham's work has been the more prominent, in part because she outlived Humphrey by thirty-two years and performed for a much longer period. This does not, however, diminish the influence that Humphrey's work has had on modern dance since her death in 1958. More significant, perhaps, is the influence it can have in the future. Humphrey's legacy includes a certain amount of documentary literature, including her seminal book on the craft of choreography, The Art of Making Dances (1959); photographs and film footage of her dancing and of her dances; and a codified dance technique which is taught on a wider scale now than ever before. The dances, however, need to be performed in the theatre; if they remain as an archive, they may be regarded as such, and the purpose of my work is to illuminate these dances for a contemporary audience. This article will discuss strategies undertaken to develop a perspective on modern dance production, including the significance of style; the search for a living past' drawing on the ideas of R. G. Collingwood; the identification, viewing and interpretation of evidence, including the use of a Labanotation score. The production processes employed by a range of artists involved in reconstruction will be considered, and my own practice positioned in relation to this. The notion of co-authorship will be examined within the contexts of these respective practices, illustrated by examples from recent Humphrey productions. Other performing arts have survived to a large extent through text-based evidence, but there is no immediate parallel existing in dance. A number of notation systems are utilised, including Benesh, Eshkol-Wachman and Labanotation, with the latter serving regularly for the recording of modern dance during the past fifty years. I would suggest that this, or any symbol-based system is not wholly comparable with those existing in music and drama, in part because the score is written by someone other than the choreographer. Despite the developments in Labananalysis, crucial aspects of movement quality and style, which are integral aspects of interpreting a work, are not in evidence within the Humphrey scores I have encountered. This is not a criticism of Labanotation, or other systems, rather a critical observation of notation.

Abstract: This article assesses the experimental teaching and learning of an anthropology module on ‘modern dance’. It reviews the teaching and learning of the modern dances (lecture, observation, embodied practice, guest interview), paying attention to the triangulation of investigation methods (learning journal, examination, self-esteem survey, focus group interview). Our findings suggest that—in keeping with contemporary participatory educational approaches—students prefer guest interviews and ‘performances of understanding’ for teaching and learning, and that focus groups and learning journals were the preferred research methods for illuminating the students’ teaching and learning experience.

Abstract: Modern Dance was introduced into Western civilization around the thirties. What happened in the East? This article ponders the present situation of choreographic modernity in East Asia, tracing its historical and social evolution. An individual approach to each East Asian country is made, trying to find some common denominators for the whole region. The concepts of Asian time, space and body are, as well, analysed, so as to elucidate if globalisation will make modern dance to become a global cultural product in which East and West can have a balanced, creative participation

Abstract: This excerpt from Kenneth King’s essay, “The Dancing Philosopher,” traces its genesis from Nietzsche’s Thus Spoke Zarathustra (a work that greatly impacted Isadora Duncan’s founding of modern dance) that, in tandem with the emerging technology of the writing machine (typewriter), camera and kinetoscope (cinematography), conjoined the kinetropic and lexigraphemic to inaugurate the kinetic cogito. Maurice Merleau-Ponty’s phenomenological exposition of corporeality further amplified the reflexive potential of movement and the philosophical understanding of kinesthesia, and King cites as well the technosophic synergy of John Cage’s and Merce Cunningham’s long artistic collaboration that furthered the frontier of a mind-body epistemic.

Abstract: When the United Nations agreed to declare 2005 as the International Year of Physics, it was an ideal opportunity for the physics community to get the general public interested in particles, lasers and all the other things that physicists know and love. Exhibitions, lectures, conferences and events were held in more than 80 countries, commemorative stamps were issued, books were published, and a modern dance inspired by Einstein's work was premiered at Sadler's Wells in London.

Abstract: Over the years I have heard many reasons cited for Ralph Lemon’s disbanding his successful modern dance company in 1995 and embarking on the Geography Trilogy. He wanted to break away from habitual structures for dance-making, or to collaborate with artists of other cultures, or to question his own self-image as an American artist of somewhat distant African descent and more immediate Buddhist practice. Nothing on that list is incorrect. But from my perspective as the dramaturg who has collaborated with Lemon since the trilogy’s first workshop in 1997, those reasons are all facets of Geography’s overarching project—a fundamental questioning and reimagining of the relationship between artist, stage, and audience.

Abstract: Raymond Blanco speaks about the existing state of Indigenous contemporary dance and its future. He reveals that Indigenous contemporary dance began with the start of Black Theatre in Cope Street, Redfern, when the Black Theatre decided to include dance as part of its research studies.

Abstract: The cover of Carol Loeb Schloss's Lucia Joyce: To Dance In The Wake is a photograph of its subject, the daughter of James Joyce, costumed for an original improvisation, part of her first solo dance competition in Paris in 1929. Poised at what might have been the beginning of a career in modern dance, she had designed and built the costume of a fish, with one leg covered in silvery sequined scale-like cloth and one naked. By drawing our attention to the idea that "the allure of a mermaid arises from the frustration of sexual longing," (Schloss 175) Schloss focuses on her reading of Lucia's staging of her frustrated sexuality?her supposed incestuous impulse toward her father to which Schloss gives tremendous weight?and not on another hidden text Lucia might have encoded within it. This improvisation might also reveal an Artaudian ritual of transformation?a young woman half human, half fish, whose dancing was described as "totally subtle and barbaric" by Charles de Saint-Cyr, one of the judges of the competition. (Schloss 176) She cannot live on the land, but is not fully a creature of the sea either. In Jungian terms, the image of this silvery

Abstract: Kazuo Ohno and Tatsumi Hijikata are recognized as the most influential creators of the contemporary Japanese dance form known today as butoh. Since its wild and avant-garde beginnings in the late 1950s, butoh has evolved into an established and appreciated art form throughout the world. Despite its popularity and strong influences on the international modern dance world, butoh only recently became an accepted subject for academic research in Japan as well as in the West. With the new opening of butoh research centers and archives—such as the Ohno Dance Studio Archives at BANK ART 1929 in Yokohama, the Kazuo Ohno Archives at Bologna University in Italy, and the Hijikata Tatsumi Archives at Keio University in Tokyo—serious scholarly attention has been given to the art of butoh's founders. However, the lack of firsthand sources by butoh artists reflecting their own work still poses great limitations for a deep understanding of the art form. Kazuo Ohno's World from Without and Within is not only the first full-length book in English about the master's life and work, but also offers a rare inside view of butoh.

Abstract: often lively, encapsulating the essence of a Kid, Merce Cunningham in his Untitled dance, performer, or company in a felicitous Solo (heart-stopping). Dozens of photos sentence or two. Dancers' voices, too often document works and artists rarely seen in mute on the subject of their own art, are also standard dance histories: Olga Mungaheard; the eloquent Carolyn Brown, for exlova and Pyotr Gusev in Lopukov's The ample, calls the style of Cunningham's 1953 Ice Maiden, Tilly Losch in \"Dancing in Solo Suite in Space and Time \"Cunningham the Dark\" from The Bandwagon, Rudolph classical... not without dramatic intensity von Laban with soloists of the Berlin State . . . but like pure water, clear, transparent Opera. The book is handsomely produced and reflective\" (360). Would that all artists overall; one hopes the inevitable paperback were so deftly articulate. edition will be reasonably comparable. Throughout the book, the authors are Certainly No Fixed Points is an invaluremarkably even-handed in their assessable contribution to the literature of dance ments, opinions, and judgments. They history. Not only useful, but insightful, it note, for example, that a weakness of Jiri should serve nicely for several decades to Kylian's early style was to \"rely on 'full-out' come. dancing at the highest energy levels, with Shelley C. Berg, almost no change in dynamics or contrastSouthern Methodist University ing quiet interludes. However, he countered this aspect of his work with ingenious use of space, oddly placed climaxes, and compliMERCE CUNNINGHAM: THE cated, daredevil partnering\" (449). Gentle MODERNIZING OF MODERN DANCE humor, too, plays an occasional part in the by Roger Copeland. New York, London: authors' descriptions and well-chosen anecRoutledge. 2004.304pp. illustrations, biblidotes. Massine's vivacious Gaiete' Parisienne, ography, index. $26.95paper. they tell us, became \"the epitome of what Ballet Russe came to mean for American Twentyyears ago Roger Copeland co-edited audiences: kitsch-glamour, exaggerated but with Marshall Cohen, What is Dance: Readdeft theatricality, amusement, warmth, and ings in Theory and Criticism, a book that exotica, with enormous affection exuding quickly became one of the first and most from both sides of the footlights\" (127). popular anthologies to explore the basic isIn addition, for such a massive tome, the sues of dance aesthetics. Embedded in that writers handle their cast of hundreds with volume, in a section subheaded \"Genre and choreographic aplomb; from Niddy ImpekStyle,\" was an article by Copeland: \"Merce oven, German \" child prodigy and 'natural' Cunningham and the Politics of Percepdancer,\" to Akaji Maro, Butoh master, there tion.\" In this pithy essay Copeland argued are miniature portraits of many familiar for what he saw as the strong similarities and some nearly forgotten artists. between Cunningham's sensibility of repuThe stunning collection of photographs diating an inward, subjective aesthetic and selected for each chapter has been chosen the parallel repudiation of Abstract Expreswith great care and attention. Many are sionism that Cunningham's collaborators in of original interpreters: Irina Baronova in the visual arts—Robert Rauschenberg and Massine's Choreatium, Eugene Loring in Jasper Johns—enacted.

Abstract: This paper critically reviews phenomenological philosophy of the body in light of postmodern and postcolonial critiques of universalism. It aims to recast the notion of the lived body in plural rather than singular terms. It does so within the context of phenomenology and dance, using cultural anthropology to highlight the sense in which bodies are culturally and corporeally specific. The notion of corporeal specificity is applied to the perception of dance, paying particular attention to questions of power and hegemony. This is not to reject phenomenology, but to differentiate it according to its social, historical and kinaesthetic milieux.