Abstract: Edward Dickinson wants us to dance naked. Why? Because it is what modern dancers did in giving birth to the twentieth century; because it is chaste and passionate; because Adoree Villany’s naked da...

Abstract: When George Bernard Shaw called Dartington Hall ‘a Salon in the Countryside’, it was a paean to its wealthy owners and their ‘utopian’ plans to establish a place of experiment and innovation in the...

Abstract: The dance hall was a symbol of social, cultural and political change. From the mid-1920s until the mid-1960s, the dance hall occupied a pivotal place in the culture of working- and lower-middle-class communities in Britain. Its emergence and popularity following the First World War reflected improvements in the social and economic well-being of the working and lower middle classes. The architecture of dance halls reflected these modernising trends, as well as a democratisation of pleasure. The very name adopted by the modern dance hall, ‘palais de danse’, emphasises this ambition. Affordable luxury was a key part of their attraction. This article examines how the architecture of dance halls represented moments of optimism, escapism and ‘modernity’ in British history in the period 1918–65. It provides the first overview of dance halls from an architectural and spatial history perspective.

Abstract: This project explores how Black lesbian affectivity performed through dance, which includes gestures, comportment, expressions, etc., can provide a utopian framework of political and social organizing against white supremacist heteronormative hegemony. These affective performances create spaces of resistance within modern dance choreographies. These affective moments and performances demonstrate alternative forms of individual and collective existence in both the dance space and daily life. By examining the works of modern dancer Nora Chipaumire and the social justice dance theater ensemble, the Urban Bush Women, this project argues that Chipaumire and Urban Bush women use disidentification, affective performances, queer utopia and shapeshifting, in order to create different social and political realities. Finally, I argue that moments within these performances open themselves to a reading for “Black lesbian affective” performances that reject normative standards of identity. INDEX WORDS: affective performance, modern dance, Black lesbians REFUSALS AND RE-CREATIONS: IMAGINING UTOPIA THROUGH BLACK LESBIAN AFFECT IN MODERN DANCE

Abstract: The emergence of cinema at the end of the nineteenth century marks a turning point in the way in which Greece and Rome are conceptualised in the modern world. Cultures previously perceived as remote and inaccessible, as objects of contemplation from a distance or as products of the imagination, are suddenly transformed into a vivid but fleeting reality to be experienced through the senses. One of the most distinctive features of this reconceptualisation of Greece and Rome in cinematic modernity is dance. In addition to the exotic and orientalising dances associated with Pharaonic Egypt and the lands of the Bible which remain in vogue throughout the first few decades of cinema, there is a very popular type of dance commonly identified in the critical and commercial discourse of the time as ‘Grecian’. This type of dance must be set apart from other ‘ancient’ dances that appeal to early film because it celebrates the lightly clad or naked body of the dancer in motion while also striking a precarious but important balance between cinema’s drive for entertainment and its drive for moral uplift. It must also be set apart from other cinematic investments in the human body because of the dynamism and energy with which it responds to cinema’s preoccupation with the corporeal catastrophes of modernity. By 1919, Charlie Chaplin’s Sunnyside could feature dancing girls in white robes within a dream-like sequence which only makes sense when viewed in the larger context of the craze for Grecian dances in numerous, now forgotten, films of the same period. Other case studies considered in this chapter include D. W. Griffith’s Oil and Water (1913) whose dance sequences reminded the early film critic Vachel Lindsay of the pioneer of modern dance Isadora Duncan, Dances of the Ages (1913) which features another pioneer of modern dance, Ted Shawn, as well as Cupid’s Dance (1894) and Cupid and Psyche (1896), two of the earliest films ever made (both produced by the Edison Manufacturing Company) which display the ability of the new medium to record and retrieve a dynamic reality in motion through an engagement with an idyllic Greece of the senses.

Abstract: Erick Hawkins (1909-1994), one of the great American modern dance pioneers of the 20th century, was committed to the creation of “theater poetry,” in which dance, music, and visual designs work together to create a complete theatrical work. His lifelong commitment to artistic collaboration and his unique place in the history of modern dance is understood by examining, analyzing and interpreting archival materials related to Hawkins’ seminal dance, Plains Daybreak (1979). Hawkins created dances that brought together like-minded collaborators that included composers Alan Hovhaness and Lucia Dlugoszewski as well as sculptors Ralph Lee and Ralph Dorazio. Experiences with early mentors, choreographers George Balanchine and Martha Graham were important steps in the development of his creative process. His personal aesthetic grew from his immersion in the ideas of philosophers F.S.C. Northrup and D.T. Suzuki as well as the ceremonies and arts of the Pueblo and Plains Native Americans. A chronological timeline of the creation of Plains Daybreak is generated from notebooks and correspondence in The Erick Hawkins Collection in the Library of Congress, interviews with collaborating artists, and the authors’ personal experiences as members of the Erick Hawkins Dance Company.

Abstract: Delving critically into the larger (or global) artistic, social and political climate of the environments and respective time periods that Isadora Duncan, Martha Graham, and Yvonne Rainer were actively creating work/performing in, I investigate the bodily politics and feminist discourses represented in the choreography of these 20th century modern dancer pioneers through an exigesis of literature and hermeneutical inquiry. By looking at three different generations/iterations of modern dance through a socio-historical lens, unique feminist and political choices are revealed in how they presented themselves publicly and through their dancing. I analyze how these three women negotiated and navigated the terrain of a male-dominated society and a marginalized art form, and through their gesturing bodies, produced latitudinal changes in how dance and women were perceived. Rather than extracting these women from their context of existence to look microscopically at just their choreography from a current frame of reference, I have attempted to weave them into the fabric of American history, measuring and assessing their advances in reference to these socio-historical findings. This research investigates the ideology of body politics, specifically of the female body, how these perceptions have necessarily changed over time, and the resulting aesthetic affect in regards to modern dance. ATINER CONFERENCE PAPER SERIES No: ART2016-2078 4 Movements of Change In her book Moving Lessons, author Janice Ross observes that the "transition of the ... 19 th century woman into the physically active, 20 th century New Woman is ... complex, for it involves the refutation of systems of belief about gender roles, the body, and the linkage of physicality, education, and culture." 1 While the 19 th century shift in social consciousness from the rational/mechanical Age of Enlightenment to the irrational sentimentality of the Romantic period transitioned and translated to other art forms and aspects of life, in dance and on the site of the body, it was not such an easy course to navigate. The female body especially was fraught with warring notions of physicality versus ephemerality, naturality versus artificiality, and the classic versus the grotesque body. Despite the Romantic desire to achieve wholeness, the ongoing tension between the dualities of subjective/sentimental and objective/scientific axioms recalls the Cartesian theory of mind/body division and disparity, and the notion that if we are thus fragmented, we can achieve a greater sense of social (and possibly cultural) value. This was the reigning, if not conscious, ideology of the trend in physical culture that took place during the latter half of the 19 th century. The emergence of the new physical culture, promoting a Hellenistic aesthetic of the body and a concern for health and exercise, provided a timely opportunity for the teachings of the Delsarte System of Expression, taught as a series of aesthetic gymnastics by Francois Delsarteʼs American protégés. 2 As Ross states, "The growing popularity of Delsartism among women in the United States paralleled womenʼs increasingly frequent ventures into the public arena." 3 The emphasis of Delsarteʼs theories on the socially sanctioned and even coveted skills of bodily and verbal communication provided an outlet for women who were primed for change. This growing practice of public physicality, expression and performance provided a fragile but fertile foundation from which modern dance was soon to grow. It was in the midst of this period of change that Isadora Duncan (18771927) was coming of age. Dance writer Gerald Jonas comments: "Duncanʼs gestural vocabulary showed the influence of Delsartism, but even more important to her development was the fact that Delsarteʼs summons to free the body from all unnecessary constraints had already been heard in the salons of New York and Newport." 4 To the women in the audience, Ross observes that Duncan "represented a magnificent amplification of the ideals of new physical health and sanctioned pleasure in bodily movement. 5 Mark Franko in his book Dancing Modernism/ Performing Politics states: "Duncan performed womenʼs rights; Duncanʼs 1 Janice Ross, Moving Lessons (Madison, WI: The University of Wisconsin Press, 2000), 14. 2 Francois Delsarte. Retrieved from http://www.musikinesis.com/Delsarte. 3 Ross, Moving Lessons, 20-21. 4 Gerald Jonas, Dancing: the Pleasure, Power, and Art of Movement (New York: Harry N. Abrams, Inc., 1992), 194-195. 5 Ross, Moving Lessons, 14. ATINER CONFERENCE PAPER SERIES No: ART2016-2078 5 dance was a transparent medium through which her personality sent a message of social reform." 6 It seems her dancing and her life both exemplified a convergence of the numerous battlegrounds for acknowledgement and empowerment that women of the early 20 th century faced: dress reform, health reform, public access, equality, and autonomy in all spheres of life. But here I raise the question: How did Duncan position herself as a female dancing body, and do so with relative success, during this time period? I would like to explore some hypotheses on why her influence on the body and dance was so prodigious. Susan Manning in her article, "The Female Dancer and the Male Gaze: Feminist Critiques of Early Modern Dance," argues that a communal sense of empowering kinesthesia was what removed Duncanʼs dancing from the male gaze, and separated it from the "body as object" design of previous dance forms. Manning goes on to say: since "spectators had experienced the same movement techniques ... – Delsarteanism and aesthetic gymnastics – their kinesthetic response was particularly intense and led more than a few to identify the dancerʼs flow of bodily motion as reflective of their own." 7 By the shared knowledge of the familiar gestures and movements, the audience was able to associate with and connect to the performer, rather than simply observing the "spectacle" and applying a detached and critical gaze. "In other words, the kinesthetic power of Duncanʼs dancing countered not only the voyeuristic gaze but also ... essentialism." 8 Amy Koritz echoes this idea with a similar "removal" theory: that by endowing herself with the ability to project the spiritual through her dancing body, Duncan removed the sexual stigma. "Duncan attempted to convey a spiritual state, making her stage presence, or "personality," at best a medium rather than an end in itself, and ideally something to be forgotten altogether at the height of the aesthetic experience." 9 Janice Ross identifies this same sentiment: It was the idealism her art suggested rather than the reality of her flesh ... that she wanted audiences to attend to. In opposition to the long-standing theatrical notion of a woman onstage always being an eroticized figure, Duncan opened the possibility for the female dancing body to carry other meanings and for it to be a medium for other values and aspirations. 10 Duncan herself even alludes to this theory of "bodily removal," in writing about her approach to dance, "by which the body becomes transparent and is a 6 Mark Franko, Dancing Modernism/Performing Politics (Indianapolis: Indiana University Press, 1995), 7. 7 Susan Manning, "The Female Dancer and the Male Gaze: Feminist Critiques of Early Modern Dance," in Meaning in Motion, ed. Jane C. Desmond (Durham: Duke University Press, 1997), 163. 8 Ibid., 159-161. 9 Amy Koritz, Gendering Bodies/Performing Art: Dance and Literature in Early Twentiethcentury British Culture (Ann Arbor: University of Michigan Press, 1986), 50. 10 Ross, Moving Lessons, 16. ATINER CONFERENCE PAPER SERIES No: ART2016-2078 6 medium for the mind and spirit." 11 By focusing on the naturalness of the body and its role as a conduit of expression, Duncan negates the fragmentation and mechanization of the body and attempts to mend the rift of the mind/body dualism. However, in order to reconstruct an image of New Woman and New Dance, the female body necessarily had to vanish (in order to be reborn). Through her dancing and living example, Franko claims that: "Duncan displaces (other) powerful binaries such as inner/outer and private/public but also female/male, nature/culture, labor/capital." 12 Her career as a self-producing female soloist effectively challenged the separation of public and private spheres that immured women in the confines of domesticity. ... Although opposed to the separation of these spheres, Duncan also relied on their segregation to dramatize her opposition. 13 Similar to this idea of sliding between realms, Duncan was able to limn the ideal of the New Woman by traversing the turn-of-the-century polarities of the sentimental and the sensational. Though proceeding to break boundaries with her sensational lifestyle, she also called upon and borrowed the popular sentimental notions of heroism, femininity, and purity when referring to her vision of dancing. Though censured by many for her unencumbered style of dress and emancipated gestures, she shrewdly aligned herself with the Neoclassical models of the ancient Greeks, and thus substantiated her attire as fashion and her dancing as art. Jonas writes: "Her costume, antique in its associations, was also deliciously modern ... . To (the audience of society women), the loosely clad Duncan, striking poses from quattrocento paintings and Greek sculpture, must have seemed an incarnation not just of Art and Beauty but of Freedom itself." 14 In Duncanʼs dance, the Body represented the medium of art. The triads of physical, mental and emotional sources were fused together to convey a message through Duncanʼs choreography, refuting the notion of the body being a separate entity and existing secondarily to the mind. This triangulation was also inherently housed in the body of Woman, a vessel well suited to providing the timely chrysalis for the emergence of modern dance. As author Susan Manning says: Whereas the representa

Abstract: This mixed methods study investigates the juncture of dance science, somatics, and contemporary modern dance training, and how they intertwine with learning processes and skill execution th...

Abstract: Recently, I had occasion to research Martha Graham’s costume design for what dance critic and philosopher George Beiswanger called “the goat creature” in her solo Satyric Festival Song (1932). Graham herself noted that the dance had “the irreverent bold charm of a satyr’s laugh. It mocks pomposity like a clown, poking fun with rude gestures and attitudes.” A full-length, tubular dress with loud horizontal stripes highlighted the character’s unpredictable, angular outward thrusts and bolts—movements that erupted like visual hee-haws. One can find these texts and photographic images of Graham, in costume, performing the dance in the 1941 edition of Barbara Morgan’s Martha Graham: Sixteen Dances in Photographs. Exploring the volume, I was surprised to discover that, in the early years of her choreographic career, Graham proved to be an impressive costume designer. Because Graham wrote the program notes for the volume, one may infer that she had a lot of control over how to credit the dances. The notes clearly credit Graham for the “choreography and costume” or “choreography and costumes” for Lamentation (1930), Harlequinade (1930), Primitive Canticles (1931), Primitive Mysteries (1931), Satyric Festival Song (1932), Ekstasis (1933), Sarabande (1934), Celebration (1934), Frontier (1935), and Imperial Gesture (1935)—ten of the sixteen dances represented. Had she not been a genius as a choreographer, she certainly could have had a brilliant career as a costume designer. Graham was not the only one who designed her own costumes. Austrian Expressionist dancer Harald Kreutzberg began his professional life as a fashion designer and went on to invent most of his own costumes. Who can forget, after seeing images of them, the rope noose wrapped around his calf in photographic images of Hangman’s Dance on the Grave of His Victim (Figure 1); or the full body robe, a corner of which at times served to mop his brow, in Piet a; or the string line drawing on his jacket in Three Hungarian Dances? Better still, the Futuristic bands strapped around the bodies in his duet with Ruth Page, Bacchanale? Many more examples of “double threat” choreographers of movement/ designers of plastic materials exist. Who could ignore Alwin Nikolais or,

Abstract: A dance film made by two Belgian directors collaborating with Guangdong Modern Dance Company, An African Walk in the Land of China (2015) attempts to explore the encounter of an African woman with Chinese workers in urban China in the age of “ChinAfrica.” In this work, the co-directors create a “duet” between an ensemble of Chinese dancers portrayed as blue-collar workers and a black female dancer depicted as a woman from an unspecified country in Africa. In my analysis, I juxtapose choreographic and cinematic representations of the African woman and Chinese workers with the complex social reality of their diverse experiences of encounters. Resisting any singular reading, the dance film provokes questions and stirs up reflections about the ever-intensifying interactions between Chinese and Africans at economic, political and cultural levels operating under global capitalism. This seemingly detached approach, while offering opportunities for multiple readings of the film, also glosses over the complexity of the very ideas of Africans and Chinese as well as their transnational encounters. The gap between the filmic representation and reality unveils the directors’ reductionistic approach to representing ethnic figures and their experiences of each other on screen, indicating a persistent but well-masked colonial gaze.

Abstract: This article examines the development of theatricality in modern dance by comparing two dances: Mary Wigman's Totenmal (1930) and Hanya Holm's Trend (1937). By looking at the interplay between group and solo choreography, lighting design and themes, this paper will show how Holm combined the skills she learned codirecting Totenmal at the Dancers’ Congress in Munich to her work with American dance artists at the Bennington School of the Dance to create her first important work. It will examine why Trend was successful as a collaborative project, as well as show how it diverged ideologically from Wigman's work in the 1930s.

Abstract: The article presents a study on dance practices and the challenges experienced by the representative group of modern dance of the Mexican Institute of Social Security (IMSS) during the period 1977-1990, when it was directed by Socorro Bastida, who served as National Classic and Modern Dance Coordinator of the mentioned Institute. The work consisted in first, to analyze the historical, political, social and artistic conditions and processes that allowed classical and modern dance to take off at the IMSS in the seventies and eighties of the twentieth century, resulting in forming of a group with amateurs; second, to identify not only the protagonist subjects that integrated it, but also the practices they generated, the challenges they faced and their main contributions. On the other hand, the study was approached from two methodological approaches: the historical one, which, according to Fernand Braudel (1970), proposes the analysis of the different durations and temporalities of social facts is presented as a problem that concerns the social and human sciences; and the educational one, focused on non-formal dance education. The IMSS historical file and Socorro Bastida's individual one were consulted, and interviews were held with its director and members. The process of the representative group of modern dance of the IMSS during the aforementioned period was important because it took up and studied some characteristics that imply service to the community, such as: free workshops, collaborative work, scenic practices directed to the population in general, the corporate creation and the establishment of a link between interpreters and the public.

Abstract: In response to changing demographics in the United States, there has been a call from dance education scholars to reconsider what a college dance education should include in relation to cultural diversity and the shifting role of dance in contemporary society. Although research about cultural diversity in postsecondary dance major programs exists, it typically does not include students’ perspectives. This chapter contextualizes and analyzes postsecondary dance major students’ perceptions of cultural diversity using a mixed method research design to reveal what is working and what changes still need to occur to more fully embrace cultural diversity in postsecondary dance education. The data analysis concentrates on four interrelated areas: survey respondents’ overall perception of if and how their programs value cultural diversity to better sense the “pulse” of cultural diversity; the titles of their dance history and content of their first creative-focused courses to gather information about if and how cultural diversity is present in both theory and practical courses; the dance courses in which they enrolled to illustrate the diversity of dance forms present in curricula; and their awareness of culturally diverse artists as a means to assess their knowledge of cultural diversity within dance. Because the data indicates that dance programs privilege modern dance and ballet but value cultural diversity, the chapter includes pointed questions for dance educators to consider as they continually refine dance curricula that reflects the cultural diversity of the US.

Abstract: For many years the conversation about how to name our current teaching practices in what is sometimes named modern dance and sometimes named contemporary dance has both students and faculty alike p

Abstract: Dance majors are expected to demonstrate proficiency in ballet and modern dance. It is shared belief that the physical demands vary between dance styles. As a result, site of injury may be determined by each genre (Ambegaonkar et al., 2012). Researchers have stated modern dancers have increased injuries to the upper-body, due to weight-bearing movements (Angioi et al., 2008). A sufficient amount of muscular strength and endurance is needed to withstand the load placed on the shoulder region. Fitness parameters such as strength and endurance influence the potential risk of injury (Ambegaonkar et al., 2012).The purpose of this thesis was to investigate the upper-body strength and muscular endurance between collegiate modern and ballet dancers. The American College of Sports Medicine’s guidelines for the modified push-up test was used to assess these parameters (Riebe et al., 2016).This study included thirty participants. The scores received by dancers were analyzed using the Mann-Whitney Test. The results concluded there was no significant difference between collegiate modern and ballet dancers’ upper-body strength and muscular endurance (p= 0.20). A probable explanation exists in the lack of supplemental training beyond technique classes (Ambegaonkar et al., 2012).The objective is to equip dancers with the knowledge that cross-training is needed to meet the physical demands of different dance genres. In addition, for educators to prepare their students to safely transition into other dance forms. In return, results obtained from this research may provide insight to increase dancers’ performance and reduce risk of injury.

Abstract: Mina Loy’s engagement with dance in her writings exemplifies how a writer can use this corporeal art as a means to articulate a feminist sensibility. In a period when dance was undergoing similar seismic shifts to those transforming the written and visual arts, Loy drew on the expressive kinesthetics of ballet and modern dance to examine the gender politics of the dancing body and explore the performative energies of the written word. This article examines Loy’s published and unpublished work—from early poems on Italian futurism to her long poem on the dancer Isadora Duncan—and the dancing that inspired them. It argues that Loy draws on dance to interrogate and experiment with the ways meaning is made with the body and how the body can be part of the meanings of language.

Abstract: This article focuses on the first decade of existence of Batsheva Dance Company (1964–1975), founded by the baroness Bethsabee de Rothschild as a repertory company under the artistic adviso...

Abstract: While many dance artists pushed against the normative culture of the Cold War, Erick Hawkins, a modern dance choreographer, rarely did. Through the creation of the Hawkins technique and his choreographic aesthetic, Hawkins upheld the normalcy policies of the Cold War using his ideals of beauty and “natural,” kinesthetically correct, dance. Because Hawkins was falling in line with Cold War policies, he failed to receive the recognition and renown of fellow choreographers. He was unwilling to stay within the artistic parameters that critics and the U.S. Department of State created for modern dance. By upholding normalcy policies but also rejecting dance elements the accepted canon required, Hawkins’ falls between the lines of mainstream and the vanguard of modern dance. This has caused Hawkins’ work to be rejected in concert dance because he disregarded the values of fellow artists, critics, and the State Department’s accepted views on dance. Not having the recognition from any of these sources has caused Hawkins to have been omitted from conversations of dance modernism. While Hawkins has been minimized in the canon, his influence and impact are significant to understanding that modern dance is not solely restricted to historical definitions of the canon or the vanguard.

Abstract: This chapter explores my practice work with co-creator Professor Helen Newall, Dying Swans and Dragged Up Dames (2013, 2014). The work consisted of a collection of parodic images which disrupt representations of the pioneers of modern dance and icons of classical ballet: Moira Shearer, Martha Graham, Rudolf Nureyev, Vaslav Nijinsky, Anna Pavlova. I engage in theoretical analysis relating to queer theory and camp (Butler, Bodies That Matter. London: Routledge, 1993; Halberstam, The Queer Art of Failure. North Carolina: Duke University Press, 2011; Sontag, ‘Notes on Camp’ in A Susan Sontag Reader. Harmondsworth: Penguin. pp. 105–119, 1983). In terms of subjectivity, I explore how my own maturing body renegotiates both fatness and age, which results in a rejection of the previous codified techniques. I explore the documentation of the visual images themselves, which offer, arguably, a longer shelf-life than a performance output to a spectator.

Abstract: In this article I introduce a panorama of dance dramaturgy from a historical point of view, considering German dancers, directors, and choreographers who were responsi- ble for establishing the basis of German expressionist dance and dance-theater and, furthermore, those who contributed to the creation of American modern dance. These artists established new ways of thinking and doing dance, mainly seen from the pers- pective of modern dance history. We may soon perceive that such historical path is not only made of ruptures, but also of influences and continuity. Thus, it is possible to no- tice that throughout history we have had a past, even though the present may modify it, shaping a modified and expanded future-present.

Abstract: “Tanzt, Tanzt sonst sind wir verloren (Dance, Dance otherwise we are lost).” Those words belong to Philippine (Pina) Bausch, who is a German performer of modern dance. The documentary Pina shows the creative way of her choreographies called “Dance Theater” and how they turn into a

Abstract: Author(s): Vallicella, Lauren Elda | Advisor(s): Bennahum, Ninotchka D | Abstract: ABSTRACTThe Modern Physis of Leonide Massine: Corporeality in a Postwar ErabyLauren Elda VallicellaMy dissertation is an attempt to re-examine and re-frame the artistic legacy of Les Ballets Russes choreographer Leonide Massine (1896 – 1979), while simultaneously defining (through choreographic analysis and historical contextualization of Massine’s work) the term “postwar corporeality.” While the innovative achievements of the Russian emigre company Les Ballets Russes have been discussed by many authors—notably Lynn Garafola, Richard Buckle, Juliet Bellow, and Davinia Caddy—the contributions of Massine himself have been vastly overlooked. My dissertation therefore places Massine as a central figure within the creation of Modernism in postwar European dance. Through an analysis of both dancing/performing bodies and French critical reception, my dissertation seeks to understand notions of identity, physicality, and corporeality in late-Industrial Europe, in turn deepening the place of Leonide Massine (and dance history at large) within an interdisciplinary understanding of Modernism. My writing specifically examines Massine’s representations of the body in three ballets from the company’s early postwar seasons: Parade (1917), La Boutique Fantasque (1919), and Pulcinella (1920). While previous accounts of these ballets (primarily Parade and Pulcinella) have placed an emphasis on art historical and musicological aspects, my readings place the body and Massine’s choreography at the center. When viewed together, I argue that Parade, La Boutique Fantasque, and Pulcinella highlight the aesthetics of Massine’s Modernist choreography, revealing his exploration of the unhuman, or antihuman, character. Blending the style of the danseur noble with the comique and grotesque, Massine choreographically synthesized disparate sources (Russian Imperial Ballet, Russian avant-garde theater, Italian Classical Ballet, Romantic French Ballet, American Modern Dance, national dances of Spain, etc.) to craft a postwar vision of the fragmented, displaced body.My writing takes an interdisciplinary approach in considering Massine; my in-depth choreographic analysis is woven together with archival historical research and theoretical texts from the fields of Performance Studies, Literature, and Philosophy. In defining postwar corporeality, I employ Walter Benjamin’s concept of the “modern physis,” a corporeal physicalization of the trauma wrought on the body by technology, urbanization, and World War I. Furthermore, I relate the term corporeality to American modern dance artist Loie Fuller’s transformation and abstraction of the physical body into something more than or other than human. Thus, I define “corporeality” (specifically in performance) as a Benjaminian aura or Bergsonian elan vital, an ephemeral, yet kinesthetically perceivable representation of the body read symbolically. By taking Massine’s postwar choreography as moving examples of Benjamin’s modern physis, I argue that Massine choreographically formulated an embodied, gestural language of anxiety, fragmentation, and trauma made kinetic: a postwar corporeality.

Abstract: Stage dance in Mexico grew increasingly privatized in the 1940s, when the party in power shifted to more conservative policies and added “institutional” to its previous “revolutionary” title. This chapter examines how gender norms and artistic expectations shifted during this period, and how these changes played out on the stage. Dancer-choreographer Nellie Campobello no longer received acclaim for dancing the masculine roles of a revolutionary soldier. At the same time, Waldeen and Anna Sokolow arrived from the United States with modern dance and the art of falling and recovery. The dancers and the public in Mexico embraced the visitors and the novel possibilities of movement they introduced. However, Nellie Campobello attempted to preserve 1920s standards of nationalist purity, and her company folded as a result.

Abstract: This article examines the life and work of Canadian choreographer and performer Margie Gillis, identifying her as an integrated artist and considering her work through perspectives from artists, co

Abstract: Article is devoited to a number of problems of contemporary choreographic art, associated with dance practice, choreographic education, dance theory and methodology of its study (choreology), which are studied by modern dance studios. Purpose of research is to identify relevant and promising areas for studying modern choreographic art. Methodology. The study of contemporary choreographic art takes place today within the framework of a broad approach, that is, through an appeal to the integral functions of scientific discourse. In this article, the culturological approach helped to consider contemporary dance studios in different aspects – phenomenological, ontological, epistemological, axiological, cultural-historical, sociological, and so on. The introduction of the culturological context makes it possible to reveal the multilevel cultural information that dance practice contains, and on its basis to elucidate the directions of studies of contemporary choreographic culture. How the study was done. Semiotically – hermeneutic method of scientific research was also used to determine the problem of creating a choreographic image, which is connected with the director’s and pedagogical practice of choreographers and dancers. Scientific novelty. The article uses new research opportunities for analyzing modern choreographic art with the help of the problems of dance studios. Conclusions. In this article it is proved that in the studies of choreographic art the conceptual bases are gradually changing and supplemented, new possibilities for performing, education and creativity of contemporary choreographers are opening up. Actual and perspective directions of studying modern choreographic art and using its results in dance practice, choreographic education, choreology are: the concept of “bodily knowledge”; synergetics; somatic training and kinesiology.

Abstract: Current research into reflective pedagogy in dance almost exclusively discusses the tertiary education population. Additionally, the research is primarily focused on concert modern dance and creati...