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Author: Kate Mattingly
Publisher: University Press of Florida
ISBN: 0813072840
Category : Performing Arts
Languages : en
Pages : 175
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Book Description
Examining a century of dance criticism in the United States and its influence on aesthetics and inclusion Dance criticism has long been integral to dance as an art form, serving as documentation and validation of dance performances, yet few studies have taken a close look at the impact of key critics and approaches to criticism over time. The first book to examine dance criticism in the United States across 100 years, from the late 1920s to the early twenty-first century, Shaping Dance Canons argues that critics in the popular press have influenced how dance has been defined and valued, as well as which artists and dance forms have been taken most seriously. Kate Mattingly likens the effect of dance writing to that of a flashlight, illuminating certain aesthetics at the expense of others. Mattingly shows how criticism can preserve and reproduce criteria for what qualifies as high art through generations of writers and in dance history courses, textbooks, and curricular design. She examines the gatekeeping role of prominent critics such as John Martin and Yvonne Rainer while highlighting the often-overlooked perspectives of writers from minoritized backgrounds and dance traditions. The book also includes an analysis of digital platforms and current dance projects—On the Boards TV, thINKingDANCE, Black Dance Stories, and amara tabor-smith’s House/Full of BlackWomen—that challenge systemic exclusions. In doing so, the book calls for ongoing dialogue and action to make dance criticism more equitable and inclusive.
Author: Kate Mattingly
Publisher: University Press of Florida
ISBN: 0813072840
Category : Performing Arts
Languages : en
Pages : 175
Get Book Here
Book Description
Examining a century of dance criticism in the United States and its influence on aesthetics and inclusion Dance criticism has long been integral to dance as an art form, serving as documentation and validation of dance performances, yet few studies have taken a close look at the impact of key critics and approaches to criticism over time. The first book to examine dance criticism in the United States across 100 years, from the late 1920s to the early twenty-first century, Shaping Dance Canons argues that critics in the popular press have influenced how dance has been defined and valued, as well as which artists and dance forms have been taken most seriously. Kate Mattingly likens the effect of dance writing to that of a flashlight, illuminating certain aesthetics at the expense of others. Mattingly shows how criticism can preserve and reproduce criteria for what qualifies as high art through generations of writers and in dance history courses, textbooks, and curricular design. She examines the gatekeeping role of prominent critics such as John Martin and Yvonne Rainer while highlighting the often-overlooked perspectives of writers from minoritized backgrounds and dance traditions. The book also includes an analysis of digital platforms and current dance projects—On the Boards TV, thINKingDANCE, Black Dance Stories, and amara tabor-smith’s House/Full of BlackWomen—that challenge systemic exclusions. In doing so, the book calls for ongoing dialogue and action to make dance criticism more equitable and inclusive.
Author: Wendy Oliver
Publisher: University Press of Florida
ISBN: 0813063450
Category : Performing Arts
Languages : en
Pages : 212
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Book Description
Driven by exacting methods and hard data, this volume reveals gender dynamics within the dance world in the twenty-first century. It provides concrete evidence about how gender impacts the daily lives of dancers, choreographers, directors, educators, and students through surveys, interviews, analyses of data from institutional sources, and action research studies. Dancers, dance artists, and dance scholars from the United States, Australia, and Canada discuss equity in three areas: concert dance, the studio, and higher education. The chapters provide evidence of bias, stereotyping, and other behaviors that are often invisible to those involved, as well as to audiences. The contributors answer incisive questions about the role of gender in various aspects of the field, including physical expression and body image, classroom experiences and pedagogy, and performance and funding opportunities. The findings reveal how inequitable practices combined with societal pressures can create environments that hinder health, happiness, and success. At the same time, they highlight the individuals working to eliminate discrimination and open up new possibilities for expression and achievement in studios, choreography, performance venues, and institutions of higher education. The dance community can strive to eliminate discrimination, but first it must understand the status quo for gender in the dance world. Wendy Oliver, professor of dance at Providence College, is coeditor of Jazz Dance: A History of the Roots and Branches. Doug Risner, professor of dance at Wayne State University, is coeditor of Hybrid Lives of Teaching Artists in Dance and Theatre Arts: A Critical Reader. Contributors: Gareth Belling | Karen Bond | Carolyn Hebert | Eliza Larson | Pamela S. Musil | Wendy Oliver | Katherine Polasek | Doug Risner | Emily Roper | Karen Schupp | Jan Van Dyke
Author: Kate Mattingly
Publisher: Taylor & Francis
ISBN: 1003803393
Category : Performing Arts
Languages : en
Pages : 207
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Book Description
This new collection of essays and interviews assembles research on teaching methods, choreographic processes, and archival material that challenges systemic exclusions and provides practitioners with accessible steps to creating more equitable teaching environments, curricula, classes, and artistic settings. Antiracism in Ballet Teaching gives readers a wealth of options for addressing and dismantling racialized biases in ballet teaching, as well as in approaches to leadership and choreography. Chapters are organized into three sections - Identities, Pedagogies, and Futurities - that illuminate evolving approaches to choreographing and teaching ballet, shine light on artists, teachers, and dancers who are lesser known/less visible in a racialized canon, and amplify the importance of holistic practices that integrate ballet history with technique and choreography. Chapter authors include award-winning studio owners, as well as acclaimed choreographers, educators, and scholars. The collection ends with interviews featuring ballet company directors (Robert Garland and Alonzo King), world-renowned scholars (Clare Croft, Thomas F. DeFrantz, Brenda Dixon Gottschild), sought-after choreographers (Jennifer Archibald and Claudia Schreier), and beloved educators (Keesha Beckford, Tai Jimenez, and Endalyn Taylor). This is an essential resource for anyone teaching or learning to teach ballet in the Twenty First Century.
Author: Jill Flanders Crosby
Publisher: University Press of Florida
ISBN: 1683403797
Category : Social Science
Languages : en
Pages : 274
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Book Description
Using storytelling and performance to explore shared religious expression across continents Through a revolutionary ethnographic approach that foregrounds storytelling and performance as alternative means of knowledge, Situated Narratives and Sacred Dance explores shared ritual traditions between the Anlo-Ewe people of West Africa and their descendants, the Arará of Cuba, who were brought to the island in the transatlantic slave trade. The volume draws on two decades of research in four communities: Dzodze, Ghana; Adjodogou, Togo; and Perico and Agramonte, Cuba. In the ceremonies, oral narratives, and daily lives of individuals at each fieldsite, the authors not only identify shared attributes in religious expression across continents, but also reveal lasting emotional, spiritual, and personal impacts in the communities whose ancestors were ripped from their homeland and enslaved. The authors layer historiographic data, interviews, and fieldnotes with artistic modes such as true fiction, memoir, and choreographed narrative, challenging the conventional nature of scholarship with insights gained from sensorial experience. Including reflections on the making of an art installation based on this research project, the volume challenges readers to imagine the potential of approaching fieldwork as artists. The authors argue that creative methods can convey truths deeper than facts, pointing to new possibilities for collaboration between scientists and artists with relevance to any discipline. Publication of the paperback edition made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.
Author: Clare Croft
Publisher: Duke University Press
ISBN: 1478060018
Category : Performing Arts
Languages : en
Pages : 160
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Book Description
Performer, activist, and writer Jill Johnston was a major queer presence in the history of dance and 1970s feminism. She was the first critic to identify postmodernism’s arrival in American dance and was a fierce advocate for the importance of lesbians within feminism. In Jill Johnston in Motion, Clare Croft tracks Johnston’s entwined innovations and contributions to dance and art criticism and activism. She examines Johnston’s journalism and criticism—in particular her Village Voice columns published between 1960 and 1980—and her books of memoir and biography. At the same time, Croft attends to Johnston’s appearances as both dancer and audience member and her physical and often spectacular participation at feminist protests. By bringing together Johnston’s criticism and activism, her writing and her physicality, Croft emphasizes the effect that the arts, particularly dance, had on Johnston’s feminist thinking in the 1970s and traces lesbian feminism’s roots in avant-garde art practice.
Author: Lindsey Mantoan
Publisher: Routledge
ISBN: 1000486389
Category : Performing Arts
Languages : en
Pages : 227
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Book Description
Troubling Traditions takes up a 21st century, field-specific conversation between scholars, educators, and artists from varying generational, geographical, and identity positions that speak to the wide array of debates around dramatic canons. Unlike Literature and other fields in the humanities, Theatre and Performance Studies has not yet fully grappled with the problems of its canon. Troubling Traditions stages that conversation in relation to the canon in the United States. It investigates the possibilities for multiplying canons, methodologies for challenging canon formation, and the role of adaptation and practice in rethinking the field’s relation to established texts. The conversations put forward by this book on the canon interrogate the field’s fundamental values, and ask how to expand the voices, forms, and bodies that constitute this discipline. This is a vital text for anyone considering the role, construction, and impact of canons in the US and beyond.
Author: Lindsay Guarino
Publisher: University Press of Florida
ISBN: 0813072115
Category : Performing Arts
Languages : en
Pages : 279
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Book Description
National Dance Education Organization Ruth Lovell Murray Book Award UNCG | Susan W. Stinson Book Award for Dance Education An African American art form, jazz dance has an inaccurate historical narrative that often sets Euro-American aesthetics and values at the inception of the jazz dance genealogy. The roots were systemically erased and remain widely marginalized and untaught, and the devaluation of its Africanist origins and lineage has largely gone unchallenged. Decolonizing contemporary jazz dance practice, this book examines the state of jazz dance theory, pedagogy, and choreography in the twenty-first century, recovering and affirming the lifeblood of jazz in Africanist aesthetics and Black American culture. Rooted Jazz Dance brings together jazz dance scholars, practitioners, choreographers, and educators from across the United States and Canada with the goal of changing the course of practice in future generations. Contributors delve into the Africanist elements within jazz dance and discuss the role of Whiteness, including Eurocentric technique and ideology, in marginalizing African American vernacular dance, which has resulted in the prominence of Eurocentric jazz styles and the systemic erosion of the roots. These chapters offer strategies for teaching rooted jazz dance, examples for changing dance curricula, and artist perspectives on choreographing and performing jazz. Above all, they emphasize the importance of centering Africanist and African American principles, aesthetics, and values. Arguing that the history of jazz dance is closely tied to the history of racism in the United States, these essays challenge a century of misappropriation and lean into difficult conversations of reparations for jazz dance. This volume overcomes a major roadblock to racial justice in the dance field by amplifying the people and culture responsible for the jazz language. Contributors: LaTasha Barnes | Lindsay Guarino | Natasha Powell | Carlos R.A. Jones | Rubim de Toledo | Kim Fuller | Wendy Oliver | Joanne Baker | Karen Clemente | Vicki Adams Willis | Julie Kerr-Berry | Pat Taylor | Cory Bowles | Melanie George | Paula J Peters | Patricia Cohen | Brandi Coleman | Kimberley Cooper | Monique Marie Haley | Jamie Freeman Cormack | Adrienne Hawkins | Karen Hubbard | Lynnette Young Overby | Jessie Metcalf McCullough | E. Moncell Durden Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.
Author: K. Mitchell Snow
Publisher:
ISBN: 9780813058726
Category : Dance
Languages : en
Pages : 320
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Book Description
'A Revolution in Movement' illuminates how collaborations between dancers and painters shaped Mexico's postrevolutionary cultural identity. K. Mitchell Snow traces this relationship throughout nearly half a century of developments in Mexican dance - the emulation of Diaghilev's Ballets Russes in the 1920s, the adoption of U.S.-style modern dance in the 1940s, and the creation of ballet-inspired folk dance in the 1960s. Snow describes the appearances in Mexico by Russian ballerina Anna Pavlova and Spanish concert dancer Tortóla Valencia, who helped motivate Mexico to express its own national identity through dance.
Author: Bettijane Sills
Publisher:
ISBN: 9780813056258
Category : Biography & Autobiography
Languages : en
Pages : 0
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Book Description
In this memoir of a roller-coaster career on the New York stage, former actor and dancer Bettijane Sills offers a highly personal look at the art and practice of George Balanchine, one of ballet's greatest choreographers, and the inner workings of his world-renowned company during its golden years. Sills recounts her years as a child actor in television and on Broadway, a career choice largely driven by her mother, and describes her transition into pursuing her true passion: dance. She was a student in Balanchine's School of American Ballet throughout her childhood and teen years, until her dream was achieved. She was invited to join New York City Ballet in 1961 as a member of the corps de ballet and worked her way up to the level of soloist. Winningly honest and intimate, Sills lets readers peek behind the curtains to see a world that most people have never experienced firsthand. She tells stories of taking classes with Balanchine, dancing in the original casts of some of his most iconic productions, working with a number of the company's most famous dancers, and participating in the company's first Soviet Union tour during the Cold War and Cuban Missile Crisis. She walks us through her years in New York City Ballet first as a member of the corps de ballet, then a soloist dancing some principal roles, finally as one of the "older" dancers teaching her roles to newcomers while being encouraged to retire. She reveals the unglamorous parts of tour life, jealousy among company members, and Balanchine's complex relationships with women. She talks about Balanchine's insistence on thinness in his dancers and her own struggles with dieting. Her fluctuations in weight influenced her roles and Balanchine's support for her--a cycle that contributed to the end of her dancing career. Now a professor of dance who has educated hundreds of students on Balanchine's style and legacy, Sills reflects on the highs and lows of a career indelibly influenced by fear of failure and fear of success--by the bright lights of theater and the man who shaped American ballet.
Author: Stuart Hodes
Publisher: University Press of Florida
ISBN: 0813065445
Category : Biography & Autobiography
Languages : en
Pages : 325
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Book Description
When World War II was over, a young bomber pilot with an itch for movement and action hung up his cap and learned another way to fly. Onstage with Martha Graham is the story of Stuart Hodes, a versatile and influential dancer who got his start with Martha Graham, an icon of modern dance. His memoir is a rare firsthand view of the dance world in the 1940s and through the end of the twentieth century. One of the few male dancers in Graham’s company—and in the New York dance scene at the time—Hodes offers a unique perspective and a one-of-a-kind narrative. He describes how he fell into the art by chance, happening to walk into Graham’s studio one day. He was soon hooked. He documents his experiences, travels, passions, and loves while learning from and performing with Graham, during which time he saw most of the United States, much of Europe, and some of Asia. Advancing quickly, he eventually danced as Graham’s partner in Appalachian Spring, Deaths and Entrances, Every Soul Is a Circus, and Errand into the Maze. In his portrait of Martha Graham, who was the center of his dancing world, Hodes recounts conversations, revelations, bouts of temper and creativity, the daily ritual of deeply physical dancing, and the never-ending search for artistic validity. Direct, often humorous, and always authentic, Hodes shares his delight in dance as both hard work and a fantastic adventure.
