Authors: Alexandra Carter (Editor), Janet O'Shea
ISBN-13: 9780415485982, ISBN-10: 0415485983
Format: Hardcover
Publisher: Taylor & Francis, Inc.
Date Published: March 2010
Edition: (Non-applicable)
Alexandra Carter is Professor in Dance Studies at Middlesex University. She edited The Routledge Dance Studies Reader (1998) and Rethinking Dance History (2004). A sole-authored book on gender and ballet in the Victorian music halls was published in 2005. She is on the Editorial Board of Dance Theatre Journal and Dancelines (Research in Dance Education).
Janet O'Shea is Associate Professor in World Arts and Cultures, University of California, Los Angeles. Her book At Home in the World: Bharata Natyam on the Global Stage (University of Wesleyan Press, 2007) received the Association for Asian Studies First Book Subvention Award.
The Routledge Dance Studies Reader represents the range and diversity of writings from the 1980s and 1990s, providing contemporary perspectives on ballet, modern dance, postmodern 'movement performance' jazz, South Asian dance and Black dance.
In an enlightening introduction, Alexandra Carter traces the development of dance studies internationally and surveys current debates about the methods and methodologies appropriate to the study of dance. The collection is divided into five sections, each with an editorial preface, and featuring contributions by choreographers, performers, critics and scholars of dance and related disciplinary fields. The sections address:
• choreographing
• performing
• writing criticism
• the place of dance in history and society
• analysing dance works Includes selections by: Joan Acocella, Ramsey Burt, Arlene Croce, Merce Cunningham, Martha Graham, Lynn Garafola, Shobana Jeyasingh, Ted Polhemus and Yvonne Rainer.
Acknowledgements | ||
List of contributors | ||
1 | General introduction | 1 |
Pt. I | Making dance | |
Introduction | 19 | |
2 | Choreographers: dancing for de Valois and Ashton | 23 |
3 | Torse: there are no fixed points in space | 29 |
4 | 'No' to spectacle ... | 35 |
5 | Pina Bausch: dance and emancipation | 36 |
6 | Imaginary homelands: creating a new dance language | 46 |
Pt. II | Performing dance | |
Introduction | 53 | |
7 | Dancers talking about performance | 57 |
8 | I am a dancer | 66 |
9 | A dancing consciousness | 72 |
10 | Spacemaking: experiences of a virtual body | 81 |
Pt. III | Reviewing dance | |
Introduction | 89 | |
11 | Bridging the critical distance | 91 |
12 | Between description and deconstruction | 98 |
13 | Oh, That Pineapple Rag! | 108 |
14 | Spring: Ashton's Symphonic Variations in America | 113 |
Pt. IV | Studying dance: conceptual concerns | |
Introduction | 119 | |
15 | What is art? | 125 |
16 | A vulnerable glance: seeing dance through phenomenology | 135 |
17 | Dance history source materials | 144 |
18 | Embodying difference: issues in dance and cultural studies | 154 |
19 | An introduction to dance analysis | 163 |
20 | Dance, gender and culture | 171 |
21 | Choreographing history | 180 |
Pt. V | Locating dance in history and society | |
Introduction | 193 | |
22 | Myths of origin | 197 |
23 | In pursuit of the sylph: ballet in the Romantic period | 203 |
24 | Diaghilev's cultivated audience | 214 |
25 | Women writing the body: let's watch a little how she dances | 223 |
26 | 'Keep to the rhythm and you'll keep to life': meaning and style in African American vernacular dance | 230 |
Pt. VI | Analysing dance | |
Introduction | 237 | |
27 | Dance and gender: formalism and semiotics reconsidered | 241 |
28 | Nijinsky: modernism and heterodox representations of masculinity | 250 |
29 | Dances of death: Germany before Hitler | 259 |
30 | Mark Morris: the body and what it means | 269 |
31 | Dance and music video: some preliminary observations | 278 |
32 | Two analyses of 'Dancing in the Dark' (The Band Wagon, 1953) | 288 |
Bibliography | 294 | |
Index | 305 |