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I want to be ready
I Want To Be Ready draws on original archival research, careful readings of individual performances, and a thorough knowledge of dance scholarship to offer an understanding of the \"freedom\" of improvisational dance. While scholars often celebrate the freedom of improvised performances, they are generally focusing on freedom from formal constraints. Drawing on the work of Michel Foucault and Houston Baker, among others, Danielle Goldman argues that this negative idea of freedom elides improvisation's greatest power. Far from representing an escape from the necessities of genre, gender, class, and race, the most skillful improvisations negotiate an ever shifting landscape of constraints. This work will appeal to those interested in dance history and criticism and also interdisciplinary audiences in the fields of American and cultural studies.
eBook
Naked Truth
Taking an unprecedented, counterintuitive look at Americas conflict over sexuality, Naked Truth reveals how the attack on the exotic dance industry by the activist Christian Right threatens the separation of church and state and undermines our civil liberties.
eBook
Moving otherwise : dance, violence, and memory in Buenos Aires
\"Moving Otherwise examines how contemporary dance practices in Buenos Aires, Argentina enacted politics within climates of political and economic violence from the late 1960s to the present. From the repression of military dictatorships to the precarity of economic crises, contemporary dancers and audiences consistently responded to and reimagined the everyday choreographies that have accompanied Argentina's volatile political history. The central concept, \"moving otherwise,\" names how concert dance - and its offstage practices and consumption - offer alternatives to, and sometimes critique, the patterns of movement and bodily comportment that shape everyday life in contexts marked by violence. Drawing on archival research, interviews, and the author's embodied experiences as a collaborator and performer, the book analyzes a wide range of practices including concert works, community dance initiatives, and the everyday labor that animates dance. It demonstrates how these diverse practices represent, resist, and remember violence and engender social mobilization on and off the theatrical stage. As the first book length critical study of Argentine contemporary dance, it introduces a breadth of choreographers to an English speaking audience, including Ana Kamien, Susana Zimmermann, Estela Maris, Alejandro Cervera, Renate Schottelius, Susana Tambutti, Silvia Hodgers, and Silvia Vladimivsky. It considers previously undocumented aspects of Argentine dance history, including crossings between contemporary dancers and 1970s leftist political militancy, Argentine dance labor movements, political protest, and the prominence of tango themes in contemporary dance works that address the memory of political violence\"-- Provided by publisher.
Book
Dance circles
Senegal has played a central role in contemporary dance due to its rich performing traditions, as well as strong state patronage of the arts, first under French colonialism and later in the postcolonial era. In the 1980s, when the Senegalese economy was in decline and state fundingwithdrawn, European agencies used the performing arts as a tool in diplomacy. This had a profound impact on choreographic production and arts markets throughout Africa. In Senegal, choreographic performers have taken to contemporary dance, while continuing to engage with neo-traditional performance, regional genres like the sabar, and the popular dances they grew up with. A historically informed ethnography of creativity, agency, and the fashioning of selves through the different life stages in urban Senegal, this book explores the significance of this multiple engagement with dance in a context of economic uncertainty and rising concerns over morality in the public space.
eBook
Cultural resistance and security from below : power and escape through capoeira
\"This book uses the Afro-Brazilian art of capoeira to examine how security has been pursued from below and what significance this has for security analysis and policy. The book brings the musical and corporeal narrative from capoeira into conversation with debates on security; these have typically been dominated by northern, white, military voices, and as a result, the perspective of the weaker player is routinely overlooked in security literature and policy making. Bringing the perspective of the weaker party, Cultural Resistance and Security from Below examines the distribution of security from two angles. First, it presents the history of the interaction between capoeira players and the Brazilian society and state that resulted in political and legal acceptance of capoeira. Secondly, it explores how the practice of capoeira generates knowledge of identities, explanations and values, and how this knowledge empowers communities of players and is communicated to society more broadly. The book then turns to consider how capoeira resists within Brazil's contemporary context of insecurity, and what significance the knowledge and power, along with capoeira's core move of escape, have to security analysis and policy. The book concludes by taking the lessons from capoeira to inform understanding of other cultural activities and ways of life as potential sites and forms of resistance. Conceptually and methodologically original, this book will be of interest to scholars and students in the fields of security studies, development studies, political science and international studies\"-- Provided by publisher.
Book
Everynight life : culture and dance in Latin/o America
The function of dance in Latin/o American culture is the focus of the essays collected in Everynight Life. The contributors interpret how Latin/o culture expresses itself through dance, approaching the material from the varying perspectives of literary, cultural, dance, performance, queer, and feminist studies. Viewing dance as privileged sites of identity formation and cultural resistance in Latin/o America, Everynight Life translates the motion of bodies into speech, and the gestures of dance into a provocative socio-political grammar.
This anthology looks at many modes of dance—including salsa, merengue, cumbia, rumba, mambo, tango, samba, and norteño—as models for the interplay of cultural memory and regional conflict. Barbara Browning's essay on capoeira, for instance, demonstrates how dance has been used as a literal form of resistance, while José Piedra explores the meanings conveyed by women of color dancing the rumba. Pieces such as Gustavo Perez Fírmat's \"I Came, I Saw, I Conga'd\" and Jorge Salessi's \"Medics, Crooks, and Tango Queens\" illustrate the lively scope of this volume's subject matter.
Contributors. Barbara Browning, Celeste Fraser Delgado, Jane C. Desmond, Mayra Santos Febres, Juan Carlos Quintero Herencia, Josh Kun, Ana M. López, José Esteban Muñoz, José Piedra, Gustavo Perez Fírmat, Augusto C. Puleo, David Román, Jorge Salessi, Alberto Sandoval
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Dance for Export: Cultural Diplomacy and the Cold War
At the height of the Cold War in 1954, President Eisenhower inaugurated a program of cultural exchange that sent American dancers and other artists to political hot spots overseas. This peacetime gambit by a warrior hero was a resounding success.Among the artists chosen for international duty were José Limón, who led his company on the first government-sponsored tour of South America; Martha Graham, whose famed ensemble crisscrossed southeast Asia; Alvin Ailey, whose company brought audiences to their feet throughout the South Pacific; and George Balanchine, whose New York City Ballet crowned its triumphant visits to Western Europe and Japan with an epoch-making tour of the Soviet Union in 1962. The success of Eisenhower's program of cultural export led directly to the creation of the National Endowment for the Arts and Washington's Kennedy Center.Naima Prevots draws on an array of previously unexamined sources, including formerly classified State Department documents, congressional committee hearings, and the minutes of the Dance Panel, to reveal the inner workings of Eisenhower's Program, the complex set of political, fiscal, and artistic interests that shaped it, and the ever-uneasy relationship between government and the arts in the US.CONTRIBUTORS: Eric Foner.
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