In this Book
- Writing Dancing in the Age of Postmodernism
- Book
- 2011
- Published by: Wesleyan University Press
summary
Drawing of the postmodern perspective and concerns that informed her groundbreaking Terpsichore in Sneakers, Sally Banes’s Writing Dancing documents the background and developments of avant-garde and popular dance, analyzing individual artists, performances, and entire dance movements. With a sure grasp of shifting cultural dynamics, Banes shows how postmodern dance is integrally connected to other oppositional, often marginalized strands of dance culture, and considers how certain kinds of dance move from the margins to the mainstream.
Banes begins by considering the act of dance criticism itself, exploring its modes, methods, and underlying assumptions, and examining the work of other critics. She traces the development of contemporary dance from the early work of such influential figures as Merce Cunningham and George Balanchine to such contemporary choreographers as Molissa Fenley, Karole Armitage, and Michael Clark. She analyzes the contributions of the Judson Dance Theatre and the Workers’ Dance League, the emergence of Latin postmodern dance in New York, and the impact of black jazz in Russia. In addition, Banes explores such untraditional performance modes as breakdancing and the “drunk dancing” of Fred Astaire.
Ebook Edition Note: Ebook edition note: All images have been redacted.
Banes begins by considering the act of dance criticism itself, exploring its modes, methods, and underlying assumptions, and examining the work of other critics. She traces the development of contemporary dance from the early work of such influential figures as Merce Cunningham and George Balanchine to such contemporary choreographers as Molissa Fenley, Karole Armitage, and Michael Clark. She analyzes the contributions of the Judson Dance Theatre and the Workers’ Dance League, the emergence of Latin postmodern dance in New York, and the impact of black jazz in Russia. In addition, Banes explores such untraditional performance modes as breakdancing and the “drunk dancing” of Fred Astaire.
Ebook Edition Note: Ebook edition note: All images have been redacted.
Table of Contents
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- Introduction
- p. xi
- I. Writing Criticism / History
- 3. Criticism as Ethnography
- pp. 16-24
- 5. Power and the Dancing Body
- pp. 43-50
- II. The Euro-American Avant-Garde
- 6. Balanchine and Black Dance
- pp. 53-69
- 8. Soirée de Paris
- pp. 82-91
- 10. Merce Cunningham's Story
- pp. 103-109
- 11. Cunningham and Duchamp
- pp. 109-118
- III. The African-Ameritan Connection
- 13. Breakdancing: A Reporter's Story
- pp. 126-132
- 14. Lock Steady
- pp. 133-136
- 15. Critic's Choice: Breakdancing
- pp. 137-142
- 16. Breaking
- pp. 143-153
- 17. A House Is Not a Home
- pp. 153-156
- 18. Breaking Changing
- pp. 156-158
- 19. The Pleasin' in Teasin'
- pp. 159-161
- IV. Other Subversions: Politics and Popular Dance
- 22. The Men at John Allen's Dance House
- pp. 184-199
- V. Postmodern Dance: From the Sixties to the Nineties
- 24. Judson Rides Again!
- pp. 207-210
- 28. Dancing on the Edge
- pp. 252-258
- 30. Self-Rising Choreography
- pp. 268-273
- 31. Transparent Living
- pp. 273-276
- 32. No More Ordinary Bodies
- pp. 277-279
- 34. Pointe of Departure
- pp. 290-297
- 38. La Onda Próxima: Nueva Latina Dance
- pp. 327-333
- 40. Dancing in Leaner Times
- pp. 341-347
- 41. Going Solo
- pp. 348-352
Additional Information
ISBN
9780819571816
Related ISBN(s)
9780819552662
MARC Record
OCLC
820831016
Pages
428
Launched on MUSE
2012-11-16
Language
English
Open Access
No