Project MUSE®: Dance Research - Latest Articles
https://muse.jhu.edu/journal/320
Project MUSE®: Latest articles in Dance Research.daily12026-05-11T00:00:00-05:00text/htmlen-USVol. 24 (2006) - vol. 26 (2008)Latest Articles: Dance ResearchTWOProject MUSE®Dance Research1750-00950264-2875Latest articles in Dance Research. Feed provided by Project MUSE®‘The Great Hansen’: An Introduction to the Work of Joseph Hansen, a Forgotten European Choreographer of the Late Nineteenth Century, with a Chronology of His Ballets
https://muse.jhu.edu/article/258378
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This choreochronicle draws on programmes and playbills in numerous archives in collections in Belgium, Britain, France, Russia and U.S.A., reports in contemporary newspapers and theatrical journals most notably L’Europe Artiste published in Paris and the Era and the Stage in London. It also draws on primary material at the Brussel’s City Archive, the Theatre Collections, Victoria and Albert Museum, London, and the Bibliothèque-musée del’Opéra, Paris. A few productions in the 1870s are unconfirmed as being definitely choreographed by Hansen as the challenges of finding conclusive evidence are considerable in a period when a choreographer was considered of minor importance when compared with the librettist or
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/320/image/coversmall‘The Great Hansen’: An Introduction to the Work of Joseph Hansen, a Forgotten European Choreographer of the Late Nineteenth Century, with a Chronology of His Ballets2009-01-22text/htmlen-US‘The Great Hansen’: An Introduction to the Work of Joseph Hansen, a Forgotten European Choreographer of the Late Nineteenth Century, with a Chronology of His Ballets2009-01-222009TWOProject MUSE®3136062026-05-11T00:00:00-05:002009-01-22Gender, Representation, Experience: The Case of Village Performers in Java
https://muse.jhu.edu/article/258379
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Indonesia’s New Order governments promoted the ideal role of women as wives and mothers. In a region where women had been considered to have relatively high social status, they were becoming increasingly domesticated and subordinated to male authority. Women’s symbolic meaning for the New Order state is evident in representations of ledhek (or ronggeng). These are female singer-dancers who perform for money and who come from a tradition of skill and practice which predates modern institutionalised performance education. They are normally dancing strangers who are hired by communities for ritual events, or sometimes community members who are dancers, but they also have local identities as farmers, traders
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/320/image/coversmallGender, Representation, Experience: The Case of Village Performers in Java2009-01-22text/htmlen-USGender, Representation, Experience: The Case of Village Performers in Java2009-01-222009TWOProject MUSE®1565972026-05-11T00:00:00-05:002009-01-22Visionary Dances: Ashton’s Ballets of the Second World War
https://muse.jhu.edu/article/258380
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Lyrical, precise, well-mannered, classical, witty, socially conservative, these are the words usually associated with Frederick Ashton. Yet, there is a body of work which does not really fit these terms, the ballets he created during the 1939–45 war. That they are also a separate body of work is rarely recognised. When asked whether the war had affected Ashton’s choreography, Julia Farron thought not, though on reflection, suggested, that perhaps it had inspired him.1 Both David Vaughan and Julie Kavanagh, Ashton’s principal biographers, are equivocal about the wartime work and several dancers, who performed in the ballets, have also been lukewarm.2 In general, they are not considered to be amongst Ashton’s
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/320/image/coversmallVisionary Dances: Ashton’s Ballets of the Second World War2009-01-22text/htmlen-USVisionary Dances: Ashton’s Ballets of the Second World War2009-01-222009TWOProject MUSE®900852026-05-11T00:00:00-05:002009-01-22Bringing Carmen Back to Spain: Antonio Gades’s Flamenco Dance in Carlos Saura’s Choreofilm
https://muse.jhu.edu/article/258381
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As one of the most popular narratives for choreography in the twentieth century, Carmen has been successfully adapted, amongst others, by Roland Petit (1949), Alberto Alonso (1962), Mats Ek (1992) and Matthew Bourne (2000). Originally published as a novella by Prosper Mérimée in 1845 (with an added chapter in 1847), Carmen was then transformed in 1875 into the now well-known opera by Georges Bizet. It is a French myth of a Spanish Gypsy whose sensual beauty leads men to perdition. The opera and dance versions employ recurring elements of Spanish culture that have often been reduced to stereotypical images. In most cases, as in the above mentioned pieces, Carmen is seen as a seductress and her cultural
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/320/image/coversmallBringing Carmen Back to Spain: Antonio Gades’s Flamenco Dance in Carlos Saura’s Choreofilm2009-01-22text/htmlen-USBringing Carmen Back to Spain: Antonio Gades’s Flamenco Dance in Carlos Saura’s Choreofilm2009-01-222009TWOProject MUSE®616922026-05-11T00:00:00-05:002009-01-22Discourses of Subversion: The Ethics and Aesthetics of Capoeira and Parkour
https://muse.jhu.edu/article/258382
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Over the past decade, capoeira and parkour have exploded into Western consciousness. Capoeira, a fight technique disguised as a dance, was practised by Afro-Brazilian slaves as early as the seventeenth century. However, it was only following the legalisation of capoeira by Dictator Getúlio Vargas in 1930 that the discipline began to thrive largely due to the work of Mestres Bimba and Pastinha and their academies. During the seventies and eighties, mestres began to travel outside of Brazil, demonstrating and teaching capoeira in North America and Europe. It was also during this time that women began to practice the sport. Nevertheless, until the late nineties, capoeira remained a relatively unknown discipline
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/320/image/coversmallDiscourses of Subversion: The Ethics and Aesthetics of Capoeira and Parkour2009-01-22text/htmlen-USDiscourses of Subversion: The Ethics and Aesthetics of Capoeira and Parkour2009-01-222009TWOProject MUSE®650522026-05-11T00:00:00-05:002009-01-22Labels, Histories, Politics: Indian/South Asian Dance on the Global Stage
https://muse.jhu.edu/article/258383
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After taking up my post as Convener of the new MA in South Asian Dance Studies at Roehampton University, London, in Fall 2004, I endeavoured to acquaint myself with the London dance scene by attending various Kathak, Bharatanatyam, and Odissi, concerts presented both within community and mainstream venues. These forms are recognisably ‘Indian’ but they are not hailed as Indian dance genres but rather as Indian/South Asian dance genres in the UK. How did Indian dance forms acquire this double prefix, who renamed these forms, when and in what time in history, and what impact did the re-naming have on the history, and identity of these forms? I began to research these questions, which I began to characterise as the
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/320/image/coversmallLabels, Histories, Politics: Indian/South Asian Dance on the Global Stage2009-01-22text/htmlen-USLabels, Histories, Politics: Indian/South Asian Dance on the Global Stage2009-01-222009TWOProject MUSE®1228412026-05-11T00:00:00-05:002009-01-22Archives of the Dance (21): Siobhan Davies Dance Online
https://muse.jhu.edu/article/258384
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The archive, Siobhan Davies Dance Online, is principally focusing on Siobhan Davies’ work since she set up her company, Siobhan Davies Dance Company (now Siobhan Davies Dance) in 1988 but will include earlier material for the sake of completeness and to provide a richer and broader context for the collection. Davies has been choreographing since the early 1970s and has for some time been regarded as one of Britain’s most successful choreographers. A lineage can be traced, demonstrating how Davies’ work has both grown out of and contributed to a British contemporary dance tradition, which is one of the reasons why an archive that brings together Davies’ work has such significance. Her career not only spans the
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/320/image/coversmallArchives of the Dance (21): Siobhan Davies Dance Online2009-01-22text/htmlen-USArchives of the Dance (21): Siobhan Davies Dance Online2009-01-222009TWOProject MUSE®485552026-05-11T00:00:00-05:002009-01-22