Choreographing History


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Choreographing History


Choreographing History

Author: Susan Leigh Foster

language: en

Publisher: Indiana University Press

Release Date: 1995-05-22


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"... I have used essays from the book to help dance graduate students push their thinking beyond the studio and their own physical experience and to realize the varied resources, approaches, and theoretical positions possible in writing about the body." -- Dance Research Journal "Choreographing History... assembles an impressive diversity of sites, disciplines and critical approaches... [and] includes not only historical bodies and discourses, but also the very bodies of the historians themselves." -- Parachute "This volume is not only full of gems (the very lineup of preeminent scholars is impressive), but is also a neat cross-section of the academic conventions and mannerisms of our time." -- Dance Chronicle "... [an] important step... in the ineluctable dance by postmodern historians across a bridge that spans the gaps among disciplines, between theory and practice, and betweeen present and past." -- Theatre Journal Historians of science, sexuality, the arts, and history itself focus on the body, merging the project of writing about the body with theoretical concerns in the writing of history.

The Routledge Dance Studies Reader


The Routledge Dance Studies Reader

Author: Alexandra Carter

language: en

Publisher: Taylor & Francis

Release Date: 2010


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Represents the range and diversity of writings on dance from the mid to late 20th century, providing contemporary perspectives on ballet, modern dance, postmodern 'movement performance' jazz and ethnic dance.

Choreographing Asian America


Choreographing Asian America

Author: Yutian Wong

language: en

Publisher: Wesleyan University Press

Release Date: 2011-07-21


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Poised at the intersection of Asian American studies and dance studies, Choreographing Asian America is the first book-length examination of the role of Orientalist discourse in shaping Asian Americanist entanglements with U.S. modern dance history. Moving beyond the acknowledgement that modern dance has its roots in Orientalist appropriation, Yutian Wong considers the effect that invisible Orientalism has on the reception of work by Asian American choreographers and the conceptualization of Asian American performance as a category. Drawing on ethnographic and choreographic research methods, the author follows the work of Club O' Noodles—a Vietnamese American performance ensemble—to understand how Asian American artists respond to competing narratives of representation, aesthetics, and social activism that often frame the production of Asian American performance.