Migratory Moves and Mobilizing Tactics in British Contemporary Dance

2007 ◽  
Vol 39 (S1) ◽  
pp. 5-11
Author(s):  
Henrietta Bannerman
Keyword(s):  
Pierre Bourdieu ◽  
Modern Dance ◽  
Point Of View ◽  
Contemporary Dance ◽  
Dance History ◽  
American Modern Dance ◽  
1960S And 1970S ◽  
The 1960S ◽  
Phenomenological Point

This paper concerns the migration of American modern dance to Britain throughout the 1960s and 1970s when Martha Graham's technique and repertory were introduced to British dancers and audiences. The author addresses these issues from a historical and phenomenological point of view using her memories and reflections, the data from the research she has conducted into this milestone in British dance history, and the theories of Pierre Bourdieu.

scholarly journals “Breakin' the Rules”: Eleo Pomare and the Transcultural Choreographies of Black Modernity

2012 ◽  
Vol 45 (1) ◽  
pp. 41-63 ◽  
Author(s):  
Rachel Fensham
Keyword(s):  
Modern Dance ◽  
Amiri Baraka ◽  
Avant Garde ◽  
Radical Innovations ◽  
Black Performance ◽  
Jazz Music ◽  
1960S And 1970S ◽  
And Performance ◽  
The 1960S ◽  
African American Artists

The radical innovations of African-American artists with artistic form during the 1960s and 1970s, according to black performance theorist Fred Moten, led to a new theorization of the avant-garde. His book, In the Break: The Radical Aesthetics of the Black Tradition, discusses the poetry and jazz music of artists, from Amiri Baraka and Billie Holiday to Charles Mingus, and extols their radical experimentation with the structures and conventions of aurality, visuality, literature, and performance dominant in European art and aesthetics. In this essay, I consider the implications of these processes of resignification in relation to the choreographic legacy of the artist, Eleo Pomare, whose work and career during this period was both experimental and radical and, I will suggest, critical to the formation of a transnational, multiracial conception of modern dance.

Martha Graham's House of the Pelvic Truth: The Figuration of Sexual Identities and Female Empowerment

2010 ◽  
Vol 42 (1) ◽  
pp. 30-45 ◽  
Author(s):  
Henrietta Bannerman
Keyword(s):  
New York ◽  
Modern Dance ◽  
Female Students ◽  
The Body ◽  
Contemporary Dance ◽  
Martha Graham ◽  
Sexual Identities ◽  
Dance Training ◽  
To Come ◽  
The 1960S

Martha Graham writes in her autobiography Blood Memory that she was bewildered, or, as she puts it “bemused,” when she heard how dancers referred to her school as “the house of the pelvic truth” (Graham 1991, 211). We might perhaps agree with Graham that this is not the best description for a highly respected center of modern dance training; neither does it match Graham's image as an awe-inspiring and exacting teacher, nor does it suit the seriousness with which her tough technique is regarded. But the house of the pelvic truth does chime with stories about Graham's often frank method of addressing her students. She is reputed to have told one young woman not to come back to the studio until she had found herself a man. At other times she would tell her female students, “you are simply not moving your vagina” (211). Add to this other stories about the men in the company suffering from “vagina envy” (211), and it can be readily understood that the goings-on in the Graham studio gave rise to its nickname, “house of the pelvic truth.”In British dance circles of the 1960s, it was not rumors of the erotic that attracted most of us to Graham's work or persuaded us to travel to New York in search of the Graham technique. There was little in the way of contemporary dance training in Britain at this time, and we had been mesmerized by the beautiful and rather chaste film A Dancer's World (1957), in which Graham pronounces: a dancer is not a phenomenon … not a phenomenal creature.… I think he is a divine normal. He does what the human body is capable of doing. Now this takes time…it takes about ten years of study. This does not mean he won't be dancing before that time, but it does take the pressure of time, so that the house of the body can hold its divine tenant, the spirit. (1962, 24)

Made in Chinatown: Bridging Cultures and Evolving Identities in Modern Dance

2007 ◽  
Vol 39 (S1) ◽  
pp. 186-192
Author(s):  
Marie Alonzo Snyder
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Modern Dance ◽  
Dance History ◽  
American Modern Dance ◽  
The Many ◽  
Made In

American modern dance history frequently overlooks Eleanor Yung and H. T. Chen. This presentation explores how these choreographers shaped the dance scene in New York's Chinatown, a venue for the many Asian dancers and choreographers who come to train and perform in New York City.

scholarly journals Frammenti di massificazione: le neoavanguardie anglo-germanofone, il cut-up di Burroughs e la pop art negli anni Sessanta e Settanta

2020 ◽  
Author(s):  
Gabriele Bacherini
Keyword(s):  
Federal Republic ◽  
Pop Art ◽  
Point Of View ◽  
German Language ◽  
Federal Republic Of Germany ◽  
Literary Context ◽  
New Form ◽  
American Intellectual ◽  
1960S And 1970S ◽  
The 1960S

Frammenti di massificazione: le neoavanguardie anglo-germanofone, il cut-up di Burroughs e la pop art negli anni Sessanta e Settanta analyses the influence of William Seward Burroughs’ cut-up method on British and German-language neo-avant-gardes of the 1960s and 1970s from a comparative point of view, with particular attention to the literary context of the Federal Republic of Germany. In four chapters devoted to a profile of this American intellectual and artist, the origins, stylistic features and reception of the cut-up method, the author investigates the reasons for the success of this process, rediscovered by Burroughs and aiming at a reconstruction of text fragments to build up new textual entities. The last chapter is an overview of the most interesting of the uses of the cut-up method in artistic environments other than literary writing, documenting the transformation of a rebellious technique into a new form of expression, i.e. pop art.

scholarly journals MELLEM CHIC AGO OG OUJDA: To perspektiver på marokkansk social struktur

2019 ◽  
Author(s):  
Marc Schade-Poulsen
Keyword(s):  
Social Structure ◽  
Power Relations ◽  
Young Male ◽  
Field Trip ◽  
Point Of View ◽  
American School ◽  
Early American ◽  
1960S And 1970S ◽  
The 1960S

Marc Schade-Poulsen: Between Chicago and Oujda. Two Perspectives on Moroccan Social Structure This article deals with American anthropologists’ descriptions of Moroccan social structure in the 1960s and 1970s: Eickelman, Geertz, Rabinow, Rosen, and Crapanzano. Thirty years later during a field trip to Oujda, North Eastem Morocco, the author found similar descriptions of Moroccan social structure as expressed by young, male candidates for migration to Europe. The article describes the changes that have occurred in Morocco during the last thirty years. It compares the early American anthropological point of view with the more recent Moroccan one. It concludes that if the early American “school” had been less inclined to interpretive, symbolic approaches to Moroccan society, and more eager to listen to individual Morrocans’ hopes for their future, it would not have been so easy to describe Morocco as a "bargaining society”. Rather, it would have included an analysis of Moroccan power relations that are being challenged by today’s globalisation.

scholarly journals Dalman, Elizabeth Cameron (1934--)

2018 ◽  
Author(s):  
Rachel Fensham
Keyword(s):  
Southeast Asia ◽  
Social Issues ◽  
Modern Dance ◽  
Natural World ◽  
Contemporary Dance ◽  
Dance Company ◽  
International Collaborations ◽  
American Modern Dance ◽  
International Profile

In a career that has spanned over sixty years, Elizabeth Cameron Dalman has been shaped by a politically progressive view of the role of dance and choreography in Australia and has created works inspired by contemporary paintings, music, political and artistic figures as well as the cosmologies of the natural world. Inspired by her involvement with European and American modern dance, she established Australian Dance Theatre, the first professional modern dance company in Australia in 1965, and developed dances that were engaged with social issues, such as Aboriginal and women’s rights. From her early works to the present, she has had a passion for the Australian landscape and used dance to celebrate its beauty and environmental fragility. As a modern dance ambassador, Dalman initiated the first tour of an Australian dance company to Southeast Asia in the 1970s and established an international profile for Australian dance. Always an educator, she continues her choreographic practice with Mirramu Dance Company, as well as her participation in international collaborations with artists from Taiwan, Japan, Singapore, Senegal, and Austria. She was awarded an Order of Australia for her contribution to contemporary dance in Australia, and in 2015 was appointed Patron of the fiftieth anniversary celebrations.

scholarly journals The Soviet Song Statement of the 1960s–1970s in the Perspective of the Strong Program in Cultural Sociology

2020 ◽  
Vol 19 (4) ◽  
pp. 82-107
Author(s):  
Anna Ganzha ◽  
Keyword(s):  
Social Performance ◽  
Cultural Sociology ◽  
Point Of View ◽  
Social Imagination ◽  
Thick Description ◽  
Strong Program ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S ◽  
Musical Genres

The article considers the potential of a strong program of cultural sociology in the research of the Soviet song policy in the 1960s and 1970s. Mass musical genres of the cultural industry era are usually consid-ered in the historicist optics of emancipation and diversification. With such optics, institutional contexts serve only as a background against which the evolution of the post-folklore unfolds. The disadvantage of this approach is the uncritical mixing of the tools of classicist criticism with modern tools of social theo-ry. The Soviet song Estrada formed its own type of song statements by simultaneously rebuilding the in-stitutions of social performance, musical political economy, and aesthesis that served these institutions. Non-reductionist optics, which, from Alexander’s point of view lie at the intersection of structuralist and hermeneutical tools, have a pronounced specificity when applied to mass musical genres. The system of intonation combined with the poetic word brought to a state of pure mechanical self-reproduction, ac-cording to Adorno, somehow pushes us to describe and decipher the system of meanings of such a product. In order that the search for thickness in the description of musical phenomena does not lead to new reduc-tions, it is necessary to abandon what, at first glance, connects sound with culture, and replace the con-cepts of “song” and “music” with “song statement” and “musical statement”. Using the concepts of “nobil-ity”, “authenticity”, and “depth” that occupied post-war song discourses, we demonstrate the mechanisms of their circulation within the institute of Estrada in connection with the topoi of song statement that in-duce social imagination. To do this, we add the attitude for a thick description, in which the cultural meanings supplied by song statements appear in close connection with the Soviet social imagination, to the usual pattern of analysis of the Adornian sociology of smash hits and chamber music forms.

Brought to You by the Ford Foundation

Ballet Class ◽  
2020 ◽  
pp. 73-92
Author(s):  
Melissa R. Klapper
Keyword(s):  
New York ◽  
World War Ii ◽  
Extracurricular Activities ◽  
Public Interest ◽  
Modern Dance ◽  
Ford Foundation ◽  
The United States ◽  
George Balanchine ◽  
1960S And 1970S ◽  
The 1960S

The post–World War II era saw an explosion in ballet class as more young people than ever engaged in extracurricular activities. George Balanchine, founder of the School of American Ballet (1934) and the New York City Ballet (1948), exerted an outsize impact on the expansion of ballet in the United States, training teachers and investigating ballet class across the country. The Ford Foundation grants of 1963 cemented Balanchine’s centrality to American ballet by providing extraordinary funding to a number of ballet schools and companies within his orbit. These grants, while opposed by some cultural critics and members of the modern dance community, raised the standard of ballet class in America and also set the tone for the dance boom of the 1960s and 1970s. During the dance boom the number of ballet studios and companies grew sharply, capitalizing on great public interest in dance classes and performances.

The Treatment of Basic Psychological Dysfunctions From a Systemic Point of View

1989 ◽  
Vol 155 (S5) ◽  
pp. 74-83 ◽  
Author(s):  
Hans D. Brenner
Keyword(s):  
Linear Models ◽  
Point Of View ◽  
Scientific Paradigms ◽  
Current Change ◽  
Systems Models ◽  
1960S And 1970S ◽  
The 1960S

Schizophrenia research is affected by the current change of scientific paradigms of thinking and investigation. The 1960s and 1970s were mainly characterised by a theoretical shift from a unifactorial towards a multifactorial view of the aetiology of schizophrenia, while in the 1980s, traditional linear models of pathogenesis have been more and more given up in favour of systems models.

scholarly journals Entre “la promesa de felicidad” y la melancolía del emigrante: Xohana Torres y Eva Moreda

2018 ◽  
Vol 25 ◽  
pp. 45-52
Author(s):  
Katarzyna Moszczyńska-Dürst ◽  
Ana Garrido González
Keyword(s):  
Point Of View ◽  
Time And Space ◽  
Construction Of Identity ◽  
Female Writers ◽  
1960S And 1970S ◽  
The 1960S ◽  
Migratory Experience ◽  
At Home

Between “the promise of happiness” and emigrant’smelancholy: Xohana Torres and Eva MoredaThe aim of the present paper is to compare two novels of Galician female writers, Xohana Torres’ Adiós María 1971 and Eva Moreda’s A Veiga é como un tempo distinto 2012. Both nov­els describe the phenomenon of Galician migration to Europe in the 1960s and 1970s, seen from the female point of view. The migratory experience is contrasted — in Adiós María the protagonist stays at home while her parents go to France, and in Eva Moreda’s book Elisa goes to London her­self — but its fundamental to the construction of identity of both women, who are moving between their expectations of better life “the promise of happiness” and the inevitable, although often silenced, feeling of loss that demands time and space for mourning and grief.

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