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Mattingly Final(Numbered)
Set in Motion: Dance Criticism and the Choreographic Apparatus By Kate Mattingly A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies and the Designated Emphasis in New Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Shannon Jackson, Chair Professor Abigail De Kosnik Professor Anton Kaes Professor SanSan Kwan Spring 2017 Copyright © Kate Mattingly All Rights Reserved Abstract Set in Motion: Dance Criticism and the Choreographic Apparatus By Kate Mattingly Doctor of Philosophy in Performance Studies Designated Emphasis in New Media University of California, Berkeley Professor Shannon Jackson, Chair This dissertation examines the multiple functions of dance criticism in the 20th and 21st centuries in the United States. I foreground institutional interdependencies that shape critics’ practices, as well as criticism’s role in approaches to dance-making, and the necessary and fraught relations between dance criticism and higher education. To challenge the pervasive image of the critic as evaluator and of criticism as definitive, Set in Motion focuses on conditions that produce and endorse certain forms of criticism, and in turn how this writing has gained traction. I employ the concept of a choreographic apparatus to show shifting relations amongst writers, artists, publications, readers, institutions, and audiences. Their interactions generate frameworks that influence dance’s history, canon, and disciplinary formations. I propose a way of situating criticism as a form of writing that intersects with, informs, and influences both history and theory. Set in Motion expands discourse on writing by examining the continuities and discontinuities in practices over the course of a century. -
Eva Evdokimova (Western Germany), Atilio Labis
i THE CUBAN BALLET: ITS RATIONALE, AESTHETICS AND ARTISTIC IDENTITY AS FORMULATED BY ALICIA ALONSO A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY by Lester Tomé January, 2011 Examining Committee Members: Joellen Meglin, Advisory Chair, Dance Karen Bond, Dance Michael Klein, Music Theory Heather Levi, External Member, Anthropology ii © Copyright 2011 by Lester Tomé All Rights Reserved iii ABSTRACT In the 1940s, Alicia Alonso became the first Latin American dancer to achieve international prominence in the field of ballet, until then dominated by Europeans. Promoted by Alonso, ballet took firm roots in Cuba in the following decades, particularly after the Cuban Revolution (1959). This dissertation integrates the methods of historical research, postcolonial critique and discourse analysis to explore the performative and discursive strategies through which Alonso defined her artistic identity and the collective identity of the Cuban ballet. The present study also examines the historical context of the development of ballet in Cuba, Alonso’s rationale for the practice of ballet on the Island, and the relationship between the Cuban ballet and the European ballet. Alonso defended the legitimacy of Cuban dancers to practice ballet and, in specific, perform European classics such as Giselle and Swan Lake. She opposed the notion that ballet was the exclusive patrimony of Europeans. She also insisted that the cultivation of this dance form on the Island was not an act of cultural colonialism. In her view, the development of ballet in Cuba consisted, instead, of an exploration of a distinctive Cuban voice within this dance form, a reformulation of a European legacy from a postcolonial perspective. -
Dorathi Bock Pierre Dance Collection, 1929-1996
http://oac.cdlib.org/findaid/ark:/13030/c8pc33q9 No online items Finding Aid for the Dorathi Bock Pierre dance collection, 1929-1996 Processed by Megan Hahn Fraser and Jesse Erickson, March 2012, with assistance from Lindsay Chaney, May 2013; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ ©2013 The Regents of the University of California. All rights reserved. Finding Aid for the Dorathi Bock 1937 1 Pierre dance collection, 1929-1996 Descriptive Summary Title: Dorathi Bock Pierre dance collection Date (inclusive): 1929-1996 Collection number: 1937 Creator: Pierre, Dorathi Bock. Extent: 27 linear ft.(67 boxes) Abstract: Collection of photographs, performance programs, publicity information, and clippings related to dance, gathered by Dorathi Bock Pierre, a dance writer and publicist. Language: Finding aid is written in English. Language of the Material: Materials are in English. Repository: University of California, Los Angeles. Library Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. -
Alvin Ailey's Embodiment of African American Culture
DeFrantz.00 FM 10/20/03 2:50 PM Page ii Alvin Ailey’s Embodiment of African American Culture 1 2004 DeFrantz.00 FM 10/20/03 2:50 PM Page iii DANCING REVELATIONS THOMAS F. DEFRANTZ DeFrantz.00 FM 10/20/03 2:50 PM Page iv 1 Oxford New York Auckland Bangkok Bogotá Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Singapore Taipei Tokyo Toronto Copyright © 2004 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data DeFrantz, Thomas Dancing revelations : Alvin Ailey’s embodiment of African American culture / Thomas F. DeFrantz. p. cm. Includes bibliographical references and index. ISBN 0-19-515419-3 1.Ailey, Alivn. 2. Dancers—United States—Biography. 3.Choreographers— United States—Biography. 4.Alvin Ailey American Dance Theater. 5.African American dance. I. Title. GV1785.A38 D44 2003 792.8'028'092—dc21 2002156670 Credits: Photographs: frontispiece and pages 5, 8, 19, 47, 63, 95, 101 courtesy and copyright by Jack Mitchell; cover illustration and pages 11, 12,courtesy and copyright by J. -
Collection of Dance Programs, 1890-1990
http://oac.cdlib.org/findaid/ark:/13030/ft200001h8 No online items Finding Aid for the Collection of Dance Programs, 1890-1990 Processed by UCLA Library Special Collections staff; additions processed by Lilace Hatayama, 2012; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2002 The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 866 1 Dance Programs, 1890-1990 Descriptive Summary Title: Collection of Dance Programs, Date (inclusive): 1890-1990 Collection number: 866 Extent: 28 boxes (14.0 linear ft.) 1 oversize box Abstract: Collection consists of some 1000 twentieth-century dance programs, primarily American, but many for foreign dance companies on tour in the U.S. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Department of Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Department of Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Department of Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Department of Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. -
Press Release for Ballet Under the Stars 2010 Ballet
FOR IMMEDIATE RELEASE presents Ballet Under The Stars – 16th edition 16 – 18 July 2010 Fort Canning Green, 7.30pm Pre-show performances from 6.30pm onwards Singapore, 31 March, 2010 - Singapore’s most popular outdoors arts event, Ballet Under The Stars (BUTS), is back this July to bring entertaining dance performances to the audience. BUTS is an annual occasion for family outings and social gatherings, where audiences can savour a leisurely picnic while enjoying a medley of modern and classical dance performances. The children are not forgotten, as fun activities like face painting and glitter tattooing are available for a nominal fee. This year, don’t miss the specially curated programme featuring an inspiring ballet lineup which includes Concerto Barocco by George Balanchine, Piano Concerto No. 2, Opus 102 by Edmund Stripe, Don Quixote pas de deux, and the premiere of Evening at the Ritz by American choreographer Molly Lynch. Don Quixote is a ballet with four acts, with choreography by Marius Petipa and music by Leon Minkus. Till today, this highly stylised pas de deux has since been performed countless times by dance companies around the world. Balanchine created Concerto Barocco to Bach’s Double Violin Concerto in D for a tour to South America in 1914, with American Ballet Caravan, one of the forerunners to the New York City Singapore Dance Theatre 1/8 Press Release for Ballet Under The Stars 2010 Ballet. The ballet was performed as the first work on the opening evening of the New York City Ballet in 1948. Over the next 35 years, Balanchine continued to refine the ballet and constantly updated elements of it in terms of choreography and costumes. -
Patterns of Memory: Capturing the Dance. Scholar/Artist Lecture, 2002. INSTITUTION American Alliance for Health, Physical Education, Recreation and Dance, Reston, VA
DOCUMENT RESUME ED 473 449 SP 041 349 AUTHOR Penrod, James TITLE Patterns of Memory: Capturing the Dance. Scholar/Artist Lecture, 2002. INSTITUTION American Alliance for Health, Physical Education, Recreation and Dance, Reston, VA. National Dance Association. PUB DATE 2002-04-00 NOTE 22p.; Paper presented at the Annual Meeting of the American Alliance for Health, Physical Education, Recreation and Dance (117th, San Diego, CA, April April 9-13, 2002). AVAILABLE FROM National Dance Association, 1900 Association Drive, Reston, VA 20191-1599. Web site: http://www.aahperd.org/nda/. PUB TYPE Opinion Papers (120) Speeches/Meeting Papers (150) EDRS PRICE EDRS Price MF01/PC01 Plus Postage. DESCRIPTORS Computer Literacy; Computer Uses in Education; *Dance Education; Elementary Secondary Education; Higher Education; Mentors IDENTIFIERS *Modern Dance; University of California Irvine ABSTRACT This paper by the National Dance Association's 2002 Scholar/Artist presents his perspective on traditional modes of performance, choreography, and preservation, touching on emerging technological trends through movement inscription. It focuses on: his introduction to formal training; his classical ballet mentor, Bill Christensen; his lack of knowledge about modern dance throughout his education; his scholarship to the American School of Dance in Hollywood, California, which shaped his dance perspective; his teaching and involvement in the dance world at the University of California Irvine (UCI); his work to shape UCI's dance program; development of a movement notation system; establishment of an appropriate dance collection in UCI's library; his work toward computer literacy and integration of technology into the arts at UCI; and development of the ArtsBridge program, which advocates the arts as a vital tool for teaching literacy, history, science, and mathematics in the school system.(SM) Reproductions supplied by EDRS are the best that can be made from the original document. -
American Movement: in the Steps of a National Style of Dance by Megan
American Movement: In the Steps of a National Style of Dance by Megan Livingston Pugh A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Bryan Wagner, Chair Greil Marcus Professor Scott Saul Professor Linda Williams Spring 2012 Copyright Megan Livingston Pugh, 2012 Abstract American Movement: In the Steps of a National Style of Dance by Megan Livingston Pugh Doctor of Philosophy in English University of California, Berkeley Professor Bryan Wagner, Chair “American Movement” is an investigation of national identity in dance. “Americanness” may be an impossible conceit, but it’s also a way people have made sense of the nation. It’s a mantle artists claim for themselves, and a quality audiences recognize. I focus on a cast of performers who have been celebrated for embodying an American style of movement, and who were ambitious enough to try to create one: tap dance virtuoso “Bojangles” Bill Robinson, silver screen idols Fred Astaire and Ginger Rogers, and ballet-to-Broadway choreographer Agnes de Mille. What made their claims of Americanness convincing? Sometimes, it was explicit: plots that dealt with national myths, stances these artists and their fans took against Europe, or publicity materials that trumpeted their patriotism. But at other times, a sense of Americanness emerged from their movements. Tracing the hidden histories of particular dance steps and styles across lines of race and class, I show how artists of wildly different cultural milieus have learned from, imitated, admired and parodied one another. -
UC Berkeley UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title American Movement: In the Steps of a National Style of Dance Permalink https://escholarship.org/uc/item/34c610xb Author Pugh, Megan Livingston Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California American Movement: In the Steps of a National Style of Dance by Megan Livingston Pugh A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Bryan Wagner, Chair Greil Marcus Professor Scott Saul Professor Linda Williams Spring 2012 Copyright Megan Livingston Pugh, 2012 Abstract American Movement: In the Steps of a National Style of Dance by Megan Livingston Pugh Doctor of Philosophy in English University of California, Berkeley Professor Bryan Wagner, Chair “American Movement” is an investigation of national identity in dance. “Americanness” may be an impossible conceit, but it’s also a way people have made sense of the nation. It’s a mantle artists claim for themselves, and a quality audiences recognize. I focus on a cast of performers who have been celebrated for embodying an American style of movement, and who were ambitious enough to try to create one: tap dance virtuoso “Bojangles” Bill Robinson, silver screen idols Fred Astaire and Ginger Rogers, and ballet-to-Broadway choreographer Agnes de Mille. What made their claims of Americanness convincing? Sometimes, it was explicit: plots that dealt with national myths, stances these artists and their fans took against Europe, or publicity materials that trumpeted their patriotism. -
Shapes of American Ballet: Classical Traditions, Teachers, and Training in New York City, 1909-1934
Shapes of American Ballet: Classical Traditions, Teachers, and Training in New York City, 1909-1934 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jessica Rachel Zeller, M.F.A. Graduate Program in Dance Studies The Ohio State University 2012 Dissertation Committee: Dr. Karen Eliot, Advisor Melanie Bales Dr. Candace Feck Susan Hadley Copyright by Jessica Rachel Zeller 2012 Abstract In this historical study, I examine the ballet pedagogy in New York City from the opening of the Metropolitan Opera Ballet School in 1909 to the founding of George Balanchine’s School of American Ballet in 1934. I posit that the first generation of American ballet dancers emerged during the research period under the tutelage of numerous Italian and Russian immigrant ballet teachers, and that the Italian and Russian national ballet lineages helped to shape the period’s ballet into a more legitimate branch of the classical tradition than has previously been acknowledged. I illuminate the individual histories and contributions of these noteworthy yet largely overlooked instructors, whose contributions set the development of American ballet in motion. In addition, I tease apart the context for ballet during this period. I look at the impact of capitalism, commercialism, democracy, and immigration on ballet teachers, their students, and their approaches, and I survey the effects of vaudeville and revue, the burgeoning film industry, and Progressive Era movement trends like aesthetic barefoot dance and the Delsarte System of Expression on ballet, its people, and its pedagogy. Broad theories of nationalism, internationalism, and Americanism undergird my study of this rich and underexamined period in ballet history.