DOCSLIB.ORG

Transmissions and Traces: Rendering Dance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Transmissions and Traces: Rendering Dance INAUGURAL CONFERENCE Transmissions and Traces: Rendering Dance Oct. 19-22, 2017 HOSTED BY THE DEPARTMENT OF DANCE Sel Fou! (2016) by Bebe Miller i MAKE YOUR MOVE GET YOUR MFA IN DANCE AT THE UNIVERSITY OF MICHIGAN We encourage deep engagement through the transformative experiences of dancing and dance making. Hone your creative voice and benefit from an extraordinary breadth of resources at a leading research university. Two-year MFA includes full tuition coverage, health insurance, and stipend. smtd.umich.edu/dance CORD program 2017.indd 1 ii 7/27/17 1:33 PM DEPARTMENT OF DANCE dance.osu.edu | (614) 292-7977 | NASD Accredited Congratulations CORD+SDHS on the merger into DSA PhD in Dance Studies MFA in Dance Emerging scholars motivated to Dance artists eager to commit to a study critical theory, history, and rigorous three-year program literature in dance THINKING BODIES / AGILE MINDS PhD, MFA, BFA, Minor Faculty Movement Practice, Performance, Improvisation Susan Hadley, Chair • Harmony Bench • Ann Sofie Choreography, Dance Film, Creative Technologies Clemmensen • Dave Covey • Melanye White Dixon Pedagogy, Movement Analysis Karen Eliot • Hannah Kosstrin • Crystal Michelle History, Theory, Literature Perkins • Susan Van Pelt Petry • Daniel Roberts Music, Production, Lighting Mitchell Rose • Eddie Taketa • Valarie Williams Norah Zuniga Shaw Application Deadline: November 15, 2017 iii DANCE STUDIES ASSOCIATION Thank You Dance Studies Association (DSA) We thank Hughes, Hubbard & Reed LLP would like to thank Volunteer for the professional and generous legal Lawyers for the Arts (NY) for the support they contributed to the merger of important services they provide to the Congress on Research in Dance and the artists and arts organizations. Society of Dance History Scholars. Special thanks to our wonderful lawyer Paul Yakulis at Hughes Hubbard & Reed LLP, and to Nadine George-Graves, past-president of CORD, who found Volunteer Lawyers for the Arts NY and signed us up! iv TABLE OF CONTENTS 2 WELCOMES 4 BOARDS OF DIRECTORS 5 COMMITTEES 6 LOCAL INFORMATION 13 MAPS 15 BOOK EXHIBIT 16 GRADUATE STUDENT EVENTS 17 EVENING PERFORMANCES 18 AWARD WINNERS 20 KEYNOTE SPEAKERS 22 AT-A-GLANCE SCHEDULE OVERVIEW 27 DETAILED SCHEDULE 41 BIOGRAPHIES AND ABSTRACTS 116 2017 PROCEEDINGS SUBMISSION GUIDELINES 1 WELCOMES Presidents’ Welcome Final Words from the last Presidents of CORD and SDHS. At the time of this writing, the official application for CORD and SDHS to merge into the new Dance Studies Association (DSA) has just been reviewed and approved by the Office of the Attorney General of the State of New York! This is the same office that approved CORD’s original application as a not-for- profit society in 1969. So while the Dance Studies Association is a new name with new bylaws, it remains legally connected to our collective history of advocating for the development of the discrete field of Dance Studies in the U.S., and later, internationally. Through the creation of Dance Research Journal, Studies in Dance History, and Conversations Across the Field of Dance Studies, along with five decades of conference gatherings and proceedings, CORD and SDHS have helped grow and nurture the field, as well as helping a community of dance scholars find, learn from, and support one another. And here in 2017, at The Ohio State University, we all get to celebrate the creation of our 21st century professional society named Dance Studies Association! When the Joint Organization Ad-Hoc Review Committee began its work in 2015, it reviewed discussion documents dating back to the early 2000s that reflected a desire for CORD and SDHS to join forces. The discussions were wide ranging both philosophically and practically, and there were a number of backs and forths, pushes and pulls, advances and retreats. What we have created together in forming the Dance Studies Association is filled with the aspirations of moving our field forward, growing internationally, providing support to newer scholars, connecting more with dance artists, and promoting organizational practices that value shared learning, diversity, inclusiveness, and principles of social justice and equality. It is our privilege and honor to welcome everyone to this year’s historic conference. The Ohio State University’s Department of Dance has one of the longest-standing dance programs in the U.S. and its graduates have gone on to diverse careers in the field making important contributions across a range of professions. We would like to thank the department and Ohio State for hosting this inaugural DSA conference, partnering with us as the organization shimmies, glides, thrusts, bourrées, rocks and rolls itself into being — percolating with hope and optimism — and steadied with fifty years of know-how, grit, and determination. Let the celebrations begin! Anne Cooper Albright (SDHS) and Anne Flynn (CORD) 2 Welcome from The Ohio State University Conference Chair It is my pleasure to welcome you to the inaugural conference through three sessions on Sunday morning. We welcome Urban of the Dance Studies Association with the joined forces of Arts Space’s and the Melton Center’s campus and Columbus the Congress on Research in Dance and Society of Dance community members to these events. History Scholars. The Ohio State University is one of the most comprehensive universities in the United States and is a leader This conference would not have been possible without support among land-grant institutions. The Department of Dance has from departments and programs across campus and central long been a leader in the fields of dance. As we celebrate Ohio. First, I thank the Ohio State College of Arts and Sciences the first meeting of DSA, the Department of Dance is also and Office of Research for support through an Arts and celebrating the 10th anniversary of our PhD in Dance Studies, Humanities Conference Support Larger Grant. Many thanks also and the 50th anniversary of the founding of the department. to our colleagues in campus departments and centers including We are thrilled to host the inaugural DSA conference during this the Advanced Computing Center for the Arts and Design monumental year for our department. (ACCAD), the Arts Initiative, the Asian American Studies Program, Barnett Center for Integrated Arts and Enterprise, the Center for The conference theme, Transmissions and Traces: Rendering Slavic and East European Studies, Dancers in Graduate School, Dance, developed out of our department’s research the Korean Performance Research Program, School of Music, investments. The question that led the call for proposals, “How and Departments of African American and African Studies, is dance transmitted?” represents our work in scholarship, Comparative Studies, History of Art, Theatre, and Women’s, documentation, pedagogy, composition, and digital frameworks. Gender, and Sexuality Studies, and to the University of Dayton We welcome you to Sullivant Hall, which inspired how we Department of Music and Theater, Dance, and Performance conceived the conference. We are pleased that paper panels, Technology Program for their support. I thank the Ohio State roundtables, lecture-demonstrations, and workshops can occur College of Arts and Sciences Technology Services whose side-by-side in seminar spaces, studio spaces, and studio- technical equipment ensure we are all heard. seminar spaces. We had an enthusiastic response to our call for proposals. I thank the Program Committee, Angela Algren, Clare It takes a village to make a conference, and the Department of Croft, Kate Elswit, Lena Hammergren, Ana Paula Höfling, Petri Dance, chaired by Susan Hadley, has made this one possible. Hoppu, Jasmine Johnson, Raquel Monroe, Jose Reynoso, Andee I extend deep thanks to my colleagues Harmony Bench, Karen Scott, and MJ Thompson, for evaluating the submissions. Eliot, Candace Feck, and Susan Petry, the core members of the Local Arrangements Committee, who have worked brilliantly We are delighted to partner with BalletMet for PARALLEL on countless tasks for the past two and a half years to bring CONNECTIONS at the Wexner Center for the Arts Friday this conference into being. Big thanks go to the Department of evening in performances of The Man in Black by James Kudelka, Dance’s incredible support staff, Damian Bowerman, Carrie Cox, Slingerland Pas de Deux by William Forsythe, Wexner Center Oded Huberman, Deb Singer, and Chris Summers, for handling MinEvent featuring choreography by Merce Cunningham everything behind the scenes. I thank my graduate assistants staged by Ohio State faculty Karen Eliot and Daniel Roberts, Cole Garlando and Kathryn Holt for keeping everything in order and Minus 16 by Ohad Naharin, staged by Erez Zohar. Thanks to during the months of the planning. Many thanks to our graduate the Department of Dance for presenting this huge performance and undergraduate students who have dedicated their time in during the running of this conference. various volunteer capacities to support us this weekend. I am pleased to partner with the Ohio State Urban Arts Space, It has been a truly exciting endeavor to plan this conference which welcomes us Saturday evening with a reception as the Congress on Research in Dance and Society of Dance and performance of New England Foundation for the Arts History Scholars merged to form the Dance Studies Association. National Dance Project Touring Award artist Dahlia Nayar. I extend warm thanks to Anne Flynn, CORD President and DSA The presentation of her work 2125 Stanley Street was made President, and Ann Cooper Albright, SDHS President and DSA possible by the New England Foundation for the Arts’ National Secretary, for their collaboration and guidance. Thanks also to Dance Project, with lead funding from the Doris Duke Charitable our association managers Cindy Lemek and Janet Wilhelms for Foundation and The Andrew W. Mellon Foundation. I am also their administrative support. delighted that the Melton Center for Jewish Studies is a co- sponsor of this conference with support from the Thomas Let’s raise a glass as we pursue and celebrate the field of dance and Diann Mann Distinguished Symposium Fund.
Load more

Recommended publications
  • Is a Genre of Dance Performance That Developed During the Mid-Twentieth
    Contemporary Dance Dance 3-4 -Is a genre of dance performance that developed during the mid-twentieth century - Has grown to become one of the dominant genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S. and Europe. -Although originally informed by and borrowing from classical, modern, and jazz styles, it has since come to incorporate elements from many styles of dance. Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles. -It also employs contract-release, floor work, fall and recovery, and improvisation characteristics of modern dance. -Involves exploration of unpredictable changes in rhythm, speed, and direction. -Sometimes incorporates elements of non-western dance cultures, such as elements from African dance including bent knees, or movements from the Japanese contemporary dance, Butoh. -Contemporary dance draws on both classical ballet and modern dance -Merce Cunningham is considered to be the first choreographer to "develop an independent attitude towards modern dance" and defy the ideas that were established by it. -Cunningham formed the Merce Cunningham Dance Company in 1953 and went on to create more than one hundred and fifty works for the company, many of which have been performed internationally by ballet and modern dance companies. -There is usually a choreographer who makes the creative decisions and decides whether the piece is an abstract or a narrative one. -Choreography is determined based on its relation to the music or sounds that is danced to. .
    [Show full text]
  • Rokdim-Nirkoda” #99 Is Before You in the Customary Printed Format
    Dear Readers, “Rokdim-Nirkoda” #99 is before you in the customary printed format. We are making great strides in our efforts to transition to digital media while simultaneously working to obtain the funding מגזין לריקודי עם ומחול .to continue publishing printed issues With all due respect to the internet age – there is still a cultural and historical value to publishing a printed edition and having the presence of a printed publication in libraries and on your shelves. עמותת ארגון המדריכים Yaron Meishar We are grateful to those individuals who have donated funds to enable והיוצרים לריקודי עם financial the encourage We editions. printed recent of publication the support of our readers to help ensure the printing of future issues. This summer there will be two major dance festivals taking place Magazine No. 99 | July 2018 | 30 NIS in Israel: the Karmiel Festival and the Ashdod Festival. For both, we wish and hope for their great success, cooperation and mutual YOAV ASHRIEL: Rebellious, Innovative, enrichment. Breaks New Ground Thank you Avi Levy and the Ashdod Festival for your cooperation 44 David Ben-Asher and your use of “Rokdim-Nirkoda” as a platform to reach you – the Translation: readers. Thank you very much! Ruth Schoenberg and Shani Karni Aduculesi Ruth Goodman Israeli folk dances are danced all over the world; it is important for us to know and read about what is happening in this field in every The Light Within DanCE place and country and we are inviting you, the readers and instructors, 39 The “Hora Or” Group to submit articles about the background, past and present, of Israeli folk Eti Arieli dance as it is reflected in the city and country in which you are active.
    [Show full text]
  • Gone Dancing Competition Team Rules and Guidelines 2018-19 Season
    Gone Dancing Competition Team Rules and Guidelines 2018-19 Season -Preparing a team for competition requires a commitment to extra classes and Rehearsal time. It is important that each dancer be 100% dedicated and work to the best of their ability. - The purpose of the rules and guidelines is to develop a professional environment for the progression and development of each dancer. The actions of each dancer affect the team as a whole so it is important for each dancer to be fully committed and understand what is expected of them. -The Holiday Performance and Competition Schedule will be announced in July. PLEASE BLOCK OFF THE ENTIRE WEEKEND FOR COMPETITIONS. We do not receive our routines schedule until 1 week prior to the competition dates. Weekly Requirements- Part Time Team- These teams are designed for dancers ages 5 and up who want to be part of the competition experience but cannot commit to All of the requirements of the full time team or are not technically ready for intermediate choreography. (Just because you may not be technically ready this year does not mean that after another year of working hard in all of your classes that you will not be ready the following year!) Must commit to 3 Regional Competitions. Conventions and Nationals are encouraged but not required. **Any dancer interested in becoming a part of our competition team must spend a year in a non-competition class before being considered for a team. ** Weekly class requirements: Ages 5 and up Must dance a minimum of 3 hours per week.
    [Show full text]
  • IDO Dance Sports Rules and Regulations 2021
    IDO Dance Sport Rules & Regulations 2021 Officially Declared For further information concerning Rules and Regulations contained in this book, contact the Technical Director listed in the IDO Web site. This book and any material within this book are protected by copyright law. Any unauthorized copying, distribution, modification or other use is prohibited without the express written consent of IDO. All rights reserved. ©2021 by IDO Foreword The IDO Presidium has completely revised the structure of the IDO Dance Sport Rules & Regulations. For better understanding, the Rules & Regulations have been subdivided into 6 Books addressing the following issues: Book 1 General Information, Membership Issues Book 2 Organization and Conduction of IDO Events Book 3 Rules for IDO Dance Disciplines Book 4 Code of Ethics / Disciplinary Rules Book 5 Financial Rules and Regulations Separate Book IDO Official´s Book IDO Dancers are advised that all Rules for IDO Dance Disciplines are now contained in Book 3 ("Rules for IDO Dance Disciplines"). IDO Adjudicators are advised that all "General Provisions for Adjudicators and Judging" and all rules for "Protocol and Judging Procedure" (previously: Book 5) are now contained in separate IDO Official´sBook. This is the official version of the IDO Dance Sport Rules & Regulations passed by the AGM and ADMs in December 2020. All rule changes after the AGM/ADMs 2020 are marked with the Implementation date in red. All text marked in green are text and content clarifications. All competitors are competing at their own risk! All competitors, team leaders, attendandts, parents, and/or other persons involved in any way with the competition, recognize that IDO will not take any responsibility for any damage, theft, injury or accident of any kind during the competition, in accordance with the IDO Dance Sport Rules.
    [Show full text]
  • DISTRICTS Peter Calamari Asst
    DISTRICTS Peter Calamari Asst. Vice President Facilities Operations and Development 614.292.3377 Facilities Operations Functional Org Chart Administration Remi Timmons June 22, 2021 Office Admin. Associate 614.247.4094 Zone 1 Buildings 18th Avenue Library, 209 W. 18th, Baker Systems, Bricker Hall, Caldwell Laboratory, Central Service Building, Cockins Hall, Denney Hall, Derby Zone 1 Hall, Dreese Laboratories, Dulles Hall, Enarson Classroom, French Field House, Hayes Hall, Hopkins Hall, Ice Rink, Independence Hall, Jesse Karen Crabbe Owens North, Journalism Building, Maintenance Building, Math Building, Math Tower, McCorkle Aquatic Pavilion, McCracken Power Plant, Zone Leader Northwood-High Building, Ohio Stadium, Physical Activity & Education Services, Recreation & Physical Activity Center, St. John Arena, Stillman 614.688.8264 Hall, University Hall, Wilce Student Health Center, Women’s Field House Academic District 3,513,341 Sq Ft (Services All Campus) Zone 2 Buildings Kenny King 140 W. 19th, Arps Hall, Bolz Hall, Celeste Laboratory, Chemical & Biomolecular Engineering, Chemical Engineering Storage, Converse Hall, Evans Zone 2 Laboratory, Fisher Hall, Fontana Laboratories, Gerlach Hall, Hitchcock Hall, Hughes Hall, Knowlton Hall, Koffolt Laboratories, MacQuigg Laboratory, Leader Jim Wright Mason Hall, McPherson Chemical Laboratory, Mershon Auditorium, Newman & Wolfrom Laboratory, Page Hall, Pfahl Hall, Physics Research 614.688.8632 Zone Leader (Interim) Building, Ramseyer Hall, Smith Laboratory, Schoenbaum Hall, Scott Laboratory, Student Academic Service Building, Sullivant Hall, Tuttle Park 614.292.9844 Place Garage Retail Space, Watts Hall, Weigel Hall, Wexner Center for the Arts 3,694,839 Sq Ft Administration Zone 3 Buildings Kathy Snoke Atwell Hall, BRT, Comprehensive Cancer Center, Davis Heart & Lung Research Institute, Evans Hall, Graves Hall, Hamilton Hall, Meiling Hall, Office Admin.
    [Show full text]
  • The Caramel Variations by Ian Spencer Bell from Ballet Review Spring 2012 Cover Photograph by Stephanie Berger, BAM : Silas Riener in Merce Cunningham’S Split Sides
    Spring 2012 Ball et Review The Caramel Variations by Ian Spencer Bell from Ballet Review Spring 2012 Cover Photograph by Stephanie Berger, BAM : Silas Riener in Merce Cunningham’s Split Sides . © 2012 Dance Research Foundation, Inc. All rights reserved. 4 Moscow – Clement Crisp 5 Chicago – Joseph Houseal 6 Oslo – Peter Sparling 9 Washington, D. C. – George Jackson 10 Boston – Jeffrey Gantz 12 Toronto – Gary Smith 13 Ann Arbor – Peter Sparling 16 Toronto – Gary Smith 17 New York – George Jackson Ian Spencer Bell 31 18 The Caramel Variations Darrell Wilkins 31 Malakhov’s La Péri Francis Mason 38 Armgard von Bardeleben on Graham Don Daniels 41 The Iron Shoe Joel Lobenthal 64 46 A Conversation with Nicolai Hansen Ballet Review 40.1 Leigh Witchel Spring 2012 51 A Parisian Spring Editor and Designer: Marvin Hoshino Francis Mason Managing Editor: 55 Erick Hawkins on Graham Roberta Hellman Joseph Houseal Senior Editor: 59 The Ecstatic Flight of Lin Hwa-min Don Daniels Associate Editor: Emily Hite Joel Lobenthal 64 Yvonne Mounsey: Encounters with Mr B 46 Associate Editor: Nicole Dekle Collins Larry Kaplan 71 Psyché and Phèdre Copy Editor: Barbara Palfy Sandra Genter Photographers: 74 Next Wave Tom Brazil Costas 82 London Reporter – Clement Crisp 89 More Balanchine Variations – Jay Rogoff Associates: Peter Anastos 90 Pina – Jeffrey Gantz Robert Gres kovic 92 Body of a Dancer – Jay Rogoff George Jackson 93 Music on Disc – George Dorris Elizabeth Kendall 71 100 Check It Out Paul Parish Nancy Reynolds James Sutton David Vaughan Edward Willinger Cover Photograph by Stephanie Berger, BAM : Silas Riener Sarah C.
    [Show full text]
  • Vindicating Karma: Jazz and the Black Arts Movement
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
    [Show full text]
  • Dance, Senses, Urban Contexts
    DANCE, SENSES, URBAN CONTEXTS Dance and the Senses · Dancing and Dance Cultures in Urban Contexts 29th Symposium of the ICTM Study Group on Ethnochoreology July 9–16, 2016 Retzhof Castle, Styria, Austria Editor Kendra Stepputat Copy-editors Liz Mellish Andriy Nahachewsky Kurt Schatz Doris Schweinzer ICTM Study Group on Ethnochoreology Institute of Ethnomusicology, University of Music and Performing Arts Graz Graz, Austria 2017 Symposium 2016 July 9–16 International Council for Traditional Music Study Group on Ethnochoreology The 29th Symposium was organized by the ICTM Study Group on Ethnochoreology, and hosted by the Institute of Ethnomusicology, University of Music and Perfoming Arts Graz in cooperation with the Styrian Government, Sections 'Wissenschaft und Forschung' and 'Volkskultur' Program Committee: Mohd Anis Md Nor (Chair), Yolanda van Ede, Gediminas Karoblis, Rebeka Kunej and Mats Melin Local Arrangements Committee: Kendra Stepputat (Chair), Christopher Dick, Mattia Scassellati, Kurt Schatz, Florian Wimmer Editor: Kendra Stepputat Copy-editors: Liz Mellish, Andriy Nahachewsky, Kurt Schatz, Doris Schweinzer Cover design: Christopher Dick Cover Photographs: Helena Saarikoski (front), Selena Rakočević (back) © Shaker Verlag 2017 Alle Rechte, auch das des auszugsweisen Nachdruckes der auszugsweisen oder vollständigen Wiedergabe der Speicherung in Datenverarbeitungsanlage und der Übersetzung vorbehalten. Printed in Germany ISBN 978-3-8440-5337-7 ISSN 0945-0912 Shaker Verlag GmbH · Kaiserstraße 100 · D-52134 Herzogenrath Telefon: 0049 24 07 / 95 96 0 · Telefax: 0049 24 07 / 95 96 9 Internet: www.shaker.de · eMail: [email protected] Christopher S. DICK DIGITAL MOVEMENT: AN OVERVIEW OF COMPUTER-AIDED ANALYSIS OF HUMAN MOTION From the overall form of the music to the smallest rhythmical facet, each aspect defines how dancers realize the sound and movements.
    [Show full text]
  • The Black Arts Enterprise and the Production of African American Poetry
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE The Black Arts Enterprise and the Production of African American Poetry The Black Arts Enterprise and the Production of African American Poetry Howard Rambsy II The University of Michigan Press • Ann Arbor First paperback edition 2013 Copyright © by the University of Michigan 2011 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2016 2015 2014 2013 5432 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Rambsy, Howard. The black arts enterprise and the production of African American poetry / Howard Rambsy, II. p. cm. Includes bibliographical references and index. ISBN 978-0-472-11733-8 (cloth : acid-free paper) 1. American poetry—African American authors—History and criticism. 2. Poetry—Publishing—United States—History—20th century. 3. African Americans—Intellectual life—20th century. 4. African Americans in literature. I. Title. PS310.N4R35 2011 811'.509896073—dc22 2010043190 ISBN 978-0-472-03568-7 (pbk. : alk. paper) ISBN 978-0-472-12005-5 (e-book) Cover illustrations: photos of writers (1) Haki Madhubuti and (2) Askia M. Touré, Mari Evans, and Kalamu ya Salaam by Eugene B. Redmond; other images from Shutterstock.com: jazz player by Ian Tragen; African mask by Michael Wesemann; fist by Brad Collett.
    [Show full text]
  • Manx Traditional Dance Revival 1929 to 1960
    ‘…while the others did some capers’: the Manx Traditional Dance revival 1929 to 1960 By kind permission of Manx National Heritage Cinzia Curtis 2006 This dissertation is submitted in partial fulfilment of the degree of Master of Arts in Manx Studies, Centre for Manx Studies, University of Liverpool. September 2006. The following would not have been possible without the help and support of all of the staff at the Centre for Manx Studies. Special thanks must be extended to the staff at the Manx National Library and Archive for their patience and help with accessing the relevant resources and particularly for permission to use many of the images included in this dissertation. Thanks also go to Claire Corkill, Sue Jaques and David Collister for tolerating my constant verbalised thought processes! ‘…while the others did some capers’: The Manx Traditional Dance Revival 1929 to 1960 Preliminary Information 0.1 List of Abbreviations 0.2 A Note on referencing 0.3 Names of dances 0.4 List of Illustrations Chapter 1: Introduction 1.1 Methodology 1 1.2 Dancing on the Isle of Man in the 19th Century 5 Chapter 2: The Collection 2.1 Mona Douglas 11 2.2 Philip Leighton Stowell 15 2.3 The Collection of Manx Dances 17 Chapter 3: The Demonstration 3.1 1929 EFDS Vacation School 26 3.2 Five Manx Folk Dances 29 3.3 Consolidating the Canon 34 Chapter 4: The Development 4.1 Douglas and Stowell 37 4.2 Seven Manx Folk Dances 41 4.3 The Manx Folk Dance Society 42 Chapter 5: The Final Figure 5.1 The Manx Revival of the 1970s 50 5.2 Manx Dance Today 56 5.3 Conclusions
    [Show full text]
  • A Conversation with Gelsey Kirkland & Misha Chernov
    Spring 2010 Ballet Revi ew From the Spring 2010 issue of Ballet Review A Conversation with Gelsey Kirkland and Misha Chernov On the cover: New York City Ballet’s Tiler Peck in Peter Martins’ The Sleeping Beauty. 4 New York – Alice Helpern 7 Stuttgart – Gary Smith 8 Lisbon – Peter Sparling 10 Chicago – Joseph Houseal 11 New York – Sandra Genter 13 Ann Arbor – Peter Sparling 16 New York – Sandra Genter 17 Toronto – Gary Smith 19 New York – Marian Horosko 20 San Francisco – Paul Parish David Vaughan 45 23 Paris 1909-2009 Sandra Genter 29 Pina Bausch (1940-2009) Laura Jacobs & Joel Lobenthal 31 A Conversation with Gelsey Kirkland & Misha Chernov Marnie Thomas Wood Edited by 37 Celebrating the Graham Anti-heroine Francis Mason Morris Rossabi Ballet Review 38.1 51 41 Ulaanbaatar Ballet Spring 2010 Darrell Wilkins Associate Editor and Designer: 45 A Mary Wigman Evening Marvin Hoshino Daniel Jacobson Associate Editor: 51 La Danse Don Daniels Associate Editor: Michael Langlois Joel Lobenthal 56 ABT 101 Associate Editor: Joel Lobenthal Larry Kaplan 61 Osipova’s Season Photographers: 37 Tom Brazil Davie Lerner Costas 71 A Conversation with Howard Barr Subscriptions: Don Daniels Roberta Hellman 75 No Apologies: Peck &Mearns at NYCB Copy Editor: Barbara Palfy Annie-B Parson 79 First Class Teachers Associates: Peter Anastos 88 London Reporter – Clement Crisp Robert Gres kovic 93 Alfredo Corvino – Elizabeth Zimmer George Jackson 94 Music on Disc – George Dorris Elizabeth Kendall 23 Paul Parish 100 Check It Out Nancy Reynolds James Sutton David Vaughan Edward Willinger Cover photo by Paul Kolnik, New York City Ballet: Tiler Peck Sarah C.
    [Show full text]
  • It Takes Two by Carolyn Merritt
    Photo: Keira Heu-Jwyn Chang It Takes Two by Carolyn Merritt What will become of us if we can’t learn to see and be with others? Can we see ourselves as others do, in order to navigate the path toward greater communication and understanding, without relinquishing our identity in the process? Together, Union Tanguera and Kate Weare Dance Company probe these questions in Sin Salida, their stunning cross-pollination of Argentine tango and contemporary dance recently presented at the Annenberg Center. Titled after Jean-Paul Sartre’s 1944 play No Exit (Huis clos in French), the production weaves together essential elements of each form with points of connection and tension, positing dance as a metaphorical map for human relations. Five chairs mark the upstage space and a single light hangs above a piano downstage left, evoking a tense audition. Film images, in negative, appear against the backdrop—a woman tending her hair at a vanity, a couple framed in a doorway, their essence muddied in the wash of black. Union Tanguera Co-Artistic Directors Claudia Codega and Esteban Moreno dance an elegant, salon-style tango that combines the outward focus and enlarged vocabulary of stage tango with the inward intention of the improvised, social Argentine form. They spin as if in balancé turns to the sounds of tango waltz, heads and focus trailing behind. Moreno lifts Codega to fan her legs wide in a split en l’air. Their costuming—stiletto heels and a tight red, knee-length dress slit to the hip for Codega, and dark dress shirt and slacks for Moreno—reference “traditional” tango aesthetics and gender dynamics.
    [Show full text]