DOCSLIB.ORG

The Art of Meredith Monk Author(S): Sally Banes Reviewed Work(S): Source: Performing Arts Journal, Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Art of Meredith Monk Author(S): Sally Banes Reviewed Work(S): Source: Performing Arts Journal, Vol The Art of Meredith Monk Author(s): Sally Banes Reviewed work(s): Source: Performing Arts Journal, Vol. 3, No. 1 (Spring - Summer, 1978), pp. 3-18 Published by: Performing Arts Journal, Inc. Stable URL: http://www.jstor.org/stable/3244987 . Accessed: 06/02/2012 11:37 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Performing Arts Journal, Inc. is collaborating with JSTOR to digitize, preserve and extend access to Performing Arts Journal. http://www.jstor.org The Art of Meredith Monk Sally Banes A fanciful program note from 1969 states: MEREDITH MONK was born in lima Peru/grew up in the West riding horses/is Inca Jewish/lived in a red house A COMMERCIAL: SHE WILL PRESENT A NEW WORK: "TOUR: DEDICATED TO DINOSAURS" ON MARCH 4 IN THE ROTUNDA OF THE SMITHSONIAN INSTITUTION IN WASHINGTON, D.C. Started dancing lessons at the age of three because she could not skip/did Hippy Love Dance at Varney's Roaring 20's Topless Club in California/has brown hair.' As an autobiographical statement, it is the real Monk, even though some of its details may not be accurate-if one goes by rational, external verities. But in its stream-of-consciousness mixture of the most mundane details with unabashedly romantic figments, it's revealing of the texture of her work and life. Monk was born in Peru, where her mother, a singer, was on tour. But she grew up in Connecticut, the descendant of European Jews-including a cantor, her grandfather, who founded the Harlem School of Music. Monk 3 learned to sing before she could talk, read music before she knew how to read words. At three she began to dance, first studying eurhythmics (a system of teaching musical rhythm through body movement, invented by Emile Jaques Dalcroze) and then ballet. As a child she also studied music theory and harmony; at 16, she began composing. Monk'sfirst dance performances were with a New York group doing Israeli folk dances.2 In college at Sarah Lawrence, Monk majored in performing arts, studying with Judith Dunn and Bessie Schonberg among others. In 1964 she moved to Manhattan where, besides choreographing and dancing her own works, she performed in Happenings, off-Broadway plays, and other dance works. Monk's own work since 1964 can be divided roughly into five categories so far: early dance works; large works for specific sites; chamber works; collab- orations; music recitals. She has also made several films and recordings. By the time Monk arrived in New YorkCity, the dance world had seen the first stage of a creative rebellion and the choreographic revolutionaries of the first Judson generation were consolidating their discoveries and advances. Monk's work, in a sense, reacted against the aesthetic of that revolution, while taking advantage of an ambiance that fostered formal experiments. Her program did not involve rinsing dance of spectacle and theatricality-as had, for instance, Yvonne Rainer's-but rather, exploring the very theatri- cality of expressive performance. Break (1964) used the wings and back entrances of the theatre to mask parts of the soloist's body; at one point, Monk left the stage to view from the audience the vacuum thus created. Movements in The Beach (1965) were tailored for an imaginary persona- the beach lady. Like the Judson pioneers, though, Monk was less concerned with the attention to technical virtuosity that was strangling modern dance, and more concerned with generating new movements, if need be, to make new statements. Using strategems like chance composition, improvisation, games and tasks enacted during the performance, and repetition and fragmentation, Rainer and others sought to isolate movements for their own sake, to be examined and valued as objects in themselves. Rigorously defying illusion, these choreographers often presented openly the process of arrangement. The aim was to call attention to the beauty of ordinary, simple movements and (somewhat) ordinary bodies. Monk, on the other hand, wrenched quotidian movements and objects from the context of the everyday world, transmuting rather than presenting ordinary things by presenting them in new frameworks, forming within the theatre a separate world with its own logic and customs. Though she also used repetition and fragmentation, her mean- ings emerged-more in the tradition of some Happenings and even Graham'sexpressive dances-not through chance, rarely through improvisa- tion, but through the careful, poetic arrangement of visual and aural ima- gery, juxtapositions of surfaces, sounds, gestures and spaces. "The artist's hand isn't something I want to eliminate because that's like giving in to the machine," Monk has stated. And "John Cage would say there's enough structure and I would say there's enough chance."3 In Break a typical Monk structure is already evident. Jill Johnston de- scribed the piece as "a clear solid solo of expressive gestures and exclama- tions in the chunky continuity explained by the title. Moves are sudden, images are sustained (slow or still) for a sharp etch and erased by the quick 4 transitions that are like black-outs-empty canvas with spattered incidents. "4 16 Millimeter Earrings, a solo made in 1966, presented overlapping images of the body as a medical phenomenon and a sensuous medium, through the use of a complex technology. Layers of sound both live and taped included Monk singing Greensleeves, chanting, sounds of a crowd, and a taped description of the orgasm from Wilhelm Reich. The visual track included the dancer's live actions and several films. One film, of Monk's face, was projected on a large sphere placed over her head; another showed a doll burning, as Monk emerged from a trunk naked, amid red silk streamers blowing upward like fake flames, in front of the projection screen. The systematic distortion of the body and its actions-expressing emotions, executing movements-again recalls the apparitions and modified forms of the Surrealists. With Blueprint (1967), Monk began to design her pieces for particular, architectural (non-theatrical) sites. At the first performance of Blueprint, in Woodstock, New York, the audience moved from place to place to view activities, and at one point sat outside a building to watch events in the windows. In New York City the audience returned a month after the first section was given, to see the second part which included Monk dancing The Dying Swan. In 1969 Monk moved her audience around the Guggenheim Museum and the island of Manhattanin Juice. The first section, for a chorus of dancers and many separate characters, had three parts: first the audience, on the ground floor of the Guggenheim, looked upwards to see events including the chorus singing and migrating back and forth from the railings, three women in period costume lined up vertically and slowly rotating, four red-dyed people trampling up the ramp in a clump. Second, the audience journeyed up the spiral ramp, viewing many separate tableaux of poses, movements, and the current exhibit of Roy Lichtenstein's paintings in the background. All eighty- five performers were wearing red boots. Finally, the audience, having achieved a position at the top, saw everyone rush down past them, dancing and playing jew's harps. A man sawed wood; another man played the violin; a woman with a mask on her belly stalked at an enormous height. In the second installment of Juice, three weeks later at the Minor Latham Playhouse at Barnard College, everything had diminished. At the entrance to the theatre, a child sat on a rockinghorse-a smaller echo of the woman who rode a horse down Fifth Avenue as the audience waited outside the Guggenheim for part one. Inside the theatre, the four red characters gave information about themselves in recitatives, and performed real-life ac- tivities-frying a porkchop, mixing chemicals; the red mountain woman (Monk) whirled and sang in a trance; a log cabin was gradually dismantled to reveal the violinist from part one, in a room replete with wallpaper, books, a quart of milk, and a print of a Lichtenstein painting. A rock opened to reveal objects; the woman with the death mask belly appeared, normal height. Many more elements from the first part were rearranged and shrunk in this presentation. In the third installment, a week following, at Monk's loft in lower Manhat- tan, the audience wandered through an exhibit of artifacts--costumes and objects-from the previous two sections, and saw a videotape of closeups of the four red characters as they quietly discussed their roles. As Deborah Jowitt has suggested, the scale of the piece diminished as the 5 information about the characters increased, yet any resulting sense of a growing intimacy was offset by distancing devices.5 At the museum, the performers were living sculptures the spectators could hear breathing; at the Minor Latham, the audience was separated by a proscenium arch from the performance; finally, at Monk's loft, though one could even smell the sweat on the costumes, the performers were made totally remote, once-removed by the video screen. The museum and loft had switched functions by the end of the piece. Vessel (1971) reversed the progression of size and scope Juice had accom- plished. A privatized passion play about Joan of Arc, it began with an "overture" at The House, Monk's loft: a slowly shifting tableau of people dressed in black.
Load more

Recommended publications
  • Simone Forti Goes to the Zoo*
    Simone Forti with a lion cub at the Giardino Zoologico di Roma, 1968. Courtesy Simone Forti and The Box, LA. Simone Forti Goes to the Zoo* JULIA BRYAN-WILSON In the photograph, a young woman in a short skirt and sandals sits on a bench. With her crooked elbow, she braces her handbag to her body, tucking her large sketchpad into her armpit. She is petting a lion cub, and as she gazes down to witness the small but extraordinary fact of her hand on its fur, the ani- mal’s face turns towards the camera lens with closed eyes. This is dancer and choreographer Simone Forti on one of her many visits to the zoo during the brief time she lived in Rome in the late 1960s. Far from today’s “wildlife sanctu- aries” where animals can ostensibly wander freely, as the photo of this uncaged cub might suggest, the Giardino Zoologico di Roma offered a highly controlled environment in which animals lived within tight enclosures; Forti was here indulging in a staged, paid encounter, one that she characterized as “irre- sistible.”1 Irresistible because she was consistently moved by the creatures she drew and studied—moved as in stirred, or touched, as well as in shifted, or altered. As I argue, her dance practice changed dramatically as a result of the time she spent in Rome observing animal motions and interacting with other, animate forms of art. Petting a lion cub: irresistible, but still melancholy. Designed in part by German collector and merchant Carl Hagenbeck and built in 1911, the Roman zoo is an example of the turn-of-the-century “Hagenbeck revolution” in zoo architecture, which attempted to provide more naturalistic-appearing, open-air surroundings that were landscaped with artificial rocks and featured moats instead of bars, often creating tableaux of animals from different taxonomic * This article was made possible by the indefatigable Simone Forti, who talked with me, danced for me, and pulled all manner of documents and photographs out of her dresser drawers for me; thank you, Simone.
    [Show full text]
  • Dance Motion
    ww 2013 Next Wave Festival 2013 Next Wave Festival Brooklyn Academy of Music Alan H. Fishman, SM ABOUT DANCEMOTION USA to connect with us online. Chairman of the Board DANCEMOTIONUSA.ORG William I. Campbell, SM DanceMotion USA is a program of the Vice Chairman of the Board Bureau of Educational and Cultural Announcing our Season 4 tours: Adam E. Max, Affairs of the US Department of State, DanceMotion Vice Chairman of the Board produced by BAM (Brooklyn Academy of Mark Morris Dance Group Karen Brooks Hopkins, Music), to showcase the finest contem- (Burma, Cambodia, and Timor-L’este) President porary American dance abroad while David Dorfman Dance SM facilitating cultural exchange and mutual (Turkey, Turkmenistan, and Uzbekistan) Joseph V. Melillo, USA Executive Producer understanding. DanceMotion USASM CONTRA-TIEMPO helps US embassies partner with leading (Chile, Ecuador, and Bolivia) DOUG VARONE AND DANCERS cultural, social service, and community- BRENDA ANGIEL AERIAL based organizations and educational Beginning March 2014 institutions to create unique residencies DANCE COMPANY that allow for exchange and engage- ment. In addition to person-to-person DATES: Oct 10—12 at 7:30pm interactions, the program reaches a Oct 13 at 3:00pm wider audience through an active social and digital media initiative, and through LOCATION: BAM Fisher (Fishman Space) educational resources housed in em- bassy and consulate libraries. RUN TIME: 1hr 40 min with 2 intermissions Since the launch of DanceMotion USASM ARTIST TALK: Doug Varone and Brenda Angiel in 2010, 14 American dance companies Moderated by Deborah Jowitt have toured to different regions around Fri, Oct 11 post-show the globe, including Sub-Saharan and BAM Fishman Space A program of: Northern Africa, South America, the Free for same-day ticket holders Middle East, the Iberian Peninsula, and Central, South and Southeast Asia.
    [Show full text]
  • Download, Or Email Articles for Individual Use
    Dance Chronicle, 37:122–128, 2014 Copyright © 2014 Taylor & Francis Group, LLC ISSN: 0147-2526 print / 1532-4257 online DOI: 10.1080/01472526.2014.876598 A Self-Critical Phenomenology of Criticism JOSHUA M. HALL Living in an Artworld By Noel¨ Carroll. 388 pp. Louisville, Ky.: Chicago Spectrum Press, 2012. $22.50. ISBN 978-158374-220-4. Noel¨ Carroll, a central figure in analytic (Anglo-American) philosophy of art, and spouse of renowned dance scholar Sally Banes (who co-authored several of these essays), offers us something remarkable in his new book—namely, a collection of thirty years of his theoretical essays and dance reviews. Carroll wrote some of the pieces while he was a graduate student at the Univer- sity of Illinois, Chicago, and there have been some dramatic changes since then in both the art world and Carroll’s philosophical views. Thus, he mod- estly characterizes the book as “an archeological artifact” of a “somewhat confessional” variety (p. 267). Inspired by Carroll, I too will adopt an arche- ological stance, with a promise that the reader’s patience will be repaid with something surprising at the end of the dig. To begin with a panoramic view of the site: Living in an Artworld is divided into three sections, on dance, performance/theater, and the fine arts, respectively. I will focus primarily on the dance section (because I am writing for a dance studies readership, and my own background is in dance), but the most helpful point of entry into the book is to be found in Carroll’s present- day introduction to the fine arts section.
    [Show full text]
  • Running Away to Dance in the 40'S
    NO DAUGHTER OF MINE IS GOING TO BE A DANCER! Dancing for Agnes de Mille and the Giants of Dance in the 40s By Sharry Traver Underwood Foreword by Deborah Jowitt Table of Contents Foreword by Dance Critic Deborah Jowitt i i Acknowledgements v iii iii Introduction 1 1 Chapter One 3 3 1942 Summer Harrisburg, PA It is my dancing! WWII raging. Dance while others die? Dance at Syracuse University Jungle Rhythms The plan: to go to Jacob’s Pillow University of the Dance My dance training; is there any? Chapter Two 13 1942 Summer Jacob’s Pillow Opening Season of Jacob’s Pillow University of the Dance First day in class with Joseph Pilates, Steffi Nossen Ted Shawn, Bronislava Nijinska, Elizabeth Burchenal. Classes with Anna Duncan, Arthur Mahoney, Thalia Mara, Dr. Margaret d’Houbler, Dr. Anne Duggan A spectacular class with Ruth St. Denis Performance dance artists: Ted Shawn, Barton Mumaw, Helen Tamiris, Asadata Defora, Elizabeth Waters, Miriam Winslow, Marina Svetlova. Comprehension of Dance as A Living Art Ted Shawn proclaims Body, Mind and Spirit inseparable! Ted Shawn’s appraisal of my dancing. Chapter Three 39 1943 Summer Jacob’s Pillow Jacob’s Pillow Dance Festival Scholarship students Classes with Natasha Krassovska, Grant Mouradoff, Joe Pilates, Arthur Mahoney, La Meri, Anne Schley Duggan & Jeanette Schlottman, Thalia Mara Ted Shawn, teaching Denishawn repertory Delsarte Lectures Being Shawn’s partner on Jacob’s Pillow Dance Theatre program. Barton Mumaw’s performance Papa Shawn finds job for me, teaching dance at Brenau College in Georgia Chapter Four 65 1943-44 Brenau College, Gainesville, GA Teaching Modern Dance and Folk Dance at Brenau College Produce student musical for War Bond & Red Cross Benefits Present Solo Dance Recital The Indian Pageant Contretemps with my Physical Education Director My trial BA Degree in Theatre.
    [Show full text]
  • Pearl Primus: Cross-Cultural Pioneer of American Dance
    INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bieedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. These are also available as one exposure on a standard 35mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Beli & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner.
    [Show full text]
  • PDF Released for Review Purposes Only. Not for Publication Or Wide Distribution
    JUDSON Giampaolo Bianconi is Thomas J. Lax is Associate Julia Robinson is Associate In the early 1960s, an assembly of choreographers, visual artists, composers, and Curatorial Assistant in the Curator in the Department of Professor of Modern and filmmakers made use of a church in New York’s Greenwich Village to present Judson Dance Theater The Work Is Never Done Department of Media and Media and Performance Art Contemporary Art at New performances that redefined the kinds of movement that could be understood as Performance Art at MoMA. at MoMA. York University. She is the dance—performances that Village Voice critic Jill Johnston would declare the most editor of the October Files exciting in a generation. The group was Judson Dance Theater, its name borrowed Harry C. H. Choi is a Twelve- Victor “Viv” Liu was a volume John Cage (2011) from Judson Memorial Church, the socially engaged Protestant congregation Month Intern in the Department Seasonal Intern in the and the author of a forthcom- that hosted the dancers’ open workshops. The Judson artists emphasized new DANCE of Media and Performance Art Department of Media and ing book on George Brecht. compositional methods meant to strip dance of its theatrical conventions and fore- at MoMA. Performance Art at MoMA. Robinson is an active curator. grounded “ordinary” movements—gestures more likely to be seen on the street or at home. Although Judson Dance Theater would last only a few years, the artists affili- Vivian A. Crockett is the Jenny Harris is Curatorial Gloria Sutton is Associate ated with it, including Trisha Brown, Lucinda Childs, Philip Corner, Bill Dixon, Judith 2017–18 Andrew W.
    [Show full text]
  • The Minimal Presence of Simone Forti Author(S): Virginia B
    The Minimal Presence of Simone Forti Author(s): Virginia B. Spivey Reviewed work(s): Source: Woman's Art Journal, Vol. 30, No. 1 (SPRING/SUMMER 2009), pp. 11-18 Published by: Old City Publishing, Inc. Stable URL: http://www.jstor.org/stable/40605219 . Accessed: 21/01/2013 06:01 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Old City Publishing, Inc. is collaborating with JSTOR to digitize, preserve and extend access to Woman's Art Journal. http://www.jstor.org This content downloaded on Mon, 21 Jan 2013 06:01:22 AM All use subject to JSTOR Terms and Conditions The MinimalPresence of SimoneForti By VirginiaB. Spivey May1961, a youngchoreographer named Simone Forti Theseissues converge in a studyof Simone Forti. Scholarly (b. 1935)presented "Five Dance Constructions and Some bias in arthistory has ignoredmany women like Forti.5 Her OtherThings," a concertof experimental dance, at Yoko situationwas compoundedby similarattitudes in the Ono'sChambers Street loft.1 A fewyears later, in November academythat viewed dance as an uncritical(often feminized) 1964,Forti' s ex-husband, Robert Morris, exhibited a group of artform, more rooted in bodilyexpression than intellectual sevensculptures at New York'sGreen Gallery.
    [Show full text]
  • 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.
    [Show full text]
  • Remembering Sally Banes: Recipient of the Selma Jeanne Cohen Prize in Dance Aesthetics 2008
    Remembering Sally Banes: Recipient of the Selma Jeanne Cohen Prize in Dance Aesthetics 2008 Curtis L. Carter Marquette University Sally Banes, (1950--2020), foremost among American dance historians and critics of the mid Twentieth Century, died in Philadelphia on June 14. She will be remembered for her outstanding history and theatre scholarship and dance criticism resulting in multiple books and critical writings. Her books include the highly regarded Terpsichore in Sneakers: Post Modern Dance (1987) that positioned Postmodern dance in the context of mid-twentieth century dance criticism and dance history. Dr. Banes’ contributions to dance scholarship include five additional books: Democracies Body: Judson Theater Dance 1962-1964, (1983); Greenwich Village 1963: Avant Garde Performance and the Effervescent Body (1993); Writing Dancing in the Age of Post-Modernism (1994); Dancing Women: Female Bodies on Stage (1998); and Before, Between, and Beyond: Three Decades of Dance Writing, forewords by Lyn Garafola and Joan Accocella, (2007). Dr. Banes edited the Dance Research Journal from 1982 to 1988. Dr. Banes was appointed Director of the Institute for Research in the Humanities at the University of Wisconsin in Madison and served in this position during 2001, 2002. She served as head of the University’s Dance program from 1992-1996. In 2020, The University of Wisconsin Madison established the Sally Banes Professor of Dance in honor of Dr. Banes. Her previous academic appointments took place at Florida State University 1980, Purchase College 1981- 1986, Wesleyan University 1987, 1988, and Cornell University 1988-1991. Awards In recognition of her many contributions to dance scholarship and criticism Dr.
    [Show full text]
  • JAMES WARING - Wait Inna Larry Richardson Dance Gallery Lobby - After David’S Sole Solo Concert
    David Gordon ‘70s ARCHIVEOGRAPHY - Part 3 1 #1 1973 - VALDA SETTERFIELD and JAMES WARING - wait inna Larry Richardson Dance Gallery lobby - after David’s sole solo concert - FRIEND AND MENTOR - JAMES WARING - DIES OF LUNG CANCER - DECEMBER 2, 1975. David Gordon ‘70s ARCHIVEOGRAPHY - Part 3 2 é çcollages by James Waring ê ç Composer John Herbert McDowell visits Jimmy. #1 Inna ‘60s n’’70s - Jimmy Waring lives at 131 Avenue A. Valda’s and David’s 1st apartment. Moves in when they move out. Jimmy babysits once’n claims - Valda says - he teaches baby Ain Gordon to say yogurt - and Max Ernst. #2 David hears Jimmy ain’t well. Finds reasons to not visit. Ain’t been in the Avenue A apartment - since they moved out. Braver Valda calls’n makes a date - for them to visit Jimmy together. ç Jimmy’s inna living room - in fronta - my old cork wall - David says - surrounded by old postcards n’photosa pretty boys’n art objects. #1 Jimmy holds a mug in his fine fingers and coughs gently. Spits bits of phlegm once in a while. And sniffs the old sniff. David babbles on quietly’n self consciously about art’n artists. People they both know‘n knew - and who’s doing upcoming what. No mention is made of Jimmy’s illness - David says. Then they say goodbye. David Gordon ‘70s ARCHIVEOGRAPHY - Part 3 3 #2 David’n Valda go back 1 more time to 131 Avenue A - before the city confiscates alla Jimmy’s belongings. We gather’n pack up - David says - old postcards - antique ribbons’n beaded’n handsewn objets.
    [Show full text]
  • LINDA CARUSO HAVILAND Dance Program Bryn Mawr College 101
    v LINDA CARUSO HAVILAND v Dance Program August 2018 Bryn Mawr College 101 North Merion Avenue Bryn Mawr, PA 19010 [email protected] vv indicates entries prior to 2010 EDUCATION 1995 Ed.D. Department of Dance, Temple University, Philadelphia Dissertation: "Dancing at the Juncture of Being and Knowing: Sartrean Ontology, Embodiment, Gender and Dance." [Committee: Ferdun (Dance), M. Beardsley (Philosophy), J. Margolis (Philosophy) J. Immerwahr (Philosophy), S. Hilsendager (Dance)] • Recipient: Teaching Associate position 1972 M.Ed. Department of Dance, Temple University, Philadelphia Choreographic Thesis Project: Landscape with the Fall of Icarus • Recipient: Graduate Assistantship position 1971 B.A. Department of Dance, Adelphi University, Garden City • Magna cum laude, Dean's List, Departmental Honors 2003 Liz Lerman’s Critical Response training, Dance Exchange, Takoma Park, MD 1975 Dance Criticism--Jack Anderson, Robert Pierce, Kathy Duncan (semester course , New School for Social Research, NYC) 1974 Dance Criticism--Deborah Jowitt, Marcia Siegel (eight week intensive, NYC) 1973 Aesthetics—(semester course at New School for Social Research, NYC) 1973 Dance Aesthetics--Selma Jean Cohen (six week intensive, NYC) PRINCIPLE D ANCE TECHNIQUE AND PERFORMANCE TRAINING 2010- Gaga: Idan Porges, Modern Dance: Becky Malcolm-Naib, Eun Jung Choi, K.C. Chun Manning, Scott McPheeters, Rhonda Moore and ongoing master classes/workshops with visiting artists Prior to 2010 Intensive study with: Hellmut Gottschild, Karen Bamonte, Eva Gholson, Pat Thomas,
    [Show full text]
  • Dancing from Past to Present : Nation, Culture, Identities
    A Publication of the Society of Dance History Scholars The Origins of the Bolero School, edited by Javier Suárez-Pajares and Xoán M. Carreira Carlo Blasis in Russia by Elizabeth Souritz, with preface by Selma Jeanne Cohen Of, By, and For the People: Dancing on the Left in the 1930s, edited by Lynn Garafola Dancing in Montreal: Seeds of a Choreographic History by Iro Tembeck The Making of a Choreographer: Ninette de Valois and “Bar aux Folies-Bergère” by Beth Genné Ned Wayburn and the Dance Routine: From Vaudeville to the “Ziegfeld Follies” by Barbara Stratyner Rethinking the Sylph: New Perspectives on the Romantic Ballet, edited by Lynn Garafola (available from the University Press of New England) Dance for Export: Cultural Diplomacy and the Cold War by Naima Prevots, with introduction by Eric Foner (available from the University Press of New England) José Limón: An Unfinished Memoir, edited by Lynn Garafola, with introduction by Deborah Jowitt, foreword by Carla Maxwell, and afterword by Norton Owen (available from the University Press of New England) Dancing Desires: Choreographing Sexualities on and off the Stage, edited by Jane C. Desmond Dancing Many Drums: Excavations in African American Dance, edited by Thomas F. DeFrantz Writings on Ballet and Music, by Fedor Lopukhov, edited and with an introduction by Stephanie Jordan, translations by Dorinda Offord Liebe Hanya: Mary Wigman’s Letters to Hanya Holm, compiled and edited by Claudia Gitelman, introduction by Hedwig Müller The Grotesque Dancer on the Eighteenth-Century Stage: Gennaro Magri and His World, edited by Rebecca Harris-Warrick and Bruce Alan Brown Kaiso! Writings by and about Katherine Dunham, edited by VèVè A.
    [Show full text]