DOCSLIB.ORG

Re-Reading Mary Wigman's Hexentanz II (1926): the Influence of the Non-Western 'Other' on Movement Practice in Early Modern 'German' Dance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Re-Reading Mary Wigman's Hexentanz II (1926): the Influence of the Non-Western 'Other' on Movement Practice in Early Modern 'German' Dance Re-reading Mary Wigman's Hexentanz II (1926): the influence of the non-Western 'Other' on movement practice in early modern 'German' dance LITO TSITSOU & LUCY WEIR Scottish Journal of Performance Volume 1, Issue 1; December 2013 ISSN: 2054-1953 (Print) ! ISSN: 2054-19"1 (Online Publication %et$ils: htt':!!((()scottishjournalof'er+orm$nce)or, To cite this article: Tsitsou, .) $nd /eir, .), 2013) 0e-re$%ing 1$r2 /i,m$n’s Hexentanz II (1926): the influence of t&e non-/estern 4Other3 on movement 'r$ctice in e$rl2 modern 46erm$n’ %$nce) Scottish Journal of Performance, 1(1), '')53–74) To link to this article: htt':!!%9)%oi)or,! 10.14439/sjop.2013.0101.04 -&is (or: is license% un%er a ;reati5e ;ommons <ttribution 4)0 Intern$tional .icense) See &tt':!!creati5ecommons)or,!licenses!b2!4)0! +or %etails) Tsitsou & Weir (2013) DOI: 10.14439/sjop.2013.0101.04 Re-reading Mary Wigman’s Hexentanz II (1926): the infl en!e of the non-Western ‘$ther’ on m"%ement pra!ti!e in early modern ‘'erman’ dan!e LITO TSITSOU & LUCY WEIR DOI: 10.14439/sjop.2013.0101.04 Publ !"# o$ da#&: 13 D&!&'b&( 2013 T) s p"p&( p(o* %&s " (&+(&"% $, o- ."(/ W ,'"$0s 1&2&$#"$3 II 45W #!) D"$!&06 192686 &'p)"sisi$, #)& so! "l "$% "&st)&# ! !o$% # o$s $ 9) !) sh& !(&"#&% %"$!& 9o(ks. ; (&$&9&% $#&(&st $ #)& %&" o- " (&#u($ #o $"#u(& !)"("!#&( se% #)& "(# st ! 'oo% o- #) s p&( o%6 "$% sc)ol"(s !o$!& *& o- #) s (&#u($ "s "$ "$# do#& #o #)& !"p #"l st 'o%&($ sa# o$ o- G&('"$/ "$% t)& e--&!#s of #)& = (st Wo(l% W"(. T) s p"p&( * &9s W ,'"$0s 9o(: "s " p(o' $&$# &2"'pl& o- #)& (&*&(sio$ #o 5p( ' # *&0 -o('s "s " '&"$s o- %&* si$, " $&96 "*"$#+,"(%& !(&"# *& p("!# !&. T)& 9 #!)0s %"$!& $% !"#&s " (&#u($ #o 5p( ' # *& ( #u"l sm06 9) !) s l $:&% #o #)& !o$st(u!# o$ o- #)& $o$+W&st&($ 5Ot)&(0 "s "u#)&$# ! "$% pu(&. 1&2&$#"$3 II %(&9 o$ *"( ous $o$+ W&st&($ !ul#u("l &l&'&$#s6 w) !) b&!"'& !(/st"ll sed $#o a $&9 #&!)$ >u& "$% st/l& o- 'o*&'&$#. 1o9&*&(6 "s E%9"(% S" % (19?@8 9oul% "(,u&6 su!) !ul#u("l &l&'&$#s "(& u# l se% -o( #)& b&$&- # o- #)& W&st "$% #)& !o$st(u!# o$ o- " 'o%&($ %"$!& 'o(& 9 %&l/6 " -("!# o$ o- 9) !) 9oul% b& ,("du"ll/ -"b( !"#&d as ‘<&('"$0. A&/9o(ds: ) sto( !"l so! olo,/ o- %"$!&6 ."(/ W ,'"$6 1&2&$#"$3 II 53 Scottish Jour!"# o$ %er$or&"!ce 'o#u&e 1( Issue 1 I$#(o%u!# o$ T)& %&*&lop'&$# o- &"(l/ #9&$# &#) !&$#u(/ 'o%&($ %"$!& 9"s $-o('&% b/ " !o'pl&2 $&2us o- p(o!&sses !)"("!#&( se% bo#) b/ "$# +b"ll&# ! #&$%&$! &s "s 9&ll "s " (&#u($ #o b"si! !ul#u("l p("!# !&s su!) "s -ol: "$% >u"si+ (&l , ous ( #u"l p&(fo('"$!&. Su!) p("!# !&s 9&(& o-#&$ '&% "#&% b/ (&p(&s&$#"# o$s o- #)& Or &$#"l 5Ot)&(06 9) !) 9&(& use% #o !o$st(u!# "$ "(# -o(' #)"# 9"s * &9&% "s % st $!# *&l/ $"# o$"l6 "$%6 $ #) s !"se6 5<&('"$0. I$ #) s p"p&(6 9& !&$#(& ou( "(,u'&$# o$ #)& !"se stu%/ o- ."(/ W ,'"$0s 1&2&$#"$3 II (192686 posi# $, #)"# #) s s&' $"l 9o(: 9"s " p(o' $&$# &2"'pl& o- " so! "l "$% "&st)&# ! p(o!&ss b/ 9) !) #)& &2o# ! b&!o'&s " *&) !l& fo( #)& !o$st(u!# o$ o- $"# o$"l "$% $"# o$"l st fo('s o- 'o%&($ %"$!&. Susa$ ."$$ $, (1991B 19938 s " l&"% $, "u#)o( #/ o$ W ,'"$0s 9o(: 9)os& stu% &s ) ,)l ,)# #)& sh -# $, so! "l "$% "&st)&# ! !o$% # o$s $ 9) !) W ,'"$ op&("#&%6 "$"l/si$, 9o(ks -(o' )&( &"(l &st !)o(&o,("p) &s #o #)& post+9"( p&( od. ."$$ $, (19938 pl"!&% ,(&"# &'p)"sis o$ #)& $#&(se!# o$ o- $"# o$"l sm "$% -&' $ sm6 9) !)6 "s sh& "(,u&s, !)"("!#&( se% W ,'"$0s 9o(: $ #)& p&( o% o- #)& T) (% R& !) (1933+194C). 1&( stu%/ #":&s $#o "!!ou$# %"$!& 9o(ks #)"# W ,'"$ p(odu!&% #)(ou,)ou# #)& D"3 "sc&$%"$!& #o po9&(6 ) ,)l ,)# $, )&( #("j&!#o(/ "$% su(* *"l "s "$ "(# st. A"( $" "$% A"$# (20038 )"*& &2"' $&% W ,'"$0s "ll "$!& 9 #) #)& D"3 (&, '&6 %&$# -/ $, &l&'&$#s $ )&( 9o(: #)"# #)&/ "(,u& (&-l&!# st"#& %&olo,/. 1o9& (19978 % scusses W ,'"$0s o&u*(& -(o' " p) losop) !"l+"(# st ! p&(sp&!# *&6 fo!usi$, o$ $% * %u"l #/6 "(# st ! &2p(&ssio$ "$% &'bo% &% #("$sc&$%&$!&. S)o(#&( stu% &s 4E"$&s, 199@B Eu(#6 199@8 % scuss o#)&( "sp&!#s o- W ,'"$0s !)o(&o,("p)/ $!lu% $, ( #u"l st !6 Or &$#"l %"$!&s su!) "s .o$o#o$ &: D(&)#"$3 45.o$o#o$/: W) (l D"$!&06 19288 "$% 1&2&$#"$3 II6 "s 9&ll "s #)& o!!ul# st &l&'&$#s o- )&( 9o(k. D&& R&/$olds (200?6 p.C2) "lso $o#&s #)& 5st(o$, Or &$#"l $-lu&$!&0 o$ W ,'"$0s &"(l/ 9o(ks 54 Tsitsou & Weir (2013) DOI: 10.14439/sjop.2013.0101.04 su!) "s Op-&( 45S"!( - !&0: p"(# o- #)& E!st"# ! D"$!&s !/!l&6 1919). E* %&$#l/6 &l&'&$#s o- W ,'"$0s o&u*(& )"*& #)us -"( b&&$ !o$si%&(&% 5Or &$#"l0 "$% % scusse% $ #)& !o$#&2# o- $"# o$"l sm. 1o9&*&(6 W ,'"$0s !)o(&o,("p) ! #("je!#o(/ pos&s >u&st o$s "bou# " !)"$,& $ )&( 9o(: -(o' #)& Or &$#"l #o #)& $"# o$"l st. T) s p"p&( ("# o$"l ses su!) " sh -# b/ "(,u $, #)"# 1&2&$#"$3 II '"(ks #)& b&, $$ $, o- " 9 %&( sy'bol ! "$% Or &$#"l st p(o!&ss &'b&%%&% $ %"$!& p(odu!# o$ o- #)& p&( od. T) s p(o!&ss (&-&(s #o #)& ( #u"l st ! p(&s&$!& o- #)& 5Ot)&(0 $ %"$!&6 bu# "lso #o #)& 9"/ $ 9) !) $o$+W&st&($ '"#&( "l b&!o'&s " *&) !l& -o( #)& p(odu!# o$ of a ‘<&('"$0 mo%&($ d"$!& mo(& w %&l/. S" % (19?@8 "(,u&% #)"# #)& "pp(op( "# o$ o- #)& 5Ot)&(0 -o( #)& b&$&- # o- #)& W&st s "# #)& !o(& o- Or &$#"l st p("!# !&. 1o9&*&(6 #)& ou#!o'& o- #) s p(o!&ss $*ol*&s W ,'"$0s p"(# ! p"# o$ $ #)& p(odu!# o$ o- %"$!& $ #)& D"3 p&( od. As 9& sh"ll sho96 #)& #("je!#o(/ -(o' #)& $o$+W&st&($ #o #)& $"# o$"l st s )o'olo,ous #o " 9 %&( so! "l p(o!&ss o- st"#& -o('"# o$ "$% so! "l !)"$,& $ <&('"$/. T)us, #) s p"p&( p(o* %&s " (&+(&"% $, o- #)& '": $, o- 1&2&$#"$3 II6 %("9 $, o$ #)& so! "l ) sto(/ o- #)& p&( o% $ >u&st o$ $ o(%&( #o p(&s&$# " $&9 ) sto(/ o- #)& %"$!& #)"# sp&! - !"ll/ &2"' $&s #)& !o$% # o$s o- "(# st ! p(odu!# o$6 9 #) #)& " ' o- u$!o*&( $, #)& (&l"# o$sh p b&#9&&$ 9 %&( so! "l/) sto( !"l p(o!&sses a$d a(# st ! &$%&"*ou(s. R #u"l s' "$% S" %0s O( &$#"l s' T) s p"p&( s " p(odu!# o- $#&(% sc pl $"(/ !oll"bo("# o$6 l $:&% #o #9o s&p"("#& stu% &s o$ 'o%&($ %"$!&B #)& - (st 9"s " so! olo, !"l $*&st ,"# o$ o- #)& !o$% # o$s o- possib l #/ o- W&st&($ #)&"#( !"l %"$!&6 9) l& #)& o#)&( 55 Scottish Jour!"# o$ %er$or&"!ce 'o#u&e 1( Issue 1 -o!use% o$ "&st)&# !s o- !ul#u("l &2!)"$,& $ #)& 9o(ks o- ."(/ W ,'"$6 ."(#)" <(")"' "$% P $" E"usc)6 b"s&% o$ "(!) *"l !oll&!# o$s "$% p( '"(/ sou(!&s1. Co$se>u&$#l/6 #) s p"p&( 9 ll "ppl/ so! o+) sto( !"l "$% "$#)(opolo, !"l p&(sp&!# *&s #o #)& % scussio$ o- 1&2&$#"$3 II "$% 5<&('"$0 %"$!& mo(& w %&l/. T) s p"p&( &'plo/s " S" % "$ "$"l/sis o- 1&2&$#"$3 II. S" % (19?@6 p.3258 "(,u&% #)"# $"!!u("#&6 (o'"$# ! se% *&(sio$s o- #)& Or &$#F9)"# )& #&('s 5l"#&$# Or &$#"l sm0F"(&6 $ -"!#6 )"('-ul ("#)&( #)"$ $$o!uous #(op&s, st"# $, #)"#: 5T)& Or &$# s $o# o$l/ "%ja!&$# #o Eu(op&B # s "lso GHI o$& o- #s %&&p&st "$% 'ost (&!u(( $, '",&s o- #)& O#)&(0. T) s 5Ot)&(0 )"s bo#) st&(&o#/p !"l posi# *& "$% $&,"# *& "##( bu#&s; # s bo#) #)& &2o# ! se% 4"$% -(&>u&$#l/ s&2u"l se%8 Or &$# o- l #&("#u(& "$% #)& '", $"# o$ (S" %6 1993). S" % (19@98 &2plo(&s #)& (&p(&s&$#"# o$ o- !olo$ se% popul"# o$s $ l #&("#u(& "s &2p(&ssi*& o- #)& opp(&ssi*& (&l"# o$sh p b&#9&&$ #)& W&st "$% #)& E"st. ;s )& &2pl" $s6 b&-o(& #)& S&!o$% Wo(l% W"(6 #)& 5!olo$ se%0 !o$st #u#&% #)os& $o$+W&st&($ "$% $o$+Eu(op&"$ popul"# o$s 5#)"# )"*& b&&$ !o$#(oll&% "$% o-#&$ s&##l&% fo(! bl/ b/ Eu(op&"$s’ (S" %6 19@96 p.207). T)&s& popul"# o$s "(& (&p(&s&$#&% "s #)& opposi#& o- #)& W&st6 $"'&l/ p( ' # *&6 $-&( o(6 '/st&( ous, "$% po#&$# "ll/ #)(&"#&$ $,6 /&# $ !&(#" $ (&sp&!#s '" $#" $ $, " : $% o- p( '"l pu( #/ (S" %6 19?@6 p.11C). T)us, Or &$#"l s' !o$st #u#&s " %&'o$ si$, p(o!&ss6 o$& o- !(&"# $, % st"$!& -(o' #)& $-&( o(6 bu# "lso " p(o!&ss o- &2o# ! s $, "$% *"lo( s $, #)& $o$+W&st&($ 5Ot)&(0 fo( #)& b&$&- # o- #)& W&st. I$ #) s p"p&(6 9& &2plo(& #) s du"l #/ 49) !) 9& !"ll 5%&'o$ si$,0 "$% 5*"lo( si$,0 (&sp&!# *&l/8 $ (&l"# o$ #o W ,'"$0s 1&2&$#"$3 II6 (&-l&!# $, o$ #)& '": $, o- $&9 %"$!& $ <&('"$/ 'o(& b(o"dl/ $ #)& &"(l/ 'o%&($ p&( o%. E(o"dl/ sp&": $,6 Or &$#"l st (&p(&se$#"# o$s o- #)& 5Ot)&(0 %("9 #)&'"# !"ll/ o$ 5"$ &ss&$# "l st !o$!&p# o$s o- 5) Tsitsou & Weir (2013) DOI: 10.14439/sjop.2013.0101.04 !ou$#( &s, p&opl&s "$% $"# o$s GHI &2p(&sse% #)(ou,) " !)"("!#&( 3&% &#)$ st #/polo,/0 (S" %6 19?@6 p.9?). As su!)6 Or &$#"l sm (&-&(s #o " se# o- "ssu'p# o$s &'b&%%&% $ #)& (&p(&s&$#"# o$ o- #)& 5Ot)&(06 9) !)6 "s "$#)(opolo,/ )"s sho9$6 s !o$st(u!#&% ("#)&( #)"$ &$!ou$#&(&% 4="b "$6 19906 p.?CC).
Load more

Recommended publications
  • Rudolf Laban in the 21St Century: a Brazilian Perspective
    DOCTORAL THESIS Rudolf Laban in the 21st Century: A Brazilian Perspective Scialom, Melina Award date: 2015 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 30. Sep. 2021 Rudolf Laban in the 21st Century: A Brazilian Perspective By Melina Scialom BA, MRes Thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of Dance University of Roehampton 2015 Abstract This thesis is a practitioner’s perspective on the field of movement studies initiated by the European artist-researcher Rudolf Laban (1879-1958) and its particular context in Brazil. Not only does it examine the field of knowledge that Laban proposed alongside his collaborators, but it considers the voices of Laban practitioners in Brazil as evidence of the contemporary practices developed in the field. As a modernist artist and researcher Rudolf Laban initiated a heritage of movement studies focussed on investigating the artistic expression of human beings, which still reverberates in the work of artists and scholars around the world.
    [Show full text]
  • A Leap to the West: Barbara Mettler and the Making of the Tucson Creative Dance Center
    A Leap to the West: Barbara Mettler and the Making of the Tucson Creative Dance Center The Tucson Creative Dance Center shortly after its completion in 1963. By the time Barbara Mettler decided to leave Boston and venture west in the early 1960s, she had already led an impressive life. Her extraordinary self- discipline and unique vision had resulted in several successive incarnations of her school, a well-received national tour with her company, the publication of her books and films about her radical approach to dance, and a devoted student following. She could have stopped there and felt a justified sense of estimable accomplishment, especially considering what she had endured to achieve that much. The Boston sojourn, however, had never been more than a stopover for her, a time to consolidate her efforts and publish her ideas. When the way finally became clear for her to take her work west, Mettler was ready to leap and explore once again. All of her accomplishments and travails were soon to feed into the glorious second half of her remarkable life. As she contemplated leaving the East behind, future decades of even broader success and fulfillment lay ahead, but how could any artist have possibly known such a thing and counted on it? In her mid-fifties by then, Barbara Mettler, had no doubt felt the new chill that seeps into one’s bones at that age, the realization that, no matter how open-ended and promising everything might have seemed throughout earlier decades of her life, the years remaining were not Dobson /A Leap to the West 2 numberless.
    [Show full text]
  • 'There Was Never Anythin'like This!!!'Valeska Gert's Performances
    Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Kolb, Alexandra (2007) ‘There was never anythin’ like this!!!’ Valeska Gert’s performances in the context of Weimar culture. The European Legacy, 12 (3) . pp. 293-309. ISSN 1084-8770 [Article] (doi:10.1080/10848770701286976) UNSPECIFIED This version is available at: https://eprints.mdx.ac.uk/9000/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated.
    [Show full text]
  • Mary Wigman As Writer and Dancer
    Studies in 20th Century Literature Volume 27 Issue 2 Article 9 6-1-2003 Restaging Hysteria: Mary Wigman as Writer and Dancer Laura A. McLary University of Portland Follow this and additional works at: https://newprairiepress.org/sttcl Part of the German Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation McLary, Laura A. (2003) "Restaging Hysteria: Mary Wigman as Writer and Dancer ," Studies in 20th Century Literature: Vol. 27: Iss. 2, Article 9. https://doi.org/10.4148/2334-4415.1561 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Restaging Hysteria: Mary Wigman as Writer and Dancer Abstract Mary Wigman was not only a leading proponent of the early twentieth-century Expressionist dance movement, but also a writer of poetry and short poetic prose. Despite her assertion that dance was beyond language, she wrote often about dance in an attempt to articulate the kinesthetic experience of dance through languages. This interdisciplinary study explores the intersection of dance and writing for Wigman, focusing on gender coding in writing and dance within the context of early twentieth-century dialogues. Despite the pervasive equation of (feminine) hysteria with dance and (masculine) subjectivity with authorship, Wigman engaged in both activities. I argue that Wigman is able to reclaim and redefine the "hysteria" of the dance experience through writing about dance.
    [Show full text]
  • Absolute Relativity: Weimar Cinema and the Crisis of Historicism By
    Absolute Relativity: Weimar Cinema and the Crisis of Historicism by Nicholas Walter Baer A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media and the Designated Emphasis in Critical Theory in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Anton Kaes, Chair Professor Martin Jay Professor Linda Williams Fall 2015 Absolute Relativity: Weimar Cinema and the Crisis of Historicism © 2015 by Nicholas Walter Baer Abstract Absolute Relativity: Weimar Cinema and the Crisis of Historicism by Nicholas Walter Baer Doctor of Philosophy in Film and Media Designated Emphasis in Critical Theory University of California, Berkeley Professor Anton Kaes, Chair This dissertation intervenes in the extensive literature within Cinema and Media Studies on the relationship between film and history. Challenging apparatus theory of the 1970s, which had presumed a basic uniformity and historical continuity in cinematic style and spectatorship, the ‘historical turn’ of recent decades has prompted greater attention to transformations in technology and modes of sensory perception and experience. In my view, while film scholarship has subsequently emphasized the historicity of moving images, from their conditions of production to their contexts of reception, it has all too often left the very concept of history underexamined and insufficiently historicized. In my project, I propose a more reflexive model of historiography—one that acknowledges shifts in conceptions of time and history—as well as an approach to studying film in conjunction with historical-philosophical concerns. My project stages this intervention through a close examination of the ‘crisis of historicism,’ which was widely diagnosed by German-speaking intellectuals in the interwar period.
    [Show full text]
  • New Jersey Visual and Performing Arts Curriculum Framework. New
    DOCUMENT RESUME ED 451 080 SO 031 632 TITLE New Jersey Visual and Performing Arts Curriculum Framework. INSTITUTION New Jersey State Dept. of Education, Trenton. PUB DATE 1998-11-00 NOTE 378p. AVAILABLE FROM New Jersey Department of Education, Office of Standards and Professional Development, P.O. Box 500, Trenton, NJ 08625. For full text: http://www.state.nj.us/njded/frameworks/arts/index.html. PUB TYPE Guides Non-Classroom (055) EDRS PRICE MF01/PC16 Plus Postage. DESCRIPTORS Academic Standards; *Art Education; Curriculum Development; *Dance Education; Elementary Secondary Education; Experiential Learning; *Music Education; Public Schools; *State Standards; Student Development; *Theater Arts; *Visual Arts IDENTIFIERS *New Jersey ABSTRACT The purpose of New Jersey's Visual and Performing Arts Standards is to improve student achievement in arts education, not arts-as-entertainment, not art-assembly projects, not art-as-activity. An education in the arts requires curricular scope and sequence and the intellectual rigor of experiential learning. The Visual and Performing Arts Standards require that all students at the elementary level experience arts education in all four arts disciplines-: dance, music, theater, and visual arts. As students become selective in their preferred form of artistic expression at the middle and high school levels, they are expected to gain expertise. The intent of this Framework is to support the educational content reform in arts education that was initiated by the "New Jersey Visual and Performing Arts Core
    [Show full text]
  • Mary Campbell Was Like an Angel with Her Full White Curly Hair
    Mary Williams Campbell, A Dancer in Spirit Biographical Introduction to the Collection Author: Janice LaPointe-Crump With appreciation to Catherine Loveday and Dawn Letson © 2004, J. LaPointe-Crump Mary Campbell was like an angel with her full white curly hair. Occasionally I would stand by the piano in Studio 2 at Jacob's Pillow and just listen to her play. She inspired me to incorporate my emotional feelings in my dancing, which is so important to the dancer. It makes all the difference between exercising and really dancing! And to elicit this blossoming in the dancer requires the accompanist to also be a dancer in spirit! --Susan Kramer, Jacob's Pillow alumna 1963 & 1964 A dancer in spirit is a frequent phrase used to describe a woman whose gentle charisma drew in alert listeners from all walks of life. Mary Williams Campbell was much more than a skilled accompanist or a talented composer. She was a moving scholar who helped dancers and students learn the structure, form and the classic codes for creating works. She dedicated her life to unleashing the imagination and instilling a respect for the history of dance, particularly modern dance. Campbell’s unique artistry shined “as a beacon” [through her openness and generosity] to emerging artists and experienced artist- teachers alike. The partnering role of an accompanist with the teacher and choreographer has only recently begun to be analyzed and appreciated. Accompanists are expected to have the patience of Job and be willing to be at each rehearsal, each class, playing the same work again and again in ways that motivate dancers.
    [Show full text]
  • Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School Of
    MATERIAL ENTANGLEMENTS WITH THE NONHUMAN WORLD: THEORIZING ECOSEXUALITIES IN PERFORMANCE Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Michael J. Morris, B.F.A. Graduate Program in Dance Studies The Ohio State University 2015 Dissertation Committee: Norah Zuniga Shaw, Advisor Harmony Bench M. Candace Feck Catriona Sandilands Copyright by Michael J. Morris 2015 ABSTRACT This dissertation develops multiple theories of ecosexuality with three works of performance: Annie Sprinkle and Elizabeth Stephens’ performance art project the Love Art Laboratory (2004-2011), Carlos Batts’ pornographic film Dangerous Curves (2010), and Pina Bausch’s dance Rite of Spring (1975). Following the premise that all sexuality—even human sexuality—is always already ecologically entangled with any number of nonhuman lives and materials, I consider the ways in which the performing arts produce views and understandings of these entanglements. Thinking with these three case studies, I develop multiple overlapping, intersecting, and diverging theories of ecosexuality that each figure human/nonhuman relations in ways that think beyond anthropocentric definitions of sexuality and the culture of human exceptionalism that such anthropocentrism reinforces. Following the use of the term “ecosexuality” in Stephens and Sprinkle’s performance artwork, I suggest that the significance of this concept will be as multiple and shifting as the terms from which it is assembled—ecology and sexuality—and that each of the performance works within this study demonstrates specific choreographic principles with which ecosexuality can be thought. Methodologically, I approach this material through a process of choreographic thinking, first articulating the prominent features of each performance and the choreographic principles that they instantiate, then using those principles to mobilize my theorizations of sex, sexuality, and human/nonhuman relations.
    [Show full text]
  • The Dancing Shiva: South Indian Processional Bronze, Museum
    Journal of Religion in Europe Journal of Religion in Europe 4 (2011) 204–222 brill.nl/jre Th e Dancing Shiva: South Indian Processional Bronze, Museum Artwork, and Universal Icon Johannes Beltz Museum Rietberg Zurich Gablerstrasse 15, CH-8002 Zurich, Switzerland [email protected] Abstract Today, in addition to the Om sign or the image of Ganesha, the image of the dancing Shiva is one of the best known Hindu symbols in the world: the ‘Nataraja’ is not only omnipresent in museums; his image adorns holy cards, posters, holiday brochures, as well as countless websites and diverse esoteric and academic book covers. Th is article examines how this image could attain such great popularity. It focuses on processes of cultural appropriation and reinterpretation. Originally a southern Indian processional bronze, the dancing Shiva became transformed into a museum artwork and a universal icon. Th is paper traces the diff erent actors, networks and interactions behind this career from southern Indian temples to the stages of the Western world. Keywords Shiva , India , Hinduism , art , museum , dance , Orientalism 1. Introduction Shiva is one of the most important, as well as one of the most fascinating deities in Hinduism. Especially in southern India he is often depicted as the King of Dance (Skr. Nataraja ). Shiva dances the dance of bliss (Skr. ananda tandava ); in him are revealed both joy and eagerness, anger and violence. Here, Shiva determines the rhythm of life and of time. He possesses immeasurable energies with which he determines the becom- ing, the being and the passing away of the whole of creation.
    [Show full text]
  • Aberystwyth University Responding to Per.Art's Dis Sylphide
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Aberystwyth Research Portal Aberystwyth University Responding to Per.Art's Dis_Sylphide Ames, Margaret; Calvert, Dave; Glorstad, Vibeke; Maguire-Rosier, Kate; McCaffrey, Tony; Schmidt, Yvonne Published in: Theatre Research International DOI: 10.1017/S0307883318000846 Publication date: 2019 Citation for published version (APA): Ames, M., Calvert, D., Glorstad, V., Maguire-Rosier, K., McCaffrey, T., & Schmidt, Y. (2019). Responding to Per.Art's Dis_Sylphide: Six Voices from IFTR's Performance and Disability Working Group. Theatre Research International, 44(1), 82-101. [8]. https://doi.org/10.1017/S0307883318000846 General rights Copyright and moral rights for the publications made accessible in the Aberystwyth Research Portal (the Institutional Repository) are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the Aberystwyth Research Portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the Aberystwyth Research Portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate
    [Show full text]
  • Max Kade Center for European and German Studies
    Newsletter for the Spring 2015 Director: Joy H. Calico Max Kade Center Associate Professor of Musicology & European for European and German Studies Studies MAYMESTER ABROAD 2015: SWITZERLAND OR VIENNA? EUS 260.02: International Health, Social Justice, and Romantic Poetry — By Robert Barsky, Professor of English, French, Jewish Studies and Comparative Literature EUS offers two Maymester upholding human rights. Another reason is the access to archives of work from courses abroad in 2015. sheer grandeur and impenetrability of the high political radicals, notably Christoph Zeller’s course on Alps has led to the establishment of specific Reclus, Kropotkin and Vienna and Modernism is a kinds of political regimes that have been largely Bakunin, as well as documents perennial favorite (see previ‐ protected by repeated incursions and allowed for relating to Swiss experiments ous issue). Below Robert a certain protective neutrality. in radical reform, including the Barsky describes his new work of the Jura watchmakers. EUS course in Switzerland. In this Maymester, Professor Robert Barsky will The class will then visit make this link between radicalism and creativity, Montreux, where they will Despite (or perhaps because safe haven and international law, medicine and encounter the worlds of Byron, of) the conservatism of the international engagement, by exploring Mary and Percy Shelley and Swiss and the image of Swit‐ others through visits to the zerland as a place of politi‐ regions so dear to all of them, cal neutrality, banking and including the Chateau Chillon watch‐making, the Swiss and the Villa Diodati. From Alps have sheltered and I Geneva we head to Chamonix inspired generations of Mont Blanc, the very height of radical creative and political the Swiss Alps, the most work, by a host of artists, famous icon for the Romantic Romantic poets writers.
    [Show full text]
  • Expressions of Form and Gesture in Ausdruckstanz
    EXPRESSIONS OF FORM AND GESTURE IN AUSDRUCKSTANZ, TANZTHEATER, AND CONTEMPORARY DANCE by TONJA VAN HELDEN B.A., University of New Hampshire, 1998 M.A., University of Colorado, 2003 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Program of Comparative Literature 2012 This thesis entitled: Expressions Of Form And Gesture In Ausdruckstanz, Tanztheater, And Contemporary Dance written by Tonja van Helden has been approved for the Comparative Literature Graduate Program __________________________________________ Professor David Ferris, Committee Chair ____________________________________________ Assistant Professor Ruth Mas, Committee member ____________________________________________ Professor Jennifer Peterson, Committee member ____________________________________________ Professor Henry Pickford, Committee member ____________________________________________ Professor Davide Stimilli, Committee member Date ________________ The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. van Helden, Tonja (Ph. D., Comparative Literature, Comparative Literature Graduate Program) Expressions Of Form And Gesture In Ausdruckstanz, Tanztheater, And Contemporary Dance Thesis directed by Professor David Ferris My dissertation examines the historical trajectory of Ausdruckstanz (1908-1936) from its break with Renaissance court ballet up through its transmission into Tanztheater and contemporary styles of postmodern dance. The purpose of this study is to examine the different modes of expression as indicated by the character, form, style, and concept of Ausdruckstanz, Tanztheater and contemporary dance. Through a close analysis of select case studies, each chapter provides a critical analysis of the stylistic innovations and conceptual problems evidenced by the choreographies from each movement.
    [Show full text]