Hostname: page-component-cd9895bd7-lnqnp Total loading time: 0 Render date: 2024-12-23T13:36:47.788Z Has data issue: false hasContentIssue false

A Warm-up

Published online by Cambridge University Press:  22 July 2014

Extract

What kind of “symbol making behavior” is “dance”? At this point in history, are most scholars inclined to believe that “dance” is actually many symbol-making behaviors within time? “Dancing,” a human activity, occurs in myriad forms, both now and in the past. This warm-up accents the ramifications of adopting an historical perspective to describe “dance.” As might the Annalist Fernand Braudel, let me propose that dance media “should fit into time which carries life ceaselessly along” (Braudel 1980, 69). By “dance media,” I recognize every “dance” form which is tacitly legitimated within a social group. Every dance medium is a socially particular manner of constructing movement within a social group. There may be a scholar who argues that there is a dance medium which is not socially legitimated, but in turn, what data shows that such a medium exists? “Dance” should give way to dance media, a plural term.

Type
Articles
Copyright
Copyright © Congress on Research in Dance 1999

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Anderson, Benedict, imagined Communities: Reflections on the Origins and Spread of Nationalism. 1983. Reprint. New York and London: Verso, 1991.Google Scholar
Anderson, Jack. “Idealists, Materialists, and the Thirty-Two Fouettés.” In What is Dance? Readings in Theory and Criticism, edited by Copeland, Roger and Cohen, Marshall. New York, Oxford, Toronto, Melbourne: Oxford University Press, 1983.Google Scholar
Banes, Sally. Democracy's Body: Judson Dance Theater 1962–1964. 1980. Reprint. Ann Arbor and London: UMI Research Press, 1983.Google Scholar
Steven, Beller. “Central Europe: Birthplace of the Modern World?Austrian History Yearbook 23 (1992): 7290.Google Scholar
Berg, Shelly C. Le Sacre du Printemps: Seven Productions from Nijinsky to Martha Graham. Ann Arbor and London: UMI Research Press, 1988.Google Scholar
Braudel, Fernand. “History and Sociology.” In On History. Translated by Matthews, Sarah. 1969. Reprint. Chicago: University of Chicago Press, 1980.Google Scholar
Bryson, Norman. “Cultural Studies and Dance History.” In Meaning in Motion: New Cultural Studies of Dance, edited by Desmond, Jane C. Durham and London: Duke University Press, 1997.Google Scholar
Carter, Curtis L.Intelligence and Sensibility in the Dance.” The Growth of Dance in America 13:2 (Summer-Fall 1976):210–20.Google Scholar
Cohen, Selma Jeanne. “Dance.” In The Blackwell Dictionary of Twentieth Century Social Thought, edited by Oathwaite, William and Bottomore, Tom. Oxford: The Alden Press, 1993.Google Scholar
Cohen, Selma Jeanne. The Modern Dance: Seven Statements of Belief. 1965. Reprint. Middletown: Wesleyan University Press, 1966.Google Scholar
Cohen, Selma Jeanne. Next Week, Swan Lake: Reflections on Dance and Dances. Middletown: Wesleyan University Press, 1982.Google Scholar
Crowley, Daniel J.Aesthetic Judgment and Cultural Relativism.” The Journal of Aesthetics and Art Criticism 17:2 (December 1958): 187–93.CrossRefGoogle Scholar
Daly, Ann. “Unlimited Partnership: Dance and Feminist Analysis.” Dance Research Journal 23:1 (Spring 1991): 23.CrossRefGoogle Scholar
Durkheim, Émile. The Elementary Forms of Religious Life. Translated by Swain, Joseph Ward. 1915. Reprint. New York: The Free Press, 1965.Google Scholar
Foster, Susan Leigh, ed. Corporealities: Dancing Knowledge, Culture and Power. London: Routledge, 1995.Google Scholar
Foster, Susan Leigh. “Pygmalion's No-Body and the Body of the Dance.” In Performance and Cultural Politics, edited by Diamond, E. London and New York: Routledge, 1996.Google Scholar
Foster, Susan Leigh. Reading Dancing: Bodies and Subjects in Contemporary American Dance. Berkeley, Los Angeles, and London: University of California Press, 1986.Google Scholar
Franko, Mark. Dancing Modernism/Performing Politics. Bloomington and Indianapolis: Indiana University Press, 1995.Google Scholar
Franko, Mark. “Five Theses on Laughter After All.” In Moving Words: Re-writing Dance, edited by Morris, Gay. London and New York: Routledge, 1996.Google Scholar
Gilpin, Heidi. “Lifelessness in Movement, or How Do the Dead Move? Tracing Displacement and Disappearance for Movement Performance.” In Corporealities: Dancing Knowledge, Culture and Power, edited by Foster, Susan L. London: Routledge, 1995.Google Scholar
Humphrey, Doris. The Art of Making Dances. Edited by Pollack, Barbara. 1959. Reprint. Princeton: Princeton Book Company/Dance Horizons, 1987.Google Scholar
Huxley, Michael. “European Early Modern Dance.” In Dance History: An Introduction, edited by Adshead-Lansdale, Janet and Layson, June. 1983. Reprint. London and New York: Routledge, 1994.Google Scholar
Jeschke, Claudia. Review of Ecstasy and the Demon: Feminism and Nationalism in the Dances of Mary Wigman, by Susan A. Manning. Dance Research Journal 27:2 (Fall 1995): 3435.CrossRefGoogle Scholar
Kealiinohomoku, Joann. “An Anthropologist Looks at Ballet as a Form of Ethnic Dance.” In What is Dance? Readings in Theory and Criticism, edited by Copeland, Roger and Cohen, Marshall. New York, Oxford, Toronto, Melbourne: Oxford University Press, 1983.Google Scholar
Kisselgoff, Anna. “There is Nothing ‘National’ About Ballet Styles.” In What is Dance? Readings in Theory and Criticism, edited by Copeland, Roger and Cohen, Marshall. New York, Oxford, Toronto, Melbourne: Oxford University Press, 1983.Google Scholar
Kramer, Lloyd S. “Literature and Historical Imagination: The Literary Challenge of Hayden White and Dominick LaCapra.” In The New Cultural History, edited by Hunt, Lynn. Berkeley, Los Angeles, and London: University of California Press, 1989.Google Scholar
Laban, Rudolf. Choreutics. Edited by Ullmann, Lisa. London: MacDonald and Evans, 1966.Google Scholar
LaCapra, Dominick. “Is Everyone a Mentalité Case? Transference and the Culture Concept.” History and Theory 23:3 (1984): 296311.CrossRefGoogle Scholar
LaCapra, Dominick. Rethinking Intellectual History: Texts, Contexts, Language. 1983. Reprint. Ithaca and London: Cornell University Press, 1985.Google Scholar
Lally, Kathleen Ann. “A History of the Federal Dance Theatre 1935–1939.” Ph.D. dissertation, Texas Women's University, 1978.Google Scholar
Lash, Scott. Sociology of Postmodernism. London and New York: Routledge, 1992.Google Scholar
Latour, Bruno. We Have Never Been Modern. Translated by Porter, Catherine. 1991. Reprint. Cambridge: Harvard University Press, 1993.Google Scholar
Lyotard, Jean-François. “After the Sublime: The State of Aesthetics.” In The States of ‘Theory’: History, Art and Critical Discourse, edited by Carroll, David. 1990. Reprint. Stanford: Stanford University Press, 1994.Google Scholar
Manning, Susan A. Ecstasy and the Demon: Feminism and Nationalism in the Dances of Mary Wigman. Berkeley, Los Angeles, London: University of California Press, 1993.Google Scholar
Martin, Carol. Dance Marathons: Performing American Culture in the 1920s and 1930s. Jackson: University of Mississippi Press, 1994.Google Scholar
Mauss, Marcel. “Techniques of the Body.” Economy and Society 2:1 (February 1973): 7087.CrossRefGoogle Scholar
Morris, Gay, ed. Moving Words: Re-writing Dance. London and New York: Routledge, 1996.Google Scholar
Morris, Gay. Review of Choreographing History, edited by Susan L. Foster. Dance View 13:1 (Autumn 1995): 22.Google Scholar
Ness, Sally Ann. “Observing the Evidence Fail: Difference Arising from Objectification in Cross-Cultural Studies of Dance.” In Moving Words: Rewriting Dance, edited by Morris, Gay. London and New York: Routledge, 1996.Google Scholar
Novack, Cynthia J. Sharing the Dance: Contact Improvisation and American Culture. Madison: University of Wisconsin Press, 1990.Google Scholar
Phelan, Peggy. Unmarked: The Politics of Performance. London and New York: Routledge, 1993.Google Scholar
Roth, Michael. “Performing History: Modernist Contextualism in Carl E. Schorske's Fin-de-Siècle Vienna.” In The Ironist's Cage: Memory, Trauma, and the Construction of History. New York: Columbia University Press, 1995.Google Scholar
Rouse, John. Review of Ecstasy and the Demon: Feminism and Nationalism in the Dances of Mary Wigman, by Susan A. Manning. Dance Research Journal 27:2 (Fall 1995): 3637.CrossRefGoogle Scholar
Rust, Frances. Dance in Society: An Analysis of the Relationship between the Social Dance and Society in England from the Middle Ages to the Present Day. London and New York: Routledge, 1969.Google Scholar
Ruyter, Nancy Lee Chalfa. “Antique Longings: Geneviève Stebbins and American Delsartean Performance.” In Corporealities: Dancing Knowledge, Culture and Power, edited by Foster, Susan L. London: Routledge, 1995.Google Scholar
Ruyter, Nancy Lee Chalfa. Reformers and Visionaries: The Americanization of the Art of Dance. New York: Dance Horizons, 1979.Google Scholar
Schorske, Carl E. Fin-de-Siècle Vienna: Culture and Politics. New York: Vintage, 1981.Google Scholar
Schorske, Carl E. “History and the Study of Culture.” In History and …: Histories Within the Human Sciences, edited by Cohen, Ralph and Roth, Michael. Charlottesville and London: University Press of Virginia, 1995.Google Scholar
Siegel, Marcia B.Waiting for the Past to Begin.” The Growth of Dance in America 13:2 (Summer-Fall 1976): 228.Google Scholar
Smart, Barry. Postmodernity. London and New York: Routledge, 1993.Google Scholar
Sparshott, Francis. Off the Ground: First Steps to a Philosophical Consideration of the Dance. Princeton: Princeton University Press, 1988.Google Scholar
Spencer, Paul, ed. Society and the Dance: The Social Anthropology of Process and Performance. Cambridge and New York: Cambridge University Press, 1985.Google Scholar
Thomas, Helen. Dance, Modernity and Culture: Explorations in the Sociology of Dance. London and New York: Routledge, 1995.CrossRefGoogle Scholar
Thomas, Helen. “Do You Want to Join the Dance? Postmodernism/Poststructuralism, the Body, and Dance.” In Moving Words: Re-writing Dance, edited by Gay Morris, . London and New York: Routledge, 1996.Google Scholar
White, Harrison C. Careers and Creativity: Social Forces in the Arts. Boulder, San Francisco, and Oxford: Westview Press, 1993.Google Scholar
White, Hayden. Metahistory: The Historical Imagination in Nineteenth Century Europe. Baltimore and London: The Johns Hopkins University Press, 1975.Google Scholar