Hostname: page-component-cd9895bd7-fscjk Total loading time: 0 Render date: 2024-12-23T23:16:48.719Z Has data issue: false hasContentIssue false
  • English
  • Français

I. Unlimited Partnership: Dance and Feminist Analysis

Published online by Cambridge University Press:  22 July 2014

Ann Daly
Get access Rights & Permissions [Opens in a new window]

Extract

Among all the arts in western culture, dance may have the most to gain from feminist analysis. Certainly the two are highly compatible. Dance is an art form of the body, and the body is where gender distinctions are generally understood to originate. The inquiries that feminist analysis makes into the ways that the body is shaped and comes to have meaning are directly and immediately applicable to the study of dance, which is, after all, a kind of living laboratory for the study of the body—its training, its stories, its way of being and being seen in the world. As a traditionally female-populated (but not necessarily female-dominated) field that perpetuates some of our culture's most potent symbols of femininity, western theatrical dance provides feminist analysis with its potentially richest material.

Type
Articles
Information
Dance Research Journal , Volume 23 , Issue 1 , Spring 1991 , pp. 2 - 5
Copyright
Copyright © Congress on Research in Dance 1991

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

REFERENCES

Benjamin, Jessica. “A Desire of One's Own: Psychoanalytic Feminism and Intersubjective Space.” In Feminist Studies/Critical Studies. Edited by de Lauretis, Teresa. Bloomington, Indiana: Indiana University Press, 1986, pp. 78–101.CrossRefGoogle Scholar
Boyce, Johanna, Daly, Ann, Jones, Bill T., and Martin, Carol. “Movement and Gender: A Roundtable Discussion.” TDR: A Journal of Performance Studies, vol. 32, no. 4, T120, Winter 1988, pp. 82–101.CrossRefGoogle Scholar
Daly, Ann. “Are Women Reclaiming or Reinforcing Sexist Imagery?” High Performance, vol. 12, no. 2, #46, Summer 1989, pp. 18–19.Google Scholar
Daly, Ann. “Classical Ballet: A Discourse of Difference.” Women & Performance, vol. 3, no. 2, #6, 1987/1988, pp. 57–66.CrossRefGoogle Scholar
Daly, Ann. “The Balanchine Woman: Of Hummingbirds and Channel Swimmers.” The Drama Review, vol. 31, no. 1, T113, Spring 1987, pp. 8–21.CrossRefGoogle Scholar
Daly, Ann. “Dance History and Feminist Theory: Reconsidering Isadora Duncan and the Male Gaze.” Gender in Performance, edited by Senelick, Laurence. Hanover, New Hampshire: University Press of New England. Forthcoming.Google Scholar
Daly, Ann. “Response to: ‘Tanztheater: The Thrill of the Lynch Mobor the Rage of a Woman’?” The Drama Review, vol. 30, no. 2, T110, Summer 1986, pp. 54–56.CrossRefGoogle Scholar
de Lauretis, Teresa. Technologies of Gender: Essays on Theory, Film, and Fiction. Bloomington and Indianapolis: Indiana University Press, 1987.CrossRefGoogle Scholar
Dolan, Jill. The Feminist Spectator as Critic. Ann Arbor, Michigan and London: UMI Research Press, 1988.Google Scholar
Foster, Susan Leigh. Reading Dancing: Bodies and Subjects in Contemporary American Dance. Berkeley, Los Angeles, London: University of California Press, 1986.Google Scholar
Garafola, Lynn. Diaghilev's Ballets Russes. New York and Oxford: Oxford University Press, 1989.Google Scholar
Garafola, Lynn. “The Travesty Dancer in Nineteenth Century Ballet.” Dance Research Journal, vol. 17, no. 2, Fall 1985/vol. 18, no. 1, Spring 1986, pp. 35–40.CrossRefGoogle Scholar
Garafola, Lynn. “Bronislava Nijinska: A Legacy Uncovered.” Women & Performance, vol. 3, no. 2, #6, 1987/1988, pp. 78–89.CrossRefGoogle Scholar
Marianne, Goldberg, ed. “The Body as Discourse.” Women & Performance, vol. 3, no. 2, #6, 1987/1988.Google Scholar
Goldberg, Marianne. “Ballerinas and Ball Passing.” Women & Performance, vol. 3, no. 2, #6, 1987/1988, pp. 7–31.CrossRefGoogle Scholar
Goldberg, Marianne. “She Who Is Possessed No Longer Exists Outside: Martha Graham's Rite of Spring .” Women & Performance, vol. 3, no. 1, #5, 1986, pp. 17–27.CrossRefGoogle Scholar
Goldberg, Marianne, and Ann Cooper, Albright. “Roundtable Interview: Post-Modernism and Feminism in Dance.” Women & Performance, vol. 3, no. 2, #6, 1987/1988, pp. 41–56.CrossRefGoogle Scholar
Jowitt, Deborah. Time and the Dancing Image. New York: William Morrow and Company, Inc., 1988.Google Scholar
Kaplan, E. Ann. Women and Film: Both Sides of the Camera. London and New York: Methuen, 1983.CrossRefGoogle Scholar
Kilkelly, Ann Gavere. “Brenda Bufalino's Too Small Blues.” Women & Performance, vol. 3, no. 2, #6, 1987/1988, pp. 67–77.CrossRefGoogle Scholar
Kristeva, Julia. Revolution in Poetic Language. Translated by Waller, Margaret. New York: Columbia University Press, 1984.Google Scholar
Kristeva, Julia. “Gesture: Practice or Communication?” Translated by Benthall, Jonathan. In The Body Reader: Social Aspects of the Human Body. Edited by Polhemus, Ted. New York: Pantheon Books, 1978, pp. 264–284.Google Scholar
Martin, Carol. “Feminist Analysis Across Cultures: Performing Gender in India.” Women & Performance, vol. 3, no. 2, #6, 1987/1988, pp. 32–40.CrossRefGoogle Scholar
Moi, Toril. Sexual/Textual Politics: Feminist Literary Theory. London and New York: Methuen, 1985.Google Scholar
Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Screen, vol. 16, no. 3, Autumn 1975, pp. 6–18.CrossRefGoogle Scholar
Novack, Cynthia J. Sharing the Dance: Contact Improvisation and American Culture. Madison, Wisconsin: University of Wisconsin Press, 1990.Google Scholar
Wittig, Monique. “The Category of Sex.” Feminist Issues, Fall 1982, pp. 63–68.CrossRefGoogle Scholar