This article introduces the digital humanities and dance studies project Mapping Touring, and employs it in an analysis of Denishawn's touring prior to and immediately following the company's 1925–26 tour to Asia. Situated within the archival turn in dance, Mapping Touring emphasizes the possibilities of spatial and comparative analysis for touring dance artists, with information about their location and repertory drawn from archival sources, gathered and stored in a database, and plotted on interactive maps. With Denishawn as a case study, I contend that digital mapping can make visible some of the implications of travel and touring for the circulation and spread of theories of embodiment contained in dance repertory.

In line with the thinking of Laurence Louppe calling for a reevaluation and problematisation of oral sources within a dance history framework, this paper sets out to examine the extensive archive of the Bennington Summer School of the Dance Oral History Project, conducted between 1978 and 1979 and housed today at Columbia University. By taking as a starting point the dancer's voice at the heart of the educational project conceived by Martha Hill and Mary Jo Shelly, a different dance history of the thirties begins to emerge, bringing to the fore the dancer's evolving experience that constitutes a true Bennington archive, set against the backdrop of the “Big Four” ultimately not part of the project.

It is generally agreed that attitudes are composed of elements from the affective, behavioral, and cognitive domains. The affective component has been referred to as a feeling or an emotional response of liking or disliking, a gut reaction, or sympathetic nervous activity. The behavioral component includes overt actions or intentions of action, and verbal statements regarding future behavior. The cognitive component includes knowledge and beliefs of the attitude object that describe its characteristics, and its relationship to other objects (Breckler 1984, Katz 1960, Morris and Stuckhardt 1977).

Recent attitude research suggests discriminating between the three psychological domains, either by measuring each or by specifying which one is the focus of concern. Discrimination may be appropriate since the three domains are distinguishable from one another and correlations among them are sometimes moderate (Breckler 1984). Discrimination among attitudinal domains also appears to be necessary since it has been found that directing change at one of the three domains may affect a shift in the other two (Cialdini et al. 1976, Katz 1960), and because differences between groups of subjects may fall within one or two of the domains rather than all three (Quattrone 1985).

More than fifty years have passed since the American premiere of Stravinsky's Les Noces, which opened on April 25, 1929 at the Metropolitan Opera House in New York City. Generally overshadowed by the Bronislava Nijinska version (Paris, 1923) and by the later Jerome Robbins version (New York, 1965), the 1929 production presented a significantly different interpretation of the Stravinsky piece. The choreographer was Elizaveta Anderson-Ivantzova (1890–1973), former prima ballerina at the Bolshoi, whose life span parallels almost exactly that of Nijinska (1891–1972) and whose career intersects with that of Nijinska by virtue of her choreographing the second version. Of concommitant interest is that the first two versions of Les Noces were choreographed by women in an age when women were less than likely to be engaged as choreographers, a fact not unnoticed in 1929. Yet, little is known of this and other aspects of the production today. An examination, therefore, of the background, the production itself, and the choreography in particular is needed to describe, as clearly as the evidence will allow, what the 1929 production was like and how it differed from the better known version of 1923.

The little attention given to the New York premiere seems to have had less to do with its original performance than with a subsequent indifference to it.

In this article, I explore the way that the creation and presentation of Lloyd Newsom's Dead Dreams of Monochrome Men (1988) for DV8 confronted the choreographer, performers, and audience with questions about the ethics of sex and romance and the treatment of gay men during the AIDS crisis. To analyze the complex affective relationships within and around the piece, I follow Emmanuel Levinas's ethical theory of the face in conjunction with Gilles Deleuze and Felix Guattari's related theory of faciality, which I interpret as referring to a disciplinary situation in which subjects are created through a process of terrorizing and shaming.

This essay argues that Trio A suspends dramatic form and develops an autonomous aesthetic process, called ambulatory performance. To explain this concept, it turns to Michel de Certeau, who claims that walking eludes formal unity and makes “spaces” for phenomena excluded from representation: everyday life, which is composed of ceaselessly moving singular “footsteps.” In this way, ambulatory performance emulates cinema, whose successive motion also relays quotidian experience. In order to identify a common theoretical basis for dance and media, the essay then relates this successive motion to the concept of automatisms, which film scholars have used to challenge medium specificity in response to the rise of digital cinema.