Exhausting Dance

The only scholarly book in English dedicated to recent European contemporary dance, Exhausting Dance: Performance and the Politics of Movement examines the work of key contemporary choreographers who have transformed the dance scene since the early 1990s in Europe and the US. Through their vivid and explicit dialogue with performance art, visual arts and critical theory from the past thirty years, this new generation of choreographers challenge our understanding of dance by exhausting the concept of movement. Their work demands to be read as performed extensions of the radical politics implied in performance art, in post-structuralist and critical theory, in post-colonial theory, and in critical race studies. In this far-ranging and exceptional study, Andre Lepecki brilliantly analyzes the work of the choreographers: * Jerome Bel (France) * Juan Dominguez (Spain) * Trisha Brown (US) * La Ribot (Spain) * Xavier Le Roy (France-Germany) * Vera Mantero (Portugal) and visual and performance artists: * Bruce Nauman (US) * William Pope.L (US). This book offers a significant and radical revision of the way we think about dance, arguing for the necessity of a renewed engagement between dance studies and experimental artistic and philosophical practices.

The only scholarly book in English dedicated to recent European contemporary dance, Exhausting Dance: Performance and the Politics of Movement examines the work of key contemporary choreographers who have transformed the dance scene since the early 1990s in Europe and the US. Through their vivid and explicit dialogue with performance art, visual arts and critical theory from the past thirty years, this new generation of choreographers challenge our understanding of dance by exhausting the concept of movement. Their work demands to be read as performed extensions of the radical politics implied in performance art, in post-structuralist and critical theory, in post-colonial theory, and in critical race studies. In this far-ranging and exceptional study, Andre Lepecki brilliantly analyzes the work of the choreographers: * Jerome Bel (France) * Juan Dominguez (Spain) * Trisha Brown (US) * La Ribot (Spain) * Xavier Le Roy (France-Germany) * Vera Mantero (Portugal) and visual and performance artists: * Bruce Nauman (US) * William Pope.L (US). This book offers a significant and radical revision of the way we think about dance, arguing for the necessity of a renewed engagement between dance studies and experimental artistic and philosophical practices.

The Oxford Handbook of Dance and Reenactment brings together a cross-section of artists and scholars engaged with the phenomenon of reenactment in dance from a practical and theoretical standpoint. Synthesizing myriad views on danced reenactment and the manner in which this branch of choreographic performance intersects with important cultural concerns around appropriation this Handbook addresses originality, plagiarism, historicity, and spatiality as it relates to cultural geography. Others topics treated include transmission as a heuristic device, the notion of the archive as it relates to dance and as it is frequently contrasted with embodied cultural memory, pedagogy, theory of history, reconstruction as a methodology, testimony and witnessing, theories of history as narrative and the impact of dance on modernist literature, and relations of reenactment to historical knowledge and new media.

Susan Manning is a professor of English, theater, and performance studies at Northwestern University and the author of Ecstasy and the Demon: The Dances of Mary Wigman. Book jacket.

The word doyenne signifies the various expressions of female, feminine, and feminist aspects of contemporary literature in India, through multiple theoretical frameworks. Contemporary Women’s Writing in India is an edited collection dealing with a range of these issues set in the society of Indian culture. Indian women’s literature is still a fertile ground for critical enquiry. There are three sections in the collection: Section I deals with specific instances in history, historical constructions, and representations of gender. Section II offers a varied spectrum of feminist critical discourse on contemporary Indian women’s writing, intersecting with the frameworks of post-colonial theory, deconstruction, perspectives on race and ethnicity, and eco-feminism. Section III touches upon the notion of the woman’s body and psyche through the varied perspectives of psychoanalysis, feminism, and post-feminism. By thoroughly exploring a range of issues, Contemporary Women’s Writing promises to take the reader by the hand, and journey through the unfamiliar but refreshing landscape of women’s literature in India.

Represents the range and diversity of writings on dance from the mid-to-late twentieth century, providing contemporary perspectives on ballet, modern dance, postmodern 'movement performance' jazz and ethnic dance.

This book is about dance’s relationship to language. It investigates how dance bodies work with the micromovements elicited by language’s affective forces, and the micropolitics of the thought-sensations that arise when movement and words accompany one another within choreographic contexts. Situating itself where theory meets practice—the zone where ideas arise to be tested, the book draws on embodied research in practices within the lineages of American postmodern dance and Japanese butoh, set in dialog with affect-based philosophies and somatics. Understanding that language is felt, both when uttered and when unspoken, this book speaks to the choreographic thinking that takes place when language is considered a primary element in creating the sensorium.

This volume critically discusses dance’s role as an art form in modern Greek society, exploring both ethnographic and cross-cultural issues. The contents of the book unfold in parallel and intertwining dialogues and discourses incorporating reflections on philosophical and scientific subjects and experiences relating to dance. The investigation places ballet, modern and contemporary dance within the Greek context, and juxtaposes these genres with international dance making. It also uncovers the factors that have affected the development of dance practices in Greece during the twentieth and twenty-first centuries, and considers the reasons why, until now, dance, as an embodied art form, has not been established in Greece as an autonomous academic discipline with its own sustainable educational structures. It paints a picture of the past and the present, while also serving to inspire future artist-practitioners and scholars to advocate and support the discipline of dance in Greece.