Terpsichore In Sneakers

A dance critic's essays on post-modern dance. Drawing on the postmodern perspective and concerns that informed her groundbreaking Terpischore in Sneakers, Sally Bane's Writing Dancing documents the background and development of avant-garde and popular dance, analyzing individual artists, performances, and entire dance movements. With a sure grasp of shifting cultural dynamics, Banes shows how postmodern dance is integrally connected to other oppositional, often marginalized strands of dance culture, and considers how certain kinds of dance move from the margins to the mainstream. Banes begins by considering the act of dance criticism itself, exploring its modes, methods, and underlying assumptions and examining the work of other critics. She traces the development of contemporary dance from the early work of such influential figures as Merce Cunningham and George Balanchine to such contemporary choreographers as Molissa Fenley, Karole Armitage, and Michael Clark. She analyzes the contributions of the Judson Dance Theatre and the Workers' Dance League, the emergence of Latin postmodern dance in New York, and the impact of black jazz in Russia. In addition, Banes explores such untraditional performance modes as breakdancing and the "drunk dancing" of Fred Astaire.

Drawing of the postmodern perspective and concerns that informed her groundbreaking Terpsichore in Sneakers, Sally Banes’s Writing Dancing documents the background and developments of avant-garde and popular dance, analyzing individual artists, performances, and entire dance movements. With a sure grasp of shifting cultural dynamics, Banes shows how postmodern dance is integrally connected to other oppositional, often marginalized strands of dance culture, and considers how certain kinds of dance move from the margins to the mainstream. Banes begins by considering the act of dance criticism itself, exploring its modes, methods, and underlying assumptions, and examining the work of other critics. She traces the development of contemporary dance from the early work of such influential figures as Merce Cunningham and George Balanchine to such contemporary choreographers as Molissa Fenley, Karole Armitage, and Michael Clark. She analyzes the contributions of the Judson Dance Theatre and the Workers’ Dance League, the emergence of Latin postmodern dance in New York, and the impact of black jazz in Russia. In addition, Banes explores such untraditional performance modes as breakdancing and the “drunk dancing” of Fred Astaire. Ebook Edition Note: Ebook edition note: All images have been redacted.

The 1960s was a pivotal decade in dance, an era of intense experimentation and rich invention. In this volume an impressive range of dance critics and scholars examine the pioneering choreographers and companies of the era, such as Anna Halprin’s West Coast experiments, the innovative Judson Dance Theater, avant-garde dance subcultures in New York, the work of Meredith Monk and Kenneth King, and parallel movements in Britain. The contributors include Janice Ross, Leslie Satin, Noël Carroll, Gus Solomons jr., Deborah Jowitt, Stephanie Jordan, Joan Acocella, and Sally Banes.

This book does not aim to document comprehensively the extraordinarily rich activity in New York City in the early 1960's. Instead, the author focuses on one year, 1963. This was the most productive year of the period 1958-64, the transition between the Fifties and Sixties. The author also focuses on one other place---Greenwich Village in lower Manhattan. For it was primarily here, in a place already historically and culturally mythologized as avant-garde terrain, that the emerging generation of vanguard artists lived, worked, socialized, and remade the history of the avant-garde. - from the Introduction.

Sally Banes has been a preeminent critic and scholar of American contemporary dance, and Before, Between, Beyond spans more than thirty years of her prolific work. Beginning with her first published review and including previously unpublished papers, this collection presents some of her finest works on dance and other artistic forms. It concludes with her most recent research on Geroge Balanchine's dancing elephants. In each piece, Banes's detailed eye and sensual prose strike a rare balance between description, context, and opinion, delineating the American artistic scene with remarkable grace. With contextualizing essays by dance scholars Andrea Harris, Joan Acocella, and Lynn Garafola, this is a compelling, insightful indispensable summation of Banes's critical career.

Dancing Women: Female Bodies Onstage is a spectacular and timely contribution to dance history, recasting canonical dance since the early nineteenth century in terms of a feminist perspective. Setting the creation of specific dances in socio-political and cultural contexts, Sally Banes shows that choreographers have created representations of women that are shaped by - and that in part shape - society's continuing debates about sexuality and female identity. Broad in its scope and compelling in its argument Dancing Women: * provides a series of re-readings of the canon, from Romantic and Russian Imperial ballet to contemporary ballet and modern dance * investigates the gaps between plot and performance that create sexual and gendered meanings * examines how women's agency is created in dance through aspects of choreographic structure and style * analyzes a range of women's images - including brides, mistresses, mothers, sisters, witches, wraiths, enchanted princesses, peasants, revolutionaries, cowgirls, scientists, and athletes - as well as the creation of various women's communities on the dance stage * suggests approaches to issues of gender in postmodern dance Using an interpretive strategy different from that of other feminist dance historians, who have stressed either victimization or celebration of women, Banes finds a much more complex range of cultural representations of gender identities.

Judson Dance Theater involved such collaborators as Merce Cunningham, Yvonne Rainer, Steve Paxton, Carolee Schneemann, Trisha Brown, Robert Rauschenberg, David Tudor, et al.

Kenneth King is one of America’s most inventive postmodern choreographers. His dancing has always reflected his interest in language and technology, combining movement with film, machines, lighting and words both spoken and written. King is also conversant in philosophy, and some of his most influential dances have been dedicated to and in dialogue with the work of such philosophers as Susanne K. Langer, Edmund Husserl and Friedrich Nietzsche. Since the 1960s, he has performed his dance to texts both spoken and prerecorded—texts intended to stand separately as literary works. Writing in Motion spans more than thirty years and is collected here for the first time. It includes essays, performance scripts of King’s own work, art criticism, philosophy and cultural commentary. Dense with movement, these writings explode and reconfigure the familiar, crack syntax open, and invent startling new words. Dancing, to King, is “writing in space," and writing is a dance of ideas. Whether referencing Aristotle, Langer, Simone de Beauvoir, MTV, Maurice Blanchot or Marshall McLuhan, King’s delightfully lavish prose is very much “in motion.”