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: Theatre & Dance 24
TWENTIETH-CENTURY AMERICAN DANCE:
SIXTIES VANGUARD NINETIES HIP HOP
Webster 220 Fall 2010
Mondays-Wednesdays 2-4:00 PM, Amherst College
Instructor: Constance Valis Hill, Five College Professor of Dance
Hampshire College, Dance Building (559-5673) chill@hampshire.edu
Cool, candid, athletic; playful, arrogant, and promiscuous: Sixties experimental dance works were wildly divergent but can collectively be seen as a revolt against the institution of American modern dance as they offered bold alternatives as to who was a dancer, what made a dance, what was beautiful and worth watching, and what was art. Mirroring the decade that was marked by tumultuous social and political change, and guided by the decades liberating ideal, sixties vanguard dancers often outrageously (and naively) invalidated modern dances authority by going beyond democracy into anarchy, Jill Johnston wrote about the rebels of the Judson Dance Theatre. No member outstanding. No body necessarily more beautiful than any other body. No movement necessarily more important or more beautiful than any other movement.
This survey of twentieth-century American dance moves from the sixties-- a decade of revolt and redefinition in American modern dance that provoked new ideas about dance, the dancers body and a radically changed dance aesthetic-- to the radical postmodernism of the nineties when the body continued to be the site for debates about the nature of gender, ethnicity and sexuality. We will investigate how the political and social environment, particularly the Civil Rights/Black Power Movement, Anti-War/Student Movement, and the Womens Movement with its proliferation of feminist performance works, informed the work of succeeding generations of dance artists and yielded new theories about the relationship between cultural forms and the construction of identities; and how each artist pursued radically different methods, materials and strategies for provoking new ideas about dance, body, and corporeal aesthetics; but who altogether instigated new frames and viewing positions from which to understand how dance communicates (and what it may-or-may-not mean); and inspired a fresh new group of self-conscious and socially-conscious dance artists/activists who insist on speaking directly to their own generation.
Core Texts:
Sally Banes, Democracys Body: Judson Dance Theatre 1962-1964 (1987)
Lisa Gabrielle Mark, ed. WACK! Art and the Feminist Revolution (2007)
HYPERLINK "http://fcaw.library.umass.edu:8991/F/CLEHVV3LGE8DTC8CFNJIH6GN6YCK6V32RQILCXLYIJCE2BYETK-30138?func=item-global&doc_library=FCL01&doc_number=004444926&year=&volume=&sub_library=ACFST" AC Frost Library/AC Frost Stacks/N72 .F45W33 2007 HYPERLINK "javascript:open_window(%22http://fcaw.library.umass.edu:8991/F/CLEHVV3LGE8DTC8CFNJIH6GN6YCK6V32RQILCXLYIJCE2BYETK-30139?func=library&sub_library=ACFST%22);" INCLUDEPICTURE "http://fcaw.library.umass.edu:8991/exlibris/aleph/u19_1/alephe/www_f_eng/icon/f-info.gif" \* MERGEFORMATINET
David Gere, How To Make Dances in an Epidemic: Tracking
Choreography in the Age of AIDS (2004). HYPERLINK "http://fcaw.library.umass.edu:8991/F/XQ3RISS9EJ8RS8XTFVSC81AS1R84FMUELJCDIPUBELM824I591-36953?func=item-global&doc_library=FCL01&doc_number=000683913&year=&volume=&sub_library=ACFST" AC Frost Stacks/GV1588.6.G47 2004
Tricia Rose, Black Noise:Rap Music and Black Culture in Contemporary
America (1994) AC Frost Stacks ML3531.R67 1994
On Reserve:
Sally Banes, Greenwich Village 1963: Avant-Garde Performance and the
Effervescent Body (1993) HYPERLINK "http://fcaw.library.umass.edu:8991/F/NJRIHBNM27X7DSP8RM7PDC4VHCG729A7MJX5KY7QEC57A4QPJJ-23493?func=item-global&doc_library=FCL01&doc_number=010471304&year=&volume=&sub_library=ACFST" AC Frost Library/AC Frost Stacks/NX511.N4B26 1993
_____ Dancing Women: Female Bodies on Stage (1998)
Alexander Bloom, ed. Takin It to the Streets: A Sixties Reader (2003)
Lisa Gabrielle Mark, ed. WACK! Art and the Feminist Revolution (2007)
Moira Roth, The Amazing Decade: Women and Performance Art in America ,
1970-1980 (1983)
Desmond, Jane C. ed. Dancing Desires: Choreographing Sexualities On & Off the
Stage (2002) HYPERLINK "http://fcaw.library.umass.edu:8991/F/6LPRN9THY2LBN11UAPPVUHQDCLPCHKHNS38VJ536RI5LRI5Y45-32529?func=item-global&doc_library=FCL01&doc_number=000623697&year=&volume=&sub_library=ACFST" AC Frost Library/AC Frost Stacks/GV1588.6.D395 2001 HYPERLINK "javascript:open_window(%22http://fcaw.library.umass.edu:8991/F/6LPRN9THY2LBN11UAPPVUHQDCLPCHKHNS38VJ536RI5LRI5Y45-32530?func=library&sub_library=ACFST%22);" INCLUDEPICTURE "http://fcaw.library.umass.edu:8991/exlibris/aleph/u19_1/alephe/www_f_eng/icon/f-info.gif" \* MERGEFORMATINET
David Gere, How To Make Dances in an Epidemic: Tracking Choreography in
the Age of AIDS (2004).
Perkins, William Eric, ed. Droppin Science: Critical Essays on Rap Music and
Hip Hop Culture. Temple University Press (1996)
Tricia Rose, Black Noise: Rap Music and Black Culture in Contemporary
America (1994)
Class Requirements:
1. Attendance is mandatory, as is punctuality.
2. Assigned Readings/Viewings: all readings (aside from core texts) online course website.
3. Three Oral Presentations (Judson Experiments; Feministas; Final Text & (Con)Text)
4. Three Short essays: Counterculture; Feminist Write; Reflection on D-Man in the Waters.
5. Lecture Series: Women, Gender, Sexuality Studies Program, UMass Amherst:
Critical Sexualities Fall 2010
Panel: Framing Sexuality Studies Lecture series
Thursday, September 30, 4-6 pm, Herter 601, UMass Amherst
Lecture: From Antagonism to Agonism: Shifting Paradigms of Women's Opposition to the State, Thursday, October 7, 5 pm, Five College Women's Research Center 83 College Street, Mount Holyoke College, South Hadley
6. Final TEXT & (CON)TEXT [Presentation and Paper]: description, analysis, and
contextualization of a dance work in the 60s-90s continuum; with a focus on how the work provoked new ideas about dance, the dancers body, corporeal aesthetics; challenged representations of race and gender; presented multifarious political agenda; and embodied form of protest expression as an activist work that challenged and negotiated the social positions and contradictory identities of everyday life.
The Final Paper will be completed in three stages:
November 3: a one-page paper proposal that identifies the dance artist and dance work, a statement of why the work is deserving of analysis within the parameters of the course, and list of bibliographic and videographic sources; November 15: a 4-5 page close reading of the dance work in which you will identify and assess the formal components, cultural icons, and style of the work; November 29: a 6-8 page explication and contextualization of the work within the sixties-nineties continuum. You will present a synopsis of your paper, with visual sources during the last week of the semester. The Final Paper is due December 15
Dance is the embodiment of culture
Dance embodies culture
Dance is cultures body
It reflects culture by conveying,
through non-verbal symbolism and gesture,
through dynamics and stillness,
our ideas about physical beauty, pleasure, health, work and sexuality,
and the bodys role in perception, mental, and spiritual life.
On the other hand, dance produces culture,
articulating and comprehending experience in somatic terms.
(Sally Banes), Judson Dance Theatre
September 8: Introduction and Overview: The Counter Culture
Sample viewings of dance/performance works spanning 60s-90s;
Exercise: ATM (Accumulative gesture, Autobiographic text, Movement phrase)
ATM (Accumulative gesture, autobiographic Text, Movement phrase) students will create your own original dance score comprising autobiographic materials that splices (1) accumulative gesture played out serially (2) autobiographic text and (3) parts of a continuous phrase of movement. (Yes, this assignment does recall Trisha Browns Accumulation with Talking Plus Watermotor. This experimental dance composition will be performed first, in its 3 parts (1,2,3) and second, as a spliced and semi-improvised composition.
Viewings:
Yvonne Rainers Trio A (1966)
Lucinda Childs Dance (1979)
Stephen Petronio, Beauty and the Brut (2008)
Trisha Brown, Accumulation with Talking plus Watermotor (1979)
September 13: Geneologies of Protest
Civil Rights to Black Power
We Shall Overcome to Up Against the Wall Motherfucker
Read:
The Port Huron Statement of the Students for a Democratic Society (1962)
HYPERLINK "http://www.hnet.org/~hst306/documents/huron.html" http://www.hnet.org/~hst306/documents/huron.html;
how many of t ideas put forth by SDS have currency today?
Sally Banes, Power and the Dancing Body (handout);
The Body is Power, in Greenwich Village 1963: Avant-
Garde Performance and the Effervescent Body.
Thomas DeFrantz, Simmering Passivity: Black Male Dancer on the Concert
Stage; To Make Black Bodies Strange: Social CritiqueBlack Arts
Movement.
Viewings:
Donald McKayle, Rainbow Round My Shoulder (1959)
Eleo Pomare, Blues for the Jungle (1966)
Let Freedom Sing: How Music Influenced the Civil Rights Movement
Gil Scott Heron, The Revolution Will Not Be Televised (1971)
Isely Brothers, Fight the Power (1975)
Ike and Tina Turner, Get Back and Proud Mary(1968)
September 15 Anatomy and Destiny
notes from Stephen Kerns Anatomy and Destiny: A Cultural History of the Human Body (1975)
From (the postwar forties and nifty fifties) Martha Grahams Night Journey (1947/1961) and Jose Limons I, Odysseus (1962) [and Louis Horsts aesthetic prescription for modern dance in, Aesthetics of Modern Dance, in Modern Dance Forms (1961)] to the performance works of Merce Cunningham/John Cage and improvisations of Anna Halprin
Read:
Elizabeth Dempster, Women Writing the Body: Lets Watch a Little How She Dances
Viewings:
Martha Graham, Night Journey (1947/1961)
Cunningham and Cage: excerpts from Credo of Us (1942), Four Walls (1944),
Summerspace (1958), Crises (1960), Changeling (1964), Scramble (1967).
September 20: Parades and Changes
the improvisational experiments of Anna Halprin and the cultural climate of the 1960s
Anna Halprin pioneered what became known as postmodern dance, creating work key to unlocking the door to experimentation in theater, music, Happenings, and performance art. Her extraordinary life can be viewed as the quintessential context of American culture in the 60s; particularly popular culture and the West Coast as a center of artistic experimentation from the Beats through the Hippies.
Halprins works continue to defy boundaries between artistic genres as well as between participants and observers; questioning the artists roles as dancer, choreographer, performance theorist, community leader, cancer survivor, healer, wife, and mother. Halprins friends and acquaintances include a number of artists who charted the course of postmodern performance. Among her students were Trisha Brown, Simone Forti, Yvonne Rainer, Meredith Monk, and Robert Morris, to whom she exemplified in life and art the vital sense of experimentation, and of how experience becomes performance.
Read:
Excerpts from HYPERLINK "http://www.amazon.com/Moving-Toward-Life-Decades-Transformational/dp/0819562866/ref=sr_1_3?s=books&ie=UTF8&qid=1283367873&sr=1-3" Moving Toward Life: Five Decades of Transformational Dance by
HYPERLINK "http://www.amazon.com/Anna-Halprin/e/B000APLB9Y/ref=sr_ntt_srch_lnk_3?qid=1283367873&sr=1-3" Anna Halprin and Rachel Kaplan
Anna Halprin, What and How I Believe: Stories & Scores from the 60s.
Viewings:
Anna Halprin, Parades and Changes (1965) SC VIDEOGV1782.62.P37 1965
Anna Halprin, 80th Year Retrospective HYPERLINK "http://fcaw.library.umass.edu:8991/F/A2U254JHVDJ84FK59GBTXIGCG1XJCNE56X3IPXLF66B6RIVF6S-05050?func=item-global&doc_library=FCL01&doc_number=002211968&year=&volume=&sub_library=SCJOS" SC Josten Video/VIDEO/GV1785.H267A5 2000 HYPERLINK "javascript:open_window(%22http://fcaw.library.umass.edu:8991/F/A2U254JHVDJ84FK59GBTXIGCG1XJCNE56X3IPXLF66B6RIVF6S-05051?func=library&sub_library=SCJOS%22);" INCLUDEPICTURE "http://fcaw.library.umass.edu:8991/exlibris/aleph/u19_1/alephe/www_f_eng/icon/f-info.gif" \* MERGEFORMATINET
YouTube: Anna Halprin and Anne Collod @ MCA Stage
Breath Made Visible (2010) whatever images available about this documentary
September 22: Judson Dance Theatre
methods and materials ? major themes? What is being challenged?
What is a dancer? What makes a dance?
Read:
Sally Banes, A Concert of Dance at Judson (Democracys Body , 35-70)
Assignment: Quick Takes Judson Experimental Works Due September 27, 29
Concert #1 (6 July 1962)
Ruth Emerson, Shoulder
Fred Herko, Once Or Twice a Week I Put On Sneakers to Go Uptown
Steve Paxton, Transit and Proxy
David Gordon, Helens Dance and Mannequin Dance
Deborah Hay, Rain Fur
Yvonne Rainer, Divertissement, Ordinary Dance, Dance for Three People and
Six Arms
Concert #2 (31 August 1962)
Elaine Summers, Suite and Instant Chance
Ruth Emerson, Narrative
Elaine Summers, Newspaper Dance
Ruth Emerson, Timepiece
Trisha Brown, Trillium
Concert #3 (29 and 30 January 1963)
Yvonne Rainer, We Shall Run
Ruth Emerson, Giraffe
Carol Scothorn, The Lararite
William Davis, Field
Steve Paxton and Yvonne Rainer, Word Words
Yvonne Rainer, Three Seascapes
Carolee Schneemann, Newspaper Event
Trisha Brown, Lightfall
Huot-Morris, WAR
Judith Dunn, Index
Lucinda Childs, Pastime
Deborah Hay, City Dance
Arlene Rothlein, Seems to Me There Was Dust in the Garden and Grass
Viewing:
Beyond the Mainstream (1980)
September 27: Judson Experiments:
Averting the Gaze & Intellegent (female) Bodies That Speak
continued examination of 60s experimental works that reflect themes of counterculture and pro-feminism; autobiography, structures, spliced compositions, talking and moving; when are you aware that gestures are being repeated?; how is repetition used in the composition process and what is the effect on the viewer?; how does the structuring of accumulated gestures and movements engage and/or disengage the viewer?
Read:
Sally Banes, The Judson Workshop (DB85-106) and The Plot Thickens
(DB120-121, 126-128)
Yvonne Rainer, The Mind is a Muscle and No to Spectacle
No to spectacle no to virtuosity no to transformations and magic and make believe no to the glamour and transcendence of the star image no to the heroic no to the anti-heroic no to trash imagery no to the involvement of performer or spectator no to camp no to seduction of spectator or by the wiles of performer no to eccentricity no to moving or being moved
Trisha Brown, I, I want, I want to, I want to give, I want to give my;
Accumulation With Talking Plus Watermotor, 1979 ;
Susan Foster (on Trisha Brown), Speech As Act: TBs Accumulation
The first third of the class will be presentations of Quick Takes on the works of the following experimentalists, commenting on methods and materials and major themes; and possible proto-feminist works critiquing the status quo, romantic, and emotional:
Yvonne Rainer Love section of Play from Terrain (1963)
Simone Forti See Saw and Rollers (1960);
Slantboard and Huddle (1962)
No. 3 (1966) see Simone Forti, Handbook in Motion
Deborah Hay Three Here (1964)
Group I and Group II (1967)
Lucinda Childs Carnation (1964)
Geranium (1965)
Carolee Schneemann Eye Body (1963)
Meat Joy (1964) [See YouTube excerpts of Meat Joy]
The remainder of the class will focus on the works of Trisha Brown and Yvonne Rainer which avert the gaze and propose intelligent (female) bodies that speak
Viewings:
Yvonne Rainer, Trio A (1966) from The Mind is a Muscle (1966)
Trisha Brown: Homemade (1966)
Roof and Fire (1973)
Man Walking Down the Side of a Building (1970)
Leaning Duets (1970)
Walking On The Wall (1971)
Accumulation (1971)
Primary Accumulation (1972)
Group Primary Accumulation (1973)
Accumulation(1971)With Talking(1973)Plus Watermotor (1978)
Assignment: Short Essay #1: How does Trisha Browns Accumulation with Talking and Watermotor OR Yvonne Rainers Trio A reflect the ideas of the counterculture? How do these performance works reflect proto-feminist ideas; ideas that, by the late 1960s, were beginning to be discussed by nascent egalitarian womens groups? 500-750 words; double-space;type-written.
Due: September 29
September 29: Proto Feminist Sixties Experiments?
Just what are (if any) are the (unspoken) proto-feminist implications of experimental dance works of the 60s? Synergy of athleticism and fluidity; an all-female troupe dancers/the relative absence of male dancers in early works; the female body as source of movement invention; release techniques that ply the joints and produce a silky flow of movement; sensuality; translucent white gowns in moonlight that reflect and project fleeting images; unbound flow of movement; juxtaposition of female dancing body and images of domesticity); protofeminist (celebrating the power of the female body) or unisexuality?
Class begins with a writing exercise describing/recounting movement in Trisha Browns Watermotor.
Viewings:
Tricia Brown, Watermotor, filmed by Babette Mangolte (1978)
Twyla Tharp Scrapbook Stride (1965)
Re-Moves (1965)
After Suite (1969)
History of Up and Down (1969)
Medley (1969)
The 100s (1970)
The Fugue (1970)
October 4, 6, 13, 18, 20: (Postmodern) Art and the Feminist Revolution
history and organization of the Womens Movement; issues and themes
Read:
Henry Sayre, A New Persona: Feminism and the Art of the Seventies (pdf)
Laura Mulvey, Visual Pleasure and Narrative Cinema (pdf)
Linda Nochlin, Why Have There Been No Great Women Artists? from Women,
Art and Power and Other essays, Westview Press, 1988 (147-158)
HYPERLINK "http://www.miracosta.edu/home/gfloren/nochlin.htm" www.miracosta.edu/home/gfloren/nochlin.htm
Audre Lorde, The Masters Tools Will Never Dismantle the Masters House
(1984) HYPERLINK "http://lists.econ.utah.edu/pipermail/margins-to-center/2006" http://lists.econ.utah.edu/pipermail/margins-to-center/2006
Peggy Phelan, The Returns of Touch: Feminist Performances, 1960-80 in
WACK! (pp.346-361)
Valerie Smith, abundant evidence: Black women Artists of the 1960s and
70s, in WACK! (PP. 400-413)
Catherine Lord, Their Memory is Playing Tricks on Her: Notes Toward a
Calligraphy of Rage, in WACK! (pp.440-457)
Viewings:
Robert Morris, Site (1964)
Carolee Schneeman, Interior Scroll (1975)
October 6: Feminist Performance Art
Performance is not a difficult concept to us [women]. Were on stage every moment of our lives. Acting like women. Performance is a declaration of selfwho one isand in performance we found an art form that was young, without the tradition of painting or sculpture, without the traditions governed by men. The shoe fit, and so, like Cinderella, we ran with it.
Cheri Gaulke, Los Angeles Performance Artist
The womens liberation movement dramatically affected the American social and intellectual climate of the 1970s. In art (as in education, medicine, and politics), women sought equality and economic parity as they actively fought against the mainstream values that had been used to exclude them. With their credo the personal is political, feminist artists celebrated their sexual otherness and sought to reclaim history. Consciously uniting the agendas of social politics with art, they generated new subjects, introduced different techniques, and embarked on new areas of investigation while questioning and challenging the male-dominated art world.
Performance art proved to be an ideal match for the feminist agenda of the 1970s-- it was personal, immediate, and highly effective in communicating an alternate view and their power in the world. Feminist performance of the 1970s served diverse purposes and never attempted to have one single philosophical system. Feminist artists explored autobiography, the female body, myth, and politics, and played a crucial role in developing and expanding the very nature of performance.
Viewings:
Joan Braderman, The Heretics(2009)
Feministas Reports:
Note the productions details of the work (choreographer; premiere date; site of performance; dancers; designer; composer, etc.)
Describe the work in sequential structure (sequence of actions)
Identify methods and materials; form and content
How does the work protest racism, sexism, militarism, and other forms of oppression?
how does the work creates a dialog between feminist and black liberation politics?
How does the work challenge the feminine mystique?
How does the work challenge conventional distinctions of high/low art?
How does the work critique traditional exclusionary practices of exhibition?
What feminist issues does the work raises?
What are the explicit themes that the work conjures up (sacrifice, passivity, aggression, intimacy, public ritual)?
How is the body used as a site for exploring issues of gender, race, identity?
What/how does the work speak to/about women?
Yoko Ono Cut Piece (1964) [see David Maysles 1965 documentary]
Freedom (1970)
Fly (1970)
Eleanor Antin Carving: A Traditional Sculpture (15 July-21 August 1972)
Adrian Piper The Mythic Being (1972-75)
[performed in New York Streets and subways, her performance in drag persona was assumed to incite public reaction to issues of race, gender, and class]
Meredith Monk Education of the Girlchild: An Opera (1973)
16 mm. Earrings (1979)
Chantal Ackerman Je, tu, il, elle (1974)
Marina Abramovic Rhythm 10 (1974)
Art Must Be Beautiful Artist Must Be Beautiful (1975)
Rest Energy (1980)
Rose English Quadrille (1975)
Rose English & Sally Potter Berlin (1776)
Thriller (1971-73)
Carolee Schneemann Interior Scroll (1975)
Spiderwoman Theatre Women in Violence (1976)
Nancy Speros Torture of Women (1976)
A set of five horizontal scrolls filled with graffiti-like drawings of body and politics
Cindy Sherman Untitled Film Stills (1977-79)
Li Chiao-Ping Yellow River (Huang Ho, 1992) [dir. Doug Rosenberg]
Blondell Cummings Cycle (1978)
Chicken Soup (1982)
Lorraine OGrady Mlle Bourgeoise Noire (1980-82)
Nefertiti/Devonia Evangeline (1980)
Where We At: Black Women Artists collective
Howardena Pindell Free, White, 21 (1980) [see 1998 doc. HP:Atomizing Art]
Jane Comfort For the Spiderwoman (1980) dir. Neelon Crawford
Rosetta Reitz Mean Mothers: Independent Womens Blues (1980)
Brenda Bufalino Too Tall Too Small Blues Cantata & the Blues (1983)
See Ann Gavere Kilkelly, Brenda Bufalinos Too Small Blues, Women & Performance, 3.2, no. 6 (1987-1988): 67-77.
Yvonne Rainer The Man Who Envied Women (1985)
Johanna Boyce The Tree Isnt Far From Where the Acorn Falls (1987)
Jawole Willa Jo Zollar Womb Wars (c. 1985)
Bones & Ash: A Gilda Story (1995)
Batty Moves (1998)
Read: Ananya Chatterjea, Jawole Willa Jo Zollars Womb Wars: Embodying Her Critical Response to Abortion Politics; View: Jawole Willa Jo Zollar, Womb Wars (c1985)
Madonna Justify My Love from The Immaculate Collection (1990)
Read: Bell Hooks, Madonna: Plantation Mistress or Soul Sister? in Race and Representation (South End Press, 1992), 157-164; Amy Robinson, Is She or Isnt She?: Madonna and the Erotics of Appropriation in Acting Out: Feminist Performance, ed. Lynda Hart and Peggy Phelan (University of Michigan Press, 1993), 337-361.
Karen Finley Tales of Taboo (1982); Lick It (1988)
Holly Hughes The Well of Horniness (1983)
Dress Suits to Hire (1988)
Clit Notes (1990)
Annie Sprinkle Annie Sprinkles Herstory of Porn (2008)
Guerilla Girls (1985)
Karole Armitage Watteau Duets (1985)
Asimina Chremos Bridle: A Trilogy (2000?)
Red Swan, Red Swan (2007)
(Bachelors Bride; Little Velvet Theatre; Teapot)
Beyonce Single Ladies
October 13: Feminist Performance Works/Feministas
October 18 Feminist Performance Works/Feministas
What is feminist art? Notes from Lucy Lippard, From the Center: Feminist Essays on Womens Art
October 20 Feministas: Bad Girls
explorations of gender identity as social, rather than biological constructions (of the 1970s and 80s) collide with political resistance and avant-guard tactics to shock the boundaries by women artists (in the 80s and 90s) through the use of parody to flaunt and criticize notions of femininity
Writing Assignment #2 Feminist Write due October 27
In a well-developed essay of not more than four double-spaced pages (1000 words), please answer the following question: How were the newly-emerging ideas about feminism, feminist consciousness, or self-consciousness of femaleness in the late sixties materialized / en-gendered in the dance and performance works of three Judson-era choreographers?
Compare and contrast how they dealt with issues of gender and sexual difference (eliminating men entirely? Neutralizing difference, idolizing female form, ignoring the so-called masculine in dynamics, retranslating athleticism, minimalist strategies that eliminate emotionality, sensuality, expressiveness; celebrations of the fleshly and the erotic; strategies that rediscover and resurrect emotionality, sensuality, expressiveness.
Feminism: the theory of political, economic, social equality of the sexes.
Feminist consciousness: the materialization or reflection within a dance work that makes clear what the choreographer is thinking about feminism.
How did the works shatter stereotypes of femaleness? Raise new questions and challenge to modern dance, the female body on stage, its role in society? Take issue with the stale traditional role of the sexes onstage? Confront gender codes that have restricted, constructed notions of femaleness? Challenge stereotypical attitudes/views of women? Tell us what the choreographer did (the actions in the dance); then read its meaning/significance/intent (what is being called into question). In others words, describe, read, and interpret. You may choose choreographic works you have not viewed in class. Due
October 25: Postmodern Synergies
speech and movement, contact, accumulation, collage, referencing, signifying, fracturing, layering as reflected in the work of Bill T. Jones, a radical postmodernist, a humanist with multifarious political agenda who uses his charismatic physicality to challenge representations of race and gender to ask passionate questions about life.
Read:
Valerie Briginshaw: Postmodernism and Dance.
Susan Foster,Simply (?) the Doing of It, Like Two Arms Going Round and Round;
Viewings:
Arnie Zane, Hand Dance, Arnie Zane (1977) Mus. Rhys Chathams Green Line Poem; Decor: Zane;
Dancers: Jones&Zane
Arnie Zane, Continuous Replay (1982) Mus. by Bryon Rulon; Dancer: solo version of Hand Dance
Making Dances: Seven Post-Modern Choreographers (89 minutes, color), featuring Douglas Dunn, Kenneth King, Trisha Brown, Lucinda Childs, David Gordon, Meredith Monk, and Sarah Rudner.
Made in 1980, this film explores the contemporary dance scene through the work of seven New York-based choreographers who discuss the nature of dance and the evolution of their own work. Filmed at rehearsals, performances, and during interviews, the film is a unique primary source. The artistic roots of these seven artists can be found in Martha Graham's concern with modern life as a subject for dance and in Merce Cunningham's emphasis on the nature of movement. In the 1960s, the interaction of art forms generated choreographic innovations. Especially influential was John Cage, whose radical ideas served as a point of departure for much of the new choreography. Each of the choreographers in Making Dances draws inspiration from the Graham/Cunningham tradition, yet each makes a highly distinctive statement. Structure, movement in non-fictive time and space, and the nature of movement itself are recurring themes. Making Dances reflects the diversity of contemporary dance and documents the work and ideas of seven outstanding artists.
October 27: The Politics of Identity
emotional ferocity, bitter language of the tongue; autobiography
Read:
Gay Morris, What He Called Himself: The Early Dances of Bill T. Jones;
Susan Foster, Speech As Act: Bill T. Jones Floating the Tongue and 21.
Viewing:
Bill T. Jones, Floating the Tongue, (1978)
Rotary Action, Jones & Zane (1982)
Freedom of Information, Jones/Zane ((1984)
Secret Pastures, Jones/Zane (1984) Mus. Peter Gordon
Fever Swamp (1983)
November 1: Pressing Hard on Closet Walls
Read:
Susan Foster, Closets Full of Dances: Modern Dances Performance of
Masculinity and Sexuality: Swanning On Stage (in Dancing Desires 147-208).
David Gere, 29 Effeminate Gestures: Choreographer Joe Goode and the
Heroism of Effeminacy (DD 349-384)
Viewings:
Mark Morris, Jealousy (1985)
Joe Goode, 29 Effeminate Gestures (1989)
Nacho Duato, Remanso (c.1992)
November 3: Choreographing an Epidemic
Read:
David Gere, Introduction (pp. 3-37) and Blood and Sweat (DE 39-51) in
How to Make Dances in an Epidemic: Tracking Choreography in the Age of AIDS (2004)
Proposal for TEXT(CON)TEXT Is Due November 3: a one-page paper proposal that identifies the performance artist and work, a statement of why the work is deserving of analysis within the parameters of the course, and list of at least 5-7 bibliographic and videographic sources (critical, historical, and theoretical texts that will aid in your analysis).
Viewings:
Mark Morris, Dogtown (1983);
Bill T. Jones, D-Man in the Waters, (1989);
David Rousseve, Pull Your Head to the Moon (1992).
Writing Assignment #3: Reflection: D-Man Due November 15
In a well-developed essay of not more than four double-spaced pages (1000 words), please answer the following question: How are themes of abjection, homosociality, homosexual desire, death, mourning, AIDS engendered in Bill T. Jones D-Man in the Waters? Use Visual and Corporeal evidence by enumerating the series of random images that provoked your experience of watching the dance. How is the theme of liquidity materialized in the choreography? What movement traditions does Jones draw on in the choreography? How does the work reflect, elaborate on, diverge from the methods of composition, materials, themes of choreographies seen/discussed in class?
November 8: Abjection, Desire, and Mourning
Read:
David Gere, How Can a Dance Say AIDS? (DE 11-24); Melancholia and Fetishes(DE 122-137); and Transcendance and Eroticism (DE 235-237) in How to Make Dances in an Epidemic: Tracking Choreography in the Age of AIDS (2004)
View:
Arnie Zane, The Gift/No God Logic, Arnie Zane (1987)
Bill T. Jones, Untitled (1989)
Ulysses Dove, Odes to Love and Loss, Dancing on the Front Porch of Heaven
(1993) Youtube
Ulysses Dove, Red Angels (1994)
November 10: Inexplicit Sexualities
Read:
Valerie Briginshaw, Dancing in the In-Between Spaces: Desire
SpatializedThat Can Be Read As Lesbian: Reservaat (1988) ;
Jane Desmond, Introduction, Dancing Desires: Choreographing Sexualities On
Off the Stage.
Viewings:
Clara Van Gool, Reservaat (1988)
Doug Elkins, Narcoleptic Lovers, duet with Frithy Pengelly and Lisa Nicks
(1995).
Ulysses Dove, Episodes (1990)
November 15: Hip Hop 101
LORENZO RENNIE HARRIS: Flip the Script/Make Something New
a retelling of Rennie Harriss autobiographical history of Hip-Hop
presented at Trans/Lations/Ferrals: Vernacular/Pop Culture on the Concert Stage conference Minneapolis, Minnesota 6 March 2004
November 15: Part 2 of TEXT (CON)TEXT Is Due: Due November 15: Close Reading o dance work: 4-5 page close reading of the dance work in which you will identify and assess the formal components, cultural icons, and style of the work.
Read:
Robert Farris Thompson, Hip Hop 101;
Potter, Spectacular Vernaculars.
View:
Katherine Dunham, LAg Ya (1938) [toprocking]
Cab Calloway, Minnie the Moocher (1940) [eccentric and legomania]
Coles and Atkins tap dancing (1940s) [rhythmic stepping]
Motown Rhythm and Blues (1960s)[vocal choreography and stepping]
Flashdance (1983) [Rocksteady Crew]
Don Campbell, [locking]
The Electric Boogaloo [popping]
Michael Jackson, Thriller (1988) [martial arts and hip-hop]
Rap, Breakin, Rap Dancing
Read:
James B. Stewart, Message in the Music: Political Commentary in Black Popular
Music from Rhythm and Blues to Early Hip Hop;
Katrina Hazard Donald, Dance in Hip Hop Culture;
Sally Banes, To the Beat YAll: Breaking Is Hard to Do; Lock Steady.
View:
The Freshest Kids: History of the B-Boy (1996?)
Wild Style (1983)
dir. Charlie Ahearn with Fred Braithewaite (Fab Five Graffiti Crew), Chief Rocker Busy Bee, and pioneering DJ Grandmaster Flash
Style Wars ((1984)
dir. Henry Chalfant and Tony Silver
From Mambo to Hip Hop (2005)
Check Your Body at the Door (1999)
November 17: Rennie Harris Rome (roaming) & (for) Jewels
endangered Species: as Autobiography
What are the elements of autobiography is Endangered Species? What do we learn about Harris life? How does Harris layer movement, sound and text in the work? Text and movement: juxtaposed? Layered?
Read:
Rennie Harris, program notes to Rome & Jewels
Halifu Osumare, The Dance Archeology of Rennie Harris: Hip-Hop or
Postmodern?;
Tricia Rose, Prophets of Rage: Rap Music and the Politics of Black Cultural
Expression (BN pp. 99-145);All Aboard the Night Train: Flow, Layering and Rupture in Postindustrial New York (BN 21-61);
Brian Siebert, Breaking Down, Village Voice 2 November 2004.
Viewings:
Rennie Harris, Endangered Species (1989)
Rome and Jewels (2000)
Part II of TEXT(CON)TEXT Is Due: a 6-8 page explication and contextualization of the work within the sixties-nineties-millennium continuum
November 29: Hip Hop American Men
Read:
Nelson George, GangstersReal and Unreal;
Sarah Boskey, Getting Off: Images of Masculinity in Hip Hop Dance Film
View:
Michael Jackson/ Greg Burge/Jeffrey Daniels, Bad (1989)
Savion Glover, Industrialization from Bring in Da Noise, Bring in Da Funk
(1997)
Spike Jonze, Pharcyde, Drop (2003)
Notorious BIG, Spike Jonze, Skys the Limit (2003)
You Got Served (2003)
Due November 29: Part 3 of Text (con)Text: Close Reading of the dance work in your TEXT(CON)TEXT, describing and assessing the formal components, cultural icons, and style of the work is due.
December 1: Hip Hop American Women
View:
Check Your Body at the Door
Dormeshia Sumbry Edwards, Chloe Arnold and Michelle Dorrance, in Jason Samuels Smith, Charlies Angels
December 6: The Black Beat Made Visible
Read:
Thomas DeFrantz, The Black Beat Made Visible: Hip Hop Dance and Body
Power.
Viewings:
You Got Served (2003)
RIZE (2005), dir. David La Chappell
December 8: Make Up Class work
December 13: Final Presentations
December 15: Final Presentations and Final Paper
September 8,13,15,20,22,27,29
October 4,6,13,18,20,25,27
November 1,3,8,10,15,17,29
December 1,6,8,13,15
Women, Gender, Sexuality Studies Program, UMass Amherst: Critical Sexualities Lecture Series Fall 2010 The Critical Sexuality Series this fall will both introduce and explore the field of Sexuality Studies for both UMass and the Five Colleges. While sexuality has been defined as a distinct object of interest for scholars since the late nineteenth century, Sexuality Studies has more recently emerged within the American academy as a subfield of Gender and Sexuality Studies. This speakers series will endeavor to capture both the breadth and depth of topics, regions, and theoretical concerns that Sexuality Studies aims to study, by covering both specifically sexuality-related topics (such as LGBT movements in the U.S. and abroad), as well as discussing histories, discourses, and legislation (such as the Child Marriage Restraint Act in India) that serve to both document and structure the politics of sexuality in particular contexts. Speakers will address the relationship between sexuality studies and postcolonial studies, American social and political movements, and the politics of translating terms, categories, and priorities across borders. Panel: Framing Sexuality Studies
Thursday, September 30, 4-6 pm, Herter 601, UMass Amherst Speakers: Genny Beemyn, Director, Stonewall Center, UMass Mitch Boucher, Women, Gender, Sexuality Studies/English, UMass Andrea King, Program for the Study of Women and Gender, Smith College Svati Shah, Women, Gender, Sexuality Studies, UMass. From Antagonism to Agonism:
Shifting Paradigms of Women's Opposition to the State
Thursday, October 7, 5 pm, Five College Women's Research Center 83 College Street, Mount Holyoke College, South Hadley
Speaker: Rajeswari Sunder Rajan Distinguished Visiting Global Professor and Professor of English New York University
Author's Abstract: Judith Butler's perception of a shift in feminism's relationship to the state serves as a useful starting-point for my reflections in this essay. The familiar feminist representation of Antigone's "defiance" that she describes and questions in her book Antigone's Claim (2000), leads me into an exploration of the political and historical reasons for the turn from the "antagonistic" model of opposition to the state that this literary icon has long represented, towards a modality of struggle that might be described as instead "agonistic." I examine the classical Tamil epic Silappadikaram whose heroine Kannaki is a comparable figure, for its political resonances. In my reading of these two literary texts, I highlight the intriguing fact that when Antigone and Kannaki confront the state they do so as subjects of mourning. That mourning, a gendered, private, and emotionally fraught social function, should become the explosive site of women's opposition to the state into our own times is an indication of its political volatility. But this fact hints at the same time at the limited forms available for women's political agency. I conclude the paper with a discussion of the implications of an agonistic feminist politics, especially as it was played out in the circumstances surrounding the mobilisation of Indian women around the passage of the Child Marriage Restraint Act in colonial India in 1929, a historical case that is extensively analysed by Mrinalini Sinha in her landmark recent work, Specters of Mother India (2006). Bio: Rajeswari Sunder Rajan's is one of the world's foremost feminist scholars of postcolonial studies. Her books include Real and Imagined Women (1993) and Scandal of the State (2003), the edited volumes The Lie of the Land (1992), Signposts (1997), Postcolonial Jane Austen (2000, with You-Me Park) and Crisis of Secularism in India (2006, with Anuradha Needham). She is currently completing a book on the Indian novel in English after Rushdie. Sunder Rajan is a Joint Editor of Interventions, an international journal of postcolonial studies.
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