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3044 results in Dance

Page 9 of 153

  • Choreographing Deportation in David Herrera's TOUCH

  • Juan Manuel Aldape Muñoz
  • Journal:
    Dance Research Journal / Volume 56 / Issue 1 / April 2024
    Published online by Cambridge University Press:
    07 February 2025, pp. 20-35
    Print publication:
    April 2024
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  • Deportations and the threat of removal are choreographic strategies of the nation-state's ever-growing monopoly of movement through border securitization and immigration enforcement, which persists into the twenty-first century. While literature and the visual arts have received critical and popular attention by considering forced family separations, dance remains overlooked. Analyzing dance performances that relate directly to deportation teaches us not only about the painful impact of forced removal: it instructs us to decode, move and maintain relationships as aliens and citizens amid the increasing control of motion in the United States and the cruel joke offered by a nation of immigrants.

  • DRJ volume 56 issue 1 Cover and Back matter

  • Journal:
    Dance Research Journal / Volume 56 / Issue 1 / April 2024
    Published online by Cambridge University Press:
    07 February 2025, pp. b1-b2
    Print publication:
    April 2024
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  • Cuban-style Salsa: Intersections of Tourism-led Entrepreneurship and Dancing Personal Development

  • Ruxandra Ana
  • Journal:
    Dance Research Journal / Volume 56 / Issue 1 / April 2024
    Published online by Cambridge University Press:
    07 February 2025, pp. 5-19
    Print publication:
    April 2024
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  • This article is an anthropological exploration of the role of dance in tourism-led entrepreneurship and tourism-led mobilities in Cuba. Based on ethnographic research and employing an autoethnographic lens, the article examines the imaginaries and gendered performances of Cubanness that play out in touristic settings as part of dance trips organized on the island for international tourists. Women are the main target audience for these dance programs, which oftentimes reveal the reproduction of racial stereotypes that contributed to the growing popularity of Cuba as a tourist destination. Dance teachers come to establish a broad spectrum of relations that are influenced by inequalities of resources and unequal access to mobility, since it is the (usually) white European and North American dancing tourists who take up space as central dancing figures, co-creating the cultural script that fetishizes Cuban Black bodies, especially in settings such as salsa schools or popular dance venues.

  • Contemporary Dance on Native Land: Indigenous Solidarity in the Choreography of Ananya Dance Theatre

  • Alessandra Lebea Williams
  • Journal:
    Dance Research Journal / Volume 56 / Issue 1 / April 2024
    Published online by Cambridge University Press:
    07 February 2025, pp. 36-55
    Print publication:
    April 2024
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  • Ananya Dance Theatre generates a framework for “contemporary dance” as choreography which enacts its solidarity with the land of Native peoples. Artistic director Ananya Chatterjea mobilizes her contemporary aesthetic, “Yorchhā,” through the company's alliance with Indigenous peoples’ worldviews on land and water protection, especially through their relations with Dakota and Anishinaabe persons. Dance analysis of the pieces “Moreechika: Season of Mirage” (2012), “Shaatranga: Women Weaving Worlds” (2018), and “Shyamali: Sprouting Words” (2017) shapes contemporary dance through its engagement with Native persons’ caretaking labor for the environment and the position of these relations in the choreography. A practice of humility emerges as the cornerstone of solidarity in contemporary dance due to the necessity for longstanding Native invitation and engagement, Indigenous narratives and embodiment in the dance pieces, and lessons learned from the pitfalls in intersecting techniques such as Ananya Dance Theatre's with Native people's lifeways and knowledges.

  • 8 - Audacious Women: Profiles of Early Cancionistas

  • from Part II - Tango Song
  • Edited by Kristin Wendland, Emory University, Atlanta, Kacey Link
  • Book:
    The Cambridge Companion to Tango
    Published online:
    15 March 2024
    Print publication:
    28 March 2024, pp 133-153

  • Summary

    Romina Dezillio considers female tango singers’ artistic and social contributions to the professionalization of women within the national and international tango scene. Her study of the consolidation process of the tango cancionista (female tango singer) during the 1930s in Argentina reveals gender-based relationships between the tango canción and Argentine society as she highlights the personal styles and careers of three star cancionistas: Rosita Quiroga (1896–1984), Azucena Maizani (1902–1970), and Libertad Lamarque (1908–2000).

  • 14 - Nineteenth-Century Afro-Argentine Origins of Tango

  • from Part IV - Interdisciplinary Tango Studies
  • Edited by Kristin Wendland, Emory University, Atlanta, Kacey Link
  • Book:
    The Cambridge Companion to Tango
    Published online:
    15 March 2024
    Print publication:
    28 March 2024, pp 245-263

  • Summary

    Paulina L. Alberto uses original research about a multigeneration family of Black musicians to illustrate different stages of musical experimentation that fed into tango. In doing so, she sheds new light on the relationship between the Afro-Argentine musical and dance tradition of candombes and early tango, and she challenges the entrenched racial narrative of Afro-Argentine “disappearance” over the course of the nineteenth century.

Page 9 of 153