Abstract
No abstract availableThis article was originally published by Parallel Press, an imprint of the University of Wisconsin-Madison Libraries, as part of The International Journal of Screendance, Volume 1 (2010), Parallel Press. It is made available here with the kind permission of Parallel Press.
Highlights
As screendance in its institutionalized form—and in its nascent academic form—becomes historicized, and as that knowledge subsequently informs the practice, the field benefits from theoretical disruptions that question and disturb the received knowledge, replacing or augmenting it with alternative modes of inquiry
Screendance is a diasporic culture, one that constantly migrates through host cultures and assumes various vernacular elements, while often struggling to maintain both its empirical elements and the identity of its “cultures of origin.”
At the core of this dynamic is the fact that the techniques of representing images on screen flow from preexisting genres, and so have material specificity that is readable as well
Summary
As screendance in its institutionalized form—and in its nascent academic form—becomes historicized, and as that knowledge subsequently informs the practice, the field benefits from theoretical disruptions that question and disturb the received knowledge, replacing or augmenting it with alternative modes of inquiry.
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