Abstract
This volume did not start out as a themed issue, but similarities will emerge among any collection of essays when ideas and authors find themselves in proximity to one another. In our open call, we asked for screendance artists and scholars working at the intersection of film, dance, visual arts, and media arts to "expand and critique contemporary notions of screen-based images and changing choreographic practices, and [to] engage with theories and philosophies from interdisciplinary fields."[^1] An unanticipated commonality emerged among the contributions responding to this open invitation: solo performance. [^1]: "International Journal of Screendance Volume 8: Call for Papers." *Centre for Screendance*. May 17, 2016. <https://screendance.wordpress.com/2016/05/17/international-journal-of-screendance-volume-8-call-for-papers/>
Highlights
This volume did not start out as a themed issue, but similarities will emerge among any collection of essays when ideas and authors find themselves in proximity to one another
Hughes suggests that contemporary artists have turned to solo performance due to a lack of financial support: “solos are all [theaters] can afford to produce.”2 But as we see in the essays gathered here, the stakes and implications of dancing alone for a camera has a great deal to do with the time period in which that framing of the self takes place
We might add to this that in solo performance as it developed in the latter half of the twentieth century, the single body increasingly performed in a piece authored and/or choreographed and/or staged and/or designed by that single body.”5 Ramsay Burt concurs, noting that solo modern dance is distinctive for performers’ use of “dance material that is created on and by themselves.”6 In her introduction to an edited collection on solo dance, On Stage Alone, Claudia Gitleman reminds readers of the centrality of the solo artist to the development of modern dance, including the canonical figures Loïe Fuller, Isadora Duncan, Ruth St
Summary
This volume did not start out as a themed issue, but similarities will emerge among any collection of essays when ideas and authors find themselves in proximity to one another. Hughes suggests that contemporary artists have turned to solo performance due to a lack of financial support: “solos are all [theaters] can (barely) afford to produce.”2 But as we see in the essays gathered here, the stakes and implications of dancing alone for a camera has a great deal to do with the time period in which that framing of the self takes place.
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