Dance History Research Articles

A Tale of Two Funerals: Surrogation and the Legacy of Florence Mills in Show Boat's Black Chorus (1927)

A Tale of Two FuneralsSurrogation and the Legacy of Florence Mills in Show Boat's Black Chorus (1927) Bethany Wood (bio) Solemnity suffused the streets of Harlem on Sunday, November 6, 1927, as thousands of mourners thronged the route of Florence Mills's funeral procession.1 The local chorine-turned-headliner had been diagnosed with pelvic tuberculosis months earlier while touring in England with the revue Blackbirds. Knowing the cast and crew depended on her for employment, the thirty-two-year-old Mills had kept her diagnosis confidential and continued to perform, traveling with the show to Glasgow, Manchester, and Liverpool before returning to the United States in late September.2 Upon her return, Mills attended parties and discussed future projects, including a starring role in Florenz Ziegfeld's Follies and a possible film version of the novel Porgy with Paul Robeson. Few knew of Mills's illness at the time and none, including Mills and her family, recognized its severity. Without fanfare, Mills entered the Hospital for Joint Diseases in late October and died November 1 from complications following an operation performed to alleviate her condition.3 In his book Cities of the Dead, Joseph Roach discusses surrogation, the process by which individuals succeed a figurehead to perpetuate the departed's social and cultural function. Roach identifies various "vortices of behavior," events that function "to canalize specified needs, desires, and habits in order to reproduce them … the grand boulevard, the marketplace, the theater district, the square, the burial ground—where the gravitational pull of social necessity brings audiences together and produces performers (candidates for surrogation) from their midst."4 The literal and metaphorical "burial ground" of Mills's funeral acted as one such behavioral vortex, which resonated with a second vortex [End Page 68] occurring in the actual and conceptual "theatre district" where Mills had made her career. On November 15, just nine days after Mills's funeral, Ziegfeld presented the first preview performance of Show Boat. The musical previewed in Washington, DC, traveled to Pittsburgh, Cleveland, and Pittsburgh again, and then opened on Broadway in late December, where it ran for 575 performances. The musical featured a chorus "of the most beautiful girls ever glorified by Mr. Ziegfeld," and, for the first time in a Ziegfeld show, the production included a contingent of Black chorus girls, several of whom had previously appeared onstage with Mills.5 The commingling of Mills's funeral with the musical's opening thrust Show Boat's Black chorines into the gravitational pull of these behavioral vortices, positioning the dancers as primary candidates to succeed Mills. The history of Show Boat's Black chorus girls, like much non-white dance history, lies largely outside the archive. Choruses in 1920s musicals functioned as a multitude, seemingly without individuality, crafted, trained, and critiqued as a cohesive unit. As Saidiya Hartman notes, "Every historian of the multitude … is forced to grapple with the power and authority of the archive and the limits it sets on what can be known, whose perspective matters, and who is endowed with the gravity and authority of historical actor."6 The nomenclature of the "chorus girl," deployed to evoke youth and vitality, positioned female chorus dancers as children, individuals lacking the agency, maturity, and importance associated with historical relevance. Rather than in individual chorus dancers, historical import rested in the era's famous impresarios, men understood as experts in discovering and shaping young women's "raw" talent into successful, artistic performances.7 Records of chorus girls from the period, particularly those who never achieved stardom, thus remain sparse, their histories overshadowed by the men who produced them. In conjunction with the chorus girl's lowly status, Black chorus girls confronted racist understandings of Black dance and dancers as essentially primitive, a construct that further distanced their stories and work from the cultural status that lends itself to documentation, acknowledgment, and preservation. Like the women Hartman studies, the Black chorus dancers in Show Boat were "young black women … destined to be minor figures" and thus were largely disregarded in contemporary and historical accounts.8 Accordingly, while studies analyzing "the chorus" in Show Boat abound, individual histories of the chorus dancers are rare...

From street dance to hip hop

This text historicizes the concept of street dance (dança de rua) by showing distances and approaches in relation to hip hop. For this purpose, the analysis starts from the cultural history of street dance in the city of Uberlândia, Minas Gerais (Brazil), to understand the complex relationships that gave meaning and form to the practice of street dance between the 1980s and 1990s. In a first step, I investigate the various perspectives that permeate the bond between the popular dance and dance festivals, well as between the city neighbourhoods and dance clubs. In a second step, the analysis shifts to the cultural performance that allowed street dancers to migrate to the so-called hip hop dance. Analysing street dance and hip hop considering their ruptures and continuities, the text intends to contribute to studies dedicated to the presence of dance in the construction of urban identities.

Модель организации социокультурных практик молодёжных приключений (на примере студенческого бала)

The article presents the results of the theoretical analysis of such phenomena as “socio-cultural practices”, “enrichment program”. The research determines their role in students’ personal development. The contemporary social position of a student calls for a new pedagogical approach, and therefore requires innovative or retro-innovative approaches. The author develops a socio-cultural practice of the youth enrichment program merging the ball and the role-play. Thus, the research aim is to develop an organization model of socio-cultural practices of youth enrichment programs (as exemplified by a ball) in order to enable students’ personal development. The study reveals characteristic pedagogical features of the socio-cultural practices of youth enrichment programs. Using the example of a student ball, the article shows how through the study of the history of dance and etiquette, students immerse themselves in the cultural environment, which will contribute to the development of patriotism, diligence and curiosity. Team work on concert acts contributes to the formation and strengthening of student partnership. Discussions about the nature of politeness promote kindness, empathy, honesty, and courtesy in student relationships. Students also develop non-standard thinking. Working together in the youth enrichment program, students learn to be hard-working and creative. Part of the enriching experience of this socio-cultural practice is secured in the non-standard situation that goes beyond students’ usual everyday life. The practical application of the research results makes it possible to use the proposed model to develop socio-cultural practices of youth enrichment programs aimed at students’ personal development.

Guest Editor's Introduction: The Ballets Russes in North America

Guest Editor's Introduction: The Ballets Russes in North America

Madame Mariquita, Greek Dance, and French Ballet Modernism

AbstractThis article seeks to correct prevailing narratives of French ballet modernism, which exclude one of its earliest and most significant choreographers, Madame Mariquita. Although long overshadowed by the Diaghilev enterprise and by dancers such as Isadora Duncan, Mariquita's experiments with creating dances that drew on ancient Greek imagery while ballet mistress at the Paris Opéra-Comique in the early 1900s were central to ballet culture in France at a pivotal moment in dance history. This article discusses Mariquita's nascent ballet modernism through her choreography of Greek dances as well as her engagement with early twentieth-century French dance and broader cultural trends.

She Put Her Foot In It

She Put Her Foot In It

IPA 기법을 활용한 대학 무용학과 교육과정의 구성 교과목 중요도 만족도에 관한 연구

The objective of this study is to understand the importance of each subject operating in dance department of university by utilizing the IPA technique, and also to comparatively analyze the satisfaction on the basis of importance. For this, targeting the students majoring in dance of 4-year-course university in the capital area, total 278 questionnaires were used for the final analysis. The results of the study are as follows.<BR> first, while the rest subjects except for percussion practice showed the lower satisfaction than importance. Second, all the direct theory subjects of dance department showed the higher importance than satisfaction. Third, of the direct practical subjects of dance department, the major practice, basic practice, work repertoire, and performance & field practice need to be continuously maintained and strengthened in the future. However, the subjects like minor, percussion practice, and choreography & improvisation showed the low priority, so it would be necessary to consider their continuation/maintenance afterwards. Fourth, of the direct theory subjects of dance department, the history of dance, dance music, and dance education & teaching method need to be continuously maintained and strengthened in the future while the satisfaction of movement analysis subject needs to be intensively improved. Also, the subjects like dance aesthetics, art criticism & dance criticism, and dance therapy & psychology showed the low priority, so it would be necessary to consider their continuation/maintenance afterwards. The introduction to dance could be usefully used in the strategic perspective even though the excessive effort is avoided.

신(新)전통춤의 이론적 접근과 전승 패러다임 변화에 관한 연구

new traditional dance must be a new direction emerged in the 21st Century. In the history of dance, artistic dance has seen new expression methods unfold according to the times. It''s meaningful that a new type of artistic dance emerged at this moment when more than 100 years have passed since the Korean dance circle had started the artistic dance. Apart from this, new traditional dance can make traditional dance in the past into a more evolved form, paving the way for the advancement of traditional dance in the future. And so, new traditional dance could be an ideal dance activity allowing us to connect between the past, the present and the future. Further discussion of new traditional dance for its development is needed and, the study believes, activation of new traditional dance from the further evolved perspective may have a positive effect on the development of the country''s dance world.

Street Dance Activism Global Dance Meditation for Black Liberation Radical Embodied Dialogue August 19, 2020 Recorded over Zoom

AbstractGlobal Dance Meditation for Black Liberation began with Dr. Shamell Bell's dream, a clear vision of people around the world heeding a call, at the same time, to the same rhythm, in a collective resonance. It has grown into a conversation, a community, a journey, and a call to action. This Radical Embodied Dialogue was created to honor Black dance artists and their legacies. As part of the Street Dance Activism Global Dance Meditation for Black Liberation twenty-eight-day collective healing project, we invited Marlies Yearby and Dianne McIntyre to share their stories and their shared histories. The pandemic, coupled with use of technology, opened up and provided alternative methods to host a gathering and listen to their experiences that have too often been excluded from dance history texts. This resulting documentation of some of the work of these artists restores the significance of their work to American dance history.

An Essay for the New Ways of Writing Dance History in Korea

이 연구는 그동안 기술된 한국무용사 서술의 양태(樣態)를 살피면서 새로운 서술을 위한 논쟁적 담 론을 살피는 시험적 논의이다. 전근대 무용사 서술은 일제강점기 이후 안확, 김재철, 성경린 등을 중심 으로 기술되었는데, 자료에 대한 한계로 인해 문헌을 통해 나타난 궁중무용을 정리하는 개론적 기술이 강하였다. 이는 다양한 장르의 수용을 통한 사회문화적 관점을 포괄한다면 새로운 확장성을 거듭할 수 있을 것이다. 근대 무용사 서술은 다양한 논의가 전개되었지만 주체적인 근대기점에 대한 인식과 모더 니티에 대한 개념 정립 등이 제대로 이루어지지 못한 아쉬움이 있다. 이제 한국무용사 서술은 통사적 의미의 새로운 무용사 기술뿐만 아니라 장르별 혹은 개념적 연구사도 함께 이루어진다면 무용학의 토 대를 다지는데 중요한 역할을 담당하게 될 것이다.

Implications of Deterritorialization and Reterritorialization for the Dance History Writing:

This study aims to address the issues of dance and national borders focusing on the impact of political and ideological border movements on art and culture. First, I examine the concepts of deterritorialization and reterritorialization and discuss their implications on art and culture. Next, I review the case of German Reunification, to draw parallels with its experience with division and reunification to Korean dance history. Here, I explore the historiography of East German art that faded due to the predominance of the West after reunification. I suggest that it is important to ask questions about the foundation on which I stand in order not to otherize myself and others. A balanced perspective shall be sought to embrace the complexity of personal history that an official narrative may miss. I finally propose to have a broad view that goes beyond not only the borders of division but also the borders of unification.

Bodies in Motion

Abstract Drawing on the combined approaches of ancient Greek iconography, dance history, and the archaeology of ritual and religion, this paper examines dance gesture as a mechanism of ritual communication in ancient Greek vase-painting. After presenting the problems and limitations of matching art and text with regard to dance, as both Classical scholars and practitioners of modern dance have attempted, the paper expands on various ways of showing dance on vases. Special attention is given to komast dancers on black-figure vases and to other types of dance scenes and figures. A rethinking of the evidence for dance as ritual on Greek vases is proposed under the two categories of non-repetitive and repetitive gesture. It is posited that such a distinction anticipates the mood, participants, and occasions, and might indicate discrete areas of ritual activity. Dance, gesture, and ritual are also considered according to the gender and sexuality of performers, the presence of the divine, and the relationship between the shape, composition, and function of some vessels.

Russian Relations

This article explores the unlikely collaboration between a Swedish art and dance historian, a Russian amateur historian, and a Russian-Swedish doctoral student to seek out the early career of migrating dancer Anna Robenne (one of her names). The article looks into the activist ways in which the explorers interacted with Russian, Swedish, and Finnish archives in order to both reveal and make accessible cross-border materials and knowledge pertaining to Robenne. To explore the relationship between the Robenne materials, the archival institutions, and the group of collaborating historians, the authors draw on Caswell and Cifor’s notion of “radical empathy”. The article thus brings new archival theory into the performing arts domain and makes a dance contribution to the broader field of critical archival and heritage studies. To cross borders to account for Robenne’s Russian legacy counters previous historiography’s disinterest in following the careers of non-canonized migrating artists in the Nordic-Baltic region.

Tibetan Sacred Dances

Entering the world of Tibetan spirituality, we observe a multitude of rituals that involve movement and music, used by the monks for various therapeutic and ritualic purposes. The history of Tibetan dance – the Cham tradition - runs in parallel with the history of Buddhism on this territory. Information on these rituals and dances is found in very few Tibetan documents, almost none in European works, and recently in several works printed in English. This can be explained by their oral transmission in special schools, as well as in secret initiations. As the title mentions, in this article, we will discuss the sacred dances of the Tibetans and not the folk ones. Thus, in the following pages, we will mention some of the dances practiced within the sacred rituals by Tibetan monks.

Footprints of the Dance: An Early Seventeenth-Century Dance Master's Notebook by Jennifer Nevile

Reviewed by: Footprints of the Dance: An Early Seventeenth-Century Dance Master's Notebook by Jennifer Nevile Carolyn James Nevile, Jennifer, Footprints of the Dance: An Early Seventeenth-Century Dance Master's Notebook (Drama and Theatre in Early Modern Europe, 8), Leiden, Brill, 2018; hardback; pp. 286, R.R.P. €129.00; ISBN 9789004361799. Most of the knowledge we have about early modern European dance comes from formal treatises written by dance masters who aimed to market their skills to potential patrons. Jennifer Nevile's book presents a much rarer source: an anonymous, early seventeenth-century notebook of a teacher who probably operated a dance school in Brussels. Of unknown provenance before the mid-nineteenth century, the manuscript was acquired by the Kungliga Bibliotek in Stockholm in 1880 (Cod. Holm S253). It contains a record of the professional activities of a dance master and his associates, as well as a collection of recipes and other practical remedies for everyday ailments and for warding off dangerous illnesses such as the plague. Nevile's monograph focuses entirely on the dance-related material. It provides a facsimile of all the manuscript pages in this category and transcriptions and English translations of the texts. An introduction and six short chapters of analysis place the documents into the context of what is already known about the history of dance and the dance masters who worked in various parts of Europe between the fifteenth and seventeenth centuries. Written in fifteen different literary hands, eight of which appear only once or twice, and six musical hands, the Kungliga Bibliotek notebook includes a list of ballet titles, six ballet plots, brief descriptions and signatures of the students who attended the dance school, a canon of geometric figures for dance groups [End Page 248] of various sizes, as well as detailed instructions for a display of dancing with military pikes. These last two categories are undocumented elsewhere. The guide to an exhibition of dancing with a pike provides an unusual level of insight into the staging of a popular genre of entertainment that combined elements of martial drill with intricately choreographed dance sequences that displayed the rhythm, balance, physical strength, and dexterity of the participants. Nevile draws on her extensive knowledge of early modern dance to arrive at an educated guess about the geographical provenance of the notebook. She suggests that Brussels was its most likely place of origin, since that city was the centre of a thriving culture of dance and music in the early seventeenth century. A large entrepreneurial class, and the status of Brussels as the centre of royal government, ensured that there was a ready supply of wealthy and ambitious individuals who sought to advance themselves socially by becoming expert dancers. There was also an eager audience for the ballets, masquerades and other spectacles staged during carnival by the court and by the city's militia guilds, so there were plenty of opportunities for those who received dance lessons to display their skills in public and to attract the admiration of their peers. Nevile concludes that the notebook, almost all of it written in French, was likely compiled to record and showcase the range of lessons taught at a particular dance school and the fashionable spectacles that could be staged by its pupils. Signatures and brief descriptions of some 128 students, originally on separate folios, were pasted into the notebook, perhaps to provide evidence of the distinguished clientele that the school attracted. Most of the 120 names are German or Flemish, but French, German, English, and Danish students also attended lessons, sometimes as part of a trip abroad. Women as well as men took classes, although most female students probably received instruction at home, rather than in the premises of the dance master, so were more likely to be local pupils. As the author points out, the material included in the notebook shows that the dance master and his colleagues had close ties to Paris and were familiar with the musical culture of the French royal court, knowledge that was essential to attract students interested in learning the latest fashionable dances and airs from France. While this book will be interesting to non-specialists, its...

Minette's Worlds: Theater and Revolution in Saint-Domingue

Minette's Worlds:Theater and Revolution in Saint-Domingue Laurent Dubois (bio) What is the relationship between theater and revolution? The history of Saint-Domingue, and of the Haitian Revolution, offer a particularly riveting space through which to explore this question. This essay offers a tentative answer, or at least a few paths for exploration, through three figures: Alzire, Zaïre, and Minette. The first exists just as a character in a play. The second as both a character in a play and a woman who lived in Saint-Domingue. And the third was an actress whose increasingly well-known story stretched into the early nineteenth century. Each of their stories is intertwined with those of the Haitian Revolution. Collectively, they allow us to think through the relationship between gender and sexuality and the political and cultural transformations of the era. This essay is very much part of a constellation of work that has been deeply shaped by collaboration with two co-authors: Bernard Camier, the leading scholar of music and theater in Saint-Domingue, and Kaiama L. Glover, an eminent scholar of Haitian literature and translator of Marie Vieux-Chauvet's Dance on the Volcano, a twentieth-century novel about Minette. My findings are shot through with my ongoing conversations with both of them and refer to longer co-authored essays that explore some of the themes taken up here.1 [End Page 101] This essay is also meant as an invitation for scholars to engage more deeply with the foundational work on theater in Saint-Domingue written by Haitian historian Jean Fouchard in the 1950s. Fouchard's most famous work, and the only one translated into English, presents an argument about the centrality of marronage in the creation of the Haitian Revolution. But most of the work published during his lifetime actually focused, interestingly, on the cultural history of colonial Saint-Domingue, particularly music, dance, and theater. Working in both Haitian and French collections, Fouchard was able to gather together a tremendous archive of material on theater during the period, producing a study of the topic and a repertoire of plays and actors. The latter helped lay the foundation for a current and more complete digital project by Julia Prest, itself part of a larger current flourishing of work on theater in Saint-Domingue.2 I came to study theater in Saint-Domingue as part of a project of trying to understand, interpret, and narrate the history of political thought and action on the part of people of African descent, particularly the enslaved, during the Enlightenment and Age of Revolution. As I sought to absorb prodigious and wide-ranging work on theater in eighteenth-century and revolutionary France, I came to understand the particular importance and richness of studying theater in the context of the plantation society of Saint-Domingue. In a place where a particularly small minority of the population had access to the reading and writing of texts, I came to believe, theater took on a notable role. The wide circulation of theater in the French Atlantic made it probably the most important vector of Enlightenment ideas about virtue, justice, freedom, and other themes that were at once literary and political. The adaptability of theater, and particularly the fact that it always had to be performed by particular individuals, in particular spaces, with audiences that crystallized a broader community formation, meant that it could take on specific roles within a racialized plantation society. And the fact that theater opens itself up onto so many different interpretations and can be quoted and referred to, as well as re-performed informally, meant that phrases and plots could move into other realms of daily life, enabling a link between various sites of performance and self-presentation on and off stage. Several recent scholars, particularly Camier, Lauren Clay, and David M. Powers, have documented the richness of theatrical life in the French Caribbean.3 By the end of the eighteenth century, theatrical venues existed throughout Saint-Domingue, not just in the major port towns of Le Cap and Port-au-Prince but also in smaller ports such as Les Cayes, Léogane, and St. Marc. The well-known chronicler of...

Revolutionary Bodies: Chinese Dance and the Socialist Legacy by Emily Wilcox

Reviewed by: Revolutionary Bodies: Chinese Dance and the Socialist Legacy by Emily Wilcox Liang Luollu222@uky.edu Emily Wilcox. Revolutionary Bodies: Chinese Dance and the Socialist Legacy. Oakland: University of California Press, 2019. 304 pp. $34.95 (paper), open access at https://doi.org/10.1525/luminos.58. In Revolutionary Bodies, Emily Wilcox infuses a deep ethnographic sensibility into an exciting historical project, powerfully asserting the relevance of dance in modern Chinese cultural studies and in the cultural history of the People's Republic of China (PRC). She uses "Chinese dance" to refer to "a contemporary concert genre that developed during the mid-twentieth century," often encompassing "Chinese classical dance" (中国古典舞 Zhongguo gudian du) and "Chinese national folk dance" (中国民族民间舞 Zhongguo minzu minjian wu) (2). Consequently, the subtitle of the book, "Chinese Dance and Socialist Legacy," refers to the socialist legacy of Chinese dance in this specific usage, as a dance genre developed during the mid-twentieth century in China and parallel to ballet and modern dance, among others. Wilcox argues that three core commitments: "kinesthetic nationalism," "ethnic and spatial inclusiveness," and "dynamic inheritance," have defined the genre of Chinese dance throughout its history of innovation. "Kinesthetic nationalism" emphasizes Chinese dance's focus on its artistic form and its bringing together of the local and the contemporary; "ethnic and spatial inclusiveness" is the idea that Chinese dance should include styles and artists from all ethnic communities and geographic regions across China, while "dynamic inheritance" is a theory of cultural transformation that compels Chinese dance artists to research existing performance forms while also generating original interpretations of these forms (6–7). These core commitments, I would argue, are also the core of the socialist legacy of Chinese dance Wilcox uncovers in this book: its focus on connecting local and contemporary artistic forms, its radical representation of marginalized, diverse communities, and its continuous emphasis on creativity and innovation in order to transform existing performance forms. Centering on the path Trinidad-born and European-educated Dai Ailian (戴爱莲 1916–2006) followed from ballet to modern dance to Chinese dance, the first chapter of the book sets the tone for a deep inquiry into the transition from a vision of modernity as represented by assimilating into Euro-American culture to one of asserting distinctive local identities. Wilcox regards Dai as the first to systematically reflect on what new aesthetic forms Chinese dance should take from the 1940s onward, both in writings and in performances. According to Wilcox, Dai's "Frontier Dance," among others, embodies the three core commitments of kinesthetic nationalism, ethnic and spatial inclusiveness, and dynamic inheritance, which drew on local sources from across the country, bridging geographical, religious, and ethnic divides. Making extensive use of Chinese-language dance scholarship produced in China, Wilcox presents the Korean dancer Choe Seung-hui (崔承喜 최승희1911–1969) in chapter 2 as another foundational figure in the history of Chinese dance, particularly in the fields of Chinese classical dance and Chinese Korean dance. Choe's unique contribution, according to Wilcox, lies in her creation of a new dance style by studying and adapting elements of traditional-style xiqu (戲曲) performance. As a result, the Chinese dance curriculum of the leading dance school in China, Beijing Dance School, "skillfully united what were now the three established streams of Chinese dance—Han folk dance (inherited from New [End Page E-36] Yangge [新秧歌; a wartime dance movement]), minority dance (inherited from "Frontier Dance"), and xiqu dance (inherited from Choe's program)" (76). In chapter 3, Wilcox convincingly argues that the late 1950s and early 1960s constituted the golden age of Chinese dance as that era witnessed continued innovations in choreographic form with the emergence of a new, full-length, narrative Chinese dance form, the "national dance drama" (民族舞剧 minzu wuju), as well as the expansion of the genre to global visibility through circulations of Chinese dance abroad. What impresses this reviewer particularly is Wilcox's sensitive approach to the details in the narrative dance form and expert dance analysis of its use of Chinese dance choreography, while recognizing the propagandist nature of these works (without naming them that way). Only someone of Wilcox's background, a dance scholar and practitioner trained as an anthropologist...

최승희와 안막의 예술적 상관관계에 관한 고찰

Choi Seung-hee, a talented performing artist, and her husband Ahn-mak were ignored as pro-Japanese colonialism artists, communist performing artists, and proletariat writers. However, they have been re-examined since their invocation ceremony held in 2003 at Anseong, the birthplace of Mr. Ahn. Especially earlier known as a communist writer, Mr. Ahn’s accomplishments as an art manger have been recently discovered, bringing new attention from the society. To examine the artistic relationship between them, this research visited Mr. Ahn’s birthplace village and investigated the history of Ahn family which turned out to have good literary traditions. Owing to the sophisticated planning and support from the husband, a faithful and excellent guardian behind the scene, Ms. Choi became a world-famous artist, despite the various difficulties in the 1930s. Ms. Choi and Mr. Ahn were good partners to each other, and the combination of her artistic values and his excellent planning made the successful world tour performance beyond the boundary of Japan. This paper also reexamined whether their artistic behaviors went against the sentiment of the Korean people in the context of that time. A new perspective on the artist Choi can reveal that she pioneered a new path in dance history during the transition from traditional to modern society. The accomplishments and legacies they created together should not be undervalued by the current ideological division and should be continuously reviewed through generations.

Bharatanatyam as a Transnational and Translocal Connection: A Study of Selected Indian and American Texts

Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a story. Different cultures observe different norms and standards by which dances should be performed (as well as by whom they should be performed and on what occasions). At the same time, dance and dancers influence (and are influenced by) different cultures as a result of transcultural interactions. Priya Srinivasan’s Sweating Saris: Indian Dance as Transnational Labor is a particularly valuable source wherein its author critically examines a variety of Indian dance forms, especially Bharatanatyam, tracing the history of dance as well as the lived experience of dancers across time, class, gender, and culture. With the help of this text, selected journal articles, and interviews with Bharatanatyam dancers in India and the US, I explore larger issues of gender, identity, culture, race, region, nation, and power dynamics inherent in the practice of Bharatanatyam, focusing on how these practices influence and, in turn, are influenced by transnational and translocal connections.&#x0D;

CONSTITUICIÓN DEL CAMPO Y RELACIONES DE PODER,

En este texto se trata de dar un panorama de los momentos que la autora considera más significativos en la constitución del campo de la danza escénica contemporánea mexicana. Se plantea que estos momentos han sido definitorios para la permanencia de ciertas prácticas, formas de ver la danza y hacerla, así como de habitus propios de los hacedores de danza en México. Este habitus tiene sus raíces en la relación que estos actores tienen con el Estado y sus instituciones, y que ha aglutinado a los actores de la danza de diversas maneras, apoyando a algunos y excluyendo a otros en diversos momentos. Sin duda para esta reflexión son importantes los planteamientos de varios teóricos entre quienes destaca Pierre Bourdieu, pues su aparato conceptual auxilia a pensar en las relaciones de poder que se establecen en los campos artísticos. También se mencionan algunos autores que han escrito sobre la danza mexicana y latinoamericana, y que aportan para conocer ciertas visiones de las historias de la danza en nuestros países.