Choreographies of 21st Century Wars

Choreogrphies of 21st Century Wars helps readers to contemplate the potential of choreography as construct and practice to grapple with the complexities and ineffable experience of a world dominated by war. Offering critical insights about the disconnection between our understanding and the realities of war, Choreographies encourages dancer-artists and scholars to explore the potential of choreography to illuminate how we shall live and dance in this world. Living in a state where the Korean War has not yet ended, I appreciate the rigorous analyses of this anthology that helps me to realize and critically comprehend the very real choreographies of war.

Auteur
Gay Morris is a New York based dance and art critic whose work has appeared in numerous newspapers, magazines, and journals. She is the author of A Game for Dancers: Performing Modernism in the Postwar Years, 1945-1960, and is the editor of a collection, Moving Words, Rewriting Dance. Morris is the reviews editor of Dance Research Journal and a member of the editorial board of Congress on Research in Dance. Jens Richard Giersdorf is an Associate Professor of Dance at Marymount Manhattan College. He is author of The Body of the People: East German Dance since 1945, and his work has been anthologized internationally and his articles have appeared in a number of scholarly journals. Giersdorf is a member of the Editorial Boards of the Society for Dance History Scholars and the Congress on Research in Dance.

Texte du rabat

Choreographies of 21st Century Wars is the first book to analyze the interface between choreography and contemporary warfare, a pertinent inquiry since choreography has long been linked to war and military training. Authors from a range of disciplines reconceptualize choreography in the face of this century's never ending wars.

Contenu

Preface; Introduction: Contemporary Choreographies of Wars, Gay Morris and Jens Richard Giersdorf; Chapter 1: Access Denied and Sumud: Making a Dance of Asymmetric Warfare, Nicholas Rowe; Chapter 2: Questioning the Truth: Rachid Ouramdane's Investigation of Torture in Des Temoins Ordinaires/Ordinary Witnesses, Alessandra Nicifero; Chapter 3: There's a Soldier in All of Us: Choreographing Virtual Recruitment, Derek A. Burrill; Chapter 4: African Refugees Asunder in South Africa: Performing the Fallout of Violence in Every Day, Every Year, I am Walking, Sarah Davies Cordova; Chapter 5: From Temple to Battlefield: Bharata Natyam in the Sri Lankan Civil War, Janet O'Shea; Chapter 6: Choreographing Masculinity in Contemporary Israeli Culture, Yehuda Sharim; Chapter 7: Affective Temporalities: Dance, Media, and the War on Terror, Harmony Bench; Chapter 8: Specter of War, Spectacle of Peace: The Lowering of Flag Ceremony at Wagah and Hussainiwala Borders, Neelima Jeychandran; Chapter 9: A Choreographer's Statement, Bill T. Jones; Chapter 10: Dancing in the Spring: Dance, Hegemony and Change, Rosemary Martin; Chapter 11: War and P.E.A.C.E, Maaike Bleeker & Janez Jansa; Chapter 12: The Body is the Frontline, Rosie Kay and Dee Reynolds; Chapter 13: Geo-Choreography and Necropolitics: Faustin Linyekula's Studios Kabako, Democratic Republic of Congo, Ariel Osterweis; Chapter 14: Re: moving bodies in the Mexico-USA drug, border, cold, and terror wars; Ruth Hellier-Tinoco; Chapter 15: After Cranach: War, Representation and the Body in William Forsythe's Three Atmospheric Studies, Gerald Siegmund; Chapter 16: The Role of Choreography in Civil Society under Siege: William Forsythe's Three Atmospheric Studies, Mark Franko; Contributors; Index