2016 Conference Proceedings


Beyond Authenticity and Appropriation: Bodies, Authorship, and Choreographies of Transmission

The 2016 CORD + SDHS Annual Conference Beyond Authenticity and Appropriation: Bodies, Authorship, and Choreographies of Transmission, was held November 3-6, 2016 at Pomona College in Claremont, California. Each presenter at the conference was invited to contribute to the Proceedings. Those who chose to contribute did so by submitting pdf files, which are assembled here. There was minimal editorial intervention — little more than the addition of page numbers and headers. Authors undertook to adhere to a standard format for fonts, margins, titles, figures or illustrations, order of sections, and so on, but there may be minor differences in format from one paper to another.

Presenters’ affiliations and biographical information are shown as they appeared in the conference program book, which was compiled in November, 2016.

Individual authors hold the copyrights to their papers. The Congress on Research in Dance and the Society of Dance History Scholars are not legally responsible for any violation of copyright; authors are solely responsible.

Table of Contents


pp. 4-12

Imitation as Learning and Misrepresentation in Dance Video Games

JoDee Allen

pp. 13-25

Rethinking Appropriation: The Reciprocal Appropriation of Yoga and American Modern Dance

Jen Aubrecht

pp. 26-34

“What Are You Looking At?” – The Representation of ‘African Dances’ in Portuguese Documentaries of the Colonial Period

Sérgio Bordalo E Sá

pp. 35-45

Cataloging the Intangible: A Martha Graham Case Study

Dominique Bourassa

pp. 46-58

Shouting across the Centuries: Affective archives and the politics of transmission

Carol Brown

pp. 59-67

Que Corpo É Esse? (What Body Is This?) – Grupo Corpo Brazilian Dance Company Under the Lenses of Antropofagia and Transculturation

Rosely Conz

pp. 68-77

Ethnic Décor: People of Color as Props in Music Videos

Rainy Demerson

pp. 78-91

Preserving and Honoring the Guedra Through Transnational Performance

Carolina Varga Dinicu

pp. 92-98

Locating the Dance-Maker in the Sociopolitical Space: Movement and Movements in Contemporary South Africa

Kymberley Feltham

pp. 99-110

Agency & Self-Interpellation in Cross-Cultural Dance Practice

Jessica Fiala

pp. 111-118

Everything is Authentic Something: What is “real” if you consider dance’s relationship to shamanism and to “the experience economy” of commercial brands?

Jennifer Fisher

pp. 119-128

It’s All Greek To Me… Or is it? Balkan Bandit Ballads and Identity Politics on Stage

Joan Carol Friedberg

pp. 129-135

The Body as Archive: In Search of Authenticity

Jamey Garner

pp. 136-144

Can We Have Sex? Michael Turinsky’s Dancing Against Compulsory Ableis

Doran George

pp. 145-153

Knowing Gertrude: My Journey Forward Into the Past

Stephanie M. Hart

pp. 154-166

“If Amy Winehouse was a beehive then I guess I’m a blonde bob”: De/Constructing Sia’s fame through contemporary dance

Carolyn Hebert

pp. 167-176

Excavating Sensory Data: A Somatic Ethnography Revisited

Adair Landborn

pp. 177-184

The Influence of Anatomical Knowledge in John Weaver and Jean Georges Noverre’s Written Works

Robson Lourenço and Júlia Ziviani Vitiello

pp. 185-191

Divided Bodies; Choreographies of Nationalism, Tradition, and Resistance on the Island of Cyprus

Anastasia McCammon

pp. 192-202

The Phenomenon of Authenticity in Esmerelda Santiago’s Almost a Woman and The Turkish Lover

Rachel A. Oriol

pp. 203-208

Ralph Lee Collaborations with Erick Hawkin

Laura Pettibone Wright and Catherine Tharin

pp. 209-212

Organic Source Attribution and Transparency in Teaching Dance

Laura Pettibone Wright

pp. 213-227

Between Dance Floors and the Stage

Luísa Roubaud

pp. 228-237

Melding an Ensemble at Memory’s Limits: William Forsythe’s Whole in the Head

Freya Vass-Rhee

pp. 238-246

Entangled Lines of Flight: Self-Becoming Other among the Liangshan Dance Group in Xichang, Sichuan Province

Pegge Vissicaro and Yin Dejin

pp. 247-257

“Authentic as opposed to what?” The Role of the Interpreter in Producing Belief

Angélique Willkie

pp. 258-270

Consider It All Joy: the Embodiment of Struggle in American Evangelical Dance

Emily Wright

pp. 271-282

Isadora Duncan and the Japanese Performers: Sada Yacco, Hanako and Michio Ito

Emi Yagishita