Dance Research Journal, April 2018

Volume 50, Number 1

Editor: Helen Thomas

In this first issue of 2018, the first and fourth articles focus on issues that arise from a consideration of different types of archival materials in relation to dance: commencing with the more traditional notion of an archive held in a university or library collection such as the Columbia Center for Oral History at Columbia University (Sanja L’Hotellier), and closing with a consideration of the recent digitized, visual era of “artist driven archives,” which not only enable wider access to dance works but can also be viewed as integral to the choreographer’s creative process (Rosemary Candelario). In between these archival bookends, we have an examination of the ways in which the medium of screendance can produce certain heightened aesthetic effects, compared with a live performance (Wesley Lim), followed by an exploration of the use of movement notation as a motor for generating creative, listening practice, as opposed following the rules laid down in a score, which in turn can lead to fixity (Sally Gardner).

Table of Contents

Title

Author

pp. 1-4

Editor’s Notes

Helen Thomas

pp. 7-10

Dance in the Present; Dance in the Past

Danielle Goldman

pp. 10-13

Finding “The Life in the Work” a/in Tribute to Mark Franko

Rebekah J. Kowal

pp. 13-16

“To See Theory at Work in the Body”: Mark Franko’s Politics for DanceStudies (or: Mark-ed)

André Lepecki

pp. 17-19

Dance in the Museum Redux: Monica Bill Barnes and The MuseumWorkout

Gay Morris

pp. 19-22

The Choreographer’s Apprentice

Holly Buttimore

pp. 24-46

The Bennington Summer School of the Dance Oral History Project, 1978–1979: A History of Sensibilities

Sanja Andus L’Hotellier

pp. 47-66

An Enhanced Otherworldliness: Thierry De Mey’sScreendance Based on William Forsythe’s One FlatThing, reproduced

Wesley Lim

pp. 67-79

Noa Eshkol and the Idea of a Chamber Dance Group

Sally Gardner

pp. 80-101

Choreographing American Dance Archives: Artist-DrivenArchival Projects by Eiko & Koma, Bebe Miller Company, andJennifer Monson

Rosemary Candelario

pp. 103-111

Mark Morris: Musician-Choreographer

Stephanie Jordan.

pp. 113-116

Queer Dance: Meanings and Makings (Review)

Clare Croft

pp. 116-118

Performing Queer Modernism (Review)

Penny Farfan

pp. 118-121

La Querelle des Pantomimes:Danse, culture, et société dansl’Europe des Lumières (Review)

Arianna Fabbricatore