Dance Research Journal, August 2016

It is rare that a nonthemed issue of DRJ should contain a sustained reflection on one theme broadly conceived: the role played by choreography and gestural sequences in state violence; the consensus necessary to the maintenance of violent regimes as lodged within corporeal aesthetics; and, above all, the heritage of this violence—what has allowed it to germinate and take hold within cultural practice as gestural sequence. Ranging across the twentieth and into the twenty-first century from Germany to Argentina to Israel, these articles also offer in their ensemble something approaching a historical theory of that relation. In addition, with two articles on Germany and two on Argentina the unusual possibility of comparison arises, which is rare in scholarly journals. At the same time, contemporary Israel provides another interesting point of comparison with the earlier two sites.