Susan Homar (ed.)
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034676
- eISBN:
- 9780813046303
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034676.003.0015
- Subject:
- Music, Dance
Susan Homar has been paying keen attention to experimental dance in Puerto Rico since the group Pisotón's pioneering work in the late 1970s. She illuminates how the most significant choreographers ...
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Susan Homar has been paying keen attention to experimental dance in Puerto Rico since the group Pisotón's pioneering work in the late 1970s. She illuminates how the most significant choreographers developed innovative ways to explore themes reflecting the ironies and dissonances of identity and gender in contemporary Puerto Rico. Choreographer Viveca Vázquez, who organized the seminal postmodern festival Rompeforma with Merián Soto, uses fragmented movement in conceptually risky ways. Vázquez, along with choreographers such as Awilda Sterling-Duprey, Javier Cardona, and Teresa Hernández attempts to subvert received ideas of sexual politics and nationality by complicating them with multiplicity and contradiction. Even earlier, Gilda Navarra and Silvia del Villard made distinctive work as did, later, Jesus Miranda and Karen Langevin. In the 21st century, Lolita Villanúa's company Andanza has become prominent.Less
Susan Homar has been paying keen attention to experimental dance in Puerto Rico since the group Pisotón's pioneering work in the late 1970s. She illuminates how the most significant choreographers developed innovative ways to explore themes reflecting the ironies and dissonances of identity and gender in contemporary Puerto Rico. Choreographer Viveca Vázquez, who organized the seminal postmodern festival Rompeforma with Merián Soto, uses fragmented movement in conceptually risky ways. Vázquez, along with choreographers such as Awilda Sterling-Duprey, Javier Cardona, and Teresa Hernández attempts to subvert received ideas of sexual politics and nationality by complicating them with multiplicity and contradiction. Even earlier, Gilda Navarra and Silvia del Villard made distinctive work as did, later, Jesus Miranda and Karen Langevin. In the 21st century, Lolita Villanúa's company Andanza has become prominent.
Maaike Bleeker
- Published in print:
- 2012
- Published Online:
- April 2017
- ISBN:
- 9780252036767
- eISBN:
- 9780252093869
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252036767.003.0015
- Subject:
- Music, Dance
The “lecture performance” is a key genre in the field of Konzepttanz. Prominently present in the early twenty-first-century scene of experimental dance, this genre is not limited to dance only, nor ...
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The “lecture performance” is a key genre in the field of Konzepttanz. Prominently present in the early twenty-first-century scene of experimental dance, this genre is not limited to dance only, nor is it exclusively German. Lecture performances give expression to an understanding of dance as a form of knowledge production—knowledge not (or not only) about dance but also dance as a specific form of knowledge that raises questions about the nature of knowledge and about practices of doing research. This chapter situates this trend within a genealogy of bodily knowledge and its academic dissemination that had reached its first high point in the dance conventions during the Weimar years. By analyzing particular examples of lecture performances, it demonstrates the self-reflexive structures that emerge between scientific paper and corporeal act. It explains in which ways lecture performances redefine what it means to be a dancer, seeing it as an attitude rather than a profession.Less
The “lecture performance” is a key genre in the field of Konzepttanz. Prominently present in the early twenty-first-century scene of experimental dance, this genre is not limited to dance only, nor is it exclusively German. Lecture performances give expression to an understanding of dance as a form of knowledge production—knowledge not (or not only) about dance but also dance as a specific form of knowledge that raises questions about the nature of knowledge and about practices of doing research. This chapter situates this trend within a genealogy of bodily knowledge and its academic dissemination that had reached its first high point in the dance conventions during the Weimar years. By analyzing particular examples of lecture performances, it demonstrates the self-reflexive structures that emerge between scientific paper and corporeal act. It explains in which ways lecture performances redefine what it means to be a dancer, seeing it as an attitude rather than a profession.
Renée E. D'Aoust
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780813040257
- eISBN:
- 9780813043869
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813040257.003.0009
- Subject:
- Music, Dance
Anna Huber's dances begin with a concept that becomes centered in and yet transcends the body. This existential approach to a visceral medium ends in structured dances. It defines the term conceptual ...
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Anna Huber's dances begin with a concept that becomes centered in and yet transcends the body. This existential approach to a visceral medium ends in structured dances. It defines the term conceptual art. As experimentally cutting-edge as her work is, it finds a sympathetic audience as well as full government support in Switzerland.Less
Anna Huber's dances begin with a concept that becomes centered in and yet transcends the body. This existential approach to a visceral medium ends in structured dances. It defines the term conceptual art. As experimentally cutting-edge as her work is, it finds a sympathetic audience as well as full government support in Switzerland.
