Among the many things which distinguish man from the lower animals and perhaps in a more spectacular but less extensive way distinguish man at an advanced level of culture from primitive man is the capacity to use the recorded experience of the past. This can help determine his actions in the present and thus determine in part what kind of future the world will see. The codification of knowledge of the past and its interpretation constitute the material of history. Doctrines and beliefs, various schools, and ideological sets about history determine each period's interpretation of what has gone on in the past. For instance, how may one reconcile the doctrinal myth of progress with the fix that the world is in now? In the light of contemporary ideas about causation, determinism, accident, objectivity, and the function and role, if any, of the individual person in history, ideas thin out. Professor

What is History

Book Review: The Queen of America Goes to Washington City: Essays on Sex and Citizenship

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Us and them.

The article reviews the book "Exhausting Dance: Performance and the Politics of Movement," by Andre Lepecki.

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Exhausting dance : performance and the politics of movement, by Andre Lepecki

The Body, Dance, and Cultural Theory

The extended choreography of the reality television dance competition So You Think You Can Dance teaches its viewers how to engage in a different kind of spectatorship.

So You Think You Can Dance Does Dance Studies

Watching Weimar Dance asks what audiences saw in the peculiarly turbulent and febrile moment of the Weimar Republic. It closely analyses the reception of various performances, from cabaret to concert dance and experimental theatre, in their own time and place - at home in interwar Germany, on tour, and later returning from exile after World War II. Spectator reports that performers died or became half-machine archived not only the physicality of past performance, but also the ways audiences used the temporary world of the stage to negotiate pressing social issues, from female visibility within commodity culture to the functioning of human-machine hybrids in an era of increasing technologization. These accounts offer offer limit cases for the body on stage and, in so doing, speak to the preoccupations of the day. Approaching a range of performance artists, including Oskar Schlemmer, Valeska Gert, Kurt Jooss, Mary Wigman, Bertolt Brecht, Anita Berber, and the Tiller Girl troupes, through archives of watching, the reception of these performances also revises and complicates understandings of Ausdruckstanz as the representative dance of this moment in Germany. They further reveal how such practices came to be reconfigured and imbued with new significance in the post-war era. By bringing insights from theatre, dance, and performance studies to German cultural studies, and vice versa, Watching Weimar Dance develops a culturally-situated model of watching that not only offers a revisionist narrative, but also demonstrates new methods for dance scholarship to shape cultural history.

* Brings insights from Dance, Theatre, and Performance Studies to Weimar Studies and vice versa to develop a culturally-situated model of watching
* Considers the transnational connections and afterlives of Weimar-era dance, including historicizing the post-World War II usage of Ausdruckstanz
* Offers new methods for dance scholarship to shape cultural history through, rather than despite, the instabilities of performance
* Based on a collection of rare archival materials, from published cartoons and annotated 1920s scrapbooks to legal case files from a copyright suit

Watching Weimar Dance

Ernst Kallai's 1931 Schrifttanz article bemoaned the way in which dance at the time was living ‘above its intellectual means’. The article cited a work by Oskar Schlemmer to exemplify how the theor...

Petrified? Some Thoughts on Practical Research and Dance Historiography

Dance and death combined in post-WWI Germany to complicate the material authority they were seen to share. Using nascent modern dance techniques to exploit the expressive capacities of the dancing body, choreographers turned to dances of death to portray the increasingly difficult conditions of humanity. The logistics of performing these spectacles of the real are investigated through three choreographer/performers of the Weimar Republic: Kurt Jooss, Valeska Gert, and Anita Berber.

“Berlin … Your Dance Partner Is Death”

A better understanding of the transnational networks of dance touring is critical to placing dance within larger theatrical and cultural systems. This essay demonstrates how digital research methods can work in tandem with more traditional scholarly methods to manage the scale and complexity of data truly necessary to account for what we call “movement on the move.” Drawing on the authors’ research on dance touring—namely, South American tours by Anna Pavlova’s company during World War I and the American Ballet Caravan during World War II—the essay focuses on the database and the map as tools that expand the capacity to trace “dynamic spatial histories of movement.” It argues that larger questions of mobility, transportation, infrastructure, and cultural transmission are central to studying dance touring, and that digital methods of research and representation can greatly assist scholars in the comparative analysis and interpretation of this phenomenon. Considered are debates in dance, theatre, digital humanities, geography, and cultural studies to advocate for the use of digital methods in dance history research.

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Kate Elswit

Papers

So You Think You Can Dance Does Dance Studies

Watching Weimar Dance

Petrified? Some Thoughts on Practical Research and Dance Historiography

“Berlin … Your Dance Partner Is Death”

Mapping Movement on the Move: Dance Touring and Digital Methods