This book argues that contemporary dance, imagined to have a global belonging, is vitiated by euro-white constructions of risk and currency that remain at its core. Differently, the book reimagines contemporary dance along a South-South axis, as a poly-centric, justice-oriented, aesthetic-temporal category, with intersectional understandings of difference as a central organizing principle. Placing alterity and heat, generated via multiple pathways, at its center, it foregrounds the work of South-South artists, who push against constructions of tradition and white-centered aesthetic imperatives, to reinvent their choreographic toolkit and respond to urgent questions of their times. In recasting the grounds for a different global stage, the argument widens its scope to indicate how dance-making both indexes current contextual inequities and broader relations of social, economic, political, and cultural power, and inaugurates future dimensions of justice.
Winner of the 2022 Oscar G. Brockett Prize for Dance Research

Reveals the relations of political and economic power that underlie the artistic arrangement of bodies in choreography Brings together ethnographic and discursive approaches to the study of concert dance practices Engages broader debates about art-making and cultural production

Autorentext

Ananya Chatterjea is Professor of Dance at the University of Minnesota, USA, where she teaches courses in Critical Dance Studies and Contemporary Technique. Her work as choreographer, dancer, and thinker brings together contemporary Dance, social justice choreography, and a philosophy of #OccupyDance. She is artistic director of Ananya Dance Theatre, a Twin Cities-based professional dance company of Black and brown women and femmes, and Co-director of the St. Paul-based Shawngr m Institute for Performance and Social Justice.

Klappentext

1. Introduction: Speaking from the "waiting rooms of History".- 2. States of contemporary concert dance: The tyranny of the pointed foot.- 3. Sardono Kusumo/ Growing contemporary movement from vibration.- 4. Germaine Acogny/The technical strategies of pollution and Rulan Tangen/The entanglement of memory and imagination in technique.- 5. Rosy Simas: Deflating conventions of indigeneity differently.- 6. Nora Chipaumire: The politics of continuous re-writing.- 7. Conversations that raise the roof: In dialogue with Hari Krishnan, Marcus Young, and the dancers of Ananya Dance Theatre.

   Inhalt

   1. Introduction: Speaking from the waiting rooms of History.- 2. States of contemporary concert dance: The tyranny of the pointed foot.- 3. Sardono Kusumo/ Growing contemporary movement from vibration.- 4. Germaine Acogny/The technical strategies of pollution and Rulan Tangen/The entanglement of memory and imagination in technique.- 5. Rosy Simas: Deflating conventions of indigeneity differently.- 6. Nora Chipaumire: The politics of continuous re-writing.- 7. Conversations that raise the roof: In dialogue with Hari Krishnan, Marcus Young, and the dancers of Ananya Dance Theatre.