Fred Moten

Hito Steyerl

Julia Bryan-Wilson

Claire Bishop

Susan Leigh Foster

Kélina Gotman

Bojana Kunst

Mathieu Copeland

André Lepecki

Katherine Dunham

Merce Cunningham

Christine Greiner

Claire Tancons

Thomas J. Lax

Nadeije Laneyrie-Dagen

Germaine Acogny

Analivia Cordeiro

Carmen Luz

Cláudia Müller

Daniel Blanga Gubbay

G.R.E.S. Estação Primeira de Mangueira

Juliana Moraes

Leda Martins

Lucas Pedretti

Manuel Segade

Sophie Jacotot

Will Rawls

Zoila Mendoza-Walker

Esta Antologia reúne 28 textos em torno dos entrelaçamentos entre dança, cultura visual e políticas do corpo. São ensaios, discursos, textos críticos e de referência, bem como um samba-enredo, escritos por historiadores da dança e da arte, artistas, curadores, coreógrafos e dançarinos. O MASP organizou três seminários internacionais sobre as Histórias da dança entre 2018 e 2020, e 7 dos textos vêm dessas apresentações, enquanto os outros 21 são novas edições e traduções inéditas de textos fundamentais para pensar a dança e a coreografia — que corpos dançam, o que os move, como se movem e como são representados. Esta publicação supre uma lacuna no mercado editorial. Ela é essencial para quem tiver interesse nos debates em torno das relações da dança e as artes visuais e de sua presença nas galerias e museus. A Antologia de textos acompanha o volume Histórias da dança: catálogo, com ensaios e reproduções das obras e performances selecionadas para integrar a exposição coletiva articulada em torno do eixo temático do ano de 2020.

Histórias da dança: antologia

Because dance materializes through and for people, because we learn to dance from others and often present dance to others, the moment of its transmission is one of dance's central and defining features. Valuing Dance looks at the occasion when dancing passes from one person to another as an act of exchange, one that is redolent with symbolic meanings, including those associated with its history and all the labor that has gone into its making. It examines two ways that dance can be exchanged, as commodity and as gift, reflecting on how each establishes dance's relative worth and merit differently. When and why do we give dance? Where and to whom do we sell it? How are such acts of exchange rationalized and justified? Valuing Dance poses these questions in order to contribute to a conversation around what dance is, what it does, and why it matters.

Commodities and Gifts in Motion

Valuing Dance

First published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.

Dancing Knowledge, Culture and Power

Corporealities

What world has been constructed for dancing through the use of the term 'world dance'? What kinds of worlds do we as scholars create for a given dance when we undertake to describe and analyze it? This book endeavours to make new epistemological space for the analysis of the world's dance by offering a variety of new analytic approaches.

Worlding Dance

Peggy Phelan

"Published on the occasion of the exhibition Move: Choreographing You, Hayward Gallery, London, 13 October 2010-9 January 2011; Haus der Kunst, Munich, 10 February-15 May 2011; Kunstsammlung Nordrhein-Westfalen, Deusseldorf, 16 July-25 September 2011."--T.p. verso.

Choreographing You

Move

The site for this historical inquiry is Paris, home to the most popular and lavish dance productions of the eighteenth and early nineteenth centuries. The ballet is analyzed in terms of the training procedures for dancers, the aesthetic goals and responsibilities of choreographers, the institutional frameworks that promote productions, and the expectations and pleasures of dance viewers.

Ballet's Staging of Story and Desire

Choreography & Narrative

Suggests a new theory of dance, describes four models for representation in dance, and discusses the work of modern choreographers, including Balanchine, Graham, and Tharp

Bodies and Subjects in Contemporary American Dance

Reading Dancing

"... I have used essays from the book to help dance graduate students push their thinking beyond the studio and their own physical experience and to realize the varied resources, approaches, and theoretical positions possible in writing about the body." -- Dance Research Journal "Choreographing History... assembles an impressive diversity of sites, disciplines and critical approaches... [and] includes not only historical bodies and discourses, but also the very bodies of the historians themselves." -- Parachute "This volume is not only full of gems (the very lineup of preeminent scholars is impressive), but is also a neat cross-section of the academic conventions and mannerisms of our time." -- Dance Chronicle "... [an] important step... in the ineluctable dance by postmodern historians across a bridge that spans the gaps among disciplines, between theory and practice, and betweeen present and past." -- Theatre Journal Historians of science, sexuality, the arts, and history itself focus on the body, merging the project of writing about the body with theoretical concerns in the writing of history.

Choreographing History

Choreographing Empathy challenges the idea of a direct connection between the body of a dancer and that of their observer, arguing that the connection is in fact influenced by ever-changing sociocultural mores. This is a reconception with ramifications for performance studies as a whole.

Kinesthesia in Performance

Choreographing Empathy

Susan Leigh Foster

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