While his contemporaries were moving away from conventional music and toward experimental styles, Paul Taylor embraced folk music and Baroque composers.
Both genres typically have simple meters and lend themselves to choreographically friendly units of eight counts, and Taylor created movement that works through the expected meter, and, consequently, the phrasing of the music. But musical and choreographic phrases are often at odds in Taylor’s works, a discrepancy that creates intricate and engaging work that has expanded the scope and significance of American dance.
This according to “Paul Taylor’s meticulous musicality: A choreomusical investigation” by Todd Coulter (Dance chronicle XXXVII/1  63–84; RILM Abstracts 2014-2397).
Today would have been Taylor’s 90th birthday! Above, Taylor in 1960 (photo by Carl Van Vechten); below, Esplanade, one of the works discussed in the article (The introduction—mostly quoting from Taylor— lasts about 1¾ minutes).
Pina Bausch’s Tanztheater draws upon elements of both dance and theater, juxtaposing, for example, choreographed gesture, the spoken word, and popular song. It echoes her heritage of Ausdruckstanz, but extends that tradition in a radical approach to form, content, and subject matter.
In impulse, Bausch has much in common with the postmodernists: in her rejection of illusion, her reconceptualization of what constitutes dance, and the imperative to make dance aware of itself. Her retention of realism, wrapped in a theatrical though fragile framework, results in a very different mode of dance making and performing.
The seeming authenticity of the performers’ experiences onstage and the unapologetic presentation of everyday bodily experience demand a reciprocal sensory response from the audience. The stark presentation of gender conflict, both within individuals and between women and men, and the raw and gutsy energy of performance that demands a visceral response, seem to hold a special attraction for a young audience, particularly in Europe.
This according to “Pina Bausch: Dance and emancipation” by Norbert Servos and Patricia Stadié (RILM Abstracts 1998-31027), an essay included in The Routledge dance studies reader (London: Routledge, 1998, 36–45; RILM Abstracts 1998-31023).
Today would have been Bausch’s 80th birthday! Above, Pina Bausch (©Joerg Lange) is licensed under CC BY-NC-SA 2.0; below, an excerpt from Pina by Wim Wenders.
For Anna Halprin, the RSVP cycles are a touchstone for realizing her mission to have everyone dance, regardless of dance training, age, or ability.
The inclusion of as many people as possible in the world of dance had always been an essential aspect for Halprin, who saw engagement with difference as a way of enriching her own personal landscape as well, through across-the-board work without cultural, historical, or geographical boundaries.
To make this dynamic inclusive, she sought a methodology for creating collective works based on a common language that would make it possible to transcend the ideas and preconceptions of gender, social, and cultural categories including age, artistic technique, race, and educational background. The RSVP cycles are the instrument and the outcome of this quest.
This according to “Anna e Lawrence Halprin: Il ciclo RSVP” by Laura Colomban (Danza e ricerca IX [dicembre 2017] 173–87).
Today is Anna Halprin’s 100th birthday! Above and below, the choreographer in 2010.
Filed under Dance, Pedagogy
Interpretive skill plays a particularly important role in Egyptian raqṣ šarqī, which is customarily improvised by a solo dancer to live musical accompaniment. The heterophonic structure of classical Egyptian music involves layering instruments, each of which simultaneously performs its own ornamentation on the melody, rather than adding harmonies.
As an intermediary between the music and the audience, the dancer has the ability to direct the audience’s attention to a particular instrument or embellishment by emulating its rhythm, pitch, and dynamics in movement. In so doing, the raqṣ šarqī dancer chooses not only what the audience will see, but also what they will hear.
The concept of muḥāsabah (analytical listening) illuminates how, by being a sammīʿa (skilled listener), the dancer can enhance the audience’s appreciation of the music, temporarily making them skilled listeners as well. Ultimately, raqṣ šarqī performance is a multisensorial practice that combines sounds, sights, and movements in order to heighten the audience’s aesthetic and emotional experience.
This according to Listening with the body: The raqs sharqi dancer as musical interpreter by Ainsley Hawthorn (St. Johns: Research Centre for the Study of Music, Media, & Place (MMaP), 2020).
Above, a raqṣ šarqī dancer in Cairo with her ensemble, photographed by Dan Lundberg; below, Dr. Hawthorn presents her research.
Hula performers began touring throughout the continental United States and Europe in the late 19th century. These hula circuits introduced hula and Hawaiians to U.S. audiences, establishing an imagined intimacy, a powerful fantasy that enabled Americans to possess their colony physically and symbolically.
At vaudeville theaters, international expositions, commercial nightclubs, and military bases, Hawaiian women acted as ambassadors of aloha, enabling Americans to imagine Hawai’i as feminine and benign, and the relation between colonizer and colonized as mutually desired. Meanwhile, in the early years of American imperialism in the Pacific, touring hula performers incorporated veiled critiques of U.S. expansionism into their productions.
By the 1930s Hawaiian culture, particularly its music and hula, had enormous promotional value. In the 1940s thousands of U.S. soldiers and military personnel in Hawai’i were entertained by hula performances, many of which were filmed by military photographers. Yet Hawaiians also used hula as a means of cultural survival and countercolonial political praxis.
This according to Aloha America: Hula circuits through the U.S. empire by Adria L. Imada (Durham: Duke University Press, 2012).
Above, dancing the hula for servicemen, 1944; below, Hal Aloma with Lani McIntyre and his Aloha Islanders, 1949.
The date on the Catholic calendar commemorating the birth of St. John the Baptist, 24 June, is widely celebrated in northeastern Brazil. Festas juninas (June festivities, or St. John’s Day festivities) take place from early June to mid-July and are characterized by the presentation and representation of diverse cultural traditions of the region.
Forró, the typical music of this period, brings together diverse musical genres, dances, and a strong festive connotation. Although forró musicians born before the mid-1970s acquired their musical competence outside of formal educational institutions, large segments of the younger generation attend schools of music (though not necessary in lieu of other learning strategies). Meanwhile, changes in the organization of professional forró activities are linked to the larger transformations of northeastern festas juninas since the late 20th century.
This according to “Musicians in street festivals of northeastern Brazil: Recent changes in forró music and St. John’s Day festivities” by Carlos Sandroni, et al. (The world of music V/1  pp. 159–79).
Happy St. John’s Day! Above and below, forró as festa junina street dance.
Since being listed as intangible cultural heritage by UNESCO in 2010, Kalbelia dance from Rājasthān is now generally conceptualized as an ancient tradition from India. However, this same dance practice, also known as a form of “Indian Gypsy” or “snake charmers’” folk dance, appears to have originated as recently as the 1980s.
Ethnographic research with Kalbelia dancers’ families has elucidated how this inventive dance practice was formed to fit into national and transnational narratives with the aim of commercializing it globally and of generating a new, lucrative livelihood for these Kalbelia families. As a new cultural product of Rājasthāni fusion, the dance finds itself at the crossroads of commercial tourism and political folklorism and is grounded in the neo-Orientalist discourses of romanticism and exoticism.
This according to “Kalbeliya dance from Rajasthan: Invented gypsy form or traditional snake charmers’ folk dance?” by Ayla Joncheere (Dance research journal XLIX/1 [April 2017] pp. 37–54).
Below, a performance from the archives of the Asian Music Circuit.
The freedom that Merce Cunningham advocated involved the performer becoming independent mentally, facing himself or herself, and reaching the state of mind of nō, true freedom achieved by overcoming ego.
Cunningham attempted to discipline the dancer’s body and mind in order to attain this ideal state of mind of nō at all the phases of his practical activity, by stipulating an environment where the performer must concentrate on his or her own movement—in particular on two elements, the shape of the movement and the energy that serves as its basis.
Cunningham’s concept of freedom did not stay only within the scope of negative concepts, in which freedom and liberty indicate “free from…”, but also connotes a creative and positive meaning, indicated by the Zen word jiyū (free to…).
This according to “Merce Cunningham’s concept of freedom and its philosophical background” by Sako Haruko, an essay included in Proceedings: Society of Dance History Scholars (Stoughton: Society of Dance History Scholars, 2002, pp. 125–28).
Today would have been Cunningham’s 100th birthday! Below, a collaboration with the video artist Nam June Paik.
Çudamani, a sekaa (a communal club under the auspices of a ward) and a sanggar (a more tightly governed and broader arts organization) in the Balinese village of Pengosekan, is committed to studying and teaching Balinese music and dance; it is also a transnational arts phenomenon.
Çudamani is first a traditional sekaa, in the sense that it is committed to its local community, and one of the main missions of the troupe is to ngayah, or perform voluntary performance service at temple festivals. The original troupe was initiated in the late 1990s; today, the organization includes at least four different sub-groups (including children’s clubs).
The group is postmodern because of the transnational basis, the neotraditionalism, the mixing of new and traditional musics and the play of genre, the fluidity of local and global identities, and the fact that the troupe seems to defy preconceived notions of sekaa or sanggar and to transcend some principles upon which such organizations have been established. While its international notoriety distinguishes this group from most others, Çudamani’s global participation and embrace of neotraditionalism illuminates growing trends within Bali and provides a case study of circulating, 21st-century ideation on cultural representation and the role of the arts.
This according to “Between traditionalism and postmodernism: The Balinese performing arts institution Çudamani” by David D. Harnish, an essay included in Performing arts in postmodern Bali: Changing interpretations, founding traditions (Aaachen: Shaker Verlag, 2013, pp. 257–77).
Below, a performance in 2018.