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OverviewThere is a category of choreographic practice with a lineage stretching back to mid-20th century North America that has re-emerged since the early 1990s: dance as a contemporary art medium. Such work belongs as much to the gallery as does video art or sculpture and is distinct from both performance art and its history as well as from theater-based dance. The Persistence of Dance: Choreography as Concept and Material in Contemporary Art explores this history by looking at the continuities and differences between the second-wave dance avant-garde in the 1950s‒1970s and the third-wave starting in the 1990s. Through close readings of key artists such as Maria Hassabi, Sarah Michelson, Boris Charmatz, Meg Stuart, Philip Gehmacher, Adam Linder, Agatha Gothe-Snape, Shelley Lasica and Latai Taumoepeau, The Persistence of Dance traces the relationship between the third-wave and gallery-based work. Looking at these artists highlights how the discussions and practices associated with 'conceptual dance' resonate with the categories of conceptual and post-conceptual art as well as with the critical work on the function of visual art categories. Brannigan concludes that within the current post-disciplinary context, there is a persistence of dance and that a model of post-dance exists that encompasses dance as a contemporary art medium. Full Product DetailsAuthor: Erin BranniganPublisher: The University of Michigan Press Imprint: The University of Michigan Press ISBN: 9780472076482ISBN 10: 0472076485 Pages: 374 Publication Date: 30 November 2023 Audience: Professional and scholarly , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: Not yet available  This item is yet to be released. You can pre-order this item and we will dispatch it to you upon its release. Table of ContentsPart I. State of the Art Chapter 1:Unassertive Persistence: Dance Beyond Theater Introduction 1.2 Intermedial methods for intermedial practices 1.3 Revision and specificity: choreography as a contemporary art medium 1.4 Scoping the field: across theory and practice Case Study 1: Sarah Michelson—Choreography as Concept, Dancing as Material Chapter 2: Intermedial Methodologies: Dance Composition and the Work of the Work 2.1 Introduction 2.2 Poetics as method 2.3 Writing dancing 2.4 The limit features of dance’s social condition (part 1) Mind-body Singularity/collectivity Presence/participation Process Practice Composition Performance 2.5 Conclusion Part II. Dance and the Museum Case Study 2: Meg Stuart and Bart De Baere—Choreography and/as Collaboration Chapter 3: The Museum and Dance Since the 1990s 3.1 Introduction 3.2 The resistance of dance 3.3 Curation since the 2000s: revision, appropriation, and potential 3.4 Exhibiting dance, now and then: exclusions and specificities 3.5 Conclusion Case Study 3: Curation as Choreography—Copeland’s Choreographing (2007) Case Study 4: Activating Dancer Agency in the Gallery—Adrian Heathfield’s Ghost Telephone (2016) Case Study 5: Artist-Led Events—Shelley Lasica and Zoe Theodore, To Do / To Make Part III. Between the Twentieth and Twenty-First Centuries Chapter 4: Between the Second- and Third-Wave Dance Avant-Garde 4.1 Introduction 4.2 Conceptual dance and the third-wave dance avant-garde 4.3 Continuity between recent experimental dance and the post-war neo-avant-garde or Neo-Dada 4.4 Conclusion Case Study 6: Boris Charmatz—Institutional Critique and Contemporary Dance Histories Chapter 5: Choreography as Concept and Post-Disciplinarity 5.1 Introduction 5.2 Dancing versus choreography 5.3 Choreography as concept 5.4 Conclusion Part IV: Concept and Material Case Study 7: Adam Linder—Dance as a Contemporary Art Medium Chapter 6: TheConceptual–Material Bind in Dance and Visual Art 6.1 Introduction 6.2 Conceptual work in dance and visual art 6.3 The persistence of a thing called dance 6.4 Conclusion Chapter 7: The Limit Features of Dance’s Social Condition (part 2) 7.1 Introduction 7.2 Breath 7.4 Tone 7.5 Movement 7.6 Force/Energy/Effort 7.7 Rhythm 7.8 Space-time 7.9 Conclusion Case Study 8: Shelley Lasica—Context and Process Case Study 9: Maria Hassabi—Between Sensation and Its Display Part V: Beyond Dancing in the Gallery Case Study 10: Agatha Gothe-Snape—Art as Gesture Chapter 8: The Persistence of Dance at the Point of Its Disappearance 8.1 Introduction 8.2 The material genealogy of dance 8.3 Post-dance 8.4 Conclusion Case Study 11: Latai Taumoepeau—Dancing Moana, Working with Urgency Conclusion: Persistent Resistance BibliographyReviewsAuthor InformationErin Brannigan is Associate Professor of Theatre and Performance Studies at the University of New South Wales. Her book Choreography, Visual Art and Experimental Composition 1950s-1970s received the Selma-Jeanne Cohen Dance Prize. Tab Content 6Author Website:Countries AvailableAll regions |
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