By Ann Cooper Albright
The choreographies of invoice T. Jones, Cleveland Ballet Dancing Wheels, Zab Maboungou, David Dorfman, Marie Chouinard, Jawole Willa Jo Zollar, and others, have helped determine dance as an important discourse of the 90s. those dancers, Ann Cooper Albright argues, are asking the viewers to determine the physique as a resource of cultural id -- a actual presence that strikes with and during its gendered, racial, and social meanings.Through her articulate and nuanced research of latest choreography, Albright exhibits how the dancing physique shifts conventions of illustration and gives a severe instance of the dialectical courting among cultures and the our bodies that inhabit them. As a dancer, feminist, and thinker, Albright turns to the cloth adventure of our bodies, not only the physique as a determine or metaphor, to appreciate how cultural illustration turns into embedded within the physique. In arguing for the intelligence of our bodies, Choreographing distinction is itself a testimonial, giving voice to a couple vital political, ethical, and inventive questions of our time.
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Extra info for Choreographing Difference: The Body and Identity in Contemporary Dance
5 While I appreciate deLauretis's articulation of experience as interactive process, I find her too quick to pass over aspects of experience, particularly physical experience, that are not so easily categorized. To be sure, this experience of Woolf's character—the "I" of the story—is a prime example of the social positioning of women, but suppose for a moment that deLauretis had started to quote Woolf earlier in her essay. Thought. . had let its line down into the stream. It swayed, minute after minute, hither and thither among the reflections and the weeds, letting the water lift it and sink it, until—you know the little tug—the sudden conglomeration of an idea at the end of one's line.
It is not my interest here to enter into that kind of inquiry. Rather, I would like to discuss experience, specifically experience of 11 Mining the Dancefield the body, in order to trace the context and contours of its role in mediating between representation and identity. Of course, as I have noted earlier, this means that we must be willing to talk about the body's sensations, kinesthetic impressions, emotional reactions, and physical comportment as well as its historically and culturally inflected signification.
When she describes gender as a "repeated stylization of the body," or "repeated acts . . " In "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory," Butler reiterates her definition of gender as a "stylization of the body | that] must be understood as the mundane way in which bodily gestures, movements, and enactments of various kinds constitute the illusion of an abiding gendered self" [emphasis added]. The "repeated play" of sexuality in the above citation concerning a lesbian identity, however, is a much more conscious kind of repetition, one that knows the stakes of its own self-representation and can imagine an empowering "strategic intervention" within the very cultural codes that determine its currency.
Choreographing Difference: The Body and Identity in Contemporary Dance by Ann Cooper Albright