Hostname: page-component-78c5997874-m6dg7 Total loading time: 0 Render date: 2024-11-03T00:17:32.238Z Has data issue: false hasContentIssue false
  • English
  • Français

Dance as Radical Archaeology

Published online by Cambridge University Press:  13 August 2020

Marie-Louise Crawley
Get access Rights & Permissions [Opens in a new window]

Abstract

This essay examines from an artist-researcher perspective the durational solo dance work Likely Terpsichore? (Fragments), created for and performed at the Ashmolean Museum of Art and Archaeology (UK) in 2018. It asks how dance's presence in the archaeological museum might allow an alternative visibility for ancient female bodies previously rendered only partially visible by history. It makes a claim for dance in the archaeological museum as a subversive act of radical archaeology, in terms of how, by playing on notions of dismembering/remembering histories, it seeks to disrupt received notions of how we view and understand ancient history and culture.

Keywords

ancient historyarchaeologychoreographyclassicsfeminismmemorymuseumfeminism
Type
Articles
Information
Dance Research Journal , Volume 52 , Issue 2 , August 2020 , pp. 88 - 100
Copyright
Copyright © 2020 Dance Studies Association

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Arlander, Annette, Barton, Bruce, Dreyer-Lude, Melanie, and Spatz, Ben, eds. 2017. Performance as Research: Knowledge, Methods, Impact. London: Routledge.CrossRefGoogle Scholar
Beard, Mary. 2017. Women and Power: A Manifesto. London: Profile/LRB.Google Scholar
Betts, Eleanor, ed. 2017. Senses of the Empire: Multisensory Approaches to Roman Culture. Abingdon, UK: Routledge.CrossRefGoogle Scholar
Brandstetter, Gabriele. 2016. “The Museum in Transition: How Do Performing Artists Affect Historiography?” Unpublished keynote address at IFTR 2016, Stockholm University, Sweden, June 13, 2016.Google Scholar
Brannigan, Erin, Mathews, Hannah, and Wake, Caroline, eds. 2017. “Performance, Choreography and the Gallery.” Special issue, Performance Paradigm 13.Google Scholar
Bronstein, Pablo. 2016. Historical Dances in an Antique Setting. Tate Britain, London, April 26–October 9.Google Scholar
Cates, Meryl. 2017. “Artist in Residence Andrea Miller on Stone Skipping at the Temple of Dendur.” Accessed March 16, 2020. https://www.metmuseum.org/blogs/now-at-the-met/2017/andrea-miller-stone-skipping-artist-residence-interview.Google Scholar
Charmatz, Boris. 2015. If Tate Modern Was Musée de la danse? Tate Modern, Bankside, London, May 15–16.Google Scholar
Cherkaoui, Sidi Larbi. 2019. Medusa. Royal Ballet, Royal Opera House, London, May 8–21.Google Scholar
Cixous, Hélène. 1975. Le Rire de la Méduse. Paris: Galilée.Google Scholar
Crawley, Marie-Louise. 2018. Likely Terpsichore? (Fragments), Ashmolean Museum of Art and Archaeology, Oxford, April 17–29. Accessed March 19, 2020. http://podcasts.ox.ac.uk/likely-terpsichore-fragments-solo-durational-dance-work.Google Scholar
De Keersmaeker, Anne Teresa. 2016. Work/Travail/Arbeid. Rosas, Tate Modern, Bankside, London, July 8–10.Google Scholar
Dyer, Geoff. 1995. The Missing of the Somme. London: Penguin.Google Scholar
Foster, Susan Leigh. 1995. Choreographing History. Bloomington: Indiana University Press.Google Scholar
Foucault, Michel. (1969) 2008. The Archaeology of Knowledge. London: Routledge.Google Scholar
Franko, Mark, and Lepecki, André, eds. 2014. “Dance in the Museum.” Special issue, Dance Research Journal 46 (3).10.1017/S0149767714000424CrossRefGoogle Scholar
Giannachi, Gabriella, Kaye, Nick, and Shanks, Michael, eds. 2012. Archaeologies of Presence. London: Routledge.CrossRefGoogle Scholar
Guy, Georgina. 2016. Theatre, Exhibition and Curation: Displayed and Performed. London: Routledge.CrossRefGoogle Scholar
Jackson, Anthony. 2011. “Engaging the Audience: Negotiating Performance in the Museum.” In Performing Heritage: Research, Practice and Innovation in Museum Theatre and Live Interpretation, edited by Jackson, Anthony and Kidd, Jenny, 11–25. Manchester, UK: Manchester University Press.Google Scholar
Jenkins, Tiffany. 2016. Keeping Their Marbles. Oxford, UK: Oxford University Press.Google Scholar
Johnson, Paul. 2011. “‘The Space of ‘Museum Theatre’: A Framework for Performing Heritage.” In Performing Heritage: Research, Practice and Innovation in Museum Theatre and Live Interpretation, edited by Jackson, Anthony and Kidd, Jenny, 53–68. Manchester, UK: Manchester University Press.Google Scholar
Lovatt, Helen. 2013. The Epic Gaze: Vision, Gender and Narrative in Ancient Epic. Cambridge, UK: Cambridge University Press.CrossRefGoogle Scholar
Lyotard, Jean-François. 1979. La Condition Postmoderne [The Postmodern Condition]. Paris: Editions du Minuit.Google Scholar
Miller, Andrea. 2017. Stone Skipping. Gallim Dance, Metropolitan Museum of Art, New York City, October 26–27.Google Scholar
Mulvey, Laura. 1975. “Visual Pleasure and Narrative Cinema.” Screen 16 (3): 8–18.CrossRefGoogle Scholar
Ovid. 2004. P. Ovidi Nasonis Metamorphoses. Edited by Tarrant, Richard J.. Oxford, UK: Oxford University Press.Google Scholar
Parker-Starbuck, Jennifer. 2017. “Editorial Comment: Theatre and the Museum/Cultures of Display.” Theatre Journal 69 (3): 9–12.Google Scholar
Pearson, Mike, and Shanks, Michael. 2001. Theatre/Archaeology: Disciplinary Dialogues. London: Routledge.Google Scholar
Pirici, Alexandra, and Pelmus, Manuel. 2016. Public Collection. Tate Modern, Bankside, London, June 17–July 3.Google Scholar
Quinn, Marc. 2017. Speaker at “Modern Classicisms: Classical Art and Contemporary Artists in Dialogue,” Kings College, London, November 10.Google Scholar
Rees Leahy, Helen. 2011. “Watching Me, Watching You: Performance and Performativity.” In Performing Heritage: Research, Practice and Innovation in Museum Theatre and Live Interpretation, edited by Jackson, Anthony and Kidd, Jenny, 26–38. Manchester, UK: Manchester University Press.Google Scholar
Ricœur, Paul. 1981. “The Narrative Function.” In Hermeneutics and the Social Sciences, edited and translated by Thompson, John, 274–296. Cambridge, UK: Cambridge University Press.CrossRefGoogle Scholar
Ricœur, Paul. 2004. Memory, History, Forgetting. Translated by Blamey, Kathleen and Pellauer, David. Chicago: Chicago University Press.CrossRefGoogle Scholar
Rimell, Victoria. 2006. Ovid's Lovers: Desire, Difference and the Poetic Imagination. Cambridge, UK: Cambridge University Press.CrossRefGoogle Scholar
Sarton, May. 1971. “The Muse as Medusa.” In Collected Poems, 1930–1993. New York: Open Road Media.Google Scholar
Schneider, Rebecca. 2011. Performing Remains: Art and War in Times of Theatrical Reenactment. London: Routledge.CrossRefGoogle Scholar
Shanks, Michael, and Tilley, Christopher. (1987) 1992. Re-Constructing Archaeology: Theory and Practice. London: Routledge.Google Scholar
Slaney, Helen. 2017. “Motion Sensors: Perceiving Movement in Roman Pantomime.” In Senses of the Empire: Multisensory Approaches to Roman Culture, edited by Betts, Eleanor, 159–175. London: Routledge.CrossRefGoogle Scholar
Taylor, Diana. 2003. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham, NC: Duke University Press.CrossRefGoogle Scholar
Thomas, Helen. 1996. “Do You Want to Join the Dance? Postmodernism/Post-structuralism, the Body, and Dance.” In Moving Words: Re-Writing Dance, edited by Morris, Gay, 63–87. London: Routledge.Google Scholar
Thomas, Helen. 2003. The Body, Dance and Cultural Theory. London: Palgrave Macmillan.CrossRefGoogle Scholar
Vardimon, Jasmin. 2018. Medusa (dance performance). Jasmin Vardimon Company, Gulbenkian, Canterbury, September 13.Google Scholar
Wookey, Sara. 2015. Who Cares? Dance in the Gallery and Museum. London: Siobhan Davies Dance.Google Scholar