Hostname: page-component-586b7cd67f-vdxz6 Total loading time: 0 Render date: 2024-11-28T02:13:31.108Z Has data issue: false hasContentIssue false
  • English
  • Français

Inheriting Dance's Alternative Histories

Published online by Cambridge University Press:  25 June 2014

Kate Elswit
Get access Rights & Permissions [Opens in a new window]

Abstract

In 1975, German choreographer Kurt Jooss created his last dance, Dixit Dominus, for Swedish-based Indian dancer Lilavati Häger. After Rani Nair reconstructed what is often seen as a “minor” work, she then created Future Memory (2012) to engage more directly with her inheritance, from caring for the personal things and stories that surrounded the piece to re-working its promise of dancing between European and Indian forms. Working outward from my position as dramaturg and historian for this project, this essay addresses the potential and precariousness of contemporary dance's experiments with redoing history at the intersection of multiple contested legacies.

Keywords

Ausdruckstanzdance theatredramaturgygiftinheritanceKurt JoossLilavati HägermemoryRani Nairreconstructionreenactment
Type
Articles
Information
Dance Research Journal , Volume 46 , Issue 1 , April 2014 , pp. 5 - 22
Copyright
Copyright © Congress on Research in Dance 2014 

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

Angström, Anna. 2014. “Rani Nair skapar laddad dialog om att ärva ett danssolo.” Svenska Dagbladet. March 15. Available online at http://www.svd.se/kultur/scen/rani-nair-laddar-solo-med-smarta-perspektivbyten_3367538.svd.Google Scholar
Barba, Fabian. 2011. “Research into Corporeality.” Dance Research Journal 43(1): 82–89.Google Scholar
Bourriaud, Nicolas. 2009a. “Altermodern Explained: Manifesto.” Tate Britain. Accessed January 13, 2009. http://www.tate.org.uk/whats-on/tate-britain/exhibition/altermodern/explain-altermodern/altermodern-explainedmanifesto.Google Scholar
Bourriaud, Nicolas. 2009b. The Radicant. Translated by Gussen, James and Porten, Lili. New York: Lukas & Sternberg.Google Scholar
Chakravorty, Pallabi. 2000/01. “From Interculturalism to Historicism: Reflections on Classical Indian Dance.” Dance Research Journal 32(2): 108–119.Google Scholar
Chatterjea, Ananya. 2013. “On the Value of Mistranslations and Contaminations: The Category of ‘Contemporary Choreography’ in Asian Dance.” Dance Research Journal 45(1): 7–20.Google Scholar
de Soto, Olga. 2012. “Olga de Soto about ‘Débords. Reflections on The Green Table’” [Interview with Andrea Keiz]. Accessed June 16, 2013. http://vimeo.com/49506237.Google Scholar
Elswit, Kate. 2012. “Back Again? Valeska Gert's Exiles.” In New German Dance Studies, edited by Manning, Susan and Ruprecht, Lucia, 113–29. Champaign, IL: University of Illinois Press.Google Scholar
Elswit, Kate. 2014. Watching Weimar Dance. New York: Oxford University Press.Google Scholar
Foster, Hal. 2004. “An Archival Impulse.” October 110 (Fall): 3–22.Google Scholar
Franco, Susanne. 2007. “Ausdruckstanz: Traditions, Translations, Transmission.” In Dance Discourses: Keywords in Dance Research, edited by Franco, Susanne and Nordera, Marina, 80–98. London: Routledge.Google Scholar
Franko, Mark. 1989. “Repeatability, Reconstruction and Beyond.” Theatre Journal 41(1): 56–74.Google Scholar
Giersdorf, Jens Richard. 2013. The Body of the People: East German Dance Since 1945. Madison, WI: University of Wisconsin Press.Google Scholar
Grossberg, Lawrence. 2010. Cultural Studies in the Future Tense. Durham, NC: Duke University Press.Google Scholar
Häger, Lilavati, and Ulvenstam, Lars. 1984. Filmed Television Interview for “Nyfiken på” series. ID# 30131. Sveriges Television AB.Google Scholar
Hammergren, Lena. 2009. “The Power of Classification.” In Worlding Dance, edited by Foster, Susan Leigh, 14–31. New York: Palgrave Macmillan.CrossRefGoogle Scholar
Hardt, Yvonne. 2011. “Staging the Ethnographic of Dance History: Contemporary Dance and Its Play with Tradition.” Dance Research Journal 43(1): 27–43.Google Scholar
Hardt, Yvonne. 2012. “Engagements with the Past in Contemporary Dance.” In New German Dance Studies, edited by Manning, Susan and Ruprecht, Lucia, 217–231. Champaign, IL: University of Illinois Press.Google Scholar
Huyssen, Andreas. 2003. Present Pasts: Urban Palimpsests and the Politics of Memory. Stanford, CA: Stanford University Press.Google Scholar
Janša, Janez. 2012. “Reconstruction2: On the Reconstuctions of Pupilija, Papa Pupilo and the Pupilceks.” In Perform, Repeat, Record: Live Art in History, edited by Jones, Amelia and Heathfield, Adrian, 367–83. Bristol, UK: Intellect Books.Google Scholar
Jones, Amelia, and Heathfield, Adrian, Eds. 2012. Perform, Repeat, Record: Live Art in History. Bristol, UK: Intellect Books.Google Scholar
Jooss, Kurt, and Häger, Bengt. 1975. [Unpublished interview tapes]. Carina Ari Library, Stockholm.Google Scholar
Jooss, Kurt, and Westerberg, Stig. 1977. “Dixit Dominus” [filmed television interview]. Sveriges Television AB, December.Google Scholar
Lepecki, André. 2010. “The Body as Archive: Will to Re-Enact and the Afterlives of Dances.” Dance Research Journal 42(2): 28–48.Google Scholar
Lopez y Royo, Alessandra. 2004. “Dance in the British South Asian Diaspora: Redefining Classicism.” Postcolonial Text 1(1), [online] http://postcolonial.org/index.php/pct/article/viewArticle/367/809.Google Scholar
Manning, Susan. 2012. “Looking Back Again, and Again” [unpublished lecture]. Journée d'Étude: Autour de l'historiographie de la danse moderne allemande: état de lieux et perspectivesm, University of Nice Sophia Antipolis, March 29.Google Scholar
Meduri, Avanthi. 2004. “Bharatanatyam as Global Dance: Some Issues in Research, Teaching, and Practice.” Dance Research Journal 36(2):11–29.Google Scholar
Müller, Hedwig, Stabel, Ralf, and Stöckemann, Patricia, Eds. 2007. Krokodil im Schwanensee: Tanz in Deutschland seit 1945. Frankfurt am Main, Germany: Anabas-Verlag.Google Scholar
Nachbar, Martin. 2012. “Training Remembering.” Dance Research Journal 44(2): 5–12.Google Scholar
Nair, Rani. 2010. “RANI <3 LILAVATI FRÅN 1975 TILL 2020.” Ful 2. Available online at http://www.tidskriftenful.se/mag.php?m=ful&issid=1292059906&text=1339153154.Google Scholar
Oberzaucher-Schüller, Gunhild, Ed. 1992. Ausdruckstanz: eine mitteleuropäische Bewegung der ersten Hälfte des 20 Jahrhunderts. Wilhelmshaven, Germany: Florian Noetzel Verlag.Google Scholar
Peterson, Indira Viswanathan, and Soniji, Davesh. 2008. “Introduction.” In Performing Pasts: Reinventing the Arts in Modern South India, edited by Peterson, Indira Viswanathan and Soniji, Davesh, 1–42. New York: Oxford University Press.Google Scholar
Pikula, Joan. 1981. “Kurt Jooss's Dixit Dominus for Lilavati.” Dance Magazine (August): 54–56.Google Scholar
Román, David. 2005. Performance in America: Contemporary U.S. Culture and the Performing Arts. Durham, NC: Duke University Press.Google Scholar
Rothberg, Michael. 2009. Multidirectional Memory: Remembering the Holocaust in the Age of Decolonization. Stanford, CA: Stanford University Press.Google Scholar
Rubidge, Sarah. 1995. “Reconstruction and Its Problems.” Dance Theatre Journal 12(1): 31–33.Google Scholar
Ryan, Bartholomew. 2009. “Altermodern: A Conversation with Nicolas Bourriaud.” Art in America. March 17. Accessed October 30, 2013. http://www.artinamericamagazine.com/news-features/interviews/altermodern-a-conversation-with-nicolas-bourriaud/Google Scholar
Savigliano, Marta. 2009. “Worlding Dance and Dancing Out There in the World.” In Worlding Dance, edited by Foster, Susan Leigh, 163–90. New York: Palgrave Macmillan.Google Scholar
Siegmund, Gerald. 2010. “Affekt, Technik, Diskurs: Aktiv Passiv Sein im Angesicht der Geschichte.” In Original und Revival: Geschichts-Schreibung im Tanz, edited by Christina Thurner and Julia Wehren, 15–26. Zürich: Chronos.Google Scholar
Sjögren, Margarete. 1975. “En ny Balett av Kurt Jooss.” Svenska Dagbladet. October 18.Google Scholar
Srinivasan, Priya. 2012. Sweating Saris: Indian Dance as Transnational Labor. Philadelphia: Temple University Press.Google Scholar
Ståhle, Anna Greta. 1969. “Exotiskt balettmöte I Malmö.” Dagens Nyheter. February 1.Google Scholar
Ståhle, Anna Greta. 1972. “Öst och väst dansar på Scala.” Dagens Nyheter. April 19.Google Scholar
Stöckemann, Patricia. 2001. Etwas ganz Neues muß nun entstehen: Kurt Jooss und das Tanztheater. München, Germany: K. Kieser Verlag.Google Scholar
Taylor, Diana. 2003. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham, NC: Duke University Press.Google Scholar
Therborn, Göran. 2003. “Entangled Modernities.” European Journal of Social Theory 6(3): 293–305.Google Scholar