Hostname: page-component-586b7cd67f-r5fsc Total loading time: 0 Render date: 2024-11-30T21:26:09.859Z Has data issue: false hasContentIssue false
  • English
  • Français

OCCUPY MoMA: The (Risks and) Potentials of a Musée de la danse!

Published online by Cambridge University Press:  13 January 2015

Alessandra Nicifero
Get access Rights & Permissions [Opens in a new window]

Abstract

By renaming the Choreographic National Center in Rennes and Bretagne as the Musée de la danse in 2009, the French choreographer Boris Charmatz has indirectly raised new questions on both museum and dance ontologies, opening up the possibility of an enriched interdisciplinary discourse on the relationship between movement-based arts and museums/art institutions. This essay explores the changing museum and dance landscape over the past few decades, considers how museums have been theorized, and their relationship to, and engagement with, audiences; and asks what role choreography and dance can play in this new institutional context.

Type
Dialogues
Information
Dance Research Journal , Volume 46 , Issue 3: Dance in the Museum , December 2014 , pp. 32 - 44
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

Banes, Sally. 1987. Terpsichore in Sneakers: Post-Modern Dance. Middletown, CT: Wesleyan University Press.Google Scholar
Bishop, Claire. 2012. Artificial Hells: Participatory Art and the Politics of Spectatorship. New York: Verso.Google Scholar
Calvino, Italo. 1982. “The Novel as Spectacle.” In The Uses of Literature, 190–5. San Diego: Harcourt Brace Jovanovich, Wolff Book.Google Scholar
Charmatz, Boris. 2009. “Manifesto for a Dancing Museum.” Musée de la danse. http://www.museedeladanse.org/sites/default/files/manifesto_dancing_museum100401.pdf.Google Scholar
Crimp, Douglas (with photographs by Louise Lawer). 1993. On the Museum's Ruins. Cambridge, MA: The MIT Press.Google Scholar
Ferguson, Russell, Gever, Martha, Minh-ha, Trinh T., and West, Cornel, eds. 1990. Out There: Marginalization and Contemporary Cultures. New York: The New Museum of Contemporary Art, The MIT Press.Google Scholar
Foster, Susan Leigh. 2011. Choreographing Empathy, Kinesthesia in Performance. London: Routledge.Google Scholar
Franko, Mark. 2002. The Work of Dance: Labor, Movement, and Identity in the 1930s. Middletown, CT: Wesleyan University Press.Google Scholar
Franko, Mark. 2007. “Dance and the Political: States of Exception.” In Dance Discourses: Keywords in Dance Research, edited by Franco, S. and Nordera, M.. London: Routledge.Google Scholar
Giersdorf, Jens Richard. 2009. “Dance Studies in the International Academy: The Genealogy of a Discipline Formation.” Dance Research Journal 41(1): 23–44.CrossRefGoogle Scholar
Huyssen, Andreas. 1995. Twilight Memories: Marking Time in a Culture of Amnesia. London: Routledge.Google Scholar
Lepecki, André. 2007. “Choreography as Apparatus of Capture.” The Drama Review 51(2): 119–23.Google Scholar
Lepecki, André. 2010. “The Body Archive: Will to Re-Enact and the Afterlives of Dances.” Dance Research Journal 42(2): 28–48.Google Scholar
Louppe, Laurence. 2010. Poetics of Contemporary Dance. Alton, UK: Dance Books.Google Scholar
Lord, Beth. 2007. “From the Document to the Monument: Museums and the Philosophy of History.” In Museum Revolutions: How Museums Change and Are Changed, edited by Knell, S.J., MacLeod, S. and Watson, S., 355–66. LondonRoutledge.Google Scholar
Move, Richard. 2009. “Yvonne Rainer and ‘Martha Graham’ (Richard Move) in ‘Trio A.’” http://www.youtube.com/watch?v=hXgascpElKA.Google Scholar
Noland, Carrie, and Ness, Sally Ann, eds. 2008. Migrations of Gesture. Minneapolis, MN: University of Minnesota Press.Google Scholar
Pouillaude, Frédéric. 2007. “Scène Contemporaneity.” The Drama Review 51(2): 124–35.CrossRefGoogle Scholar
Macdonald, Sharon, and Fyfe, Gordon, ed. 1996. Theorizing Museums: Representing Identities in a Changing World. Oxford, UK: Blackwell Publishers.Google Scholar
Mosquera, Gerard, and Fisher, Jean, ed. 2004. Over Here: International Perspectives on Art and Culture. New York: The New Museum of Contemporary Art, The MIT Press.Google Scholar
Nochlin, Linda. 1972. “Museums and Radicals: A History of Emergencies.” In Museums in Crisis, edited by O'Doherty, Brian, 8–41. New York: George Braziller.Google Scholar
Pamuk, Orhan. 2010. The Naïve and the Sentimental Novelist. Cambridge, MA: Harvard University Press.Google Scholar
Pamuk, Orhan. 2012. The Innocence of Objects. New York: Abrams.Google Scholar
Pareles, Jon. 2014. “Pete Seeger, Champion of Folk Music and Social Change, Dies at 94.” The New York Times, January 28. http://www.nytimes.com/2014/01/29/arts/music/pete-seeger-songwriter-and-champion-of-folk-music-dies-at-94.html?_r=0.Google Scholar
Puchner, Martin. 2006. Poetry of the Revolution: Marx, Manifestos, and the Avant-Gardes. Princeton, NJ: Princeton University Press.Google Scholar
Rainer, Yvonne. 1999. A Woman Who … Essays, Interviews, Scripts. Baltimore, MD: The John Hopkins University Press.Google Scholar
Roux, Céline. 2007. Danse(s) performative(s): enjeux et développements dans le champ chorégraphique français, 1993–2003. Paris: L'Harmattan.Google Scholar
Tupitsyn, Victor. 2004. “The Museological Unconscious.” In Over Here: International Perspectives on Art and Culture, edited by Mosquera, Gerard and Fisher, Jean, 384–95. New York: The New Museum of Contemporary Art, The MIT Press.Google Scholar
Virilio, Paul. 2010. The Futurism of the Instant: Stop-Eject. Cambridge, UK: Polity Press.Google Scholar
Wallach, Allan. 1998. Exhibiting Contradiction: Essays on the Art Museum in the United States. Amherst, MA: University of Massachusetts Press.Google Scholar
Weil, Stephen E., ed. 1997. Museum for the New Millennium: A Symposium for the Museum Community. Washington, DC: Center for the Museum Studies, Smithsonian Institution and the American Association of Museum.Google Scholar
Wood, Catherine. 2012. “1000 Words: Boris Charmatz.” Artforum International (March): 255–257.Google Scholar