Fwd: [dancephilosophers] Fwd: Dance Studies Colloquium - full program details for Spring 2023

[Lena Leson]

With apologies for any duplicate postings.

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From: Mark Franko <mark....@temple.edu>
Date: January 21, 2023 at 2:05:52 PM EST
To: Mark Franko <mark....@temple.edu>
Subject: Dance Studies Colloquium - full program details for Spring 2023

Dear Friends and Colleagues,

The Institute of Dance Scholarship and the Dance Department at Boyer College of Music and Dance, with co-sponsorship from the Center for the Humanities at Temple, are pleased to announce the Spring 2023 program of the Dance Studies Colloquium. All events are live-streamed and continue to be free and open to the public. The Boyer College YouTube site houses past colloquia, and recordings of the Spring 2023 talks will be available there shortly after they occur.

Please note that all events are now generally held on Thursdays, from 3:00 pm to 4:30 pm, except for the colloquium on February 28th, which will be held on a Tuesday. Locations are indicated for each colloquium below.

Live steam: YouTube.com/boyercollege

Thursday, February 2nd, at 3:00 PM (EST)
Gladfelter Hall, 10th floor lounge

Dance Studies/Performance Studies (1986-1996):
Disciplinary Breakthroughs and Convergences
A Collaborative Festschrift:
Seminar Two: Mark Franko on The Dancing Body in Renaissance Choreography
Introduction: Joseph Roach (Yale University))
Seminar Leader: Mark Franko (Temple University)
Concluding remarks: May Joseph (Pratt Institute)

Mark Franko, Laura H. Carnell Professor of Dance, directs the Institute for Dance Scholarship at Temple University. His books include Choreographing Discourses: A Mark Franko Reader (2019) and The Fascist Turn in the Dance of Serge Lifar: French Interwar Ballet and the German Occupation (2020). Franko edited the Oxford Handbook of Dance and Reenactment and is founding editor of the Oxford Studies in Dance Theory book series. His choreography has been produced at Lincoln Center Out-of-Doors Festival, Berlin Werkstatt Festival, Getty Center, Montpellier Opera, Toulon Art Museum, Haggerty Art Museum (Milwaukee), Akademie der Künste (Berlin), Mozarteum (Salzburg), STUK Festival (Leuven), Centro Cultural San Martín (Buenos Aires) and in many New York City and San Francisco venues. It was recently featured in the exhbition „Unfolding Baroque“ at the Centre National de la Danse. Franko has been the recipient of a John Simon Guggenheim Memorial Fellowship and a National Endowment for the Humanities Fellowship.

Joseph Roach, Sterling Professor of Theater and Professor of English Emeritus at Yale University, has chaired the Department of Performing Arts (Drama and Dance) at Washington University in St. Louis, the Interdisciplinary PhD in Theatre and Drama at Northwestern University, the Department of Performance Studies at NYU, and the program in Theater Studies at Yale.  He is the author and co-editor of books and collections including The Player's Passion: Studies in the Science of Acting (1985), Critical Theory and Performance (1993), Cities of the Dead: Circum-Atlantic Performance (1996, 25th Anniversary Edition 2021), It (2007), and The Very Thought of Herbert Blau (2018), and the recipient of the James Russell Lowell Prize from MLA, a Lifetime Scholarship Award from the American Society for Theatre Research, a Distinguished Achievement Award from the Mellon Foundation, and the De Vane Award for Scholarship and Teaching at Yale.

May Joseph is Founder of Harmattan Theater, Professor of Social Science at Pratt Institute, and author of Aquatopia: Climate Interventions; ghosts of lumumba; Sealog: Indian Ocean to New York; Fluid New York: Cosmopolitan Urbanism and the Green Imagination; and Nomadic Identities: The Performance of Citizenship. Joseph is Co-Editor of Terra Aqua: The Amphibious Lifeworlds of Coastal and Maritime South Asia; and Co-Editor of Performing Hybridity. Joseph creates site specific performances along Dutchand Portuguese maritime routes exploring climate issues. www.mayjoseph.com


Thursday, February 16th, 2023, at 3pm (EST)
Gladfelter Hall, 10th floor lounge

Elizabeth Claire (CNRS, Paris)
“Imagination Embodied: Passion, Contagion and Eloquence in Dance”

From the Middle Ages to the Enlightenment, European philosophers have debated over and theorized the mental faculty of the imagination as at once intangible and yet precisely located within the body. For many centuries it was contemplated for its role as a conduit between the celestial and the corporeal, a means of communication and transmission linking the body and the soul. At the end of the long 18th century, with the invention of aesthetics in European philosophy, the imagination took on a new role, giving birth to the possibility of creative genius. This epistemological shift coincided not only with major reforms in French dance practice, but also with turbulent social changes, including the French and Haitian Revolutions, and abolitionist and feminist movements across Europe and the Atlantic world. My research investigates how dancers, physicians and philosophers grappled with the expanded function of the mental faculty of imagination, and the sociopolitical implications of how the imagination’s powers were embodied in dance practice. I propose a cultural history of the embodied imagination in dancing in order to clarify how the mental faculty was at once validated for its capacity to engender artistic creation, and vilified for its association with pathology and contagion. Dancing – and especially cases of passionate or enthusiastic dancing – whether choreographed and staged, composed or improvised in social settings, offers a formidable case study for exploring historical notions about the political right to imagine, and the gendered politics of authorship in dance at the dawn of the nineteenth century.

Dr. Elizabeth CLAIRE is Associate Professor of Research in History at the Center for Historical Research (CNRS-CRH) in Paris where she co-directs with Sylvie Steinberg the Gender History Research Group. A founding member of the Cultural History of Dance Workgroup at the School for Advanced Studies in the Social Sciences (EHESS), she publishes on the cultural history of dance, medicine and gender, having edited Clio. Women, Gender, History: Dancing 46/2017, and, with Alessandro Arcangeli, an issue of the Italian journal Ludica on the cultural history of “Performance, Politics and Play”. Current research projects include: a manuscript about the medical history of social dancing and the gendered imagination in late 18th-century Europe; a book-length collection of articles in French (edited in collaboration with Béatrice Delaurenti, Roberto Poma and Koen Vermeir) on the history of the body and the powers of the imagination (from the Middle Ages to the 19th century) in Europe; and an interdisciplinary project DisOrienting Bodies (Corps DésOriental.e.s) in collaboration with Mariem Guellouz (France/Tunisia) and Felicia McCarren.


Tuesday, February 28th, 2023, at 3pm (EDT)
Presser Hall, room 142

Julia Prest, French and Caribbean Studies, University of St. Andrews
“Colonial Anxieties about Black Dance in pre-Revolutionary Haiti”

In 2018, Julia Prest published an article in Atlantic Studies: Global Flows in which she explored various types of dance performed by black people, the majority of them enslaved, in the French colony of Saint-Domingue (in present-day Haiti).  She argued that renditions of ‘black’ dance by white performers in the public theatres of Saint-Domingue bore little resemblance to local black dances and served instead to control and contain them in a form that sought to render them unthreatening.  Revealingly, white performers appear to have been afraid to imitate vodou dance – arguably the form that posed the greatest threat to them.  Julia will present and then expand, deepen and nuance those arguments in light of her recent research on, notably, runaway advertisements and enslaved ‘rebels’.

Julia Prest has held academic positions at Oxford and Yale, and is now Professor of French and Caribbean Studies at the University of St Andrews, in Scotland.  A graduate in Music and French, she wrote her PhD thesis on Molière’s comedy-ballets at the University of Cambridge and has published widely on many aspects of early-modern French and Caribbean theatre, including ballet and opera.  Her third monograph, Public Theatre and the Enslaved People of Colonial Saint-Domingue, is currently in press with Palgrave Macmillan.  Julia is the creator of the trilingual (English-French-Kreyòl) performance database: Theatre in Saint-Domingue, 1764-1791: https://www.theatreinsaintdomingue.org and the convenor and founder of the Colonial-Era Caribbean Theatre and Opera Network (CECTON).


Thursday, March 23th, 2023, at 3pm (EDT)
Gladfelter, 10th floor lounge

Mario La Mothe, The University of Illinois at Chicago
Institute for Dance Scholarship Temple University Visiting Scholar in Residence
“Yanvalou For Haiti: An Affective Ethnography of Ayikodans’ Anmwey Ayiti Manman”

The presentation analyzes critical embodiments of Haitians that emerged immediately following the country’s devastating January 12, 2010 earthquake in which 250,000 Haitians perished. Namely, Jeanguy Saintus’ Cry Haiti Mother (2010) is a focal point that critiques national and international journalistic reports and public discourse, which positioned Haitianness as Voodoo. Investigating Saintus’ motivation to silence the choreography despite its critical success, the presentation considers these complementary points: his company Ayikodans’ labor to a) direct attention to longstanding White supremacist machinations to silence Haiti, its people, their life, and worlds and reify Haitians as the sole agents of their perceived failures, and b) to counteract media depictions of the country’s centuries of structural problems, political turmoil, economic precarity, and collective unrest. Ethnographies of the dance are interpreted through Haitian Vodou’s Yanvalou pedagogies alongside the ensemble’s oral history narratives to situate the choreography within a Haitian/Black social history that mobilizes relationally constituted narratives of precarity and rebirth in Haiti, Caribbean, and other Black spaces.

Mario LaMothe is Assistant Professor in the Departments of Black Studies and Anthropology at the University of Illinois at Chicago, where he is also a faculty affiliate in Gender and Women's Studies, and Museum and Exhibition Studies. He received a doctorate in Performance Studies from Northwestern University. Mario's research focuses on embodied pedagogies of Caribbean arts and expressive cultures, and the intersections of queer lifeworlds and social justice in Haiti. A performance artist, his work has appeared in e-mesferica, Conversations Across the Field of Dance Studies, Women and Performance, the Journal of Haitian Studies, The Routledge Companion to African American Theatre and Performance, and Duke University Press’ co-edited volume Time Signatures: Race and Performance after Repetition.

Thursday, March 30, 2023, at 3pm (EST)
Presser Hall, room 133

Juan Ignacio Vallejos, CONICET (Argentina)
Institute for Dance Scholarship Temple University Visiting Scholar in Residence
“Dance and Disidentification: Subversive Strategies Against Canonical Hegemony”

This lecture proposes to examine artistic strategies from the global south to challenge the precariousness resulting from the subaltern place of global south artists in the context of the hegemony of the contemporary European and North American dance canon. It will try to explore the possibilities offered by queer theory – especially the contributions of the Argentine theorist Néstor Perlongher in his theorization of the barroco barroso (the muddy baroque) and the concept of disidentification used by José Esteban Muñoz –, for the elaboration of artistic composition strategies in the field of contemporary dance in Buenos Aires, Argentina. In doing so, we will try to avoid both the difficulties arising from a resigned adaptation to neocolonial power and the limitations of a nationalist or regionalist response.

Juan Ignacio Vallejos has a Ph.D. in History from the EHESS and is a Research Fellow at Argentina's National Scientific and Technical Research Council (CONICET). He is the coordinator of the area of performance studies at the Institute of Performing Arts of the University of Buenos Aires. His research articulates dance and politics and focuses on the history of baroque dance in Europe and contemporary dance in Buenos Aires, Argentina.

Thursday, April 13th, 2023 at 3pm (EDT)
Presser Hall, room 133

Nan Ma, Asian Studies, Dickinson College
“Traveling 'Princess' and Dancing 'Diplomat': Yu Rongling, Corporeal Modernity, and Isadora Duncan in the Early 1900s China”

This talk is based on the first chapter of Nan Ma’s book When Words Are Inadequate: Modern Dance and Transnationalism in China (Oxford University Press, 2023). The book rewrites the cultural history of modern China from a bodily movement-based perspective through the lens of global dance modernism. It examines the careers and choreographies of four Chinese modern dance pioneers and their connections to canonical Western counterparts, including Isadora Duncan, Mary Wigman, Rudolf von Laban, and Alwin Nikolais. Tracing these Chinese pioneers' varied experiences both at home and abroad, the book shows how they adapted and reimagined the legacies of early Euro-American modern dance. In doing so, Ma reinserts China into the multi-centered, transnational network of artistic exchange that fostered the global rise of modern dance, complicating the binary conceptions of center and periphery and East and West. This talk focuses on Chapter one, featuring Yu Rongling (ca. 1888–1973), daughter of a top-rank Qing diplomat and one of the first students of Isadora Duncan in early 1900s Paris. Ma traces Yu’s dance learning experiences with Duncan in Paris and her international travel from Paris to the late Qing court, where Yu transformed Isadora Duncan’s “Greek dance” into its Chinese counterpart under the auspices of Empress Dowager Cixi. The study rethinks the origin of dance modernism and feminism as global and multiple in nature and of the evolving late Qing court as part of global modernities.

Nan Ma is Associate Professor of East Asian Studies at Dickinson College. She received her Ph.D. in Chinese Studies from University of Wisconsin-Madison. Ma conducts research on modern Chinese literature, film, visual culture, and dance and performance studies and is the author of When Words Are Inadequate: Modern Dance and Transnationalism in China (Oxford University Press, 2023). Her articles on Chinese modern dance, ballet, and film appeared in Modern Chinese Literature and Culture (MCLC), China Perspectives, and the Journal of Beijing Dance Academy.

About Dance Studies Colloquium

Dance Studies Colloquium is a dynamic interactive speaker series designed to facilitate a dialogue about emerging topics and issues related to dance. It brings together artists and scholars to explore how we initiate and assimilate ideas and events and our resulting actions within the field of dance. All are welcome, and we invite you to join in the conversation.  

For inquiries, please contact Colin Murray: colin....@temple.edu

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Lena Leson (she/her)

Visiting Assistant Professor of Music, Dickinson College

PhD, University of Michigan School of Music, Theatre & Dance