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Critical Gestures
Writings on Dance and Culture
Ann Daly

Wesleyan University Press



Contents

• Introduction

• Looking Underneath the Itch to Criticize
• Writing about Dance: An Urgent, High-Profile Opportunity
• Review: Diana Theodore’s First We Take Manhattan, Jill Johnston’s Marmalade Me and Lynne Conner’s Spreading the Gospel of the Modern Dance
• The Interested Act of Dance Criticism
• Writing Dance: Choreographers
• Pina Bausch: Tanztheater: the thrill of the Lynch Mob or the Rage of a Woman?
• Pina Bauch Goes West to Prospect for Imagery
• Love Mysterious and Familiar: Pina Bausch Brings Her Visceral Non Sequiturs to Austin
• Remembered Gesture
• Mellower Now, A Resolute Romantic Keeps Trying
• Deborah Hay: Review: The Man Who Grew Common in Wisdom
• The Play of Dance: An Introduction to Lamb, Lamb, Lamb, Lamb, Lamb…
• No Exit: Deborah Hay’s Latest Work a Meditation and Celebration in Space and Time
• An Experimentalist in Soul and Body
• Horse Rider Woman Playing Dancing: Ann Daly Interviews Deborah Hay
• Bill T. Jones and Arnie Zane: Dance at Prospect Park: High Art, Lowbrow Spectacle
• Review: Body Against Body, edited by Elizabeth Zimmer and Susan Quasha
• Dancing the Unsayable: Bill T. Jones’s Still/Here becomes a Meditation on the Possibilities of Postmodernist Art
• When Dancers Move on to Making Dances
• The Long Day’s Journey of Bill T. Jones
• Bill T. Jones in Conversation with Ann Daly
• Voice Lessons
• Ralph Lemon: Review: Ralph Lemon Repertory Concert
• Conversations bout Race in the Language of Dance
• Afterword
• Performances: Review: Kei Takei’s Light, Part 20 &21 (Diary of the Dream) and Testu Maeda’s Evocations
• Review: Fred Holland’s Harbor/Cement
• Review: Jane Comfort’s TV Love
• Kazuo Ohno’s Admiring La Argentina and Kuniko Kisanukis Tefu Tefu
• Review: Molissa Fenely Repertory Concert
• Review: Gwall’s Exit
• Review: Lucinda Childs Repertory Concert
• Review: Merce Cunnigham’s Roaratorio: An Irish Circus on Finnegan’s Wake
• New York (USA) Experimental Dance
• Review: John Kelly’s Ode to a Cube
• Review: Ralf Ralf’s The Summit
• Review: Fenley’s State of Darkness
• Review: Susan Marshall’s Interior with Seven Figures
• Review: Dana Reitz’s Suspect Terrain
• Review: Nina Martin’s Changing Face and Date with Fate
• Susan Marshall Choreography Explores Tragedy, Joy
• Review: Merce Cunningham Repertory Concert and Robert Wilson’s Four Saints in Three Acts
• The Choreography of Crisis: Women, Machines and Utopia Lost
• Ballet with Attitude (or the Ballet of the Sexes)
• Margery Segal’s Primal Emotions
• No Gravity No Boundary
• The Freedom of Tradition
• A Chronicle Faces Death and Celebrates Life
• A Dancer Discovers a World of Profit and Daredevil Feats
• Images and Exhibits: New York (USA): Dance and Fashion
• John Singer Sargent and the Dance
• Lois Greenfield the Frames That Bline, and the Metaphysics of Dance
• Becoming Artaud: Solo Performances at Drawing Center Expand MOMA Exhibit
• Body of Evidence Schneemann Retrospective Exposes Subversive Gestures
• An Inspiration Compounded of Hands and Feet
• Turning a Photographers Vision into Choreography
• What Dance Has to Say about Beauty
• Books: Review: Sondra Horton Fraleigh’s Dance and the Livid Body
• “What Revolution?”: The New Dance Scholarship in America
• Review: Martha Graham’s Blood Memory and Agnes de Mille’s Martha
• Review: A Cultural History of Gesture, edited by Jan Bremmer and Herman Roodenburg
• Alvin Ailey Revealed
• Seasons and Occasions: Postmodernism and American New Dance
• BAM and Beyond: The Postmoderns Get Balleticized
• The Closet Classicist
• Darkness into Light: A Decade in the West Transforms a Butoh Troupe
• Finding the Logic of Difference
• Dancing: A Letter from New York City
• Some sentences by and about Merce Cunnigham, New World A-commin’: A Century of Jazz and Modern Dance
• In Dance: Preserving a Precarious Legacy Begins Onstage
• Making History: Review: From the Repertory of Isadora Duncan’s “Soviet Workers’ Songs”
• The Continuing Beauty of the Curve: Isadora Duncan and her last Compositions
• Review: Milicent Dillon’s After Egypt
• Isadora Duncan in 1920’s America: “A Bolshevick Shade of Red”
• Review: Lillian Loewentha’s The Search for Isadora
• Isadora Duncan and the Distinction of Dance
• Isadora Duncan’s Dance Theory
• A Fearless Confession Heard Round the World
• Theorizing Gender: The Balanchine Woman: Of Hummingbirds and Channel Swimmers
• Classical Ballet: A Discourse of Difference
• To Dance is “Female”
• Unlimited Partnership: Dance and Feminist Analysis
• Dance History and Feminist Theory: Reconsidering Isadora Duncan and the male Glaze
• About Interpretation: Joann McNamara Interviews Ann Daly
• Gender Issues in Dance History Pedagogy
• “Woman,” Women, and Subversion: Some Nagging Questions from a Dance Historian
• Trends in Dance Scholarship: Feminist Theory across the Millennial Divide
• Notes
• Acknowledgments
• Ind

Wed, 18 Oct 2017 13:58:56 -0500