Critical Dance Studies

An extensive analysis of Pina Bausch's oeuvre including the development of a praxeology of translation as a key concept for dance and art theory.

Bodies, borders and collectivity: with recourse to artistic practices from Lebanon and Palestine, Sandra Noeth questions what it takes to cross a border, and what it takes to belong.

Building on Goffman's »Frame Analysis« the book gives profound insight into how knowledge – as a practice and a concept – is associated with clarity rather than truth.

The contributors to this book ask from their individual cultural backgrounds how movements across and along borders function as performative and political acts.

Dancing Harvard – this book presents the first in-depth archival exploration of a lost history of dance as an extracurricular activity at Harvard University's Radcliffe College during the first half of the twentieth century.

The book collects substantial contributions on the relationship between dance and theory of international choreographers, dancers, dramaturges and scholars.

How do dance and choreography create their own new worlds? This trans-disciplinary volume brings together seminal concepts and current inquiries of international dance studies.

In a globalised society, dance is gaining in importance as a means of conveying body knowledge: It is perceived as an art form in itself, is fostered and cultivated within the bounds of cultural and educational policy, and is increasingly becoming the subject of research. Dance is in motion all over the world, and with it the knowledge that it holds. But what does body knowledge in motion constitute, how is it produced, how can it be researched and conveyed? Renowned choreographers, dancers, theorists and pedagogues describe the unique potential of dance as an archive and medium as well as its significance at the interface between art and science. Contributors are, among others, Gabriele Brandstetter, Dieter Heitkamp, Royston Maldoom and Meg Stuart.

This book presents the first in-depth critical and historical examination of the internationally renowned National Dance Theatre Company of Jamaica (NDTC) in the context of postcolonial theatre. Combining a postcolonial theoretical framework with performance studies and dance analysis, the study examines the interrelationship of Jamaican modern dance theatre aesthetics and the Caribbean's complex cultural genealogy since 1492. Addressing issues of postcolonial nationalism and Jamaican identity politics, the book provides the first comprehensive study of the NDTC's modern dance theatre works as it situates dance theatre choreography at the centre of postcolonial independence politics and cultural theory in the Caribbean.