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Record Nr. |
UNINA9910484589103321 |
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Autore |
Chatterjea Ananya |
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Titolo |
Heat and alterity in contemporary dance : south-south choreographies / / Ananya Chatterjea |
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Pubbl/distr/stampa |
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Cham, Switzerland : , : Palgrave Macmillan, , [2020] |
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©2020 |
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ISBN |
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Edizione |
[1st ed. 2020.] |
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Descrizione fisica |
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1 online resource (XXII, 289 p. 14 illus., 11 illus. in color.) |
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Collana |
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New World Choreographies, , 2730-9266 |
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Disciplina |
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Soggetti |
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Dance |
Performing arts |
Theater - Production and direction |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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1. Introduction: Speaking from the “waiting rooms of History” -- 2. States of contemporary concert dance: The tyranny of the pointed foot -- 3. Sardono Kusumo/ Growing contemporary movement from vibration -- 4. Germaine Acogny/The technical strategies of pollution and Rulan Tangen/The entanglement of memory and imagination in technique -- 5. Rosy Simas: Deflating conventions of indigeneity differently -- 6. Nora Chipaumire: The politics of continuous re-writing -- 7. Conversations that raise the roof: In dialogue with Hari Krishnan, Marcus Young, and the dancers of Ananya Dance Theatre. |
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Sommario/riassunto |
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This book argues that contemporary dance, imagined to have a global belonging, is vitiated by euro-white constructions of risk and currency that remain at its core. Differently, the book reimagines contemporary dance along a “South-South” axis, as a poly-centric, justice-oriented, aesthetic-temporal category, with intersectional understandings of difference as a central organizing principle. Placing alterity and heat, generated via multiple pathways, at its center, it foregrounds the work of South-South artists, who push against constructions of “tradition” and white-centered aesthetic imperatives, to reinvent their choreographic toolkit and respond to urgent questions of their times. In recasting the grounds for a different “global stage,” the argument |
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widens its scope to indicate how dance-making both indexes current contextual inequities and broader relations of social, economic, political, and cultural power, and inaugurates future dimensions of justice. |
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