How to Do Things with Dance : Performing Change in Postwar America by Kowal
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Approximately£18.06
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“A book that looks new but has been read. Cover has no visible wear, and the dust jacket (if ”... Read moreAbout condition
Like New
A book that has been read, but looks new. The book cover has no visible wear, and the dust jacket (if applicable) is included for hard covers. No missing or damaged pages, no creases or tears, no underlining or highlighting of text, and no writing in the margins. May have no identifying marks on the inside cover. No wear and tear. See the seller’s listing for full details and description of any imperfections.
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eBay item number:233643284340
Item specifics
- Condition
- Like New
- Seller notes
- Topic
- Dance
- Subject
- Performing Arts
- ISBN
- 9780819568984
About this product
Product Identifiers
Publisher
Wesleyan University Press
ISBN-10
0819568988
ISBN-13
9780819568984
eBay Product ID (ePID)
84527438
Product Key Features
Book Title
How to Do Things with Dance : Performing Change in Postwar America
Number of Pages
348 Pages
Language
English
Publication Year
2012
Topic
United States / 20th Century, Dance / Modern, History & Surveys / Modern, Dance / General
Illustrator
Yes
Genre
Philosophy, Performing Arts, History
Format
Trade Paperback
Dimensions
Item Height
1 in
Item Weight
18.4 Oz
Item Length
9 in
Item Width
6 in
Additional Product Features
Intended Audience
Trade
LCCN
2009-049292
Reviews
"The premise of the book is fascinating. ... It would be a shame if this book were only seen as a contribution to the field of Dance Studies and not also within American Studies."-Kate Elswit, The Drama Review, "Kowal's claim that dance did not simply represent change taking place elsewhere but actually enacted change is a compelling argument that choreographers and dance scholars will want to invoke when challenging the marginalization of dance."-Claire Croft, Theatre Journal, "It is exemplary in its scholarship, historical method, and originality. Above all, it speaks of a historical period and, in the way that it considers the period, exemplifies dance history research at its best. É Kowal's daring scholarship illuminates a period now a half century distant, and, in doing so, she says much about the continuing possibilities that dance offers."ÑMichael Huxley, Dance Research Journal, "A stimulating scholarly book blending U.S. history and an engaged active arts practice..."-Philip Szporer, Montreal Hour, "Integrating dance into U.S. social and political life, Kowal's book demonstrates persuasively that mid-century dance initiatives contributed crucial innovations to modern dance while also vitally engaging with the tensions within the American body politic that would lead to the fights for racial and gender equality in the 1960s. Her research combines meticulous scholarship with a broad and insightful command of U.S. history."--Susan Leigh Foster, professor, UCLA "Kowal convincingly argues that the most salient point of postwar American dance was not the insularity of objectivism but the engagement of action. By questioning the normative movement practices inscribed on our bodies, choreographers like Sokolow, Cunningham, and Halprin bridged method acting and the sit-ins.""--Daniel Belgrad, author of Culture of Spontaneity: Improvisation and the Arts in Postwar America "Integrating dance into U.S. social and political life, Kowal's book demonstrates persuasively that mid-century dance initiatives contributed crucial innovations to modern dance while also vitally engaging with the tensions within the American body politic that would lead to the fights for racial and gender equality in the 1960s. Her research combines meticulous scholarship with a broad and insightful command of U.S. history."--Susan Leigh Foster, professor, UCLA, "Kowal's claim that dance did not simply represent change taking place elsewhere but actually enacted change is a compelling argument that choreographers and dance scholars will want to invoke when challenging the marginalization of dance."--Claire Croft, Theatre Journal, "It is exemplary in its scholarship, historical method, and originality. Above all, it speaks of a historical period and, in the way that it considers the period, exemplifies dance history research at its best. ... Kowal's daring scholarship illuminates a period now a half century distant, and, in doing so, she says much about the continuing possibilities that dance offers."--Michael Huxley, Dance Research Journal "Integrating dance into U.S. social and political life, Kowal's book demonstrates persuasively that mid-century dance initiatives contributed crucial innovations to modern dance while also vitally engaging with the tensions within the American body politic that would lead to the fights for racial and gender equality in the 1960s. Her research combines meticulous scholarship with a broad and insightful command of U.S. history."--Susan Leigh Foster, professor, UCLA, "It is exemplary in its scholarship, historical method, and originality. Above all, it speaks of a historical period and, in the way that it considers the period, exemplifies dance history research at its best. ... Kowal's daring scholarship illuminates a period now a half century distant, and, in doing so, she says much about the continuing possibilities that dance offers."--Michael Huxley, Dance Research Journal "As a vibrant blend of dance history and cultural context, this study offers precisely the sort of deep yet broad analysis I hope my students will emulate."--Jessica Van Oort, Dance Chronicle "...Kowal nails it: she discusses Merce Cunningham, Paul Taylor, Anna Sokolow, and others in intriguing art/social/political/sexual contexts. Highly recommended."--T.K. Hagood, Choice "(T)his book is an important read for the dance community at large."--Gernadine Jennings, Attitude: The Dancer's Magazine "Kowal's claim that dance did not simply represent change taking place elsewhere but actually enacted change is a compelling argument that choreographers and dance scholars will want to invoke when challenging the marginalization of dance."--Claire Croft, Theatre Journal "The premise of the book is fascinating. ... It would be a shame if this book were only seen as a contribution to the field of Dance Studies and not also within American Studies."--Kate Elswit, The Drama Review "It is exemplary in its scholarship, historical method, and originality. Above all, it speaks of a historical period and, in the way that it considers the period, exemplifies dance history research at its best. Kowal's daring scholarship illuminates a period now a half century distant, and, in doing so, she says much about the continuing possibilities that dance offers."--Michael Huxley, Dance Research Journal "A stimulating scholarly book blending U.S. history and an engaged active arts practice"--Philip Szporer, Montreal Hour, "Kowal's claim that dance did not simply represent change taking place elsewhere but actually enacted change is a compelling argument that choreographers and dance scholars will want to invoke when challenging the marginalization of dance."ÑClaire Croft, Theatre Journal, "It is exemplary in its scholarship, historical method, and originality. Above all, it speaks of a historical period and, in the way that it considers the period, exemplifies dance history research at its best. ... Kowal's daring scholarship illuminates a period now a half century distant, and, in doing so, she says much about the continuing possibilities that dance offers."-Michael Huxley, Dance Research Journal, "The premise of the book is fascinating. ... It would be a shame if this book were only seen as a contribution to the field of Dance Studies and not also within American Studies."ÑKate Elswit, The Drama Review, "A stimulating scholarly book blending U.S. history and an engaged active arts practice "-Philip Szporer, Montreal Hour, "It is exemplary in its scholarship, historical method, and originality. Above all, it speaks of a historical period and, in the way that it considers the period, exemplifies dance history research at its best. ... Kowal's daring scholarship illuminates a period now a half century distant, and, in doing so, she says much about the continuing possibilities that dance offers."--Michael Huxley, Dance Research Journal "A stimulating scholarly book blending U.S. history and an engaged active arts practice..."--Philip Szporer, Montreal Hour "The premise of the book is fascinating. ... It would be a shame if this book were only seen as a contribution to the field of Dance Studies and not also within American Studies."--Kate Elswit, The Drama Review "Kowal's claim that dance did not simply represent change taking place elsewhere but actually enacted change is a compelling argument that choreographers and dance scholars will want to invoke when challenging the marginalization of dance."--Claire Croft, Theatre Journal "(T)his book is an important read for the dance community at large."--Gernadine Jennings, Attitude: The Dancer's Magazine "...Kowal nails it: she discusses Merce Cunningham, Paul Taylor, Anna Sokolow, and others in intriguing art/social/political/sexual contexts. Highly recommended."--T.K. Hagood, Choice "As a vibrant blend of dance history and cultural context, this study offers precisely the sort of deep yet broad analysis I hope my students will emulate."--Jessica Van Oort, Dance Chronicle, "A stimulating scholarly book blending U.S. history and an engaged active arts practice…"-Philip Szporer, Montreal Hour, "It is exemplary in its scholarship, historical method, and originality. Above all, it speaks of a historical period and, in the way that it considers the period, exemplifies dance history research at its best. ... Kowal's daring scholarship illuminates a period now a half century distant, and, in doing so, she says much about the continuing possibilities that dance offers."--Michael Huxley, Dance Research Journal "As a vibrant blend of dance history and cultural context, this study offers precisely the sort of deep yet broad analysis I hope my students will emulate."--Jessica Van Oort, Dance Chronicle "...Kowal nails it: she discusses Merce Cunningham, Paul Taylor, Anna Sokolow, and others in intriguing art/social/political/sexual contexts. Highly recommended."--T.K. Hagood, Choice "Integrating dance into U.S. social and political life, Kowal's book demonstrates persuasively that mid-century dance initiatives contributed crucial innovations to modern dance while also vitally engaging with the tensions within the American body politic that would lead to the fights for racial and gender equality in the 1960s. Her research combines meticulous scholarship with a broad and insightful command of U.S. history."--Susan Leigh Foster, professor, UCLA "(T)his book is an important read for the dance community at large."--Gernadine Jennings, Attitude: The Dancer's Magazine "Kowal convincingly argues that the most salient point of postwar American dance was not the insularity of objectivism but the engagement of action. By questioning the normative movement practices inscribed on our bodies, choreographers like Sokolow, Cunningham, and Halprin bridged method acting and the sit-ins."--Daniel Belgrad, author of Culture of Spontaneity: Improvisation and the Arts in Postwar America "Kowal's claim that dance did not simply represent change taking place elsewhere but actually enacted change is a compelling argument that choreographers and dance scholars will want to invoke when challenging the marginalization of dance."--Claire Croft, Theatre Journal "The premise of the book is fascinating. ... It would be a shame if this book were only seen as a contribution to the field of Dance Studies and not also within American Studies."--Kate Elswit, The Drama Review "It is exemplary in its scholarship, historical method, and originality. Above all, it speaks of a historical period and, in the way that it considers the period, exemplifies dance history research at its best. Kowal's daring scholarship illuminates a period now a half century distant, and, in doing so, she says much about the continuing possibilities that dance offers."--Michael Huxley, Dance Research Journal "A stimulating scholarly book blending U.S. history and an engaged active arts practice"--Philip Szporer, Montreal Hour, "A stimulating scholarly book blending U.S. history and an engaged active arts practiceÉ"ÑPhilip Szporer, Montreal Hour, "It is exemplary in its scholarship, historical method, and originality. Above all, it speaks of a historical period and, in the way that it considers the period, exemplifies dance history research at its best. Kowal's daring scholarship illuminates a period now a half century distant, and, in doing so, she says much about the continuing possibilities that dance offers."-Michael Huxley, Dance Research Journal, The premise of the book is fascinating. ... It would be a shame if this book were only seen as a contribution to the field of Dance Studies and not also within American Studies., Kowal's claim that dance did not simply represent change taking place elsewhere but actually enacted change is a compelling argument that choreographers and dance scholars will want to invoke when challenging the marginalization of dance., It is exemplary in its scholarship, historical method, and originality. Above all, it speaks of a historical period and, in the way that it considers the period, exemplifies dance history research at its best. ... Kowal's daring scholarship illuminates a period now a half century distant, and, in doing so, she says much about the continuing possibilities that dance offers., "...Kowal nails it: she discusses Merce Cunningham, Paul Taylor, Anna Sokolow, and others in intriguing art/social/political/sexual contexts. Highly recommended."--T.K. Hagood, Choice, "(T)his book is an important read for the dance community at large."--Bernadine Jennings, Attitude: The Dancer's Magazine, "A stimulating scholarly book blending U.S. history and an engaged active arts practice..."--Philip Szporer, Montreal Hour, "It is exemplary in its scholarship, historical method, and originality. Above all, it speaks of a historical period and, in the way that it considers the period, exemplifies dance history research at its best. … Kowal's daring scholarship illuminates a period now a half century distant, and, in doing so, she says much about the continuing possibilities that dance offers."-Michael Huxley, Dance Research Journal
Dewey Edition
22
Dewey Decimal
792.8
Table Of Content
Acknowledgments Introduction ? Modern Dance and the Cultural Turn to Action Setting the Stage: Modern Dance Universalism and the Culture of Containment Precursors to Action: Martha Graham and José Limón Action is Ordinary: Anna Sokolow Action is Effective: Pearl Primus Action is Finding Subjectivity: Merce Cunningham and Paul Taylor The Uses of Action 1: Talley Beatty, Katherine Dunham and Donald McKayle The Uses of Action 2: Anna Halprin Notes References Index
Synopsis
Winner of the CORD Outstanding Publication Award (2012) In postwar America, any assertion of difference from the mainstream anticommunist culture carried professional and personal risks. For this reason, modern dance artists left much of what they thought unsaid. Instead they expressed themselves in movement. How To Do Things with Dance positions modern dance as a vital critical discourse, and suggests that dances of the late 1940s and the 1950s can be seen as compelling agents of social change. Concentrating on choreographers whose artistic work conceived dance in terms of action, Rebekah J. Kowal shows how specific choreographic projects demonstrated increasing awareness of the stage as a penetrable space, one on which socially suspect or marginalized modes of being could be performed with relative impunity and exerted in the real world. Artists covered include Martha Graham, Jos Lim n, Anna Sokolow, Katherine Dunham, Pearl Primus, Merce Cunningham, Paul Taylor, Donald McKayle, Talley Beatty, and Anna Halprin. Ebook Edition Note: All images have been redacted., How American modern dance contributed to aesthetic and social change in the 1950s Winner of the CORD Outstanding Publication Award (2012) In postwar America, any assertion of difference from the mainstream anticommunist culture carried professional and personal risks. For this reason, modern dance artists left much of what they thought unsaid. Instead they expressed themselves in movement. How To Do Things with Dance positions modern dance as a vital critical discourse, and suggests that dances of the late 1940s and the 1950s can be seen as compelling agents of social change. Concentrating on choreographers whose artistic work conceived dance in terms of action, Rebekah J. Kowal shows how specific choreographic projects demonstrated increasing awareness of the stage as a penetrable space, one on which socially suspect or marginalized modes of being could be performed with relative impunity and exerted in the real world. Artists covered include Martha Graham, José Limón, Anna Sokolow, Katherine Dunham, Pearl Primus, Merce Cunningham, Paul Taylor, Donald McKayle, Talley Beatty, and Anna Halprin. Ebook Edition Note: All images have been redacted.
LC Classification Number
GV1783.K68 2010
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