This interdisciplinary book brings together essays that consider how the body enacts social and cultural rituals in relation to objects, spaces, and the everyday, and how these are questioned, explored, and problematised through, and translated into dance, art, and performance. The chapters are written by significant artists and scholars and consider practices from various locations, including Central and Western Europe, Mexico, and the United States. The authors build on dialogues between, for example, philosophy and museum studies, and memory studies and post-humanism, and engage with a wide range of theory from phenomenology to relational aesthetics to New Materialism. Thus this book represents a unique collection that together considers the continuum between everyday and cultural life, and how rituals and memories are inscribed onto our being. It will be of interest to scholars and practitioners, students and teachers, and particularly those who are curious about the intersections between arts disciplines.
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1 | (16) |
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Part I Emergent Relations |
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17 | (128) |
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2 Networked Commensals: Bodily, Relational and Performative Affordances of Sharing Food Remotely |
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19 | (20) |
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3 Unsound Bodies: Mapping Manifolds in/of the Dance |
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39 | (20) |
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4 TV, Body, and Landscape: Nam June Paik'sShow (2016) |
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59 | (16) |
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5 Please Do Not Touch: Dancing with the Sculptural Works of Robert Therrien |
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75 | (16) |
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6 The Holding Space: Body of (as) Knowledge |
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91 | (14) |
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7 Contextualizing the Developing Self in Helen Chadwick's Ego Geometria Sum |
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105 | (20) |
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8 Cutting Onions and Cooking Stew as Corporeal Palimpsests: Stabilising the Unstable on a Theatre Stage in Mexico City |
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125 | (20) |
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Part II Absence, (In)visibility and Resistance |
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145 | (114) |
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9 Series and Relics: On the Presence of Remainders in Performance's Museum |
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147 | (16) |
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10 Red Ladies: Walking, Remembering, Transforming |
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163 | (16) |
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11 A Dance After All Hell Broke Loose: Mourning as "Quiet" in Ralph Lemon's How Can You Stay in the House All Day and Not Go Anywhere? |
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179 | (18) |
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12 Theatre as FOMO: Metonymic Spaces of William Forsythe's KAMMER/KAMMER |
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197 | (28) |
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13 Broken Homes and Haunted Houses |
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225 | (16) |
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14 The Monumental and the Mundane: Living with Public Art in London's East End |
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241 | (18) |
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| Index |
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259 | |
Sarah Whatley is Director of the Centre for Dance Research (C-DaRE), Coventry University, UK. Her research focuses on dance analysis, digital dance resources, dance and disability, and intangible cultural heritage. She has published widely on these themes and is founding Editor of the Journal of Dance and Somatic Practices.
Katerina Paramana is a Lecturer in Theatre and Performance at Brunel University London, UK. Her research is concerned with the socio-political and ethical dimensions of contemporary performance. It has been published with Performance Research, GPS, CTR, and Dance Research journals. She is co-editor of the interdisciplinary book series Dance in Dialogue.
Imogen Racz is Assistant Professor in Art History at Coventry University, UK. Her research focuses on post-war sculptural practices, with a special emphasis on the home, memory, identity, and belonging. She has published widely, including her forthcoming book British Art of the Long 1980s: Diverse Practices, Exhibitions and Infrastructures (2020).
Marie-Louise Crawley is a choreographer, dancer, and researcher. She is research assistant at C-DaRE (Centre for Dance Research), Coventry University, UK, and an Early Career Associate of the Archive of Performance of Greek and Roman Drama, University of Oxford, UK.
Marie-Louise is an Early Career Associate of the Archive of Performance of Greek and Roman Drama, University of Oxford, UK, and a choreographer, dancer, and researcher. She is currently a research assistant at C-DaRE (Centre for Dance Research, Coventry University, UK).
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