Examining a programme of four solos by Los Angeles experimental dance artists Taisha Paggett, Rebecca Pappas, Christine Suarez and Hana van der Kolk, this short article argues how the choreographed subject-in-motion can be deployed as a political tactic to critique identity as a static category by capitalizing on the flux of moving bodies.
dence of some "genuine dance performances" (314). She then names touring dancers from England, France, and Italy. And, in 1947, she reports, a survey showed that only 15 of 104 college included "genuine ballet classes" (336). 4. "The inhumanity of war" is a phrase used to describe the theme of The Green Table in No Fixed Points (see note 1). The authors of this more progressive dance history also note Jooss's seminal use of both ballet and modern dance, while Lee's narrative mentions Germany almost exclusively in terms of touring dancers and classical ballet companies. She attributes creative changes in ballet over the years to the influence of American modern dance (for example, on pages 345 and 338). 5. My colleague at UCI Nancy Lee Ruyter is the dance historian who took a shot at improving standards at Allyn and Bacon by documenting some of the "serious problems" with Lee's citation and general scholarship. Dr. Ruyter's concerns about outdated sources, attitudes and generalizations coincide with many of my own. By checking out the fourteen notes on page 21, for instance, which reference the work of Lillian Lawler and Lincoln Kirstein, she found that half of Lee's citations contained some kind of error. 6. From my examination of both editions of Lee's book, it appears there were no changes made to the body of the text for the 2002 Routledge edition. I crosschecked errors I had marked in the 1999 version, to see if they had been corrected (they weren't), and then referred only to the 2002 edition for this review.
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