Dance as Text: Ideologies of the Baroque Body

McGowan, Margaret Μ.; Franko, Mark; Shaw, Mary

doi:10.2307/1146533

Cited by 2 publications

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“…My theorization of the concept of heritage choreography is informed by prevailing discussions about tradition (Williams 1977;Shils 1981;de Certeau 1984;Hobsbawm and Ranger 1983;Anttonen 2005); ideology (Marx [1867(Marx [ ] 2011Althuser [1974Althuser [ ] 2014Williams 1977;Hewitt 2005;Malešević2008); and choreography (O'Shea 2007;Foster 2010;Cvejić2015;Franko 2015;Banerji 2019). However, I also acknowledge the different critiques of choreography (Savigliano 1995;Franko 2015;Cvejić2015), especially when considering the sociopolitical and economic context in which choreography was defined or redefined. I also consider Raymond Williams's (1977) critique of Marxian ideology, mostly because he extends the notion that ideology and the base operate together, as ideology is not separated in power.…”

Section: Ideology Tradition and Heritage Choreography: Some Theoretic...mentioning

confidence: 99%

Choreography as Ideology: Dance Heritage, Performance Politics, and the Former Yugoslavia

Petkovski¹

2023

Dance Res. J.

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In this article I discuss the process of choreographing “traditional” and “folk” dances in the former Yugoslavia, aligned with Yugoslav socialist ideologies that glorified the collective cultural authorship of the people, which allowed for these dances to adopt a new dimension as they took the form of a choreographed spectacle. I explain how Yugoslav choreographers utilized archival research to create a repertoire of choreographic representations of Yugoslav identity in constructing what I theorize as heritage choreography. Reflecting on how ideology moved the collective body of the Yugoslav people through choreographed works deemed as heritage, I broaden the understanding of choreographing that differs from Western concert dance practices. Furthermore, I provide alternative examples of dance making that are rooted in local understandings of spectacle, thereby enriching the conversation about what the act of choreographing entails.

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Section: Ideology Tradition and Heritage Choreography: Some Theoretic...mentioning

confidence: 99%

Choreography as Ideology: Dance Heritage, Performance Politics, and the Former Yugoslavia

Petkovski¹

2023

Dance Res. J.

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“…My discussion is informed by prevailing theories on the concepts of choreography and ideology. While etymologically rooted in the transcription of movement into textual form, evidenced by historical dance notations (Franko 2015), choreography is additionally delineated as "a set of instructions for arranging the body in time and space, in patterns of stillness and movement, according to an established regime of techniques" (Banerji 2019, p. 31). The multifaceted applicability of choreography extends beyond traditional dance contexts, encompassing realms such as troop movements in the Iraq war, Cesar Millan's techniques in dog training, board meeting discussions, and the synchronization of traffic lights for enhanced commuter flow (Foster 2010, p. 60).…”

Section: Introductionmentioning

confidence: 99%

How to Choreograph a Socialist Society?

Petkovski

2024

Arts

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During the existence of Yugoslavia (1945–1991), the leading political ideology of “brotherhood and unity” had to be manifested in all forms of cultural life. Promoting the physically capable body as part of a larger cultural movement, Yugoslavia witnessed the transformation of physical daily regimens into mass bodily spectacles performed at stadiums, called sletovi, demonstrating the power of mass-choreographed discipline. Similarly, Yugoslav choreographers were encouraged to develop a distinct performance aesthetic based on stylization as a rhetoric for modernization, using folk dance as a medium to showcase and promote the collective body of the people through choreographed folklore spectacles. Focusing on these two case studies that exemplify how mass choreography was used as a strategy to choreograph the Yugoslav society, this paper analyzes how political ideologies and their constructions through physicality supported the Yugoslav state project, thereby pointing to the present-day remnants of these aesthetics in the post-Yugoslav republics, evident in mass protests. By utilizing archival and choreographic analysis, I demonstrate how movement and dance impacted the public understanding of unity and helped the creation of a Yugoslav socialist society, drawing from Andrew Hewitt’s thesis on “social choreography”.

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Dance as Text: Ideologies of the Baroque Body

Cited by 2 publications

References 0 publications

Choreography as Ideology: Dance Heritage, Performance Politics, and the Former Yugoslavia

Choreography as Ideology: Dance Heritage, Performance Politics, and the Former Yugoslavia

How to Choreograph a Socialist Society?

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