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From the margins to the mainstream: ...

Schaffman, Karen Helen.

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From the margins to the mainstream: Contact improvisation and the commodification of touch.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	From the margins to the mainstream: Contact improvisation and the commodification of touch./
作者:	Schaffman, Karen Helen.
面頁冊數:	340 p.
附註:	Chairperson: Susan Leigh Foster.
Contained By:	Dissertation Abstracts International62-07A.
標題:	Dance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3021402
ISBN:	0493328645

From the margins to the mainstream: Contact improvisation and the commodification of touch.
Schaffman, Karen Helen.

From the margins to the mainstream: Contact improvisation and the commodification of touch. - 340 p.

Chairperson: Susan Leigh Foster.

Thesis (Ph.D.)--University of California, Riverside, 2001.

My dissertation follows Cynthia Novack's work, who in <italic>Sharing the Dance</italic> traced the development of contact improvisation from its onset to the late 1980s and revealed the form as a polyvocal and experimental practice arising from the American political and social values of the 1960s counterculture movement. I examine ways contact improvisation remains a subculture practice and has emerged in mainstream frameworks to determine its influences and significance in the 1990s. I argue that contact improvisation sustained as an egalitarian community by preserving its vitality through rhetoric of a “natural body.” At the same time, contact improvisation contributes to new trends in post/modern dance by offering partnering skills, exploring issues of identity, and performing various choreographic representations of touch and weight.

ISBN: 0493328645Subjects--Topical Terms:

610547
Dance.

From the margins to the mainstream: Contact improvisation and the commodification of touch.
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520 $a My dissertation follows Cynthia Novack's work, who in <italic>Sharing the Dance</italic> traced the development of contact improvisation from its onset to the late 1980s and revealed the form as a polyvocal and experimental practice arising from the American political and social values of the 1960s counterculture movement. I examine ways contact improvisation remains a subculture practice and has emerged in mainstream frameworks to determine its influences and significance in the 1990s. I argue that contact improvisation sustained as an egalitarian community by preserving its vitality through rhetoric of a “natural body.” At the same time, contact improvisation contributes to new trends in post/modern dance by offering partnering skills, exploring issues of identity, and performing various choreographic representations of touch and weight.
520 $a I raise issues of gender, sexuality, ability, race, and class to track changes in the sociopolitical climate by investigating contact improvisation as it arises in various choreographic circumstances and is performed by a range of bodies including “hired bodies,” dancers versed in a variety of techniques in order to meet the demands of contemporary choreographers; “contact” or “weighted bodies,” dancers schooled in the principles of contact improvisation; disabled dancers; and classically-trained ballet dancers. As an identifying-ethnography, I utilize embodied research along with choreographic analysis to illuminate contact improvisation as a particular movement language. I apply theories of transgression to illuminate ways that contact improvisation exposes and crosses boundaries of touch.
520 $a Chapter One locates the current concerns of the community by highlighting the 25th Anniversary Celebration of the form at Oberlin College in 1997. Chapter Two investigates contact improvisation as a choreographic tool by delineating the form as technique, vocabulary, and practice. Chapter Three analyzes contact improvisation in relation to the historical trajectory of American modern dance and the overarching field of “release technique” to explore its “revolutionary” politics. Chapter Four examines contact improvisation in the global sphere where issues of gender, sexuality, universality, and commodification surface in various ways. I argue, as a metaphor, or currency, of corporeal exchange, contact improvisation paradoxically deepens universal ideologies of the body and serves as a model for understanding difference.
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