Knowing Dance More Series: Susan Leigh Foster
Mar 26 2014 11:30AM - 1:00PM
Caplan Recital Hall
Presented by the School of Dance, "Knowing Dance More" is a series of lectures, conversations, and informal showings led by important artists and scholars in the international field of dance. This series seeks to bring into focus current issues within the production, performance and practice of dance works and will hopefully foster ongoing conversations about knowing dance (more).
For 2013-14, Knowing Dance More has been mapped around four perspectives—that of the dramaturge, the choreographer, the dancer, and the theorist, and four concepts—historical diversions, poetic ruptures, mediated body-hybrid identities, and the social anatomical. Through their diverse and unique engagements with these concepts and perspectives, this year's guests will reveal the multiplicity of ways that dance moves through the complexity of the contemporary moment.
Performing Authenticity and the Labor of Dance
Susan Leigh Foster will present Performing Authenticity and the Labor of Dance, a dance lecture that interrogates the body presented in performances of competition dance on television shows such as “So You Think You Can Dance.” Foster looks specifically at how dance serves in these spectacles as guarantor of authenticity and of a rigid set of gendered identities. Invoking neo-Marxist theories of affective labor, she shows how dancers on these programs enact a cycle of alienation and hyper-devotion to the practice of dance, one that replicates the endless drive to consume that marks our contemporary moment. By looking closely at the expressions of surprise, gratitude and praise for others that the dancers must perform, she also considers how the competition’s protocols reproduce the lack of distinction between motivated and unmotivated relationships that is pervasive in our culture.
Dr. Susan Leigh Foster is a choreographer, dancer and scholar. Her book Reading Dancing: Bodies and Subjects in Contemporary American Dance (1986) was the first to consider the relevance of poststructuralist theory to dance research and received the DeLaTorre Bueno Prize for scholarship in dance. Her second book, Choreography and Narrative: BaNarrative: Ballet’s Staging of Story and Desire (1996), is a study of gender and politics in French ballet of the late 18th and early 19th centuries. Her third book, Dances that Describe Themselves: The Improvised Choreography of Richard Bull (2003), provides a study of improvisational practices in New York City during the 1960s, ’70s and ’80s. Her most recent book, Choreographing Empathy: Kinesthesia in Performance (2011), examines the connection that viewers make to performers, focusing on the kinesthetic sense of action that is conveyed through dancing. She is also the editor of three anthologies: Choreographing History (1995), Corporealities (1996) and Worlding Dance (2009). With Sue-Ellen Case and Philip Brett, she edited Cruising the Performative: Interventions into the Representation of Ethnicity, Nationality, and Sexuality (1995) and Decomposition: Post-Disciplinary Performance (2000).
April 16 - Wrap Up & Student Showings with Lauren Bakst
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