Rethinking Dance History: Issues and Methodologies

Cover
Title
Copyright
Dedication
Contents
Notes on contributors
Preface to the second edition
PART 1 Why dance history?
	Introduction to Part 1: why dance history?
	1 Memory, history and the sensory body: dance, time, identity
	2 Cara tranders’s reveries: the Autobiography of Cara Tranders, Ballet Girl at the Empire Palace of Varieties, 1892–99
	3 Beyond fixity: Akram Khan on the politics of dancing heritages
	4 African-American dance revisited: undoing master narratives in the studying and teaching of dance history
	5 Dance works, concepts and historiography
	6 Reconstruction and dance as embodied textual practice
	7 Preserving the repertory and extending the heritage of Merce Cunningham
	8 Making dance history live – performing the past
PART 2 Researching and writing
	Introduction to Part 2: researching and writing
	9 Destabilising the discipline: critical debates about history and their impact on the study of dance
	10 Decolonising dance history
	11 Many sources, many voices
	12 ‘Dream no small dreams!’: impossible archival imaginaries in dance community archiving in a digital age
	13 When place matters: provincializing the ‘global’
	14 Considering causation and conditions of possibility: practitioners and patrons of new dance in progressive-era America
	15 ‘Dancin’ in the street’: street dancing on film and video from Fred Astaire to Michael Jackson
	16 Judson: redux and remix
	17 Ruth page, feminine subjectivity, and generic subversion
	18 Extensions: Alonzo King and Ballet’s LINES
	19 Giselle and the Gothic: contesting the Romantic idealisation of the woman
Index