The Persistence of Dance

Erin Brannigan is Associate Professor of Theatre and Performance Studies at the University of New South Wales. Her book Choreography, Visual Art and Experimental Composition 1950s-1970s received the Selma-Jeanne Cohen Dance Prize.

Part I. State of the Art
Chapter 1:Unassertive Persistence: Dance Beyond Theater



Introduction

1.2 Intermedial methods for intermedial practices
1.3 Revision and specificity: choreography as a contemporary art medium
1.4 Scoping the field: across theory and practice
Case Study 1: Sarah Michelson—Choreography as Concept, Dancing as Material
Chapter 2: Intermedial Methodologies: Dance Composition and the Work of the Work
2.1 Introduction
2.2 Poetics as method
2.3 Writing dancing
2.4 The limit features of dance’s social condition (part 1)
Mind-body
Singularity/collectivity
Presence/participation
Process
Practice
Composition
Performance
2.5 Conclusion
Part II. Dance and the Museum
Case Study 2: Meg Stuart and Bart De Baere—Choreography and/as Collaboration
Chapter 3: The Museum and Dance Since the 1990s
3.1 Introduction
3.2 The resistance of dance
3.3 Curation since the 2000s: revision, appropriation, and potential
3.4 Exhibiting dance, now and then: exclusions and specificities
3.5 Conclusion
Case Study 3: Curation as Choreography—Copeland’s Choreographing



(2007)

Case Study 4: Activating Dancer Agency in the Gallery—Adrian Heathfield’s
Ghost Telephone (2016)
Case Study 5: Artist-Led Events—Shelley Lasica and Zoe Theodore,
To Do / To Make
Part III. Between the Twentieth and Twenty-First Centuries
Chapter 4: Between the Second- and Third-Wave Dance Avant-Garde
4.1 Introduction
4.2 Conceptual dance and the third-wave dance avant-garde
4.3 Continuity between recent experimental dance and the post-war neo-avant-garde
or Neo-Dada
4.4 Conclusion
Case Study 6: Boris Charmatz—Institutional Critique and Contemporary Dance Histories
Chapter 5: Choreography as Concept and Post-Disciplinarity
5.1 Introduction
5.2 Dancing versus choreography
5.3 Choreography as concept
5.4 Conclusion
Part IV: Concept and Material
Case Study 7: Adam Linder—Dance as a Contemporary Art Medium
Chapter 6: TheConceptual–Material Bind in Dance and Visual Art
6.1 Introduction
6.2 Conceptual work in dance and visual art
6.3 The persistence of a thing called dance
6.4 Conclusion
Chapter 7: The Limit Features of Dance’s Social Condition (part 2)
7.1 Introduction
7.2 Breath 7.4 Tone
7.5 Movement
7.6 Force/Energy/Effort
7.7 Rhythm
7.8 Space-time
7.9 Conclusion
Case Study 8: Shelley Lasica—Context and Process
Case Study 9: Maria Hassabi—Between Sensation and Its Display
Part V: Beyond Dancing in the Gallery
Case Study 10: Agatha Gothe-Snape—Art as Gesture
Chapter 8: The Persistence of Dance at the Point of Its Disappearance
8.1 Introduction
8.2 The material genealogy of dance
8.3 Post-dance
8.4 Conclusion
Case Study 11: Latai Taumoepeau—Dancing Moana, Working with Urgency
Conclusion: Persistent Resistance
Bibliography