- The Oxford Handbook of Dance and Reenactment
- Introduction: The Power of Recall in a Post-Ephemeral Era
- Tracing Sense/Reading Sensation: An Essay on Imprints and Other Matters
- Giving Sense to the Past: Historical D(ist)ance and the Chiasmatic Interlacing of Affect and Knowledge
- <i>Martha@ . . . The 1963 Interview</i>: Sonic Bodies, Seizures, and Spells
- Reenactment, Dance Identity, and Historical Fictions
- Bound and Unbound: <i>Reconstructing Merce Cunningham’s</i> Crises
- The Motion of Memory, the Question of History: Recreating Rudolf Laban’s Choreographic Legacy
- To the Letter: Lettrism, Dance, Reenactment
- <i>Letters to Lila</i> and Dramaturg’s Notes on <i>Future Memory</i>: Inheriting Dance’s Alternative Histories
- (Re)enacting Thinking in Movement
- Not Made by Hand, or Arm, or Leg: The Acheiropoietics of Performance
- Pedagogic In(ter)ventions: <i>On the Potential of (Re)enacting Yvonne Rainer’s</i> Continuous Project/Altered Daily <i>in a Dance Education Context</i>
- What Remains of the Witness? Testimony as Epistemological Category: Schlepping the Trace
- Baroque Relations: <i>Performing Silver and Gold in Daniel Rabel’s</i> Ballets of the Americas
- Reenacting <i>Kaisika Natakam</i>: Ritual Dance-Theater of India
- Gloriously Inept and Satisfyingly True: Reenactment and the Practice of Spectating
- Blasting Out of the Past: The Politics of History and Memory in Janez Janša’s Reconstructions
- Reenactment as Racialized Scandal
- Reenacting Modernist Time: William Kentridge’s <i>The Refusal of Time</i>
- Quito-Brussels: A Dancer’s Cultural Geography
- Dance and the Distributed Body: <i>Odissi and</i> Mahari <i>Performance</i>
- Choreographic Re-embodiment between Text and Dance
- Affect, Technique, and Discourse: Being Actively Passive in the Face of History: Reconstruction of Reconstruction
- Epilogue to an Epilogue: Historicizing the Re- in Danced Reenactment
- The Time of Reenactment in <i>Basse Danse</i> and <i>Bassadanza</i>
- Time Layers, Time Leaps, Time Loss: Methodologies of Dance Historiography
- (In)Distinct Positions: The Politics of Theorizing Choreography
- Scenes of Reenactment/Logics of Derivation in Dance
- A Proposition for Reenactment: Disco Angola <i>by Stan Douglas</i>
- Dance in Search of Its Own History: On the Contemporary Circulation of Past Knowledge
Abstract and Keywords
In 1975, German choreographer Kurt Jooss created his last dance, Dixit Dominus, for Swedish-based Indian dancer Lilavati Häger. After Rani Nair reconstructed what is often seen as “minor” work, she then created Future Memory (2012/2014) to engage more directly with her inheritance, from caring for the personal things and stories that surrounded the piece to reworking its promise of dancing between European and Indian forms. Working outward from Elswit’s position as dramaturge and historian for this project, and accompanied by Nair’s letters to Häger, this chapter addresses the potential and precariousness of contemporary dance’s experiments with redoing history at the intersection of multiple contested legacies.
Kate Elswit is Reader in Theatre and Performance at the Royal Central School of Speech and Drama and author of Watching Weimar Dance (Oxford University Press, 2014) and Theatre & Dance (Palgrave Macmillan, 2017). She is winner of the Gertrude Lippincott Award from the Society of Dance History Scholars, the Biennial Sally Banes Publication Prize from the American Society for Theatre Research, and honorable mention for the Joe A. Callaway Prize, and her research has been supported by many sources, including a Marshall Scholarship, a postdoctoral fellowship in the Andrew W. Mellon Fellowship of Scholars in the Humanities at Stanford University, and the 2013 Lilian Karina Research ↵Grant in Dance and Politics. Her essays appear in TDR: The Drama Review, Theatre Journal, Modern Drama, Art Journal, Performance Research, Dance Research Journal, and New German Dance Studies, and The Oxford Handbook of Dance and Politics. Recent performance collaborations include Future Memory and Breath Catalogue.
Rani Nair works as a choreographer and dancer with a special interest in postcolonial ideas and the body in social contexts. She has developed her own work in Morocco, Mexico, Vietnam, Iceland, and South Africa, among other places, many of them as part of the artistic trio WE Insist. She has performed at festivals including Spielart in Munich, ImPulsTanz in Vienna, the Ignite! Festival of Contemporary Dance in Delhi, Singapore International Festival of Arts, Avignon Festival, and the Gothenburg Dance and Theatre Festival. As a dancer she toured with Shobana Jeyasingh, Jayachandran Palazhy, Roger Sinha, and Julie Nioche. Nair is a dance advisor at Riksteatern, a national touring network in Sweden. She has been a collaborator with the network Sweet and Tender Collaborations, and on the editorial team of Ful, a queer feminist art collective that produces art magazines. The collective made the anti-nationalistic cabaret Europa Europa about the inhuman migration politics of Europa in collaboration with the electronic duo The Knife.
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